JitengYang_Portfolio_2011 2015 by Jiteng Yang

Jiteng Yang

Master of Science in Advanced Architectural Design with Excellence Columbia University GSAPP Graphic Designer, Researcher, SLAB Architecture, New York Adjunct Faculty, Clumbia University GSAPP Teaching Assistant of Advanced Architectral Design Studio Associate Research Scholar of Asian Megacities Lab, GSAPP

Jiteng Yang

Academic Works

2011 - 2015

i. The Cli·ché of Architecture The Dictionary Of Received Ideas

ii. Performance Urbanism Lincoln Center Reconsidered

iii. Superimposed Procession An Intertwining Network of Processional Urban Elements: Industry, Community, and Memorial

iv. The Preservation of Everyday Life A Little Bit of Tianjin

v. Landform Building: Landscape & Infrastructure Cultural & Community Center

vi. Without Inner Peace Student Center Design

vii. Three-dimensional Scenes Hotel Design in Italian Concession

viii. Megastructure "Metabolism" The 2012 eVolo Skyscraper International Copetition

Rules & Operations THE CLI·CHÉ OF ARCHITECTURE

i. The Cli·ché of Architecture The Dictionary Of Received Ideas

Floating volume

Tossed volumes

General Comments + Shape

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The project must have only one identifiable volume. The volume must appear to not be touching the ground. The volume must have only one floor with a maximum interior height of 5m. • The overall height of the building must not exceed 15m. • The length of the largest side in plan must not exceed 20m. • The Floating Volume must be recognizable as a compact mass and must be placed horizontal to the ground. • The shape of the Floating Volume must be neat and clean. • In the case the Floating Volume is shaped by slabs, there must be only two (floor and ceiling) and can be extruded curvilinear or orthogonal shapes. • Curvilinear slabs can only be so in plan with at least two different radii while maintaining continuity of tangency. Both slabs must have the same perimeter drawing and the façade system connecting them must be perpendicular to horizon line. • If the necessity arises to enclose the space below the Floating Volume it must be done so by the use of glass walls or other transparent materials that contributes to the “floating” effect. • The space under the Floating Volume must be either larger than two times the height of the volume or smaller than one fourth the height of the volume. • When the “floating” effect is achieved by the use of columns, the density of these must vary and be perceived as sporadic, some in sparse and some in dense manner. • The total number of columns must be greater than 5. x No more than three columns can be arranged in a line, either straight or curved. x Connections from structural elements must never be shown. Connection details to roof, supporting members, and floor must be embedded beyond the user’s sight. x The diameter of a column must never be more than Ø5cm for every 3m of height.

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Perforations

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Critic: Enrique Walker

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Several volumes must be spread over a field or site. All volumes must rest on the ground. Lateral faces on the volumes must be perpendicular to the horizon. The number of tossed volumes must be between 3 and 20. Volumes must be either all orthogonal or all orthogonal with trimmed edges. When using Orthogonal with Trimmed edges, the ground must be touched by vertical walls only. Therefore, one or two trims must be used affecting the top face, to create a gable roof or a single-slant roof. If gable or single-slant roof is used, the trim must start higher than the one third and lower than the two thirds of the volume’s height. All volumes used for the project should be seen as a cluster of familiar geometries and sizes, without an apparent hierarchy. The volume of the smallest tossed volume must not be smaller than ½ of the biggest one. The scheme must consider several entry and exit ways, for the whole project and for the individual volumes. If connected elements and spaces are needed between the volumes, they must be read as smaller secondary elements: sizes and materiality must contrast from the set of tossed volumes. The volumes’ base ratio must be between 1:1-3:2. The same ratio applies for each side and the height of the volume. The proportion between the built area and the site’s outdoor space must be between 1:3-1:2. The scheme must be developed on an area of maximum 3,000 square meters. The volumes may only touch on one point. The space between volumes must not be constant and no more than half of its shortest side, and no less than 1m. The volumes must not be composed or oriented in a symmetric way. No more than 3 volumes can have the same orientation. No volume’s interior can be divided in levels. A second level can be created in the continuous interior, only with the use of a mezzanine.

The volumes must read as solids. Perforations must be larger than 1/16 of the face they are perforating. Whenever an entryway or door is not disguised in the same material as the volume it will be considered a perforation. Perforations must be orthogonal. In the case of multiple perforations in a single face, these must not align on any side. There must not be any solid walls to the exterior glass to avoid interrupting the sense of transparency. Curvilinear perforations are not allowed.

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• x

The volumes must be read as solids. Every volume must have at least one entry and exit way. Whenever an entryway or door is not disguised in the same material as the volume it will be considered a perforation. Perforations must only be made from squared and rectangular shapes. The total perforated surface of each volume must not exceed the 40% of the total surface of its faces. Perforations of tossed volumes must be either “single perforations” or “random openings”. All volumes must have the same type of perforations. Single perforations can be as big as the total face of the volume. If this is the case, each perforation of each other face must not be bigger than ¼ of that face. Random openings must be similar in sizes and proportions. They cannot be smaller than 1/16 and larger than ¼ of the face they are on. The perforations of each face must not exceed the 40% of the face’s surface. The ratio of dimensions for each frame should not exceed 2:3 - 1:1. Floating slab is not allowed in this scheme.

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• x x

This studio is the final installment of The Dictionary of Received Ideas, a decade-long project whose goal has been to examine received ideas in contemporary architecture culture—both those design strategies that have exhausted their original intensity due to

Interior Elements

[Statement Staircase] • All staircases must be a Statement Staircase. • The staircases must have a weightless appearance. • The staircases must be read similarly to ladders; no vertical structural support can be shown between the staircases’ intervals. • All staircases must be designed with one main material, in most cases metal or wood. x Staircases’ railings must not be solid or enclosed; they must appear as wireframes or not appear at all. x Escalators are not allowed.

[General Rules For Tossed Volumes] • You may design with Curved Wall, Mezzanine, Curtain or Statement stairs. One or a combination of these elements must be used in the interior of the volumes and must not be visible from the exterior.

[ • x

recurrence, and those that have outlived the questions

[Mezzanine] • Mezzanines must create only one extra level within the volume. • Mezzanines must only be created by cantilever slabs. x The total surface of mezzanines must not exceed ½ of the total interior surface of the volume. x Mezzanines must not be visible from the outside of the volumes.

they originally addressed. Based on Gustave Flaubert’s

or constraints—for the formulation of alternative design strategies and potential design arguments.

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•

Materials

[General Rules For Floating Volume] • All finishes must have either a continuous appearance or be modulated. • Exteriors must only have one of these materials and be of a light color: Reflective Surface, Unadorned White Wall, Corrugated Metal Surface or Polished Concrete. • The material used for the exterior façade and for the columns must be different unless they are both white. • Interiors must be predominantly unadorned White Walls with the possibility of only one of these extra finishes: Reflective Surfaces, Unfinished Wood Accents or Polished Concrete. • If the necessity arises to enclose the space below the Floating Volume it must be done so by the use of glass walls or other transparent materials that contributes to the “floating” effect. x Parapets are prohibited.

[General Rules For Tossed Volumes] • All volumes must be read as a family: all volumes must have the same material on all its faces. • Glass must only be applied for perforations and for the secondary elements that connect separate volumes. • The tossed volumes and the secondary set of elements must differ in materiality and must be read as two separate consistent systems. • Three materiality design options can be applied for Tossed Volumes: • One material is used throughout both the interior and the exterior surfaces. • Two materials: one material is used throughout the exterior surfaces and another for the interior surfaces. • Three to Five materials (Thin Metal Façade, Polished Concrete Surface, Unadorned White Wall, Natural Wood, and Reflective Metallic Finish): one material is used throughout the exterior surfaces, while the interior surfaces of separate volumes can use different materials. The interior surfaces in each volume must use only one material. x The use of clear glass as an envelope is forbidden.

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Nature

[Internal Garden] • Internal gardens, if needed, must be enclosed within the Floating Volume. • Internal gardens must never occupy more than 50% of the area of the Floating Volume. x Internal gardens must never be born from the ground.

[General Rules For Tossed Volumes] • Potted Plants may be used in the interior of the volumes. • Plants must be planted in the spaces between the volumes to create “pocket gardens”. x Gardens must not be created in the volume’s interior.

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[Potted Plants] • Potted plants must not reach higher than the overall height of the building. • Any vegetation not in the form of an internal garden should be potted. • Potted plants should not only be decorative, they need to serve a secondary purpose such as screening. • The pots can acquire any dimension.

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Furniture

[Idiosyncratic Furniture] • Idiosyncratic furniture may be used.

[General Rules For Tossed Volumes] • Both idiosyncratic and integrated furniture may be used in the tossed volumes scheme. x No furniture must be used inside the secondary elements connecting separate volumes.

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[Integrated Furniture] • Integrated furniture must only be placed on internal faces of volumes. • The integrated furniture’s main material must match the materiality of the face it is integrated in. • Integrated furniture, if used, must occupy at least two-third of the volume’s face.

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•

series of studios has since the outset recorded user’s

decade, and mobilized this collection as found objects—

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[Statement Stairs] • In the interior, stairs must only be used to connect the ground floor to a mezzanine. • Only one staircase per mezzanine must be used. • In the exterior, stairs may be used to reach the roof of an orthogonal volume only if the volume’s height is equal or smaller than 3m. In that case, one continuous flight of stairs must be used.

unfinished project, Le dictionnaire des idées reçues, this

manuals for received ideas prevalent over the previous

[Curved Wall/Curtain] x These elements must not divide the interior of the volume into separate spaces (building it from wall to wall). They must only imply an organization of programs. x They must not exceed 2.5m in height.

THE CLI·CHÉ OF ARCHITECTURE Summary

Summary

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Volumes in volume

Subtracted volumes

Intersected volumes

Stacked volumes

General Comments + Shape

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Main volume must be a square or rectangular shape, without any horizontal or vertical deformations or twists. Main volume must not occupy a space bigger than 35x35 meters. The main space for the major volume is compartmentalized by several minor volumes nested inside. Nested volumes must be a square or rectangular shape, without any horizontal or vertical deformations or twists. Nested volumes can also nest other volumes inside. Each volume must be identified as a complete entity. Nested volumes must be perforated in order to establish horizontal and vertical relationship with the main volume. Floor slabs are only allowed to be used in the nested volumes, and only in the case that these are not nesting another volume. The nested volumes must not be larger than 50% of the main volume. The section of any particular volume must be orthogonal or have gable roofs. The gable roof timed edges should be between a 1/3 to 2/3 of the lateral and up faces in the volume. The volumes must always be perpendicular to the horizon. Any curvilinear shape or form is not allowed in this operation. The nested volumes must be autonomous and must not intersect or touch. They can only share the ground surface plane. The nested volumes must not have columns underneath.

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The project must have variations in volume through the threedimensional subtraction of geometric shapes from a whole. The subtracted volume must affect at least two surfaces of the primitive volume. The major consequence of this technique must be the impact produced by the relationship between roofs and walls, void and volume

[Primitive Volume] • The primitive volume must be directly extruded from a quadrilateral shape with angles no smaller than 75˚. • The project must have a minimum of 3 identifiable subtracted volumes. • The subtracted volume must be no less than 1/16 the original volume, and no more than 1/3. • The ratio of subtraction must be 1/4-1/2 of the whole primitive volume. x Two different subtracted volumes can never touch each other. The minimum distance between any two subtractions is 2m. [Subtracted Volumes] • The subtracted volume must be directly extruded from a quadrilateral shape with angles no smaller than 75˚. • Any side of the subtracted volume must not exceed a length of twice the shortest side of the same volume. x No volume can appear to have a higher or a lower hierarchy than the rest. All volumes must have the same apparent importance.

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The project must have a minimum of three identifiable volumes. The project must have a maximum of twenty-four identifiable volumes. Any particular volume must be identifiable as such from the exterior AND the interior. Two different volumes must never touch each other unless one is intersecting the other. The intersected volumes may be shifted only in the x or the y axis, but never in the z axis (the slabs must not be tilted). The intersection between volumes must obey a minimum of 5% and a maximum of 45% of the smallest volume. The volumes must solve the structural system of the entire project without the use of secondary elements such as columns or beams. The floor plan of any particular volume must be orthogonal. The section of any particular volume must be orthogonal or have gable roofs. The volumes must always be perpendicular to the horizon.

[General volume] • A maximum of 50% of the air mass may be solid (Air mass is limited by the physical boundaries of the site in plan and the height of the neighbors in section. In case of not having any neighbors the height of the air mass is two times the base.) [Particular volumes] • Any side must not exceed a length of twice the shortest side of the same volume. • The longest allowed side is of 15m. x No volume can be aligned on any side to another intersecting volume. x No volume can appear to have a higher or a lower hierarchy than the rest. All volumes must have the same apparent importance. x Two adjoining volumes must never have the same proportions or dimensions unless one of them is rotated in relationship to the other.

Perforations

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The volumes must be read as solids. At least one perforation must be included per face. Whenever an entryway or door is not disguised in the same material as the volume it will be considered a perforation. In case of a single perforation on a face of the nested volume, the perforated geometry must not be smaller than one quarter of its face. In case of multiple perforations (maximum 3), the perforated geometries must not be smaller than the sixteenth of their face. The multiple perforations must differ in size. Curvilinear perforations are not allowed. Floor slabs must not touch nor be visible on the nested volumes (to avoid the volume not being identified as a complete entity).

The volumes must be read as solids. One can only choose one from the following choices:

[Single Frame - Each Façade] • Perforations must be in rectangular shape. They must be arranged horizontally. • Each opening must have a ration between 1/2-1. • Total perforations area must be between 1/4-1/3 of the surface. • Two Perforations at most, and must be at least 0.5m from any edge. • Perforations must not be closer together than 1/3 of the smallest sides of the two perforations. • Whenever an entryway or door is not disguised in the same material as the volume it will be considered a perforation. x The size of perforation cannot be smaller than 1/8 of the surface.

• • x x

The volumes must read as solids. Perforations must have the same proportions as the face of the volume it is perforating. Perforations must be larger than 1/8 of the face they are perforating. Whenever an entryway or door is not disguised in the same material as the volume it will be considered a perforation. A volume must not be perforated more than once per face. Curvilinear perforations are not allowed.

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x x x

The project must have a minimum of two identifiable volumes. Any particular volume must be identifiable as such from the exterior AND the interior. The stacking must occur vertically. Volumes must be all orthogonal or all orthogonal with trimmed edges only. When using Orthogonal Trimmed Edges – consistent primitive prisms must be used. Gable roof and Pent roof cannot be existing together. The shifting of the volumes can be in either the x or the y axis, never the z axis (the slabs must not be tilted). The volume must always be perpendicular to the horizon. No volume can appear to have a higher or a lower hierarchy than the rest. All volumes must have the same apparent importance. The structural elements such as columns and beams must not be exposed or expressed as a dominant support system of the volumes. The proportions of the individual volumes: 6 < h+b+d < 36m h > 1.5m b > 1.5m d > 1.5m The volumes must never be perfectly stacked; they must be offset or rotated. The overhang created by the volume above cannot exceed the half of its volume width. The overhang should not be supported by any dominant structural elements.

Perforations • • • • x x x

The volumes must read as solids. Whenever an entryway or door is not disguised in the same material as the volume it will be considered a perforation. Each Perforation must be larger than 1/16 of the face they are perforating. The total area of the perforations must not exceed 50% of the face they are perforating. Curvilinear perforations are not allowed. The openings must not be in relation with the building levels. The openings must not obey a regular grid, they should be misaligned.

[Random Openings - Each Façade] • Perforations must be in rectangular shape. They must be arranged horizontally. • Each opening must have a ration between 1/2-1. • Total perforations area must be between 1/6-1/3 of the surface after subtraction. • Each face must have at least 3 perforations, and must be at least 0.5m from any edge. • Perforations must not be closer together than 1/3 of the smallest sides of the two perforations. x The size of perforation cannot be smaller than 1/16 of the surface. x Floating Slabs are prohibited.

Interior Elements

[General Rules For Volume In Volume] • You may design with Mezzanine, Curtains, and Statement Staircase. x You must not design with Curved Walls or Forest of Columns.

[General Rules For Subtracted Volumes] • You may design with Mezzanine, Curtains, and/or Statement Staircase. x You must not design with Curved Walls, Forest of Columns.

[General Rules For Intersected Volumes] • You may design with Mezzanine, and/or Statement Staircase. x You must not design with Curved Walls, Forest of Columns, or Curtains.

[Curtain] • The trajectory of the curtain must be aligned with an offset perimeter of the volume.

[Mezzanine] • An intersecting volume can serve as a mezzanine for a second volume as long as both of them are still discernible as independent volumes from both the interior and the exterior. x Mezzanine slabs must not be added.

[General Rules For Stacked Volumes] • You may design with Statement Staircase. x You must not design with Curved Walls, Forest of Columns, or Mezzanine. x Curtain walls are prohibited. x Parapets are prohibited.

[Mezzanine] • Only top faces of the nested volumes must be used as mezzanines. [Curtain] • If Curtain is applied it must cover the entire perimeter of a volume. [Statement Staircase] • Statement staircases must connect nested volumes only. They can be placed internally or externally. • The staircases must be self-supported and must read similarly to ladders; no vertical structural support can be shown between the staircases’ intervals. • All staircases must be designed with one main material; they can be metal or wood. • Materials used between staircases and the nested volumes (within or between) must differ from each other (whether by colors or materials). x Statement Staircase must not touch the main volume’s façade, to avoid the interruption of the main volume’s continuous surface. x No more than one Staircase can be used in a nested volume or between two nested volumes. x Staircases’ railings must not be solid or totally enclosed; they must be as transparent as possible (wireframe appearance or glass preferred).

[Statement Staircase] • All staircases must be a Statement Staircase. • The staircases must be read similarly to ladders; no vertical structural support can be shown between the staircases’ intervals. • All staircases must be designed with one main material, in most cases metal or wood. x Staircases’ railings must not be solid or enclosed; they must appear as wireframes or not appear at all. x Statement Staircases must never be used in the perimeter of the building.

[Statement Staircase] • All staircases must be a Statement Staircase. • Any staircase that is not aiding the Intersecting Volumes Operation (staircases connecting one intersecting volume to another) should be treated as furniture and be movable. • The staircases must be read similarly to ladders; no vertical structural support can be shown between the staircases’ intervals. • All staircases must be designed with one main material, in most cases metal or wood. x Staircases’ railings must not be solid or enclosed; they must appear as wireframes or not appear at all.

[Statement Staircase] • All staircases should be a “statement stair”. • Any staircase that is not aiding the Stacked Volumes Operation (staircases connecting one intersecting volume to another) should be treated as furniture and be movable.

Materials

[General Rules For Volume In Volume] • Clear Glass can only be used as windows to physically separate between exterior to main volume or/ and interior to interior (main volume to nested volumes). • Three materiality design options can be applied for Volume in Volume operation • One material is used throughout both the main and nested volumes. • Two materials: one material is used throughout the main volume and another for the nested ones. • Three to Five materials (Thin Metal Façade, Polished Concrete Surface, Unadorned White Wall, Natural Wood, and Reflective Metallic Finish): one material is used throughout the main volume, while the nested volumes use different materials. Note that each nested volume must be consistent with one material throughout all its faces. x You cannot create a volume from Clear Glass.

[General Rules For Subtracted Volumes] • All finishes must have either a continuous appearance or be modulated. • Exterior materials for roofs and walls must be consistent throughout the whole project, either if they are the same or not. • Exteriors must only have one of these materials and be of a light color: Unfinished Wood, Corrugated Metal Surface, Unadorned White Wall, Thin Metal Façade or Polished Concrete. • Only Thin Metal Façade and Unadorned White Wall can be used together. • Interiors must be predominantly unadorned White Walls with the possibility of only one of these extra finishes: Reflective Surfaces, Unfinished Wood Accents or Polished Concrete. x Curtain Walls are prohibited. x Parapets are prohibited. x The thickness of a specific finish can never be noticeable.

[General Rules For Intersected Volumes] • All finishes must have either a continuous appearance or be modulated. • Exteriors must only have one of these materials and be of a light color: Reflective Surface, Unfinished Wood, Corrugated Metal Surface or Polished Concrete. • Interiors must be predominantly unadorned White Walls with the possibility of only one of these extra finishes: Reflective Surfaces, Unfinished Wood Accents or Polished Concrete. x Curtain Walls are prohibited. x Parapets are prohibited. x The thickness of a specific finish can never be noticeable.

[General Rules For Staked Volumes] • All finishes must have either a continuous appearance or be modulated. • Exteriors must only have one of these materials and be of a light color: Reflective Surface, Unfinished Wood, or Corrugated Metal Surface. • Interiors must be predominantly unadorned White Walls with the possibility of only one of these extra finishes: Reflective Surfaces, Unfinished Wood Accents or Polished Concrete. • The thickness of a specific finish can never be noticeable.

Nature

[Internal Garden] • Internal gardens can occupy as much as area as needed. They can be placed in between the main and nested volumes’ space or completely inside a nested volume. They must consider enough depth for a tree to be planted. • In case of the garden occupying inside the nested volume, the top of that volume must be penetrated according to the size of the tree; the void must be placed in a directly related position with a main volume’s void in order to allow natural light to get into the internal garden.

[Internal Garden] • Internal gardens can appear only in the nooks created by the subtracted volumes. x Internal gardens must never appear inside the volumes themselves.

[Internal Garden] • Internal gardens can appear only in the nooks left by the volumes. • Internal gardens must always be born from the ground. x Internal gardens must never appear inside the volumes themselves.

[Potted plants] • Any vegetation not in the form of an internal garden should be potted. • Potted plants should not only be decorative, they need to serve a secondary purpose such as screening. • The pots can acquire any dimension.

[Potted Plants] • Any vegetation not in the form of an internal garden should be potted. • Potted plants should not only be decorative, they need to serve a secondary purpose such as screening. • Every single space in the project should be in direct relationship with nature. A potted plant has an influence diameter of Ø10m both in plan and section, only if unobstructed. • The pots can acquire any dimension.

[Pottedplants] • Any vegetation not in the form of an internal garden should be potted. • Potted plants should not only be decorative, they need to serve a secondary purpose such as screening. • The pots can acquire any dimension.

Furniture

[Idiosyncratic Furniture] • Idiosyncratic furniture may be used.

[Integrated Furniture] • The intersections between volumes must resolve 50% of the furniture needed through the use of symbiotic furniture.

[Integrated Furniture] • Integrated furniture must only be placed on internal faces of volumes. • Integrated furniture’s main material must match the materiality of the face in which it’s being placed on/in. • Integrated furniture, if used, must occupy at least two-third of the volume’s face.

[Potted Plants] • Potted plants must be placed inside of the whole volume; in between or on top of the nested volumes.

Furniture

[Idiosyncratic Furniture] • Idiosyncratic furniture must be placed inside of the whole volume; in between or on top of the nested volumes.

[Idiosyncratic Furniture] • Idiosyncratic furniture may be used.

[Integrated Furniture] • Integrated furniture must only be placed on internal faces of volumes. • If integrated furniture is needed on the nested volumes, it can be placed either on its external and/or internal faces. • Integrated furniture’s main material must match the materiality of the face in which it’s being placed on/in. • Integrated furniture, if used, must occupy at least two-third of the volume’s face.

Summary

JITENG YANG Summary

Summary

THE CLI·CHÉ OF ARCHITECTURE

Intersected Volumes

THE CLI·CHÉ OF ARCHITECTURE

THE DICTIONARY OF RECEIVED IDEAS

JITENG YANG

THE CLI·CHÉ OF ARCHITECTURE

Performance can take place at out door space

THE CLI·CHÉ OF ARCHITECTURE

THE DICTIONARY OF RECEIVED IDEAS

Performance can take place at out door space. Performance becomes more

JITENG YANG

THE CLI·CHÉ OF ARCHITECTURE

Performance can take place at out door space. Performance becomes more informal, and becomes part of public space.

THE CLI·CHÉ OF ARCHITECTURE

THE DICTIONARY OF RECEIVED IDEAS

Performance can take place at out door space. Performance becomes more

JITENG YANG

PERFORMANCE URBANISM

ii. Performance Urbanism

Lincoln Center Reconsidered

The reconsideration of Lincoln Center is to establish one radical urbanism, which is both the retrospection of Megablock Urbanism and prospection of formal Manhattan grid: the integration of introversion and extraversion.

Retrospection The basic extroverted Manhattan block system creates a “sense of street” which triggers dynamic street life that can happen within this regulated order (we can refer the Jacobs’ book about American cities). We derive it from the origin grid and implement it into our refreshed block, making the former isolated mega-block into a pedestrian zone but well connects with the city's grid system.

Prospection The upper infrastructure breaks the rigid grid and creates an introverted plaza atmosphere, a “sense of theatre and performance”, which triggers a feeling of gathering people. The interior space, or the screen of suspended architecture acts as “stage”, being observed by the “audience” in the plaza, while they also perform as the “audience” to witness all the activities happening on the performing plaza.

JITENG YANG

PERFORMANCE URBANISM

High-end Cultural Centre Arnold Newman, photographer. Lincoln Center architects and designers with Mr. Rockefeller, New York City, 1959.

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

A New Urban Manifesto Performance can take place at outdoor space. Performance becomes more informal and becomes part of public space.

JITENG YANG

PERFORMANCE URBANISM

Introversion: Megablock Urbanism

From Le Corbusier The City of Future; to Soviet Mikrorayons; to Lúcio Costa and Oscar Niemeyer’s Brasilia; to Mao’s Danwei (factory units); to Steven Holl’s Linked Hybrid in Beijing, Mega-block set up its own logic and

Soviet Microrayons

inner system, which makes it distinctive from other urban context. They can be categorized into Introverted Prototype.

Steven Holl : Beijing Linked-Hybrid

Extraversion: Manhattan Grid System

The generic Manhattan grid system was established in 1811. Certain block scale limitation set up the freedom of three-dimensional

Manhattan's Generic Grid System

skyscrapers, making Manhattan into a vertical metropolitan. At the same time, the prototype of small blocks set up an extroverted feeling, bringing the public life to the street, which makes Manhattan distinctive from other global cities.

Manhattan's Street Life

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

A New Urban Prototype

Extraversion: Sense of Street

Introversion: Sense of Theatre

The grid system in the lower level connects city and

The linked towers or infrastructures create a sense of

makes new opportunity for lively street life.

enclosure, which allows the informal performance to take place.

Master Plan: The new urban morphology with the surrounding urban context.

JITENG YANG

PERFORMANCE URBANISM

JITENGYANG YANG JITENG

PERFORMANCE URBANISM

Architectural Prototype

A comprehensive Architectural prototype is established both introverted and extroverted, derived from the Megablock Urbanism and Manhattan's generic grid system. That is to say, the new prototype contains both the sense of street and the sense of theater.

The streets follow the grid systems and connect the

Introverted public space was open to generate a

surrounding urban context.

sense of theatre for public performance.

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

Physical Model: Street + Outdoor performance Theater

JITENG YANG

PERFORMANCE URBANISM

Extraversion: Sense of Street The streets follow the grid systems and connect the surrounding urban context. It creates a new opportunity for the lively street life in a Megablock.

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

Introversion: Sense of Theatre Introverted public space was open to generate a sense of theatre for public performance, recreation, picnic, leisure activities, etc.

JITENG YANG

PERFORMANCE URBANISM

Introverted public space was open to generate a sense of theatre for public performance, recreation, picnic, leisure activities, etc. The large events could also take place inside, getting the whole community involved.

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

JITENG YANG

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

JITENG YANG

PERFORMANCE URBANISM

The grid system in the lower level connects city and makes new opportunity for lively street life. The linked towers or infrastructures create a sense of enclosure, which allows the informal performance to take place.

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

JITENGYANG YANG JITENG

PERFORMANCE URBANISM

Extraversion : Sense of Street The gap between the towers are streets linking the central plaza to the main street. Thus, the new street life is created.

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

Introversion : Sense of Theatre The linked towers infrastructures, steps-down platforms, inclining public space in the tower, etc, create a sense of enclosure, which allows the informal performance to take place.

JITENG YANG

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

JITENG YANG

PERFORMANCE URBANISM

LINCOLN CENTER RECONSIDERED

JITENG YANG

SUPERIMPOSED PROCESSION

iii. Superimposed Procession

An intertwining network of processional urban elements:

Industry, Community, and Memorial

i) Literal A ceremonious pathway taken between funeral and burial, honoring the memory of a person who has died; ii) Translative The collection of events that occur after a person has died, varied across many cultures; and iii) Physical The action of progressing from one point to the next, or the process of advancing from one stage to another.

Procession, under this new definition requires an intervention that supports a time-conscious network of community events. New developments throughout “Green-Wood Heights” will serve as nodes of industry, community gathering, and ceremony. Intertwining pathways define processional routes for these three types of activity, their intersections manifesting as architectural spaces that serve both sacred and secular program through temporal alternation. As infrastructure, these processions dissolve existing boundaries in favor of porous relationships, allowing greater connectivity between the existing cemetery and the redeveloped waterfront area. The coexistence of sacred and secular elements throughout the site is a model for rethinking traditional notions of sacred boundaries, honoring the dead in harmony with an active living city.

JITENG YANG

Global Cemeteries

Average income per capita/year: $30,498 Funeral cost: $11,000

R ituals and A ssociated C osts

Cemetery

37%

35.3%

45.8%

Average wedding cost: $30,000

Education annual tuition: $31,250

Apartment rents per year: $24,000

Funerral Homes Columbarium

C apacity 1.5%

N ew York C ity

SUPERIMPOSED PROCESSION

Area of cemetery: 18.27 sqkm

10.5%

52.5%

Space needed for

cemetery: 0.2 sqkm

0.54% 2.7%

Space needed for Columbaria: 0.01 sqkm

Average income per capita/year: $28,766 Funeral cost: $75,000

250%

286%

220%

Average wedding cost: $30,163

annual tuition:

Education

Apartment rents per year: $33,960

$26,250

0.15%

0.54% 2.7%

Area of cemetery: 1.76 sqkm

H ong Kong

Space needed for Columbaria: 0.01 sqkm

Average income per capita/ year: $20,182 Funeral cost: $12,272

L ondon

34.8%

69.6%

Average wedding cost: $ 35274

annual tuition:

63.8%

Education $17,637

13.4% 66.7%

Area of cemetery: 32.56 sqkm

cemetery: 0.25 sqkm

Apartment

rents per year:

$19,236

0.69%

Space needed for

9.2%

Space needed

for Columbaria:

0.013 sqkm

Average income per capita/year: $55,766 Funeral cost: $36,286

112%

124%

127%

Average wedding cost: $32,380

annual tuition:

Education

Apartment rents per year: $2856.62

0.4%

Tokyo

Area of cemetery: 9.52 sqkm

$29,080

105%

1.1%

Cemetery needed: 0.4 sqkm

5.4%

Columbaria: 0.02 sqkm

JITENG YANG

Funeral Rituals Procession of Global Religions In the research of global ritual processions, we studied several most representative religions across the world: Chinese, Buddist, Christian, Muslim and etc. Each religion has their own particular events, but they are shared a certain way, that is "procession". Procession give the initial instigator of organizing the programs in this project.

Chinese

SUPERIMPOSED PROCESSION

Buddhist

Eastasian

Musliam

Christian

Rio

JITENG YANG

SUPERIMPOSED PROCESSION

MANHATTAN QUEENS

JERSEY CITY

Greenwood cemetery serves a large green space of Brooklyn. However, with the fence around, Greenwood cemetery is isolated from the

BROOKLYN

surrounding urban context.

MANHATTAN

The ferry near Greenwood Cemetery (for car shipping right now) is a great threshold

BROOKLYN

to connect the other boroughs of NYC, which may trigger more opportunity for new knowledge industry, tourism, and death infrastructures.

Greenwood Cemetery

The site is acting as a threshold BROOKLYN

connecting ferry terminal, industrial city, neighborhood and greenwood cemetery as a whole urban project.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

Superimposition: A New Urban Memorial Prototype Intertwining pathways define processional routes for these three types of activity, their intersections manifesting as architectural spaces that serve both sacred and secular program through temporal alternation.

Industry City

Community & Cultural Amenities

Memorial

JITENG YANG

SUPERIMPOSED PROCESSION

Through the material study and analysis of "redensification", two different materials encounter and create porosity and buffer space.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

The same logic can be applied to the urban scale, creating the connection, porosity, buffer zones across different urban programs.

JITENG YANG

SUPERIMPOSED PROCESSION

Urban Swath 1: Feery

Program Map Cultural Amenities, Industrial zones, memorial infrastructures are redensified into an urban network, creating the new urban prototype.

SUPERIMPOSED PROCESSION

Urban Swath 2:

AN INTERTWINING NETWORK

Industrial City

Urban Swath 3: Greenwood Cemetry

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

Urban Swath 1:

Ferry & Water Front The ferry near Greenwood Cemetery (only for car shipping today) is a great threshold to connect the other boroughs of NYC, which may trigger more opportunity for new knowledge industry, tourism, and death infrastructures.

In the polemical collage above, it shows an urban strategy that turn the hardscape before into a new soft landscape. Different landscape zones contain different materials and each of them reaches into each other, turning the waterfront area into a gradient soft landscape.

The architecture (waterfront ferry docks, reception rooms, memorial chapels) are combined with landscape, creating the landform buildings.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

Different landscape zones contain different materials and each of them reaches into each other, turning the waterfront area into a gradient soft landscape.

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

Urban Swath 2:

Industrial City Renovation The industrial city is one of the most important thresholds that can be renovated into an integrated building of New knowledge industry & death infrastructure & memorial place.

The polemical collage above shows the design intention, that trying to collage different type of "buildings" or "space", to see how the sacred and secular space can coexist and amplify with each other.

In this case, the industrial city will be renovated radically by excavation, inserting new memorial/ sacred programs. Accordingly, the industrial space should also be renovated to coexist with the death program. As a result, a buffer zone, between sacred and secular program, becomes a crucial part of design.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

Architectural Strategy also starts from the analytical drawings: "Redensification" Through the material study and analysis of "redensification", two different materials encounter and create porosity and buffer space.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

Analytical drawing is translated into 3D space analytical drawing, "Excavation" The 3D drawing is a prototype that shows the excavation and original material, as well as the buffer space. That is the crucial guiding strategy in renovating this project.

From "Redensification" to "Excavation"

JITENG YANG

SUPERIMPOSED PROCESSION

Module

Aggregation

Veseel Design & Aggregation The "Vessel" is a container conveying and storing the body remains. It is also a crucial device for people doing memorials.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

Industrial City R The industrial city will be renovated radically by excavation,

industrial space should also be renovated to coexist with the

and secular program, becom

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

Renovation: Plan inserting new memorial/ sacred programs. Accordingly, the

e death program. As a result, a buffer zone, between sacred

mes a crucial part of design.

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

Secular : Working Space In the industrial city, the working space serves for workers and some other secular programs that can be shared with public space.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

Sacred : Death facilities & Buffer Zone In the renovated industrial city, sacred space serves for death facilities, like ceremony halls, contemplate space, chapels and etc. The "Buffer Space" is introduced to negotiate sacred space and secular space, allowing this two kind of event can happen in a same building but without directly interruption.

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

Industrial City Re The industrial city will be renovated radically by excavation,

industrial space should also be renovated to coexist with the

and secular program, becom

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

enovation: Section inserting new memorial/ sacred programs. Accordingly, the

e death program. As a result, a buffer zone, between sacred

mes a crucial part of design

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

The atrium of "aggregated vessels" serves the most crucial reception area for the funeral procession. The funeral boat docks in front of the atrium and the body will be received by the funeral directors, and begin to prepare the ceremony.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

The Lobby of the front mostly serves for the industrial workers, visitors and friends of dead people. In a way, this lobby is mainly for secular reception.

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

The largest ceremony hall can serve the events for 200 people at the same time. Mostly for influential events or the tragedies.

However, the ceremony hall can also serve for secular events when there is no need for funeral taking place.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

The waiting hall located right below the largest ceremony hall, serving for sacred people in most cases.

JITENGYANG YANG JITENG

SUPERIMPOSED PROCESSION

Hotels serve for relatives of the dead people for walking procession, which usually take 2 days or more. With vessels aggregated, the rooftop becomes a memorial garden.

SUPERIMPOSED PROCESSION

AN INTERTWINING NETWORK

Small chapel in the building is created by the vessel aggregation. It serves some contemplate space or memorial space.

JITENGYANG YANG JITENG

The Cathedral Church of Saint Mary in Murcia. In Spain, 2010

ART WORKS

Hongcun Village, Anhui, China. 2010

JITENG YANG

Lion Grove Garden, Pingjiang D

In 2

ART WORKS

District, Suzhou, Jiangsu, China.

2011

JITENG YANG

THE PRESERVATION OF EVERYDAY LIFE

iv. The Preservation of Everyday Life A little bit of Tianjin

A LITTLE BIT OF TIANJIN

This project is about preservation of "everyday life" - a new perspective of rethinking the very common removal of Chinese old residential area. The project focuses on traditional residential area renovation, preserve the traditional neighborhood and everyday life, and cultural programs and react to the density at the same time.

JITENG YANG

THE PRESERVATION OF EVERYDAY LIFE

A LITTLE BIT OF TIANJIN

JITENG YANG

THE PRESERVATION OF EVERYDAY LIFE

A LITTLE BIT OF TIANJIN

JITENG YANG

THE PRESERVATION OF EVERYDAY LIFE

A LITTLE BIT OF TIANJIN

JITENG YANG

THE PRESERVATION OF EVERYDAY LIFE

The project focuses on traditional residential area renovation, preserve the traditional neighborhood and everyday life, and cultural programs and react to the density at the same time.

A LITTLE BIT OF TIANJIN

JITENG YANG