O L I O

J U N ED E N G

O R T FPT E C T U R ER C H IA

MARITIME MUSEUM

LATTICED SURFACESURBAN DESIGN

ARCHITECTURE

ARCHITECTURE

ARCHITECTURE

CASE STUDIES

CASE STUDIES

INSTALLATION

MODULAR PUBLIC SPACE

BUILTSCAPE

SOCIAL CIRCLE

RIGID FRAME

BOX ARCHITECTURE

LATTICED SURFACESURBAN DESIGNThis project is an exploration of the transition and the superimposition of the lattice and the surface, expressed by both the water system and the programmatic system. Where the water system is a surface, such as an interconnected group of lakes, the building sitting above is expressed as a lattice, a series of corridors flanked by program on each side. Where the water system is a lattice, such as an interwoven network of streams, the building roof is expressed as a continuous, but perforated surface. As a form of water remediation, the site absorbs and expels water at regular intervals and becomes the basis of the site strategy. The site transitions from an expression of connected patches to isolated patches, then finally to interconnected lines as the water level changes. While the lattice is an open line, the surface is an enclosed line. The typology of the line can be used as a method of site development.

The module is a fundamental unit that can be manipulated and arranged to achieve specific effects. The module in this investigation is derived from a trapezoidal prism, with a lateral shift and filleted corners. The shifted prism establishes a strong sense of directionality while the filleted corners result in a fluid integration into the landscape. Furthermore, these rounded corners fuse the floor, the walls and the ceiling into one continuous plane. The module, in combination, serves to highlight the site as a boundary between the urban fabric and the parkscape.

In configuring the modules, I was especially interested in the joint conditions between the modules. The valley-like condition formed between the modules accentuates the inherent boundary condition of the site. This boundary is both artificial and natural, both park and city. While it is fully constructed as a built environment, it is a space fully exposed to nature. Some modules intersect to create dynamic skylights to bring in natural light. Other modules join together to form intrusive interior spaces for the visitors.

BUILTSCAPEARCHITECTURE

The trapezoidal shape has an inherent directionality. There are moments of expansion and compression in both the vertical and horizontal direction. This is the basic module that I chose to work with for the cultural annex. Each trapezoid is oriented to face a specific view, be it the park-scape or the city-scape. The individual modules, when connected via the long side, aggregate together to form larger spaces of interaction. In a different arrangement, the modules begin to create courtyard space, framing the landscape of the park.

MODULAR PUBLIC SPACEARCHITECTURE

ROTATED GEOMETRY

BASE GEOMETRY

REFLECTED AND ROTATED GEOMETRY

REGULAR ROTATION

IRREGULAR ROTATION

REFLECTED AND ROTATED GEOMETRY

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RECEPTION

AV/IT

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CRATING

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COVERED EXTERIOR

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DIAGRAMProgram

PROGRAMYunzhu Deng | Arch 201Oct 3, 2012

Lobby

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ashroom

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Interior SpacePublic

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Circulation

PrivateService

DUPLICATE

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COMBINE

COPY

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The purpose of the Maritime Museum is to educate. It does not seek to beautify the Houston Shipping Channel but instead seeks to expose its true nature, including the ugly side. The glass enclosure creates maximum transparency and visibility to show off one of US’ busiest ports but also does not hide it as a site of oil spills, cargo accidents and transportation of hazard material. The building itself employs an industrial aesthetic that camouflages it with the surrounding landscape and encourages visitors to acknowledge the existence of the heavy industry. For my project, the Houston Shipping Channel is one of the most important objects in the exhibition, therefore I want people to see it from as many points of the building as possible. The form capitalizes on the changes that occur in the site by creating spatial fluidity, where the space is more private by day and more public by night.

MARITIME MUSEUMARCHITECTURE

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This project is a precedent analysis of systems of structure and enclosure. It explores the function of form and how the design is driven by an interaction with the structure and technology. The primary structural system employed is the steel rigid moment frame, which creates a long space where people waiting at the train station and congregate.

CASE STUDIES RIGID FRAME

Since the rectangular prism is such a primitive geometry, only the most confident architect can design it well. This axonometric drawing is an investigation of Sean Godsell’s Royal Melbourne Institute of Technology’s Design Hub. Godsell envisioned a quiet tower that neutralizes the messy intersection. The building’s open plan facililates seamless interactions among various design disciplines, including architecture, industrial design and engineering.

BOX ARCHITECTURECASE STUDIES

EAST FACADE MODULE

FINE MIST

SPRINKLERS A

S PASSIV

E COOLING SYSTEM

POST-TENSIO

N CONCRETE SLAB AND COLUMN GRID SYSTEM

WEST FACADE MODULE

ARCHIVE FACADE

TERRACE PLAN FLOOR 7

STUDIO PLAN FLOORS 2

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GROUND FLOOR PLAN

BASEMENT 1

BASEMENT 1

BASEMENT2

BASEMENT2

EMERGENCY FIRE ST

AIRCASELIFE SA

FTEY AND ACCESSIBILITY

BARRICADED ZONES

SANDBLASTED GLASS

MATERIAL ANALYSIS

GALVANIZED STEELWOODEN PANELSALUMINUM PANELS

CONCRETE

PRIMARY STAIRCASE

ELEVATOR SHAFT

SWANSTON ST

REET

FACADE OF 16,000 ROTATING GLASS D

ISCS

AUTOMATED SUNSHADING TO PREVENT SO

LAR GAIN

SKELETAL SUPPORTS

MECHANICAL AND STRUCTURAL CORE

RMIT DESIGN HUB

RMIT DESIGN HUB

VICTORIA STREET

DOUBLE GLAZED SKIN

SOUTH FACADE MODULE

PERIMETER AIR INTAKE

NORTH FACADE MODULE

ROOFTOP RAINWATER HARVESTING

ACCESSIBILITY RAMP

SOCIAL CIRCLE 2ND PLACE IN COMPETITIONINSTALLATIONOur online interactions are simultaneously cloaked in anonymity and mercilessly exposed, and this vacillating visibility is a concept we seek to physically explore through our installation. With a circular array of vertical shutters inspired by the mimosa plant and window blinds, our installation opens and closes to reveal and hide the identities of people who choose to circumambulate the inner and outer platforms, which are covered in floor buttons. The blinds open only when both the inner and outer buttons of any segment are stepped on at the same time. When no buttons are pressed, the installation will open and close at speeds that correlate to the level of cellular usage in its vicinity, with higher usage leading to a slower speed and hence more open spatial experience, and vice versa – this is designed to mitigate the perceived lack of social interaction associated with higher cellular usage through increasing the openness of the space.

OLIO

JUNEDENG

ORTF PTECTURE RCHI A