ZIFAN LIU 刘子凡 / bbbliu@hotmail.com

Competition Entry
Finland 2014

The guggenheim museum is located at the edge of the helsinki’s south harbor. With a mission to create a lively art and cultural environment as a extension of the city the new museum is situated angled on the site in order to pick up the historical helsinki urban context while also providing a dynamic and spacious public area over the waterfront.

The building massing is formed by one side as a continuous surface that wraps all the programs while the other side divides them into components and outlined a familiar scale and proportion of the helsinki city blocks. The shell is a tangible solid form that face towards the city blocks, on the other side it opens up towards the sea as glazing . The public programs are located along the open side as it requires more directly light and it also buffers the lights for the gallery spaces. The volume is poked through in the middle in order to get more connection to the city, also to draw people towards the water and experience the architecture as part of the city landscape.

The entrance level is lifted 6 meter above ground. The entrance lobby provide a spectacular view over the sea once people get to the lobby throw a set of escalators. The dinning area, cafe and gift shops is located on the entrance level. The main circulation of the museum is a set of escalator centrally located on every floor that connects the south and north wing of the museum. There are also alternative access that provide a local and flexible connection between different floors and spaces. Floor to floor height is slightly increased when it gets higher which defines different galleries and public spaces. On the top floor there are private gallery spaces where people can also hold private parties, charity events or auctions. The skylights on the roof top added a dramatic bright scenario of the top floor gallery and the central public space and also buffers the light to provide control able visual friendly environment in the interior space.


Client: Private
390 sqm
Shanghai 2014

The studio is located in a lined up warehouse in north east shanghai. The site condition is roughly a 20m*15m* space with two triangle truss supporting the roof with skylights. It is a work place for the artist creation of large size paintings and sculptures and also a alternative place to live.

the design is intended to minimize the use of space, leave as much area as possible to be empty for work. so the living units and the storage space is pushed to the north end of the loft, and angled to keep the window downstairs in the kitchen area. There is large enclosed storage space beside the stair case, where the artist can store the frames and paintings. on top of that is a living room and a bed room.



New Contemporary Art Museum

Competition Entry
Argentina 2012

Being an important economic center, as the capital of Argentina, its architecture is a combination of different styles which gives it a unique architecture beauty. In the new, fast-placed globalized information age a single iconic image would be inadequate. A !@#$%^&* is more appropriate to celebrate/ capture the fluid reality of today's eclectic immersive experience. This new contemporary art museum can be consider as a mass that could suggest many figures. This kind of figure assemblies is a way to indicate or reflect the city's diversity. It will be different to each visitor and from each point of view. Encouraging the broadest possible range of interpretation by avoiding a simple subscription to any one.
An Incongruous Assembly

Instructor: Marcelo Spina

The majority of contemporary architecture is interested in concretizing a certain idea of form. While almost every attempt of making architecture seems Largely rely on either a typology of shapes or a rhetoric of complex geometry. It has become a mechanism of control in contemporary architecture design. No matter how sophisticated the techniques are, the form still exists as an underlying framework, static and rational.

In my thesis, I propose a more expressive, decidedly intuitive way to abstract and dilute the ideas through letting go the control of the overall form but exploit the unintentional and exaggerate it through unreasonable fantasy. Indulge the overwhelming and unrelated strands of thoughts can lead to the absurd and maybe if possible, an unpredictable assembly as an outcome.
Instead of balanced, elegant and skillful , I want to produce disproportionate, absurd and raw as a unique sensibility to both the content and the form. yet still in a very sentimental context.

West Hollywood Public Library
Instructor: Marcelo Spina

Long concerned with the articulation of form by means of volume to mass, and way beyond a contemporary threshold of hyper articulation, the discipline seems to be at a critical juncture by having to choose between polar opposites: to continue the search for more complexity via the willful sculpting of soft surface, or to return to a fundamental purity by the articulation of simple platonic volumes.

The problem with figuration in contemporary design is not excess itself, but the erasure of actual and perceivable figure as a result. can figuration be attained at the level of mass and volume without defaulting into fragmentation and collage? what is wrong with collage in the first place?

Turning its attention towards both primitive and figure, the studio's intention is to generate new cumulative mass and interstitial networks. based on a simple logic of aggregation and growth of self-similar primitives, their formal accretion will promote a diversely unified spatial atmosphere that defy the distinction between holistic and discrete, figure and figuration. with emerging and ever-shifting number of massing configurations, group outlines and individual silhouettes as possible outcome.

Consequently, the studio aims to challenge classical conventions of typological composition not by completely disregarding type, but by evolving its DNA through mathematically based and intuition driven formal operations. "figuring math" is as much about the mathematics of form and materials as it is about the necessary intuition associated to their formation. To be very clear, the studio is not interested in a dogmatic or pseudoscientific reliance on modular self-similar structures and their consequent formally stable mathematical expression, but in a rigorous and playful examination of these systems and their capacity to instigate the appearance of new, unseen or even rare forms of expressions that are themselves embedded with a deep underlying order.

omotasando fashion museum

this design is an research and study of having a project of lines instead of a project of surfaces. The super dense refers to the city context, the contrast between the building and the surrounding, the program and the challenge of how to create a space built by lines. Beyond the boundary of the structure, membranes or envelopes, this design merges them together while providing an efficient space in the dense of tokyo. The thickens of the strings wall create an buffer space from the outside, it also support itself as well as the lateral force of the building and provide a column-free space for the museum. its not a surface, but it create a strong felling of surface by having a super dense pattern and hierarchies.

the strings system describes how the pattern transfer from the facade into the building and depart the space. Also it shows a serial of variations in terms of scripting to generate different patterns. We used different methods to control it ranges from density, orientation, thickness or color. We could control the density or the thickness in order to create a pattern of more or less transparency or even a solid facade to response the environmental interaction. We designed the way that the strings were generated and build the bounding box as a volume to contain the strings. The unpredictability of the scripting create variations of density in certain area and some part of it just fade out and become the access between different spaces. More particular for this project, it is more important to research how to apply the technique scripting-wield onto the integrated building rather than explore how the strings could operate architecturally.