NAOONAOO

攀园

攀园获得“空中 4 百米——南京小行地铁接轨线更新一线上公园设施国际设计竞赛 ” 一等奖。

攀园是南京空中400米地铁接轨线上一组独特的公园设施。它设想了一种新型的城市公园，既能满足当代城市日常、健身活动的功能性和多样性，又具有园林的诗意性与探索度：试图巧妙、轻松、优雅地缝合城市基础建设和人的尺度。

攀园的场地位于南京市雨花区小行地铁站旁 一段闲置的空中地铁接轨线，共约400米长，桥面离地高度约3.5米至13.5米。攀园的设计理念经过了多重探索，最终希望用“攀行”的日常动作消解掉地面层到接轨线的高度差，并基于此创造出灵活使用的健身场地与活动设施。

设计重新思考了传统高线公园平行于轨道的功能放置策略，希望将功能体块与桥面发生旋转、错动，形成活动区域与高架桥丰富的视觉和位置关系，并将这些空间节点塑造出更高的互动性、开放性与探索度。

“攀”是逐渐攀爬，从地面层到高架桥空中层

试图通过不同标高的主题活动缝合被基础设施割裂的城市生活

“园”是与高架桥面发生丰富关系的四个主题公园

园上园下均有可使用的活动设施。

园上的功能由乒乓球馆、瑜伽教室、羽毛球场、屋顶咖啡等串联

与接轨高架桥的视线关系也随着“攀”的动作不断变化，引人入胜

园下的功能则向地面层的城市街区完全开放：由户外音乐、滑板公园、市民健身、城市客厅等多样的日常、时尚、健康设施重塑街道界面，对全年龄段人群均友好。

漫步于高架桥上，景观和步道的丰富关系也呼应着攀园的空间变化

引导行人观望、探索、走入、使用攀园

攀园整体由轻型钢构组成，清新轻量

巧妙地衔接轨道高架与地面城市的整体关系，如同一座攀长的当代城市园林。

Naoonaoo studio works "climbing parkside" has won the first prize of "400 Meters in the Air——International Design Competition for Park Facilities on the Disused Xiaohang Metro Line in Nanjing.

Climbing parkside is a unique set of park facilities on the 400-meter metro line in the air.It re-imagines a new mode of city park，fulfilling not only the diverse need for exercise and daily activities , but also the poetic experience wandering in landscapes. It attempts to  elegantly stitch together the scales of urban infrastructure and the human body.

The climbing parkside is located adjacent to Xiaohang Subway Station in Yuhua District, Nanjing. It spans approximately 400 meters along a disused elevated subway track, ranging from 3.5 meters to 13.5 meters high above ground. The design aims to utilize the daily action of climbing to bridge the height difference between the ground level and the track, thereby creating flexible fitness facilities and activity spaces.

The design rethinks the traditional placement strategy of amenities in parallel to the railway tracks, aiming to rotate and shift functional blocks with the bridge. This creates dynamic relationships between activity zones and the elevated bridge, enriching visual and spatial dynamics. These spatial nodes are crafted to foster greater interactivity, openness, and exploration.

“Climbing” is a gradual climb from the ground level to the aerial level of the highline bridge, attempting to stitch the urban life fragmented by the infrastructure together through themed activities at different levels.

“Park" refers to four theme parks that have rich relationships with the elevated bridge, from paralleling the bridge, winding through the bridges, to strolling under bridges.

Strolling on the elevated bridge, the dynamic relationship between landscape and walkways also echoes the spatial changes of the climbing garden. It promotes pedestrians to explore and utilize the climbing park.

Climbing parkside consists of lightweight steel structures, with the fresh color echoing the natural green. It delicately connects the overall elevated highline bridge with the city ground,as urban garden growing constantly.

落樱亭

设计场地位于闵行区“大零号湾”，中月樱路是重要的城市绿地节点，地势平坦，视野通透。驿站可服务周边居民、科创园区人员和游客，提供休憩、社区服务等功能，对城市生态和公共空间展示具有重要作用。驿站面积约80平方米，由四个模块化单元组成，屋顶设计传承江南坡屋顶文脉的同时，嵌入太阳能光伏板，创造筑景相融的闵行紫竹科技驿站生态风貌。功能包括社区咖啡、休息阅读、多媒体展览、智慧药房和自助微诊室等，集成市民休闲与24小时智慧服务。设计也获得了2024上海基础设施设计竞赛三等奖。

Pavilion of falling sakura

Located in Minhang District's “Zero Bay” area, Falling Cherry Pavilion occupies a key green space along Zhongyue Sakura Road. With a flat, open landscape and unobstructed views, the pavilion serves as a rest stop and community service hub for nearby residents, technology park staff, and visitors. It enhances both the local ecosystem and public space experience.

Covering an area of approximately 80 square meters, the pavilion is composed of four modular units. Its roof design honors the traditional sloped rooftops of Jiangnan, while integrated solar panels contribute to a sustainable, eco-friendly aesthetic for Minhang’s Zizhu Technology Park. Functions include a community café, reading and relaxation area, multimedia exhibition space, smart pharmacy, and self-service mini clinic, blending leisure and 24-hour smart services for the public. The design earned third place in the 2024 Shanghai Infrastructure Design Competition.

镜花水月是福建南靖土楼公共院落中的一个建筑装置作品。它坐落在南靖土楼区域中的塔下村。2008年，永定、南靖、华安的46栋土楼建筑及其所涵盖的山地社区被列为UNESCO世界文化遗产名录。

 土楼从建筑建造、基座到景观运用了大量的石料，院落中均有漂石砖块铺地，苔藓草蔓从中长出。不管院落中是满是空，或有祠堂、露天活动或是水井，院中这原始的石块和青苔总是留存，与青苔、雨水互相作用形成了独特自然纹理与视觉关系。

镜花水月的创作试图挖掘、解构、重构院中漂石的风景，并创造出土楼空间的多样活动。不同镜石单体组合出不同院中聚落，灵活可变，形成穿梭、迷藏、静望三种组合：既鼓励穿梭玩耍，互动自拍，也可以在院中二楼远观静思。通过院中镜面反射梁柱、天空、山树与卷云，晴天时地上仿佛掉落了蓝色的水晶，阴雨时仿如青石砖块之间逐渐形成的溪滩，近看亦有院中神奇的反射光景。

The installation takes inspiration from those stones of the Nanjing Tulou region, creating unique naturally formed stainless steel "mirror stones." These mirror stones are scattered throughout the courtyard in a distinctive manner, serving as both a display of "new stones" above the "old stones" and an exhibition approach. They intend to capture the sky, distant mountains, architecture, and lantern lights through. Through another scope, they aim to record and present new possibilities of Tulou courtyards, reconstructing the natural experience of people looking up at the sky and down at the stones within the courtyard.

The entire creation of "stonescape" seeks to explore, deconstruct, and reconstruct the landscape of drifting stones within the courtyard. Individual mirror stones are combined to form various courtyard clusters, flexible and changeable, creating three combinations: wandering, hiding and seeking, contemplation. It encourages interactive play, selfies, and also offers opportunities for meditation from the second floor of the courtyard. Through the reflection of beams, columns, sky, mountains, trees, and rolling clouds, on sunny days, it seems as if blue crystals have fallen to the ground. While on rainy days, it resembles the gradual formation of streams flowing between stone, exhibiting magical reflective scenes within the courtyards when observed closely.

The rural small bridge is located in a small Village near Baizhang Lake, Chengdu. The base is located at the junction of the ecological green corridor of two plots, with a height difference of about 2 meters on both sides. In the future, the plot will be surrounded by commercial streets and natural lakeside scenery. How to create a natural, ecological, and culturally thoughtful "new village" small bridge in such a beautiful rural environment is the focus of design research, exploration, and innovation.

Qingshiban Road has been a common memory of rural areas for a long time. Stepping on Qingshiban Road and climbing uphill is a unique geographical feature of many southwestern rural areas. The design starts from the unique nostalgic memory of Qingshiban Road and integrates the roof type of the traditional corridor bridge, providing a space for sun and rain protection, rest, sightseeing, check-in, and chatting on the bridge. The small bridge is like a stone slab road, with a green and orderly layout, cleverly utilizing the height difference on both sides to climb up the stairs; Each "stone slab" is covered by a 20 ° sloping roof, forming a recreational space for sheltering from wind and rain. This modular construction group of 4mx5.5m is simple and low tech, overlapping and arranged to form a visual sloping roof space, cleverly integrated into the local style, including the architectural landscape of the future commercial street. Through the silhouette of the distant mountains, flowing water flows through, and people climb up the steps to admire the scenery on the covered bridges, poetically and beautifully looking forward to future life.

Barbie mountain is an installation project located in Huqiu district, Suzhou. The overall urban fabric was originally an outdated commercial district surrounded by typical residential communities. The planning strategy aims to introduce a series of architectural, artistic and landscape installation to empower the dynamics of surrounding urban space. Barbie mountain , therefore has this unique opportunity to be created.

The project site is waterfront, with pink undulating landscape waterfront, lush green trees and grasslands as well as some distinctive outlines of community buildings behind it.

Barbie mountain promotes to capture the tranquility and poetry of the outskirts, hoping to record, amplify, reflect, and condense the scenery in the city through the device itself. Back to the Suzhou gardens hundreds of years ago, the artificial mountains of Taihushi stand beside the water, attracting people to explore, linger and play; Several hundred years later, in Suzhou City, the round stones of the Taihushi are no longer gray.It turns to be new, to act consistent with the contemporary unique noise, romance and industrial techniques.

The art installation "Sunscapes" aims to provide a place where people could feel the peace and rest, appreciating shines of sunset and waves. Taking inspiration from the light and shadow of ancient sundials, the device abstractly constructs a triple circular ring, connected by orange and yellow corrosion-resistant steel cables. The diameter sizes from 4m to 12m fully provides a sense of participation and scale, attracting tourists to the device to experience the changes of shadows at different time periods; or people could sit around, facing west, and quietly feel the sinking sun through the filter of the device.

“Sunscapes” intends to provide a place that is balancing without excessive publicity, exaggeration, or intervention; Like ancient sundial discs or seaside stone formations, they blend in with the rhythm of nature, allowing people to approach and stay, feel the changes in time, space, sunlight, and shadow, and experience every day on Goji Island.

The project is inspired from a group chat of five chongqing friends studying and working overseas. We all hold a collective memory of the riverside life in Chongqing while staying overseas for a long time and decided to create a series of public installations to engage local communities. We each did a riverside intervention and this spiraling slider is what I proposed for this project. This also reactivates the terrain vague under highway infrastructure and reuses it for entertainments.

清凉寻山

Qingliang mountain is also named as the “stone city”. It played an important role in Nanjing history, from old Yangtze river military fortress to suburb sightseeing place. From Nantang , Nansong to Ming dynasty, it has various architectural identities as Cuiwei and Qingliang terrace. Among that, the cultural identity of climbing the mountain and seeking the city is shared throughout the history. The action of seeking is not only about seeking the geographic relationship between Qingliang mountian, Boluo mountain, Fuzhou mountain and Zijin mountian from the west to the east, but about seeking the topological connection between Qingliang temple, Chongzheng school and Yifu shrine.

The entrance building emerges from the ground, utilizing the underground reservoir boundary structures to grow upward and create a courtyard of seeking. Around the courtyard people climb up to look out to the city as those in the history. The action may be futile, but forming an important spiritual relationship to the site. Walking on the ramping hills, people seems to touch history of Nanjing city wall from Ming dynasty. It allows us to seek the cultural relationships on visible landscape layers.

Walking up the ramp is to seeking the visible mountains; walking downward is to seeking the invisible relationship with the site. The underground reservoir has been abandoned for a long time. Although as a non occupying space, the function of providing water empowers the site many relationships with other spots in the city. After passing the main entrance, people walk down the ramp , gradually and slowly, feeling transition between ground to underground. After clockwising half circle, people arrive the exhibition and public space of reservoir museum. They also arrive a place of seeking the past from the present.

菩提山

Bodhi mountain is a piece of installation art by naoonaoo.It was exhibited at the M50 Park Klein Art Space in Shanghai from September to November 2023. The creation itself inherits the artist's long-term research and creative practice on cultural symbols and spatial construction. The installation aims to explore an overlap between physical and spiritual space. While honestly pursues the spatial patterns of mountain, column order and pagoda tower, it intends to explore the hidden coincidences with the symbolic symbols of Buddhist artifacts.

Bodhi Mountain also attempts to correlate the type of mountains with the types of columns, towers and temples, exploring the interconnection of internal patterns. Like the "Pagoda Tower", it cultivates both the symbolic spirit as well as the concrete physical space. The Bodhi Mountains are vertically stacked like the vernacular construction roof eaves. With the visual symmetry and the porous characteristics, it implies the infinite extension, growth, and fusion. The installation is similar to the quadrants of a pagoda temple on the plan but different from the quadrants of the elevation. It appears to be new and different , meanwhile exploring the motif of a pattern across different civilizations and spatial types.

Harvard University Graduate School of Design

Master of architecture thesis work

James Templeton Kelley Thesis Prize

Advisor: Megan Panzano

The thesis re-approaches typical developer project in China, and explores the capacity of vernacular image to make effective space in relationship to sequence, perception, exposure and events. The project has its test site in Chongqing, a very typical second tier city in China proliferating with developer projects.Those developers are building XL project either as the “decorated shed”, that uses vernacular roof as the toppers to superficially communicate the culture and completely pursues efficiency, or as) or as the “duck”, which wraps the whole building in the cultural icon  and distorts the program to fit its iconic form. Both modes are not only skin deep in communicating the image culture about city and place, but also skin deep in constructing meaningful, comfortable living space. Isn’t there an alternative way of building XL project that goes beyond the skin deep of image culture and woven into the experience of space? The thesis therefore turns to the vernacular cultural roots where developers borrow those cultural icons. The design experiments the capacity of vernacular image to choreograph and make space, replacing the “decorated shed ” and the “duck” mode of the global developer today. It brings the vernacular sensibility of spatial richness to re-approach developer tower scale, altering the horizontal expansion of traditional courtyard into the expanded exploration in vertical living under the challenge of densification. Through this shift in scale, The vernacularism in XL tower addresses three folds of need: the developer’s need for efficient and repeatable floor plates, city’s need of expressing culture and identity, as well as the resident’s need of rich, comfortable, expanded spatial experience that connects them to nature, neighbors, and the active social lives. 

Different from skin tower residential tower project that disconnects experience from image culture, those vernacular residential types are great examples introducing the thickness, richness and expansive threshold into the space. The image of roof profiles, garden wall, are associated with place and culture, but at the same time choreograph your experience, organize the program, orchestrate exposure and movement. The thesis extracted the enriched use of those elements, and experimenting them in XL to transform the experience of typical developer high-rise. As to how to construct XL from smaller unit, the design also looks at vernacular typology of temple and guild hall that deploys smaller units to construct a range of scales from small private units to mid scale social chamber to large scale civic space. 

Eventually the thesis is imagining this vernacularism in XL tower in the Chongqing river scape, as a projected future of developer tower of decorated sheds together with the new proposal. The project, not longer skin deep, tries to integrate culturally significant image to construct coherent, ,vibrant and active spatial experience. The roof profile, gable wall and garden wall weaves with each other and meanwhile imagines a new typology of brining multifamily housing with active social mid scale collective space. The final design of the tower builds both on spatial flow of vernacular dwelling that supports flexible, adaptive living components and the viable footprint of developer tower plan. The tower alters the conventionally introverted core to four sides, freeing the central space to collective social space known as the event court. The event court houses various types of social program ranging from theater, foot court, co-working space, sports court, gallery , sculpture garden to urban forest, key to the formation of mini community . It also tries to dissolve the notion of the unit that bounds and confines the living footprint—one family is not only one unit, but enjoys the rich opportunity vertically to eat breakfast on roofscape, to view the unobstructed urbanscape and the active social chamber in the event court. 

Blee’s pizza is a popular brand that origins from Korea but localized in Chongqing. It attracts many flavors from local residents.

The original concept drives from the special pizza quality of the brand---”the waterfalling and splashing effect”. Therefore the spatial design focuses to create an immersive dining environment that flows from the ground to the wall as the waterfalling moment.

The circular pizza echoes with the spatial geometry of the wall and floor. It continuous- ly extends throughout the space to foster a special visual effect, which also accommo- dates the functional need of dining circles of different groups.

The whole project aims to draw an artistic perspective to the normal daily space, breaking through the conventional boring dining space and revitalizes it with “paint splashing” style. It creates full energy within the space .The whole shop is also a mini planning of an urban street in Chongqing, with semi circular space creating the public and private eating space.

Harvard University Graduate School of Design

Entropy, History, Time. Architectural Infrastructure for a Gravel Pit in Spain

Option studio with Inaki Ábalos

The series of design intervention at the gravel pit includes the pavilion, entropy center and the arena design. Together they intend to provide a cohesive infrastructure of visiting, meditating, retrospecting and gathering on this industrial landscape. The gravel pit of Sorigue is an intriguing interplay of various elements across history and times, aggregated and intertwined together: primitive and industrial, historical and artistic. The gravel mounds, olive trees, industrial condensers largely occupies the site to deliver the particular industrial picturesque. PLANTA of Sorigue also hosts artist collections in relationship to the primitive culture of the site, including Kiefer’s material culture painting and Bill Viola’s video arts.

Therefore the project is very interested to work with those primitive features of the site, the gravel pits, the mounds, and Bill Viola’s raw materials of body, water and light. It is inspired by those collections of elements including-- the primitive dwelling prototypes excavating the caves and the ground in the Mesa Verde dwelling and Turkey’s Capadocia , as well as the pre historic example of bonfire gathering and the Stonehenge.

The original state of the site leaves the vast land open, subject to the change of mining, excavating and relocating. The design utilized the previously mining ground, and the building ruins in the excavated pit, with a direct visual relationship to the mountainscape.  The interplay of those three locations formed a tight link by visual and physical experience, allowing visitors to appreciate both the exhibition content and the site.

It first starts with the idea of the passage and time in the pavilion design, featuring an intense experience of sequence, thresholds and encounters.  The proposal is intended as a gallery for the Bill Viola’s video artworks “the ocean without a shore”. The video illustrates the encounters between life and death, portraying the figure approaching from darkness, passing the physical threshold to reveal full color and turning away from the physical materiality. Therefore, meanwhile it features the primitive burial idea relating to the “stone circles”, it also elaborates on the series of turns and encounters, in the forms of straight lines and arcs to approach and leave the exhibition room.The red color relates to Bill Viola’s blood and reincarnation concept, as the desig­n is first exhibited in San Gallo.

The concept of passage, time as well as formal language of the straight line and arc continue into the arena design. The arena takes the primitive idea of bonfire and camping, intending to provide the gathering place for cultural and post industrial use, a bonfire, a small concert or a group meditation. It could be accessed form the entropy center as a continuous discovery experience.

Finally the entropy and history center aggregates and intensifies the previous experience. As “Entropy” records the degree of randomness and chaos in this open system and could present as the arrow of the time, the form intends to create the blurring ambience and allow people to experience the back and forth among time and place, prehistoric and industrial, past and the future. The formal unit is inspired form those poetic primitive elements in order to correspond to the immediate environment. Their aggregation, reminds people of the early primitive dwelling villages, with the growing ability and flexibility to host large public events.

“舟”游

合作者：张家宁，冯裕茗

“东临碣石， 以观沧海， 水何澹澹，山岛耸峙”---中华文明中壮丽隽秀的山海情怀在小梅沙海滨徐徐展开。我们设计的游客中心名为“舟”游，意以一叶扁舟的形态飘落在沧海碣石之上， 构架起海滨礁石与山峦环抱的遥望互动，同时创造出独特奇异的山石室内空间， 打造独一无二的城市网红客厅。背椅群山，静伏湖面，东临碣石， 以观沧海：“舟”游旨在打造现象级的融合海滨自然风貌与文化内涵印象的城市空间， 给深圳市民与游客带来非凡的周游体验。 “舟”游延续从北部山峦伸入南部海湾的山海廊道走势，巧如一片叶舟勾连起山与海，呈现耳目一新的山海栖息格局。面山一侧， “舟”游缓缓向北飘落地面， 环抱中心人工湖， 与三面山峦相互掩映，打造出亲切的山丘起伏尺度。 朝海一侧，叶舟冉冉升起，大气呼应南边的滨海城市广场，呈现出开放明亮的游客中心空间， 提供观沧海的最佳地理位置。 “舟”游不仅从形式上呼应了山海的关系， 更从内部空间组成上加强了山海的互动格局， 一层串联起海滨沙滩，内部城市客厅，以及北边建筑群的互动。 一层也巧妙延伸到地下商业以及滨水空间，打造出立体互联的微观城市网络与慢行系统。 “舟”游在建筑设计上秉以托物言志的情怀， 在美妙的自然空间下赋予独特的文化精神， 让游客在其中慢慢回味。扁舟屋顶采用诗意的瓦片构成方式， 在材料上开拓创新，采用磨砂反射， 寄托远处山峦叠嶂的自然情怀。 屋顶设计上引入一个开放的观景平台， 由室内延伸室外， 让游客也置身于山峦与天空交相辉映的独特体验。室内空间组成也以山石为主， 山石巧妙地包裹结构，辅助以及私密的空间，串联起城市会客厅，展览厅，报告厅，图书馆等一系列公共空间体系。 楼板与山石层层叠叠， 宛如山云雾海， 从古典人文的诗意画卷里晕染出活力四射的现代公共服务空间。

山舞

虹桥机场艺术装置竞赛

虹桥机场到达区域是城市印象的第一章序曲，在这里，山舞旨在打造一篇充满文化意象，极具沉浸体验感与互动感的艺术空间序曲，揭开美好的人文城市印象。山舞充分结合场地的空间关系，串联起三号门与二号门的流线位置，利用山水起伏的自然人文理念， 巧妙地激活到达区域的空间体验。 山舞在几何关系上起于标准的圆形，结合到达区域人的休息，坐立，穿梭等体验需求， 丰富到达区域等候交通时的活动。山舞时而微起，时而低伏，打造丰富互动空间的同时， 理性地规划了到达区域的休息等候流线，划出安静等候区和中心体验区，提供舒适的等候空间。 材料方面， 山舞采用轻型钢/铝骨架， 便于安装。上半空的山舞采用悬挂的纱网，轻便美观；下半空的山舞采用轻型金属丝网，覆盖与轻型骨架之上。 上下结合，山舞巧妙的结合，如置身奇幻多变的山石意境中，营造出极具体验的充满活力的等候空间。 色彩方面采用中国红， 来点亮等候区域原本稍暗的空间， 让旅客们第一眼被序曲吸引， 走入山舞，和山与整个城市共舞。

University of Southern California School of Architecture  

Topic studio with NBBJ LA studio Jonathan Ward 

Evolo 2014 skyscraper competition honorable mention

VISION STATEMENT

Freeway segregates the city fabrics , causing the urban activity restricted to single area. Vertical towers exacerbate the condition of segregation instead of encouraging integration. The envisioned vertical city ---skyvillage---would bridge over freeway interruptions and connect the four quadrants around 101&110 as one architectural organism. It would boost cultural exchange and urban activities with intense social interaction.

URBAN PROBLEM

Interchange 101&110 broke the urban fabrics into four cultural parts, Downtown, echo park, China town and Temple Beaudry. It segregates rather than connects the city fabrics. 

HYPOTHESIS
Single architecture organism bridging through freeway and reconnects the urban fabrics.

TEST SITE  
Freeway interchange US 101&110
 

The HALL OF ULTIMATE RITUAL

The Ritual and Feast in modern Chinese society

This thesis proposal differs from typical architecture project, in the aspect that it aims to narrate the ironic cultural phenomenon in modern China. The intellectual criticality behind the proposal matters far more than the standard advocation of building the mass.

It continues my fifth year thesis thinking about social spectacle and how that plays into architecture. The examined spectacle subject shifts from pop culture--selfie culture to the contemporary Chinese society---feast culture. It discusses the renewed social value of Chinese, especially in urbanised area. 

The aggregation of programs appears surreal. However, it deeply aggregates and reflects and feast culture in Chinese society. People consider feast no longer as a meal, but as a “serious ritual” to realize their social resources and seek recognition from the immediate social networks.  

The collective value still roots in Chinese culture, urging people to realize their value in others’ eyes. Only through seeking identification from the majority (family, friends and acquaintance), they can be relieved to continue the life journey. Thus rituals work as show time and the only difference is the role of family is replaced by another social network, comprised of classmates, alumni, colleagues and friends. In many cases, details of rituals have faded away and the only thing remained in ritual is the feast. Ironically, thanks to the fact that Chinese has an extremely complicated food culture. The core of ritual and only the core of ritual, identity and feast, is kept in modern Chinese culture.

In modern China, there is a saying “出任CEO, 迎娶白富美， 走向人生巅峰“. The very secular saying corresponds to the three happiest moments in life journey, which also requires the biggest feast: career achievement, ideal wedding and reaching life peak. However, the greatness about those moments is about catering to the majority’s value instead of your own. Everyone lives in the nuance relationship of spectacle and spectator. In the scenario of “the ultimate life hall”, everyone wants to have spectator and becoming the spectacle. Launching the feast is a way to harvest social attentions and collect resources in your networks. 

Thus the ultimate ritual in modern contemporary culture is no longer about the ritual itself, no longer about the details and attentions of ritual activities. The ultimate ritual is the pilgrimage to feast, to vanity and becoming the spectacle throughout the life journey. The existance of the hall would satisfy people’s all vanity about feasts and social expectations. Would they start to treat it as a sacred ritual ,or continue the social spectacle of feasting and showing? Perhaps it is the only way to keep rituals up to date. 

University of Southern California School of Architecture

Comprehensive studio with John Frane 

The design aims to achieve two aspects the inner sensorial atmosphere and the outer relationship to the larger environment of Los Angeles. It aims to create an object in the plains of it as an intense cultural, artistic and public node.

Relationship to Los Angeles

Most Los Angeles building is a pure functional box containing the programs. The interior fantasy and moments seldom reveals to the plains of id. The concept is to challenge the traditional functional box and propose an unconventional form to reveal the inner activities outward. The transformation process is to wrap the traditional gallery box and explode the social programs outward to the urban context. By doing that, the wrapper also deforms from the box shape to reinforce the rotating/exploding effects. The act of exploding and revealing the inside make it an object with an extroverted relationship to the plains of Los Angeles. It is intended to be destination and urban center for cultural and artistic activities.

Sensorial agenda

Iridescent, pneumatic and glowing — attracting Los Angeles public to the particular artistic object in the plains of id.

University of Southern California School of Architecture

Thesis work I humanitarian award nominee

In this golden age of social media, architecture didn’t belong to any single user group or the privileged client who owns architecture. Social media enables the consumption of architecture instantaneously without the limitation of geography and class. Once a selfie or snapshot about this piece of architecture gets posted online, it instantly becomes part of the collective consciousness. Everyone has the privilege to participate, comment and interact with the built urban and architecture space, actively shaping millions of new perspectives with Eiffel tower, the Louvre Pyramid, or the Seattle library etc. The impact is double sided. Valuable architecture also impacts the public and community in a much wider scope not only through the immediacy of physical interaction, but also in its social pursuit and cultural impact on social media. Therefore the thesis projects explore the very prevailing cultural idea of selfies and discuss what architecture could act on the cultural trend.

The first project reveals the cultural phenomenon of selfie and emoticon. The second project began to set up the dialogue between selfie and architectural context. Finally, the third project questions what the contextual/architectural component in selfie could play in defining the characteristics of the our selfies and lifestyles. The criticality of the  project questions the surreal quality of covert surveillance which selfie culture brings about under the open  public space . The selfie control examines the workspace scenario, where surveillance is renewed through the invention of selfie. 

Selfie Control

This project captures the most prevailing culture--the selfie culture in our media age. It explores the impact of selfie to our living habits and speculate on what architecture could actively participate on this cultural trend. Therefore this project--selfie control proposes using selfie as registration system in workspace and how this setting could challenge the traditional static way of working. In this scenario, both workspace ( the architecture) and people are moving continuously to allow the optimal balance of productivity and activity, resources and flexibility. 

蓬蓬山

Proposal for a stadium complex in Milan , Italy

A timeless ramble from seven hills of rome to contemporary arena complex in the nature

Collaborator : Jianing Zhang

Harvard University Graduate School of Design

Fukuoka Project Strategies for Urban Extroverts

Option studio with Toshiko Mori 

The proposal aims to create a cultural playground for Fukuoka citizens. Specifically, it uses the theme of festival--a core cultural asset throughout japan history--to activate the site. Fukuoka has a rich tradition in traditional festivals(Yamakasa, Hojoya ), with festivals going on every month. Moreover, it embraces a variety of contemporary and pop festivals, including film, music ,animation, costume, food , art and design festivals. The concept embrace the past festivals and the contemporary to present a inclusive and international future of rich global Fukuoka culture. The proposal intends to integrate all those disconnected festivals and make it happen on Hakozaki site throughout the year. In this way, the playground becomes a literal festival theme park that allows Fukuoka residents and visitors learn about the unique culture and enjoy the vitality of urban lives. Through transforming the site into a cultural playground, it connects with the existing festival locations and furthermore promotes a festival city line along the Hakata bay. 

The festival ribbon winding through the site would attract more visitors to come to Fukuoka, appreciating the spectacular feature of Festival culture. The central festival procession is flanked by various types of creative studio, workshops and stores , giving the site multiple layer of cultural identities. In addition, it defines different housing typologies adjacent to specific festival programs, giving the site more lifestyle and variety. Together with the festival and residential programs, it creates a lively district for people to celebrate the unique and rich cultures in Fukuoka. 
 

Harvard University Graduate School of Design

Material that Connects: Eco tech campus center
Option studio With Jeanne Gang

The project envisions an “eco tech” hub collocating Sweet Water Foundation and Hive Chicago in Washington Park area. The hub serves as an internet and media station for local teens to come after school or on weekends to learn about digital tools/skills and interact with aquaponic facilities. It also provides space and resources for local high school students to come up with hackathon proposals upgrading urban agriculture with technology. 

The hub also serves as a community party and talk space. It aims to plays as a catalyst and has the opportunity develops into future eco technology campus. It propels intellectual, cultural and industry growth of Englewood community , rehabilitating the neighborhoods through urban agriculture and technology. The material takes inspiration from sweet water foundation PVC fishing and woodshed pipes. The facade and structure utilized local pipe materials including utility poles and polycarbonate pipes. 

University of Southern California School of Architecture

Echo Park Charter High School

Core studio of Jeff Kim

The uplift aims to both uplift the form as a welcoming gesture and to  uplift surrouding communities. The echo park area needs to be educationally uplifted. Through the uplift, the high school opens to the street level,encouraging community  learning spirit.It creates a school communal space from larger LA urban context, while still reinforcing the connection and interaction between the two. The design emphasized on the spatial transition from public space to the private school community. The study and research focuses on private aspects of the school , requiring a private communal space, while other extrovert activities advocate socializing and interacting with public community. The proposal accentuates this goal using specific lifting form, allowing the flow between street community and school community. The outside facade is subtle and humble , while the inside is dynamic and triangulated to highlight the transition from bigger public space to school communal courtyard.

University of Southern California School of Architecture

Housing studio with Eric Mar

The climate shelter aims to provide a communal space for the three researchers to live, collaborate and doing activities together meanwhile enabling flexible private area for individual rest/work. To enhance the collaboration and communication among those three researchers, the shelter is not segregated as three single rooms for each researcher but distributed based on performing activities. The program could be flexibly switched between communal and private use depending on how many people participated in the activities. The working space, for example allows for individual work with accommodation of three people, could also act as communal space when two or three of them want to collaborate there.

For the human need, those three researchers could share communal living space including sleeping space, bathroom and places to cook/eat.

The climate researcher mainly conducts his/her researcher outdoor and the activities include collecting soil samples/measuring temperature.  He would then transfer the date to his laptop in the shelter center in the afternoon after a day’s research. The architect/urbanist mainly requires individual working space to do mapping and related topography research of the area. Sometimes he would also go outdoors to map, investigate the site or study vernacular architecture. The health researcher would mainly survey local residents to learn about the health condition as well as the environmental quality of this area.

Within the aggregation of those multi-face modules, the researchers experience the cycle of work/rest/live and the shift between private and communal space.