r aw
portfolio
jiang zhe’s
works
2 0 11 - 2 0 14
蒋哲 Jiang Zhe. School of Architecture, Tsinghua University. E-mail: jz102624225@163.com. Address: 418B, Zijing Apartment 11#, Tsinghua University, Beijing.
INDEX
PART 1 ARCHITECTURE AND ORDER 4 24 38 50
DISORDERLINESS IN ORDER 6.67e-11 SCENT OF A MUSEUM SHIELD OF ACHILLES
PART 2 ARCHITECTURE AND TIME 66 70 78
BOOKMARK DESIGN HOLY LIGHT FILTER BUDDHISM GRAVEYARD
PART 3 REAL ARCHITECTURE 92 96 102 108
INTERACTIVE INSTALLATION ON SCISSOR LINKAGES ACTIVATE THE SLEEPING SPACE SURVEYING AND MAPPING OF DOUGONG FINE ART
DISORDERLINESS IN ORDER kindergarten design 2013-04 tutor-Han Mengzhen
This project is my fist thinking about "order", which begins with the exploration of how to create a flexible space within a deciplined order and to cause disorderliness.Six classrooms are divided into three groups, in which the two boxes is differently arranged and hence form a complex couple. And the three groups is placed in strict order and can be duplicated.
4
A company was neatly lined up in geometry graphics, but it is constituted of each individual, whith is far more complex than the whole company. Paul Valery
5
× 3 =
6
site plan
1:1500
0
5
10
20m
7
8
9
10
11
12
13
B
4
6
9
7
8
9
12
15
16 7
5 10
9
9
11
13
14
17
1 18
8
7
2
8
3
2
7
8
3
2
7
3
A
A
B
20
21
first floor
1:800
01
1.foyer 2.classroom 3.bedroom 4.healthcare room 5.controlling room 6.storage 7.toilet 8.bathroom 9.office 10.water heater room
14
5
10m
11.reference room 12.meeting office 13.minor dining room 14.pantry 15.food storage 16.restroom 17.kitchen 18.main dining room 19.library 20.playground
19
8
7
8
2
second floor
8
3
1:800
7
2
2
1:800
3
third floor
7
01
5
10m
01
5
10m
3
15
south elevation
north elevation
16
1:800
1:800
west elevation
1:800
east elevation
1:800
01
01
01
01
5
5
5
5
10m
10m
10m
10m
A-A section
1:800
B-B section
1:800
01
01
5
5
10m
10m
17
foyer
18
yard
19
library
20
classroom
21
roof
22
roof
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6.67e-11 parametric design 2013.08 tutor-Huang Weixin partner-Dai Rui
This project is produced by the trails of three mass points who are controlled under graviation. As a cosmic physical rule, graviation goes well with the core of modenism. However, it is surprising that we cannot control the form created by this simple rule, which means great uncertainty behind the clarity and objectivity of so-called "rules", even factors like socioty or culture are excluded. It is worth great consideration for the pursuit of "order".
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Chaos
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26
27
28
29
grasshopper definition
P R
Radius
C C
N K
P
Points Around P
T
Inter
DEFINE POINTS
Divide
Center Point
Circle
INITIAL SETTINGS
I
t
Mass1
Mass
Angle1
O
Pl
V
V
L
X
O
A
V V
A
A V
V
B
Angle2 Angle3
F
DEFINE INITIAL VELOCITY
Vx1 Vx2 Vx3 Vz1 Vz2 Vz3 Start
False 20ms Timer
Crv A
30
Crv B
Crv C
Initial Velicity Addition
U
Amplitude
B
Unit Z
A
Vector Rotate
Mass3
Vector
Mass2
R
KANGAROO MOTION
GENERATE CURVES
Crv A
P Sph Center
Points Reset
Tolerance
S
Record
L T
i W
C T R
S
L P L P
Drag
StaticFriction KineticFriction Settle
Kangaroo Settrings
TimeStep
Restitution
L
L
L
V
SubIterations Floor
Cull
R
Cull
B
Cull
Paticle
Mass
Trail
Crv C
GiometryOut
Point
Velocity
Crv B
T
Record
ParticlesOut
Explode
SimulationReset
Reset
Iterations
Item
Settings Geometry
Points
Sph
AnchorPoints
P
Cutoff
Kangaroo
Strength
PLaw
Exponents
Sph Center
Out
Force object
Trail
Connection
L P
Crv 1 Crv 2 Crv 3
Settings
Tumble Sound Solver
Crv 1
Crv 2
Crv 3
31
different forms of different initial parameters
32
ANGLE1=90° ANGLE2=90° ANGLE3=90°
ANGLE1=90° ANGLE2=90° ANGLE3=90°
Vx1=40
Vx2=37
Vx3=42
Vx1=27
Vx2=20
Vx3=0
Vz1=0
Vz2=0
Vz3=0
Vz1=0
Vz2=0
Vz3=0
ANGLE1=90° ANGLE2=90° ANGLE3=90°
ANGLE1=90° ANGLE2=90° ANGLE3=90°
Vx1=0
Vx2=0
Vx3=0
Vx1=37
Vx2=37
Vx3=39
Vz1=17
Vz2=13
Vz3=25
Vz1=23
Vz2=21
Vz3=21
ANGLE1=90° ANGLE2=90° ANGLE3=90°
ANGLE1=97° ANGLE2=84° ANGLE3=50°
Vx1=18
Vx2=20
Vx3=0
Vx1=20
Vx2=21
Vx3=18
Vz1=22
Vz2=22
Vz3=0
Vz1=6
Vz2=11
Vz3=0
ANGLE1=30° ANGLE2=0°
ANGLE3=330°
ANGLE1=57° ANGLE2=62° ANGLE3=207°
Vx1=17
Vx2=0
Vx3=17
Vx1=20
Vx2=15
Vx3=20
Vz1=22
Vz2=0
Vz3=-22
Vz1=17
Vz2=11
Vz3=-21
ANGLE1=90° ANGLE2=90° ANGLE3=90°
ANGLE1=125° ANGLE2=0°
ANGLE3=172°
Vx1=31
Vx2=0
Vx3=0
Vx1=22
Vx2=22
Vx3=18
Vz1=0
Vz2=0
Vz3=0
Vz1=0
Vz2=0
Vz3=0
ANGLE1=90° ANGLE2=90° ANGLE3=90°
ANGLE1=90° ANGLE2=140° ANGLE3=90°
Vx1=38
Vx2=35
Vx3=31
Vx1=29
Vx2=46
Vx3=46
Vz1=10
Vz2=18
Vz3=30
Vz1=10
Vz2=18
Vz3=30
ANGLE1=97° ANGLE2=84° ANGLE3=78°
ANGLE1=115° ANGLE2=90° ANGLE3=90°
Vx1=0
Vx2=13
Vx3=0
Vx1=18
Vx2=20
Vx3=14
Vz1=0
Vz2=0
Vz3=17
Vz1=22
Vz2=0
Vz3=0
ANGLE1=97° ANGLE2=98° ANGLE3=94°
ANGLE1=57° ANGLE2=62° ANGLE3=47°
Vx1=17
Vx2=19
Vx3=17
Vx1=20
Vx2=15
Vx3=20
Vz1=22
Vz2=0
Vz3=-22
Vz1=17
Vz2=11
Vz3=-21
33
plan
forms in timeline
34
elevation 1
elevation 2
ANGLE1=90째 ANGLE2=90째 ANGLE3=90째 Vx1=36
Vx2=36
Vx3=22
Vz1=20
Vz2=20
Vz3=-22
35
after a long time
36
37
SCENT OF A MUSEUM
museum design 2013.10 tutor-Li Xiaodong
This project of perfume is trying to discuss modernity. It is commen to see critics that instrumental reason behind modernity forces human beings to live in a deciplined way, which weakens their censory functions. And the homogenous and orthogonal modern buildings are the physical way of such decipline. As the reflection and breakthough of this, the museum is placed in the typical section of metropolitan area- the Tsinghua Science Park. Plants to produce perfumes constitute the landscaple to revitalize censory functions of "people in the box".
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Maurice Merleau-Ponty
Michel Foucault
Perceptual things not only have a sense of movement and the meaning of life, but also is just from a spatial point to civilization emerged in some way in the world. If our bodies have this ability, we can accept this way of existing in the world. Specifically, perception is a kind of connection.
Business freedom stops human thoughts approaching the truth, makes human nature inevitably conflict with itself, keeps human experiences away from the four seasons. In short, this kind of freedom makes people alienated from his nature and his own world.
skyline of Beijing 39
boxes
people in the boxes
40
site plan
1:5000
0 10
50
100m
41
42
original
vertical landscape
ground platform
multiply platforms
landscape lift
roof
43
ground platform
44
45
view in the lift
46
47
structure system- truss
48
section
1:1000
01
5
10m
49
SHIELD OF ACHILLES
CCTV-rebuild 2014.04 tutor-Ma Yansong
It is not going to be expressed in English for now. 马岩松从头到尾都很明确这回让我们做设计的宗旨：激发我们最原始 的欲望和最真切的情感，逻辑性、可行性、功能性都暂且放在一边。 可惜的是，我似乎并无这两样东西。自我观之，我在设计上极其性冷 淡，没什么欲望；且内里又无艺术家一般自由飘逸的灵魂；是一个根 深蒂固的笛卡尔主义者：试图为一切选择找到一个稳固可靠合法的根 基。即便我十分崇尚尼采重估一切的快意，以及费耶阿本德怎么都行 的极端非理性主义，仍然要在这快意和非理性之后自问一句：我选择 这快意和非理性的理由何在？ 所以，当马岩松说要看看三年级学生要如何应对城市问题的时候，我 其实是很害怕的。我害怕现在对于城市中任何可能的问题提出任何的 回答，都只是一场目光短浅，毫无根基，甚至稍加追问就陷入矛盾的 自我意淫，正如我现在回头看一些自己做过的认为在说一些话语的作 业，其实要么浅尝辄止，要么空洞无物，真是不胜惶恐。这种畏惧也 某种程度上来源于对福柯的死忠，即，我们所做的一切选择，真的是 自己的选择，还是被灌输了某种规训化的意志之后的结果？ 所以，我完全不敢不加考古地回答甚至提出类似如下的问题：“该怎 样解决城市中缺乏公共空间的问题？”“该怎样舒缓现代城市中的效 率机器所带来的冷漠与紧张？”“当人们意识到方盒子对人性的压迫 之后，未来的CBD将走向何方？”这些问题背后都包含着非常明显的 价值预设，这类预设给人带来的限制正是福柯毕生致力于揭露和消解 的。甚至在马岩松抛给我们的那个看似中性的问题：“你们如何看待 当今的城市问题？”中，只要“问题”有一丝被翻译成“problem” 的可能性，这样的价值预设就仍然存在。或许这句话对于已经充分研 究过城市的库哈斯来说，已经不再是被灌输的意志，而是真正的自我 意志与选择，不过我想凭我现在的姿势水平，既对城市本身没有任 何见解，也没有认真读过库哈斯，所以这个“或许”将一直“或许”
50
着。至少，我认为库哈斯的CCTV在有一点上是无论如何的不自由，也 正是这个房子成立的原因，即CCTV需要周边一切的现存物与之造成对 立，无论是作为一群普通办公楼之间的一个悬挑奇观，还是周榕所强 调的在“没有瑕疵的CBD中的一个‘空儿’”，都建立在有物与之进行 对抗的基础上，因而库哈斯的CCTV仍然无法回答对抗之后自身的立足 点何在的问题。或许作为一个具体的建筑物天然地无法像胡塞尔所提 出的“绝对的自身被给予性”，然而当我们这样认知的时候，则确乎 在给我们自己以及建筑提供某种十分强硬的价值预设了。 正如一些结构主义者和语言学者所做的，我用一种司空见惯的思路， 把那些应对建筑本体，包含在目前的建筑学科范式之内的具有价值预 设的问题称为“对象问题”，把针对这些“对象问题”的合法性提出 的普遍追问称为“元问题”，所谓“普遍追问”，并非针对每一个具 体的“对象问题”的问题，比如“功能主义”或者“人本主义”的终 极意义是什么，而是指出这些追问仍然存在这一事实。显而易见，“ 元问题”对于任何“对象问题”的解决没有任何助益，也没有打算有 所助益。而这，正是我在回应马岩松的问题的时候所建立的答案。 而胡塞尔在考虑存在问题的时候事实上处于类似的景况：现象背后是 否有客观的终极实在？他没打算回答，而他的立场简直就是为本方案 而生的——悬置。对于存在问题这是一个隐喻式的词语，而对于城市 问题它还能提供一个物的层面的回应，即用一个悬置的镜子把城市面 貌原原本本地还原，不加任何其他的应对。此即我对于元问题的呈现 方式。 至于这面镜子刚好通过仰视和俯视重塑天空和大地的景观，这其实是 另一件事了，比较接近“对象问题”。然而如果考察康德如何把时间 和空间作为感性直观之纯粹方式的道路，或许“天空”和“大地”也 是能够成为建筑学语境内的先验元素的。不过这仍然是另一件事了。
51
52
53
looking down
54
looking up
55
56
elevation
57
58
59
60
61
62
63
2000 1400
4704 1784
2000 1400
2000 1400
4704 1784
setion
64
1:1000
2000 1400
01
5
10m
65
BOOKMARK DESIGN MUJI Award-long lasting design for living 2013.10
If it is plausible to say that a bookmark is an indispensible part of books, then the names of the books should be remembered by the bookmark. Years later, the titles may be a reference of the change of a reader. And then the bookmark is un repeatable.
66
BOOK
DATE
BOOK
DAT
67
68
69
HOLY LIGHT FILTER
VELUX Award-light of tomorrow 2014.05 tutor-Zhang Xin partner-Li Peiming
This project aims at exploring the possibility of human’s unintentional behavious being part of the producer of light, and how this kind of light change as time passes. In traditional churches, via elaborate design including orientation and windoes, light will greatly enhance the holyness and peace of the space.We find it interesting if we involve candle-praying in the shaping of the light as the space will add to another kind of poetry. Thus we designed a piece of landing glass window which orients the sun and leans at a slight angle, and we put the candleabrums up above the window. We experiment different angles in order to achieve the most interesing pattern of candle grease. It can be expected that the sunlight goes thought the gap of concretionary candle grease and forms beams of light. As time goes by, the wax drops on the window gradually accumulate and change, which causes the light develop slowly and quietly. Finally, one special lighting glasswhich cannot be reproduced will be create by countless religous adherents, and the space of the church will mean differently for them. Everyone can be involved in their own ‘light of tomorrow’.
70
71
72
73
74
different angles in experiments
α=65°
α=70°
final angle
α=75°
α=80°
α=85°
α=85°
75
76
77
BUDDHISM GRAVEYARD
history architecture studio 2014.12 tutor-Liu Chang|Li Luke partner-Tang Ning|Qin Zhengyu|Liu Xiaoxiao
This buddhism graveyard sits in a desolate gorge in Wutai Mountain in Shanxi Province."Non-Conceptional Strategy" is proposed based on the study and comprehention of traditional Chinese space. Referring to the arrangement of traditional architecture, two axes are set. The first one points to the most important mahavira hall while the second is parallel with the remains of Riguang Temple. As the essential characteristic of Chinese Architecture, "time" is also behind the two axes.Except for the multiply space experiences in them, the main axis points to the direction of sunrise on Tomb-sweeping Day, which has a strong religion feeling.
78
sunrise of the site 2014.10.30, 08:15 am
79
site plan
80
1:15000
0
50
100
200m
sunrise
on Tomb -sw
eeping
day
81
82
83
master plan
84
1:3000
0
10
20
40m
85
86
87
ground floor 88
1:1500
0
5
10
20m
first floor
1:1500
0
5
10
20m
89
section of main axis
1:1000
cobblestone entrance
three walls
transition
mahavira hall
inside mahavira hall
roof of mahavira hall
90
0
5
prayer room
path to the mahavira hall
bone ash room
behind the mahavira hall
viewing platform
sunrise
10
20m
91
INTERACTIVE INSTALLATION ON SCISSOR LINKAGES
srt project 2013-05 tutor-Huang Weixin|Yu Lei partner-Ma Yidong|Zhang Boxuan|Gao Qi
Algorithm is used to generate this frame. From any given network we find middle point of each line. Then, we use every set of middle points to create a couple of units which are around a certain network vertex. Finally, for each unit pair we connect the top one to adjacent bottom ones and vice versa. Thus it will be transformable.
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scissor linkage
experiments
93
detail
94
mock-up driven by stepper motor
up：0%
down：0%
up：20%
down：60%
up：40%
down：80%
up：60%
down：20%
up：100%
down：100%
up：80%
down：40%
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ACTIVATE THE SLEEPING SPACE
96
functional remake of a dormary bed 2013-05 partner-Liu Chang|Li Peiming|Dai Rui
closure 对床位进行两面围合
expansion 拓展空间
grillage 利用木条进行围合
function 利用木条实现特定功能
storage 利用零件盒隔板储物
97
structure details 1
1
3 2 6
3
5
2 6 5
4 4
1
4
98
2 1
2
4
5
5
3 3
6
6
connection details 8
6 2 8
7 1
6 2
4 5
3 7
9 1 4
3 5 9
1
2
1
4
2
3
3
5
4
7
5
6
6
8
7
8
9
9
99
connection of componants
componants design
100
101
SURVEYING AND MAPPING OF DOUGONG
102
China-Shanxi-Hongtong 2014-07 tutor-Li Luke partner-Tang Ning|Xie Xiangya|Qin Zhengyu
1 1
2 2
3 3
3-1 3-1
4 4
5 5
6 6
f f
e e
d d
c’ c’ c c
b b
a a
广胜寺明应王殿一层屋顶仰视 first floor roof 广胜寺明应王殿一层屋顶仰视 Guangsheng Temple, Mingyingwang Palace 1 1
2 2
3 3
3-1 3-1
3-2 3-2
4 4
5 5
6 6
F F E E D D C’’ C’’ C’ C’ C C B B A A
second floor roof 广胜寺明应王殿二层屋顶仰视 广胜寺明应王殿二层屋顶仰视 Guangsheng Temple, Mingyingwang Palace 103
一层前檐明间 补间斗栱a3-1
一层山面明间 补间斗栱c'6
一层柱头斗栱a4
一层后檐明间 补间斗栱f3-1
一层转角斗栱a6
104
二层山面次间 补间斗栱E1
二层前檐明间 柱头斗栱A4
二层后檐金柱 次间补间斗栱D5
二层后檐金柱 柱头斗栱D4
二层前檐明间 补间斗栱A3-1
105
二层前檐次间 补间斗栱A5
二层山面明间 柱头斗栱D6
二层山面明间 柱头斗栱C6
二层金柱明间 补间斗栱
二层转角柱头 斗栱A6
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FINE ART 2011-2013 tutor-Cheng Yuan|Liu Fenglan
copy，pen，2012-01
108
Yanyuan of PKU，charcoal crayon，2012-08
109
still lifeďźŒpencilďźŒ2011-11
110
a construction site in Qingdao，watercolor，2013-06
111
112