Drawing inspiration from its surroundings, the project also pays homage to Brutalist architecture, utilizing Cross-Laminated Timber (CLT) to reinterpret traditional Brutalist mushroom columns into tree-like structures. This not only promotes sustainability but also celebrates the robust, expressive nature of Brutalist design, echoing its materiality and structural ethos in a contemporary context. The theater thus stands as a testament to the transformative power of architecture in redefining spaces and experiences, making it a beacon of cultural synthesis and intergenerational dialogue.
Carnegie Mellon University Advanced Synthesis Option Studios
Humanizing Brutalism Theater Design Studio
Instructor
Hal Hayes
In addition, we have installed an aeroponic system on the northern side of the housing units, giving each resident the autonomy to choose whether or not to utilize this façade for personal gardening purposes. Furthermore, our aim is for this plant cultivation system to satisfy not only the needs of individual inhabitants but also the broader community’s demands. Thus, we have included numerous commercial and training spaces that support the entire aeroponic system. exposure to summer sunlight while ensuring adequate winter illumination.
Carnegie Mellon University Praxis II Studio
Instructor
Matthew Huber, Azadeh Sawyer, Jeffrey Davis
Collaborator
Steven Huo, Marcus Valdez, Jiahua Wu
My role in group:
Design the housing system including drawing plan and design HVAC system
Lead the design concept development and planning strategy
Make post-production on rendering images ,section, and elevation
Make 3D models and Climate Studio to test the solar radiation and heating system
Relevant Works
Structure Report
Neutralizing Envelope Report
The existing housing in Homewood is a series of linear repetitive single-family homes for all types of residents. Therefore, different situations impact people differently. With the notion of community at its center and identifying the porch as a core cultural element, the project proposes a transition from a fixed, small, linear, and isolated block to an expandable, loose-fit, social, and cooperative neighborhood.
New Typologies of Housing Plus Porch.
The houses are designed as flexible module that evolves with time and needs. Through the concept of loose-fit housing, the units are designed around a fixed core, with the flexibility to change the layout around the core as per the need of the user.
Final Intent.
The aim is to prepare a prototypic system, iterations of which can be expanded to other blocks in Homewood to repair the community and to attract more people live together in Homewood area.
Carnegie Mellon University Praxis I Studio
Instructor
Sarosh Anklesaria, Jonathan Kline
Collaborator
Parth Danait
My role in group:
Lead the Design Form Development and Plan Experiment
Make the 3D Digital Model, Technical Section Drawings, Perspective Section, Axonometric Drawings
Illustrate the perspective view and concept diagram
reminiscent of the Persian period, largely transplanted to our region with minimal
alterations. To foster integration with local culture and community structures, I studied the evolution of religious architecture and formulated a set of principles. These involve adapting Taiwan's spatial textures to deconstruct its spatial, light, and form elements, enhancing interaction by incorporating bathhouses, and crafting a distinctively Taiwanese mosque design.
The project envisions a communal, living room-like space within Taipei's Gongguan district's intricate layout, promoting a fusion of diverse religions and cultures. Initially focused on supporting and engaging Taiwan's religious minorities, the design includes a Muslim area for pilgrimage and worship, complemented by rooms catering to community needs. An exhibition space allows residents and tourists to explore Islamic culture, offering insights into Muslim beliefs and everyday life.
National Taiwan University of Science and Technology Design Studio V
Instructor
Yu-Hua, Wong
Distinction Honor
2019 Published in five east asian universities urban architecture studio
2021 Architecture Masterprize Student
_Winner in the Public Space interior design category
2021 Conti Awards For Arts and Interdisciplinary Desgn_Environmental Design Awards
The concept of " unmaking the sounds " has emerged to provide an alternative perspective on the effects of e-waste. By analyzing the soundtrack from dumping sites, we can uncover the uncertainty and unpredictable outcomes of the disposal process. Through this lens, we can gain insight into the rigorous living conditions in countries like Ghana, where people coexist with toxic waste.
The Dumpbeat is an interactive sculpture that recreates the sounds of the dumping site in Ghana. It mimics the environmental noises of tearing apart e-waste, natural sounds, and human voices to highlight the consequences of a throw-away culture and the slow violence of technology in the world. The sculpture creates a space for reflection and conversation, inviting us to examine our collective responsibility in an era dominated by rapid technological advancement.
As people approach the Dumpbeat, it automatically plays the soundtrack to recreate the environmental sounds. When people throw away their e-waste in the sculpture, the dropping pieces hit the structure to mimic the cracking sound, harmonizing with the background sound from the speakers. The interactions between humans and the sculpture encourage us to reflect on our positions on consumerism in the modern world and provoke the idea of rethinking our consumption habits.
The Dumpbeat is made of obsolete speakers, printer gear, broken monitor components, and discarded wires, combined with an Arduino Mini Player, sensor, and motor to recreate the soundscape. It serves as a call to action, urging viewers to rethink their engagement with technology, not just as consumers but as stewards of the planet.
Carnegie Mellon University Advanced Synthesis Options Studio - Data Dump
Instructor
Daragh Byrne
Collaborator
-
Video
DumpBeat Playing the Soundtrack
Dumpbeat Closer
From unmaking to remaking, the process of reinterpretation, a case from “DumpBeat.”
How do we extract the sources when we unmake something, and How do we sculpt the reality when we remake something?
Reflecting on the global dynamics of discarded electronics, it becomes clear that the journey from developed to developing nations, such as Ghana in West Africa, is fraught with complex issues. These nations often bear the brunt of the slow, insidious impact of modern technology's throw-away culture. In places like Agbogbloshie, a community in Ghana, recycling e-waste is not merely an occupation but a vital means of survival. Here, residents engage in the labor-intensive process of manually dismantling electronics to extract valuable metals like copper and aluminum. Despite offering an essential source of income, this task exposes them to significant health risks due to the toxic materials involved.
The "Dumpbeat" installation poignantly captures these harsh realities through auditory and visual elements. Designed to ignite thought and empathy, it offers a window into the lives of those who endure these challenging conditions. The sculpture's interactive aspect, inviting viewers to experience a simulation of e-waste disposal, acts as a compelling metaphor, shedding light on a much larger issue. Engaging with "DumpBeat" prompts participants to introspect about their part in this intricate global narrative. This artistic endeavor does more than highlight the final stage of the electronics' lifecycle and their effects on the world; it challenges viewers to reconsider their consumption habits, question the ethics behind e-waste exportation, and contemplate the necessity for sustainable technology practices.
The concept of "unmaking" played a pivotal role in creating the "DumpBeat" installation, particularly regarding the sounds originating from Ghana. " In design, philosopher Tony Fry defines unmaking as "the disassembly of an object or structure to recover material to reuse. It also means unmaking values, habits, beliefs, affiliations, and knowledge that obstruct acting against the unsustainable and acting for sustainment." 1 "Unmaking the sounds" presents an innovative perspective on the effects of e-waste. It aims to shed light on various aspects of Ghanaian life, including habits, behaviors, ethnography, customs, and challenges. Analyzing soundtracks from dumping sites reveals the uncertainty and unpredictability inherent in the disposal process. This approach provides a window into the harsh realities of living in proximity to toxic waste. However, the methodology of analyzing these sounds poses a significant question: How can an outsider extract meaningful information without inherent bias? This has sparked a discussion on the techniques used in the unmaking of sound. Identifying and categorizing different forms of unmaking might be crucial in highlighting the extractive nature of the process. Drawing inspiration from “Unmaking: Enabling and celebrating the creative material of failure, destruction, decay, and deformation,” 2 the categorization of forms of destruction reveals that the materiality of an object changes through unmaking. Understanding the nuances of deconstruction, especially in sound collected from e-waste sites, is key to approaching broader discussions without bias. For example, unmaking the sounds could involve categorizing them as culturally relevant, natural, related to livelihood, everyday life, or as toxic. A more profound comprehension of the unmaking process leads to a more refined approach to remaking. By dissecting and understanding the layered complexities of sound and its origins, "DumpBeat" recreates the auditory landscape of e-waste sites and engages in a broader, more informed dialogue about sustainability and environmental impact.
“Remaking the Soundscape” encapsulates the core action of the "DumpBeat" installation, which aims to immerse visitors in the digital era's often overlooked and unseen consequences. This process aligns with the idea of how sounds shape our perception of space and environment. Drawing from Ron Wakkary's concept of decentering humans, the focus shifts to the objects and environments that produce sounds, thereby exploring the intricate relationship between humans and their surroundings. "This decentring of humans is not to erase human relations, but to emphasize the more expansive relationality of humans with the more-than-human world." 3 The reality crafted by “Dumpbeat” challenges visitors to rethink how we can recreate environments to heighten awareness while ensuring that they remain open to interpretation and accessible to all. The installation’s soundscape is designed to engage visitors’ auditory senses exclusively, allowing them to empathize and connect with the experiences and emotions of others. To enhance the impact of this interactive exhibition, a specific movement could be designed to guide visitors’ physical responses to the auditory world, creating a more dramatic and immersive experience. This approach would transport them far from their own reality, fostering a deeper connection with the installation.4 Additionally, incorporating deliberate pauses or blank spaces in the interactive elements of "DumpBeat" serves as a powerful tool. These intentional breaks provide moments for reflection, allowing visitors to process and interpret the realities reconstructed by the installation. This method engages the audience and prompts them to question and internalize the messages conveyed through “DumpBeat.”
"DumpBeat" is an art installation that powerfully highlights the issue of e-waste, especially in Ghana. It creatively uses sound to illustrate the journey of discarded electronics, focusing on how they impact human lives and the environment. The project explores the "unmaking and remaking" concept – breaking down objects and ideas that lead to unsustainable practices. It offers an immersive experience, allowing visitors to deeply understand the challenges those in throw-away culture face and the broader environmental consequences. By doing so, "DumpBeat" encourages people to think about their role in technology consumption and disposal, advocating for sustainable practices and ethical lifestyles.
Bibliography
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Sabie, S., Soden, R., Jackson, S., & Parikh, T. (2023, April). Unmaking as Emancipation: Lessons and Reflections from Luddism. In Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems
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Song, K. W., & Paulos, E. (2021, May). Unmaking: Enabling and celebrating the creative material of failure, destruction, decay, and deformation. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems
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Ron Wakkary. 2023. More-than-Human Biographies: Designing for their Endings. In Designing for More-Than-Human Smart Cities: Beyond Sustainability, Towards Cohabitation, Sara Heitlinger, Marcus Foth and Rachel Clarke (eds.). Oxford University Press, Oxford, UK
- Zimoun(2021) Museum Haus Konstruktiv Zürich,Switzerland
National Taiwan University of Science and Technology Thesis Studio
Instructor
Chin-Wei, Lee
Distinction Honor
2020 New Taipei City Architects Association Graduation Projects Competition
_First Prize
2020 Architecture& Urban Planning Graduation Projects Competition
_Finalist
Published in Taiwan Architecture Magazine Vol.302. Nov, 2020
2021 Architecture Masterprize Student
_Hornorable Mention in the Misc. Architecture category
2021 Architecture Masterprize Student
_Hornorable Mention in the Mixed Used Architecture category
2021 Conti Awards For Arts and Interdisciplinary Desgn
_Architecture Design Awards
The concept is based on the "agricultural land" through the plot. Furthermore, I extend it to discuss the relationship between humans and nature. So, the drawings discuss the "nature growing phenomenon."
About Site.
The site is located in the center of the neighborhood of Marvila, overlooking the riverfront and old Marvila. The area is imbued with a solid architectural imagination. The site's northeast is defined by the ruins of a palace built in the first half of the 18th century, typical of this time when Marvila was a leisure area for the wealthier classes. The industrial past is still present today alongside the more recent housing projects, such as towers bordering the north of the plot.
Concept/Operation.
The site has a connection with the surrounding garden. Because of that, I created a new agricultural pattern on the site. To avoid ruining the garden, I present another path through the site, a "bridge" for people walking, meeting, sightseeing on this new construction element—making a highly different typology of architecture in Marvila. The "bridge" is an excellent way to interact with natural objects. It allows people to flow organic and choose which way to go or where to stay. After the "bridge," we also considered using space. I would make the urban spaces being on a higher level. Owing to letting the garden below have great sunlight entering. Also, to divide the usage of the spaces. Gardening will be at the ground level. People are meeting in the middle level, and the functional area will be on the top for a better view and a better feeling.
University of Lisboa, Technico Lisboa, Design Studio VI
Instructor
Pedro Guimarães
Distinction Honor
Published in Projeto Relampago '19 Workshop
Taiwan's varied natural landscape, characterized by stark elevation contrasts between hills and valleys, serves as a key inspiration. Elements of ascending and descending terrains are strategically integrated as the foundational axis for spatial and structural development. Utilizing freeform surfaces and a play of levels, the aim is to forge a reading space that is both organic and engaging. The design also thoughtfully reflects the surrounding environment and populace, connecting with the influx from the Presidential Office and adjacent urban parks. This extension of the urban green belt's axis enriches the interactive experience between readers and the natural environment.
The fusion of reading spaces with the concept of public parks has led to a unique visitor experience: 'Entering the park is akin to entering a library, and a park stroll becomes an act of perusing books.' This concept effectively dissolves the boundaries between indoor and outdoor spaces, allowing users to relish the unprecedented experience of reading amidst nature, while simultaneously committing to the principles of sustainable architectural practices.
National Taiwan University of Science and Technology
Collaborator
I-Chuang, Hsu
Distinction Honor
2021 Precident Memorial Library Student Competition_ Honerable Mention
Taoyuan’s Qingpu area is a developing urban area. The surrounding arts and culture and public facilities have become complete, attracting many young people to live here. Therefore, starting from young family members as the conceptual starting point extends an attempt to create adults and children.
Concept.
The attempt to connect uses space to express the self-evidence of different worlds, but they are interdependent. In the end, we call this imagination an "island" and develop a form, "Island Hopping," by stacking the weights and bodies. Create a whimsical world for children, free to change the island where they are located; the "floating island" raises specific floors to form a transparent floating space,
creating a resting space for adults, independent and not wanting to be disturbed but taking care of children Vision, to explore the spatial characteristics of adults more in-depth compared to children's more concentrated "islands"; "children's islands, adults' homes" is a new and warm life proposal for families who are preparing to start a family in the future.
Program.
This community house with parent-child issues as the primary development axis has produced many exciting activities, such as parent-child reading room, outdoor performance stage, parent-child kitchen, and most importantly, the "inclusive play equipment" is placed in the base. Ideas to match each public function with the idea of communion, to create the most friendly children's play space, and hope to
stimulate children's senses and imagination through changes in colors, scales, and materials.
National Taiwan University of Science and Technology Design Studio IV
Instructor
i-Hus, Chiu