Portfolio of Jonathan Jiang 2016 by Jonathan Jiang

PORTFOLIO OF JONATHAN JIANG

Clemson University Architecture +Health January, 2016

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

Foothills Family Medical Center (2015) ........................................................................................................................... 01

In the City, as a City (2015) ............................................................................................................................................. 07

College Avenue Trilogy (2014) ........................................................................................................................................ 19

Failaka Island Archaeological Museum (2014) ................................................................................................................ 27

Protestant Church (2013) ................................................................................................................................................ 33

Project: Foothills Family Medical Center Site: Central, SC, U.S.A Type: Academic, Individual Level: 1st year graduate Date: April, 2014 Project Duration: 8 weeks Supervisor: Byron Edwards, David Allison 2015 Healthcare Environment Awards: Student Honorable Mention Published on Contract Magazine, October 2015 Issue, p.100

FOR A CLINIC TO BE

Conceptually, the need for treating diseases leads to the need for a clinic. Should there be an ideal clinic where all diseases can be eliminated, the need for a clinic is eliminated too. Thus for a clinic to be is not to be, in other word, the design of a clinic is about absence.

THE CONTEXT SAYS

The context around the site is simple yet complicated. Located near the campus of SWU and surrounded by private homes, the site creates challenges for merging the commercial functions of the clinic into the local neighborhood, but it also provides chance for creating community shared space.

b c

c d

A GIFT OF THE LAND

Fortunately, the topography of the site provides a great chance to hide the structures beneath the ground which can possibly create a sense of absence and reduce the functional conflicts between the building and its immediate context, the private houses.

FIGURES & GROUND

Thanks to the generosity of the campus planning department, the clinic can share a parking lot with the community outside the site on the other side of the street. Therefore the ‘ground’ area left from the constructed ’figures’ can be made into semi-opened gardens for the public.

WALKING THE LINE

Straight lines are the simplest and most intuitive geometry to human beings. Thus linear shapes can be recognized easily and linear spaces can be navigate through without any difficulty. In a healthcare facility where efficiency is highly valued, the used of linear spaces can naturally enhance way-finding for both patients and staff.

BEING IN AND OUT

One problem brought by using the linear space is that it creates a hard boundary between the rigid shaped artificial structures and the free formed natural landscape. To tackle the problem, surfaces like floors and roofs in the threshold public waiting area are curvedly divided. By applying different materials and tectonics to the divided parts and bringing in some nature indoor, the boundary of indoor and outdoor can be soften.

A POD NOT A MINE

Exam pods in most clinics have no windows which means the lighting environments in the pods are totally artificial. Study shows that working in such circumstance is extremely hazardous for staff. Besides, in such designs lights have to be turned on during daytime which consume an amazing amount of energy.Therefore introducing natural light into the pods by opening small courtyards can significantly improve the working environment for staff while reducing operational costs by cutting down the electricity bills.

NOW YOU SEE ME?

Similar to the exam pod, the exam rooms in most clinics are â&#x20AC;&#x2DC;dark roomsâ&#x20AC;&#x2122; as well. Once shared, the small courtyard opened to the exam pod can provide a great opportunity for exam rooms to have access to natural lighting and plants. But there are privacy concerns. Fortunately, that is totally avoidable by manipulating the shape of the exam rooms and the courtyards. In such case, both exam rooms and pods can have large windows to the courtyard while having no issue on patient privacy in the exam rooms.

WHENEVER IT RAINS

Since the central court yard is way below the surround ground, rainwater will naturally flow in. This make it a great chance to have a rainwater collection mechanism under the courtyard. Water collected can be used on the water feature (a pool in this case) on site which will also work as a natural cooling method in summer.

A REASON TO GO

People have a tendency not to walk to a specific place unless there is a reason for them to go. The far end of the courtyard opposite to the main entrance is obviously not a place on the functional circulation, so people are less likely to visit there regardless the beauty of the garden.To give people a reason to go, a pavilion-like structure is set up to attract people.

FOOD NOT PILLS

It is not only to cure but also to prevent. A demonstration kitchen is there placed at the end of the administration building where people can learn how to cook healthy food. Conceptually it can make the clinic less to be.

THE BUS IS COMING

Because the site is on the bus route, so one of the retaining walls along the entrance slope rise to form a sheltered bus stop. Plus as the building is barely seen from the road level, the bus stop (with the clinicâ&#x20AC;&#x2122;s name on it) can also work as a sign of the entrance that indicate people where to go.

GIVE ME SHELTER

Outside of demonstration kitchen, a sheltered outdoor space is designed to accommodate more community-based activities.When the day is nice, the space can also be used as an extension to the demonstration kitchen.

MAN OF THE LAND

The soil covered area, including those on the roof and those on the ground level around the courtyard can be used as field for growing vegetables and herbs. The harvested vegetables can possibly be used directly for the cooking demonstration while the herbs can be used for educational purposes.

Project: In the City, as a City - Medical District Planning Site: Charleston, SC, U.S.A Type: Academic, Group work Level: 2nd year graduate Date: October, 2015 Project Duration: 4 weeks Supervisor: David Allison, Ray Hoff

* This work is done in a group of three: Lindsey Hofstra, Zhiqin Liu and Jonathan Jiang.

Connective Urban Fabric

Access to Nature

Climate Reaction

Jonathan + Jane + Lindsey | Master Plan Proposal - MEDICAL DISTRICT

medical district today

existing primary roads

detachment from the context

City Fabric Analysis Jonathan + Jane + Lindsey | Master Plan Proposal - MEDICAL DISTRICT reconnection of the detached pieces

replacement of the obsolete structures

opportunity for optimization

new pattern

City Fabric Analysis

dedicated pedestrian/bike path

the conceptual plan

10 Jonathan + Jane + Lindsey | Master Plan Proposal - MEDICAL DISTRICT

normal condition

type1: seawater flood (sea level rise)

type2: rainwater flood (drainage system overload)

Flood Causes Jonathan + Jane + Lindsey | Master Plan Proposal - MEDICAL DISTRICT

existing condition

elevating street only

elevating street + rainwater maintaining system

Street Elevating Strategies Jonathan + Jane + Lindsey | Master Plan Proposal - MEDICAL DISTRICT

existing condition

elevated street

Drainage Diagram

permeable pavement system

Jonathan + Jane + Lind

Drainage System

Project: In the City, as a City - MUSC New Hospital Site: Charleston, SC, U.S.A Type: Academic, Group work Level: 2nd year graduate Date: December, 2015 Project Duration: 5 weeks Supervisor: David Allison

* This work is done in a group of three: Sarah Wilson, Qian Dong and Jonathan Jiang.

urban analysis

HOSPITAL AS URBAN DESIGN

clemson university fall 2015 | charleston, south carolina

boundaries from neighborhoods

boundaries from use + typology

boundaries from nodes + lack of green hospital conceptual design - HOSPITAL AS URBAN DESIGN

urban analysis

HOSPITAL AS URBAN DESIGN clemson university fall 2015 | charleston, south carolina

Positive Urban Impact

Environmental Awareness

Accessibility + Wayfinding

Flexibility

Guiding Principles

hospital conceptual design - HOSPITAL AS URBAN DESIGN

hospital proposal

HOSPITAL AS URBAN DESIGN

hospital proposal

HOSPITAL AS URBAN DESIGN

clemson university fall 2015 | charleston, south carolina

First Floor - Emergency Department

Second Floor - Imaging

Ground Floor (Parking)

hospital proposal

First Floor (ED)

hospital proposal

hospitalDESIGN conceptual design - HOSPITAL AS URBAN DESIGN HOSPITAL AS URBAN hospitalDESIGN conceptual design - HOSPITAL AS URBAN DESIGN HOSPITAL AS URBAN clemson university fall 2015 | charleston, south carolina

clemson university fall 2015 | charleston, south carolina

Fifth Floor - Public Cafe + Roof Garden

Sixth - Ninth Floors - Inpatient Tower

Third and Fourth Floor (Surgery and Interventional with Admin)

hospital conceptual design - HOSPITAL AS URBAN DESIGN

Fifth Floor (Public Cafe, Chapel and Roof Garden)

hospital conceptual design - HOSPITAL AS URBAN DESIGN

Second Floor (Imaging)

N hospital conceptual design - HOSPITAL AS URBAN DESIGN

Sixth to Ninth Floor (Inpatient Tower)

hospital conceptual design - HOSPITAL AS URBAN DESIGN

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 Jonathan Jiang.

Project: College Avenue Trilogy - Planning Site: Clemson, SC, U.S.A Type: Academic, Group work Level: 1st year graduate Date: October, 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 Jonathan Jiang.

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: 1st year graduate Date: December, 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: Failaka Island Archaeological Museum Site: Failaka Island, Kuwait Type: Academic, Individual Level: 5th year undergraduate Date: June, 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

45,000

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.

48.42°

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.

34.99°

000

30,

34.99°

000

165,

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.

1,000

4,000 4,000

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: Protestant Church Site: Haining, Zhejiang Province, China Type: Academic, Individual Level: 4th year undergraduate Date: June, 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.

FIN