J
unda Xiang is an architecture designer and photographer trained at the School of Architecture, Harbin Institute of Technology, where he obtained his Bachelor Degree of Architecture. And recently he received his Master Degree from GSAPP, Columbia University in the City of New York, with Lucille Smyser Lowenfish Memorial Prizes for distinguished graduate students. He has been working in architecure firms in Taipei, Beijing and Los Angeles , participating in a wide range of projects, from interior renovation project to mesuem design. He has been responsible for facade design of the Hailar Museum of Natural History in Hulun Buir, China; the cableway station design for Yimeng Mountain in Shandong, China; construction for the 3D Culinary and Head Space project in Los Angeles, and so on.
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Study model / Line and Volume
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CONTENTS ACADEMIC WORKS 1. China Town Art Center / Line and Volume 2015
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2. Meadow Park Tourist Center / Pictorial Space 2015
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3. Architecture School / School as Stadium 2014
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4. Commercial and Residential Complex / Rain. Forest 2013
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PRATICE WORKS
1. Hailar Museum of Natural History, Hulun Buir 2013 2. 3D Culinary / Sugar Lab, Los Angeles 2015
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3. Glendora House, Los Angeles 2015
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LINE AND VOLUME ART CENTER / LINE AND VOLUME IN ARCHITECTURE Professor: Dwayne Oyler, Jenny Wu / Collaborator: Joshua Ehrlich Location: Los Angeles
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Architecture design studios often have the typical telltale signs of a so-called “urban� project. The walls are plastered with giant maps of the city, students have spent the first few weeks fighting over how to complete some overly ambitious site model, and there are drawings littered with massive arrows of imperceptible connections between urban destinations. While these approaches certainly have their place, we find that some of the more interesting investigations into the urban problem operate on multiple scales simultaneously, and in many cases, they begin by looking at the city from the inside out. Dwayne and Jenny
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LINE AND VOLUME READING OF CITY THROUGH LINES
L
ines exist in nearly every form in the city. From the linear entanglement of the freeway systems, to the flows of infrastructure between sites, to the structural systems of individual buildings, there is an inescapable linearity to the urban environment. These lines, more often than not, are about connection and extension; continuity is essential to the way they operate. At the same time, much of our programmatic needs result in the seemingly contradictorily form of volumes. Unlike the line based systems, these volumes are typically about enclosure, separation, and containment. 8
Our reading of the city is that, besides those linear
elements and volumetric elements, there are void spaces in between, which are easily be neglected but actually are integral parts of the city. These in-between spaces are not existing there statically but actually are morphed by the counter force between the rigidity of volumetric elements and the fluidity of linear elements. As is shown in the drawing above, these in-between spaces have been imposed a sense of movement and start to change themselves.
SITE PLAN Cities are typically massive entities driven by various forces. And while a great number of these forces allow for the influence of the architect, that influence is often offset, diluted, and manipulated into a more palatable version of itself before becoming realized. We are interested in the development of urban strategies that recognize an architect’s strengths. 9
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CHUNK MODEL STUDIES
The moment where linearity encounter volumetric enclosure
is a defining moment in the formation of an urban strategy. So, before we dig deeper into the adjustment of the urban scale strategy, we test our ideas quite tectonically in the first place. 11
LINE AND VOLUME 12
FINAL SCHEME BIRDEYE PERSPECTIVE
INTERIOR PERSPECTIVES
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LINE AND VOLUME 14
T he design and arrangement of these inner
volumes are the first step of our design. In other words, just like we apply an inside-out strategy in urban scale design, we also use the same strategy on architectural scale. Each of these inner volumes serves as different purposes, and are connected by bridges. When merely look at these inner volumes and circulation systems, you might think them as a group of buildings , because they have both “ indoor” and “outdoor” spaces. But all of these are actually covered by another layer of skin. This multi-layer spatial character creates a rich spatial experience. When walking in the building, you are constantly shifting among interior, semi-interior, exterior, and semi- exterior spaces.
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n our design, complexity is not created by complexity itself, it’s created by the composition of simple elements. Under a design logic like this , the interior layout is rather simple. We don’ t have to manually divide and design every space, instead, what we are doing is just making use of every spatial type itself. Basically, those more regular, geometric inner volumes are served for more functional purposes, like auditoriums and offices; those in-between spaces are used for more flexible purposes, like cafe, exhibition halls, ect.
INNER VOLUMES WRAPPED BY OUTER SKIN
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A-A SECTION 17
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LINE AND VOLUME
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PICTORIAL SPACE TOURIST CENTER / POLLOCK’S PICTORIAL SPACE Professor: Michael Bell Location: New York
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n Frank Stella’s book “Working Space� , he expressed how artists are struggling to gain 3-dimensional sense in 2-dimensional paintings. This is the so called pictorial space in art field. On the other way, can architects learn space from artists? How these kinds of pictorial spaces could be different from normal architectural spaces? And how these pictorial spaces could inspire architects to explore new spatial sense in architecture? That is the study topic of this studio.
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PICTORIAL SPACE I
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n order to 3-dimensionalize Jackson Pollock’s famous painting Number 1, 1948, various of experiments are carried out, from literal translation of lines, people’s perception of this type of paintings, to how to construct installations like this tectonically.
INSTALLATION EXPERIMENT MODEL
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PICTORIAL SPACE 26
The installation experiment is a transition from merely sculpture-like translation to a fully application to a building. This is an outdoor concert hall in the Central Park. A rich figureground relation makes the installation an integral part of the park. Besides, those reflective panels create an interesting interaction between people and the installation. This is the essence of Pollock’s painting from my point of view. Understanding of the painting varies from person to person, and finally you would find yourself in the painting.
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PICTORIAL SPACE 28
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n order to apply the outcome of those previous experiments, into a real building, I have to experiment how to combine this spatial language with real enclosed space. Thus, a relationship between the canopy and the volume need to be studied. The goal here is to create enough interaction between the two elements, yet remain their integrity at the same time.
Design of a tourist center in the
Meadow Corona Park was finally propsed to fulfill the previous studies. The park used to be the site of two twentieth century World’s Fairs. As this park is a old, historical site, I wanna bring some new perspectives to it. Here I combine the tourist center with a look-out tower. For me, tourist center is not just a place you get to see stacks of documents, but a place provides you an unique view of the attraction.
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PICTORIAL SPACE
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PICTORIAL SPACE
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his project is an restoration project based on the previous entrance building of the Meadow Corona Park. The platform used to serve as a the roof of a police station and some public restrooms. By adding a vertical volume to the previous horizontal volume, a tighter relation between two levels of ground is created. In this way, this platform is better used as an integral part of the building. These structures and single walls enclosed a semi-outdoor space on the platform.
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PICTORIAL SPACE
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SCHOOL AS STADIUM ARCHITECTURE SCHOOL / SCHOOL AS STADIUM Professor: Eric Bunge, Mimi Hoong / Collaborator:Xiangzhou Chang Location: New York
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SCHOOL AS STADIUM
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he world is changing so fast in the recent several decades. This is also reflected in the field of architecture. No matter how carefully a curriculum is designed, it’s always lagging behind the step of the world. Now it’s the time to rethink architecture education, reform our curriculum driven architecture schools into event driven schools. Because events are always reflecting what’s happening right now in the world.
SCHOOL FIELD OCCUPATION SLOT
ARCHITECTURE SCHOOL TRANSFORMATION 38
WEBSITE IMAGINATION OF AN EVENT DRIVING SCHOOL
Every Piece of ground could be scheduled for events from both inside and outside the school, just like how people manage a stadium. Events could bring fame and financial benefits for people who run them and knowledge for spectators who participate in them. The function of school transformed from providing curriculum to providing a place to let everything amazing happens.
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SCHOOL AS STADIUM
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tadium is a place or venue for (mostly) outdoor sports, concerts, or other events and consists of a field or stage either partly or completely surrounded by a tiered structure designed to allow spectators to stand or sit and view the event. (Wikipedia) As the site given is so narrow and triangular, there is no way construct a stadium horizontally, so we choose to construct it vertically.
SECTION
The step like space provides multiple functions for all kinds of event happening here, including gallery space, auditorium space, sports space, and so on. And at the same time, it provides a huge continuous space without any kinds of visual blocking. So , whether you are working in your studio or standing on these huge steps, you could be aware of what’s happening in the whole building all the time. That’s the spirit of a stadium.
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SCHOOL AS STADIUM INTERIOR PERSPECTIVE (FROM SPOT B)
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MULTI-FUNCTION OF THE EVENT SPACE
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SCHOOL AS STADIUM CIRCULATION AND STRUCTURE SYSTEM
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INTERIOR PERSPECTIVE (FROM SPOT A)
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RAIN . FOREST RESIDENTIAL AND COMMERCIAL COMPLEX / RAIN . FROEST Professor: Bai Xiaopeng / Collaborator:Wan Shaoran, Ding Weishuang, Yang Yuyu Location: Mogadishu, Somalia
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F
orest, which is created for conserving water and capturing sunlight, provides our ancestors water, food and shelters. The space enclosed by the branches gave humans a sense of safety in the early age of the history. Undergoing the war,Somalia public water transmission facilities were paralysed. We hope to provide every resident a “TREE� to make their life better.
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RAIN . FOREST
DROUGHT IN SOMALIA
SELF-SUSTAINED UNIT
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BIRDEYE VIEW
PLAN / LAYOUT CHANGE THROUGH TIME
SECTION
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RAIN . FOREST PRE-FABRICATED SYSTEM
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UNIT STRUCTURE MODEL
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HAILAR MUSEUM HAILAR MUSEUM OF NATURAL HISTORY Company: 5+1 Werkhart International / Manager:Xiaofeng Zhang Location: Hailar, China / Status: In Construction
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participated in this project in the context of a competition inside the company. My proposal won out of 6 proposals, and got a chance to be developed further. Finally, this proposal is recognized by the Hailar Government and got passed. It is now in its construction phase. I was mainly in charge of the exterior design. 53
HAILAR MUSEUM
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3DS CULINARY 3DS Culinary / Sugar Lab Company:Oylerwu Collaborative / Manager:Harrison Steinbuch Location: Los Angeles, United States / Status:Finished Construction
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INHOUSE CONSTRUCTION 57
3DS CULINARY
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jumped into the construction phase of the 3DS Culinary project in the summer of 2015. Our team was in charge of a part of the whole renovation project, which the contractor cannot construct because of its complexity. After several months of hand work with steel and wood, the project is now coming to its end. In this period of time, my skills of grinding, cutting, sanding, finishing, and so on have been sharpened day after day. 59
GLENDORA HOUSE Glendora House Company:Oylerwu Collaborative / Manager:Dwayne Oyler, Jenny Wu Location: Glendora, United States / Status: In Design
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PRELIMINARY CONSTRUCTION DRAWINGS
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GLENDORA HOUSE STUDY MODEL
As an ongoing project, Glendora House is still in its model
phase. We use physical model to help us discuss and develop design. The model uses mixture materials of 3D print pieces and Styrene. And although the project is not about to be sent to a contractor, we have already started the study of construction details. Because we want to make sure everything we have designed in digital, could be realized eventually as close to our thoughts as possible.
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SUPPLEMENTS
CABLEWAY STATION Company: 5+1 Werkhart International Manager: Xiaofeng Zhang Location: Yimeng Mountain, China Project Area: 400 sqm Year: 2013 Status: In Construction Job in Project: Designer
CULTURAL COMPLEX Professor: Chong Bu Awards: Honorable Mention Award, Hop Cup 2012 International Student Competition Architectural Design Location: Harbin, China Year: 2012 Design Concept: Combine landscape design with Architecture and site history.
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WATERCOLOR RENDERING
PEN-AND-INK RENDERING
SNOW CULTURE MUSEUM
Professor: Cheng Sun Year: 2013 Design Concept: Apply Parametric design flow into an experimental design task.
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SUPPLEMENTS
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3 DIMENSIONAL URBANISM
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