Tate Liang
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Cambridge <- New York <- Vancouver
Architecture ⚡︎ Bookmaking ⚡︎ Film ⚡︎ Watercolour/Pastel ⚡︎ Python ⚡︎ Java ⚡︎ Swift ⚡︎ HTML/CSS/JS
2027 M.Arch II Harvard GSD ☆ 2025 B.Arch -> The Cooper Union ☆ 2025/2023 Intern -> Diller Scofidio + Renfro ☆ 2024 Intern -> OMA ☆ 2025 -> AIA Medal for Academic Excellence ☆ 2024 -> KPF Travelling Fellowship ☆ 2024 -> Arthur Thomson AR'64 Thesis Fellowship ☆ 2024 -> AIA New York Eleanor Allwork Scholarship ☆ 2023 -> US D.O.E Solar Decathlon Grand Prize ☆ 2020 -> Swift Student Challenge Winner
Architecture ⚡︎ Bookmaking ⚡︎ Film ⚡︎ Watercolour/Pastel ⚡︎ Python ⚡︎ Java ⚡︎ Swift ⚡︎ HTML/CSS/JS
2027 M.Arch II Harvard GSD ☆ 2025 B.Arch -> The Cooper Union ☆ 2025/2023 Intern -> Diller Scofidio + Renfro ☆ 2024 Intern -> OMA ☆ 2025 -> AIA Medal for Academic Excellence ☆ 2024 -> KPF Travelling Fellowship ☆ 2024 -> Arthur Thomson AR'64 Thesis Fellowship ☆ 2024 -> AIA New York Eleanor Allwork Scholarship ☆ 2023 -> US D.O.E Solar Decathlon Grand Prize ☆ 2020 -> Swift Student Challenge Winner
ContactContact ⏷
Email -> tate_liang@gsd.harvard.edu ☆ Instagram -> @tateliang ☆ Github -> TateLiang
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Portfolio & CV available on request
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Portfolio & CV available on request
Spatial Morph
Architectonics / Spring 2021
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Lower East Side Community Center
Professor James Lowder
Spatial Morph examines a topological organization regulated by program and accessibility through the rigidity of ribbon forms found in a precedent study, transformed to three dimensions. Walls seem to become floors and then walls again, wrapping and distorting to separate and connect spaces. Timber members and circulation spines running vertically and horizontally then penetrate a surrounding glass envelope. The effect is a single surface presenting spaces of intrigue and exploration, rationalized by core and service systems. It simultaneously conforms and rebels, connects and disconnects, condenses and dissolves space.
Seemingly homogenous in its formal distribution, varying rigidities create unexpected but disciplined spaces in SANAA’s Glass Museum. Conceptually “soft” transparent rooms flow between rigid opaque rooms through rounded corners, and act as planimetric circulation. The use of glass also allows light to penetrate in layers through the building. Sketches and prototypes show the evolution of the museum into the Spatial Morph project, from dissection to reassembly and synthesis.
––––––––––––––––––––––––––––––––––––––––––––––
Lower East Side Community Center
Professor James Lowder
Spatial Morph examines a topological organization regulated by program and accessibility through the rigidity of ribbon forms found in a precedent study, transformed to three dimensions. Walls seem to become floors and then walls again, wrapping and distorting to separate and connect spaces. Timber members and circulation spines running vertically and horizontally then penetrate a surrounding glass envelope. The effect is a single surface presenting spaces of intrigue and exploration, rationalized by core and service systems. It simultaneously conforms and rebels, connects and disconnects, condenses and dissolves space.
Seemingly homogenous in its formal distribution, varying rigidities create unexpected but disciplined spaces in SANAA’s Glass Museum. Conceptually “soft” transparent rooms flow between rigid opaque rooms through rounded corners, and act as planimetric circulation. The use of glass also allows light to penetrate in layers through the building. Sketches and prototypes show the evolution of the museum into the Spatial Morph project, from dissection to reassembly and synthesis.
