Weijia Yu PORTFOLIO

[01] Micropower Field: High-density residential space renovation

[02] Invade: Recoding Commuting Temporality through Three Volumes

[03] Pink: The Narrative of Deconsturuct a Color Label

[04] Expo 2025 China Pavillon —— Fuzzy boundary

[01]

Micropower Field:

High-density residential space renovation

Instructor: Jiarong Yao, Yichang Xu

Summer/2024

Personal Project

The soil environment dependent on soil-basedorganism (SBO) is more wrapped with hard materials. Touching the soil becomes a luxury. Cleansing breaks the symbiosis between the human self and the microbe, and it affects every aspect of personal health. But the promotion of urban space and hygiene habits still creates a human health crisis. Looking back critically at the process of modern urban space production, we will recognize that urban soil space is a more modern indicator of future urban development

Three years of the new coronavirus gradually faded in memory. But disciplined habits continue in our lives. Microbes become "visible" through our perception. We continue to use disinfectants, alcohol, etc. as a barrier to our health. But it's also true that humans and microbes have been symbiotic with each other since the beginning of life.

In the process of the city moving towards modernity, it is also the process of the city moving towards cleanliness. The soil environment on which soil-based organisms depend is more packed with hard materials. Touching the soil becomes a luxury. Prolonged cleansing breaks the symbiosis between the human self and the microbe from the beginning of life, and it affects all aspects of personal health.

Public health is no longer referred to as the health of the individual, but rather the control of social public policy. But the promotion of urban space production and hygienic habits still creates a mass health crisis. A familiar example is the alarming multiplication of allergies, autoimmune diseases, irritable bowel syndrome, obesity, and depression among our young adults. The imbalance of intestinal flora and the deficiency of trace elements is one of the causes of such modern diseases.

Simply put, we need to be close to the soil environment, because soil is the environment that life depends on. Looking back critically at the process of our modern urban space production, we will eventually realize that the urban soil space is a more modern indicator of future urban development. The city will present in a more modern way an ecological type in which humans, microbes, plants, animals and livestock are closely related.

This graduation is a collective proposition study under this premise. To explore the urban space paradigm with soil environment as the background.

SOIL CITY

As the impact of the COVID-19 pandemic gradually fades, our lives still retain past habits of disinfection and cleanliness, which have made microorganisms "visible to the naked eye." However, the symbiotic relationship between humans and microorganisms remains unchanged. The process of urban modernization has led to the covering of soil environments with hard materials, reducing human contact with soil. Prolonged cleanliness habits have disrupted this symbiosis and negatively affected personal health, contributing to a rise in modern diseases such as allergies, autoimmune disorders, irritable bowel syndrome, obesity, and depression. These issues are linked to imbalances in gut microbiota and deficiencies in trace elements. Therefore, we need to reconnect with soil, as it is crucial for life. The development of modern urban spaces should refocus on the soil environment, creating an ecosystem that tightly integrates humans, microorganisms, plants, animals, and livestock. This graduation project aims to explore new urban spatial paradigms based on the soil environment.

LANDSCAPE URBANISM

THE URBANIZATION OF SHENZHEN MAKES THE OUTFLOW OF FACTORIES

Specific information of industry implanted according to the status quo of Futian Village

Invade: Recoding Commuting

Temporality through Three Volumes

Instructor: Yichang Xu

Winter/2024

Personal Project

The Baimiao Checkpoint in Yanjiao, Hebei Province, serves as a physical border between Beijing and its surrounding regions, processing 300,000 cross-province commuters daily through identity verification and vehicle inspections. This results in chronic congestion that often stretches for 2-3 kilometers. This space embodies the dual nature of urban security control and the contradiction of "identity othering" prevalent in the Beijing-Tianjin-Hebei regional development.

Drawing on Henri Lefebvre’s theory of "The Production of Space," the project seeks to critically reconfigure the social attributes of border infrastructure through three parasitic interventions on the checkpoint bridge. The first intervention involves vertically stacking inspection facilities and robotic parking systems, which reveals the inherent "screening" mechanism of the inspection process. A helical ramp guides vehicles to cantilevered detection platforms over the Chao Bai River, while steel-mesh facades embedded with real-time facial recognition screens materialize the concept of power surveillance.

In response to the congestion, the project introduces an open-air amphitheater with corten steel seating into the bridge's most congested section. This civic theater features tensile membrane roofs that project commuter migration data, transforming the space into a night performance stage for spontaneous cultural production, effectively countering the inertia of waiting. Additionally, hydraulic columns elevate an exhibition volume that displays Yanjiao’s urban archives and commuter oral histories. The ground-level informal market fosters dialogue between institutional and self-organized spaces, creating a vibrant community hub.

Through these interventions, the project subverts traditional infrastructure functionality and politicizes space, challenging the prevailing monocentric definitions of urban boundaries. It aims to construct visibility for the "non-capital function" population—those whose labor sustains the operation of Beijing while their existence remains confined within the constraints of ID scanners and security gates.

The Chaobai River is on the border between Beijing and Hebei Province.The Chaobai River Bridge

Notably, the Hebei-administered Northern Three Counties along the Chao Bai River's eastern bank exhibit extraordinary urbanization momentum, with residential development intensity surpassing that of Beijing's Tongzhou subcenter control zone on the western bank. This spatial dichotomy manifests in Yanjiao Town, Sanhe City, where a permanent population of 926,000 resides at 5,678 persons/km² density, in stark contrast to Tongzhou's riverside area at 2,431 persons/km².

CHECKPOINTS ARE ONE OF THE MAIN CAUSES OF COMMUTER CONGESTION

and

for any abnormalities

When entering Beijing from Hebei, you must pass through the

To ensure the safety of Beijing, each vehicle must check its passenger ID card, the trunk of the car, and the cargo of the truck. Its main role is to undertake public security inspections, armed police anti-terrorism, traffic control and permit inspections, over-limit and overload management, etc.

When Beijing hosts major political, economic, and cultural events or during holidays, to ensure the city's safety, checkpoints impose stricter inspections on vehicles and individuals entering Beijing, resulting in more severe

The Beijing-Yuzhou Old Line Auxiliary Road in Luyi Street, Tongzhou District, Beijing is located in Tongzhou District, Beijing, close to X013, Beijing Sixth Ring Expressway, the Beijing-Yuzhou Old Line and G4501. The surrounding transportation is convenient and there are many bus lines.

An amphitheater blooms where traffic stalls, Data flows, stories rise, and silence falls. For those who serve, yet stay confined, Their presence here is redefined. The checkpoint fades, a boundary blurred, In this space, their voices are heard.

[03] Pink:

The Narrative of Deconsturuct a Color Label

Instructor: Yichang Xu

Summer/2023

Personal Project

Pink has a long history and evolution. In the mid-19th century, pink was considered a neutral baby color and was worn by both boys and girls. In the early 20th century, however, this concept began to change. Pink was gradually shaped by society as the color of women, while blue was seen as the color of men. This gendered color classification is deeply rooted in advertising, media and social culture, shaping people's gender stereotypes.

In the mid-20th century, pink gradually became a symbol of women's social circles, associated with traits and tastes specific to women. However, the process has also led to a rethink of gender norms. Women began to challenge traditional gender roles and demand equality and autonomy. This rebellious mood was particularly evident in the feminist movement of the 1960s and 1970s.

In recent years, pink has re-entered the social and cultural sphere and is no longer limited to gender. It became a symbol of diversity and inclusion, representing multiple identities and expressions. Pink has gradually become more diverse, reflecting the progress and evolution of society.

In this exhibition, we will delve into the evolution of pink throughout history and how it has been used in different eras to express and challenge gender and social norms. We will present the multiple dimensions of pink through the lens of art, social movement and identity expression. Hopefully, this exhibition will help you better understand the complexity and diversity of pink colors.

CHECKPOINTS ARE ONE OF THE MAIN CAUSES OF COMMUTER CONGESTION

EXHIBITION MASTER PLAN & VISITOR CIRCULATION DIAGRAM

5 Concluding Hall: The Future Narrative of Pink

was deliberately used to differentiate "girls' toys" from "boys' toys," becoming a tool for gender stereotypes. Through fashion magazine covers, it traces pink's evolution from elegance to sweetness and finally to childishness, reflecting its shifting cultural significance. Through movie posters and stills, it analyzes how pink was used in films to shape stereotypical female roles, reinforcing its association with femininity. Focusing on how consumerism utilized pink as a gender-dividing symbol, the exhibition explores the political, historical, and cultural forces that transformed pink into a color associated with childishness, sweetness, and even evil, ultimately making it a symbol exclusive to women.

DECONSTRUCTING PINK: A JOURNEY BEYOND GENDER AND STEREOTYPES

De-labeling (Promoting Awareness of Diversity)

the Color Pink

spatial exhibition methods

Marginalization in Feminist Design & Restrictions on Male Freedom of Preference

Highlighting pink as a force driving social change, particularly in the realms of gender, identity, and social roles. Emphasizing pink's role in social movements and progress to encourage the audience to think about how to drive further transformation in today's society.

Inspiring Innovation and Reflection

Encuring the audience to rethink their preconceived notions about the color pink. Through innovative exhibition methods, artistic works, and interactive experiences, encourage the audience to consider how pink transcends surface-level labels to become a profound symbol.

Mass Media and Consumer Intentions

In the world of colors, pink stands out as a vivid and captivating presence. It is not merely a hue on the spectrum but a symbol laden with multiple meanings—a label, an emblem, and a mode of emotional expression. Pink is both an aesthetic element and a cultural reflection. Yet, is pink merely a label? In this exhibition, we delve into the multifaceted dimensions of pink, exploring its cultural, historical, and psychological layers to deconstruct the stereotypes associated with this color and reveal its complex and profound significance.

AXONOMETRIC PROJECTIONS & EXPLODED COMPONENT VISUALIZATIONS

The exhibition comprises five halls: a prologue, an epilogue, and three main galleries. A pink corridor threads through them all, evolving with the unfolding narrative. Spatial storytelling is at the heart of the design: undulating floors, a constricting ceiling, and the interplay of light and shadow, all intended to create an immersive sensory experience.

Contrast, removing labels, and eliminating inherent impressions.

Stereotypical Pink Impression Objects

This exhibition explores how mass media influences the formation of latent consumer intentions. Pink, often employed in consumer culture to evoke femininity, sweetness, and youth, can inadvertently reinforce stereotypes. By examining its use in branding and marketing, the exhibition invites reflection on how consumerism shapes identity and desire. It also delves into the tension between personal freedom and the manipulation of preferences, prompting viewers to question the authenticity of their choices in a consumer-driven world. Exhibition Logic

Fixed and free pathways imply multiple meanings; {

Pink Objects with Alternative Meanings

TARGET AUDIENCE

resource for teaching art, cultural, or social science courses.

For families, this exhibition can serve as an educational opportunity to help children understand the cultural and emotional meanings of color.

Since pink is a color that appears widely in our daily lives, the general public may also be interested in the exhibition as it encourages them to revisit and explore the different dimensions of

PERIPHERAL DESIGN

Gallery 2 is an inaccessible space that explores the origins and multifaceted meanings of the color pink. Its inaccessible symbolism reveals the hidden depth and complexity of the color pink’s various valuations.

Through variations in spatial scale, we aim to cultivate an atmosphere of sinister oppression, directly addressing the period when pink was being deliberately constructed as evil, childish, and exclusively feminine.

SPACE MODEL

[04] Expo 2025 China Pavillon

—— Fuzzy boundary

Instructor: Yichang Xu

Summer/2023

Personal Project

The 2025 Osaka World Expo, with its theme of "Designing Future Society for Our Lives," serves as a global platform to explore innovative solutions and envision the future. In a rapidly evolving world, the Expo encourages nations to showcase their unique perspectives on addressing pressing global challenges and shaping a more sustainable and fulfilling future for all. It is within this spirit of innovation and forward-thinking that the design for the China Pavilion takes shape.

For centuries, the courtyard has been a powerful spatial archetype in traditional Chinese architecture and classical gardens. More than just an open space, the courtyard is defined by its architectural boundaries: the solid presence of walls and the permeable transition of corridors. These elements impart distinct spatial characteristics, creating spaces that are alternately enclosed, permeable, or completely open, reflecting a profound understanding of space and its relationship to nature.

"Ambiguity" is a key concept for understanding the multifaceted phenomena shaping our world. By distilling various industrial and lifestyle trends, we can identify two primary threads: the blurring of industry boundaries and the dissolving lines between the online and offline realms. The demand for intelligent and information-driven solutions is breaking down these boundaries, fostering greater inter-industry collaboration. In the context of the China Pavilion, this concept of "blurred boundaries" serves as a central design principle, challenging conventional notions of space and experience within the framework of the Expo's theme.

Do-It-Yourself Biohacking

Ubiquitous Infrastructure

Transparently Immersive Experiences

“Fuzzy” is the core concept for understanding these phenomena. By analyzing industrial and life trends, we can identify two key themes: the blurring of industry boundaries and the merging of online and offline spaces. Rapid technological advancements and a dynamic environment have lowered barriers in traditional industries, fostering integration and deeper interactions. Traditional industry boundaries are no longer clear, and the concept of “fuzzy boundaries” reflects this shift.

Inspired by this concept, the pavilion uses rivers as its central theme, embodying the Chinese philosophy of unity in diversity. The design contrasts solid architecture (Yang) with fluid landscapes (virtual), creating a seamless transition from clear boundaries to integration. Translucent materials soften the walls, enhancing the spatial experience.

DEVELOP IDEAS BASED ON SITE INFORMATION AND CHINESE CONTEXT

Inanimate objects don't really have definite boundaries -- where does a river end and the sea begin?

Weakening the original meaning of boundaries and the sense of constructed presence, accompanied by subtle visual effects, achieves a spatial ambiguity, creating an ambiguous relationship between the interior and exterior of the architecture. Eliminating the sense of distance brought by boundaries enhances the integration of human experience and the building.

MATERIAL ANALYSIS

Building Facade：

Polycarbonate Panels

Polycarbonate panels are exceptionally wellsuited for exhibition use during the World Expo, owing to their strength, transparency, ease of installation, and prefabricated nature. Their semi-transparent characteristics allow light to permeate, showcasing natural daylight during the day and revealing interior lighting at night.

Aluminum

Anodized aluminum is created through an electrochemical process that forms a durable, corrosion-resistant oxide layer on its surface. It offers a variety of colors, a smooth metallic finish, and is eco-friendly.

Inorganic terrazzo

Composed of aggregates such as crushed stone and glass combined with inorganic cementitious materials, inorganic terrazzo is ground and polished to reveal a distinctive texture and shine, offering both aesthetic appeal and lasting durability. Its easy maintenance, design flexibility, and suitability for curved surfaces make it a versatile material.