Ziqi Wang Design Portfolio

Work selected 2019-2022 Rhode Island School of Design E-mail: ziqi.wang0303@gmail.com

E-mail: ziqi.wang0303@gmail.com

Tel: +1-9148261017 (US) +86-18665933693 (CN)

Education

Rhode Island School of Design

Degree: BFA in Interior Architect

GPA: 3.89/4.0

Skills & Interests

Providence, Rhode Island 09/2019-06/2023

Architectural modeling and drawing softwares: Rhino (Grasshopper), SketchUp, Revit, Keyshot, Enscape, AutoCAD. Others design softwares: Adobe Illustrator, Adobe Photoshop, Adobe Premiere, Interests: Illustration, furniture design, choreography,

Internship Experience

Interior Design Intern Scarpidis Design

06/2022-09/2022

-Worked with the design team in creating interior and exterior environments which matched the client’s goals and responds to their needs and aesthetic requirements;

Assisted with the selection of appropriate finish materials and furnishings for individual projects; Assisted with the development of presentation including 3D renderings, plans, and elevations; Studied and researched on products, sources, and materials; recorded product specification information and technical data.

Interior Design Intern Cheng Chung Design

06/2021-08/2022

-Assisted the hotel design team in drawing and arranging the floor plans of the hotel room; Made the indoor model of the hotel restaurant, guest room and elevator room according to the floor plans, elevations and detailed drawings;

Helped the designer organize and select building materials.

Interior Design Intern Robarts Spaces

Assisted the designer to make the office model according to the floor plan and elevation; Assisted the designer to sort out and make the template for customers; Cooperated with the designer to check and record defects in the construction site; Cooperate with the designer to make PPT for bidding presentation.

Academic Project Experience

Revisiting Guggenheim, Exploration of Exhibition Design Strategy

07/2020-08/2020

CONTENTS

01 The Narrative Space Design of Victim Guilt Theory

An immersive exploration of humanity

02

09/2022-12/2022

This group project develops a catalog of exhibition strategies for a show in Guggenheim called Now’s the Time: Recent Acquisitions. It aims to help institution answer “How will museums evolve into more inclusive platforms for cultural exchange.”

The Cloud Energy Hub, Renovation of Data Center

02/2022-05/2022

This project utilizes heat pipe as the central design element and mixes machine energy in the form of recycled heat and human energy in the form of sports together, creating a multifunctional and sustainable data center that serves the urban community.

The Secret Garden, Renovation of Warren Handkerchief Factory

11/2022-12/2022

This housing project transforms an old factory into a foster home for kids from age 6-18. The original rigid interior is changed into a playful "garden" with light tunnels, bringing light and fresh air. It's a space that support the well-being and joy of a child.

Multifunctional Bench, Temporary Shelter Design

09/2021-10/2021

This project transforms the bench into a temporary shelter that would provide warmth for people who aren’t able to apply for a more permanent shelter during the transition state.

The Flow, A Community Gathering Space

04/2021-05/2021

This adaptive reuse project uses an abandoned industrial building and transforms it into a multifunctional gathering space. The project is also an exploration of design strategies that are related to historical building preservation.

Renovation of Brown University Design Workshop

02/2021-03/2021

The project explores the power of fabric as a tensile structure and part of the craft culture and makes it a strong design element where fabric and net become the platform for movement, partition, soundproof material, and storage space in a design workshop.

The Art Capsule, The Transformation of Mason Building

11/2022-12/2022

This project applies the strategy of adaptive reuse and transforms part of the Mason Building into an art therapy and education center. The art programs include painting, music, video art, and clay sculpture, to release anxiety and seek confidence with peace.

Awards

Fine artwork exhibited at RISD Experimental and Foundation Studies Triennial (Winter, 2019) High merit in the 2017 Celebrating Art Contest, Top 25%; Artwork published in Contest Book Honor Student at Rhode Island School of Design (Fall 2021, Spring 2021, Fall 2020)

A foster care home filled with joy, light, and surprise

A meeting point of human energy and machine energy

The Secret Garden The Cloud Energy Hub Exhibition Design: Intersecting Stories

A layering of art, stories, and emotion

A series of drawings of a community gathering space

Ticket

A delightful dinning experience from day to night

The Sea Dandelion

A application of parametric design in underwater structure

A combination of drawings and small design projects

The Narrative Space Design of Victim Guilt Theory

Everyday, there is unjustified violence, abuse, harassment, and bullying happening, behind or on the screen. And sometimes, the innocent victim themselves will be judged and questioned by malicious and biased comments that hurt them a second time. In response to the deep flaw of victim guilt theory, our team creates an underground narrative space that reveals the cold, unjust, and abusive nature of victim guilt theory. It is a space for people to listen, to feel, and to reflect on the experience of a sufferer who was once harmed by the victim guilt theory. It is a space for the unheard to be heard, for the unseen to be seen.

Individual responsible parts: (marked with *) concept development, narrative collage, partial model making, rendering, photoshop)

Group work

Narrative space design

Time: Summer 2022

Instructor: Binghui Gong

Team members: Yuxuan Lan, Guanlin Yan, Jinyi Chen

School Bullying

"the narrative space design of victim guilt theory"

“Who made you wear thongs”

Prologue theory analysis

introduction Case

there is unprovoked evil in the world, and there is unprovoked hatred too. the essence of the argument of using the virtues of saints and the just world hypothesis to restrain the weak, to defend for the persecutor, and to guide the victims to believe that they have faults when they are harmed, is nothing more than the coldest and useless act of self-preservation. and this phenomenon should come to an end.

How do we teach our children to protect themselves ?

WANG JINGJING - 8 YEARS OF SCHOOL BULLYING CAUSED BY 1 WATER CUP

"Seven feet of body, don't listen to three inches of tongue."

There is a dragon spring on the

The real strong never bully the weak.

bravery is protecting others, not bullying.

A Glimpse into the Plight of Domestic Violence in the Elamm Case

On the evening of September 14, when Rahm was broadcasting live at home, she was burned with gasoline by her ex-husband.

Do not do violent things in the name of "home" .

Irish MP wave lace lingerie in Parliament to criticize victim blaming.

data of abuse

“Flies do not sting seamless eggs.”

tongue, and there is no killing. If ling chi's punishment can cut a person's body into 3357 pieces, then verbal violence can cut dignity .

It's not your fault, don't give up on yourself.

space narrative

I can't breath

"I can't breathe"

Skin color is not the original sin.

Thongs are not a reason to commit a crime.

It is from the last

No one is born to be bullied, we have to say "no".

is one of the main slogans in the Black Lives Matter movement in the United States. words of Eric Garne, who was an unarmed man killed in 2014 after being put in a chokehold in the new york city.

Irish outcry over teenager's underwear used in rape trial 27-year old man was acquitted of raping a 17-yearold teenage girl after a series of sexual harassment taken place. the defence lawyer told the jury: "You have to look at the way she was dressed. she was wearing a thong, with a lace front." to raise awareness about the unfair sexual stereotype, Irish MP, ruth coppinger held up a lace thong in the parliament to criticize the "routine victim blaming". opinions on one's apparel. it's never a tool for the persecutor to justify the unforgivable act.

"Rahm case"

chen, student, the main isolator of vicious incidents on campus

yan, otaku, who makes bad comments online and causes a commotion wang, teacher, persuaded the victim to forgive the abuser

a girl, who was once a victim of school bullying, designed this space that remodels the trauma of those who were harmed by victim guilt theory. her invited visitors would be those who prosecuted the innocents. It is a cycle of test and reflection of humanity, a space for condemners to find their rescue.

Materials of interior and exterior spaces: victim space: 1. black and white checkered floor 2. distressed concrete wall with exposed metal structure | space of isolation: 3. corrugated steel ceiling plate 4. soft rock plate for wall covering | “kind words”: 5. translucent polycarbonate for sculptural hands 6. black mesh | space of public judgment: 7.galvanizing metallic wall covering 8. reflective metal lettershaped plate | victim’s room: 9. wood for sculptural furniture 10.rusty iron for bed frame and cage | mausoleum: 11. concrete wall 12. semi-translucent glass for memory capsule covering | ground-level building: 13. semi-translucent marble for dome

1. VICTIM SPACE

3. "KIND WORDS"

5. CONFESSION SPACE

4. SPACE OF PUBLIC JUDGMENT

2. SPACE OF ISOLATION

6. VICTIM'S ROOM

7. MAUSOLEUM

as they all entered the lift, they started to leave the lift one by one as their names appeared on the panel. they entered three different rooms, with unknown challenges in front of them.

three invited experimenters walked into the building. suddenly, a voice around asked: "If a girl is bullied at the school, is she really innocent? please choose yes or no?"

AS THEY CHOOSE "no" to the question, all of a sudden, they all dropped into a hole and slid down into the space below through the glass pipe. they entered the dramatic scene that they were watching upstairs. crawling like a victim under the eyes, they spot an exit in front of them, which led them to a dark elevator lobby.

chen stood in her space, a part of her was filled by endless loneliness and emptiness.

wang came to a space full of hands. it seemed to want to help her, but when she approached, those hands made the path narrower and forced her to jump off the dark edge.

when yan entered his space, the iron letter pieces on the floor made an unpleasant collision sound constantly, just like the noise of rumors.

finally, as they all escaped from the rooms, they thought that they made it through, but what was waiting for them was a large cage and a mouth shouting angrily: "are you guilty?" until they said yes under pressure and fear, the mouth opened and a tongue became a bridge.

through a throat-like pipe, they slided down to a room, which was distorted and out of scale. it was a space filled with depression and ineffable sadness.

in this place, the invitees found a teenage girl's personal possession, such as her photos and diary, which recorded her own traumatic experience of being bullied at school. this girl looked familiar to them.

in the corner, they peek at the light from behind the closet door. Once they open the closet, there is another mysterious space behind.

this large mausoleumlike space had many glass covers that contained the memory of other victims. there seems to be a sigh of frustration and whisper of hope.

afterwards, they walked through an upward ramp with emerging brightness. however, they were back to where they started. and words appeared on the screen...

chen isolator yan keyboard warrior 15 16 17 18 19 20

21

22 23

24 25 26 1 2 3 5

4 6

* *

* * *

* *

Video Link: https://www.dropbox.com/s/x52qrwlq2n4cj8i/Narrative%20Space%20Design%20of%20Victim%20Guilt%20Theory.mp4?dl=0

The Secret Garden

In this housing project, I renovated an old handkerchief factory into a foster care home for 80 kids. Light, independence, well-being, and interaction will be my design keywords. The design of this foster home will be very different from the conventional and rigid dorm setting. There will be individual housing units spread in the interior and form a small community.

Moreover, organic light tunnels would travel through the space and guide the kids in this secret garden. It would be a safe home that supports the health, academic development, and independence of children in need. The playful spatial elements in the design also aim to foster the creativity, happiness, and imagination within each child.

Individual work

Adaptive reuse

Time: Spring 2021

Instructor: Janet Stegman

Adventure Island, by Fenhom·URO, China Muronokids Satellite, by HIBINOSEKKEI, Japan

Site Analysis: Warren Handkerchief Factory, R.I., U.S.

The Warren Handkerchief Factory is a 72000 square foot building being developed for commercial tenants. It was constructed in the late 1800s, a mark of thriving textile industry. It is located in between the commercial and residential zone of the town, and it has good access to town resources, like stores, restaurants, and so on.

School Age Children Development

The relatively private zones are designed to be closer to the quieter side of the building, and the main entrance and more public programs are designed to be closer to Main St.

History of Warren

Settlement (1621-1746):

Warren was originally part of the homeland of the native Pokanoket people. After the arrival of English and gradual seisure of lands, the growth of Warren can be traced back to the first settlement in 1653 around Kickemuit River. In 1746, Warren became an official town and grew into a thriving seaport.

Early Industrial (1810-1870):

The economics of Warren gradually recovered and Warren became the second leading ship buildin center in Rhode Island. There were more factories opened and the whaling industry was thriving. The textile factories were introduced into Warren as well.

20th Century (1900-2022):

The 20th CE in Warren witnessed the electrification of the railroad and the suburban trolley live. The World War influenced the modernization and economics of Warren and many historic buildings like church and factories were replaced by commercial structures.

18th Century (1716-1774):

By the beginning of the American Revolution, Warren was a prosperous maritime community. Sailors were engaged in coasting, the West India trade, the merchant service, and whaling, one of the most prosperous ocean industry of the time.

Revolutionary War (1775-1783):

The American Revolution negatively impacted Warren's busines and Wareen lost most of its inhabitants at that time. The seaport business lost its clients and some manufacture companies were closed due to the war.

Late Victorian Era (1865-1910):

Warren gradually became a mill town with thriving textile industry, with high quality sheetings, shirtings produced. However, at that time, 198 children under the age of 15 were employed as operators in the cotton mills. Also, on the Main Street in Warren, the town's first library and Town Hall building were constructed.

Project Concept: Light in the Secret Garden

20th Century (1900-2022):

Lately, the town's council initiates nonprofit organizations and calls for strict preservation of the historical buildings and features

"Drop the Handkerchief" is an traditional game that bring joy and friendship, and it connects the factory with childhood memories.

Gaining independence, confidence, and curiosity are important to a child's growth. And every children should be taken care of with love. At school age, they should be encouraged to pursue their academic and life goals. However, many children in foster care system or homeless situation are often being neglected. My project aims to create a “Secret Garden that will provide the school age children who have lower chance of being adopted a warm home environment. It would not be a traditional institution but a place that allows children to grow, glow, and take control of. The Warren Handkerchief Factory is a good fit for the foster care home project due to its adjacency to the community. It also reminds people of the game "Drop the Handkerchief". This reference carries the hope that the renovated Handkerchief Factory will bring joy and friendship among the youths.

Original Building Condition & Floor Plans

10 Childhood Secrets & 10 Housing Units

Second Floor Programs:

1.Sewing Room 2. Storage

3.Leasable Studios 4. Staircase

5.Restroom 6. Packaging Room

7.Office 8. Meeting Room

Second Floor Measurements:

Usable Indoor Area: 28785 sq ft

Ceiling Height: 8‘8"

Window Dimensions: West: 2'8" X 5'6" South: 3'4" X 6'9"

East: 5'8" X 8' North: 3'4 X 5'4"

Column Type: Steel Column

Beam Type: Steel Beam

Floor Type: Hardwood

Exterior Wall: Mint Green CMU

Block & Red Bricks & Painted Brick

Second Floor Analysis: This space is a more private segment of the factory. Some of the rooms belong to the company, the rest are leasable studios.

First Floor Programs:

1.Sewing Room 2. Storage

3.Gym 4. Administration Office

5.Leasable Studios 6. Staircase

7.Restroom 8. Design Office

9.Entry Lobby 10. Cafe & Lounge

First Floor Measurements:

Usable Indoor Area: 28785 sq ft

Usable Outdoor Area: 12858 sq ft

Ceiling Height: 8‘8"

Window Dimensions:

West: 2'8" X 5'6" South: 3'4" X 6'9"

East: 5'8" X 8' North: 3'4 X 5'4"

Column Type: Steel Column

Beam Type: Steel Beam

Floor Type: Hardwood

Exterior Wall: Mint Green CMU

Block & Red Bricks & Painted Brick

First Floor Analysis: The first floor has one main entrance that is connected to the parking lot on the east side of the building. Also, this floor has two loading bays to export and import materials and goods. The north side of the building is close to a garden and the exterior walls are covered with vine. The south side of the buildings have more access to daylight. The east side is more open to the public and the street.

1.Stolen Candy

"Even though I have a bad tooth, one more bag of candy won't make it worse."

2.Love Letter

"It is never too soon to fall in love; it is never too late to be bold."

3.Game Night

"It's 12 am in the morning, and it is time to have fun, in this parallel world."

4.Secret Base

"Only my friends and know this place, where we can see the brightest stars."

5.The Secret Kitten

"I saved a feral cat on the street. I carried it home and it became my best friend."

Basement Programs:

1.Cutting Room 2. Storage

3.Restrooms 4. Coloring Room

5.Leasable Studios 6. Staircase

Basement Measurements:

Usable Area: 28785 sq ft

Ceiling Height: 8‘1-1/2"

Window Dimensions: 3'4" X 5'6"

Column Type: Steel Column

Beam Type: Steel Beam

Floor Type: Hardwood

Exterior Wall Material: CMU Block

Basement Analysis:

The basement space only has the west side that has windows and access to daylight. The rest of the space requires facilities to provide sufficient lighting and clear air. The basement has the lowest ceiling height among three floors.

6.Broken Glass

"I need to hide the broken glass so no one would know."

7.Hidden Diary

"My diary carries my deepest happiness, sadness, and love. It is part of myself."

Site Condition & Interior Zoning Rationale

8.0 out of 100

"Another failed exam? How can I make another excuse for it?"

9.The Secret of Time

"What does future look like? Where will be? What will become?"

10.First Tattoo

"A tattoo is not just a decoration. It's an identity that makes me special."

Three

10 living units are

into the

of

Home is a special place for each child: it carries their happiness, sadness, anxiety, and hope. It should be a place that they can be their truest selves and feel safe to keep their secret. This idea of independence and control over one's own space drives me to design ten individual houses for kids. Among the 10 living units, 4 units will house teenagers from 13-18 old and 6 will house kids from 6-12 years old. Each individual house in this "Secret Garden" represents a unique childhood secret. I connect and place the ten secrets with three sets of rules: the levels of secrecy, the age groups, and the moods of each secret. I choose "the levels of secrecy" as my final set of rules and assign those secrets to different houses.

After the non-load bearing walls are removed, the load-bearing walls separate the building into four sections. These load-bearing walls create natural barriers between private and public parts of the foster home.

fitted

site. Each unit houses 8 kids and 1 staff. This design aims to create a group home setting. Kids will live in their own "house" instead of being assigned in a conventional dorm setting.

This is the overview of the program, which has the private living zone, a semi-private daily activity zone, and a public zone that's connected to the community. This is a secret garden that kids can take control over.

Each unit is a combination of a single room for staff and loft suites for kids. Some of the units are like little cabins, being elevated to the second floor.The staggered units create dynamics and playfulness to the space.

Light Tunnels Boundaries Light Tunnels Insertion For Housing Natural Light & Use of Physarealm

In order to provide the individual housing units with fresh air and daylight, especially the ones that don't touch the periphery of the building, one strategy is to insert additional light tunnels in the space. The translucent light tunnels would be assigned next to each housing unit and bring sunshine to the interiors. The following diagrams show what part of the building can be penetrated by the light tunnels and which part cannot be touched due to different reasons.

The floors and roof of the building will be penetrated by the light tunnels. Some light tunnels will reach the basement and some will only pass through 1F and 2F and roof. All the bottom of the light tunnels will serve as a little courtyard as well, just like the interior garden within a larger secret garden.

In the upper diagram, the red areas are the columns and load-bearing walls. Only a small portion of the load-bearing walls can be penetrated by the light tunnels, since they are structural support for the floor slabs and roof. However, the light tunnels across the space can be penetrated by the beams and columns.

The use of physarealm in grasshopper is integrated to the building model and would create the base form of the connected light tunnels. In these stigmergic algorithms, the P. polycephalum will grow and reach the food points and produce unexpected yet controlled forms. The food in this case is the location where the light tunnels will emerge. The food will be placed from the basement to the rooftop, next to the housing windows without access to light and fresh air.

Physarealm Calculation and Form Generation Close-up Display

The red-lined volumes are circulation elements in the building. They are stairs leading to each individual house as well as the stairs that connect all floors. When the children and staff members go up the stairs to each room or activity space, their safety should be ensured and the light tunnels should not interfere with the vertical circulation of the inhabitants.

Physarealm Calculation and Form Generation Overall Display

The final volumes that cannot be touched by the light tunnels are the individual living units and the public bathrooms, since they are more private space, separated from the activity space. The places where the light tunnels can go through should all be public playing, eating, interacting, and learning space.

Control value:

Brep environment: xResolution 300, YResolution 300，ZResolution: 100；Physarealm running interval: 20 ms; Population trail history steps: 100; Population interconnect detect radius: 3; Select possibility: 1

Control value:

Brep environment: xResolution 300, YResolution 300，ZResolution: 100；Physarealm running interval: 20 ms; Population trail history steps: 100; Population interconnect detect radius: 3; Select possibility: 1

The starting points of the polycephalum are set on different entrances of the buildings, as well as the location where most activities will happen in the foster home, such as public gathering space and play space. The light tunnels created with this logic will mimic the circulation of kids in this space: when they enter the space or leave the gathering space, they can follow the light tunnels and chase the light that will bring them hope, energy, and happiness.

The upper image shows the working process of the polycephalum algorithm in grasshopper. The emitters and food are preset points, and through the calculation, the emitters will reproduce and grow once they reach the food, generating unpredictable form, which is a preliminary model of the light tunnels. Light tunnel glass surfaces will be later generated from the model.

Control value:

Brep environment: xResolution 300, YResolution 300，ZResolution: 100；Physarealm running interval: 20 ms; Population trail history steps: 100; Population interconnect detect radius: 3; Select possibility: 1

Control value:

Brep environment: xResolution 300, YResolution 300，ZResolution: 100；Physarealm running interval: 20 ms; Population trail history steps: 100; Population interconnect detect radius: 3; Select possibility: 1

Control value:

Brep environment: xResolution 300, YResolution 300，ZResolution: 100；Physarealm running interval: 20 ms; Population trail history steps: 100; Population interconnect detect radius: 3; Select possibility: 1

Control value:

Brep environment: xResolution 300, YResolution 300，ZResolution: 100；Physarealm running interval: 20 ms; Population trail history steps: 100; Population interconnect detect radius: 3; Select possibility: 1

Isometric Drawings of Foster Home

Basement Floor Programs:

1. Changing Room (436 sq ft)

2. Changing Room (436 sq ft)

3. Fitness Center (1850 sq ft)

4.Recreation Room for Kids from Age 13 to 18(3179 sq ft)

5. Storage Room (14377sq ft)

6.Recreation Room for Kids from Age 6 to 12 (4025 sq ft)

7. Girl's Restroom (236 sq ft)

8. Boy's Restroom (236 sq ft)

Some of the light tunnels "grow" from the basement level, and they envelop and bring light and fresh air to the kid's recreation room and fitness room. There're also plantations growing from the basement level where the light can reach. As the kids

stand at the bottom of the light tunnels, they can see the unique shape of the translucent light tunnels, like branch, stream, or valley. The organic shape of the recreation room walls resonate with the theme of the Secret Garden. After lunch or dinner at the upper floor dining room, the kids can go to the basement and hang out with their friends, play the piano, workout, or visit the secret trees. The kid's activity space has linoleum and rubber flooring to protect the kids from getting hurt by accidents, and the other storage space maintains the original wood flooring. In the recreation rooms for kids from different ages, the furniture size would be different. There are also little play houses attached to the load bearing wall for the kids to climb into. The recreation rooms are directly linked to the dining room through two separate stairs.

12. Dining Room for Kids from Age 6 to 12 (690 sq ft)

13. Game & Toy Room (1170 sq ft)

14. Restroom (532 sq ft)

Living Units:

A. Teenager's Unit "The Secret Base"

B. Kid's Unit Hidden Diary"

C. Kid's Unit "Love Letter"

D.Kid's Unit “First Tattoo" There are one staff and eight kids live in one loft unit together as a group home.

Second Floor Programs:

1. The Learning Space (1748 sq ft)

2. Public Restroom (560 sq ft)

3. Shared Platforms (2970 sq ft)

Rooftop: mainly consists bushes, flowers, over the public

The residential units scatter in the building like little tree houses: some are floating and some are embedded in the second floor. They form a little village, with the public activity space on the side closer to the Main Street. Most of the

quiet learning and living spaces are located on the second floor, since it ensures the kid's privacy. After school, the kids can go to the Learning Space from the first floor library to use the computer and do their homework. They can also go to their individual houses via designated stairs for each house or a core elevator. There are different shared activity platforms/indoor balconies on the second floor, which are also the "roofs" of the first floor housing units. Those platforms are connected by the Branch Path, which is also embraced by the light tunnels. Over the dining room, there are also Sky Pods, where the kids can have their time alone in a relatively public space without being completely isolated. Exploring in this Secret

Garden of corners for quiet time and platforms for gathering, the children are led by light and hope.

The double-story loft units also pop out of the roof slab, and the kid's privacy can be ensured by the shades in each room. The rooftop floor is made of colorful rubber. The rooftop landscape is also inspired by the idea of a garden. Bushes, grass, and flowers are mainly planted around the periphery of the roof as well as the edge of the housing units. and they serve as buffer zones. Organic forms and spaces that encourage physical activity, interaction, and learning are the essential elements of the design. envision that the diverse programs and playful spatial arrangement would bring fun and substantial support to youths' life, and stimulate their curiosity and imagination in their daily life.

Two Types of Residential Units Light Tunnel Detail

The first type of residential unit is a "house" for kids from age 6 to 12. There are 2 loft rooms and 1 single bedroom, which house 8 kids and 1 staff. The kids share two ADA accessible bathrooms. Each unit has their own washing machine and drying machine, dining table, and small living room.

Within each loft room, the first floor has an ADA accessible bed. Kids have their own closets and height adjustable desks and chairs. A set of desk and closet are embedded in the stairs to save space.

House for Age 6-12

Kid's Loft Room

The second type of residential unit is made for teenagers from age 13 to 18.Each unit has a dining space, a small living room, a fridge, a washing machine, and a drying machine. Similarly, there are 8 teenagers and 1 staff live in one unit. The flooring is mainly covered with wood, and bathroom is

covered with ceramic tiles. Two teenagers live in one loft room, and each has his or her own set of closet, desk and chairs. There are also different graphics on the room's wall to make each room more unique.

Every unit is named after one kid's secret.

Teen's Loft Room House for Age 13-18

Axonometric of Activity Spaces

Public Kid's Library

This serves as a community resource, where kids from the surrounding can visit. There's an art center inside for painting and craft-making.

Kid's Dining Room

This dining space is designed for the younger kids, with the sky pods and branch path above. It is both a dining and social space.

Private Study Space

Kids can read, do their homework, and use the computer in this space that's only accessible for the inhabtants, individually or with a group of friends.

Game Room

The design of this space is inspired by the theme of garden, and kids can socialize and play card games, toys, and watch TV here.

Gym & Teen's Rec Room Learning Kitchen

Kids can access the bottom of the light well from here. The rec room consists of a piano, ping-pong tables, movie space, video game space, and etc.

Kids can learn how to cook under the supervision of the staff members, and cooking is an essential skill for future independence.

The Cloud Energy Hub

In our daily life, we communicate via phone call, email, and text. We store our memories in photos; we shop online; we manage business through digital platforms. All of these activities are supported by an seemingly invisible cloud. But in reality, the cloud storage is secured in a tangible entity that consumes a large amount of energy and space —— the data center.

The design goal of this project is to renovate an existing data center in Providence by improving its performance and sustainability with the reuse of server's waste heat. Additional public function will also be added to this building, which would be transformed into an energy hub that connects the surrounding community by providing energy as well as providing people a gathering space for fitness and leisure. Exposed pipes will be the essential functional and spatial element in the building. They not only serve the building by sending water, power, light, and fresh air, but also become the signature of this sustainable energy hub, where people can celebrate a sense of community and learn about energy reuse.

Instructor: Stefano Corbo

Data Center Sustainable Improvement Methods

Site Analysis: Data Center, 275 Promenade St, Providence Pipe Design Diagram

The renovated data center is part of the Foundry complex, which has a rich history dating back more than a century. In 1968, a group led by Antonio Guerra, a local architect and contractor, purchased the 26 acres of land and buildings from Brown and Sharpe and renamed it the Foundry. Mr. Guerra envisioned a large mixed-use campus, which was actualized today via renovation and meticulous care.

The diagram below shows different possible ways for pipes to diverge or connect in the building. The pipes can be categorized into four main types. There are pipes that transmit water for cleaning, drinking, and heating; there are pipes that direct electricity; there are pipes that guide natural light; and there are also pipes for natural air ventilation systems. The pipes also connect the data center to the fitness center as well as the surrounding buildings, to transmit recycled heat.

The east side of our data center is connected to a large parking lot and a large-scale apartment building.

The New England red bricks and windows with dark frame represent the hitorical industrial building style.

275 Promenade St Reusable Heat Production (Ideal)

The servers produce waste heat, which will be transmitted to heat exchanger, which will refine and raise the temperature of the waste heat so that it will be hot enough for future use by houses, offices, green house, roads, and so on.

Design Concept

The hot-aisle containment method is used in server rooms to reduce waste heat lost and increase cooling efficiency.

The the surplus cool water and air used by households, roads, and greenhouses would return to the air conditioning unit as a loop.

Other than using renewable energy for electricity, recycling waste heat, and adopting hot-aisle containment method for server room arrangement, energy saving can also be achieved by utilizing improved ventilation and natural cooling systems. Instead of using conventional air conditioners for all seasons, data centers can use an air-side economizer, which filters out dust in natural air and sends it to servers for cooling. This method can save 30% of energy on cooling. The integration of a green roof can also help reduce the temperature and control humidity of the building. Using solar panels and rainwater collectors are also ways to save energy.

In this project, aim to renovate an existing data center and transform it into a sustainable energy hub, which would use the data servers' waste heat

that can be used by itself and the surrounding buildings. Part of it would also be transformed into a community fitness center. This building'd become a space of both machinery and human energy. In the process of hot air and water exchange between the data center and other functional spaces, the pipes become important design elements. In order for the inhabitants to understand the energy transmission aspect of the building and make the space more playful and energetic, would expose most of the pipes that run through both the interior and exterior of the data center. Other sustainable design methods such as natural cooling system would also be integrated into the hub.

Furniture Plans & Plumbing Plans

In order to achieve community connection, cut through the building and create an exterior path on the ground level that connects streets on both sides of the building. The slant angle of the path is also an inviting gesture for the visitors. Then, the building is naturally split into two halves: one for the human activity and one for the machines.

On the second floor, above the central seating stairs, there's a large void surrounded by circulation spaces, dance studio, indoor cycling zone, and the data center. On this level, there's also a space where people can see the servers while riding the bikes. It is a space where both machine and human energy meet.

The third floor consists of a large fitness space that is divided into different zones of exercise, such as the boxing zone, yoga zone, and cardio zone. The flooring for circulation space is made of concrete, and the flooring for activity spaces is linoleum in different colors that represent different functions.

As people enter the building, they'd see colorful pipes that connect different parts of the space. The pipes also highlight the vertical circulations, as they go along the edge of the spiral staircase and handrails of the central seating stairs. They also run above the corridors that lead people to the cafe.

East Elevation

Most pipes emerge from the large seating stairs, which is built on top of the underground machine rooms that serve the building and receive processed waste heat from the server room. There's also a waste-heat-to-electricity machine room under the staircase that upcycle the waste heat.

South Elevation

From the third level, the pipes go along the edge of the ramp that lead to the rooftop. On the rooftop, there are a running track, a multifunctional sports field, a skylight, a green roof, an existing chimney, chiller plants for the data center, and light pipes that guide natural light to the interior via reflection.

Water Pipes

Pipe Exploded Isometric Drawing

Building Exploded Isometric Drawing

Interior Furniture & Facilities Arrangement

Pipes & Stairs

Ventilation pipes

Electricity pipes

Light pipes

Integrating unconventional pipe design, I aim to highlight the concept of energy transformation and transmission in this building, as well as to attract the community to gather and be active in this space full of fun.

Within the renovated building, there are pipes that cycle processed waste heat from data center to fitness center, as well as necessary pipes that supply and cycle water, air, electricity and light. There are also exterior pipes that cycle reusable waste heat in both liquid and air form between data center and the surrounding residential buildings. The pipes are made in different colors, which indicate their different functions. They are also connected in unique ways, which bring more dynamics to 275 Promenade Street, a building that serves as an infrastructure and energy hub for the community.

Rooftop

3F

2F

1F

1F

2F

3F

2F Gym & Data Center

3F Track

Exhibition Design: Intersecting Stories

In the Tower Gallery of the Guggenheim Museum, we aim to design a contemporary art exhibition in which layers of graphics, information, reflection, and artworks are intertwined and work functionally in harmony to create a more holistic viewing experience. Layers of overall context about colonialism on intersecting planes stand and act as the thread of the exhibition. And each divided container for each artwork is carefully designed to enhance emotional connection between art and audience. This exhibition is a dissection of artworks' context and a challenge to the conventional white cube gallery mode.

Group work Exhibition design

Time: Fall 2022

Instructor: Alvaro Gomez-Selles Fernandez

Team members: Rain Yang

Site: Level 2 of the Tower Gallery in the Guggenheim Museum

Floor Plan

By providing the overall context and art piece specific context in two different scales and medium: large drawings on partitions and small handouts in hands, we aim to create an informative viewing environment that divides and shows the overall context of oppression in 5 different categories on 5 visual "planes", which will create layering visual connections among the audience, artworks, and stories.

The site of our exhibition is on Level 2 of the Tower Gallery in the Guggenheim Museum. This rectilinear space is like a white cube with four entrances. It consists of terrazzo flooring and white walls, just like many other conventional galleries. And we aim to transform this space into a completely different experience.

Exhibition's Overall Context

This exhibition showcases 4 contemporary artworks by underrepresented artists with different cultural backgrounds. All pieces are connected with common themes related to the cultural and social impacts of colonialism and imperialism. From performing art to textile, from projection to handwritten letters, those artworks creatively and truthfully narrates the story of oppression and inspire reflections.

Selected Artworks

Arms no.31 by Chia-En Jao from Taiwan is a large tapestry piece created from locally sourced fabrics and it conveys the diverse history of Taiwan and contains elements representing subsections of Taiwanese society, including aboriginal and religious groups that 're underrepresented and marginalized from the 20th CE.

This performing art features three figures crashing into each other and wearing nothing but foamboard costumes modeled after 3 iconic structures in Guatemala: a Mayan pyramid, a colonial church, and a modernist architecture. It examines the way architecture memorializes regimes of power and histories of exploitation.

In this multimedia piece, Kara Walker provocatively engages American slavery in nearly lifesize silhouettes and projections that hijack racial stereotypes and the exaggerated physiognomies drawn from the black face entertainment. As the audiences approach the piece, they also become part of the story.

This piece about colonialism and its cultural influence is a handcopied French letters by the artist's father from Vietnam. The artist’s father who writes the piece doesn’t actually understand this foreign language, thus making it a pure act of labor, language as merely images and symbol of power as a result of displacement.

Axonometrics

Design Logic

Planes of 5 Themes Related to Art Works

5 Intersected Planes

Planes with Openings & Contextual Drawings

Planes, Inserted Volumes & Artworks

Exterior View

Armno.31 Chia-En Jao

ABriefHistoryofArchitectureinGuatemala Naufus Ramírez-Figueroa

Insurrection!(OurToolsWereRudimentary,YetWePressedOn) , Kara Walker

2.2.1861,Danh Vo

Handouts of Artworks' Briefs (to be collected at the entrance of each piece)

In order to make the learning and viewing experience of the exhibition more active, we create a set of handouts and booklets to inform the audience about the artworks and their overarching themes. The first part is a long booklet that would be provided by the museum to each audience before they start their journey of this exhibition. The second part are four informative handouts about four artworks, and they can be collected at the entrance of different rooms that contain the artworks. At the same time, these handouts with randomized words create randomized questions, and visitors can collect those handouts in the "pockets" of the larger booklet. The randomized open-ended questions invite visitors to organize their thoughts and reflect.

Along with the viewing experience, the audience can also write down their thoughts in the booklet and tear the paper off and pin the notes wherever they want on the walls of the gallery space. Finally, it also serves as a token of the experience to take home by the visitors. Much like the layered experience of viewing artworks, this system of handouts provides a more intimate experience of viewing the context and background of each piece.

Front Front Front

Front Back Back Back Back

We seek to create a sense of oppression and awe by hanging the flag higher up which directs the audience to look up. The design is a reverse of hierarchy between the viewer and the art piece, while also enabling the audience to move freely around the tapestry. Next to the piece, there will be booklets and fabric samples exhibited for the audience to view.

We aim to emphasize the passing of time and solitude during the convoluted process of copying unknown languages; thus, we create an isolated small room for viewing. Audiences outside of the room can see the person inside the room but this action can not be reversed, mimicking a sense of oppression discomfort, and solitude.

In the projection piece, by implementing a very narrow and restricted path, we “force” the audiences to be closer to the silhouettes and be immersed in the darkness of the story and history. Their shadows projected onto the walls are also viewed by others. The tilted projection walls are another design element that insert pressure to the experiences.

In this spatial design, we aim to create a congested space with multiple entrances without geometrical harmony. The content space consists of awkward corners that bring viewers uncomfortable feelings as they are pushed to the edge by the performance and watch the dancers under the harsh targeted spotlight.

Armno.31 , Chia-En Jao

Ramírez-Figueroa

2.2.1861,Danh Vo

Revit Documentation of 25 Bough St

This is a series of revit drawings of an adaptive reuse project that designed called 25 Bough St. The project is a transformation of an old automobile factory into a multifunctional community gathering space that includes educational, retail, recreational, co-working and exhibition space. The project aims to revive the neighborhood in Olneyville and bring people together. The spatial elements, such as the curvy walls and seatings like pebbles, are inspired by the Woodnasquatucket River near the building. The existing skylights are also important elements that link spaces of different functions with light and visual connections.

Individual work

Interior Design

Time: Spring 2022

Instructor: Kylie Bodiya

Ticket Bar & Grill Renovation

Group work

Interior Design

Time: Winter 2020

Group Members: Yi Li, Victor Deng

The remodeling of the Ticket restaurant will be majorly focusing on maximizing the interior seating space as well as expanding the outdoor patio to provide a beautiful ocean view for customers’ dining experience. The renovation will preserve the traditional New England architecture as well as introducing a brightened color palette in the interior precedents. The new interior will be embellished with white and blue, with mixed usage of different materials including wood, metal and mirror; The lighting will be wrapped around a marble counter bar, allowing the diners to enjoy a sophisticated, yet relaxing atmosphere. The ground floor patio will be surrounded with wave shaped greeneries to secure customer’s privacy while bringing in the ocean view and natural day light. Third floor venue hall will be built with a translucent glass roof as the highlight of this renovation. The goal of this venue hall is to be able to hold multiple events for multi-purpose, during the daytime, natural sunlight will be able to create a distinguishable warming space. The extended patio will create a circulation that has easy access to the beach for those who wish to access it. The diners will also be able to enjoy beach views during their time of stay.

Concept Drawing

The firs floor indoor occupancy is around 60 people. And the second floor indoor occupancy is around 130 people. The third floor is a flextible multifunctional hall, and its occupancy is also around 130 people. On the first floor, there is a patio, ADA bathrooms, and a large kitchen, and a reception area.

The third floor is a classic party & ball room that is surrounded by glass and greenary. This floor also consists of two balconies and a stage for performance and speech. It is a great space to host different kinds of events that include both indoor and outdoor activities.

The outdoor patio is an extension of the first floor indoor dining area, and it is where people enjoy fresh air, beautiful sunset view, and unique food. Timber and natural stone are the main materials used for the outdoor furnishing. The selected outdoor furniture should also made to be durable, easy to clean, light-weight, and scratch-resistant. The seatings are also arranged in less regular setting. Street light and candle table light are the main light source to render a soft atmosphere.

Second Floor Interior

A casual dining area that embraces sunlight and laughter.

A more formal dining area that celebrate gathering and night time.

First Floor Patio

Second Floor Plan

Third Floor Plan

The Sea Dandelions

The rising sea level is a global concern that threatens many coastal urban environments. In face of such a dilemma, our team aims to design an oceanic floating architectural complex, which consists of spaces of different functions, from living to farming. PolyFrame 3D Graphic Statics Plug-in will be used to generate the basic structures and forms of different components in the complex. This project is an exploration of the computeraided design tool as well as the future possibility of oceanic architecture.

Group work Architecture design

Time: Spring 2022

Instructor: Junzhuo Zhang

Team members: Weiqing Bi, Ruyue Lin, Runyi Chen

Individual responsible parts: (marked with *) concept development, site research, partial model making, rendering, photoshop)

The Change of Global Sea Level

* Group work responsible part

Rising sea levels have caused a number of environmental problems that have been severely affected across the globe. Our design is based on this background. So to begin with, we need to understand and analyze global sea-level rise.

The Experimental Phenomena

The starting point of the whole scheme design originates from an experimental phenomenon. This experiment mainly explores the stability of toothpick combination composed of different forms in water. By adding branches, a relatively stable structure in water is obtained.

Polyframe Introduction

Causes of Sea Level Rise

The key factors of sea level rise mainly include three aspects: 1. The expansion of the ocean under heat, resulting in the increase of ocean volume, resulting in the rise of sea level. 2. The loss of glaciers, particularly from Greenland and from polar melting, is now a major factor in sea level rise. Polar glaciers have been melting faster in recent years, rising sea levels because they are the largest source of land ice on earth. 3. Rainfall and other factors. If the continents were able to store more precipitation or groundwater on the surface, that water would not flow to the oceans, thus conserving water sources.

of

of

of

rise by 1863. Nature Communications, 2022; 13 (1) DOI: 10.1038/s41467-02228564-6

Step 1

Put a single toothpick on the water, although it can float on the water, but when affected by external factors, it will fluctuate greatly in the water, the stability is very poor.

A vertical branch is added under the toothpick on the water surface, and the center of gravity of the overall external form is moved down.

Step 2

Conceptual Analysis

In combination with the form that the experiment eventually explored, we thought of dandelion. In the context of rising sea levels caused by global warming, we propose the concept of dandelion on water. There are four main reasons for choosing dandelion as a concept.

Step 3

Add a slanting toothpick between the horizontal and vertical toothpicks, connect them and add a slanting rod. The addition of diagonal bars adds stability to the structure without additional drag.

More branches are added to enhance the richness and stability of the whole structure.

At this time, the structural form can achieve stability, and the gaps between branches will not produce redundant resistance.

Step 4

PolyFrame is a geometry-based, structural form finding plugin for Rhinoceros3d based on the principle of the equilibrium of polyhedral frames known as 3D graphic statics.In 3D graphic statics (3DGS), the equilibrium of the external forces or a single node of an equilibrated structure is represented by a closed polyhedron or a polyhedral cell with planar faces.

Each face of the force polyhedron is perpendicular to an edge in the form diagram, and the magnitude of the force in the corresponding edge is equal to the area of the face in the force polyhedron. These form and force diagrams are reciprocal. i.e., topologically and geometrically dependent: any change in one diagram results in a change in the other.

PolyFrame tool illustration

3D Graphic Statics Introduction

The different forms of dandelion

Trends in global mean sea level rise

The rate of sea-level rise due to melting was about 0.4 inches per decade. That's 0.3 inches per decade due to thermodynamic expansion. The trend is for melting to become a bigger and bigger proportion and to rise faster and faster.

Before 1990, sea level rise was about 1.1 millimeters per year. Between 1993 and 2007, it was 3.1 millimetres a year. Now NASA has raised the rate of sea level rise to 3.4 millimeters per year. Although estimates vary among individual researchers, the broader picture is that they generally agree that the rate of sea level rise is increasing. And the rate of increase will be faster and faster.

Sea level rise is an important indicator of broader climate change. By determining when the rate of modern sea level rise was higher than the natural variability, researchers were able to pinpoint the start of an important period of climate change.

Examining global records, the researchers found that, globally, the start of the modern rate of sea level rise occurred in 1863, coinciding with the Industrial Revolution. In individual locations in the United States, modern rates first appeared in the mid-Atlantic region in the mid-to-late 19th century, and later in Canada and Europe, before appearing in the mid-20th century.Between 1940 and 2000, global sea levels rose faster than in all 60-year intervals in the previous 2000 years.

The impact of rising sea levels on Europe

Time of emergence of global sea-level rise

The different forms of dandelion

The dandelion is externally round and supported by a trunk.Dandelion is hydrophobic and produces a protective cover when it meets water.The main part of the dandelion is centered in the middle and is surrounded by its many seeds.

The actual photos

Abstract expression Correlates Relevant explanations

The dandelion has a lot of seeds, and these seeds are connected to the main body.

These seeds can be detached from the main body at a certain time and can be blown in the wind, like a hot air balloon.

Dandelion is hydrophobic. When you put a dandelion in water, because of its biology, its hairs act like a waterproof membrane, which keeps the inside of the dandelion from getting soaked.

The dandelion has wrapped leaves under its body that provide both protection and support, like a brace under a bridge.

There were prominent marginal bodies near the connecting part between the seed and the main body of dandelion, and the existence of these marginal bodies increased the adhesion between the two.

There are almost triangular projections on the stalk of the seed, and these projections are like interlacing points of the main rods of the umbrella-like structure, which are the centers of the rest of the rods.

The different forms of dandelion

The research content of 3DGS is rooted in the advanced spatial geometric structure design method of recent years -- 3D graphic statics. The PSL Architecture Lab at the University of Pennsylvania carried out a lot of interesting practices: Hedracrete was the first prototype designed using the 3DGS method, and its structure can be considered as a proof of concept of 3D graphic statics.

By changing the boundary conditions in the 3DGS model, designers can explicitly upgrade the internal forces in the structure from only pressure to a composite system with both pressure and tension, thus making the "form-finding" process unique and intuitive.

3DGS related icons

Design Logic Flow Chat

Overall Design Process

possibility of

submerged

REF: Jennifer S. Walker, Robert E. Kopp, Christopher M. Little, Benjamin P. Horton.

Timing

emergence

modern rates

sea-level

Finding the generation logic used to form the base form

is a geometry-based, structural form-finding plugin for Rhinoceros3d based on the principle of the equilibrium of polyhedral frames known as 3D/polyhedral graphic statics.

the same logic to generate the more complex

Statics is a structural form-finding method for generating compression-only funicular

Inspired by dandelion floating and related experiments, we wanted to use a similar principle for our offshore architecture. Referring to the form of dandelion, polyframe was used to simulate the basic form as the architectural form prototype.

The basic form generated by Polyframe is further deepened and the geometry is segmented using the same logic. According to the opening and closing degree of branches, the number of branches, the area of branches in contact with the water surface and the support structure below, the relatively stable form is selected as the basis for the further development of the main body of offshore buildings and floating bodies.

Site Analysis: Rotterdam, Netherlands

Over the last decades, sea level rise near the Dutch coast has increased to 3 mm per year, an increase by 50% compared with the average rate of sea level rise over the 20th century. The government has been expanding its territory to the sea. Among all the cities in Netherlands, 90% of the city of Rotterdam lies below sea level, leaving many residential areas vulnerable. Along with existing anti-flooding infrastructures, this project aims to become part of the solution.

Urban Function Impact

* The Floating Body

For the form of the floating body, we adopt the same method as the main body, using polyframe to explore the basic form, and then further deepen to determine the final form.

Floating Body Functions

According to functional requirements, floating bodies are divided into three categories, namely residential buildings, public buildings and green energy complexes, which also have certain changes in morphology. 1.Unit

a relatively stable floating body, it is connected at the branch end of the main structure.

Floating Body & Core Connection

The floating residential units, floating farms, and floating public space are connected to the traffic network and they are connected in a way that allows them to not only navigate freely in the ocean, but also anchor to the pathway steadily when needed. The connection can also be built between two floating units for different family sizes. The groupings are flexible, according to needs.

Vertical Functional Analysis

According to the preliminary functional analysis of the Rotterdam coast at risk, combined with the actual situation, namely the impact of different depths of the ocean, we carry out the functional zoning design in the vertical direction based on research.

+ Exploration of Plane Traffic Relations

As for the relationship between the main body and the floating bodies, the plan organization method was finally determined after several attempts of preliminary exploration and organization by means of geometric composition on the plan.

Explanation

The main body is divided into two parts: sea and underwater. The floating body on the sea is connected with the main body by a traffic organization. At the same time, the floating body can also be used as a transportation device. The functional area is in the shape of an inverted cone, and different functions are distributed from top to bottom.

The floating body of plan A starts from the corner of the hexagon and can accommodate six large floating bodies, with smaller floating bodies attached around and gradually developing outwards. The scheme is mainly composed of small floating bodies with less public space.

B

In combination with the characteristics of plan A and B, the large floating body starts from the edges and angles of the hexagon at the same time and naturally forms large and small grids, corresponding to the large and small floating body, with higher freedom of plane organization.

Housing is the most essential function provided by this complex, followed by public space such as markets, schools, and parks. There are also greenlands with solar panels, garbage collector, and tidal power engine. We aim to integrate functions that support the healthy life of inhabitants while promoting a sense of community between people and the ocean.

Overall Plan

Major Structure

The main structure takes the umbrella-shaped giant structure under the sea as the main body.

The extension of the umbrella structure on the ocean surface each connects to a large floating body that shares a common public function.

Floating Bodies Gross Structure

The floating bodies are mainly distributed along the unique shape of the main umbrella-shaped structure. The floating bodies are connected to each other and to the main structure by means of rods. Each group of floating bodies moves around a branch of the main structure.

The whole is composed of a central skeleton and floating bodies. The main functions in the central framework include tourism, energy, etc. The floating bodies are mainly used for habitation. Due to the hexagonal nature of the floating body, the complex can be extended based on future developments.

The floating body of plan B starts from the edge of the hexagon and can also accommodate six large floating bodies, with small floating bodies attached to the six edges. In this scheme, large floating bodies are mainly used in unit joint, with less private space.

We choose the last combination as our final plan, since it provides the most freedom for the complex to expand and develop itself if more residential units need to be added to the complex. There are also unattached greenlands for farming that float around the attached components.

Renderings

Through the renderings of different perspectives, the effect of the building complex existing on the sea is expressed. Based on the larger environmental context of sea level rise caused by global warming, this project is inspired by the biomorphic properties of dandelions. In order to ensure a solid mechanical logic foundation, 3D Graphic Statics is used to find and determine the structural form that can be balanced by force at sea. Finally, through this technology, the main body of the building and three types of floating bodies with different functions are generated, and their layout on the sea is designed to provide them more potential for future expansion and development, which can be used as a good way to deal with environmental problems.

Dry-media

Other Spatial Design

3.

4.

5.

6.

10.

11.

8.

Name: Ziqi Wang

Rhode Island School of Design

BFA in Interior Studies: Adaptive Reuse

Date of Birth: 03.03.2001

E-mail: ziqi.wang0303@gmail.com

Tel: +1 9148261017

Special Thanks

Special thanks to Rhode Island School of Design, the Interior Architecture Department. Special thanks to Professor Heinrich Hermann, Stefano Corbo, Elizabeth Debs, Janet Stegman, Alvaro Gomez-Selles, Mary-Ann Agresti, and Eduardo Duarte for being supportive and giving valuable advices in my design studio. Special thanks to Wolfgang Rudorf, Markus Berger, Julia Bernert, and Jongwan Kwon for their useful lecture about interior and architectural design strategies, drawing techniques, and conceptual development.

Special thanks to my team members of group project "The Sea Dandelion": Weiqing Bi, Ruyue Lin, Runyi Chen. Special thanks to my team members of group project "The Narrative Space Design of Victim Guilt Theory": Yuxuan Lan, Guanlin Yan, Jinyi Chen. Special thanks to Junzhuo Zhang and Binghui Gong for their helpful advices in the group work design process. Special thanks to Elly Li, Yijun Yan, Yixiong Bai, Victor Deng for being inspiring classmates in my undergraduate study.

Special thanks to my colleagues at CCD and Robarts Spaces, who guided me through my internship experience and taught me expertise related to construction and design in real life.

Special thanks to my parents and friends who support my passion for design and art.

Furniture Design: 12.The Playground (2020, design studio project)

14.

16.

13.

15.