HAO CHANG

Master of Architecture Candidate

GSAPP, COLUMBIA UNIVERSITY

changhaoarch@gmail.com
Hao CHANG
(+1) 646-209-5269 hc3030@columbia.edu
560 Riverside Drive, New York, NY 10027

Education
Columbia University, New York
08/2018-05/2021 Master of Architecture (In progress)
Studio Critics: Steven Holl & Dimitra Tsachrelia, Christopher Leong & Dominic Leong, Phu Hoang,
Eric Bunge, Karla Rothstein, Stephanie Lin

Tsinghua University, Beijing

08/2016-07/2018 Master of Engineering, Urban Planning
Master's Graduation Thesis: Research of the Design Strategy of Micro-Public Space in Baotou City
08/2012-07/2016 Bachelor of Engineering, Urban Planning (GPA: 3.79/4.0)

WORK
06/2019-08/2019 Death LAB, Columbia University, New York
Graduate Research Assistant | Research & Design, 2D Diagram & 3D Render, New models of mortuary
infrastructure which embrace biologically sensible human disposition alternatives.
06/2018-08/2018 TeamMinus, Beijing
Full-time Intern | Architectural Design, The Olympic Village, XXIV Olympic Winter Games
Design, drawing of project façade & plan; Program organize of athlete clinic; Digital modeling; Site
analysis and modeling
08/2017-11/2017 China Academy of Urban Planning & Design, Beijing
Full-time Intern | Urban Comprehensive Planning of Baotou City
Statistical data collection and analysis; Planning & policy document study; Site visit & GIS analysis; CAD
Planning drawing; Urban fabric study; Public space design
10/2016-10/2017 Freelance Architectural Designer, Wuxi
Conceptual design of Henong Design Center, a 20000 sqm commercial project in a historical district of
Wuxi; worked in a group of 2; Worked on the master plan and massing; In charge of façade design &
digital modeling; Coordinate with local government & involving companies; Design completion
cooperate with LJJZ Architects, Shanghai
07/2014-08/2018 Freelance Graphic Designer

HONOR
10/2019 Honorable Mention, DYING Competition, Non Architecture Competitions
With GSAPP Death LAB, Team Member, Light After Life
06/2018 Huayu Entrepreneurship Scholarship
Co-founder/Design Director, THU Design
07/2017 Finalist Mention, YAC Observatory Houses Competition
Team Leader, From Earth to the Stars

Leadership
10/2016-now THU Design (student organization of 40+ members)
Co-founder/Design Director, decision making and creative product design
4000+ products designed and sold, 1300 followers on Wechat
09/2014-09/2017 Tsinghua University Vision Center (a team of 10+ designers)
Project Leader, in charge of design and team management

SKILL
Software Revit/Photoshop/Illustrator/InDesign/Sketchup/AutoCAD/Rhino/Grasshopper/ArcGIS/3dsMax/After
Effects/Premiere
Others Photography/Graphic Design/Website Design/Pencil Sketch/Watercolor
 THE
WEIGHT
OF LIGHT

GSAPP Advanced VI Studio

Office+Gallery Design
Critic: Steven Holl. Dimitra Tsachrelia
Coorprate with Cris Liu
Site: Annandale-on-Hudson, New York

Apr 2021

Light gains weight when it's trapped in

a device where it constantly reflect and
refrect. In the project, we focused on
the tention between light and weight,
and created office space, gallery space
and structure system around the
tention. The natural landscape the site
located also added a layer of richness
t h at g i v e s u s o p p ot u n i t y to te st
materials with a more natural texture
that coresponds with the light.
In the summer of 1859, Hudson River School painter Frederic Edwin Church took a trip aboard a schooner to
Newfoundland and Labrador to observe icebergs. In a book about this journey, the author wrote: “an iceberg was
one of those imperial creations of nature that awaken powerful emotions, and illumine the imagination.”

We analyzed the environment in which an iceberg stays. A clear open background helps viewers perceive an
iceberg’s outline and water leverages its buoyancy to create a tension with the weight of the iceberg and make the
iceberg magically float on its surface. These conditions make an iceberg, an iceberg.

Located in Bard College, Annandale-on-Hudson, New York, The site is surrounded by historical forest and has a trail
leads to Hudson River. The dialog between archtiecture and nature is crucial in this project.

For iceberg itself, We are also intrigued by the dreamy and mysterious character of the iceberg and found that it
is light being refl refra trapped in the ice that enables an iceberg to transcend its physical appearance and have a
dynamic flow of energy. Weight of light becomes our concept and we want to take this aspect and transform it into a
poetic social space.
However, rather than stay far away from the iceberg and treat it as an object, we try to break down the scale by
dividing the giant space into more intimate and humane-scale spaces embedded in the program that we are asked to
put in our project and design different experiences around the iceberg: out, in, below and around.
We tested the lighting effect by using some thick ice and we are fascinated by how the surface itself looks when light
inhabits it but also that light passes through it and projects a dynamic and poetic pattern on the ground that make
the space below extremely beautiful.
Our Architecture grows from the tension between the trapped light within the ice and the space it creates. First, we
insert the ice into a lifted platform in order to create access to space within the ice, below the ice, and above the ice.
Second, we lower the building underground and align the roof with the ground. There are two advantages of this
move: the ice can be more accessible to visitors, both physically and visually; and the space below the ice can be
darker so that the light environment of the space can be more concentrated to the trapped light coming out of the
ice. The lower floor is more suitable for gallery space, while the upper floor can have direct sunlight due to the gap
between the building and the wall, making it suitable for office space.
When we put the architecture underground, the ice above is the only visible element when visitors approach the
building through the driveway. It’s more sculpture-like and is hiding within the forest, attracting visitors to come
closer.
There are four ices penetrating through the roof, creating walkways within.
So people can access from the south parking lot to the trail to the river in
the north. The largest ice in the south is the main entrance where visitors
can go inside through stairs and elevator, and two secondary stairs are
located in the two gaps, the north one serving the upper floor office and
the south one serving the lower floor gallery.

The gaps are designed according to the site condition so that the building
can fit within the different sized trees so that all trees are preserved. The
gaps are more open to the south so the office floor can have more direct
sunlight.
 structure diagram

Embed some of these weight of light into a building seems a simple gesture but it is extremely challenging for the
structure and the materiality. The ice will be divided into two pieces and upper sit on office, lower attached and glued
on the other side.

Office floor hanging from the thick roof made with concrete which is supported by some structural walls on the sides
of the project to allow a maximum flexibility of the space. This flow of gravity both anchor the building stably on the
ground but also enhance this floating feeling and really let people feel the weight of these lighting devices.
Starting from the office floor made by a steel structure, the acrylic will sit on a custom collar
beam with a welded top and the lower part will be glued on a steel angle. There will be glass
beam inside the space supporting the laminated glass floor.

The roof will be made by a 20” bubble deck plus a 8” insulation and a 7” green roof. The
shell will only be held by a steel angle sitting on a expansion joint (emseal)
The perimeter is dedicated to fixed working tables and creates a loop circulation for
communication, the four weights of light become a lighting room that can be used for multi
function like meeting exhibition or just relax, the central space also becomes a space for
gathering, adding richness to the office.

OFFICE LEVEL
The gallery is darker underground so that people can experience the light from the ice. There
are two entrances to the gallery, one within the ice and another outdoor one in the south. There
are doors on the glass enclosure to provide access to the outdoor space under the wall.

The glass enclosure is designed to be almost invisible so that the textured underground wall
become the visual boundary of the space. These walls can also receive sunlight to highlight its
rough texture.

GALLERY LEVEL
 ACADEMY
OF HOT
ROCKS

GSAPP Advanced V Studio

Mutual Aid Center Design

Critic: Christopher Leong, Dominic
Leong, Sean Connelly
Coorprate with Floencia Yalale
Site: Honululu, Hawaii

Dec 2020

The Academy for Hot Rocks，derived

from the use of hot rocks in the Imu
ground oven of Hawaii, which we have
made the focus of the project as the
center of community program. Located
in the north of Wakiki beach, The
project is here to rebuild the mountain
to sea connection of Honululu, as well
as decolonize Hawaii and recall the
indentity of Hawaiian culture with
the materialality, form, program, and
connection.
 The way the Hawaiian food system currently works is
far removed from hawaiin culture, a heavily important
dependent , and industrialized system where the
consumer has little connection to where the food came
from. We began our research with a focus on the impacts
of colonization on Hawaii’s food history as seen in this
timeline from early Polyensian settlers to present day.
Beginning with the fact that Hawai`iimports 90 % of its
food is at a cost of $6.8 billion per year. Workers have the
lowest average income in the US, yet Hawai`i is the most
expensive state in which to live; with food costs at 61%
higher than in the rest of the US.

hawaiian Lu'au network

The network fo the lu’au (feast) is a perfect example of Hawaiian food network. If we look at the Kalua Pig at the
center of the feast in this network, we can see it’s connection to the process, which is the imu, the imu needs the
cultivation of basalt rocks, which is dependent on the natural process of the volcano, and the pig eventually ties back
to the spirit realm as the god Lono is associated with the pig. The connection is what we are tring to recall with a new
imu network.

the food network of wakiki

The site is located in the intersection of the Wakiki mountain-sea connection,

the University-beach connection and the freeway. it can be a nexus of a renewed the history of foods in hawaii
mutual aid food network.
 In order to have a commercial Imu today, the
Department of Health and Safety specifies the
requirement of a roof. Which provided us with an
initial idea, about a building that facilitates this
process. . The chimney type also provided an
organization of the site, the intent was to be able to
feed a large group of people, somewhere around
10,000 at a time, but doing so by dispersing smaller
scale buildings which act as nodes connecting the
large site together.

nutrient cycle

the imu cycle

In contrast to these distant and removed systems, Within the

ahupua’a network is the Imu, an underground earth oven
native to Hawaii with its own expansive network of food,
material, spirituality, and collective labor. On the right we’ve
diagramed The entire process of cooking with an imu, which
can take up to 2 days of collective work. This method of
cooking, its network of collective labor, and the different ways
it becomes adapted by people.
 site circulation

The Mountain to Sea connection is both crucial to

the Ahupua’a and also our site. Re-establishing this
ground plan
connection is key in reclaiming the ahupua’a.

On the north end of the site is the freeway. Our proposal

is to make this space underneath the freeway a passaage
through the site and out back towards the ala wai canal
foot path. The canopy trellis system, which connects the
buidlings to each other, but also acts asn an outdoor
shading system for people and plants on the site.

n-s section
And the programs of the project are part of a larger
nutrient cycle. Food can be transported by truck and
loaded to the storage space, or it can be carried by all
users of the mutual aid. The larger building unit next to
the storage is where foods are gathered and processed
before they are allocated and consumed in different
imus. plants that grow on site can also be used for the
imu process,

program cycle
 material cycle
The imu oven centers around slow cooking with hot basalt rocks, which inform the basis of the
material language for the architecture, which utilizes different expressions of lava. The main material of
the building is made with geopolymer concrete with volcanic ash, a lighter more sustainable material
than concrete, and is cast with rock formwork, giving the surface the rock-like texture. The basalt rock
can also be melted and transformed into a fiber which creates a fabric, which is a light, transparent and
heat insulating material which we are using as the outer envelope of the building.
THE IMU OVEN BASALT FABRIC SHADED SPACE
MAIN ENTRANCE BIKE LANE
 THE
mobile
ROOM

GSAPP Advanced IV Studio

Parking Deck Design

Critic: Phu Hoang
Site: Newburg, NY

April 2020

The development of autonomous

car and electric car can reshape
the future of long-distance car ride.
Therefore we should reimage the
future of service areas on high way.
In this reststop located on the eletric
c o r r i d o r n e a r N e w b u r g , N Y, t h e
service area is combined with market
therefore connecting local bussiness
with reaveller. The project can adapt
from near future to the distance future
of autonomous vehicle and eletric
vehicle.
 There are three major trends in the future of
mobility: Autonomus vehicle, Eletric vehicle
and Shared vehicle. When drivers are freed
from driving in automous vehiclem the
Due to the change in autonomus driving,
space within the vehicle can be redesigned
a rest stop can be designed as a market
as a room to support different activities
where long-distance travelers can interact
such as sleeping, working, eating, and
with locals. A parking-marking courtyard
entertainment.
would form where the cars can directly face
Furthermore, eletric vehicle have shorter
the market, and multiple courtyards are
travel distance and longer travel time. The NEWBURG & SERVICE AREA
connected with road on the north side, living
change in driving experience can reshape NETWORK IN NORTHWEST AMERICA
the south side open as pedestrian path to let
how people trravel. Autonomous vehicle
sunlight and the forest view in.
can be more enjoyable, and faster then
traditional car. We may predict there would
be more intercity travel by automous vehicle Typical eletric vehicle has a travel range between 100 and 200 miles. Newburg can be easily accessed
in the incoming future. within 5 hours of major cities in Northwest America. Plattekill travel plaza, a current service area located
at the intersect of i-87 highway and the eletric corridor, is the slected site of the future service area.

HIGHWAY & ELETRIC CORRIDOR

AROUND NEWBURG
D u e to t h e c h a n ge i n a u to n o m u s
driving, a rest stop can be designed as
a market where long-distance travelers
can interact with locals. A parking-
marking courtyard would form where
the cars can directly face the market,
and multiple courtyards are connected
with road on the north side, living the
south side open as pedestrian path to
let sunlight and the forest view in.
 Near future transition distant future

Long section: adopatation from near future to the distant future

People can easily move between different courtyards though the path.
Autonomous car can be parked into a pre-cast module where the car is a
replaceable room for a larger room where they can have a rest, and the module
can insert into the parking deck to replace traditional car park. The units would
form a community where people can meet, communicate, and enjoy good food
and good life of Newburg.
distant future market courtyard
 ROOM/
NOT-ROOM

GSAPP Core III Studio

Coorprate with Yuan Li

Critic: Eric Bunge
Site: Bronx, NY

Dec 2019

Room refers to the idea of space, the

division of space, and how the space is
occipied and used.

In our housing project, we intend to

create a more direct and intimate
relationship between units and
collective spaces by making all
connecting space into rooms.

The whole configuration is organized

by five courtyards that house five
different collective spaces, gallery,
senior garden, theater, shared offices
and playground. A variety of unit
layouts correspond with and attach
to each courtyard, through various
interfaces encourage dynamic social
interactions among residents.
 In a typical housing design, all rooms with
funtions are connected with circulation space
with no specific funtions, or not-rooms, such
as corridors and elevators. Public programs
are brunches grows on the not-rooms.

In our housing project, we are connecting

circulation space and public progeams, and all
housing units are directly connected with the
public program. Therefore eliminating unsued
space and increase the accessibility of public
programs.

concept diagram
 SITE PLAN
The location of five courtyards with different programs
are related with the site; main entrance are located on Courtlandt Av.

PUBLIC PROGRAM SYSTEM

ground floor plan
 THEATER
Balcony in bedrooms act as a observation deck

office
Office and meeting space within the central artium
that open to all residents
 playground
Dining room that have direct visual connection with playing space

gallery
Art studios that opens to central courtyard
act as working or exhibition space
 garden
Shared living room for senior housing that open to central garden,
providing sunlight and view
TYPICAL LEVEL PLAN
SOUTHWEST PERSPECTIVE
 THE
GENERATOR

GSAPP Core II Studio

Library Design
Individual work
Critic: Karla Rothstein
Site: Sara Roosevelt Park, NY

Apr 2019

A public library generate fields of light activated

with life. Emerging from a study of reflection and
solar access, reflective voids perforate a floating
occupied platform designed to illuminate the
space underneath, creating dramatic light effects
and optimizing winter sunlight. Diverse vegetation
will grow based on the light received, creating a
living record of the shifting light field. The space
inside the platform is divided though curved walls
shaping space for both library and cemetery. The
walls are activated as bookshelves and columbaria,
shaping urban public spaces inside and under the
platform.
 9:00 12:00 15:00 17:00

Lift platform to distort light Light reflection with curved mirror

Daytime Nighttime
record light field with vegetation record light field with
solar powerd ground light

concept diagram

SUNLIGHT SIMULATION

By stydying how a reflective material distort

the light environment in different ways, both
summer and winter, we can find a shape that
site sunlight analysis can maximize the light field.
GROUND FLOOR PLAN FIRST FLOOR PLAN
Exterior render- The project act as a urban light garden
SUMMER LIGHT simulation

WINTER LIGHT simulation

 LOBBY CENTRAL PIAZZA

ROOF LIGHT HOLE READING TABLES

LIGHT GARDEN
other
works
architecture &
photography
 HENONG DESIGN CENTER

Commercial Street / Design Center

Conceptual Design (2016-2018)

Coorperate with Zhekun Luo
Design Complete with LJJZ Architects
Area: 20000 m²
Site:Wuxi, China

Built in 2020
 WASHIONTON
FO OD OASIS HEIGHTS
BRONX

Grasshopper Urban Information Model Project

Cooperate with Rasam Aminzadeh
and Skylar Royal
Critic: Lucien Wilson GREENPOINT
Dec 2020

Sale outlets to food FOOD DESERTS OF NYC

What if produce was no longer needed at grocery stores because
it was grown in vertical towers? Current zoning and planning
inequities create food deserts in lower income and minority
areas. In this project, we propose to provide healthy food to food
deserts by creating a series of vertical agriculture through local
developments to allow for increased self sufficient living, equal
access to fresh food, and therefore increased health benefits.

Our site is in Wahionton height the largest food desert in

Manhattan. We built a computational design model with a design
space has 5 inputs with 3 options for each input, creating 243
options.Through the model, we have identified that lower FAR and
density that increases towards the north, and a diagonal street
grid yield higher food production for residents and access to green
spaces.

This allows us to address the issues of providing self sufficient

healthy food options to residents in food deserts, while allowing
access to additional outdoor recreational space and not just labor
intensive space. Procedural types and variations

computational model for food production

LIGHT AFTER LIFE

Honorable Mention, DYING Competition

Honorable Mention, DYING

With GSAPP DeathLab
Role in team: Representation, Detail Design
Director : Karla Rothstein

Apr 2019
F R O M E A R T H T O T H E S TA R S

YAC Obser vator y Houses Competition,

Finalist Mention
Obser vator y House Design

Cooperate with Ruixue Wang

Role in team: Team leader, Concept,
Representation, Physical Model

Aug 2017
 HAO CHANG
Master of Architecture Candidate
GSAPP, COLUMBIA UNIVERSITY

https://studio-chang.com/
changhaoarch@gmail.com

560 Riverside Drive, New York, NY 10027