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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
STORAGE
LOBBY
CRATING
CATERING
OFFICE
RESTROOMS
COVERED EXTERIOR
PRIVATE
PUBLIC
MULTIPURPOSE
MECHANICAL
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DIAGRAMProgram
PROGRAMYunzhu Deng | Arch 201Oct 3, 2012
Lobby
Covered
Covered
ReceptionWashroom
AV/IT
StorageM
echanicalO
fficeW
ashroom
Service
Catering
Uncovered
Multipurpose
Multipurpose
Interior SpacePublic
Exterior Space
Circulation
PrivateService
DUPLICATE
ROTATE
SEPARATE
COMBINE
COPY
MIR
RO
R
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
-6
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.