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CONCEPT

CONTEXT

Ke Huang M. Arch. in Clemson University School of Architecture

CONCEPT

CONTEXT

Context has always been an important consideration in my design to balance the Concept.

USA Clemson University Clemson, SC, USA

New York City, NY, USA Asheville, NC, USA

Barcelona, Spain

CHINA Shenzhen University, Shenzhen, Guangdong, CHINA

Contents Pre-architectural Design Training 1 3-Dimensional Color - Spaces of [de]composition 2 Lifted Domino - Spaces of [de]acceleration 3 Part: 1 Illusion - [De]mystification of Zaha Hadid Architectsâ€™ Summer Pavilion at Serpentine Gallery, London, UK, 2000 Part: 2 Continuity - [De]construction of Zaha Hadid Architectsâ€™ Summer Pavilion at Serpentine Gallery, London, UK, 2000

6 8 10 12

Landscape Design Footscape

Landscape Design for Lexington Avenue, Asheville, NC, USA

Backyard Boqueria Landscape Design for Gardunya Square, Barcelona, Spain

14 20

Architectural Design Transparent Dialogue Architectural Design for the Kunsthal in Chelsea/High-Line, Meatpacking District, West 19th-20th St., New York City, NY, USA

Other Works From Form to Architecture - Visualization Sky Image: Shenzhen VS Beijing - Photography A Way to Express - Fine Arts

36 38 40

Pre-architectural Design Training 1 3-Dimensional Color - Spaces of [De]composition 2 Lifted Domino - Spaces of [De]acceleration 3 Part: 1 Illusion - [De]mystification of Zaha Hadid Architectsâ€™ Summer Pavilion at Serpentine Gallery, London, UK, 2000 Part: 2 Continuity - [De]construction of Zaha Hadid Architectsâ€™ Summer Pavilion at Serpentine Gallery, London, UK, 2000

1. 3-Dimensional Color - Spaces of [De]composition Type: Academic Tutor: Douglas Hecker Time: Aug 2010, 5 Days Individual Work Assignment Description: Students are presented with a basic exercise to ‘decompose’ a chosen Painting and/or Drawing by segregating and separating its elements from the 2D, to then ‘blow-up’ the composition into a new 3D spatial diagram, however keeping the different fragments’ 2D qualities.

“Suprematism With Eight Red Rectangles”, by Kazimir Malevich

In the physical model, I try to express this psychological phenomenon about dreaming, using Kazimir Malevich’s painting “Suprematism With Eight Red Rectangles” as a prototype. Rather than de-compose the shape, I try to de-compose the color. I verticalize the geometry into different depth and put the red color inside instead of showing out. Thus, you cannot see the color unless you rotate the installation to a certain angle.

6 | Portfolio of Ke Huang

Poetic Experience: Stimulate the experience of DREAMING via physical model “The poetic image is a sudden salience on the surface of the psyche…” -- Gaston Bachelard: <The Poetics of Space> I feel the same that our perception comes out very fast, and disappears very quickly as well. The feeling is similar to that if you didn’t write down what you dreamed last night, you could easily forget the impressive dreams. In the model, you can see the red colors from an angle, but when you want to see more clearly and try to rotate the model, the red colors gradually disappear. It is similar to the process of recalling the dream we had last night, the harder you try to recall it, the faster it disappears.

Rotate

3-Dimensional Color Pre-architectural Design Training | 7

2. Lifted Domino - Spaces of [De]acceleration Type: Academic Tutor: Douglas Hecker Time: Aug 2010, 7 Days Individual Work Assignment Description: This exercise involves a similar de-compositionof a chosen Installation, by segregating and separating its different elementstowards a modified spatial order when it comes to height and depth for each of the fragments, thus creating a new 3D spatial composition, and further merging this new composition with the previous 2D ‘exploded’ composition.

Human Scale: People can Reach the Top Panel

“The 1370 foot tower… makes the complexity of the city readable…” -- Michel de Certeau: <The Practice of Everyday Life>

Contrast between Rough and Smooth Texture

Photo taken on the top floor of the Empire State Building, NYC, USA

To make my design more readable, I attempt to make the space playable; I introduce the concept of “Domino”, so that you can “play” with the installation. Also, the “sudden” experience brought by the change of color comes continuously from my former concept of 3-Dimentional color.

8 | Portfolio of Ke Huang

Playale Vertical Domino

The Panels can Diffuse the Red Color or the Wood Color depending on the Position of the Light

Elevation

Plan

Lifted Domino Pre-architectural Design Training | 9

3. Part 1 Illusion - [De]mystification of Zaha Hadid Architects’ Summer Pavilion at Serpentine Gallery, London, UK, 2000 Type: Academic Tutor: Douglas Hecker Time: Sep 2010, 2 weeks Partner: John Bartlett My Role: Physical Model, Drawings, Photography Assignment Description: This design exercise progresses into the choosing, analysis and dismantling of an Architectural Pavilion (or ‘Para-architectural’ construction); by reproducing via producing a (scaled 1/8” = 1’) model, to then perform multiple cut sections of it, isolate the pieces, understand the assemblage; and finally re-construct a different ensemble, as a parallel derivative structure ‘spinning off’ from the original.

East Elevation

Cross Section

South Elevation

Longitudinal Section Summer Pavilion at Serpentine Gallery, London, designed by Zaha Hadid Architects

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Floor Plan

Illusion Pre-architectural Design Training | 11

3. Part 2 Continuity - [De]construction of Zaha Hadid Architectsâ€™ Summer Pavilion at Serpentine Gallery, London, UK, 2000 Type: Academic Tutor: Douglas Hecker Time: Sep 2010, 2 weeks Partner: John Bartlett My Role: Physical Model, Drawings, Photography

West Elevation

North Elevation

Floor Plan

Model: Process

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Section 1-1

Model: Result

Section 2-2

Section 3-3 Continuity Pre-architectural Design Training | 13

Footscape Landscape Design for Lexington Avenue, Asheville, NC, USA Type: Academic Tutor: Douglas Hecker Site: Asheville, NC, USA Time: Oct 2010- Nov 2010 Partner: John Bartlett My Role: Concept Creation, Concept Development, Presentation, Physical Model, Digital Model

Research N

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Site Location

3 The site is located in downtown Asheville.

Sidewalk

Art Intervention in Asheville

In Asheville, or even in the US, the sidewalk is not given enough emphasis: The materials it used are not good for drainage and it fails to offer an intimate atmosphere. It is like a "Fast Food".

"Art Intervention" is a feature of Asheville. Interesting art activities can easily be found on the street.

Desgn Consideration What if we utilize "art" as a media, and the sidewalk as a base, to re-construct the relationship between the people and the sidewalk space?

Concept: Footscape We propose the concept of â€œFootscapeâ€?, which is a way of rethinking the pavement. We study the pavement, trying to use it as a media, which can help people pay attention to their feet and their experience on the street. We apply the pavements with color and/or vegetation (which can help absorb water), to change the parking space to park, to indicate public space, to create various urban furniture, to encourage social activities on the street, also to create different platforms for passersby and art performers, etc.

Concept Diagram

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+ +

Public Parking around the Site Public Parking within the Site

Change the 3 parking lots to 3 parks, each of which are identified with a theme.

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Since there a=have been more than enough parking space around Lexington Avenue, we Propose to remove 21 on-street parkings, and increase serveral bumpouts , to expand the sidewalk space, in order to hold more street activities.

Pavement Transition Detail 1

Plan

Pavement Transition Detail 2

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Color Stone Block

Grass Pavement Block

Grass Music performer is playing Guitar in the morning. Passerbys on the street stop by and participate in it.

Function Analysis 72% of the shops along the street are retails, in which there arenâ€™t any seating areas for visitors usually. While 28% of the storefronts are restaurants or bars, which means that visitors have to consume something in order to take a seat or have a rest inside. Since Lexington Avenue is an important shopping street, is it a chance that we can offer some spaces for visitors to have a rest and socialize with each other on the street?

Retail 72%

FOOD AND BEVERAGE 28%

Footscape Landscape Design | 17

Bird's Eye View of North Lexington Avenue, Asheville, the north parking lot changes to a park.

WOODFIN St

Pavement Pattern In the design, PAVEMENT is the basic element. Various combination and variation indicate the public spaces. Also, the pavements help people concentrate on the relationship between the foot and the ground, and at the same time enhance the walking experience.

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Urban Furniture

Information Board

Section 3-3

Street Chair

Street Table

Section 2-2

Street Shelter

Street Wave

Street Stage PATTON St COLLEGE St

WALNUT St

Section 1-1

Street Stand

>>>

Footscape Landscape Design | 19

Backyard Boqueria Landscape Design for Gardunya Square in Barcelona, Spain Type: Academic Tutor: Douglas Hecker Site: Barcelona, Spain Time: Nov 2010- Dec 2010 Partner: John Bartlett My Role: Concept Creation, Concept Development, Presentation, Digital Model

Research

Concept: Backyard Boqueria

Location and Site Feature

1 Function Extension

Boqueria Market

Restaurant Area

Open Space

Sunken Square

Cafe Area

Restaurant Area

Open Space

Sunken Square

Cafe Area

The site is located right behind the Boqueria Market, which is one of the most famous and oldest market in Europe. And the site is almost buried by a group of buildings.

Delivery Route and Pedestrian Network 2 New Topography Boqueria Market

Boqueria Market

View

SITE

Site

Boqueria Market

Flat Ground Delivery Route

Delivery Access

Pedestrian Network

Pedestrian Mixed with Vehicle Traffic Pedestrian Only Abstract Pedestrian Flow within Boqueria Market

The roads around the site are one-way roads. Social traffic and delivery traffic mix together now. And in the Boqueria Market, visitorâ€™s flow is like a circle, they donâ€™t usually pass the market to the site. View

Potential of the Roof of the Boqueria Market

Site

Boqueria Market

Topographic

3-6m

? Site

3 Roof Utilization

4m Vie

The Boqueria Market is about 10m high. Right now only the 4-5m space from bottom is utilized. What about the rest 3-6m space?

Site

Boqueria Market

Design Consideration

View

Su n Sp ken ac e fe Are a

Re s Are taura n a

Difine 4 main Stripe Areas as continuation from the market

Apply the pavements for the 4 Areas, integrating them together as a whole

Verticalize the Stripe Space, Creating Space for the Different Functions, and contine the waving elements from the ceiling of the market to the site

Form the Interior Space and Adding on the Waving Urban Furiture

From the research, we find that the site is almost buried by buildings, which makes people hard to recognize the site. However, since Boqueria Market has already been very familiar with the visitors, what if we think of the site as the BACKYARD of the market, as part of the Boqueria Market, so that when people go into the market they can easily recognize the site and use it?

22 | Portfolio of Ke Huang

Physical Model

Boqueria Market

Delivery Truck Entrance

Delivery Truck Exit Waving Furniture

Waving Furniture

Cafe

Restaurant Waving Shelter

Sunken Square Water Pool

Social Traffic Exit Social Traffic Entrance

Master Plan

Backyard Boqueria Landscape Design | 23

Southeast Elevation

Southwest Elevation

Section 1-1

Section 2-2

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Design Analysis

Boqueria Market

SITE

Delivery Route

Delivery Access

Pedestrian Network

Pedestrian Mixed with Vehicle Traffic Pedestrian Only

Social Traffic

Abstract Pedestrian Flow within Boqueria Market

Improved Delivery Route and Pedestrian Network

8:00 am-8:30 pm 8:00 am-10:00 pm

8:00 am-11:00 pm 8:00 am-00:00 am

New Business Hours within the Boqueria Market

We put the entrance and exit for the underground parking to the southwest tip of the site, and put the delivery route underground (the exit and entrance are located in the northeast tip of the site), so the traffic only occupy two edges of the site (the southwest one and the northeast one). Thus, we can open up the other two edges of the site, allowing more public space for the visitors.

We re-arrange the business hours within some part of the market, mainly along those which have restaurant functions and the main access to the site, for the sake of extending the function among the site, the Boqueria Market and La Rambla street, so that when the market is closed, people can still use the site, enjoying their beer, their meal and so on.

Layers 1 Waving Urban Furniture

Waving Landscape (Steel Structure with wood/ stone cladding)

Boqueria Market

Restaurant

Cafe

Ground Floor

Boqueria Market

Waving Urban Furniture

Cafe

Waving Furniture

Underground Parking Level 1

Restaurant Rest Space under Waving ShelterWaving Shelter

Sunken Square Water Pool

Underground Parking Level 2

Elevator for Goods Delivery

Underground Parking Level 3

1st Floor Plan Backyard Boqueria Landscape Design | 25

Transparent Dialogue Design for the Kunsthal in Chelsea/High-Line, Meatpacking District, West 19th-20th St., New York City Type: Academic Tutor: Armando Montilla Site: New York City, USA Time: Jan 2011- Mar 2011 Individual Work

New York City Perception

100 11TH AVENUE

IAC BUILDING

MOMA

Site

IAC BUILDING and 100 11TH AVENUE: Unexpected Reflection MOMA: Play with the Dialogic View NEW MUSEUM: Interesting Insertion into Urban Block

IAC BUILDING & 100 11TH AVENUE

Manhattan Island, NYC

NEW MUSEUM

Site Analysis Study on the Connection between the High Line and the Existing Building 2

Site Location

3 Site High Line

Type

Positive Factor

Negative Factor

1 Cross through

Provide a sheltered space which has a potential to hold various activities

Have no access to the building from High Line level

2 Attached

Thanks to the transparent glass window, peopleâ€™s sight can penetrate into the building, somehow knowing what is happening inside

Have no access to the building from High Line level

3 Connected

Offer infrustructure such as WC and staircase(linking ground floor and High Line level )

No public programs for people to engage with

Site Characteristics ->The site is near High Line. Visitors are very possible to enter the Kunsthal from the High Line Level ->This area is not as popular as other areas such as 5th Avenue in NYC, but it has become more and more open and attractive to visitors since the High Line is built.

Design Consideration How to connect the High Line becomes the main issue of the design. 28 | Portfolio of Ke Huang

Concept:

Transparent DIalogue

What if we provide a transparent dialogue to this site? Rather than thinking the kunsthall as a separate building adjacent to the Highline, we can actually think it as part of the open space system created by the Highline. Therefore, I divide the building vertically into 2 parts , the upper volume (mainly for exhibitions), and the podium volume (mainly for services) and insert the public functions such as cafe and restaurant in between these two volumes.

View

30 ft.

26 ft.

View

30 ft.

26 ft.

Strategies Dialogue between the Kunsthal and the Highline: Transparent Connection

I create a big platform on the highline level as an extension of the open space from Highline, and design an open space stripe from the ground floor to the platform and to the rooftop garden.

Dialogue between the Kunsthal and the City: The City as an Exhibit There are several balconies specially designed within the kunsthal, offering new ways for the visitors to observe the city through different angles, and at the same time being observed as well. View Interaction Various View

Dialogue between the Kunsthal and the Visitor: The Visitor as an Exhibit The inclined glass walls within the kunsthal can create interesting reflections of the visitors themselves as they look at those glasses. As a result they can see an either distorted or blurred or erratic, etc. themselves through the reflective materials, seeming like they are the authors of those interesting art works.

Mirror/ Glass Cladding Mirror/ Glass Curtain Wall/ Glass Cladding

Glass Curtain Wall 7째

Transparent Dialogue Architectural Design | 29

Function Distribution

Exhibition Exhibition Exhibition Outdoor Platform

Restaurant Lobby

Auditorium

Shop/ Cafe

Office Classroom/ Workshop

Circulation

Site Plan

HIGH LINE

Visitor Circulation

Staff Circulation

HIGH LINE

South Elevation 30 | Portfolio of Ke Huang

North Elevation

HIGH LINE

East Elevation

Office Lobby

Office

Workshop

Storage

Classroom

Open to Above

Auditorium

Auditorium UP

Stepping Seat

DN DN Open to Above

Lobby

DN DN UP UP

Ground Floor Plan Level +0.5’ - Auditorium - Workshop - Classroom -Relaxation and Education

Second Floor Plan Level +13’ - Auditorium - Office - Administration

Transparent Dialogue Architectural Design | 31

Shop/ Cafe DN

Outdoor Cafe Area

Kitchen

Stepping Seat

Restaurant

Reception & Clothes Storage

HIGH LINE UP

DN DN

DN UP

UP DN

Lobby

Open to above

Platform UP

Third Floor Plan Level +26’ - Lobby - Shop/ Cafe - Connectivity and Activity

Fourth Floor Plan Level +43’ - Restaurant - Relaxation

Balcony

Exhibition Area

Specialized Exhibition Area UP

Specialized Exhibition Area

DN UP

Open to above

Balcony

Fifth Floor Plan Level +56’/ 57’ - Exhibition - Cityscape Interation 32 | Portfolio of Ke Huang

Sixth Floor Plan Level +73’ - Exhibition - View Interation

Seventh Floor Plan Level +93’ - Exhibition - Skylight Engagement & City Spectatorship

Layers Rooftop Garden

7th Floor, Specialized Exhibition

Section Detail 6th Floor, Specialized Exhibition

Glass Curtain Wall

5th Floor, Specialized Exhibition

Blind

Cross Section

4th Floor, Restaurant

Reflective Material Reflective Glass Curtain Wall 3rd Floor, Lobby, Shop/ Cafe/ Outdoor Platform

Reflective Material

2nd Floor, Office and Storage

1st Floor, Auditorium, Storage, Workshop and Classroom

Longitudinal Section

Perspective View from 10th Avenue

Ai Weiweiâ€™s Art Show on 7th Floor

Band Show on the Outdoor Platform On 5th Floor, the City as an Exhibit

Balcony on 7th Floor

Transparent Dialogue Architectural Design | 33

Other Works From Form to Architecture - Visualization Sky Image: Shenzhen VS Beijing - Photography A Way to Express - Fine Arts

From Form to Architecture Visualization 1 Form

2 Skeleton

3 Skin

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4 Physical Model

5 Architecture in the Urban Context

From Form to Architecture Other Works | 37

Sky Image: Shenzhen VS Beijing Photography

Sun

Mon

Tue

Wed

Thu

Fri

Sat

Jul.20-25 2009

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Jul.26-Aug.1 2009

Aug.2-8 2009

Aug.9-15 2009

Aug.16-22 2009

Aug.23-29 2009

Aug.30-Sep.5 2009

Sep.6-12 2009

Sep.13-19 2009

25 Days in Beijing

99 Days in Shenzhen

Blue Sky: 5 days (20%) Grey Sky: 20 days(80%)

Blue Sky: 74 days (75%) Grey Sky: 25 days (25%)

These photos were taken every day between 8:00-8:30 a.m., mostly in Shenzhen as well as 25 days in Beijing.

Sep.20-26 Sep.27-Oct.3 2009 2009

Oct.4-10 2009

Oct.11-17 2009

Oct.18-24 2009

Oct.25-31 2009

N o v. 1 - 7 2009

Nov.8-14 2009

Nov.15-20 2009

Sky color was unique in the different cities. Throughout this process of recording the sky image, I found that the color was somehow expressing the city's mood: blue stood for "happy", whereas grey meant "depressed". Sky color influences human's feeling, while at the same time human's activity also greatly affects the sky color. Sky Image: Shenzhen VS Beijing Other Works | 39

Original Size: 28.8cm x 21cm

40 | Portfolio of Ke Huang

A Way to Express Fine Arts

Original Size: 37.5cm x 26cm

A Way to Express Other Works | 41