Suyue Jin_SCI-Arc_2021_2GAX by jinsuyue

SUYUE JIN

2022 SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

SUYUE JIN CONTACT INFORMATION Suyue Jin suyue_jin@sciarc.edu ig: suyue_jin

2022 SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

SUYUE JIN

Who is she to you?

STATEMENT Suyue Jin is a developing architect currently advancing her graduate studies as a M. Arch 2 student at the Southern California Institute of Architecture. Previously, she attended Changzhou Institute of Technology where she received her Bachelor of Science in Architecture and received the Excellent Graduation Design Prize. Professionally, Suyue has also worked at prestigious firms such as Jingu Group (2019), Studio Alpha (2020) and Xuberance (2021). She believes architecture has complex engineering properties, which requires deep practical experience. Meanwhile, the understanding of the most advanced technology and theory are reqiered if she want to develop in the architecture industry in the long term. Now at SCI-Arc, she is building on her prior technical knowledge by focusing on creating meaningful designs at the architecture and art.

Suyue Jin 4

TABLE OF CONTENTS 1

VITALITY

FEARFUL GOSSIP/ TEMPLE PRAYING/ LAYERING AND FUZZ

TRANSFORMATION

2GAX DS 1200 2GAX Studio

2GAX VS 4200 Visual Studies I

2GAX AS 3200 Advanced Material and Tectonics

OTHERS: POST-COLONIAL

2GAX HT 2200 Theories of Cont Arch I

VITALITY Diamond Ranch Elementary School

Instructor : Marcelyn Gow Partner:Wendy Chen, Hao Wang Software: Cinema 4D, Zbrush, Maya, Rhino, Redshift

Our project for the new Diamond Ranch Elementary School responds to the effects of increasing aridification in California, scarcity of water, overuse of natural resources and the isolation of plants from buildings. The school is designed to promote a reflection on the relationship between people and nature. Do we need an air conditioning system? Do we need artificial light sources during the day? What role does the water cycle play in the natural environment? What is the relationship between plants and architecture? We think that architecture should create a connection rather than a separation between people and nature. Our site and building are quietly located between the land and the mountains, and it the campus has a strong sense of sculptural qualitye. The free and organic form also shapes the changeable adaptable indoor space comprised of: walls, floors, ceilings, and flexible indoorinteriors. They These forms allow teachers and students to look at the sky and mountains at any time and they blur the boundary between architecture and nature. From a functional point of view, holes of different sizes and walls of varying shape also introduce natural light into the rooms and realize natural ventilation, which "cools down" the perennially hot building.

VITALITY

SUYUE JIN

DIORAMA

Top View Southern California Institute of Architecture - 2021

Southern California Institute of Architecture - 2021

Perspective View

Our design concept came from the transformed Thonet chair. Because chairs are for the elementary schools, and we want to bring more vitality into the site, our chair design exaggerates some features derived from the Thonet chair and transforms the color palette. 3D Printing Chair 4

VITALITY

SUYUE JIN

Southern California Institute of Architecture - 2021

TRANSFORMED THONET CHAIR

Growth

Half

The replication of a source object, the Thonet chair, through a series of digital models that explore various mereological relationships, altering the part-to-whole logics inherent to the piece of furniture.

VITALITY

SUYUE JIN

Southern California Institute of Architecture - 2021

NATURE CLASSROOM

Transparent

Outdoor

A unified and clear architectural language can enhance people’s first impression of this school and improve the integrity and harmony of the design. Therefore, when designing, we use a natural and organic design language throughout the entire process.

SUYUE JIN

The design of our classrooms integrates synthetic materials with a range of natural materials.

The curved wall forms and the textures applied to them, including birch bark, create the qualities of natural terrain and plant growth.

Southern California Institute of Architecture - 2021

VITALITY

SUYUE JIN

COHERENT

MICROCLIMATE

We use different architectural shapes and coherent design language as a large template to create different microclimates nested into the form. The interlocking of classroom clusters defines a spatial sequence for students and teachers to discover various aspects of the architecture and the site over time. The linear wall elements create distinctions between the classroom clusters with our meandering circulation paths and other detailed techniques.

The meandering circulation paths weave through them, tying the clusters together. This creates continuity and integrity of the space in the overall structure and the more detailed spatial design. The role of lines in the project shifts radically, producing twisted and woven walls as well as mesh-like roof structures. This creates an impression of lines becoming surfaces.

Southern California Institute of Architecture - 2021

VITALITY

SUYUE JIN

BLUR

SCULPTURE

Our site and building are quietly located between the land and the mountains, and the campus has a strong sculptural quality. The free and organic form also shapes the adaptable indoor space comprised of walls, floors, ceilings, and flexible interiors. These forms allow teachers and students to look at the sky and mountains at any time, and they blur the boundary between architecture and nature.

The pedagogical position is to create small learning environments in the school where students reflect on the relationship between people and nature. From a functional point of view, holes of different sizes and walls of varying shape also introduce natural light into the rooms and allow for natural ventilation, which cools down the perennially hot building.

Southern California Institute of Architecture - 2021

VITALITY

Southern California Institute of Architecture - 2021

SUYUE JIN

17 Southern California Institute of Architecture - 2021

VITALITY

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Nature

The campus has a strong sculptural quality and blurs the boundary between architecture and nature.

Bridge

Southern California Institute of Architecture - 2021

CLUSTER

VITALITY

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MICROCLIMATE ZONE

Southern California Institute of Architecture - 2021

Each building is connected to create a different microclimate zone in this school. 20

VITALITY

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SITE

Free Southern California Institute of Architecture - 2021

Southern California Institute of Architecture - 2021

Organic

Our belief is that architecture should create a connection rather than a separation between people and nature. 22

Boundary 23

Southern California Institute of Architecture - 2021

SUYUE JIN

NATURE

CONNECTION

25 Southern California Institute of Architecture - 2021

VITALITY

Southern California Institute of Architecture - 2021

SUYUE JIN

27 Southern California Institute of Architecture - 2021

VITALITY

VS 4200 VISUAL STUDIES I

SUYUE JIN

THE MASKS WE WEAR

TERRAFORM

OVERLAID

Fearful Gossip

Temple Praying

Layering and Fuzz

Southern California Institute of Architecture - 2021

Fearful Gossip The Masks We Wear

Instructor : William Virgil Partner:jinxin Xu Software: Zbrush, Maya, Cinema 4D, Octane

In this Visual Studies course, we will explore the themes of concealment and misrepresentation through the design of a physical mask. In the poem “We Wear the Mask”, the mask is a metaphor for human duplicity and concealment. There is a suggestion that the mask's role in human life is inevitable. In the third line, the mask is referred to as "this debt we pay to human guile," indicating that the mask is inextricably connected to— and perhaps a product of—the human capacity for deceit and duplicity. The mask must be worn both to engage in duplicity and to protect the interior self from the untrustworthy eyes of the rest of the world.

FEARFUL GOSSIP

SUYUE JIN

Exaggeration Southern California Institute of Architecture - 2021

Southern California Institute of Architecture - 2021

Distortion

Abstraction 32

Reconfiguration 33

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Transforming literary devices into masks is an important tool in symbolizing a history of suffering amongst a specific group.

Not only did the mask saves us from racial discrimination, but it also enables ue to keep real pain hidden from the world.

Southern California Institute of Architecture - 2021

FEARFUL GOSSIP

TERRAFORM Temple Praying

Instructor: Kumaran Parthiban Partner: Jinxin Xu Software: Cinema 4D, Zbrush, Maya, Octane

Terraforming is the hypothetical process of deliberately modifying the atmosphere, temperature, surface topography, or ecology of a planet, moon, or other body to be similar to the environment of Earth to make it habitable by Earth-like life. This visual studies section will explore a small but essential part of world-building - environment design and actively transgressing its principles to create fantastic immersive landscapes. Rather than creating a sense of grounded realism, we will work in the realm of non-logic, with flexible rules and the unknown. As a starting point, the mask from the previous exercise will act as a ground for the new world. We will play with the fundamentals of motion design, simulations, and procedural methods to grow, multiply and alter elements of the landscape - Form, Materials, Lighting & Camera.

TEMPLE PRAYING

SUYUE JIN

Paradise Southern California Institute of Architecture - 2021

Southern California Institute of Architecture - 2021

God

Pilgrimage 38

Praying 39

SUYUE JIN

In the year 3090, the world gas changed with night and no day, darkness and no light. Then the god appear. The place where the god lives is paradise with mountains, water, dridge, temples, and light.

Only where the god is can provide light. When people heard that the god can save the world, they came looking for the god and wanted to pray for light. However, the process of pilgrimage looks not so simple.

Southern California Institute of Architecture - 2021

TEMPLE PRAYING

OVERLAID Layering and Fuzz

Instructor: Rachael McCall Partner: Jinxin Xu Software: After Effects,Cinema 4D, Zbrush, Maya, Octane

Taking on the work from the previous two projects, project three will focus on post-production and compositing: imbuing, concealing, and revealing new layers and visual narrative in the work. This project will work with layering and dynamics in form, multiple opacities within materials, as well as focus on masking, sequences, and adjacencies in post-production software. The work will oscillate between 2D and 3D worlds, the virtual, augmented, and real. As much as post-production and overlaying is a process of refinement, there are always opportunities in filtering for percolation, over-flow, escape and new oozeness in the project.

Southern California Institute of Architecture - 2021

SUYUE JIN

45 Southern California Institute of Architecture - 2021

LAYERING AND FUZZ

SUYUE JIN

Overlaid

Southern California Institute of Architecture - 2021

Operating within the current post-digital context, investigating ideas of precise and intentional unruliness, mixing rustication and delicacy, 46

Formal legibility is affected by layering, filtering, rips, wrinkles, peeling, and fuzz. 47

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Layering

Formally and texturally, “overlaid” elicits thoughts of many layers of fine detailed mesh, multi-layered semi-opaque synthetic materials, murky reflections, and bundles of particles.

Filtering

Southern California Institute of Architecture - 2021

LAYERING AND FUZZ

SUYUE JIN

FILTERED

Southern California Institute of Architecture - 2021

It seems everything we do at the moment is overlaid, filtered, and masked - once, twice, or in many ways.

“Overlaid” and “masked”, bring up issues of politics, post-processing and applying filters to images and ideas.

Transformation AS 3200 Advanced Material and Tectonics

Instructor: Dwayne Oyler, Randy Jefferson Partner: Hanna park, Sijia Li, Zeyu Wang Software: Rhino

For this assignment we will work in groups, select a precedent from the list provided, research and gather pertinent technical information in the form of 2d wall, facade and roof sections; details; technical notes, narratives and reviews. Teams will be asked to carefully draw (to scale) and annotate such found technical information, study, unpack and explain to the class via a carefully constructed technical narrative. The goal of the first assignment is to provide students with the ability to analyze and compare tectonic assemblies through drawing as well as understand the relationship between individual parts and their composite whole. These relationships mediate the multiple aspects of the composite whole: function, performance, durability, economy, aesthetics, assembly, installation, sequencing, availability and climate.

TRANSFORMATION

SUYUE JIN

OVERALL ROOF STRUCTURE

Aluminum standing seam panel

Southern California Institute of Architecture - 2021

Roof

Window Aluminium roof

Third steel purlin

Fixed bracket (increased type) Third steel purlin Secondary steel beam

Secondary steel beam Primary steel beam

Primary steel beam

Overall roof progress with layers

Steel tstructure

TRANSFORMATION

SUYUE JIN

Aluminum standing seam panel Steel beam Steel ring beam for 3f roof Steel pipe Permanent steeel shuttering

Southern California Institute of Architecture - 2021

Steel perimeter beam

2.5 Radiant slab assembly

Floors with roof

Unite steel beam

Steel column Steel beam for 3f Intersection point Column rebar Steel beam for 2f

Steel reinforced concrete Steel column

Beams and columns

We analyze and compare tectonic assemblies through digital reconstruction as well as an understanding of the relationship between individual parts and their composite whole. These relationships contain decisions made as to issues such as function, performance, durability, economy, aesthetics, assembly, installation, sequencing, availability, climate, etc. The more closely one studies precedent the more one can see other possibilities that might increase the value of one or more of the issues mentioned. 57

TRANSFORMATION

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OVERALL CHUNK AND TECTONIC BREAKDOWN Glass gap Low-e coated tripled glazing

Accoya wood panel

Bracket for wood lap joint

Bracket slotted connection Steel mountain bracket Bracket for wood overlap joint We added a new envelop to change the roof, using kengo kuma's "The darling exchange". 58

Southern California Institute of Architecture - 2021

Top aluminum mullion

TRANSFORMATION

SUYUE JIN

Steel mounting bracket

Wooden beam

Aluminium mullion

Steel beam

Glass panel gap Glass panel

First + second layer (original)

Southern California Institute of Architecture - 2021

Unit steel Connector

+ Third layer

Steel mounting bracket

Wooden panels with different angle

Bracket for Wood lap joint

+Forth layer

+ Fifth layer

TRANSFORMATION

SUYUE JIN

ROOF LAYER

Southern California Institute of Architecture - 2021

Steel mounting bracket

Joint for Wood panel

Mullion Connector

Glass panel gap

Steel plate

Wooden panels

Wooden beam

Aluminium mullion

Steel beam Tertiary Transoms

We analyze and compare tectonic assemblies through digital reconstruction as well as an understanding of the relationship between individual parts and their composite whole.

These relationships contain decisions made as to issues such as function, performance, durability, economy, aesthetics, assembly, installation, sequencing, availability, climate, etc.

TRANSFORMATION

SUYUE JIN

SAILS GLASS PANEL CONNECTION

DETAIL OF ROOF SECTION

Wooden panels

Steel mounting bracket Wooden panel Wooden panel Glass panel

Sleeve connector

Steel mullion 6MM Glass panel Inner layer 8MM Glass panel

6mm panel Inner layer

Glass

8mm panel

Continuouse sloping structure support steel

Wooden panels Bracket for wood lap joint

Flush exterior surface Engineered silicone adhesive

Steel mounting bracket Sleeve connector Aluminium mullion

Aluminum glazing channel

Hook for glass panels

Glass holders

STEEL COLUMN

we demonstrate how the focused development of the building’s outermost surface elements and sub-systems, together with an understanding of the constructive processes from which those arise, can be systematically approached so as to inform the tectonic origins of the work without diminishing its performance.

Speculative in nature, we construct a problem-defining hypothesis with which to frame the tectonic basis of the envelope’s anatomy. The more closely one studies precedent the more one can see other possibilities that might increase the value of one or more of the issues mentioned.

Southern California Institute of Architecture - 2021

Bracket for wood lap joint

HISTORY THEORY OTHERS: POST-COLONIAL Discussing post-colonial architecture from the perspective of the discourse power in China Instructor : Erik Ghenoiu, Marcelyn Gow

The main objective of this seminar is to provide a platform for students to do work on the territory of contemporary architectural theory in the interest of formulating their current studio production as well as future professional agendas. Currently architecture is in the process of being actively redefined by shifting political, social, technological, and ecological paradigms. Taking as a starting point Sigfried Giedion’s characterization of transitory facts (sporadic trends) and constituent facts (recurrent and cumulative tendencies) as decisive in the shaping of architectural history, we will examine the complex terrain defined by the recent shifting of paradigms and attempt to discern the difference between constituent and transitory facts – and fictions – that are actively shaping the contemporary moment. Acting as architectural entrepreneurs, we will identify niches for future action and innovation. The seminar will introduce several contemporary disciplinary themes through readings and project presentations.

DISCUSSING POST-COLONIAL ARCHITECTURE FROM SUYUE THE JIN PERSPECTIVE OF THE DISCOURSE POWER IN CHINA

--- "There is now a new and rapidly growing field in architectural history, namely the histoty of modern architccture beyond the confines of Europe and North America, in societies ourside the West, in Asia, Middle East, Afica, and latin America. These ate societies where modernity (and modern architecture as an expression of it) was not an indigenous development resulting from profound social, technological, and industrial transformations as in the industrialized West. Rather, they experienced modernizacion (rather than modermity) as a political and ideological progcam introduced fom above, either by colonial interventions, and/or by the nationalist elites of postcolonial or postimperial states. " --Sibel Bozdogan, Architectural History in Professional Education: Reflections on Postcolonial Challenges to the Modern Survey, p. 213

Southern California Institute of Architecture - 2021

HT 2200 THEORIES OF CONT ARCH I

OTHERS: POST-COLONIAL

Introduce

Chinese colonial cities and buildings can be divided into the some different categories:

The development from colonial architecture to post-colonial architecture is essentially the transformation of cultural discourse power. In the late colonial era, western colonialists gradually gave up the colonial activities of purely occupying territories and armed hegemony and began to export cultural ideology to conquer the colonized countries.

The first is the early concession construction represented by Britain and France. The Former Consulate-General of the United Kingdom in Shanghai, which was the first building to use cement in China. It was built in the English Renaissance style and featured a veranda-style building.The Wukang Mansion, was Shanghai's first veranda Apartment building. The building is reinforced concrete structure, eight floors high, a total height of more than 30 meters, the appearance of the French Renaissance style.

The conflict between cultures is not a war about conquering or being conquered, but more fierce competition, and gaining its own definition through competition. Colonialism brought about the real and comprehensive contact between eastern and western cultures, promoted the inevitable conflict between western culture and eastern and non-western culture, and post-colonialism brought about the real reflection of non-western culture on itself.

The second is the oncession construction represented by Germany and Russia. The Saint Sophia's Church, which is a Russianstyle Orthodox church with strict regulations and authentic style. The masonry structure is made of red bricks, and the roof is tin roof painted with green. As well as the former site of the German Police Headquarters in Qingdao, it is a brick-wood-steel mixed structure building with a German architectural style during the Renaissance and a European medieval church architectural style, with pale yellow walls and steep red tile roofs.

Traditional To Colonial Many modern colonial buildings can be seen in China, whose architectural style is usually different from the traditional Chinese architectural method of pure wood structure. Some of these colonial buildings are the combination of Chinese and Western styles, and some are pure Western style buildings. Colonial buildings occupy a special place in the city. They are the mark left by the times.

Japanese colonialism policies also reflect on Chinese urban construction. Shenyang Railway Station and Tokyo Station both use large areas of red, with white as the decorative line. Circular arched Windows are incorporated into the square window design. The whole building adopts frame structure and reinforced concrete material.

For example, a traditional Chinese architecture: the main hall of the Foguang Temple in Mount Wutai. This is a building from the Tang Dynasty, a classic wooden structure with beams. The overlapping structure between the beam and the column is a bucket arch.

Foguang Temple

Former Consulate-General of the United Kingdom

Wukang Mansion

Saint Sophia's Church

German Police Headquarters

Shenyang Railway Station

The architecture of China in the colonial period is completely different. Modern 70

Southern California Institute of Architecture - 2021

SUYUE JIN

HT 2200 THEORIES OF CONT ARCH I

SUYUE JIN

Colonial buildings provide vast opportunities for cultural exchanges. They erected Western concrete on a land that only accepts wooden buildings in China and planted Baroque in the territory of the large roof.

technologies of the colonized countries have undergone tremendous changes. The biggest difference between ancient Chinese architecture and western architecture is the use of materials. East Asian architecture represented by China, regardless of the size of the building volume, is made of wood. Western buildings dominated by European are built of brick and stone, such as Pantheon. The difference in materials determines the difference of eastern and western architectural structure.

From a political point of view, colonial architecture is a developed country led by Western countries. It embodies cultural confidence during the colonial period and is the output of cultural colonialism. However, with the development of history, after the end of the direct colonial rule, the cultural discourse power relationship between the original suzerain country and the original colonial country has changed, which has a great impact on the development of the colonial country's architecture.

From the end of the Qing Dynasty to the modern, under the influence of the international background, a series of buildings combining traditional Chinese elements and Western architectural elements have been born. Since the beginning of the 20th century, those architectural forms no longer only use the basic forms of traditional wooden palace architecture, but have more diversified elements. In the past, the composition pattern of the facade was base, body, and roof. For details, traditional Chinese components and decorations will be selected, such as large roofs and buckets. Now you can choose new materials and structures, such as concrete and steel structures, and the layout and domes of Western churches.

In the post-colonial era, it seems that Western countries have ended their actual control over the original colonies for various reasons, but they still control the original colonized countries in various ways. Compared with directly sending natives to manage and control dependent countries before, the current control is more like the output of ideology. The former focuses on economic, political and social development, while the latter focuses on the dissemination of culture and knowledge. Western countries began to rely on ideology and cultural output, regarded their own values and history as universal, and let these colonial countries pursue their own pace.

These buildings can not only be called the most representative outstanding buildings, but also set the precedent for the modernization of Chinese native architecture. For example, The Anointed Church Of Nangouyan in Beijing, was built in 1907. The church adopts a double Latin cross plane and Basilica form, and the main body adopts a hard mountain form. The building materials are Chinesestyle blue bricks and gray tube tiles, with European-style plan details. Besides, Dr.Sun Yat-Sen's Memorial Hall, was built in 1931. The building adopts traditional Chinese palace style combined with western graphic

At this time, the right of cultural discourse belongs to Western countries. Colonized countries like China can only passively or actively accept those so-called advanced foreign culture.

Colonial to post-colonial —— Integration of native architectural forms Compared with traditional native architecture, the architectural forms, materials, and 005 72

Southern California Institute of Architecture - 2021

Attribution of cultural discourse power

OTHERS: POST-COLONIAL

design techniques. The internal structure is all steel frame and reinforced concrete structure. Shanghai Jiangwan Stadium, built in 1935, is the whole building has the shape and function of a modern building. On the wall of the gate tower, there are simplified Qing pattern decoration and stone cornice decoration. Precedent for appearance plus traditional decoration. Beijing Friendship Hotel Grand Building , built in 1953, is the architectural design adopting a double-eave Xieshan roof, and the facade uses gray polished bricks, reflecting the national form of Chinese palaces.

SUYUE JIN

These new regional buildings, as a type of modern Chinese architecture development, are based on local unique architectural forms and natural conditions, using local natural materials and the latest construction technology.

Wood Fokuang Temple

The Anointed Church Of Nangouyan

Dr.Sun Yat-Sen's Memorial Hall

Jiangwan Stadium

Beijing Friendship Hotel Grand Building 74

Concrete Pantheon

Southern California Institute of Architecture - 2021

From the initial assimilation of thought to association. The change in thinking affected the development of architecture and promoted the integration of native architectural forms with those of colonial countries.

OTHERS: POST-COLONIAL

Cultural Export Through Architecture ——Regain cultural discourse power

Southern California Institute of Architecture - 2021

The integration of Eastern and Western architectural culture should be selectively "Westernized". It is not a binary opposition, or a thorough turn from one side to the other, but a continuum and emphasizing the interaction between different civilizations and different races. Eastern countries are not just listeners and receivers. The dissemination of culture is two-way and permeable. It is not mutual opposition and repulsion, but a process of transcending boundaries, communicating and infiltrating each other. Japan has never been a colony of any country, but it started to learn from the West very early. When Western architects imported culture into Japan, Japanese architecture gradually moved to the world. You can feel the blend of Eastern and Western architectural culture. Looking at Tadao Ando's works, there is a very strong constructivism and supremacy. He used simple geometric shapes to freely combine, such as rectangular and circular volumes of different elements, to create a sense of purity and simplicity, as well as a complex and dynamic architectural experience. From his Church of the Light, you can feel that he uses modern concrete and light to express the purity of space. He uses modern technology and materials to express the traditional Japanese space experience. How one culture is implied in another, silently expressed. You can't tell whether the Japanese architectural culture is integrated into modern architecture, or what he does is itself modern architecture. In any case, he promotes his architectural theory to the world and inspires people who are immersed in this cultural atmosphere.

The conflict between cultural discourse rights is not like a war about conquering or being conquered, but more like a competition, and through competition to gain cultural selfconfidence.

Church of the Light

Southern California Institute of Architecture - 2021

As the first Chinese architect to win the Pritzker Prize, Wang Shu. We can feel his position and views on architectural from his designs, and how he reflects the cultural roots of a nation. He used the traditional Chinese mountains, water and ocean as the design concepts. Collecting the Ming and Qing bricks and tiles form the tile wall and the bamboo cast into the concrete wall for decoration to design and construct Ningbo Museum. In the Xiangshan campus of the China Academy of Art, the traditional Chinese courtyard layout is adopted, and the form of ink painting is combined with the traditional architectural language. Clever use of discarded building materials, rejecting the common practice of demolition and reconstruction projects in China. These two buildings show how he respects the historical value and narrative of materials. He tells the world about Chinese people's understanding of life and the relationship between man and nature through architecture. At the same time, it also expressed China's cultural selfconfidence to the world.

SUYUE JIN

Ningbo Museum

Xiangshan campus of the China Academy of Art 76

OTHERS: POST-COLONIAL

Conclusion

[3]Kal H. Modeling the west returning to Asia: shifting politics of representation in Japanese colonial expositions in Korea [J]. Comparative Study of Society and History 2005,47(3):507-531

Criticize and analyze contemporary architecture from the perspective of postcolonial culture. It is concluded that the difference between post-colonial architecture and local historical architecture in the past is essentially a difference in cultural discourse power. The development of the architecture and culture of the colonized countries firstly analyzes from the perspective of architecture, how the culture of the colonial countries affects the native architectural language and reflects on how to use contemporary architectural language to continue the historical culture of the past.

[4]Anthony D. King. Colonial Urban Development: Culture, Social Power, and Environment[M].London ; Boston: Routledge & Paul, 1976. [5]Ramon Myers and Mark Peattie. The Japanese Colonial Empire, 1895-1945[M]. Princeton: Princeton University Press, 1984. [6]Lawrence J. Vale. Architecture, Power, and National Identity[M]. New Haven: Yale University Press, 1992. [7] 王助民，李良玉 . 近现代西方殖民主义史 [M]. 北京：中国档案出版社，1995: 9.

Then starting from the cultural point of view, using architecture as a carrier, thinking about how to promote the development of local architectural culture to the world through architectural practice activities. In the future, how to carry out reverse cultural output. From input to output, it affects the past colonial countries represented by Western countries.

Southern California Institute of Architecture - 2021

SUYUE JIN

[8] 孙蓉蓉 . 后殖民理论与第三世界国家建筑 [J]. 成都大学学报 : 自然科学版 , 2000(03):50.

Bibliography [1] William Curtis. Modern architecture since 1900[M]. Oxford Oxfordshire: Phaidon, 1982. [2]Nezar AlSayyad. Forms of Dominance: On The Architecture and Urbanism of the Colonial Enterprise[M]. Aldershot; Brookfield, Vt.: Avebury, 1992.

Clément cogitore, <Les Indes Galantes>, 2018

Copyright © 2022 by Suyue Jin All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

Suyue Jin Designer

suyue_jin@sciarc.edu ig: suyue_jin