Half & Half

Half & Half A5

“Dave Hickey discusses differences between taste and desire in Pirates and Farmers: Essays on Taste:
Warhol began with his soup-can paintings and his “Flavored Marilyns”—trademark desires produced in individual flavors to suit your taste . . . But we all have personal kinks, so Andy painted fifty-two Campbell soup-can paintings, each slightly different in its configuration and one painting for every flavor of soup: Cheese, Mushroom, Tomato, Clam Chowder, Bean and Bacon, etc.
He painted about a dozen Flavored Marilyns—or Lifesaver Marilyns, as they were called at the Factory, since the candy provided the colors. All the Marilyns are identical in these paintings, but the backgrounds come in lime, orange, lemon, strawberry, pineapple, and licorice, to suit your taste while fulfilling your desires.
In several exercises aimed at borrowing representational techniques from Andy Warhol’s Flavored Marilyns and soup-can paintings, each participant in the workshop was asked to stake out an architectural conviction in regards to the atrium typology. By working on the problem of seriality in architecture, this atria project is extremely formal, bright, and optimistic.”

 

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#Models

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Workshop #2: Flavored Atria and Architectural Convictions
critic: Jennifer BONNER.

Group Work: Fengqi & Zhe Wang
(Source: http://www.suckerpunchdaily.com/2015/08/20/architecture-itself/)

Corners

Corners

“The workshop is organized around a series of assignments focusing on the relationships between corners, mouldings and surfaces – in relation to architectural representation and material thickness – as well as the Mock Up’s unique position on scale and use of actual building materials. While the developed surface drawing is one example (or one of the best) of the conceptual confrontation with material this course will examine some others that include the intersection and translation of drawing and standard construction materials. Students will work in groups. The workshop leads to the production of an architectural Mock Up (one-to-one scale) of an interior corner condition, a set of architectural drawings, a textual project description and associated project documentation. Removed from its context, the Mock Up of an interior reveals its exterior; we will not fail to consider that side as well.”

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Workshop #3: Other Problems with the Corner Problem
critic: Erin BESLER
Group Work: Fengqi Li, Zhe Wang, Yuchi Kuo, Haner Wang, Karnia Roberts
*Note this text was originally written for a course at UCLA AUD taught in the Winter 2014.

ACADIA Conference 2016_Wall Parley(Jury Selected Project)

Wall Parley 

 

Wall Parley is an exploration of the possible dialogue between users and intelligent environments. Based on Gordon Pask’s conversation theory, dialogue is a “pruned and described entailment structure” which establishes a complex but ordered relationship between unrelated ideas or events. (Pask 1975) The project is a series of prototypes which iteratively develop a cognitive system between humans and walls akin to the manner by which humans communicate with one another by receiving information, processing that information, and then responding.  This participatory engagement between two entities, human and wall, creates a dialogue, an intentional reciprocal commitment for which the capacity of communication by and with the wall can be evaluated.

 

#Prototype

 

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#Theoretical Position

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The aim of this thesis is to harness those innovations to create a dialogue between user and environment. The thesis is not attempting to design a particular building that works perfectly within a specific condition but instead will use architectural elements as a medium for conversation – specifically the wall. It is a visionary exploration into the future – architecture embedded with Artificial Intelligence – a limited investigation of the possible dialogue between human and walls.

 

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#Thinking by Doing

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#”Brain”

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#Design Thinking

 

Ultimately, Wall Parley is approaching the integration of high or strong artificial intelligence (AI) in architecture but is limited to applied AI which operates in a narrow field and produces predictable responses based on processing patterns and programming. (Schrader 2015) Though the wall is responsive as a product of its programming rather than through cognitive recognition, it provides a semiotic medium for envisioning the future where architectural elements act as autonomous intelligent instruments – capable of capturing data, interpreting it, and responding in an interactive manner.  Additionally, it allows for the behavior of humans in the presence of proto-intelligent architecture to be chronicled and informs future software development of the wall.  Forthcoming iterations of Wall Parley will continue to layer the input and output mechanisms of the wall to provide increasing complex and unsupervised responses, encouraging human and wall dialogue, and redefining the reference “like talking to a wall.”

 

References
Adrian, Frank et. al. 2014. c2. November 13. Accessed May 5, 2016. http://c2.com/cgi/wiki?HelloWorld.
Pask, Gordon. 1975. Conversation, cognition and learning: A cybernetic theory and methodology.
Amsterdam: Elsevier.
Schrader, Christopher. 2015. Artificial Intelligence: The Next Leap in Technology. July 28. Accessed May
5, 2016. http://camelsmouth.com/2015/07/28/artificial-intelligence-and-the-end-of-the-world/.

 

Fengqi Li

Thesis Adviser: Prof. Amber Bartosh

 

LIVE I RESEARCH FACILITY AT SYRACUSE, NY- CLIMATE ANALYSIS

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Our site is located on the south of Syracuse Center of Excellence near two main busy highways 1-80 and 1-690.SyracuseCoE opened its Headquarters on March 5, 2010. The HO’s award-winning design is meant to showcase and create a test bed for environmental and energy technologies and building innovations.
This LEED™-Platinum has both laboratory and office space for research and business collaborations on innovative products and services in Syracuse CoE’s core focus areas of clean and renewable energy, indoor environmental quality, and water resources. The vision of Syracuse CoE is to earn international recognition for development of knowledge and products in environmental and energy systems for built and urban environments.

The main concept behind this double skin facade system is to accommodate a naturally lit office space not affected by excessive glare or direct solar gain, and that was adaptable to specific conditions based on user needs and climatic data. There was also the aspiration to develop a media wall system that worked on the solar energy gained from the excessive solar radiation. Integrating these concepts lead to the effectively simple design of a dynamic sensor based louver system that had PV cells attached to it on the sun-facing side that converted solar to electric energy for the LED lights on the opposite face. During periods of low natural illumination, the field condition of LED lights systems took over,  acting as a media wall.  This created both literally and figuratively a cyclic system of day and night, energy and information and natural and artificial light. With the help of operable windows, the system behind the louver screen also allows for natural ventilation by working with other zones of high and low air pressure.

The programs divides to three explicit zones: Research Zone, Residential Zone and Public Education Zone which all together form a research facility providing accommodations for researchers and staff. Research area includes private and open offices with break-out areas. Main programs in residential zone are apartments and guest rooms, gym and game room. The landscape and outdoor facilities accommodate main parts of public education programs.

 

#Air pollution, Wind tunnel, Comfort level

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#Solar Radiation

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#Light Analysis

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#HAVC

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#Seasonal Interior Light Analysis

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The main references for developing this system was the Green Pix Zero Energy Media Wall at Beijing, 2008 by Simone Giostra partners and architects and the renovation project of Las Palmas at Rotterdam, 2009 by Benthem Crouwel Architekten. The former was a double skinned facade system on a hotel structure, where the exterior glass curtain wall contained patches of PV cells that had the dual advantage of diffusing natural light into the interior space and harness solar energy. This energy was stored up in a battery system that then lit up the inner skin of low-resolution LED lights during the night. It acted as a public venue and projected the work of some media artists during the Beijing Olympics. Las Palamas was a renovation project. The south facing facade led to excessive glare in the interiors of the townhouses, and the architects came up with the solution to use an aluminum louver screen. The unique aspect of the project was that each louver was customized to have an elliptical shape that allowed bouncing indirect natural light into the interior space while keeping out the direct solar gain.

Group Work
Program Distribution Analysis
Lighting Environment Analysis
Wind Tunnel Analysis
Solar Radiation and solar Angle Analysis
Louver-LED Interactive Facade Design & Animation
Mechanical Distribution
( Diva, LadyBug, Revit, Vasari, Rhino, Cinema 4D, Adobe Suite)

Fengqi Li, Yang Song, Vivek Vijayan Njanappilly, Pouya Zhand