may 2012 portfolio

Shuning ZhaoportfolioColumbia UniversityGraduate School of Architecture, Planning, and PreservationMaster of Architecture 2012

New York, New [email protected]

fabrication speculation

street re-WeaveRio de JaneiRo, BRazil

after the street : street lifenew YoRk, nY

the CONTAIN-er Factorynew YoRk, nY

Transient Permanence: HousingHoBoken + JeRseY CitY, new JeRseY

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Air Flow-er + polyColumnarnew YoRk, nY

Nested Chandelier

Twisted Table

Concrete Bench

Fayerweather 200 Wallnew YoRk, nYPudelma PaviliontuRku, Finland

Folding

invention

articulationexamination

FA 2010

SP 2010

FA 2011

Pre-2009

SP 2011

2012

Museum of TranslationNew York, NY

Chelsea Air LabNew York, NY

Urban MarketUNiverSitY CitY, Mo

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Assyrian Relief

Bertoia Chair

Arch AnalysisSt. LoUiS, Mo

Weaving MuseumPhoeNix, Az

ICA Systems AnalysisBoStoN, MA



after the street : street lifeNew York, NY

the CONTAIN-er FactoryNew York, NY

Transient Permanence: HousingHobokeN + JerseY CitY, New JerseY

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Air Flow-er + polyColumnarNew York, NY

Nested Chandelier

Twisted Table

Concrete Bench

Fayerweather 200 WallNew York, NYPudelma PavilionTurku, Finland

Folding

inventioncreating new urban realities


FA 2010

SP 2010

FA 2011

pre-2009

SP 2011

2012



Urban MarketUniversity City, MO

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Assyrian Relief

Bertoia Chair

Arch AnalysisSt. LouiS, Mo

Weaving MuseumPhoenix, Az

ICA Systems AnalysisBoston, MA

after the street : street lifeNew York, NY01|

CritiC: JeffreY iNaba_sp 2012iN CollaboratioN witH paul traN

What if urban mobility in the city was defined by the building rather than the street?

Our proposal introduces a new scale of mobility, in between an urban and building scale, as a new way to experience the city. We propose the use of a singular building as the generator of new typologies. If we assume that technology will evolve such that there can be interior personal-size vehicles, urban mobility can exist inside the building itself. The conception of the street is inverted because its path is now formed to accommodate the building and the pedestrian.

OPEN SPACE

On the ground plane, this new intervention means that the traditional proportions of open space in Tribeca are reversed. If we consider open space to also include the sidewalk, the current footprint consists of 30% street, 56% building, and 14% open space. Under our proposal, the presence of the street diminishes to 20 %, the building footprint takes up 23% and the open space now takes up a significant 67% on the ground floor.

Because circulation has been reallocated to the building, we are able to take advan-tage of this open space. At Plaza Mayor, in Madrid , a large public plaza serves as both a point of convergence for pedestrian paths and a break or interruption in the urban fabric. Vehicles have to pass around the plaza or underneath, and a lively plaza for pedestrians takes it place.

Our project is similarly located on a busy intersection. The Holland tunnel exits onto Canal Street underneath the undulating topography to form the main East-West path across the site, while north-south traffic is directed to the West Side Highway or Broadway. On the north side of the building, the current scale of Soho is maintained, while on the south side, a grand esplanade-style street directs traffic from east to west along the southern edge of our site.

To avoid the pedestrian desert, the open space is divided by a hierarchy of paths that allow for ease of movement and access to major transportation points (subway lines, Canal street, West Side Highway, etc.). Additional paths bisect the larger paths, allowing for recreation.

BACKGROUND

In the past, buildings have been too small to affect mobility on an urban scale. Instead, the car and subsequently, the street, have been the main consideration for urban planners. The New York City grid exemplifies the stratification between building and street. This unrelenting grid, reinforced by the speed of the car, is the frame around which buildings and open space are contained. The pedestrian is relegated to direct his movements around the grids crosswalks, bridges, sidewalks, and underground passageways.

In order to prioritize experience, can we reverse the role of the pedestrian from a passive one to an active one? Can the desire for an environment in which the car no longer plays center stage be architec-turally manifest in a singular building?

We propose the use of a singular building as the generator of new typologies and a new way to experience the city. If we assume that technology will evolve such that there can be interior personal-size vehicles, urban mobility can exist inside the building itself. The conception of the street is inverted because its path is now formed to accommodate the building and the pedestrian, rather than the other way around.

SCALE

How big is this building?

Bounded by Spring Street and Harrison Street on the North and South, and by the Westside Highway and Broadway on the East and West, it replaces the existing grid while maintaining the same density. By changing the scale of the vehicle and the placement and function of streets, the proposal necessitates a shift up in scale of the building in order to affect circulation at an urban scale.

By forming the building as a ring, we are able to create a radical amount of continuous open space on the ground plane. Without the frame of the grid, the traditional relationship between building, open space, and the car is reprioritized.

east westsouth north

east westsouth north

CIRCULATION

To get around the building itself, there is a hierarchy of interior vehicle paths and pedestrian paths. Whereas, in a subway, one enters and emerges from darkness, here you are aware of your position in re-lation to the rest of the building. Whereas, in a car or taxi, one is relegated to the grid, this new interior vehicular system allows for pedestrians to experience the gradual unwrapping of neighborhood upon neighborhood; movement is both horizontal and vertical (diagonal), and the idea of convenience, established by the grid, is dissolved.

To travel and to be mobile is to experience and in this building, you can choose be-tween three speeds of movement to either go directly home or meander through. Although the the street has disappeared, the interactions and qualities that we come to expect in a Jane Jacobs reading of New York City are still present.

A high speed express track circulates horizontally on the sixth and eleventh floor. For these specific floors, the interior ve-hicle is a segregated tube that only stops in selected areas. These selected areas are points of vertical transfer that ramp from the express levels to each of the other levels which contain local network of this IV system that travels horizontally. Fi-nally, a choreographed walking path, that intersects with the IV system at strategic floors, is a third slower path off of which pedestrians and residents can get to their individual apartments or access the express or local lanes.

TYPOLOGIES

The general massing of the building loosely follows previously existing streets. In plan, kinks were introduced to gesture towards the Hudson River and Manhattan Bridge. In elevation, Lift-offs occur above major circulation paths, such as at Canal Street and 6th Avenue and the angles of the form were determined to maximize sun exposure on each side. The southern side of the massing, for example, is lower to allow more southern light into the open space. Conversely, there is a 20 degree

angle on the north side of the building in order to allow low light to hit the building in the afternoon.

In plan, each floor plate is unique in consideration of these forms. While tra-ditional rectilinear or four-sided typologies reinforce four directions for views. In this new scheme, a new typology emerges to allow for a multitude of views and access to sunlight and air.

We derived the forms off derivations of Xs at these three angles, 15 degrees, 30 degrees, and 45 degrees. They reinforce how the building mediates inside and outside on an urban scale because of the increased exposed surfaces.

These basic X units were grouped to form solids and voids, depending on the necessitated floor plate area of the program. Each of these typologies were arranged according to the massing to create a continuous ribbon of neighbor-hoods. Their shift vertically or horizontally create interesting in-between spaces and terraces that mediate the interaction between residents. CONCLUSION

While the grid disappears, teh encounters, meetings, and liveliness of the street does not. Rather, it allows for an inversion of the relationship between car, building, and open space that preferences the pedestrian experience. It is not about the mega scale itself, but about how the mega scale is necessary to allow for this new relationship and how the technology of teh interior vehicle makes it possible. the architecture is not an eradication of the Jane Jacobs street, filled with chance encounters and diversity of forms but a new way to realize it. A new architectural model emerges where the building itself can mediate your relationship to the city in a more purposeful way.

STREET 20%

BLDG 23%

OPEN SPACE 57%

STREET 30%

BLDG 56%

OPEN SPACE 14%

1819'

RETAIL TYPOLOGIES

1212' 1670'

COMMERCIAL TYPOLOGIES

1039'1369'

779' 1221'1429'

1145' 831'

1304'

1643'

RESIDENTIAL TYPOLOGIES

1356' 2270' 2246'

1451' 1884' 1627'

1343' 765' 890' 1415'

686' 1650' 1230'

CiritC: soo-iN YaNg_fa 2010iN CollaboratioN witH teel lassiter

housing that supports a multi-generation-

al community through targeted resources

We are seeking to promote a sustainable and intergenerational community by pro-viding resources to support the young and senior population, such as schools and nursing homes. These shared facilities are inegrated with the housing and joined by a plinth that serves as a platform for interaction. The housing units themselves are arranged as vertical strips along either the super-imposed Hoboken or Jersey City grid.

Transient Permanence: HousingHobokeN + JerseY CitY, New JerseY02|

Demographics

A transit hub, Hoboken and Jersey City, boasts a very young and transient working-aged population. We seek to boost the low ratio of dependents, those under 16 and over 65.

Resources | education + senior center

The site strategy revolves around creating resources targeted to the dependant population. There is a lack of quality schools, especially secondary schools, in the area which are a primary way to retain families and permanence. Seniors are ac-tively involved in childcare and retirement homes allow for intergenerational interac-tions. Using these resources as anchors for the site promotes a wide demographic.

Plinth

Above the tracks, there is a plinth that spreads over the site. The branches serve to connect the site to different types of transportation. They also divide the site up into different levels of public interac-tion. Held up via cables, it is a bridge that connects housing to housing as well as housing to resource.

Housing

The housing buildings are arranged as vertical strips along either the Hoboken or Jersey City grid with stable cores that reach out to and support the plinth and resources in between. There are two basic types of units and they refer to both classrooms and apartments. The classrooms are mostly clustered around specific resources and as demographics shift, more apartments can be converted to classrooms, and vice versa.

independent residents(18 to 65)

51.1 % dependents

50

45

40

35

30

25

20

30.3 % dependents

44.4 % dependents

21.7% dependents

dependent residents(17 or younger66 or older)

United States 2000

Hudson County2000

Jersey City2000

Hoboken2000

0'N 10' 50' 100'

0' 10' 50' 100'

85,040,251 |30.2%

United States 2000

Hudson County2000

Jersey City2000

Hoboken2000

216,800 |35.6%

84,340 |35.2%

19,948 |51.7%

25-44 yr30.2 %

25-44 yr35.6 %

25-44 yr35.2 %

25-44 yr51.7 %

30

35

40

45

50

APT UNITS (POD option)

AGGREGATION TYPES

UNITS

APT UNITS (POD option)

AGGREGATION TYPES

classrooms single-width unit mirrored unit long unit

UNITS

Jersey City Units

Hoboken Units

32'16'8'4'0'

32'16'8'4'0'

0 6" 1' 2' 5'

1 SECTION 2 ELEVATION

ATTACHABLE POD DETAILS

1

2

32'16'8'4'0'

POD DETAIL

4' 8' 32'1' 16'0' 4' 8' 32'1' 16'0'

4' 8' 32'1' 16'0' 4' 8' 32'1' 16'0' 4' 8' 32'1' 16'0'





Transient Permanence: HousingHoboken + Jersey City, new Jersey

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Nested Chandelier

Twisted Table

Concrete Bench

Fayerweather 200 WallNew York, NYPudelma Pavilionturku, fiNlaNd

Folding

invention


FA 2010

SP 2010

FA 2011

pre-2009

SP 2011

2012




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Assyrian Relief

Bertoia Chair




CritiC: NatHaN Carter_sp 2012

bendable plywood bottle rack + baltic birch plywood coffee table

These two projects are about the fold. The first, made from bendable plywood laminated together, is a simple S-curve that hangs to the wall in order to hold wine glasses. The second table is about the intersection between a folded plane and a W-shaped plane perpendicular to it. It is this intersection, and these joints, that provides the structural integrity to the table.

03|Folding

04|Fayerweather 200 WallNew York, NYsummer fabriCatioN_gsapp labs_su 2012

http://www.arch.columbia.edu/labs/fablab/projects/fayerweather

The decorative screen was designed by SHoPArchitects, and detailed, fabricated and installed by the GSAPP Laboratory for Applied Building Science. It is made from recycled HDPE. Over the summer, we made a series of full-scale prototypes to test the digital design with the physical structure. Collaboration with Phillip Anza-lone, Brigette Borders, Gustavo Bonet, Brian Lee, John Hooper, Shuning Zhao, and Margaret Zyro.

2 7/8" 1/2"

1/2"

2"

5/8"

1/4"

3/4"4 5/8" 3"

1'- 1/4"

1"

15

4a4b

4a4b

3

4

43

3

7

6

6

6

6

7

8

9

910

1213

1213

11

10

1011

9

11

89

8

8

7

6

7

3

713

12

12

12

2

2

16

5

C_SECTION D_SECTION EXPLODED DETAIL_NO SCALE

A_ PLAN B_ ELEVATION

FAYERWEATHER 200 WALL DETAILscale: 1-0=4

KEY1. 3/4 plywood2. 1/4 sheet rock (variable)3. 5/8 sheet rock4. 1/2 HDPE panel 4a. back panel 4b. front panel5. 2x4 stl stud, V.I.F.6. 1 1/2 x 2 1/2 x 1/8 aluminum extrusion, attached to plywood (shim as necessary)7. 2.5 deep, 1/8 thick al panel bracket, custom fabrication (shim as necessary)8. #12 screws, counterbore in L-bracket9. 1/4 dia. bolt, s.s.10. lock washers, s.s.11. nut, s.s.12. tamper proof torx-head binding barrel bolt13. 10-24 shoulder screw

B D

C

A

1 1/

4"

2'-3

3/4

"3'

-7 1

3/16

"3'

-1 9

/16"

T.O. CARPET

8'-5

13/

16"

T.O. PLYWOOD SUBFLOOR

1'-1

1 1/

2"

11'-7

3/8

"

1'-4

1/1

6"4'

-10"

suomi worksHop_aNzaloNe + bor-ders_su2011

parametrically weaved dome pavilion

This project was a design-build workshop that was installed across from city hall in Turku, Finland for the European Cultural Capital celebration in the summer of 2011. The work was a collaboration between professors and students from Columbia University and University of Oulu and took place in two two-week perios in New York and Finland.

05|Pudelma Pavilionturku, fiNlaNd

PLAN

mortise

tenon

01_MORTISE + TENON JOINT basic connection method used to join each piece to the next

02_SHOULDER JOINT (w/ mortise + tenon) connection used in acute angles of leg pieces (the mortise and tenon locates the part in relation to each other)

01_MORTISE + TENON JOINT

02_SHOULDER JOINT (w/ mortise + tenon)

C_408

C_407

S_485

S_484

S_016

S_014

S_486

C_290

mortise

shoulder plane

tenon

PLAN

mortise

tenon

01_MORTISE + TENON JOINT basic connection method used to join each piece to the next

02_SHOULDER JOINT (w/ mortise + tenon) connection used in acute angles of leg pieces (the mortise and tenon locates the part in relation to each other)

01_MORTISE + TENON JOINT

02_SHOULDER JOINT (w/ mortise + tenon)

C_408

C_407

S_485

S_484

S_016

S_014

S_486

C_290

mortise

shoulder plane

tenon

Professors + Coordinators

Phillip AnzaloneBrigette BordersEero LundenRavi RajMarkus WikarRainer MahlamakiMatti Sanaksenaho

engineers

Timo Lunden Hannu HirsiLauri Salokangas

Columbia university

Charles AbleJoseph BrennanTherese DiedeJustin FabrikantMichaela MetcalfeVictoria MonjoJocelyn OppenheimChris PowersRoula SalamounShuning Zhao

university of oulu

Taneli HeikkilaTaavi HenttonenLotta KindbergSampo OjalaOlli ParviainenAlli PerttunenTuulikki TanskaHelena Tasa

mortise and tenon joint

shoulder joint

construction sequence

10198.5

3505

.535

05.5

7142

.5

06|Air Flow-er + polyColumnarNew York, NYplastiCs CoNfereNCe_sato_sp 2011iN CollaboratioN witH JoHN Hooper

installation for Permanent Change: Plastidcs in Architecture and Engineering Conference Installation

AirFlow-er Designed by Yoshiko Sato

Assisted by Shuning Zhao and John HooperSpecial Thanks to Mark Taylor and Nathan Carter

Permanent Change: Plastics in Architecture and EngineeringProduced in conjunction with the 4th Columbia Conference on Architecture, Engineering and MaterialsConference sponsor: The Vinyl Institute

Fabricated by Stretch Marquees and Fabric Structures

06|Air Flow-er + polyColumnarNew York, NY

CritiC: JosH draper_sp 2010iN CollaboratioN witH JosepH Justus

PET-G nested chandelier

This project is a combination of digital and analog practices from CNC milling to plaster casting to laser cutting to vacuum forming.

07|Nested Chandelier

14

4.75

14

4.75

CritiC: Carl safe_ fa 2007

red oak + blood wood table

This side table is conceived as a continu-ous ribbon, twisted at the joints.

08|Twisted Table

CritiC: liaNe HaNCoCk _ sp 2008witH troY fosler

mirrored benches

A line is inverted to create this concrete bench.

09|concrete bench


street re-Weaverio de JaNeiro, brazil




01|03|

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08|09|

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Nested Chandelier

Twisted Table

Concrete Bench


Folding

invention


FA 2010

SP 2010

FA 2011

pre-2009

SP 2011

2012




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15|

14|

12|

17|

18|

19|

Assyrian Relief

Bertoia Chair




0 10 50 100

CritiC: keitH kasemaN_fa 2011

reimagining relationships to the car in

Barra da Tijuca

My project re-imagines Terra Encantada as a laboratory to create new typologies of the road and for a Carioca, new rela-tionships to the car. A diverse catalog, created by weaving a variety of paths in, along, and through other paths and build-ings, indicate possible new scenarios for Barra and Rio.

These scenarios are aimed to project new ways to think about the existing reality of a car-centric Barra da Tijuca.

street re-Weaverio de JaNeiro, brazil10|

0 10 50 100

Rios growth in population in the past decade has been coincidental to a growth in the number of cars. With the figures of both projected to keep growing over the next few years, existing traffic problems are only expected to get worse. In the automobile-scale of Barra, especially, there are little alternatives. Gates and closed off side streets ensure that the two perpendicular thoroughfares of Avenue das Americas and Avenue Ayrton Senna are the only means for getting from point A to B. The scale and design of these two perpendicular roads ensure not only a monotony of traffic but a lack of opportu-nities for interaction.

Without denying the reality of the car, my project uses the site of Terra Encantada to divert this traffic into a re-imagined path, or possibility of paths with a chance to drive through, stop, stroll, or park. This drive-through world no longer sees the road as merely a large-scale conduit, but a place to experience and connect. There is a diversity of scales that allows for safe bicycle and pedestrian traffic to weave in with the automobile. Speeds and interac-tions are regulated through designed slope, depth, and edge conditions.

The catalog indicates a range of ampli-fied realities from standard isolated paths to sectional building adjacencies to new integrated programs. A carioca can park his car or bike and catch the new BRT to downtown all in the same stacked traffic station. Another can take an existing bus line through a building, without slow-ing down, to a new car-only automated restaurant, while bicyclists grab food in the bicycle conveyor belt restaurant below. A commuter can park their car next to a bicycle rest stop and walk through an urban park while traffic dies down.

1970

1990

2010

2.6 million cars

18.3 million cars

34.5 million cars

number of cars in brazil

20093.14 million total / 2.47 passenger

20103.57 million total/ 2.69 passenger






number of cars inBrazil

complexity and intersections

diversion and new destination

exclusive path

from point A to B

0 10 50 100

30 km/hr29 M radius

Design speed + Minimum Radius

35 km/hr 40 km/hr47.5 M radius



65 km/hr172.2 M radius

70 km/hr

0 10 50 100

30 km/hr29 M radius

Design speed + Minimum Radius




65 km/hr172.2 M radius

70 km/hr

vertical park suspended between paths

open BRT path

drive by building

enclosed path

walk-by hallways between car paths suspended path

enclosed BRT path

conveyor belt car/bike restaurants

walk-through building

stacked transit/BRT stop with bike parking

drive-through building

park over library

stacked transit/high speed above

the CONTAIN-er FactoryThis project seeks to rear-range the supply chain from a linear one to a re-cursive one that relies on a closed system of reusable packaging that supports a system of contained pro-duction, rather than mass production.

BRONX

total

Queens

new york

kings

richmond

3 7 . 9 2 l b s / h o u s e h o l d

32.39 l b s / h o u s e h o l d

4 4 . 2 l b s / h o u s e h o l d

3 0 . 7 3 l b s / h o u s e h o l d

4 3 . 3 1 l b s / h o u s e h o l d

5 5 . 8 1 l b s / h o u s e h o l d

09000t o n s / w e e k

64000t o n s / w e e k

19000t o n s / w e e k

13000t o n s / w e e k

18000t o n s / w e e k

05000t o n s / w e e k

BRONX

total

Queens

new york

kings

richmond

32.39 l b s / h o u s e h o l d

3 7 . 9 2 l b s / h o u s e h o l d

4 4 . 2 l b s / h o u s e h o l d

3 0 . 7 3 l b s / h o u s e h o l d

4 3 . 3 1 l b s / h o u s e h o l d

5 5 . 8 1 l b s / h o u s e h o l d

09000t o n s / w e e k

64000t o n s / w e e k

19000t o n s / w e e k

13000t o n s / w e e k

18000t o n s / w e e k

05000t o n s / w e e k

CritiC: kazYs VarNelis_sp 2011

turning the supply chain of shipping and packaging in on itself

The factory turns the supply chain of ship-ping and packaging in on itself, making it recursive so that packaging can be end-lessly reused and integrated into a more holistic system of transport.

the CONTAIN-er FactoryNew York, NY11|

the CONTAIN-er FactoryThis project seeks to rear-range the supply chain from a linear one to a re-cursive one that relies on a closed system of reusable packaging that supports a system of contained pro-duction, rather than mass production.

BRONX

total

Queens

new york

kings

richmond

3 7 . 9 2 l b s / h o u s e h o l d

32.39 l b s / h o u s e h o l d

4 4 . 2 l b s / h o u s e h o l d

3 0 . 7 3 l b s / h o u s e h o l d

4 3 . 3 1 l b s / h o u s e h o l d

5 5 . 8 1 l b s / h o u s e h o l d

09000t o n s / w e e k

64000t o n s / w e e k

19000t o n s / w e e k

13000t o n s / w e e k

18000t o n s / w e e k

05000t o n s / w e e k

BRONX

total

Queens

new york

kings

richmond

32.39 l b s / h o u s e h o l d

3 7 . 9 2 l b s / h o u s e h o l d

4 4 . 2 l b s / h o u s e h o l d

3 0 . 7 3 l b s / h o u s e h o l d

4 3 . 3 1 l b s / h o u s e h o l d

5 5 . 8 1 l b s / h o u s e h o l d

09000t o n s / w e e k

64000t o n s / w e e k

19000t o n s / w e e k

13000t o n s / w e e k

18000t o n s / w e e k

05000t o n s / w e e k

factory

factory

shipping container

shipping container

store

store warehouse

raw material

raw material

part

objects

assembled object

product

product

traditional supply chain

shifted supply chain

OVER PRODUCTION

The factory is now a global network of factories that first produce multiple parts, delivered via shipping container and then are assembled in a warehouse or second level of factory before reaching the consumer. As the vertically integrated factories located in the urban core (to be near infrastructure or consumer) have been replaced by a horizontal and computer specified network of factories all over the world, so is the physical store slowly being replaced by virtual stores (such as Amazon + Ebay) as logistics companies such as Fed Ex orchestrate the operations. This globalized economy has led to questions of overconsumption and problems with waste.

MASS PRODUCTION

Under the traditional system, the flow from raw material to object to product is physi-cally marked by the factory, a machine for the production of usable goods, and the store, the interface for consumers. Logically, factories were located in urban centers, close to both the stores that they needed to receive the products as well as infrastructure to move the goods. After World War II, the consolidation of shipping practices and streamlining of the chain of supply led to an explosion of consumer-ism in peacetime America.

factory

shipping container

store warehouse

raw mate-rial

object product waste

CONTAINED PRODUCTION

A new and intelligent container refocuses the supply chain from a linear process into a circular one that is not focused on end-less growth but contained subsistence.

contained supply chain

http://www.epa.gov/osw/nonhaz/municipal/pubs/msw2008rpt.pdf

2 4 9 . 6m i l l i o n t o n s

76.76million tons

Containers + Packaging

02.55million tons

Steel

Durable Goods

TOTAL Municipal Solid Waste

7 6 . 7 6m i l l i o n t o n s

CONTAINERS + PACKAGING WASTE

45.67million tons

58.71million tons

64.69million tons

Food + Yard Waste

Other Inorganic Waste

Nondurable Goods

03.78million tons

01.88million tons

Aluminum

10.05million tons

Glass 38.29million tons

Paper

10.71million tons

Wood 00.27million tons

Other

http://www.epa.gov/osw/nonhaz/municipal/pubs/msw2008rpt.pdf

2 4 9 . 6m i l l i o n t o n s

76.76million tons

Containers + Packaging

02.55million tons

Steel

Durable Goods

TOTAL Municipal Solid Waste

7 6 . 7 6m i l l i o n t o n s

CONTAINERS + PACKAGING WASTE

45.67million tons

58.71million tons

64.69million tons

Food + Yard Waste

Other Inorganic Waste

Nondurable Goods

03.78million tons

01.88million tons

Aluminum

10.05million tons

Glass 38.29million tons

Paper

10.71million tons

Wood 00.27million tons

Other

BREAKDOWN ZONE

CLEAN + REPAIR ZONE

LOADING ZONE

UNLOADING ZONE

BREAKDOWN ZONE

CLEAN + REPAIR ZONE

SORTING ZONE

PACKAGING ZONE

LOADING ZONE

STORAGE ZONE

UNLOADING ZONE

BREAKDOWN ZONE

CLEAN + REPAIR ZONE

SORTING ZONE

PACKAGING ZONE

LOADING ZONE

STORAGE ZONE

UNLOADING ZONE

SORTING ZONE

STORAGE ZONE

PACKAGING ZONE

UNLOADING ZONE

BREAKDOWN ZONE

CLEAN + REPAIR ZONE

SORTING ZONE

PACKAGING ZONE

LOADING ZONE

STORAGE ZONE

mas

s p

roduct

ion

ove

r pr

oduct

ion

conta

ined

pro

duct

ion

truck circulation assembly line circulation

mas

s p

roduct

ion

ove

r pr

oduct

ion

conta

ined

pro

duct

ion

assembly line circulation storage circulation






01|03|

04|05|

06|

07|

08|09|

10|

11|

02|


Nested Chandelier

Twisted Table

Concrete Bench


Folding

invention


FA 2010

SP 2010

FA 2011

pre-2009

SP 2011

2012




16|

13|

15|

14|

12|

17|

18|

19|

Assyrian Relief

Bertoia Chair

Arch Analysisst. louis, mo


ICA Systems AnalysisbostoN, ma

EDGE OF HARBOR WALK

0'1'2' 32'8' 16'

GLASS CANOPYBELOW

0' 2' 32'8' 16' 0'1'2' 32'8' 16' 0' 2' 32'8' 16' 0' 2' 32'8' 16'

FAN COURT

THEATER(upper level)

THEATER(lower level)

SOUTH LOBBY

NORTHLOBBY

BOOKSTORE

ATRIUM + ELEVATOR LOBBY

DINING ROOM

DRESSING ROOM + OFFICES

WEST GALLERY

NORTH GALLERY

EAST GALLERY

AIR HANDLING UNIT 01




CHILLERS

1 1 1 2

3

4

5

2

A_01+ 02 keynotes

1 see E_04 for grandstand east staircase landing

A_03+ 04 keynotes

1 see E_01 for north facade detail2 see E_02 for south facade detail

A_05+ 06 keynotes

1 see D_06 for fan court diagram2 see D_01 HVAC equipment diagram3 see D_02 HVAC to east + west gallery4 see D_03 HVAC to theater5 see D_04 HVAC to lobby + bookstore

CritiC: robert luNz_ fa 2010iN CollaboratioN witH elleN barteN, CHristo-pHer geist, aNd VerNoN roetHer

system analysis of Diller, Scofidio, and Renfros Institute of Contemporary Art in Boston Harbor

Open in 2006, the Institute of Contemporary Art expresses the desire of the museum to simultane-ously open itself up to the public in its theater and classrooms as well as provide enough contemplative and enclosed gallery spaces. Personal contribution focused on producing architectural drawings as well as HVAC systems analysis. The ICA uses a network of radiant, variable volume, and other types of HVAC systems to service the different types of spaces in the museum. The main HVAC equipment all sit on the roof as air and water flow down to and up from the spaces below.

plans

12|ICA Systems AnalysisbostoN, ma

EDGE OF HARBOR WALK

0'1'2' 32'8' 16'

GLASS CANOPYBELOW

0' 2' 32'8' 16' 0'1'2' 32'8' 16' 0' 2' 32'8' 16' 0' 2' 32'8' 16'

FAN COURT

THEATER(upper level)

THEATER(lower level)

SOUTH LOBBY

NORTHLOBBY

BOOKSTORE

ATRIUM + ELEVATOR LOBBY

DINING ROOM

DRESSING ROOM + OFFICES

WEST GALLERY

NORTH GALLERY

EAST GALLERY





CHILLERS

1 1 1 2

3

4

5

2

A_01+ 02 keynotes

1 see E_04 for grandstand east staircase landing

A_03+ 04 keynotes

1 see E_01 for north facade detail2 see E_02 for south facade detail

A_05+ 06 keynotes

1 see D_06 for fan court diagram2 see D_01 HVAC equipment diagram3 see D_02 HVAC to east + west gallery4 see D_03 HVAC to theater5 see D_04 HVAC to lobby + bookstore

Exhaust Diagram

Radiant Heat enevelope details

Air Handling Units + Main Duct

Theaters | Open Air Plenum

Galleries | Distribution to Glass

Lobby + Offices | Local Control

CritiC: JaNe kim_ sp 2011

drawing analysis of assyrian relief

How to record inscription in a drawing? How to record the action of one system leaving a trace on another?

13|Assyrian Relief

14|Arch Analysisst. louis, moCritiC: HeatHer woofter_ sp 2008

mapping of perception of the Saint Louis

Gateway Arch in the city

These maps illustrate the presence of this symbol of the city as perceived on a city scale (via the metrolink) and the local scale (via the park path).

15|Bertoia ChairCritiC: liaNe HaNCoCk_ fa 2006






01|03|

04|05|

06|

07|

08|09|

10|

11|

02|


Nested Chandelier

Twisted Table

Concrete Bench


Folding

invention


FA 2010

SP 2010

FA 2011

pre-2009

SP 2011

2012



Urban MarketuNiVersitY CitY, mo

16|

13|

15|

14|

12|

17|

18|

19|

Assyrian Relief

Bertoia Chair


Weaving MuseumpHoeNix, az


CritiC: robert HeiNtges_sp 2012pHoeNix, arizoNa

visual gradient with a weaving panel

This building is inspired this Piero Dorazio painting. At first glance, it is a textured gradient of red and orange, but upon closer inspection one sees that the visual sensation is the result of the intersection of two systems of lines at different direc-tions. Consisting of three basic panels, the projects weaving aluminum screen is the outer skin of a double skin-facade that creates a visual gradient which produces a similar visual ambiguity to that of the painting.

16|Weaving MuseumpHoeNix, az

0

15

30

45

60

75

0

15

30

45

60

75

B

01

CSEE

01

CSEE

01

CSEE

01

A

02

A ELEVATION

01 SCALE: 1/4 = 1-0

A SECTION

02 SCALE: 1/4 = 1-0

E ALUMINUM STRIP TO BAR DETAIL

02 NOT TO SCALE

E

A B C

ALUMINUM SCREEN TYPOLOGY ELEVATIONS

01 NOT TO SCALE

0

15

30

45

60

75

0

15

30

45

60

75

B

01

CSEE

01

CSEE

01

CSEE

01

A

02

A ELEVATION

01 SCALE: 1/4 = 1-0

A SECTION

02 SCALE: 1/4 = 1-0D TYPICAL STACK JOINT + HANGER DETAIL

03 SCALE: 3 = 1-0

D STACK JOINT AND HANGER DETAIL AT ROOF

01 SCALE: 3 = 1-0

B PARTIAL PLAN

02 SCALE: 1/2 = 1-0

B PARTIAL ELEVATION

01 SCALE: 1/2 = 1-0DSEE

03

B

B PARTIAL SECTION

03 SCALE: 1/2 = 1-0

02

B

03

D MULLION DETAIL at ANCHOR

04 SCALE: 3 = 1-0

D TYPICAL MULLION DETAIL

05 SCALE: 3 = 1-0

02 SCALE: 3 = 1-0

aluminum backing

C PARTIAL SECTION

01 SCALE: 1 = 1-0

C CURTAIN WALL TO FOUNDATION DETAIL

03 SCALE: 3 = 1-0

C CURTAIN WALL TO GROUND DETAIL

02 SCALE: 3 = 1-0

DSEE

02

DSEE

01

CSEE

03

aluminum strip

CritiC: JaNette kim_sp 2010New York, New York

opposing Ls host two rotating language galleries with translators negotiating the

space between

Translation is the first step of presenting an object, idea, or culture to another. This act of interpretation is a necessary but complex process that is inevitably tied to questions of authenticity and agenda. Through a play of angled solids and voids, the two sides of the museum are negoti-ated by translators that frame a variety of understandings of translation as the visitor travels both through and between a pair of constantly rotating languages.

Museum of TranslationNew York, NY17|

La Belgique

La FranceLa Suisse

Le Hati

Russia

The United States

The United States

Canada

England

Mxico

Repblica de CubaPuerto

Rico

Repblica de Chile

Repblica de Guatemala

Repblica de Panam

Repblica de Venezuela

Repblica ArgentinaRepblica Oriental

del Uruguay

Repblica de Colombia

Repblica de El Salvador

Repblica del Equador

Repblica Dominica

Reino de Espaa

Repblica Federativa do BrasilEstado Plurinacional de Bolivia

2000

1900

1800

1700

1600

1500

1400

1300

1200

500 bc

1492_ Christopher Columbus discovers the New World.

1776_The United States signs the Declaration of Independence.

1839_The Opium War begins (ends 1842).

1846_The Mexican-American War begins (ends 1848).

1882_The Chinese Exclusion Act is passed, halting all Chinese immigration to the United States.

1898_ Puerto Rico is ceded to the United States after the Spanish-American War.

1939_World War II begins (ends 1945).

1949_The Peoples Republic of China is founded by Mao Zedong.

1955_Rosa Parks refuses to give up her seat on a public bus in Montgomery, Alabama.

1963_President John F. Kennedy is assassinated in Dallas, Texas.

1968_Martin Luther King Jr. is assassinated in Memphis, Tennessee.

1997_Hong Kong is ceded back to the Peoples Republic of China from the United Kingdom.

EL MUSEO DEL BARRIO

MUSEUM OF CHINESE IN

AMERICA

ENGLISHSPANISH

FRENCH

GERMAN

CHINESE

JAPANESE

ITALIAN

DUTCH

PORTUGESE

CZECH

RUSSIAN

NORWEGIAN

ARABIC

ESPANOL

FRANCAIS

ANGLAIS

JAPONAISGIAPPONESE

PORTUGUES

ITALIANO

CHINOISNEERLANDES

ARABE

NORVEGESE RUSSIE

RUSIA

MUSEUM OF TRANSLATIONTranslation is the rst step of presenting an object, idea, or culture to another. This act of interpretation is a necessary but complex process that is inevitably tied to questions of authenticity and agenda. The Museum of Translation explores the complexities within translation between a continuously rotating pair of languages that illustrate diaspora narratives. The remaining program of the museum will act as translators that spatially frame the interstitial space between the two rigid gallery spaces in the form of visual arts, lm, and sound. These spaces are intended to both instruct and engage the visitor in the search for au-thentic translation.

metaphrase

word-for-word translation.

Metaphrase is the most direct form of translation in that it is a systematic translation of each word. The search for formal equivalence or authentic-ity, according to Schleiermacher, moves the text closer to the source text in maintaining its foreign character.

paraphrase

saying-in-other-words.

Paraphrase is indirect translation that emphasizes conveying the mean-ing of the source in the style of the target language over the accuracy of the words themselves. Paraphrase moves the text closer to the reader as the translator reinterprets with idioms and phrases of the target text.

dynamism

translation for sensation.

Dynamism is translation that emphasizes the preservation of sound, rhythm, and/or eect of the original text. In the search for uency, as opposed to delity, this type of translation serves to preserve the eect of the source text by transforming the text into a uent and natural-sounding text in the target language that may or may not sacrice mean-ing.

Translation as Frame

The concept of the museum began with an analysis of precedents of how the museum acts as a frame that is respon-sible for accurately translating an object from the world into the context of the museum narrative. An initial analysis of how two ethnic-specific museums in New York translate their particular ethnicities within another context both in history and in space for unique conditions of narrative overlaps. Artists, such as Xubing, have dedicated his work to these ideas.

Sites + Types of Translation

Our site, located in Chinatown, frames a multitude of cultures and people that re-quire acts of translation. The site analysis of language of signage in the area reveals three unique types of translation, direct, indirect, and transliteration. The idea that translation is not neutral is then brought into the museum, through a series of program studies. The three main types of translation explored are metaphrase, word for word translation, paraphrase, indirect translation, and dynamic equivalence, formal translation for an effect. Each of these three types of translation aims for different measures and types of authen-ticity.

Translating the Museum

Two languages are split along the diagonal of the museum. There is a mix of solids and voids, the solids showing moments of isolation on one side of the museum, for programmatic or performance reasons, while the voids provide moments of visual access. The angles of the walls and ceil-ings frame and direct moments of transla-tion through the visitors path through the museum. In conclusion, the experience of the museum should provide criti-cal spaces for consideration of types of translation so that the two sides, though distinct, start to overlap and exchange through these areas of translation.

RECEPTION/ LOBBY

ADMINISTRATIONBEYOND

EDUCATIONBEYOND

EDUCATIONBEYOND

curator workshop

gallery (below)

administration

theater-lectoring gallery

WC

PU

UP

WC

coatroom

wc male

wcfemale

reception/lobby

storage

gallery. mediastoragecoatroomreception/event space

bookstore

N0' 4' 8' 16' 32'

PU

UP

recording booths

wc

Level one

curator workshop

gallery (below)

administration


WC

PU

UP

WC

coatroom

wc male

wcfemale

reception/lobby

storage


bookstore

N0' 4' 8' 16' 32'

PU

UP

recording booths

wc

curator workshop

gallery (below)

administration


WCP

U

UP

WC

coatroom

wc male

wcfemale

reception/lobby

storage


bookstore

N0' 4' 8' 16' 32'

PU

UP

recording booths

wc

Level five

curator workshop

gallery (below)

administration


WC

PU

UP

WC

coatroom

wc male

wcfemale

reception/lobby

storage


bookstore

N0' 4' 8' 16' 32'

PU

UP

recording booths

wc

CritiC: pHilip parker_fa 2009

the mixed program institution is reimag-ined as a series of connections in both

time and space

The air lab is an exploration of designing lateral relationships in space that deter-mine the interaction between scientist and visitor, institute and public. Initial studies of climate over the course of a year led to the construction of a physical model that drove the form finding of the air lab.

Chelsea Air LabNew York, NY18|

structure

scientist areasarrows indicate upward slope

public areasarrows indicate upward slope

interaction areasarrows indicate upward slope

transitory areas

short term areas

stationary areas exploded axon

AIR LABfall 2009

core I studioshuning zhao

circulation optionsarrows indicate path

private entrance to climatology cells

public entrance to highline

(01) 2009.1998

(07) 2009.1997

(02 ) 2009.1998

(08) 2009.1997

(03) 2009.1998

(09) 2009.1997

(04) 2009.1998

(10) 2009.1997

(05) 2009.1998

(11) 2008.1997

(06) 2009.1998

(12) 2008.1997

(03) 1998a

(03) 1998b

(06) 1998a

(06) 2009.1998a

(09) 1997

(09) 1997b (12)1997

(12) 1997a

Sea Surface Studies

Initial studies of climate over the course of two especially violent years reveal a unique interaction between opposing bodies of high and low sea surface levels. These studies, in both model and drawing form, serve as inspiration for the air lab which also demands a set of choreo-graphed moves. Linked together in one system, the movement of one wire affects the others both in plan and section.

Choreography of Program

The relationships in the space are choreo-graphed based on the model and drawing analysis. The relationships of various spaces were determined by relationships outside as well as inside the building.

longitudinal section 01

monitoring cell

auditorium


lablarge meeting area

privatemeeting area

tiered ocesobservance/ learning area

observance/ learning area



privatemeeting area





privatemeeting area



CritiC: HeatHer woofter_sp 2006

intersection of shifting lines mediate an urban farmers market in Saint Louis

The form and shape of the line, as in-formed by site studies, directs flow on the street into the market.

Urban MarketuNiVersitY CitY, mo19|

may 2012 portfolio

Documents

street lifenew york

wallnew york

polycolumnarnew york

factorynew york

museum of translationnew

canal street

nychelsea air labnew

new intervention