MUSEUM – 10,000 SQM
ART MUSEUM – 8,300 SQM
SCIENCE MUSEUM – 10,000 SQM
LIBRARY – 12,000 SQM
CITY PLANING HALL - 15,000 SQM
Showing posts with label competition. Show all posts
Showing posts with label competition. Show all posts
Oct 19, 2009
we won the 1st prize!!!!
Sep 21, 2009
Sep 19, 2009
Aug 10, 2009
Jul 3, 2009
Jun 8, 2009
May 28, 2009
May 22, 2009
May 14, 2009
Apr 22, 2009
Wrap Chair
| The concept of chair and the physical reality of it
text by Jiyuan zhang
The chair we proposed is neither an object nor a concept, but an in-between status of the two. One might find a conceptual depiction of a stereotypical chair in its sectional profile. Yet, as observation angel changes slightly, the physical reality of the chair begins to emerge: one could feel the body, suspended in the light weight structure of the chair.
Line|Surface|Volume
Similar to the making of an artwork, the production of the chair also goes through stages of line, surface and volume. Each of the artistic stage correlates with the industrial stage: manufacture, distribution and consumption.
Line|manufacture
Following the lines prescribed in the tooling file, the CNC milling machine would make 2-Dimensional cuts on the 15mm and 5mm plywood sheets. The simple cuts are the only thing needs to be done at the manufacture end. The precision of CNC would avoid mistake and waste of material in the manufacture process.
Surface|distribution
The plywood sheets remain flat after the CNC processing. The 15mm and 5mm plywood sheets could be placed right on top of each other for package. Unnecessary air space is minimized in packaging. More products could be shipped on the same airplane or cargo container. Since there will be less transportation need, the cost of the product would be saved tremendously. Also, it would be more ecological to the society as a whole.
Volume|consumption
As the product reaches the consumer end, consumer could easily assemble the three plywood sheets together without glue or extra tools. A 3-Dimensional volumetric structure of the chair is created. While the two pieces of 15mm plywood provides vertical supports, the one piece of 5mm plywood suspended between the vertical supports and wrapped around the edge of 15mm plywood to provide frequent horizontal bracing. While thick plywood works in compression, the thin one works in tension. The notion of “bending plywood,” initiated by the design of Charles and Eames, is reinterpreted and pushed to the extreme with digital means.
Rather than inventing a new form of chair, the design revolutionizes the production line of the chair, thus defines a new type of chair. The making of the chair is understood as a global process in the design. A chair is not only a chair, but a crucial link within the society, a culture artifact of our time.
Wrap Chair:
5mm plywood sheet 540mm x 2200mm
15mm plywood sheet 750mm x 950mm
Done in CNC machine
also see previous design
Feb 11, 2009
Si-Zhu Music Park Complex Finished
Concept:
it is about the echo distance of Chinese traditional musical instruments.
The spatial concept comes from traditional Chinese Garden – introduce infinity within a given space.
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The wall height changes are giving the space of privacy/type/acoustics/circulation/view/social network…
the stacking language forms the auditory/steps/wall panel/building roofing/skylight
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Brief:
green park, indoor theater , stages for musicians, open space for auditor.
Jan 20, 2009
“CHINESE FAKE MOUNTAIN” TOWER FINISHED
Verticality is what makes skyscraper a unique typology from any other programs. Paradoxically, the development of skyscraper has always been the discourse on variations in plan, rather than in section. Each skyscraper is a vertical city composed by disjointed layers of urban life, yet physically, those layers are artificially connected through single means of infrastructure.
This project questions the typology of skyscraper in a topological point of view: whether it is possible to organize program vertically, by different attractors in space? As this project proposes, the dispersed vertical gardens are the attractors in the complex. The collective nature of the garden, along with the alienation of soft-scape in a hard-scape surrounding, has given the garden a singularity that attracts crowds, in different directions, to flow into the space. While the garden is encapsulated by programmatic activities around it, the programmed spaces are isolated from one another by the garden, yet inwardly face the garden, as if the garden is infinite. The dialectic, between garden and program, tights the program cluster together. Various attractor gardens set up an abstract field for the emergence of new urban life. Skyscraper could also be a wonderland.
As program clusters—the cells—are grouped in abstract relationships, infrastructure waves through the spaces between different clusters and tight "the cells" together in a biomorphic way. The infrastructure is composed by: structure that holds up the skyscraper, hybrid circulation that combines ramp, stair, escalator etc, completed with floating light wells that travel from road network on the ground, to the top of the skyscraper. The relationship between infrastructure and program is no longer "plugged-in," as what mega-structure has manifested, but "intertwined," as recent mega-form projects present. In a way, this project is about a new typology in mega-form: could mega-form be skyscraper?
With the growth metaphor being the logic for this project, an analogy is created between the exterior of the project and any given nature setting. The transition between the nature and the inhabitable could be seamless. The project could also be sited in a metropolis, as a contrast that artistically reminds us about the oddities in our daily life.
CREDIT: JIYUAN ZHANG
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