YUSTUDIO

The Condomius Annelida installation was first realised through the interest of positive bodies in both anatomical and material spaces. This idea propelled further inquiry into plaster-casting with latex to which the Condomius Annelida was born. Through the approach of creating a new narrative of its inhabitant, Condomius Annelida attempts to challenge the preconceptions of vulgarity by conveying and emphasising the beauty of ones life cycle all while experimenting with infested and deteriorating negative spaces. The stop-motion film portrays the Condomius Annelida in its natural habitat, consuming and displacing surrounding masses equivilant to its size until its petrification solidifies the end of its life.

Ga Ho Jeffery Yu — AA Foundation Year — Saskia Lewis & Chiyan Ho

Inspired by the Dragon Boat Festival’s infamous ‘Zong Zi Bao’ dish that puts into practice wrapping glutenous rice with bamboo leaves, an elevation model was designed. As the model was proposed in response to Hong Kong’s humid climate, the wooden diagrid acts as a rig for the ‘Zong Zi Bao’ leaf components that would expand and contract in response to moisture, letting in gaps of sunlight to illuminate the interior. Since Hong Kong has an ongoing problem of livable space, this project focused on making efficient the limited space for adequate living to span two levels while utilising the diagrid facade as a means for a ladder circulation.

The Huguenot House currently stands as a neglected residential complex that features private residential, semi-private parking, and public cinema entertainment. The Sunny-side Up Project proposal redesigns some existing elements of the Huguenot House, while also transforming and extending its presence to the dimly-lit streets it neighbours. During the day, the public congregates into the new cinematic and retail programs, while the privatised residence lounge and dine within the middle of the complex. At night, the Huguenot House transforms into a dimly lit lantern, illuminating nearby streets and diffusing congestion within the busy streets of Leicester Square.

The redesigned proposal reimagines a tri-partite exposed circulation within the existing residential complex, draped in mesh fabric to expose and animate the silhouetted movements of the residence while preserving their sense of privacy. The whole complex’s facade becomes the new cinematic space with the addition of redesigning the parking lot into an exposed Amphitheatre open to the public.

Exploring Vertical Inhabitation within and on top of the Bark of the Holm Oak Tree, initial Elevational Drawings of the ‘Bark of Mossonai’ separated by programs and inhabitation. The Macro-Sanctuary emerges on top of the Macro-Holm Oak Tree, housing a forest of Mezzo-Birch trees, and sustained by the wandering Micro-Sphagnum Moss forest.

The ‘Kidney of the Bay’ proposes a series of cyclical Oyster production programs, addressing the lack of shoreline protection methods amidst the rising sea-levels of Southampton, Long Island shorelines. Located within the Shinnecock Bay, a 100 year generative framework unfolds into the design of an Oyster Hatchery, an Oyster Farm, an Oyster Shack, and finally a bed of Oyster Shell Piles. Its design and circulation is inspired by the natural life-cycle of the Native Oyster, reminiscent of Southampton’s mixed culture shared between the Shinnecock Native Americans, the Southampton Locals, and the Seasonal Billionaire Vacationers who acknowledge Southampton’s unique shorelines to be the face and identity of their home.

Memory serves as a travelling recollection of experiences that inform our present-day values. As such, I believe it to be an acknowledgement of the past that ties into the existing, tailing just behind the on-going progression of the City.

Through the act of Subversion, the city’s memory is inevitable overwritten, not preserved. The fragmented memories of the city as a result, neglect the very catalysts that prompted such changes.

My proposal attempts to reactivate the utility of the current Regents Canal by reclaiming this act of subversion, revealing the invisible memory of the Narrow Boat Culture within the city through the means of service and maintenance.

The Hydrating Drip Oasis proposes harvesting abundant urban dew and fog as a communal water source to nurture water sharing through accessing, collecting, and distributing, in direct contact with water to alleviate anxious Omani water consumers in Muttrah into water commoners.

The Double-layer Stalactite Cantilevering Screen harvests fog and dew (Relative Humidity) along a vertical moisture gradient that encourages senses of calmness, anticipation, and relief for communal sharing, social exchange, and individual drinking.

Contact area, orientation, and permeability inform sparse stalactite membrane sequences at fog height (+95% RH) that draw parched morning visitors to accessible dripping sabil through hard dripping barriers and tapered channels, a double-layer membrane that permeates residual moisture for refreshing market opening at pre-dawn, while denser stalactite casted sequences at dew point (60-80% RH) through soft drip barriers frame a drink souq during the extended afternoon.

The project’s success will be gauged by the extension of direct access to water beyond average peak-time consumption hours, the overlapping shared collective usage of water through fluid dynamic interplays of dripping and waterflow, and the immersion of physical and mental well-being within a vertical moisture gradient.

Fog and Dew access, collection, and distribution reframes urban atmospheric moisture into a Hydrating Drip Commons that cherishes the cultural pride of hospitable consumption through water, the appreciation of an inhabitable water source, and the calm, anticipated relief found in market-life use in direct contact with a new urban water source.

Full case study coming soon.

Full case study coming soon.

Full case study coming soon.