Jie Yang 6XULKYYOUTGR 'IGJKSOI 6UXZLUROU
JIE E YANG YANG Cell ++11 6 626 26 2 26 272 72 2 688 6888 88 Email E Em ail jjie.yang.1919@gmail.com ie.yang. g.119 g. 919@g @ ma @g ailil.c com om
EDUCATION May 2016 – Present
Architect Registration Examination
Spring 2011 – Spring 2014
Southern California Institute of Architecture (SCI-Arc) GPA: 3.86/4.00 960 E 3rd St., Los Angeles, CA 90013 USA
Spring 2008 – Winter 2010
Pasadena City College Major: Architecture 1570 E. Colorado Blvd. Pasadena, CA 91106 USA
PROFESSIONAL EXPERIENCE November N No ovember 2014 – P Pr Present res se en nt
Architectural Designer Foster +Partners San Francisco Bay Area, California, USA Achievement: Manage Part of Project Coordination with GC&Client Answer RFIs&Submittals Punch Listing
June – August 2013 13 3
A Architectural Intern Cube Architecture Designing Consultants LTD. Shenzhen, China Achievement: Construction Drawing
May – September Septem em em mbe ber be er 2012 2 12 20
Develop DD and CD BIM Coordination Presentation Delivery Site Observation
Competition Proposal
A Architectural Intern Oyler Wu Collaborative Los Angeles, California, USA Achievement: Physical/Digital Model Building Coordinating with Materials
May August Ma M ay – Au A gu g ust st 2011
Workshop at SCI-Arc (Grad Pavilion) Los Angeles, California, USA Achievement: Grad Pavilion Fabrication
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Installation Fabrication Rendering
Physical modeling
SKILL Software
3D
Rhino, Maya, ZBrush, Revit, Grasshopper, MicroStation
2D
AutoCAD, MicroStation, Adobe Illustrator/ Photoshop/*O%FTJHO "GUFS&äFDU
Rendering
Maxwell, VRay, Mental Ray
CNC Milling SurfCam 3D Print
ZPrint/ MakerWare
PM
Newforma
Working with various materials (such as chipboard, museum board, styrene, acrylic, wood, steel, resin, 3D prints etc.)
Physical Modeling
Experienced with Lasercut and Makerbot 3D Printer Hand Drawing
Hand Drafting Sketching via various media (such as water color, charcoal, pen, pencil, etc.)
Language
4QFBL BOE XSJUF mVFOUMZ JO &OHMJTI BOE .BOEBSJO (Nationality: America)
ACHIEVEMENT 2014
SCI-Arc Best Thesis Award & Graduation with Distinction
2014
Featured in Dwell on Design 2014 Exhibition
2014
Selected for SCI-Arc Annual Spring Show
2013
Selected for SCI-Arc Annual Spring Show/Continuing Student Scholarship
2012
Selected for SCI-Arc Annual Spring Show/Continuing Student Scholarship/ Ray & Shelly Kappe Scholarship
2012
Price for Excellence (partner with Nila Liem) in HYP Cup 2012 International Student Competition in Architectural Design: Architecture in Transformation
2010
2nd Place (partner with Anna Meloyan) in Architecture Design Charrette at Pasadena City College
PUBLICATION Magazine: UED Special Issue of 2012 HYP Competition (Issue 068)
JIE YANG 4
jie.yang.1919@gmail.com +1 626 272 6888
CONTENTS
PROFESSIONAL WORK: 002
Foster+Partners
010
Oyler Wu Collaborative
ACADEMIC WORK: 020
Mnemosyne Of A Broken Dimension Adviser: Dwayne Oyler
038
City Aperture Instructor: Russell Thomsen
058
City Ops Instructor: Dwayne Oyler
072
Field Operations Instructor: Volkan Alkanoglu
090
Design Development Instructor: Pavel Getov/Scott Uriu
102
Construction Document Instructor: Pavel Getov/Jay Vanos
© Apple
Foster + Partners Left Apple Park Facade
Design is not just what it looks like and feels like. Design is how it works. -- Steve Jobs
Right Apple Park Master plan
© Apple
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Š Apple
Š Apple
Apple Park Note: due to the non disclosure nature of this project. Sensitive information, image and drawing access are restricted.
The new apple campus is conceived with the inspiration of Californian spirit - pleasant climate, beautiful landscape and active outdoor lifestyle. It encourages an interactive, creative, and stimulating working environment, which is allowed by the advancing/radical design, construction methods and technology.
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© Apple
© Apple
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© Apple
Early sketch of the pods by Norman Foster
Note: due to the non disclosure nature of this project. Sensitive information, image and drawing access are restricted.
Like any Apple product, its form follows its function. The workplace was designed for people to open to each other and nature. Modules, known as pods, have been created. Steve Jobs’ idea was to repeat the pods over and over: QPE GPS PåDF XPSL QPE GPS UFBNXPSL QPE GPS socializing, like a piano roll playing a Philip Glass composition.
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© Apple
© Apple
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Š Oyler Wu Collaborative
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Oyler Wu Collaborative Left Netscape: SCI-Arc Graduation Pavilion 2011
Oyler Wu Collaborative is an experimental architecture BOE EFTJHO lSN MPDBUFE JO -PT "OHFMFT $BMJGPSOJB 5IF PĂĽDF approaches architecture and design with a critical and rigorous intent that challenges the typical vision of the built environment. Recent works encompass a variety of scales, from products and installations to residential and institutional buildings.
Right Wire-frame Drawing of Screenplay
Š Oyler Wu Collaborative
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Netscape: SCI-Arc Graduation Pavilion 2011 Netscape utilizes a double layer of netting JO WBSZJOH DPOlHVSBUJPOT UP DSFBUF B UISFF EJNFOTJPOBM lFME PG CJMMPXJOH TIBEF MPVWFST Based on a conventional knitting technique, like that used in the making of a sweater, the pavilion exploits the malleability of this technique as it stretches to conform to the three-dimensional shape of the structure.
Responsibility: Schematic Design Fabrication (roping/ fabric/steel work) Physical modeling
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© Dwayne Oyler
© Dwayne Oyler
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ScreenPlay Permanent Collection, 2012 SF MOMA Screenplay is conceived of as a ‘play’ on one’s visual perception. This twenty-one foot MPOH TDSFFO XBMM JT DPOTUSVDUFE PG GPSUZ lWF thousand linear feet of rope strung through a series of lightweight steel frames. The wall is designed with the intention of provoking a sense of curiosity by slowly revealing its form and complexity through physical and visual engagement with the work.
Responsibility: Fabrication (roping/steel work) Physical modeling
© Oyler Wu Collaborative
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© Oyler Wu Collaborative
© Oyler Wu Collaborative
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Furniture Prototype This furniture collection has been exhibit in SF MOMA in 2012 They are currently in the prototyping stage, includes a dining chair, an armchair with ottoman, and a chaise.
Responsibility: Fabrication 3D digital modeling Rendering Autocad Drawing
Š Oyler Wu Collaborative
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© Oyler Wu Collaborative
© Oyler Wu Collaborative
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Left South Elevation Detail
Mnemosyne Of A Broken Dimension
UG Thesis
Adviser: Dwayne Oyler
At times all I need is a brief glimpse, an opening in the midst of an incongruous landscape, a glint of light in the fog, the dialogue of two passersby meeting in the crowd, and I think that, setting out from there, I will put together, piece by piece, the perfect city, made of fragments mixed with the rest, of instants separated by intervals, of signals one sends out, not knowing who receives them. If I tell you that the city toward which my journey tends is discontinuous in space and time, now scattered, now more condensed, you must not believe the search for it can stop. -- Italo Calvino, “The City Within�, Invisible Cities
Right Physical Model Detail
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Concept This thesis raises the question: Can the bits and pieces form the perfect something or delusion of the perfection? 5IJT UIFTJT JT B QSPDFTT PG FYQMPSJOH BOE SFlOJOH FYQFSJNFOUBM techniques in architectural geometry and space, which often is VOEFSTUPPE BT hBDDJEFOUBM v BXLXBSE BOE JOEFUFSNJOBUF 4QFDJlDBMMZ the notion of debris is drawn into the process. The notion of debris has been historically and contemporaneously an architectural element that is normally understood as a fragment of architecture’s destruction. This thesis considers debris as a vector of creation for new architectures. While some architects and artists have attempted to utilize debris, they have often done so as aggregations or assemblages of debris, which are directly related to its physical materiality. However, this thesis reconsiders the ways to extend the reading of debris in a more contemporary sense (in this case, digitally), in which it explores how “errorsâ€? of contemporary representation techniques generate forms of debris and how it will apply to architecture in terms of enclosure skin, opening, space, and texture. %FCSJT JO UIJT DBTF BDUT BT B XPSLFS PG B lFME PG CJUT BOE QJFDFT %JäFSFOU QJFDFT PG EFCSJT JOEJWJEVBMMZ DBOOPU CF EJTDFSOFE CFDBVTF UIFZ DBO POMZ CF VOEFSTUPPE XJUIJO UIF EFCSJT lFME BOE UBLFO EJHJUBMMZ FEHFT PG FBDI CJU CMFOE NPSF SBEJDBMMZ JOUP UIF EFCSJT lFME
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Site Plan
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Render
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Site: Hong Kong The technique used here is 3D scanning. 10% of Kowloon Walled City, both exterior massing and interior space (see the physical model), are scanned, in which the 3D scanning computer program breaks down the two into hundreds and thousands of pieces, and then tries to put these bits and pieces back together. In this process, accidentally some information gets lost and misinterpreted, where the gap between the “repaired” and the “original,” is created.
In this process, the “error” is exaggerated steps by steps, where a “new” form is generated.
Original Exterior Mass
Step 1
Original Interior Space
Step 1
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Step 2
Step 2
Exterior Scan Bits
Interior Scan Bits
Step 3
Step 4
Step 5
Step 3
Step 4
Step 5
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Contour Plan Drawing
Contour Section Drawing
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In some ways, this thesis is about organizations and parts, and is therefore akin to some of experimental work by Roland Snooks or Casey Rehm, especially in how it moves from materiality to the digital as a way of envisioning post-assemblages. Here, architectural elements such as a mullion and an I beam cannot be understood BT UIF hEFCSJTv PS UIF CJUT PG B TQFDJlD QJFDF PG BSDIJUFDUVSF CVU UIF components of the architecture, which usually are how a piece of architecture is constructed. However, this thesis reverses the engineering – it starts with a complete piece of architecture which was built from components like a mullion or an I beam, break it down into “debris,� and then try to put them back together and reconstruct something through the debris lFME 5IFSFGPSF UIF CJUT BSF FWFSZUIJOH BOE FWFSZUIJOH JT UIF CJUT
Concept Drawing
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09 Level 12 54.6m 03
Level 11 50.3m 03 Level 10 46.0m Level 09 41.8m Level 08 37.5m
Level 07 33.2m
Level 06 29.0m
Level 05 22.6m Level 04 18.3m
Level 03 12.8m 02
Level 02 8.5m
01
Level 01 4.6m
08
UG Level 01 -8.2m
UG Level 02 -12.2m
Section AA 01 Entrance 02 Mezzanine 03 Reading Room 04 Auditorium 05 Parking 06 Book Storage 07 Core of Books 08 Plaza 09 Cafe
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10m
20m
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40m
50m
60m
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70m
80m
90m
100m
110m
120m
31130m
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07 03
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Section BB 01 Entrance 02 Mezzanine 03 Reading Room 04 Auditorium 05 Conference Room 06 Core of Books 07 Free zone 08 Cafe 09 Mechanical Room 10 Parking
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Plan 02
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Plan 05
01 03 03
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Plan 10
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South Interior Elevation
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East Interior Elevation
North Interior Elevation
Physical Model Exterior Elevation Detail
West Interior Elevation
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3D Cut Model
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Left Physical Section Model Detail
Dynamic Architecture System Anabolic, Metabolic, Catabolic
3B Studio
Instructor: Russell Thomsen Partner: Nila Liem
“Architecture is a hazardous mixture of omnipotence and impotence. It is CZ EFlOJUJPO B DIBPUJD BEWFOUVSF *O other words, the utopian enterprise.� -- Rem Koolhaas, S, M, L, XL
3B Studio challenges us in many ways. One of them is group work. Two people working together requires a lot of cooperation and negociation. I have learned a lot from working wiith peole this semester. Another challenge is that we need to complete design phase in a very short period of time. 3B studio introduces us to the comprehensive development of a building, from conception to largescale detail, with an emphasis on the assimilation of building systems. Students examine interrelated systems which are able to both modify the spatial structure of a building and articulate expectations of their performance structurally, thermally, acoustically and environmentally. In this studio, along with AS3040 – Design Documentation Analysis and Development, students are expected to demonstrate how their buildings explore and resolve issues of egress, codes and life safety.
Right Physical Model
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Site Bowery, New York
The studio project is to be located on the site of the recently completed New Museum (by SANAA) in New York. The New Museum is located on the Bowery at a pivotal geographic and cultural intersection where generations of artists have lived, worked, and contributed to the ongoing cultural dialogue of the nation. *O 4P)P XBT B EFSFMJDU CSPXOlFME TJUF CVU OPX JU JT B WJCSBOU /FX York district. This paper examines how the renewal occurred so rapidly and completely. The dramatic revival has resulted in a high density environment which provides the mix of uses usually associated with urban villages. High density and mixed uses have been bound together and sustained by the catalyst of myth making. 5IFTF UISFF UFSNT NJYFE VTF EFOTJUZ BOE NZUI BSF lSTU EFlOFE BOE UIFJS interaction over the last 200 years is plotted to demonstrate how these qualities provide a successful urban environment. This historical overview also shows how SoHo became a primary example of local SFTJEFOUT PWFSDPNJOH DJUZ QMBOOFST BOE IPX JU JT UIF lSTU UJNF UIBU BSUJTUT acted as urban pioneers.
Site Picture Viewing from building top across Bowery 42
Site Picture Viewing from Prince Street
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Bow ery
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Site Plan The site marked in green
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Concept This vertical contemporary art museum is located at Prince Street and Bowery in Manhattan, a pivotal geographic and cultural intersection where generations of artists have lived, worked, and contributed to the ongoing cultural dialogue of the nation. The intention of the project is to create variety of spatial/visual dialogues between visitors and the art, visitors and visitors, visitors and pedestrians, visitors and the city. The concept of “seeing and being seenâ€? manifests itself in the way of how exhibition spaces are organized – the vision is comprised of the horizontal (the vision between the visitor and the city) and the vertical (the vision between the visitors GSPN EJäFSFOU mPPST 5IF NVTFVN IPMET CPUI JOUFSJPS BOE FYUFSJPS HBMMFSZ spaces. All interior galleries are located on the very top of the building to TFQBSBUF UIF DJUZ GSPN UIF BSU BOE UIF OBUVSBM FOWJSPONFOU SFmFDUJOH UIF BSU as an escape from the urban life and allowing for the enjoyment of natural sunlight.
MORPHOLOGY DIAGRAM
Diagram 1 Create 3 boxes (galleries) in the bounding box on the site.
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Diagram 2 Extrude the 3 boxes to south, north, west from the highest window to the lowest.
Diagram 3 Extrude the 3 boxes to south, north, west from the highest window to the lowest.
View to Lower Manhattan
VIEW DIAGRAM Lower Soho
Upper Manhattan
Bowery
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Section AA 46
From Bowery South From Bowery North To Theater
CIRCULATION DIAGRAM
INNER MASSING DIAGRAM
Local Circulation Entry Elevator Emergency Stair Check Point
PROGRAM DIAGRAM Theater Storage & Machenical room Elevator Emergency Stair Exterior Gallery Interior Gallery Learning Center & Media Room Cafe
STRUCTURE DIAGRAM Vertical Support Wall Support Primary Truss Lateral Force Vertical Force
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Section BB
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B
B
Learning Center
Ramp to Theater
Coat room
Ticket
A
A Entry
Lobby Gift shop Exterior Gallery
A
A
B
B
Fourth Floor Plan
Ground Floor Plan
B
B
Interior Gallery
A
A
A
A
Interior Gallery
B
B
Seventh Floor Plan
Eighth Floor Plan
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West Elevation
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SKYLIGHT The slylights are created by the tubes extended to the ceiling of the big gallery, which provide a view to the sky and sunlight.
ENVELOPE The envelope is created by the three big “windows,” which are facing to the NYC city in different directions. The “stripes” are created around the every floor plates, providing sun light to the interior. The openings are on the top and the bottom of the floor plates, and not appear on the eye level so that the three frames will be more appreciated.
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BIG GALLERY The entire floor, which is 116’ x 100’ x 35’, creates the overhang on the neighboring building and create an outdoor gallery. It connects to the to exterior galleries.
MATERIAL The envelope is made out of pour in concrete. The surface of pour-in place concrete may be modified to create an aesthetically pleasing color and/or texture, or to simulate tile, stone or brick. This specially finished concrete is referred to as “architectural concrete,” and it is usually permanently exposed to view. Architectural Concrete Forming is the primary method of creating architectural concrete. Form liners are typically used and are fastened to the inside of the forms, providing the desired design or texture to the concrete. Architectural concrete forming may be used for structural or non-structural building components. When using this process, special attention should be given to the uniformity of the mix, additives such as color or aggregates, placement, and finishing.
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Section Model
Section Model
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Left Concept Model
City Ops
4A Studio
Instructor: Dwayne Oyler
“But ideal cities are very much the product of their own ages. Designed as complete urban statements, they bear the unmistakable imprint of their own culture and world view in every street and building. And yet to be successful a city has to be open to continuous development, free to evolve and grow with the demands PG OFX UJNFT -JLF TDJFODF lDUJPO accounts of the future, ideal cities quickly become outmoded.� -- P.D. Smith
4A studio serves as an introduction to architecture's relationship to the city. While the studio is divided JOUP UISFF TFDUJPOT FBDI FYQMPSJOH B EJäFSFOU TDBMF in relationship to the city. The studio's aim is to establish the city as a primary area of interest central to architectural discourse and design both now and through its history. By working at various scales, the studio makes the claim that urban issues in architecture are fundamentally not about the size of its form, i.r. being "big" does not equal "urban". Instead, by presenting a range of projects originating at the scales from small, medium and large, the studio takes the position that the city is fundamentally a problem about the density of its forms, the relationships between those forms and the comparison and analysis of these forms through their mutual representations. It is through a careful study of density and its relationship to scale that we will begin to understand how architecture engages problems of the city.
Right Concept Model
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Concept 5IF JOUFOUJPO PG UIF QSPKFDU JT UP DIBMMFOHF QFPQMF T lSTU QFSDFQUJPO PG B DJUZ XIJDI JT VTVBMMZ TUBSUJOH SFNFNCFSJOH B TQFDJlD JNBHF GSPN UIF DJUZ It is a relatively unfair way to read a city. The correct way to view a city is through its plan. which reveals the overall organization of the city. The image reading is not accurate or not correct or misunderstanding. City is including various components, not only one component that people usually remember or recognize. Therefore, the project starts working with the plan of the city BU lSTU QMBDF 5IF POMZ PS TQFDJlD JNBHFT PG B DJUZ OFFET UP CF CMVSSFE or make unrecognizable to the city. Hence, the pixelated is “blurring� the JNBHF DPNQPOFOU UP NBLF UIF TQFDJlD JNBHF VOSFDPHOJ[BCMF BOE JU POMZ can be read when stay far away. The recognition of city is through the overal view of the city. The experience of this project is meant to reveal the concept above.The line to create the pixelation is pixelated again and again. Then it is layed on this TQFDJlD TJUF UIF PWFSMBQ UIF MJOFT BSF DSFBUJOH HBMMFSZ TQBDF WPMVNF Therefore, on the ground level, the project can not been read fully, but only can be understand for birds eyes view.
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Site Map
Site Map Pixelation
Line Translation of Site Map
Line Translation of Site Map
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Line Translation of Site Map Zoom-in
Concept Model
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Section AA
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The concept model presented on the previous page provides more essential moves towards the development of the next stage of line drawings. The strips is another system that developed from the zigzag volumes, and become an independent yet complementary system. This line drawing is created by shifting, rotating, lofting the existing lines, BOE QVUUJOH UIFN JO BO BYPO QPTJUJPO 5IFSFGPSF UIF % FäFDU JT SFWFBMFE JO this drawing.
Concept Model
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Section Model
Section Model
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Instructor: Volkan Alkanoglu
2'-8" 2'-10"
3'-2
1/2"
3.2¡ã 3.2¡ã
3.2¡ã 3.2¡ã
3.2¡ã
Left Interior Render
Field Operations
3A Studio
3.2¡ã
" In any architecture, there is an equity between the pragmatic function and the symbolic function. " --- Michael Graves
The studio locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. The uses of precedent and antecedent are considered, while the main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation (of simple systems) as a methodological tool to guide a rigorous approach to decision making. The inspiration for creative design work is always informed by implementation of skillful techniques. A synergy of analogue and digital production techniques is required for this studio in order to exploit attributes of analysis, aesthetic, and construction. Students will CF TQFDJlDBMMZ FODPVSBHFE UP FOIBODF UIFJS PWFSBMM skill level in order to develop ideas and represent project accordingly. Emphasis will be placed on techniques including sketching, physical model making, digital model making, transfer of technologies, digital fabrication and performative building technologies. These and other techniques will be used as a catalyst for project development.
Grasshopper Scripted Pattern
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Site Exposition Park, Los Angeles
The Los Angeles Memorial Coliseum is a large outdoor sports stadium in the University Park neighborhood of Los Angeles, California, at Exposition Park, a 160 acre tract directly south of U.S.C. and it is bounded by Exposition blvd. to the north, Figueroa St. on the east, Martin Luther King Blvd. to the south, and Vermont Ave. to the west. Along with the Los Angeles Memorial $PMJTFVN UIF TQFDJlD " GPDVT UIJT TFNFTUFS UIF QBSL DPOUBJO NVTFVNT EJäFSFOU TQPSUT WFOVFT BOE EJWFSTF PUIFS GBDJMJUJFT 5IF TUBEJVN JT IPNF UP UIF 1BDJlD $POGFSFODFgT 6OJWFSTJUZ PG 4PVUIFSO California Trojans football team. The stadium is jointly owned by the State of California, Los Angeles County, and the City of Los Angeles; it is currently managed by the Los Angeles Memorial Coliseum Commission. The Coliseum is the only stadium to have hosted the Olympic Games twice, in 1932 and 1984. It is also the only Olympic stadium to have hosted Supper Bowls and World Series. It was declared a National Historic Landmark on July 27, 1984.
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Site Plan
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Concept Considered the current situation of the Coliseum, which needs more revenue to be generated to sustain the place. The present situation of the stadium is only used for football games, and sometimes concerts events. The purpose of this project is to increase the activities of the site, bring more revenue, and create a canopy for the spectators. The concept of the project is to bring an intermedia zone between the outside of the stadium and the another outside zone (seating). At the same time, the intermedia zone could provide more programs and more revenue to the site. 2 types of organizational systems distribute other sub-systems within a project -- regular area and core area. Regular area is consist of administrative and commercial areas. The core zones are DPOTJTU PG EJäFSFOU UIFNFT XIJDI DPOUBJO lWF EJäFSFOU GVODUJPO BSFB 5IJT BMMPXT GPS MPDBMJ[FE EJäFSFOUJBUJPO BOE VOJRVF NPNFOUT while preserving the consistency of a project as a whole since subsystems resonate through its internal dynamic blueprint.
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2'-8" 2'-10"
3'-2
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3.2¡ã 3.2¡ã
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Diagram 1 Origional ring geometry analysis
3.2¡ã 3.2¡ã
3.2¡ã
3.2¡ã
Diagram 2 Origional middle ring geometry analysis
Diagram 3 Origional inner ring geometry analysis
Diagram 5 Origional inner ring angle analysis
Diagram 6 Shade analysis of the seating
Diagram 8 Trim circles outside of ring
Diagram 9 Continue roof line
3.2¡ã
3.2¡ã
Diagram 4 Origional middle ring angle analysis
Diagram 7 Circle angle shifting according to shading
Diagram 10 Roof and seating in perspective view
Diagram 11 Roof and seating in perspective view
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BELOW THE FABRIC: Planting a massive lFME MJHIUT XJMM FODPVSBHF UIF HSPXUI PG population at night to come to the stadium. Sport meets sustainability; culture fused into nature. Remediation processes are not hiddenm but activated as elements of design. The site glows and shimmers resonating experiences found in sports culture.
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B
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03
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Upper Concourse Plan B Legend: 01. Core Of Performance 02. Core Of Garden 03. Core Of Athletics 04. Core Of Media 05. Core Of Lounge 06. Market
Section AA
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Exterior Rendering
ABOVE THE FABRIC: Complexity found in natural ecologies unfolds into the fabric of architectural systems. Therefore, the ground is a network of nested-systems that breed with one another. The project introduces a probabilistic program of human activities as well as tectonic behaviors on the surface they inhabit.
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Roof Membrane
Secondary Roof Structure
Primary Roof Structure
Ring
Existing seating New seating
Seating Support Structure
Existing columns New columns
Soil
Floor Plate
Existing Stadium
Existing wall Peristyle
Old New Structure Diagram
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Panel
Secondary Structure (Steel Rod)
Primary Structure
Secondary Structure (Steel Rod)
Structure Detail
PRIMARY STRUCTURE The primary structure is made of steel pieces, that insert into the ground and attach to existing columns.
SECONDARY STRUCTURE The secondary structure is made of steel rods, inside and outside of the large steel pieces to reinforce the primary structure. Towards the top area, the steel rods id outside of the primary structure, and as the curvatures change direction, the rods change from the outside to the inside.
PANEL The material of the panel is made of light blue translucent Fibre-reinforced plastic. It creates 25% reduction in weight 95% reduction in components by combining parts and forms into simpler moulded parts. Overall reduction in production and operational costs, economy of parts results in lower production costs and the weight. 4BWJOHT DSFBUF GVFM TBWJOHT UIBU MPXFS UIF PQFSBUJPOBM DPTUT PG mZJOH the aeroplane.
Section Detail
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Core Of Performance Concert Hall Art Gallery VIP Box
Core Of Green Garden Green Promenade Farming Ground
Core Of Athletics Jogging Track Sports Clinics Gym
Core Of Lounge Restaurant Bookstore Cafe
Core Of Media Media Platform Conference Room
Exploded Drawing
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Rendering: See from Entry
The main structure of the core is made out of steel pieces, which connect the inside of stadium and the existing columns of the existing walls. &WFSZ DPSF IBT lGUZ QJFDFT UIBU JT hmPXFSJOHv PVU from inside. Furthermore, small steel rods inside and outside of the large steel pieces to reinforce the primary structure. Towards the top area, the steel rods id outside of the primary structure, and as the curvatures change direction, the rods change from the outside to the inside. Digital technology is applied to tailor the physical space of the exterior shell and the inside volume precisely in order to ensure the exact matches between seams. The cone-shaped shared space, which is 70 feet high, generates the chimney effect, which provides natural air ventilation to save energy during transitional seasons. In the east and west parts of the shared spaces, there are continuous steps, landscape platforms, TLZ SBNQT BOE DSPTTJOH FTDBMBUPST XIJDI lMM UIF building of energetic and dynamic spaces.
Rendering: Core Of Performance
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Design Development
Instructor: Pavel Getov/Scott Uriu Partner: Bowen Wu, Allen Tsai, Ariel Ip
The course includes a review of basic construction methods, analysis of building codes, the design of structural and mechanical systems, the development of building materials and the integration of building components and systems. Students are given the Emerging Professional’s Companion and updated IDP materials. Students are asked to select their studio project from the previous semester to develop, focusing on a detailed design of a single component of the building and the resolution of its structural system and building envelope as a whole.
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A
ROOF +165’
C
D
E
ROOF GALLERY
OFFICE AND ADMINS
8TH FLOOR +144’
7TH FLOOR +129’
6TH FLOOR +105’
B
GALLERY
1 A.3.3
5TH FLOOR +85’
4TH FLOOR +65’
CAFE
3RD FLOOR +45’
GALLERY
2ND FLOOR +24’
GROUND FLOOR +5’
GALLERY
ENTRANCE
LOBBY & TICKET SALES TRANVERSE SECTION SCALE: 3/64” = 1’0”
1ST UNDERGROUND -13’ 2ND UNDERGROUND -25’
Tranverse Section
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LEARNING CENTER MEDIA LOUNGE
1
2
3
4
ROOF GALLERY
ROOF +165’
8TH FLOOR +144’
OFFICE AND ADMINS
7TH FLOOR
GALLERY
+129’ 1 A.3.4 6TH FLOOR +105’
GALLERY
5TH FLOOR +85’
GALLERY
4TH FLOOR +65’
CAFE
GALLERY
1 A.3.2 3RD FLOOR +45’
GALLERY
2ND FLOOR +24’
GALLERY
GROUND FLOOR +5’ ENTRANCE
LONGITUDINAL SECTION SCALE: 3/64” = 1’0”
1ST UNDERGROUND -13’
2ND UNDERGROUND -25’
LOBBY & TICKET SALES
LEARNING CENTER
Longitudinal Section
95
HVAC Diagram
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Structure Diagram
96
Enclosure Diagram
97
3D Chunk
98
99
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101
102
Construction Documents
Instructor: Pavel Getov Jay Vanos
The concerns of Construction Documents are fundamentally in two areas: 1. Language. 2. Process. Language is comprised of symbols/objects, and structured by syntax which results in the capacity to communicate. In construction documentation terms this is revealed by use of MJOF UPOF TZNCPMT UFYU BOE OVNCFS JO B TQFDJlD DPEJlFE TZTUFN UIBU JT TIBSFE CZ UIF construction community for the purpose of communicating the means of constructing complex objects. Process is the means by which the documents required to construct an object are created. Process involves the sequencing and coordination of multiple authors responsible for varying contents. Structural, Mechanical, Plumbing, Electrical, Acoustic, Landscape, Civil, 4QFDJlDBUJPOT BOE OVNFSPVT PUIFS TQFDJBMUJFT require the coordination of a singular voice. This is a primary role for the architect in the creation of a set of construction documents.
N 105
106
107
108
109
110
111
112
113
6
114