Portfolio of Jonathan Jiang 2015 by Jonathan Jiang

PORTFOLIO OF JONATHAN JIANG

Clemson University Architecture +Health Feb.24.2015

Nan Jiang "Jonathan" nanj@clemson.edu (818)-856-6799 2009 - 2014 B. Arch (5-years) Tongji University 1239 Siping Road, Yangpu Disctrict, Shanghai, China, 200092 2014 - Now M. Arch (Architecture and Health, Candidate for 2016) Clemson University 101 Calhoun Dr, Clemson, SC, U.S.A, 29634

Historical Pavilion Recovery (2012) ................................................................................................................................ 01

Protestant Church (2013) ................................................................................................................................................ 05

Failaka Island Archaeological Museum (2014) ................................................................................................................ 09

College Avenue Trilogy (2014) ........................................................................................................................................ 15

Maria Dukes Camp Infirmary (2015) ............................................................................................................................... 23

Project: Historical pavilion recovery Site: Yongjia, Wenzhou, Zhejiang Province, China Type: Volunteer work / Leader of the team Level: 3rd year undergraduate Date: August 2, 2012 Project Duration: 3 weeks Supervisor: Yuhui Zhu

The imaginary rendering of the final recovery

It was in the summer of 2012 that we went to Yongjia for our field trip of the 'Context Record on Historical Buildings' course which is, though may be named differently, always a mandatory subject in almost every architecture school in China, and students are usually asked to make measured drawings and illustrations of the historical buildings assigned to them.

* The top two photos are provided by the governer of the village.

I was on the way to the building which had been appointed to us with two of my classmates, when I unintentionally caught a glimpse of a pile of burnt wood components by the side of the road. That excited my curiosity immediately so I asked the driver to stop for a moment and jumped out of the vehicle to check it out. I found pretty soon that those components were the remnants of a pavilion, and the local farmers told me that the pavilion was destroyed by a fire not long before. Though most of the components I found there were seriously damaged and covered in ashes, the beautiful paintings on some undamaged parts could still be recognized. Perhaps it was just a coincidence when I suddenly realized that the music playing in my earphones was Nirvana --- a band named after the legend of phoenix in which it gained renascence throughout the flames and ashes. So I just said to my classmates, ' Let's do it! '. Fortunately, Mr.Yu who was the governor of the village, was interested in our proposal and therefore provided us with various information including photos, documents and even the memories of local villagers. The most important idea came at the very first stage, that is that the recovery should not be restricted to the structure as they normally are, but should be widened to include all aspects such as environment, decorations and cultural functions. Also, we all agreed that we should fully recover everything to the original situation when it was constructed --- around 130 years ago.

Top: A photo by a villager before the fire Middle: The fire that destoryed the pavilion Bottom: The situation when I saw it in 2012

The biggest challenge that we came across was the structure: though the burnt components were usually measurable, the original positions of them were hard to determine since the pavilion had collapsed. But we managed to solve this by drawing on some photos taken by the villagers. In fact, more than 200 pieces of photos of different types were used to determine the position of all visible components. In terms of the invisible parts, like the structure of the roof which was blocked by the ceiling, these were impossible for us to know. So we visited some local carpenters whose technical practices and knowledge were almost the same as their predecessors' and consulted them about the scale and layout of those parts.

As I have said before, the most important idea was that the study should not be limited to the structure, so we conducted a lot research on its environment and cultural functions. The environment was relatively simple when it was constructed: there was a yard by the south of the pavilion and there were paved roads and water channels by the east and the west. This group of constructions were surrounded by nothing but farm lands. The most interesting part of the pavilion was its original functions. Despite the most obvious functions of a pavilion like providing a place to rest, more unique things were discovered as the study went further and deeper. Initially, the southern part of the pavilion was used as an opera stage with the yard occupied by audience during a performance. Secondly, as there was a baldachin in the northern part, the space sometimes had religious uses. Thirdly, the literati of the village used to gather around the pavilion to discuss literature and arts and some of them carved their own work on the pillars. Therefore when we were drawing the required graphics like elevations and sections, we tried to emphasize more on the environment and the functions, as they were undividable elements of the pavilion. I think that drawing on the people's activities there is more vivid and direct than those so-called 'functional analysis'. The last task that we did on that project was like playing a jigsaw puzzle, as we needed to generate the overview of all the paintings on the ceiling using shattered pieces that we gathered from different photos. When I was trying to put the pieces together, a surprise emerged as I found the pavilion might have yet another function since almost all the topics of the paintings were moral educational. So I thought that elders may have brought their children there to teach them about the stories on the paintings. 'Bedtime stories for kids who cannot afford a picture-book,â&#x20AC;&#x2122; as one of my classmates joked. Unfortunately, though most of the paintings on the ceiling were put together and located to the right positions, there were still some parts missing. Similar things happened to the calligraphies on the pillars as most of them were burnt out. We discussed about making some new ones of similar topics and historically accurate style, but in the end we decided to leave it blank. 'History is something irreversible,' I wrote in my diary on July 10th, 'so things that have been totally lost in the tide of time should be let go, as no one can ever bring it back.' The lost parts have gone, so what we should do is to try our best to save the parts that can be saved before it is too late. This is my final conclusion for the project.

* The top photo is provided by the governer of the village. Left and above: Detailed 3-D digital model According to the pictures provided by the villagers, a digital model was built to every details including different structural components and decorative parts. Below: The Liu brothers in their workshop They are the local carpenters who are specialist in traditional constructions and they helped us a lot with our work., especially on figuring out the structure of the roof.

Above: Section-A

Left: Upward view of the ceiling Different from most of the traditional buildings in that region, the ceiling of the pavilion was covered with colorful paintings which could be used for education by describing moral stories graphically. Therefore we tried our best to recover it by drawing on the massive pictures taken before and then rendered it to generate such a upward view. Unfortunately, some part of the paintings were missing, so we made them black and white to distinguish them from the unpainted parts. Right: Floor plan with the yard

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Project: Protestant Church Site: Haining, Zhejiang Province, China Type: Academic, Individual Level: 4th year undergraduate Date: June 26, 2013 Project Duration: 9 weeks Supervisor: Quinsan Ciao

Since even before I went to university, I realized that various religions in China, no matter Buddhism or Protestantism, had all been localized. The most obvious aspects in this localization are probably the authority's constant interferences and the believers' understanding of their religions. The reason for this, to my understanding, is the unique cultural heritage of this country. Unlike Europe, which has been divided into smaller political units, China has been consistently under the domination of one powerful central government at most points in history for more than 2,000 years.

* Pictures from the Internet with the content of: 1. ‘The Sunflower Seeds’, Ai Weiwei, England, 2011 2. ‘Arlington National Cemetery’, U.S.A 3. ‘Memorial for the Murdered Jews of Europe’, Peter Eisenman, Germany, 2005

Everyone The concept of everyone can always be expressed by accumulating similar individuals.

Direct and indirect

So, on the one hand, to maintain total control of the vast territory, all the central governments (including the current one) more or less tried to use religion as a regular tool for ruling. Take Confucianism for instance: though the words of Confucius are inviolable, the explanations and interpretation of those words varied from period to period, as they were defined by different dynasties and administrations at different stages. Currently, in modern-day China, the state control of religion as a tool for power is still strongly evident. All religions are restricted and monitored by various regulations formulated by a department of the government called the 'Religious Affairs Association'. On the other hand, in adapting to this structure, the very culture of China itself evolved to be authority-oriented and form a stereotype, that is: some believers in China have a strong reliance on authority to provide them with approaches to their religious belief. All these thoughts jumped out when I was told that the objective of the studio was to work with building designs of religious and cultural context. There were four small projects to be selected; they were related to different religions, Taoism, Buddhism and Protestantism. After doing some research on these three religions, I realized there would be serious difficulty designing buildings based on Protestantism, as the government's behavior and the stereotype among believers is in fact contradictory to the religious content. That is because the very primary object of the Reformation, which lead to the birth of modern Protestantism, was to question the authority -- the Roman Catholic Church. This contradiction became my primary motivation to pick the Protestant church project. The existing church that can no longer satisfy the needs of believers was constructed in the early 1980s, after which the residential neighborhood began to expand and eventually left only a narrow space for the church. In addition the limited space however, the church seemed to be undistinguished and looked much like any other church (including Catholic ones) that can be found in China. Therefore my first impression on the church was that it was nothing

else than another evidence of the authority-oriented phenomenon. But unpredicted things emerged as the studies went further. I found that apart from the common religious service, which is strictly regulated by the authority, the church also provides its worshippers with various kinds of care and service regarding every individual's situation. For example, there is a kitchen and a canteen by the side of the church for those who have to have lunch in town as they live in rural areas. Those people are usually poor and they cannot afford to eat in the restaurants, so the free lunch provided is a much needed charitable service. For the babies who are brought to the church by their parents, there is a special room for them to play together while being taken care of by the staff, so the mothers can take part in the church activities without worrying about their kids. There is also a small clinic by the entrance of the yard for churchgoers with illnesses. Interestingly, instead of hiring a doctor, some church members who have some knowledge of medicine work as volunteers there. The point is that the authority never told anyone to add these additional functions to the church, and some of their functions may even violate the regulations, meaning that these programs that take care of everyone are totally an independent initiative. They may not realize it, but everything the church is doing indicates that they have found their own approach to the core concept of their faith, even in the state-controlled religious framework of China--that is, to focus on individuals rather than to follow the authority blindly. Impressed, I decided to provide them with a design that concentrates more on this individuality, since it represents both their faith and their deeds. I also tried to make it special, since I personally found the believers and staff there to be so distinguished, and I hope that other churches can also be inspired by them. In terms of design itself, the concept that I picked is 'the direct connection for everyone' which is abstracted from the 'Five Solae'. (Five Latin phrases that emerged during the Protestant Reformation and summarize the Reformers' basic theological beliefs in contradistinction to the teaching of the Roman Catholic Church of the day.) I particularly tried to satisfy all the specific functions of their church, as their existence can be regarded as a part of the core concept. I do not expect that the whole situation in China can be changed by simply doing a small project like this, but as the old saying goes: 'a thousand-mile journey starts from the first step.’ I think social advancement and policy change can be driven by architects who take more care about the cultural context of their projects. This is our responsibility.

The principle of architectural language I used the square of 400 mm x 400 mm as the basic unit, which could be defined as columns, seats or corridors. Individual seats were created for everyone with a skylight above. So the three key words, everyone, direct and connection were all emphasized.

Views of the spaces downward

Above: View from the main entrance of the church Left: Photos of the model (including the transforms of surroundings) When I was building the model, I suddenly realized that using the same architectural language to transform the surroundings could enhance my concept of 'everyone' since the spiritual feeling would no longer be restricted to the narrow space as it used to be. Also, by transforming the roof of the commercial building to an outdoor platform, extra spaces are created which could serve the unique functions better while providing a public space for both the believers and the local residents.

Project: Failaka Island Archaeological Museum Site: Failaka Island, Kuwait Type: Academic, Individual Level: 5th year undergraduate Date: June 10, 2014 Project Duration: 14 weeks Supervisor: Quinsan Ciao

What does it represent? People should hold awe in Mother Nature, so my zoo stands for the concept of awe. -- A student They assume the metaphysics of architecture (that is, shelter, aesthetics, structure, and meaning), and the vocabulary (elements such as columns, capitals, etc.) to have the status of natural law. -- Peter Eisenman, 1986 People have a tendency to think without thinking that a piece of architecture work should represent a specific meaning. This has long been regarded as a nature law, much like the saying that the sun rises at east. One question that has been frequently asked when showing designs to the other is: ‘What does it represent?’

* Fowlling pictures are found on the Internet or provied by the client

From the perspective of folk culture, people are more in favor of architecture with obvious meanings. Being obvious is to say that a meaning is simple and direct, so people can easily connect it with their own daily lives and accept it without much difficulties. But when there is no specific meaning or the meaning is simply complicated, improper but simple ones are always unintentionally invented. That is also why certain famous buildings are titled by the public with cute nicknames, ‘the Great Underpants’ by Rem Koohas and “the Egg Shell” by Paul Andreu. The occurrence of such phenomenon is due to the assumption stated above which indicates that architecture cannot stand alone without specific meanings attached. But is this absolutely true?

Are specific meanings necessary for architecture to be? Your design should represent traditional Shanghainese culture. -- A professor There is nothing outside of the text.

Design context The site is located on Failaka, an island on the Persian Gulf 12 miles away from Kuwait City. Since 1950s, archaeologists has discovered large amount of remains of various civilizations. Among those remains, the oldest Mesopotamian ruins can date back to more than two millenniums ago while the newest ones are the structures and vehicles destroyed during the first Gulf War. The island has been uninhabited since 1990s due to the unitability of local politics. There were multiple proposals on developing and inhabiting the island as the new century began but all of them were rejected.

--Jacques Derrida, 1988

If such an equation with a blank is written on a paper: ‘PANDA = ’. Most would instantly replace the blank with terms like CHINA, CHINESE or CINESE CULTURE. Tough it may seems justifiable at the first sight with the fact that panda movies demonstrating Chinese Marshall Arts gain their popularity easily and the style of one of the mascot of Beijing Olympic games is derived directly from the image of panda. Moreover, it is a common strategy for the Chinese government to send pandas as gifts when making attempt to enhance the relationship with certain nations. Those pandas are often rendered as ‘panda diplomats’ by the media. But do pandas have the natural attribute of representing China (or Chinese or Chinese culture)?

Imagine that someone is placed in a cell sitting with a panda face to face and no interference by other parts of the world. It would be highly unlikely for him/her to connect the fluffy mammal to the concept of China. If that person happens to be a Chinese, then compared to the panda he/she apparently has stronger connection with China or Chinese culture. That is because apart from having the natural habitat located inside the territory of China, the animal itself share nothing in common with the metaphysical idea of China. In fact the specie itself was first recorded by French missionary David in the year of 1869 and gradually got to be known in the following years. That is to say the pandas before 1869 could never have the attribute of representing China while none could deny their being as pandas. So non-China-representing pandas are still pandas, representing China is not a necessary attribute for pandas to be. Similarly, architecture does not necessarily represent specific meaning for itself to be. The stereotype is passed to us intentionally or unintentionally by the media and the folk culture it creates. Architecture simply stands for nothing but itself, or to say, there is nothing outside the text. But that that does not hinder architecture from having metaphysical features. The features often lie in the order and language that formulate the architecture so there is hardly any need not to put them into use. Unfortunately, that is something that numerous students and so called professionals fail to realize. They assume that without having a ‘sensible’ certain connection, a piece of architecture work would be too pale and too plain to be architecture or at least not a good one. That is the reason why some insist on implanting irrelevant meanings to buildings or sacrificing the order of architecture to give a way to certain meanings, they are more like designing ideas than designing architecture. Therefore under a lot of circumstance, the need for specific meanings has become a burden for architecture that is not necessarily for it to abide. So what would be architecture like if it goes without specific meanings?

An opening to infinite possibilities One way of thinking for all.

-- Political term in China, since 1980s

There are a thousand Hamlets in a thousand people's eyes. -- Shakespeare, 1564-1616 A mutual problem for almost all specific meanings assigned buildings is that architects have to intentionally emphasize the presence of certain connections in sacrifice of the potentially existing possibilities. As its audience and user, individual person does have a nature of pursuing certain relevance between architecture and his/her own memory. But due to the significant differences individuals, people tend to have diverse comprehension of the appreciated which accumulated to be the total metaphysical

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possibilities one architecture can carry. This leads to the feelings and understandings towards a piece of architecture to be dispersed and non-specific. Though it is possible to establish a center to unit most of the dispersed points buy it would put restrictions onto the infinite possibilities. Contradictory, architecture without specific meanings can always encourage people to look for the connection according to their own experiences thus create presence for the absence.

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A common example for that is that when visiting some natural tourist sights, the tourist guides like to tell the tourist that a rock looks like something specific -- ‘a way pointing divine’ for instance. The tourists who could come up with various imaginative relevance are therefore guided to that certain way of thinking. Another example comes from a hint fiction that have become famous these years which tells a similar story in which the teacher think a pupil’s idea of ‘the crescent moon is like a banana’ is wrong since the ‘correct’ answer of it is ‘a boat’ (which is also the answer of other kids). Presumably this is also why Gustav Klimt never explains his paintings -- he may want people to feel them by their own means. So compared to the buildings that try to convey people with specific ideas, non-specific meaning architecture does have a lot more possibilities. This kind of architecture is often more absolute and real being in this relative and not so real world (as Peter Eisenman’s deceleration of the media and communities controlled reality), so it can naturally delivers a sense of solitude which is often regarded as a unique feature of architecture.

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30,

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Rhetorical figure #1 The boundary of site F-5 is used as the first rhetorical figure which is rotated according to other figures nearby to generate the 38 basic form for the museum.

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Through elaborative designing, the sense can emit from every detail of the architecture, from the stairs that fly out from a wall, from the gap that holds steel and concrete together, and from the long dim narrow corridors. One thousand people may find a million kinds of solitude in one thousand details, one may recall his/her feelings when walking that stairs home when the elevator was broken down, another may soak in to the memory of the first day of his/her moving from a village house to a modern apartment, the other may be dragged back to time that he/she walked across the empty school classrooms. Therefore the job for an architect is to strictly follow the logic and language that lies in architecture itself while giving up unnecessary metaphysical ideas that he/she unintentionally tries to convey and to let architecture to be without specific meanings. So what is the logic and language of architecture, how to make creations based on them?

Rhetoric: From figures to figure Rhetorical figure #2 The archaeological block grid system (5 meter by 5 meter) used on the F-5 site during excavation determined the structure system.

An entity, that is to say, in which nothing that has once come into existence will have passed away and all the earlier phases of development continue to exist alongside the latest one. -- Sigmund Freud, 1929

This involves the dissociation of the traditional interpretation of its elements so that its figures can be read rhetorically as opposed to aesthetically or metaphorically. -- Peter Eisenman, 1986 Undeniably, logic and language themselves are metaphysics which means that they need to be attached to objects in order to be recognized. The architectural logic and language are not exclusive for even the pure conceptional architecture also relies on drawings or models to express themselves. Therefore the architectural logic and language never form architecture by themselves, they needs to be applied to existing figures (no matter what they really are and where they come from) and form new figure which may ultimately leads to a physical building. Based on the stereotype that mentioned above, most architects think that the existing figures naturally represent specific meaning, so they have to be located in fixed location or have certain scale to convey the specific meaning. So they tend to keep them complete. Robert Venturi for instance, though breaks buildings down still uses the complete elements for he believes that these elements are the minimum units that carry the metaphysics which makes them undividable. But due to the denial of specific meanings, there is hardly any reason to keep the complete forms of the figures which make them no long elements. Thus one possible approach comes from the school of deconstructionism that dislocate the meanings and divide the elements. If to say that Venturi design his building through a figures-elements-figure way, the architecture without specific meanings should be from figures to figure. However during the process of evolving, the logic and language that controls the change should be used continuously and universally to show the dynamic progress in the static result. So the most practical approach under that circumstance is Eisenman’s way of using rhetorical figures which regards figures as nothing but figures and divided them for the use of forming a new one. He used a example from language study in his article: C-A-T A-C-T C-A-T-I-S A-C-T-I-S C-A-C-T-I-S It is not hard to see that though a controlled way of evolving, the word that originally stands for a cat is divided into three letters which eventually form a new word. The new word CACTIS naturally represents nothing in English so it is truly a deconstruction to both meaning and form. Interestingly, though the result means nothing in the first place, people may think it looks somehow like the word cactus. And that is exactly how the blank is there for people to fill with their own imaginations.

Left upper: Site design a Left bottom: Historical timeline of the museum area b Right upper: Physical model of the museum SITUATION MAP 1:1500 总平面图 1:1500 Right bottom: Structure of the cover

SITUATION MAP

总平面图展示基地县有状况（遗址、道路、地形、植被等等），并标出所提取的图形（西北方老建筑的方

总平面图

1:1500 1:1500

TIMELINE OF THE SITE TIMELINE OF THE SITE 场地时间线

场地时间线

Section-1 剖面-1

M.E.P

设备间

Section-4 剖面-4

Workshop

工作室区

Office

办公室

Lecture Area

Office

讲座区

Conference Room

会议室

办公室

Section-4 剖面-4

Laboratory

实验室

Laboratory Storage

储藏室

Archaeologists' Living Quarter

考古学家居住区

Section-3 剖面-3

The Acient Temple

古代神庙

Section-2 剖面-2

Temporary Exhibition

临时展览

Kitchen

厨房

Cafe / Restaurant

餐厅

Security

门房

Female Praying

女祈祷室

Male Praying

Permenant Exhibition

固定展览

男祈祷室

Central Control

中控室

M.E.P

设备间

b Section-2 剖面-2

从图形中所提取的方向应用在从图形中所提取的方向应用在 F-5 F-5 遗址的边界上，由旋转生成建筑物遗址的边界上，由旋转生成建筑物的最终实体边界，其中在遗址内的的最终实体边界，其中在遗址内的部分作为游览步道使用。遗址中重部分作为游览步道使用。遗址中重要的建筑物残骸只突出该城堡的核要的建筑物残骸只突出该城堡的核心部分，即古代神庙。心部分，即古代神庙。 49 49 Section-1 剖面-1

Storage

Souvenir Store

储藏室

纪念品商店

GROUND FLOORPLAN

一层平面图

1:200 1:200

54 54

SECTION-1 剖面图-1

1:200 1:200

SECTION-1 剖面图-1

1:200 1:200

SECTION-1 剖面图-1

1:200 1:200

SECTION-2 剖面图-2

1:200 1:200

SECTION-2 剖面图-2

1:200 1:200

SECTION-2 剖面图-2

1:200 1:200

由于实体边界式旋转的结果因此需要在构造上强调其重要性，所以通由于实体边界式旋转的结果因此需过留出一道缝隙让自然光以漫射的要在构造上强调其重要性，所以通 1:200 形式进入建筑内部。 SECTION-3 剖面图-3 1:200 过留出一道缝隙让自然光以漫射的 1:200 形式进入建筑内部。 SECTION-3 剖面图-3 1:200 SECTION-3 1:200 剖面图-3 1:200

室合可构

Project: College Avenue Trilogy - Video Site: Clemson, SC, U.S.A Type: Academic, Group work Level: 1th year graduate Date: September 11, 2014 Project Duration: 3 weeks Supervisor: David Allison, Byron Edwards

Link to the video: https://www.youtube.com/watch?v=SnB_eHgbjp0 More infomation: http://www.clemson.edu/caah/architecture/architecture-plus-health/events-news.html

* This work is done in a group of four: Jessica Welch, Tyler McLemore, Chau Tran and me.

Project: College Avenue Trilogy - Planning Site: Clemson, SC, U.S.A Type: Academic, Group work Level: 1th year graduate Date: October 8, 2014 Project Duration: 4 weeks Supervisor: David Allison, Byron Edwards

COLLEGE AVENUE URBAN DESIGN A Destination for the Community of Clemson

ACCESSIBLE TRANSPORTATION NETWORK

UNIQUE NEIGHBORHOOD IDENTITY

Accessible Transportation Network not only combines different modes of transport, but also focus on the transferring points and services provided by an area. These variety of transportation options need to work together as a network to enable the various users to be better informed of the best way to get to their destination, and to make travel safer and more coordinated.

Revitalizing local essence and value, creating distinctive spaces give unique experience and sense of place to users and observers. Unique, neighborhood identity helps a locality achieve a sense of place, which is a concept that has physical, psychological, and social outcome. Physical features of the built environment have crucial impact on public health.

VIBRANT URBAN CORE A Vibrant Urban Core provides a variety of choices which assimilates people of all ages to participate in civic activities and social interaction. Welcoming public space promotes mental and physical health among communities. The welldefined and accessible networks of public space create social interaction among local environment and communities.

COMFORTABLE PEDESTRIAN DIMENSION Comfortable Pedestrian Dimension refers to the environment which specifically interacts with the scale of the human. The pedestrian dimension can impact walking conditions that the user deals with on a day to day basis. To have a healthy and safe experience the different scales need to work together, and all of the elements needed for a pleasurable walking experience are required.

PLEASANT ECO-FRIENDLY ENVIRONMENT Pleasant Eco-friendly Environments not only protects existing nature, but also integrates existing conditions with artificial environment. People experience high levels of health and well-being when they live in a community with easy access to nature. Outdoor time improves health by increasing physical activity and reducing stress, making it imperative that users have access to nature even in an urban environment.

* This work is done in a group of four: Justin Miller, Emily McGowen, Braden Reid and me.

Zoning

Urban Design Scheme

PROPOSED STRATEGY

COMMERCIAL DISTRICT

COMMERCIAL-MIXED USE DISTRICT

Site Plan-Scale: 1/64” = 1’

CP-2 DISTRICT

TRANSPORTATION HUB Totatiorpos eostis num reped que plit archit laut amenis deste eumquia non re dit vel ero omni officiant ma sed es ad quiamen dipiend enimint imuscidia natist pro corporrum elibusciis nonsequam eumque andes nullici dolorehendae con ni aceperr ovidebisciae sumquia sequi consequae reped modioritis ut C

8 ft setback on all sides

8 ft setback on front of parcel, 20 ft setback on all sides buffer yard at rear where parcel abuts a different zoning district

8 ft front setback 20 ft setback on all other sides 65 ft max building height

subdivide large footprints with a 20 ft-wide passageway, providing connections between College Ave and secondary streets, or adjacent foci.

subdivide large footprints with a 20 ft-wide passageway, providing access to the open space parcel behind add 15 ft cross passage in other direction

subdivide large footprints with a 15 ft-wide passageway for bicycles/pedestrians; furnish passageway with urban amenities (benches, trees)

further subidvide parcel with a 15 ft cross-passageway, to establish connections with tertiary roads.

50% of the building frontage should be setback from the street-edge by a minimum of 40 ft. these spaces will form pocket parks along the street edge.

recess footprint by 20 ft to establish public space adjacent to building (this will depend on the parcel and footprint shape)

along the passage, 35% of the outline area shall be used for courtyard, required to be furnished with urban amenities.

subdivide large footprints with a 20 ft-wide passageway, providing connections between College Ave and secondary streets, or adjacent foci.

Old Town

subdivide large footprints with a 20 ft-wide passageway, providing connections between College Ave and secondary streets, or adjacent foci.

Section A-Scale: 1/16” = 1’

CITY CENTER Totatiorpos eostis num reped que plit archit laut amenis deste eumquia non re dit vel ero omni officiant ma sed es ad quiamen dipiend enimint imuscidia natist pro corporrum elibusciis nonsequam eumque andes nullici dolorehendae con ni aceperr ovidebisciae sumquia sequi consequae reped modioritis ut

50% of the frontage should be setback from the street-edge by a minimum depth of 20 ft. these spaces will form pocket parks along the street edge.

along the passage, 50% of the outline area shall be used for courtyard, required to be furnished with urban amenities.

OLD TOWN Totatiorpos eostis num reped que plit archit laut amenis deste eumquia non re dit vel ero omni officiant ma sed es ad quiamen dipiend enimint imuscidia natist pro corporrum elibusciis nonsequam eumque andes nullici dolorehendae con ni aceperr ovidebisciae sumquia sequi consequae reped modioritis ut

along the passage, 35% of the outline area shall be used for courtyards which can be staggered if need be; required to be furnished with urban amenities.

all structures at the back of the parcel, abutting a different zoning district, shall not be higher than 35 ft.

all structures at the back of the parcel, abutting a different zoning district, shall not be higher than 35 ft. NORTH

subdivide large footprints with a 20 ft-wide passageway, providing connections between College Ave and secondary streets, or adjacent foci. 1/32”=1’

subdivide large footprints with a 20 ft-wide passageway, providing connections between College Ave and secondary streets, or adjacent foci.

NORTH

City Center

Section B-Scale: 1/16” = 1’

subdivide large footprints with a 20 ft-wide passageway, providing connections between College Ave and secondary streets, or adjacent foci.

Project: College Avenue Trilogy - Designing Site: Clemson, SC, U.S.A Type: Academic, Individual Level: 1th year graduate Date: December 5, 2014 Project Duration: 6 weeks Supervisor: David Allison, Byron Edwards

with a 20 ft-wide pasthe open space parcel ge in other directions.

WOTRUBA CHURCH, VIENNA, AUSTRIA, 1976

CHERNOBYL, PRIPYAT, UKRAINE, 2013

the outline area shall ed to be furnished with

HANGING TEMPLE, SHANXI, CHINA PRIVATE (NATURE)

ROKKO HOUSING, JAPAN, 1993 PUBLIC (ARCHITECTURE)

Design Background The biggest challenge of designing a mix-used complex in this particular region is to address the tension between the public (needed by the street in the front) and the privacy (needed by the single family houses at the back). buildings thetopological commu- archetypes were studied and briefly developed into Three in basic more architectural forms in seek of a proper solution for the site.

SKETCH MODEL OPTION-A

SKETCH MODEL OPTION-B

DIAGRAM ON MERGED TYPES

SINGLE FAMILY HOUSE COMMUNITY

TOWN HOUSE COMMUNITY

PEDSTRAIN AREA

PUBLIC ROAD

(SKETCH) FLOOR PLAN 1/32"=1'

(MID-TERM) DETAIL-A

GROUND FLOOR PLAN 1/32"=1'

GROUND FLOOR PLAN DETAIL-B 1/32"=1' (MID-TERM)

FIRST FLOOR PLAN 1/32"=1'

GROUND FLOOR PLAN 1/32"=1'

FIRST FLOOR PLAN 1/32"=1'

SECTION-A 1/16"=1'

SECTION-B 1/16"=1'

Project: Maria Dukes Camp Infirmary Site: Clemson Outdoor Lab, SC, U.S.A Type: Academic, Individual Level: 1th year graduate Date: February 6, 2015 Project Duration: 2.5 weeks Supervisor: Byron Edwards

ÒÉthe ßying arrow is therefore motionless.” — Aristotle, Physics VI:9, 239b5

Flying arrow: about time and history Maria Dukes, daughter of Dr. Dukes - a prestige local physician and potential benefactor of the project, used to camp at Clemson Outdoor Lab every summer. Though mentally challenged, the girl never gave up the hope and her optimistic attitude towards life truly inspired numerous campers. Unfortunately, the ‘little star of the camp’ passed away in the late 1980s but she is still well remembered by senior members associate with the camp and her tales can still be heard even today. In light of that, the organizer of the camp even specifically set up a special camp, known as ‘Camp Hope’, for those who suffer the same as Maria. Maria therefore has become almost an iconic figure. As for ‘…the flying arrow is therefore motionless’, which means through the detached fragments, continuity of the entity is achieved. The entity in this case, is the optimist attitude towards life which was originally inspired by Maria, while the fragments are those who passed it down.

Deltec vs yurt: about site and context The Deltec construction that used to build most of the camps on the site shares an amazing similarity with the yurt of Mongolians. The underlying logic behind this is shown in the diagram on the right.

Programming The programming method of card gaming taught in the book â&#x20AC;&#x2DC;problem seekingâ&#x20AC;&#x2122; was employed to communicate with the client more effectively.

Therefore, my idea of this design is to create more public spaces that can enhance the interaction between the guests. So in addition to the rooms, there are also large spaces between the three core tubes and they all span from the ground floor to the top.

THE END

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Clemson University Architecture +Health 3

Jonathan Jiang nanj@clemson.edu (818)-856-6799 Feb.24.2015

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