Architectural Portfolio Dazhong Jin Department of Art, Design and Humanities. Leicester School of Architecture (MA, March, BA Hons Architecture)
Hand drawing of studio negative space, 2014 thesis
Contents
Digital baroque Ragusa amphitheatre Practice projects CV
Digital Baroque MArch Project - Sindone Chapel (2015 Jan - May) Tutor: Sara Shafiei & Ben Cowd Pick a Baroque chapel, uncover its RULES, TRICKS and GEOMETRY, discover its HIDDEN LAYERS of narrative and distil its QUALITIES into PHYSICAL EXPLORATIONS. Then, disturb, disrupt, distort, and possibilities by introducing... Materials Narratives Programme Function Users Context Environment
View of the dome
Chapel of the Holy Shroud Cappella della Sacra Sindone Located in Turin, the Sindone Chapel, home of the Shroud of Turin – A length
of linen cloth believed by some to be the burial shroud of Jesus of Nazareth – is a Baroque chapel accredited to the architect Guarino Guarini. While it is typically stated that the chapel was built between 1667 and 1690, building work actually began in 1657 under the direction of Architect Amedeo di Castellamonte. Although the Chapel appears as a singular mass stylistically, it can clearly be visually divided into several different sections. It is simpler to discuss and analysis the Chapel’s internal design through division into four main vertical layers. The centre of the Chapel begins at the lower ground section, originally designed by Amedeo. The ground floor plan was essentially a typical cylindrical body, of which it is assumed that Amadeo had intended to build a regular domed structure above. The basic form of the plan is an octagon, with eight sides curving into the main space. The plan is bisected by two side entrances from the church and one middle entrance from the Ducal Palace. It is above this lower octagonal band of arches and giant pilasters that Guarini, taking over the project ten years later, begins to insert his atypical forms.
Rendered model of the Chapel
Site surroundings, Turin
Detail Plan, Scale 1:100 at A2
Architecture for the shroud Above a first band of entablature, Guarini inserts large arches based around a triangular plan. This unprecedented triple pendentive design then blends into the first storey. Every other ground floor pilaster appears to continue into the banding of the pendentive, and support it, while leaving one pilasters at the centre below, functionless. However, a clear geometric connection can be seen between the different levels.
Perspective drawing
Exploded diagram
The Triangle Throughout the building, objects and features appear in a triangular form or in triplicate. This rhythm and pattern continues into 3, 6, 9, 12‌ and can be seen everywhere throughout the building. In and inbetween the large pendentives are circular windows. These six windows are surrounded by ribbed patterns in the shape of stars and hexagons, both 6 and 12 sided shapes. A motif of volutes and decorative ornament is displayed throughout the arches and window frames.
Light and automospher
Sun path analysis
Solar analysis The depth and tactility of light in the Sindone Chapel, as discussed in various texts, is difficult to describe without first hand experience. The section above attempts to express the variety and atmosphere of light throughout the chapel, as extrapolated from photographs and literature.
Front section
Perspective drawing
The Layered Model The chapel has been modelled as to express a clear division and definition of its separate layers. Additionally, each layer has been modelled in a different medium using a unique manufacturing technique. Excluding the chapel’s spire, which is only present to preserve the buildings continuity, these different techniques and forms express the different distinct qualities of each successive layer.
The heavy lower section is formed of dense milled timber while the upper section has been created from delicate watercolour paper contoured on a radial axis. Not only does this symbolise the increasing perceived lightness of structure as one’s eye moves ever higher towards the chapel’s ceiling, it describes a developing complexity of structure from ground level towards the ceiling. Ultimately, the model is an analogy to Guarini’s conception: that the complexity, lightness and sublimity of the chapel, increases as one moves towards heaven. The chapels crowing object, the twelve pointed, had been 3D printed at a minute scale as the pinnacle piece to the model.
Model Photographs
Model making process
Ceiling section geometry
Ceiling geometry diagram
The Dome Above the pendentives sits a concentric ring of entablature, which above, one might a dome to be. Nevertheless, above this band there is a cylindrical drum of arches and pillars. These arches create a double wall layer – an ambulatory clerestory that appears as a kind of upper balcony level. Although it is impossible to reach this upper level, it appears as an extra floor. This effect is further exacerbated as the floor plane of this unreachable level cannot be seen.
Upper floor plan
Ceiling Plan
Geometry revisit It’s the most basic geometry shapes that make up the exquisite pattern of the Sindone Chapel. Triangles, hexagons and stars are rotated around the central axis to create the each successive level of ornamentation.
Dome model diagram
Model photographs
The Dome Created as a quantitative rather than qualitative model, this layered ply wood model articulates the precise form of the Sindone chapel dome. The actual shallow depth of the dome, opposed to the perceived cavernous height, is made apparent in this model.
Model making process
Triangel geometry diagram
The Geometry Model Looking into the upper dome in more detail, we began to explore how the illusion of depth was created by Guarini. Pins and threads were used to show sightlines from a viewer at the ground floor. Lines are drawn to show each progressive arched layer and the line of sight towards it, as well as lines representing the arches if they were to continue without becoming continuously smaller. Each arched layer, in addition to the imagined equally distanced layers, could progress exponentially.
Illustrated diagrams
Illustrated diagrams By constructing these illustrated models, we are beginning to understand the geometry with in the dome, the illustration shows how tall the dome would of been compared to the height of the dome in reality, and by laying them one on top of another, the structure begins form architecture.
Model Photographs
Illustrated diagrams
The illusion model Moving on from studies of shape and line, we attempt to concentrate on the ephemeral and illusory qualities of the chapel. These test models focus on how objective views can be blocked from different angles We noticed from previous models that due to its thinness, paper could be seen through when situated parallel to an eye line. Crosshatched paper is used to force views from distinct positions. By nesting the same object – the star – at different distances within one dome, and at the same time occluding the viewer’s vision at specific angles, we attempt to create an illusion. While looking at the dome straight on, only the closer star can be seen and the dome appears shallow. However, when looking into the dome from the side, the view of the first star is obstructed. The identical image can be seen deeper inside the model, further away from the viewer. As both images cannot be seen at the same time, the dome should appear deeper/shallower from different angles.
Model photographs While this worked in digital format, it was not completely successful in a physical model format. This is likely due to the models small size, fiddly parts and instability. Perhaps with additional thought and development, at a larger scale the illusion could be more efficacious.
Exploring the geometry further The final geometry piece is a larger more refined model showing additional geometric elements. In this model, the dome of equal layers is formed around the accurate spaced dome. The accurate dome, however, appears visually more alike to the taller, exponentially growing dome.
Violation of geometry This concept model is formed of combining all of the geometry models together and it shows the complexity of the dome itself. These models are made to discover the illusion that is of Gurini’s Sindone Chapel. By fusing the models together, we are trying to distil its QUALITIES into PHYSICAL EXPLORATIONS.
Tri-dome model This final model is an amalgamation of our previous ideas and endeavours. Following the idea that Guarini’s chapel displays different visual perspectives within a single solid object, we endeavoured to create a model reflecting this. Three domes seemed an appropriate number, continuing Guarini’s triadic theme. The three domes, representing the skewed perspectives, intersect each other, forcing the viewer of the model to either the model or their view in order to see each dome in its upward angle. Acetate was used for the middle dome to represent the domes diaphanous quality. Additionally, each dome can be viewed almost fully until viewed directly from below, when the dome can be seen through almost completely. Light is reflected and refracted on the surface of the centre dome, creating interesting optical patterns.
Tri-dome model illusion By laying photographs of the Tri-dome model, we created this distorted photo-montage. The idea was to create the illusion through physical modelling and by distorting the images, we can re-create illusion.
Rendered illustration
Model photographs
The change in colour Whilst the final model is made from three domes, the main dome, in the centre has the most interesting change in colour. The central dome is made from clear acetate, this material changes colour by rotating and viewing from different perspective. This add to the illusion of the dome in a way we’ve never anticipated.
Illustrated diagrams
Understanding the illusion This drawing is trying to explain Gurini’s illusion from different perspective, along with the three domes interacting with one another, it shows how the illusion is perceived differently from different angles of view. The diagram mainly focuses on the perspectives used viewing the Tri-dome model, again the purpose of this study is to understand how Gurini’s illusion.
Illustrated diagrams
Diagram Drawing This render is trying to show the different persective a person can percieve within the chapel. The render shows the illusion of movement for the dome. The movement is captured through Rhino rendering. The view for the dome changes when the person stands on different point but the integrety remains the same within this render. The diagram above shows exactly how the dome is percieved differently around the chapel. It shows the optical illusion of Gurini’s geometry.
Illustrated drawing
Rendered illusions All of the rendered images were made from Tri-dome model, these images are photoshoped to show different perspective of illusions for the dome. Change of lighting and atmosphere plays a huge role in these illusions, which adds to Gurini’s initial concept for the Sindone Chapel. The vivid and curvy lines were created from lofting the view points of different form. The lines then becomes the base for the domes to be place on.
Lighting and atmosphere These renders are made to show the different lighting and atmosphere with in the dome and chapel. Understanding of these factors were used to further develop the project.
Plan of the cathedral scale 1;200 at A2
Perspective drawing of the Turin Cathedral
The Turin Cathedral Connected to the Sindone Chapel, is the major Roman Catholic church of Turin. Dedicated to Saint John the Baptist, it was built during 1491-98. The Chapel of the Holy Shroud, the current resting place of the Shroud of Turin, was added to the structure in 1668–94. The plan and perspective drawings added the cathedral to analyse the relationship between the chapel and the church in terms of architecture. This helped to understand how the two spaces were connected. The drawing shows that Gurini’s geometry and illusion didn’t take place in the cathedral.
Fire damage within the Cathedral
Fire damage in the Chapel
The fire and rescue In April 1997, a fire incident took place near the connected building Royal Palace which the fire quickly spread to the Guarini Chapel, situated between the Cathedral and the Palace, and engulfed it in flames. First reports indicate that the interior of the Cathedral and the neighbouring Royal Palace, which contains valuable 18th and 19th century furniture and art, sustained extensive damage. The chapel seemed to sustain the most serious damage, with two thirds of its marble coating damaged by the heat. It is unclear how much structural damage occurred to the building, but reports noted that the stone itself was damaged in places. The cathedral itself received little serious fire or structural damage, but water and smoke damage was evident.
Perspective drawing of the installation
Constructing diagrams
The installation As part of the current undergoing renovation for upcoming public exhibitions, there was a need to design an installation for the Chapel and Cathedral to reflect Gurini’s illusion and concept whilst reconstructing the dome. As modern architects, we were asked to think like Gurini, how would he design the installation and what kind of perspective he would bring into the design. The installation we designed derives from the models and illusion analysis made from previous studies. The centre piece act as a supporting piece with removable reflective panels that will show the inside of the chapel without having to interrupt the renovation.
Perspective drawing of the installation
Precedent study of the joining construction
How it works and materials By adding steps to the centre piece of the installation, it will allow workers and engineers to enter the chapel when needed. The installation also works as ‘scaffolding’ for the renovation and it will also allow the visitors to view the under going construction from the Cathedral. The material for the centre piece installation are timber, and it’s join together by metal bolt-on. There were several solutions for the joint, the precedent studies shows the different solutions can be used for construction.
Perspective drawings of the installation
Installation Diagram The drawing shows the installation designed for the chapel, the structure itself consist of four parts, the idea is to allow the visitor experience the illusion of the chapel as they enter the chapel. The design of the structure derives from analysis Gurini’s geometry.
Model photographs
Test model By making a test model, we understood how the installation would be constructed in a physical realm. This 1-100 model only shows the chapel and it’s relationship with the centre piece, with out losing Gurnini’s wish to achieve geometry perfection, the installation shows the illusion of the dome in many different perspectives.
Final Plan Scale 1: 100 at A1
Section B Scale 1: 100 at A1
Section A Scale 1: 100 at A0
Process photographs
Burning the test model By taking a very literal approach to respect the fire incident in 1977, we took the test model and set it on fire. This is hoping to scrap the burnt pieces and use it to create a final model. The burnt pieces of the chapel will be preserved by clear acrylic to show the fire incident and in contrast to the installation, which describes the whole purpose of the project.
Process photographs
Perserving the pieces The burnt piece of the test model was scrapped and preserved for the frames of the final model.
Exploded diagram of the final model
Perspective drawings of the final model
The final model The exploded diagram shows every element of the final model. The model is made is several parts from installation and framework to wooden base and laser itched plan. The complexity of the model is made to represent Gurini’s passion for geometry and illusion, which is also shown in every element of the installation.
Final model The final model is made out of plywood, water colour paper and clear acrylic. The acrylic shell represents the Sindone Chapel which suffered fire damage in 1997. The burnt pieces preserved in the clear acrylic shows a literal representation of the incident. The detail of the floor plan is itched onto the plywood using laser cutter to show the amount of geometry involved in the design of this chapel.
Model photographs
Inside the chapel These drawings trying to illustrate how the installation would look like inside the chapel.
Final renders
Ragusa Amphitheatre MArch Project (2014 Oct - Dec)
Site photographs
Site location The site for this project is located in Ragusa Ibla in Italy, it is the capital province of Ragusa, on the island of Sicily. It is built on a wide limestone hill between two deep valleys, Cava San Leonardo and Cava Santa Domenica. The site sits down the hill between the old Ragusa and superior Ragusa, where the two towns connect, and a perfect location and a lot of sun lights.
Vehicle pathway
pedestrian pathway
Public spaces
Surrounding public buildings
Surrounding private buildings
Terrain of the site
Typology of the site The diagrams show the surrounding envrionment of the site and how it effects the purposed location. Factors such as right of light, right of way are all being considered at this stage. Each typology is analysed to show the best outet for the design.
Shadow diagram
Shadow of the site The design for the amphitheatre begins with site analysis, The diagram shows a mapping of the shadow of the site for the first day of every month for an entire year. The overlay shadow creates an interesting pattern indicating the location of the sun through out the year. Obviously, the shadow with shorter path indicates it’s summer when the sun is high up in the sky, and the longer shadow indicates it’s winter where the sun is much lower down.
Illustrated drawing
Rendered drawing This drawing is trying to illustrate the relationship between the site and the shadows, the illustration initiated the conceptual idea for resolving architectural form with the site.
Model photographs
Shadow analysis model The iteration of this model comes from the shadow analysis. Where the shape of the shadow is traced and laser cut out to create form and structure, the grey card base indicates the terrain of the site which also effects the way of the shadow. Spaces are beginning to appear within the model which leads to further investigation.
Sun path diagram intersecting the site
Sun path diagram The previous model led to this sun path diagram. After analysing and understanding how the sun effects the sun, this diagram was used to evaluate the intersection of sun and the buildings of the site.
Model photographs
Sun intersection model After understanding where the sun would intersect the buildings on the site in drawing, this physical model was made to emphasise the concept, and spaces begins to form within the intersections.
Illustration of initial design
Precedent study
Initial design The initial idea derives from looking at ancient methodology of designing amphitheatre, which interestingly follows the path of the sun to creating best natural lighting for the stage. The initial idea shows centre of stage, seating area and pathways for entrance and exits.
Model photographs
Concept model The initial design idea was turned to a physical model to see the immediate relationship with the site.
Model photographs
Concept model This model brings the shadow and sun path analysis models together, and by forming spaces in between, the resolution for an amphitheatre begin to emerge.
Illustrated drawing of the concept idea
Concept Idea The concept idea gets modified and altered to see how it would sit within the site and how it would effects the surrounding environment.
Illustrated diagram of modification
Design process The diagrams shows different ways of inserting the conceptual building into the site.
Illustrated render of design approach
Modified render The illustrated drawing shows the modified version of the amphitheatre, the design at this stage is still very conceptual.
Model photographs
Concept model After analysing the sun path, the shadow, and how the environment of the site effects the building with in, this concept model combines all the together, which turns the architecture of the theatre alive.
Photo-montage of shadow These drawings arr trying to illustrate the communications made with the building and it’s shadows. The illustration shows how the design would effect the shadow of the site.
Final drawings - Section A Scale 1: 100 at A1
Section B Scale 1: 100 at A1
Isometric Drawing
Isometric drawings The drawing shows the final design of the amphitheatre, this small, yet complicated design seats around 200 people during performance. There are many aspects of the building comes into play, the isometric style drawing shows the design details works well with the surrounding site.
Precedent study
Exploded drawing Different element of the building has been exploded and shows the detail of the design. The top part indicates the seating area which leads to a ticket booth near top of the site, and the second level shows the base and water filter to create natural sound. The lower parts show the screens and gift shops for the theatre.
Perspective Drawing
Underneath the stage
The centre stage The centre stage is isolated from the rest of the building to show the detail and thought of the design. Underneath the stage and seating area, there are located changing rooms and toilets, also rehearsal area for the performance crew.
Different elements of design The plan and diagrams shows what it would be like when there is a performance or being inside the building.
Final Render This final render shows the immediate relationship with the context which sits perfectly within the site. The coloured circle in the centre of the image shows the complete amphitheatre and the context is shown in grey scale.
Final Model The centre seating area and the base is made from milled chemical wood. The details of the design is laser cut water colour paper. The purpose of this model is to bring the amphitheatre to life.
Recent Project Beijing courtyard house renovation (2015 Summer) This recent project took place in a traditional Chinese Si He Yuan (a court yard house). The project is to renovate the traditional house with western church interior. To do so, we took the details of an existing church interior, manipulated the roof and patterns in 3D and contoured the model in a way that can be produced by laser cut plywood.
Structural Diagram This diagram helps to understand how the structure is put together in real life and all the pieces that are required make for the roof. Each layer is cut out to form the roof structure.
Constructing Photographs The photograph shows how all the plywood pieces comes together to create the roof structure in the house. The columns comes in pieces of pre-made plaster and joined together afterwards.
Graham Cartledge Pavilion (June 2011, Leicester)
Leicester School of Architecture
Illustrated Diagram
Construction diagram We designed this pavilion for a summer show in 2012, the pavilion is constructed for a one-time performance by the dramaturage Andrea Cusumano, the idea was to create a movable pavilion that was easy to put together and taken apart. The diagram shows all of the elements of the pavilion which was water-jet cut out of plywood, and bolted on with steel rods. The construction took only three weeks to complete.
Photos of the complete pavilion The completed project took place in an evening event in De Montfort University, where the performance by Andrea Cusumano provided the highlight of the event, the pavilion and performance worked very well together and we received overwhelming responses from the visitors.
Illustrated Diagram
Practice Projects Science and technology building, Shenyang. China (Commercial) (Mar 2013 - Jun 2013) China Northeast Architectural Design & Research Institute
Science and Technology Building This building was designed in 2011 and completed in 2014, I mainly participated in designing Block A of the commercial park. This building stands just below 100 meters in height and it has 25 levels. The significance of this building was the new design for it’s cooling system, where it provides more efficient and sustainable central conditioning for the whole building.
Liaoning Academy of Fine Arts, Art Gallery (Education) (Oct 2012 - Jan 2013) China Northeast Architectural Design & Research Institute
Art Gallery, Liaoning Academy of Fine Art This was one of the first project I worked on after joining the practice in China, It is a mixed used educational project for the Liaoning academy of fine arts. The building is now completed and in use, with an overall height of 17.6m and three floors it was one of the biggest art galleries with in a university.
Liaoning Acadamy of Fine Arts, Gymnasium (Education) (Oct 2012 - Feb 2013) China Northeast Architectural Design & Research Institute
Student Gymnasium, Liaoning Academy of Fine Art Running parallel to the art gallery, this gymnasium is also one of the projects we had working on for the Liaoning Academy of Fine Art. This building consists of three floors, and overall height of 15.90 meters. The exterior finish matches other facilities with in the university campus and it’s one of the few buildings we designed for the academy.
Curriculum Vitae Mr Dazhong Jin Personal information Born 20/06/1991 Address: 33 Eleanor Road, Bounds Green, London, N11 2QS Email: jindazhong58@hotmail.com Website: http://jindazhong58.wix.com/dazhongstudio Online Portfolio: http://issuu.com/dazhongjin
About Hard working enthusiastic person always with a positive attitude. Someone with true passion in architecture and art. Love creative ideas and appreciate new designs. I believe that hard work pays off. I am devoted to exploring the world and pay maximum attention to detail. A person others can count on and who always gives 110 percent to his work.
Education
Professional Experience
2014 - 2015 Master of architecture Part II Leicester School of Architecture, DMU
2015 Summer (4 month) - Interior architecture renovation for house, China
2013 - 2014 MA Architecture Design Leicester School of Architecture, DMU
2012 Sep - 2013 Jun (9 Month) - Architectural assistant at China Northeast Architectural Design & Research Institute, China
2009 - 2012 BA(Hons) Architecture Part I Leicester School of Architecture, DMU 2006 - 2009 A-Level studies Chace Community School, Enfield, London
2012 July(2 month)- Internship with C-Office, ZPAD, Beijing, China 2011 - Graham Cartledge Pavilion, Leicester
Professional Skills
Translation Experience
- Confident in variety of architectural computer software, including Auto CAD, Rhino+Vray Rendering, Sketch up, 3D MAX+Vray Rendering, Indesign, Photoshop, Illustrator, Ecotect, and the ability to pick up new programmes easily.
2015 Summer, Simultaneous translator for directors of China Central Television, worked with two different documentaries.
- Confident in Microsoft office software. - Confident in free-hand drawing & sketching. - Professionally skilled in model making, using variety of diverse methods, including laser cut, 3D printing, Milling, water jet etc. - Fluent in English & Mandarin, excellent communication skills - Understand computer hardware and software, able to build computers & solve problems. - Confident in working independently and as a team. - Ability to work under pressure and tight deadlines.
2015 Summer, Translated and subtitled a documentary over sixty thousand words. 2014 - 2015 Simultaneous translator at Leicester city council, Child protection services.
Other Experience 2014 - 2015 Production Line Manager at China Central Television (UK), produced two documentaries. 2010 - 2013 Barista at Starbucks, achieved partner of the month, coffee master and several mug awards, UK 2012 - Tutor at English language school, China.
- Great Organisation skills.
Personal Achievements 2014 - 2015, Fifth year projects published by many architectural media such as Superarchitects, Next top architects & Concept models. Final design model was listed by Leicester School of Architecture. 2011 - Attended Latte Art Championship UK and achieved top 16. 2010 - DMU Griffins Mens basketball team third place in BUCS League
Interests Photography and travelling plays a huge part in my life. I love to capture and experience amazing places and events around the world, to learn different languages and explore diverse cultures. I also love to Interact with and to meet other people, to learn their stories and to understand the world through their eyes. I feel myself able to adapt to new environments and taste the bitterness and sweetness of life. There are many other interests that I enjoy, for example: basketball, gadgets, computer hardware, fashion, skiing, painting and many more. I believe all of these interests provide the energy for me to keep moving forward, to allow me to work through difficult tasks, and to find my true passion and confidence in life.