Yiying Tang_Portfolio

YI YI N G TAN G Architecture Portfolio Selected Works 2016 - 2021

YIYING TANG

LEED GA

22021 Cleveland Street Dearborn, Michigan, 48124, U.S. Email: yiyingt@umich.edu Tel:(+1)7348005055

EXPERIENCE ROSSETTI, Detroit, U.S. | Dec. 2020 - Present Junior Architect Ennio Tardini Stadium Competition, Parma, Italy | · Participated in the overall design process, from researching background, developing concept, comparing design options to building Revit model, drawing plans and diagrams, integrating sustainable strategies and compiling presentation book.

JD Racing Development, Howell, Michigan | · Provided strategies to the JD Racing motorsport mixed-use development and drew the site plan.

Gensler, New York, U.S. | May 2019 - Aug. 2019 Architectural Intern Troutman Sanders, New York | · Engaged in the SD phase, assisted Principal with multiple design options and delivered presentation documents.

Bloomberg, New York | · Participated in the DD and CD phase, drew and redlined construction drawing with Revit.

Bryan Cave, New York | · Cooperated with interior designer in the CA phase, prepared submittals and visited construction site.

NYC826, New York | · Led intern group in branding redesign and interior renovation, presented a new operation mode of utilizing retail sector to gain attractions and support non-profit main business, obtained clients and leadership approval.

Architectural Design & Research Institute of Zhejiang University Co., Ltd., Hangzhou, Zhejiang, China | Jun. 2016 - Sep. 2016 Architectural Intern Quzhou No.4 Pilot Middle School, Zhejiang, China | · Participated in the design of conceptual proposal and development, made progress models, built computer 3D model with Google SketchUp, drew plans with AutoCAD, produced presentation imagery, diagrams and made a presentation book.

Commercial Block Design in Ocean Collage, Zhejiang University, Zhejiang, China | · Engaged in the design of conceptual proposal, built computer 3D model with Google SketchUp. EDUCATION University of Michigan, A. Alfred Taubman College of Architecture and Urban Planning, Ann Arbor, Michigan, U.S. | Aug.2018 May.2020 Master of Architecture Zhejiang University, Hangzhou, Zhejiang, China | Sep. 2012 - Jun. 2017 Bachelor of Architecture The University of British Columbia, Vancouver, Canada | Jul. 2015 - Aug. 2015 Architecture Package, Vancouver Summer Program COMPUTER SKILLS Revit | Rhinoceros | Grasshopper | Google SketchUp | Enscape | V-Ray | AutoCAD | Adobe Photoshop | Adobe Illustrator | Adobe InDesign | Maya | Microsoft Office | Python | Bluebeam | Unity ARCHITECTURE-RELATED ACTIVITIES Taubman Public Design Corps | Jul. 2020 - Sep.2020 Collaborates with local community Zimbabwe Cultural Center of Detroit to renovate a vacant building into an African arts Center.

Payette, Boston, U.S. | Mar. 2020 Participated in Externship Program, designed interior spaces and built physical model for University of Hartford project.

Senri New Town Housing Redevelopment Workshop, Osaka, Japan | Sep. 2019 Collaborated with students from RWHT Archen University and Osaka University to develop strategies on Senri New Town affordable housing project. Applied organization method of scattered public spaces to reactivate the community.

International Habitat Design Workshop, Ahmedabad, India | Mar. 2019 Explored historical and current situation of a seasonal river and its relationship to the city, and presented design strategies to break the barriers between the river and other urban contexts. Obtained specific instruction and appreciation from B. V. Doshi.

16th Zhejiang University Structural Design Competition for College Students | May 2015 - Jun. 2015 Won 2nd prize. Built a bridge with bamboo and strings with goal of bearing as much weight as possible.

COMPETITIONS Reshape the Tower of Memory - China Jiaxing Nanhu Water Tower Design Competition, Honorable Mention | Feb. 2021 Q-village International Young Designer Competition, Honorable Mention| Dec.2020 Taubman College Summer Competition - Studio Redux | 2nd Prize | May 2020 - Jun. 2020

ACADEMIC WORKS Collective Ground 01 Vigilance in Fluorescence 08 Art Generator 11 Adaptive Acoustic 17 The Last Guardian 22 From Reopening to Reorganization 30 Taubman College Design Corp 32 PROFESSIONAL WORKS 34 OTHER WORKS 36

01 COLLECTIVE GROUND HOUSING COMMUNITY

University of Michigan Core Studio Group Work Teammates: Yue Lu, Anjelica Hope Perez Instructor: Craig Borum, Claudia Wigger Fall 2019 Coupled with the dropping general population but the rising statistics of the elderly demographics, Japan was in the challenge of aging society for a long time. Aoyamadai, one of the low-income housing community in Senri New Town, Japan’s first large-scale new town project after WWII, is facing a dilemma situation: on the one hand, after 50 year’s existence, the economically affordable housings need replacement, and the elder communities need fresh bloods; on the other hand, the community is lacking in attraction to young generations, however, the original residents could not afford the cost to transform the existing community into a mixed-age, youngsterattractive one.

How could Aoyamadai regenerate into an open and vibrant community without laying pressure on the former elder residents? In order to achieve this, the concept of “collective space” is put forward. By introducing rent-out spaces in different aspects - public space as well as units, the economic pressures are shared by renters with business demand. Additionally, people who are brought in the community by commerce also play the role in activate the district.

CONCEPT

20’S

30’S

30’S

40’S

50’S

80’S

In Japanese society, based on the constant changing of the individual’s society role and constitution of family structure, people’s demands towards their living space also shift. For most of the low-income population, due to their income limits, they spend their lifetime within the same apartment, despite the space sufficiency / insufficiency caused by the increase or decrease of family members.

Operation Mode of Apartment

Library Reading Room Children’s Playground Gym Yoga Room Bar / Cafe Community Kitchen ...

Units Operation Mode of Collective Space Community

Community Library Reading Room Children’s Playground Gym Yoga Room Bar / Cafe Community Kitchen ...

Retail Store Personal Studio Sanitarium Education Center Market Barber Shop Convenience Store ...

Community + Rent-out Commercial / Office

Units + Rent-out Room

Community + Rent-out Commercial / Office

In addition to this, the public spaces in low-income community are condensed to reduce the housing cost, lead to the lack of communal facilities, public vitality and sociality. In order to solve these problems, the conception “collective space” comes forward. The kernel of the collective space community is rent-out spaces. By providing rent-out lower floors as commercial space and offices, the community is able to balance the selling / renting price of units. More communal spaces are introduced to attract people stream as well as serving for residents. Besides, some of the units are designed with puzzle rooms – an independent room that could be used by owner or rent out for increasing incomes, to accommodate the fluctuate of family members.

SITE PLAN

AXON

View of the Outdoor Market

View of the in-between Street

INTERVENTIONS

...the Outdoor Market

...the Fountain Park

...the Open Cinema

...the Sinking Playground

...the Bicycle Station

...the Vegetable Farm

...the Retail Store

...the Children’s Recreational Room

...the Elders’ Activities Center

...the Reading Space

...the Resting Holt

...the Mini Golf

View of the Retail Store

View of the Reading Space

PLANS

6

7

7

11

10 2

1

9

8

26

5

9

6

3 5

23

4

25

22 24 27 18

15

21

16

19 6

5 17 6

12

14

20

13

28

1st Floor 1. Sanatorium Canteen 2. Sanatorium Activity Room 3. Sanatorium Reading Space 4. Sanatorium Unit 5. Apartment Lobby 6. Office 7. Classroom 8. Discuss Room 9. After-school Tutoring 10. Children Recreational Room 11. Conference Hall 12. Yoga Room 13. Architecture Studio 14. Retail Store

15. Tea Shop 16. Art Workshop 17. Convenience Store 18. Barber Shop 19. Storage 20. Indoor Market 21. Vegetable Farm 22. Bicycle Stop 23. Sunken Playground 24. Open Cinema 25. Fountain Park 26. Gate Ball Court 27. Sport Spot 28. Outdoor Market

29 31

32

30

34

33

35

2nd Floor 29. Rent-out Office 30. Apartment 31. Apartment II 32. Studio 33. Work-Live 34. Duplex 35. Apartment with Puzzle

43

29 36

42 41

37 39 38

40

34

3rd Floor 36. Animal Play Room 37. Library 38. Study Room 39. Communal Kitchen 40. Bar 41. Resting Holt 42. GYM 43. Mini Golf

PERSPECTIVE SECTION

WALL SECTION

12345

6 7 8

9 10 11 12 13 14

15 16 17 18 19 20

25 26 27 28 29 30

31 32 33

21 22 23 24

1. Cover Board Set 2. Insulation 3. Polyisocyanates insulation 4. Roof Vapor Retarder 5. Concrete Slab 6. Parapet Flashing 7. Fully-adhered Water Control Membrane 8. Tapered Rigid Insulation 9. Aluminum Panel 10. Sliding Door 11. Waterproofing Membrane 12. Finished Floor (PVC) 13. Pedestal System 14. Railing 15. Mineral Wool Insulation 16. Fire-shield Gypsum Board 17. Fire-stopping Material 18. Light Gauge Steel Framing 19. LOW-E Triple Glazed Window 20. Drop Ceiling 21. Monorail Sliding Frame 22. 20’ I-Beam 23. Metal Deck 24. Steel Shear Stud 25. Finished Floor / Straight Grain Fir Wood 26. Container Sub Floor 27. Batt Insulation 28. Air Gap 29. Layers of 1/2’’ Gypsum Board 30. Structural Joints 31. Concrete Grade Beam 32. Rigid Insulation 33. 4-in. Gravel Layer

PHYSICAL MODEL

02 VIGILANCE IN FLUORESCENCE

F L U O R ESCENT M E M ORIA L P YRA M ID 2021 Evolo Competition Group Work Teammates: Jie Liu, Shijia Liu, Yucheng Gao Winter 2021 Fukushima Daiichi Nuclear Disaster was one of the most severe nuclear accident in history, leaving unresolved issues and ongoing impact to all mankind. In 2020, the Japanese government has decided to pour wastewater into the ocean and let the ocean dilute it. Once Japan discharges nuclear waste, it will leave an irreversible negative impact on humans, other creatures, and the planet lasting for generations.

Considering the potential nuclear pollution for the whole planet and people’s careless with the nuclear waste treatment, we propose a fluorescent memorial pyramid for Fukushima Daiichi plant. It not only disposals the radioactive water, preventing the wastewater from being pour into the ocean; but also works as an ecological and environmental warning, reminding people the tremendous hazard of the nuclear pollution with the fluorescence generated from the radioactivity of tritium. The project consists of two kernels; one is radioactive water disposal system: to convert tritium - the main radioactive material remaining in radioactive water into electrical energy beneficial to the development of human society; the other is fluorescent water tower: to take use of radioactivity of tritium to create fluorescence as an alarm to elevate awareness of human towards the double sides of nuclear power.

BACKGROUND

PURIFICATION

Fukushima Daiichi Nuclear Disaster was one of the most severe accident among the nuclear accidents. On Mar. 11, 2011, Tsunami hit the Fukushima Daiichi Nuclear Power Plant, causing three reactor cores melted down. To prevent the leakage of radioactive materials, Tokyo Electric Power Company used water to cool the reactor core, and the cooled water became radioactive wastewater. After preprocessing, tritium - a radioactive isotope of hydrogen, cannot be removed. Not knowing how to deal with radioactive water containing tritium, Tokyo Electric Power Company stored them in water tanks.

Developed by Tokyo Electric Power Company, the pur substances except tritium. First, strontium and cesiu water is recycled to the reactor core and concentrate.

Prepro

CONCEPT Globalization Issue: Nuclear Leakage

The main proposal of our project is to build a fluores convert tritium into electrical energy beneficial to the radioactivity of tritium to create fluorescence as an ala

In 2020, the Japanese government has decided to pour wastewater into the ocean and let the ocean dilute it. Once Japan discharges nuclear waste, the wastewater will be affected by the warm Pacific current and will spread to the North Pacific for the first time and reach the west coast of the United States. If nuclear waste water is discharged into the ocean, the efforts of fishery practitioners in the past decade will be in vain.

1. Filtration

Radioactive Water Spread with Ocean Current

5. Solidification

LUMINESCENCE

rification system can remove most of the highly radioactive um ions are exchanged into less harmful ions. Then, clean . Finally, adsorbents adsorb the remaining heavy metals.

As tritium is radioactive, it can excite fluorescent proteins to emit light. The molecules is able to absorb energy from radioactivity of tritium to reach a higher energy state, corresponds to the absorption. Then, the absorbed energy is able to be released through light radiation, corresponding to the fluorescence.

2.5

2.0

Vibrational Relaxation

Potential (hcD�)

Inter-system Crossing

1.5

Absorption Fluorescence Phosphorescence

1.0

0.5

0.0 -1

0

1

2

3

4

5

6

Internuclear Separation a(R - R�)

rocessing

Luminescence of Fluorescent Protein

scent memorial pyramid. It consists of two kernels, one is to e development of human society. The other is to take use of arm to elevate awareness of human towards nuclear power.

Deuterium

Tritium

The core technology is to collect discrete tritium isotopes in wastewater, generate electricity as well as excite fluorescent protein to emit light through controllable nuclear fusion, and recover harmful substances generated during the treatment process, ultimately realizing the ideal of unlimited production of clean energy.

Helium Energy

Neutron

2. Electrolysis

3. Lab

4. Nuclear Fusion

6. Observation

7. Transmission

8. Monument

SECTION ANALYSIS

1

Pretreatment

0. Radioactive Wa 1. Prelimina 2. Purification + 3. P 4. Nuclear Fusion + Unmanned 5. Solidification +

Particle Acceleration Electrolysis

Plasma Generator The plasma generator provides the material for nuclear fusion power plants. It is a standard multipole bucket type source, which operates in the emission limited discharge regime. Specially designed plasma generators are the basis of highly effective and energy-efficient pretreatment systems.

We see the development of plasma nozzles and generators as a holistic task.

Main Stru Tritium Water Circul Fluorescein Re

3

Precipitation Reactor The experimental wastewater and waste residue undergo chemical reaction to be further separated and purified, transforming into solid.

Filter Syste Fusion Pretreatme Tokamak React

Heavy Metal Reactor Corrosion Control Precipitation Pool Autoclave 5

Deep Burial The crystals containing harmful substances are pressurized and injected into the seabed and buried deep in places where they cannot cause harm to humans, slowly decay and degrade. High degree of physical isolation, protection of waste against weathering and erosion, elimination of free oxygen that mobilize certain constituents for some waste, reduction in permeability with depth are the primary advantages.

Injected into Seabed

ater Storage ary Filtration + Electrolysis Precipitation d Laboratory Deep Burial

2

ucture lation eactor

em ent tor

Electrolysis Equipment The sewage discharged from the nuclear power plant undergoes electrolysis and a heating gradient to transform plasma.

Electrolysis is the process by which ionic substances are decomposed (broken down) into simpler substances when an electric current is passed through them.

4

Tokamak Reactor Plasma enters the nuclear fusion device, generating nearly unlimited electrical energy. Fusion, is a potential source of safe, non-carbon emitting and virtually limitless energy. The tokamak is one of several types of magnetic confinement devices being developed to produce controlled thermonuclear fusion power. As of 2020, it is the leading candidate for a practical fusion reactor.

03 ART GENERATOR

MIXED-USE DEVELOPMENT Zhejiang University Core Studio Individual Work Instructor: Gao Yujiang Fall 2016 Chelsea, a famous art block with more than 400 world-class galleries, is an agglomeration for artists in New York. Most of them live and work here, absorbed in artistic creation, hold exhibitions and sell art works.

This mixed-use development is an exploration on the relationship among four kinds of people: local artists, traveling artists, local residents and tourists based on the cultural background of Chelsea.

Local artists choose to live beside their studios in consideration of convenience, but they need to face with the problem that visitors may interrupt their private life; traveling artists are beset by problem of entering local art circle; local residents and tourists could not fully appreciate modern art and post-modern art due to the lack of guidance. By reorganizing basic programs needed by artists and visitors, This project tries to solve these issues and creates spaces satisfying the need of interaction and independence.

PROJECT STATEMENT

There are more than thousands of galleries, museums and non-profit art agencies constitute the artistic ecology of New York. As a culture melting pot, this city not only accepts different kinds of people, but includes all kinds of art as well.

This project, art generator is a mixed use, accommodating local artists, traveling artists, tourists and inhabitants. Here, the art is not isolated from public, neither is a simple result. It provides an opportunity for public to comprehend the birth of artworks, working process of artists and their working circumstances. In addition, artists themselves are exposed in the social network that assists them to communicate, gain knowledge and burst inspiration. The project is composed of five basic programs: auditory art experience center, theaters & auditory-art artist dwellings, gallery & visualart artist studios with dwellings, living facilities and hotel. Going upstairs, visitors could experience various forms of art: it's like a box of chocolate, you never know what you are going to get.

Blocks with Theaters and Auditoriums

Pocket Parks and the Highline Park

Blocks with Hotels

Blocks with Apartments

SITE ANALYSIS

The site is located at Chelsea. Since 1990s, with the decrease of galleries in SOHO, plenty of galleries moved to Chelsea with low-rent at that time. Now this legendary area is occupied by approximate 400 world-class galleries. Meanwhile, the Highline Park, stretching from the north to the south of Chelsea, links buildings with galleries hiding there. The project is on the south of the core area of gathering galleries, interacting with surrounding art institutions. It also echoes with spreading studios, theaters, and auditoriums. The culture of Chelsea provides a splendid art circumstance for the project, while the project also injects new vitality to the region.

SITE GALLERY

0 100M 200M 400M

1000M

CONCEPT Program

Program Relationship Exhibition/ Performance

Inclusion: Different Programs Take Place in One Space In galleries, theaters and auditorium, artists and visitors, artists themselves communicate through displaying and performing their artworks. Meanwhile, artists and visitors could share living facilities and green space in a harmonious atmosphere.

Creation

Local Artists

Dwelling Leisure Exhibition/ Performance

Traveling Artists

Intersection: Different Programs Dominate Space with Flexibility

Creation

Artists are able to arrange display space and working space according to their will and job category. An overlapping space accelerates interaction between artists.

Dwelling Leisure

Local Residents

Tangency: Different Programs in Adjacent Space with Visual Connection

Visiting

Visitors could comprehend the birth of artworks, working process of artists and experience their working circumstances by observing artist studios through windows.

Leisure

Separation: Different Programs in Separated Space with Least Disturbance In order to protect privacy of artists and tourists, artist dwellings and hotel are separated from public space and have their own circulations.

Visiting Tourists

Dwelling Leisure

Program Organization Hotel Hotel

Separation Living Facilities Living Facilities

Separation sion Inclu Tangency Sepa ratio n

Reorganize

Intersection Intersection

Visual Art Area

Auditorium Theatre Auditory-Art Artist Dwelling

Separation sion Inclu Tangency Sepa ratio n

Gallery Visual-Art Artist Studio Visual-Art Artist Dwelling

Intersection Intersection

Auditory Art Area

According to program relationships and different art forms, the exhibition space is divided into two parts: auditory art area and visual art area. Auditory art area is a multi-media art center with art forms of music, film, game, drama, etc. Visual art area is on upstairs in order to provide a quiet circumstance for both visitors and artists. Then Living Facilities and Hotel is on the top of the building with security and privacy.

Auditory Art Experience Center

Then, for better working, living, recreating conditions, space is refined and recombined. Auditory art area is divided into three parts, one is auditory art experience center where auditory art artists work and visitors enjoy artworks, one is theaters and auditory-art artist dwellings, another is auditorium where need large space. Gallery, visual-art artist studios and visual-art artist dwellings are in related space for stimulating connection among artists. Meanwhile, to protect privacy of artists, the visitors’ sight is guided by walls and windows.

Facade

Circulation

Auditory Art Experience Center

Gallery

Artist Dwelling

Theater & Auditorium

Living Facilities

Hotel

Skybar

PLANS A

6

6. Theater 7. Auditory-Art Artist Dwelling

7

8th Floor: Theater and Auditory-Art Artist Dwelling

A

1

4

2

3

4 5 1. Lobby 2. Auditory Art Experience Space 3. Resting Area 4. Office 5. Auditory Art Studio

5

2nd Floor: Auditory Art Experience Center

14

15 13

13. Gallery Space 14. Slope Gallery Space 15. Visual-Art Artist Dwelling

18th Floor: Gallery and Visual-Art Artist Dwelling

9

10

8 12

11

8. Gallery Space 9. Library 10. Resting Area 11. Hanging Garden 12. Visual-Art Artist Studio

8

15th Floor: Gallery and Visual-Art Artist Studio

SECTION 1 Lobby 2 Auditory Art Studio 3 Auditory Art Experience Center 4 Information Space 5 Dance Room 6 Rehearsal Room 7 Auditory-Art Artist Dwelling 8 Theater 9 Auditorium 10 Structural Transfer Floor 11 Storage 12 Gallery Office 13 Visual-Art Artist Dwelling 14 Visual-Art Artist Studio 15 Gallery 16 Library 17 Gym 18 Restaurant 19 Swimming Pool 20 Hotel Lobby 21 Hotel Room 22 Resting Area 23 Sky Bar

23 21

22

20 19 18

17

16

14

15

13

11

12

10

9

8

7 8

6

5

4

2 2

3 1

Sky Bar

The place for recreational activities with great scenery of New York city and Hudson River.

Hotel

Hotel Resting Room Area

Hotel Room

Living Facilities Swimming Pool Restaurant

Library

Gym

Gallery & Visual-Art Artist Studio & Dwelling

Gallery is organized right beside visual-art artist studios and dwellings as it is convenient for artists to display their artworks. Besides, their working process is visible to visitors.

In order to protect privacy of artists and separate streamlines of different people, there are two different circulations for artists and visitors. Artists’ dwellings are unreachable and invisible to visitors, so visitors could enjoy the exhibition without interrupting artists’ daily life.

Personal Showroom Studio Dwelling

Office & Storage Gallery Private

Public

Auditorium

The middle floor of the project. It brings a great quality of visitors to upper gallery.

Theater & Auditory-Art Artist Dwelling

Theaters are enveloped by auditory-art artist dwellings as public space for users. It is a place for communication to artists and appreciation to visitors.

Dwelling Theater Dwelling

Auditory Art Experience Center Combining the experience center with auditory-art studio. Visitors could experience auditory art as well as get to know work pattern and work flow of artists.

EXPLODED AXON

Auditory Experience Center

INTERIOR VIEW

Auditory Experience Center

Gallery and Visual-Art Studio

Gallery and Visual-Art Studio

04 ADAPTIVE ACOUSTIC CONCERT HALL

University of Michigan Thesis Group Work Teammates: Maksim Drapey, Yubei Song Instructor: Matias del Campo, Sandra Manninger Spring 2020 According to Darrell M. West’s report, artificial intelligence has three qualities: Intentionality, Intelligence, and Adaptability. This thesis project explores the adaptability of acoustic design in specific architecture. We are proposing a human/AI collaborative design that will focus on creating spaces that alter and accentuate acoustic features in architecture.

Architecture is a field that is highly dependent on a system of visual orders. In line with this point of view, we start by considering if the visual appeal of architecture has overshadowed other qualities and criteria by which architectural design may be experienced. One such undervalued and often overlooked criteria is sound.

Within our project, we would like to explore the possibilities of how sound can influence the spaces we design through the implementation of an AI-driven platform for architectural-acoustic experimentation.

Based on an initial data set of 2000 concert hall interiors, our neural network will be trained to generate its own interpretation of acoustic spaces through the adaptation of existing volumes into an acoustic form. Our AI-driven device can be used to help influence early stages of design for concert halls and acoustic music spaces. Through this process, we are poised to consider opportunities for collaboration and shared authorship between ourselves and Artificial Intelligence.

For additional information, please check out website: https://www.adaptiveacoustic.com/

INTEREST

Concert Hall

Underground Rock Space

Gothic Church

Open Arena

Less Reverberant. Intricate music

Loud volume. Intact rhythms.

Long notes. Doesn’t change the key.

Medium tempos. Medium-speed ballads.

A Generator Ae�ficial Intelligence

Acous�c Architecture

Input

Given Volume

Output

Analysis

Acous�c Adapted 3D Form

Step 1 3D to 3D

Step 2

Revision Step 3

Acous�c Simula�on

2D style transfer / manual

Interior Representa�on

CHALLENGES Glass Fiber / Fiberglass Painted Concrete Gypsum / Plaster Linoleum / Thin Carpet Wood / Glass Chalkboard ...

Features

Reverbera�on

Interior Form

Material

Space

Parameters

Ar�ficial Intelligence

Ornamenta�on Acous�c

S�/N

H

H/W

L

Resonance

Warmth

Reverbera�on Time

Acous�cal Glare

Ensemble

Sa

W

L/W

D

In�macy

Listener Envelopment

Early Decay Time

Brilliance

Immediacy of Response

S�

N

V/N

V/S�

Liveness

Loudness

Speed of Successive Tones

Balance

Dynamic Range

Sα

S�

V

V/S�

Spaciousness

Timbre

Defini�on

Blend

Echoes

2D to 2D

2D to 3D

2D Style Transfer

2D to 3D Style Transfer

2D Deep Dream

2D to 3D Deep Dream

Pix2Pix

2D to 3D Vertex Op�miza�on

3D to 3D

3D GAN Graph Convolu�onal Neural Network

PROCESS Establish Dataset_1 3D Meshes of Concert Hall Interiors

Establish Dataset_2 Space and Acous�c Parameters Seats Volume Reverbera�on Time Acous�cal Absorp�on Area Height Width height to Weight Ra�o Length to Weight Ra�o Volume per Seat Absorp�on Coefficient

Internal Process of Graph CNN Input Mesh

Graph Convolu�onal Layer Nodes

Input_1 Given Mesh

True Flase

Input_2 Space and Acous�c Parameters

Seats Volume Reverbera�on Time Acous�cal Absorp�on Area Height Width height to Weight Ra�o Length to Weight Ra�o Volume per Seat Absorp�on Coefficient

True Flase

Input_3 Silhoue�e Image

Input_4 Camera Angle

Distance from Mesh Object Height of Camera Rotate Degree from X-Axis

Ac�va�on Func�on

Pair Each Mesh with its Parameters to Train the AI

Graph Convolu�onal Neural Network Graph Convolu�onal Layer Running the Op�miza�on Framework

Nodes

Ac�va�on Func�on

Output AI Generated Concert Hall with Acous�cal Features

Simula�on So�ware

Global Pooling or Averaging Layer

Simula�on Result Unreasonable Result

Reasonable Result

Interior Representa�on

Final Fully Conneted Layer

DATABASES

For our dataset establishment, we used plans and sections from the book Concert Halls and Opera Houses by Leo Beranek to generate original 100 meshes of the concert hall interior database. Then, we extended 2000 models from the original 100.

WEIGHTINESS OF PARAMETERS

By using the control variate method, we draw the conclusion towards the ranking of impact factors, that is, mesh form, mesh count and volume will have the greatest influences. Silhouette image, height, width, length to width ratio, height to width ratio take second place. Camera angles will also impact on the outcomes to some extent. Seats, reverberation time, acoustical absorption area, volume per seat and absorption coefficient have the least influence towards the results. The slight differences they cause are hard to recognize directly.

30 3000 90°

18432

3000 0 90°

6144 165888

30 0 90°

2048 55296

30 0 45°

683

18432

6144 30 0 0°

24300

5.00

228

8100

4.00 2048

2700

3.00 CAMERA ANGLE 900

SEATS

SILHOUETTE

VOLUME

2.00 dB

300

60dB

MESH COUNT

R�

MESH FORM

R�

1.00

Time

S� 400

a

0.23

1650

3200

H

V/N

0.45

W H/W

0.90

800

4.0

L/W

2.3

6.0

8.0

1.80

16.0 0.17

4.5

3.60

0.5

12.0

32.0

64.0 9.0

0.33

24.0

1.0

18.0 0.67

48.0 2.0 96.0

36.0 1.33

2.67

4.0

8.0

6400

RESULT / SIMULATION MATRIX For our final results, we would like to test our neural network within an unusual site for a concert hall - an urban context. We choose two sites, one for a small concert hall, around 300 people. The other for a big concert hall, around 2000 people.

Those are the 44 results and simula�ons for our 2 sites. We used different shapes of input meshes, mesh counts, space and acous�c parameters.

Some are really good results, but some are less func�onal. The ellipse shape makes it easier for the network to reshape the output mesh. As for acous�c simula�on results, the performance of sound waves is visualized through simulated par�cles. A range of results can be seen demonstra�ng how sound travels within our forms.

S 12

S 1

416, 3740, 1.90, 352, 6.20,

385, 3461, 2.00, 310, 8.50, 13.10, 1.00, 0.65, 9.00, 0.90

S 2

S 13 719, 6615, 1.91, 620, 24.00, 15.00, 2.03, 1.60, 9.20, 0.90

S 3

719, 6616, 1.91, 620, 24.00, 1

S 14 605, 5566, 1.91, 520, 24.00, 15.00, 2.03, 1.60, 9.20, 0.90

228, 2053, 2.05, 179, 3.50, 8

S 15

S 4 385, 3461, 1.88, 330, 15.00, 15.20, 2.00, 1.00, 9.00, 0.90

S 5

600, 4400, 1.85, 425, 14.00,

S 16 1073, 9660, 1.96, 880, 24.00, 15.20, 2.03, 1.60, 9.00, 0.90

S 6

Input Volume

500, 2600, 2.08, 224, 17.00,

S 17

912, 6616, 1.97, 600, 14.50,

536, 4827, 2.10, 411, 10.10, 15.60, 1.20, 0.65, 9.00, 0.90

211 E 26th St New York, NY

S 7 N

V

R�

S�

H

536, 4827, 2.10, 411, 10.10 W

L/W

H/W

V/N

S 18 385, 3461, 1.88, 330, 15.00, 15.00, 2.00, 1.00, 9.00, 0.90

988, 6616, 1.82, 650, 14.50,

a

15.60, 1.20, 0.65, 9.00, 0.90

Acous�c Parameter

S 8

S 19 719, 6616, 1.91, 620, 24.00, 15.00, 2.03, 1.60, 9.00, 0.90

S 9

988, 6616, 1.82, 650, 14.50,

S 20 802, 7720, 1.90, 680, 24.00, 15.00, 2.03, 1.60, 9.00, 0.90

Sihoue�e

S 21

S 10

320 E N Water St Chicago, IL

1026, 7840, 2.08, 675, 20.00

401, 3610, 1.80, 359, 6.60, 13.30, 1.30, 0.50, 9.00, 0.90

S 11

650, 5500, 1.97, 500, 24.00,

S 22 385, 3461, 1.88, 330, 15.00, 15.00, 2.00, 1.60, 9.00, 0.90

650, 5500, 1.97, 500, 24.00,

L 12

L 1 10.40, 0.50, 0.60, 9.00, 0.90

L 13

L 2 2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

15.00, 2.03, 1.60, 9.20, 0.90

L 3

5891, 53023, 2.06, 4600, 30.00, 47.00, 1.45, 0.64, 9.00, 0.90

L 14 5891, 53023, 1.95, 4864, 21.80, 36.30, 1.50, 0.60, 9.00, 0.90

8.70, 0.80, 0.40, 9.00, 0.90

L 4

2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

L 15 2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

15.00, 1.33, 0.93, 7.33, 0.90

2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

L 16

L 5 2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

, 15.00, 1.60, 1.13, 5.20, 0.90

L 6

, 15.00, 2.00, 0.97, 7.25, 0.90

3000, 27000, 2.10, 2300, 6.40, 21.30, 1.20, 0.30, 9.00, 0.90

L 17 2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

2600, 24930, 2.51, 1776, 29.00, 44.00, 1.00, 0.66, 9.59, 0.90

L 18

L 7

, 15.00, 2.00, 0.97, 6.69, 0.90

7092, 63831, 2.00, 5709, 18.30, 26.10, 0.40, 0.70, 9.00, 0.90

L 8

, 15.20, 2.00, 0.97, 6.69, 0.90

2800, 21000, 1.98, 1900, 30.00, 28.00, 1.50, 1.07, 7.50, 0.90

L 19 3000, 27000, 2.00, 2415, 13.70, 19.60, 0.40, 0.70, 9.00, 0.90

L 9

0, 14.00, 2.00, 1.43, 7.64, 0.90

2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

L 20 5891, 53023, 2.06, 4600, 30.00, 47.00, 1.45, 0.64, 9.00, 0.90

L 10

, 13.00, 2.23, 1.85, 8.46, 0.90

, 13.00, 2.23, 1.85, 8.46, 0.90

2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

6533, 58800, 1.81, 5800, 34.00, 45.00, 1.42, 0.76, 9.00, 0.90

L 21 2667, 24000, 2.08, 2066, 30.00, 44.00, 1.48, 0.68, 9.00, 0.90

L 11

3267, 29400, 1.90, 2768, 30.70, 34.10, 1.50, 0.90, 9.00, 0.90

L 22 3333, 30000, 2.05, 2618, 26.10, 29.00, 0.90, 0.90, 9.00, 0.90

5000, 45000, 1.90, 4237, 35.40, 39.30, 1.50, 0.90, 9.00, 0.90

STYLE TRANSFER

Plan and section drawings are generated through another neural network: 2D Style Transfer. Using existing concert hall plan and section drawings to project an additional layer of information onto plans and sections drawn from 4 selected models generated by our Graph CNN.

S 2

S 12

L 2

L 21

Axon

Axon

Axon

Axon

Plan

Plan

Plan

Plan

Plan Style Transfer

Plan Style Transfer

Plan Style Transfer

Plan Style Transfer

Axon

Axon

Axon

Axon

Section

Section

Section

Section

Section Style Transfer

Section Style Transfer

Section Style Transfer

Section Style Transfer

WEIGHTINESS OF PARAMETERS

S- 1

S- 6

05 THE LAST GUARDIAN EARTH WARE MUSEUM

Zhejiang University Core Studio Individual Work Instructor: Chen Lin Spring 2016 This project is located at The Hathpace, the old streets of Kashgar which lie in the southwest of Xinjiang province. The Uighur name of the The Hathpace means earth ware from high cliff, which came from the tradition of earth ware handicrafts from ancient times. However, the situation has changed these years. Due to the concussion of modern life, young people tend to flow into cities rather than stay in old streets region to inherit the earth ware handicrafts from their parents. This has a correlating effect on the community of The Hathpace, causing community values, traditions and cultural identity to be lost.

The project aims at both earth ware handicrafts and the recognition of earth ware culture. The building is significant in different ways for different users: a production base for handicraftsmen, a community center for local residents, and an exhibition platform of earth ware culture for tourists.

Considering that the earth ware handicrafts have a unique and complex making process which is most attractive, a new pattern of exhibition is created to satisfy tourists’ expectation on both visiting and experiencing. Tourists are able to observe the whole making process as well as participate in learning at their interested parts.

BACKGROUND Tourism Héytgah Meschit One of the biggest mosque in China. In ancient times, it was used as educational institution for Islamic culture.

Shache Tomb

Kashgar Brick Tuman Bridge Mosque This is the channel between new Kashgar and The Hathpace.

Eastgate Bazaar T h e b i g ge st m a r ke t i n Kashgar, providing tourists and residents with local specialty and daily supplies.

Abakh Hoja Moore Pagoda Tomb It was built in Tang D y n a st y, a n d wa s used to give sacrifices to Buddha.

Kashgar is a city famous for tourism. It was one of the Four Garrisons of Anxi and the most important station in Silk Road in ancient times.

Moreover, it is a must for tourists to go when they travel in Xinjiang province, just as an idiom says "without come to Kashgar means haven't come to Xinjiang province", showing the essential status of Kashgar in Xinjiang province for tourists. People come here for Islamic architecture, and also for Aywang, a kind of traditional vernacular house designed by Uygurs. The Hathpace is a habitation composed of Aywangs, and the residents there are famous for their craftsmanship.

Generation of The Hathpace

1ST CENTURY

11TH CENTURY

13TH CENTURY

PRESENT

19TH CENTURY

16TH CENTURY

Approximately 2000 years ago, The Hathpace was formed by the force of nature. About 1000 years ago, ancient Uygurs began to settle down in The Hathpace. In order to resist rainstorm and flood, the residents constructed their house on high terrain of The Hathpace originally. About 800 years ago, An earth ware craftsman found a kind of earth suitable for manufacturing earth ware called "Segezi" in The Hathpace, and he opened an earth ware workshop. Since then, a lot of craftsmen started their earth ware workshop in The Hathpace, and this region became blossom.

Earth ware products gradually tightly linked with Uygurs' life. Their bowls, washbasins, pots, jars, barrels and lamps, even cradles were made by earth ware. As more and more people moved here, they constructed their houses on low terrain in The Hathpace, and finally occupied the whole zone. Then, with the growth of population, people began to construct their houses on the cliff side. These houses have entrances on both sides of The Hathpace and the flat. After the original residents had their offspring, the space were not enough for their daily life. So they added another floor on their former houses, providing space for their sons and daughters. However, with the increasing of generation, they still faced the problem of lacking in space. So the residents there added rooms above the streets, and formed different house styles such as "street-across building", "half street building" and "suspended building". And finally it forms the urban fabric in The Hathpace now.

SITE ANALYSIS

1 2

8

7 4

9

3

6

5

?

Raw Soil and Timber Structure

Brick and Timber Structure

Brick and Concrete Structure

Raw soil, Brick and Concrete Structure

Collapse

Mosque in the Hathpace

Earth Ware Workshop

Maze-like Alley

Structure of the Aywangs In The Hathpace, the most common structure of Aywangs is raw soil and timber structure. Besides, there are also other mixture structures. The prevalence of the raw soil and timber structure is because of the pervasiveness of these two materials in The Hathpace. The residents there could obtain raw material locally, without paying too much money. Also, Aywangs constructed by raw soil, bricks and timber are good at climatic adaptability, providing a circumstance naturally warm in winter and cool in summer.

Nine Different Space of Alleys There are more than 20 alleys in The Hathpace. Each of them is of different width and space, due to the casual construction of vernacular houses there. In order to resist gale, most of the alleys are T-shaped roads and dead-end roads, so tourists are easy to get lost in The Hathpace.

HANDCRAFT PROCESS

The earth ware making process has more than 50 procedures, and fundamentally pertains to 11 steps. Handicraftsmen need to prepare not only clay but glaze as well. They have their workshops right beside their dwellings and organize each procedure in limited space. Craftsmen transport clay from suburb, pound clay, screen clay, mix material and knead clay. These are preliminary work of earth ware making. Then they blank and dry earth ware in the air for 3 to 5 days. After that, earth ware with flaws will be pound into clay again, and completed ones will be kilned and glazed. Painted earth ware will be put in the sun for some days, and that's the whole process.

Glaze

Dry in the Sun

Knead Clay

Blank

Soak

Day in the Air

Mix Material

Grind Ore Pigment

Break Ore

Kiln

Screen Clay

Pound Clay

ANALYSIS OF THE HATHPACE

There are a lot of factors that influence actualities of The Hathpace, and each of them interacts with others. The nature decides the uniqueness of The Hathpace as well as it’s cultural values, which should be preserved. Strategies should be taken to improve tourists’ experience in order to vitalize tourism in Kashgar.

GENERATION OF THE HATHPACE

UYGURS SETTLED DOWN

1940s

Tourists are interested in the hand-made earth ware process and attempt to make it by themselves. However, there is no learning center in The Hathpace.

Abakh Hoja Tomb Héytgah Meschit

Treadle Wheel

Handicraftsmen Unemployed

The Hathpace

Preschool Children

Students

A tool for grinding pigment roughly.

Nianzi Steps should be taken to provide job opportunities to unemployed.

To Tourists

To Local Residents

Bowl Vase

The peak period of tourism in Kashgar is May, Jun., Jul., Aug. and Sept..

Promote

Flowerpot

Water tank was used to store water when there was no tap water.

Potty for Baby

Utilize

Tin

Influence Resist

Utilize Construct

Copper

PIGMENT MATERIALS

EARTH WARE MATERIAL

Buildings here have thick walls and small windows to resist bad weather.

Redstone

ARCHITECTURAL MATERIALS

Rammed Earth

Isatis Tinctoria Poplar

Clay

Pomegranate

Mulberry

LANDSCAPE PLANTS

SHADING WITH SHED Rose There are few tourists in Winter.

Craftsmen prepare crafts for next year and do other jobs during this time.

Water Tank

Hand-washing Kettle

Traditional earth ware crafts that are convenient to bring.

Follow

Discarded

Pot

Manifest

Many alleys in The Hathpace makes tourists puzzled as cul-de-sac is everywhere. A landmark is needed to guide them.

Discarded

CRAFTS

Oil Lamp

Preserve Attract

A tool for grinding pigment finely.

TOOLS

Employees

Admire

Influence

Located in temperate continental arid climate area, there are great differences in temperature.

Less rainfall and strong evaporation result in dry climate. Moreover,Floating dust days and sandstorm days are frequent.

A transmission equipment that through trampling lower pedal to rotate upper platform.

40 Workshops 3 Workshops

The change of supplydemand relationship makes decline of earth ware culture and handicraftsmen depend on tourism more than local request.

Shache Tomb

Kashgar is a tourist city where people come for enjoying Islamic architectures from ancient times and Islamic tradition dwellings called Aywangs in The Hathpace.

FORMATION OF TOURIST AREA

POPULATION STRUCTURE

120 Workshops

1800s

Present

EARTH WARE OCCUPATION CRAFTSMEN DIVIDED OPENED WORKSHOPS

SHADING WITH VERANDA

SHADING WITH ALLEY

Oleander

Apricot

Fig

CONCEPT

The exhibition area has a coherent streamline, but for appreciation propose only.

The experience area provides an opportunity for visitors to experience, feel and touch, but visitors could only experience a few projects in one spot without understanding logic and connection behind them.

Extract Streamline of Visit

Combine Visit and Experience

Separate Different Projects of Experience

Adopt Vertical Organization in Consideration of Site Restriction

AXON OF VISIT AND EXPERIENCE AREA

Break Ore

Soak

Grind Ore

Pigment Making Process

Pound Clay

Screen Clay

Mix Material

Knead Clay

Blank

Dry in the Air

Clay Making Process

Kiln

Glaze

Dry in the Sun

PHASING STRATEGY

Site Selection

In consideration of traffic and public space, site is selected as shown on the left. The plaza and mosque attract people and also could be the landmarks to visitors.

Old concrete wall Old soil wall

Demolish & Preserve

Demolish and preserve walls with the need of large space.

Old concrete wall Old soil wall New concrete wall New soil wall

Courtyard

Set courtyards in order to regulate micro climate of the earth ware museum.

Space

Redesign inner space.

Window & Skylight

Due to frequent gale, hot summer and cold winter, small windows are on the outside and skylights are set to reduce floating dust and thermal radiation. Windows confronted with courtyard are large, because courtyard walls could prevent the building from dust and sandstorm.

PLANS

3

7

11

1

10 6 9

8

2

5

4

1st Floor 1. Lobby 2. Exhibition Hall 3. Tea Bar 4. Office 5. Classroom 6. Screen Clay Area 7. Pound Clay Area 8. Break Ore Area 9. Soak Area 10. Mix Material Area 11. Kiln Area

3 4

1

2

3rd Floor 1. Rest Area 2. Dry in the Air Area 3. Glaze Area 4. Dry in the Sun Area

1

2

6

4

1 5

3

2nd Floor 1. Rest Area 2. Tea Bar 3. Activity Area 4. Grind Ore Area 5. Knead Clay Area 6. Blank Area

1

4th Floor 1. Exhibition Hall

EXPLODED AXON

STRUCTURE AND MATERIALS

450 Φ5@100

20mmC30 waterproof fine stone concrete Non-woven fabrics 3mm high molecular waterproofing membrane 100mm*25mm poplar platfond 60mm*100mm keel with inclined strut, 300mm mid-range

Constructional column

Synthetic resin interior wall coating once Primer sealer once Puttying three times 6mm 1:0.3:2.5 cement lime plaster mortar screed-coat 10mm 1:0.3:3 cement lime mortar screed-coat rendering and brooming 901 plastic cement once 240mm brick wall

Φ6@250

Finger joint

Connecting bar

400mm wooden beam

Reserved column rebar

1000

Brick

Sealant

Stone facing Concrete C20 Rammed earth

300

1000

Rammed Earth

Poplar

Kashgar has abundant brick, rammed earth and poplar resources, so vernacular dwellings in The Hathpace are built with these traditional materials. In order to keep in the same tune as well as make full use of original vernacular dwellings, the museum uses brick, rammed earth and poplar as well. To connect original walls and new walls, constructional columns are used to make the museum solid and capable to resist earthquake.

Floor print twice 100mm*25mm poplar flooring Subfloor, 45 degree inclined with preservative on the back 60mm*100mm keel with inclined strut, 300mm mid-range 115mm*50mm wood strapping on sleeper wall with galvanized steel wire 20mm 1:3 cement mortar screed-coat 120mm*500mm sleeper wall with 800mm mid-range 300mm concrete grillage foundation 150mm 3:7 spodosol Rammed earth

INTERIOR VIEWS

Visitor Learning Center Visitors could learn earth ware making process from professional handicraftsmen as well as experience each procedure with assistance of staffs in visitor learning center.

Rest The Rest Area is the hinge of Exh Learning Center.

Area hibition Hall, Tea Bar and Visitor

Courtyard Due to the tough climate, people in The Hathpace prefer to stay in the courtyard in order to bask in the sun and prevent themselves from gale. Courtyards in Earth Ware Museum provide relaxation and recreation to both local and visitors.

06

FROM REOPENING TO REORGANIZATION STUDIO REDUX

2nd Prize, Taubman College Summer Competition Group Work Teammate: Yue Lu Jun. 2020 In this corona-virus pandemic period, architectural education is forced to move online. And with the reopening of campus in the upcoming fall semester, the problem we need to consider is: how can we guarantee special experience in the studio on the promise of keeping healthy?

From Reopening to Reorganization adopts 6 feet social distance and de-density strategies, creating flexible and multipurpose furniture to realize the demands of excellent special academic experience.

TCAUP Online Platform

Information System

Reservation System

Academic System

FOUR ELEMENTS Workstation Module Workstation module has a flexible shed to protect students from aerosol. Two different students could take use of the same module at different times by reserving the time slot in advance. It also contains sufficient storage space and comfortable lighting system.

Closed

1/3 Open

2/3 Open

Open

Student A Slot

Student B Slot

Storage Space

Lighting System

Information Center / Model Making Table Information center provides health monitoring data, exhibit students’ academic work, and serves as desk critic space. Besides, students could book the table online through the reservation system and also use it as desk critic space while in studio time.

Information Display

Digital Pin-up

Desk Critic

Desk Critic

Model Making

Review Space With slide rail, Review Space could form review space at different scales, and meet requirements of different amounts of people and functions.

Small Groups

Small + Middle Groups

Large Groups

Lecture Space

INTERIOR VIEWS

Review Space Review space meets with the 6 feet social distance requirement while providing face-to-face communication opportunities between students and reviewers.

Workstation Module Workstation Module is the flexible individual space for students.

Students could form their “safety zone” with adjacent students.

Information Center Rotate monitoring is available for information sharing and desk critic review. The hand painted screen serve as a solution for t o u c h l e s s t e a c h i n g p ro c e s s .

07 ZIMBABWE CULTURAL CENTER OF DETROIT TAUBMAN COLLEGE DESIGN CORP Group Work Instructor: Anya Sirota Jul. 2020 - Aug,2020

The Zimbabwe Cultural Center of Detroit is a place for the collective where architecture is its organizational structure and ar funding. We imagine the space to be a strong, vibrant and inclusive center that is always being operated on by the collective gro its sustainability. This gives us an opportunity to invite new emerging artists to the table who invigorate and reinvent the center w objects that are integral to the urban plan.

+ Current Building

+ Zimbabwe Huts and Public Spaces

+

Original Zimbabwe Cultural Ce

8 10

6 7

5

5

9

3

4

rt is the instigator for oup that is engaged in with an aggregate of art

2

1

12 11 16 13

14

17

15

enter of Detroit Features Ground Floor 1. Entry Porch 2. Tuck Shop 3. Village of Lighting Huts 4. Kitchen 5. ADA Compliant Toilet 6. Custodial Closet 7. Community Garage 8. BBQ 9. Movable DJ Booth

5

10. Tool Shed 11. Stage 12. Water Tower 13. Watch Tower 14. Pervious Driveway + Open Space 15. Pervious Parking + Trees 16. Bike Parking 17. Trash Second Floor 1. Gallery Huts 2. Archive 3. ADA Compliant Toilet 4. Recording Studio 5. Community Garage

4

3

1 2

EXPLODED VIEW

Gallery Hut Installation

Wire Car Parking

Cafe Lighting Hut Village

Zimbabwe Bird Sculptures DJ Booth Stage Water Tower Children’s Watching Tower Mural Wire Car Track

SECTION

1. Lighting Hut Village 2. Kitchen 3. Wire Car Parking 4. Community Garage 5. Gallery Huts 6. Archive

4

6

5

2

2

3

PERSPECTIVES

Landscape View The building and the landscape work together to invite the visitors into the site and creates spaces which allow the users to further define the program.

Village of Lighting Huts Within the cafe on the ground floor, the lighting huts create spaces of aggregation through creating circular soft boundaries.

Community Garage The community garage is a place for weekly braai and barbec ue, wo rksho ps, danc e parties, etc. It also serves for additional programming as a winter garden in cold seasons.

PROFESSIONAL WORKS

NYC 826 Gensler NY Summer Program Group Work 826 is a non-profit writing agency with the operation mode of combining a retail store as front part with writing center as back part. In order to improve attraction to potential students and rise community trust as well as keep it’s back part as a “surprise” in NYC 826, a new branding idea called Superhero Studio is provided to our clients. With the slogan “script your scene, set the stage, share your story”, the old retail store front becomes a preparation room and experiential area for both students and communities. Visitors and customers could pick and decorate the stationaries and other stuffs with press printing machine and stamps before start their journey of literature.

PROFESSIONAL WORKS

2nd flo

4th flo

BLOOMBERG, NY Supervisor: Kristine Carroll, Joe Montag In charge of designing typical restroom units and restroom entry door and creating presentation book for clients.

oor

3rd floor

oor

10th floor

OTHER WORKS

OTHER WORKS

Vernacular House in Lushan Water Color

Architectural Visualization Pen Drawing

Vernacular House in Lushan Water Color

Vernacular House in Wuyuan Water Color

Vernacular Houses in Lushan and Wuyuan Sketch