PORTFOLIO BYLIYA ZHU

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A TWISTType:Residential QIAOPING House For Muti-Family

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The project is for a publicly acces-sible copy of the State Archives of Venice, which contains the world’s most comprehensive historical records of 700-1800AD. In addition to the 56 miles of shelving required to house the collection, the project also includes space appropriate to a new cultural center as a meeting place for Venice.

This new Public Archives is to be made as an “addition” to Le Corbusier’s Venice Hospital, designed in 1964, on the western waterfront in the San Giobbe neighborhood in northwest Venice. The hospital, largely dedicated to the care of acutely or teminally ill patients, was organized on three levels. Le Corbusier developed lignting bars, the unique pin-wheeling circulation diagram for the hospital, as well as the layered “mat” building, from his studies of the urban fabric of Venice.

1PUBLIC ARCHIVES: An Addition to Corbusier’s (Unbuilt) Hospital, Venice

BottomTranslucent and solid bars hanging above water

Right topSite plan

Concept for Archives

(1) Corb’s bar language

Let bars directed by the traffic direction of the canal extending from road to water.

Translucent bars are for lighting between shelves. Solid bars are for small quiet reading in-between lighting bars. Some go down more to the water to become bigger public places for reading or discussion.

1 Corbusier’s hospital2 New Archives

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1 Corbusier’s hospital2 New Archives

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Left TopAlong canal traffic

Left BottomAn auditorium on land is a beginning. Top of auditorium is entry hall for archives which are upstairs above water.

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(2) Venizia lives play with water

Columns in hospital are dense and thick. The archives is much lighter than hospital with bars in a different language hanging above water.

Imagine when people inside reading in hanging bars above water, people outside boating on lagoon between up-and-down bars and reflection. It’s only through water they see more of architecture.

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Water Level Plan Mezzanine Plan Third Level Plan Main Entry Level Plan(Second Level)

1 Entry2 Reception3 Auditorium4 Prepatation5 Entry Hall6 Information7 Terrace8 Discussion9 Archive Shelves10 Reading11 Bathroom12 Office13 Map Presentation14 Water (Outside)

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TopPeople in entry hall on 2nd floor can see bars up and down above water outside.

MiddleSection B-B 1 discussion2 Archive shelves3 Courtyard4 Entry Hall5 Auditorium6 Terrace7 Corbusier’s Hospital

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2ART MUSEUM, ST.LOUIS

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The new art museum is sited in downtown near the Mississippi River and the Eads bridge - the oldest bridge at St. Louis.

The block surrounded by two bridges and two roads is constantly flowed with cars, metrobuses, trains, as well as visitors from downtown and the other side of the river. Buildings here are all as old as St. Louis, but perform new functions instead of industrial use as hotels, bars, shops, casino, and offices. However, There is nothing except one vacant three- rise parking biulding. People come and stop before they arrive at the riverfront to admire the bridges over the river and the old freight train rail above ground. Waterfront is wasted.

In this project we want to bring people further to the beautiful riverfront. The empty place would be for art exhibition combined with big public space. The site already has some public art installed and a too small art gallery.

One flow of art exhibition is along the bridge to bring people to the river. One flow of public space is in the direction of river flowing.

1 Art exhibition2 Public space3 Old parking building4 Mississippi river5 Bars & offices6 Bars & shops7 Hotel8 Eads Bridge

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CONCEPT MODEL -FLOW

It starts with trying to show “flow” phisically with rubberbands.Then after inserting wood pieces of different shapes, “flow” begins to change.

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INTERVENTION

Looking through the side of the model, in- between screws. - It would be the language of the new project. Exhibition, stairs and places for rest intervene flow of people.

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Ground Floor Plan

1 Entrance Hall2 Temporary Exhibition3 Storage4 Office5 Conference6 Kitchen

7 Public Deck8 Coffee-Bar9 Eads Bridge10 Existing Parking11 Mississippi river 25’

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It’s raised above ground to let a road go under it. The north part of it has an entrance for exhibits loading in, the south part has an independent entrance too as a public deck.

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12 Auditorium13 Art Studio14 Exhibition15 Library16 Big Stairs17 Shop

Third Floor Plan 25’

Second Floor Plan 25’

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Studios for artists on the left are more solid structuralwalls along the the oldest bridge’s direction to show respect to the bridge;more light and transparent space for exhibition and public use are on the right along the river’s direction.

Space between studios and exhibition space is a “gap space” which can provide better privacy to artists and also reminds people of the gap space between studios and the old bridge.

Top Entry

BottomElevated to let trains and cars go through

Roof Plan 25’

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Top leftStairs in “Lines”

Top right“Lines” as part of the exhibition

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Section B-B 25’

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The studio will explore the concep-tual implications of surveillance systems and develop design strate-gies influenced by these technolo-gies. Then students will investigate representation strategies to explore the spatial implications of dynamic systems in relationship to site issues.

Research on NSA

(1) NSA is usually located in the middle of nowhere hidden from public because of the communica-tions security. An official once said about the "never-existing" puzzle place, "The most profound tech-nologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from it."

(2) NSA is good at electronic eavesdropping, but is it good at making proper use of information they get? There are a lot of intelli-gence failures. The aura of respect-ability makes them pay more attention to secrets and less to eloquent arguments and evidences that lie under their noses. After going through many failures they begin to get confused about what is true, the apparent or the secret. NSAer is listening and finally he gets deaf, which means, the better u are at collection, the harder it will be to do good production.

(3) Privacy on the line is a very sensitive topic. Some say security is bigger than privacy most of the time. We have nothing to hide, so why should we worry about privacy? "Think of insects, and you will start to itch; research signits, you'll become a little paranoid. The discomfort is more instinctive than intellectual." (4) Schizophrenia is usual for some NSAers. The cause is that, on the institutional level, secrecy can corrupt bureaucracies and mask mismanagement and incompetence, and on the individual level it can corrupt identities, creating a profu-sion of secret lives and leaving nothing free of its taint. Once an official said that "The more I read about classification and security at the NSA, the more it seemed that the life of an individual working in signals intelligence is of necessity, a fractured one, a life split into discrete parts."I really like the "Frost Wedging" theory: Most rocks have tiny wracks and fissures running through them, and when it rains, water seeps into these joints. As the temperature cools, the water freezes and expands and ruptures the rock from within. Similarly, secrecy can filter into a life and harden into routine, eroding a coherent identity and resulting in a profusion of different and discrete personae.

We collected so much about NSA from books, but NSA is still like a

3SURVEILLANCE AGENCY

LeftRumor has it that at least 1,500,000SF part of NSA is underground in St. Louis near the river.

AboveWe drove to the site and couldn’t get close.

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central void. It’s too difficult to get close enough to see clearly, although we know that it’s definitely connected to our daily life.

My NSA

I begin to think about creating my NSA from discrete parts. The fractured whole would be a mem-brane structure enclosing a huge void.

Firstly basic modular unit is hollowed then mirrored to have multi- directional development potential.

adaptive surveilance infrastructure in which building units respond to the huge amount of mystic ever-changing information they collect. Architectures’ role in this scenario is to provide a transitive ground upon which exchanges and understanding of NSAers can play themselves out, producing a dynamic system of the background. This system is the performance of a highly intelligent tectonic one without a definition of its own. Linkages and voids conserve and sustain the balance of the system, which would otherwise disappear into the existing fabric of our daily life.

Then a single wire is used to study the performative logic of possiblities, which include scalar transformation, extention, bifurcation, twist, squeez-ing, and looping. As this technic unfolds, open and enclosed spaces are created and modified from unit to unit, producing an adaptive and morphologically flexible structural membrane field.

This field begins to suggest a reading of my NSA as an equally

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Site topo lines

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Extended exterial view of “never- existing” NSA weaving into topography

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