JWPortfolioLetter_forissuu by jw2378

JIA WENG PORTFOLIO

COSMORAMA

2018 Venice Architectural Biennale with Design Earth

Cosmorama responds to current issues that shape humanity's relationship to the cosmos in three geostories: “Mining the Sky,” “Planetary Ark,” and “Pacific Cemetery.” These geographic fictions render visible important matters unaccounted for in the technological triumphalism and frontier narratives of the Space Age. They project some of humanity's present environmental and political hopes and fears, and bring forth these same systems and their attributes as generators of a renewed planetary imagination.

This project was completed in collaboration with Design Earth. My responsibilities include initial research, proposing narratives, and establish graphic standards. I produced five out of the nine drawings, and I helped coordinating the production of the light boxes. The next page include details of one of my drawings.

WASTE IN THE WATER MACHINE

2018 Infrastructure and Territory Exhibition

OCAT Shanghai Gallery

2018 David Taylor Prize of Architectural Criticism

Yale School of Architecture

This is a reinterpretation of my M.E.D thesis project that investigates the floating waste washed from the upper Yangtze Valley that accumulated in fron of the Three Gorges Dam, threatening to disrupt its operation. The geographical facts are shown through a series of maps that zoom into the site from the global scale to the regional scale. Accompanying the maps are another series of drawings that engage with the landscape by being in amidst of it. It shows how the dam has transformed the mountains and the river into a productive machines, with waste disrupting its industrial processes like noises in a communication system. The industrial landscape rose from a long history of humans being entangled with the landscape through myths, poems, and sculptures. In these drawings this history blows in the wind.

Waste Gyres in the Oceans

Dams and their capacities constructed or invested by the Three Gorges Group

Global Investors of the Three Gorges Project

Domestic Dams in China with Circles Indicating Their Capacities

SEA OUR LAND

2014 Jacques Rougerie Competition Shortlist with Design Earth

Sea Our Land is a city for a changing world. It is a prototype urban structure that addresses physical and social needs in view of the growing challenges of climate change in a heavily urbanized South Asian context. It is a floating structure moored to a linear backbone of shelters on piles, a structure that adapts to the tidal changes and varying water levels, making it invulnerable to flooding, storms and sea level changes. It is designed to use renewable energy, harvest hydroponic vegetables and rainwater, and to encompass aquaculture. This is another collaboration with Design Earth. My responsibilities include design and drawing production. I produced a series of phase change diagrams and the key rendering as shown in the next page.

AFTER OIL

2016 Venice Biennale Kuwait Pavilion with Design Earth

After Oil proposes three speculative tales that explore the geography of the Gulf and its islands in the decades after oil. These stories are also a reflection on the present condition: they stage and extrapolate critical issues of today’s oil landscape to make the public aware of the energy systems on which modern life is dependent and the longterm consequences of current fossil fuel regime.

This is another collaboration with Design Earth. It is also the first time when my work appeared at the Venice Architecture Biennale. My responsibilities involve research, design, and drawing production. I produced the monumental drawing that has appeared on various online platforms as highlighted in the next page.

NECK OF THE MOON

2015 Jacques Rougerie Competition

First Prize

2017 Neck of the Moon Exhibition

Yale School of Architecture

North Gallery with Design Earth

The project proposes to clean up the orbital environment by compacting targeted space debris into a new satellite planet that orbits the Earth. Rather than displacing the debris to a lower altitude, a large tug with a robotic arm approaches and compacts large objects at high altitudes. In a continuous development from atom to nebula, the compacted mass grows organically into planet Laika, the earth’s second moon. Another collaboration with Design Earth. I produced the architectural model and completed most of the line drawings and renderings.

I curated an exhibition at Rudolph Hall’s north gallery, accompanying the lecture series and course: Of Other Natures at YSoA.

ONE SHENZHEN BAY

2013–2016

Shortlisted for Cityscape, AIA HK, MIPAM awards with KPF

The complex includes six high-end residential towers, one office tower, and a 338-meter central tower comprising offices, serviced apartments and a Raffles hotel. Although distinct in program, the eight towers are designed to appear and function as a singular, cohesive entity. Low-iron glass serves as the main cladding material while solid horizontal stone spandrels are applied to all towers to unify the exterior wall appearance.

During my three years at KPF, I worked on One Shenzhen Bay from its Phase II to Phase III. I participated in its Design Development, Construction Design, and Construction Administration. I also compiled award application documents. Samples of my detail design and drawings can be found on the following page.

section 01 section 02

ANT GROUP GLOBAL EMERGENCY CENTER

2021 Winning Competition Entry with Pills Architects

This project is located within a mountain bunker, where the space is weathered, confined, and oppressive. Starting from site-specific issues, we studied related cases and proposed corresponding renovation strategies, aiming to improve comfort in the underground workspace while creating an experience where information technology empowers reality. This bunker is revitalized as a multifunctional space integrating exhibition, office, and meeting areas. My responsibilities include conceptual development, design research, and detailing. Some of the drawings produced by myself or under my supervision are included in the following page.

Supercomputer Data Center infrastructure

Office space that sustains plants and produces circadian rhythm

Green wall system

STARGAZER'S DWELLER

Young Architect Competition 2017

Honorable Mention with Tianwei Ye

Situated on the top of Roccascalegna Mountain, the project entitled “Stargazer Dweller” intends to channel the present and the past. The visiting center, composed by two partial rings, is the central piece of the project. Its center is located at the crossing of two axis generated by the medieval fortress and the chapel. Each of its four towers belongs to each of the four seasons. The angle of the towers. skylights is decided by the constellations in each season. The towers also orient the visitors to their homes according to the stars. Functioned as an eternal clock, the visitor center orchestras the historical buildings, the new living clusters and the landscape according to the rule of stars.

CAMPUS RIO

2013 Urban Design Studio Project University of Michigan

Deodoro is located in northwest Rio, occupying a segment of one of the three significant voids that establish the city‘s image. There are four main elements found within the region‘s borders: urban fabric, military camp, Olympic facility and the void. The site is fragmented, and characterized by a series of isolated enclaves. The project positions the void as an opportunity to articulate the four elements, thus weaving together urbanization and ecosystems into a single cohesive unit.

In order to reinforce the notion of “event tranformation“, the method “reparcelization“1 is used to enable the ground of the campus to be public. The ground of Deodoro with its militarized memory will be covered by a new carpet. The logic is no longer determinde by the built, but by the urban void, the unbuilt. In this way, the void is no longer negative, it serves as a glue, stiching together different segments in Deodoro.

BOUNDARIES OF THE SELF: DOMESTIC SPACE IN THE AGE OF DIGITAL IMAGES

2020 Beijing VC Studio, SoA, Syracuse University with Wang Zigeng

Conceived during the covid lockdown, this studio approaches such tension between physical space and screens by examining individuals’ territory. It investigates how the self expands into the outside and how the outside creeps into one’s home. It is time to renegotiate the boundary between one’s space of living and one’s screen of living. It is also both a challenge and an opportunity for the discipline of today’s architecture.

In collaboration with architect Wang Zigeng, I produced the studio syllabus and led the research phase and gave desk crits to students remotely.

Syllabus 1 (Studio)

The Boundary of Self: Domestic Space in the Age of Digital Images

Instructors: Zigeng Wang, Jia Weng

2020 Beijing VC Studio

SoA, Syracuse University

Introduction

This studio examines how digital media interrupt the existing configuration between the private and the public spaces with a focus on the spatial expansion of individual boundaries.

Architects have long been drawing a hard line between private and public spaces without questioning the validity of such demarcation. Victor Hugo once argued that printing would replace edifice. This scenario has been realized by radical changes in electronic technology, with screens taking over the tasks previously carried by physical spaces that give legitimacy to the existence of architecture as a modern discipline. Hence we could declare that physical distancing does not necessarily mean social distancing because socialization no longer relies on the physical existence of public space.

Electronic payment, together with the internet-based logistics system, has enabled us to live almost without interacting with the outside world. One could be physically isolated, while virtually everywhere simultaneously. Screens of computers, smartphones, and tablets lead us into a world environed by technical images. Anime, web series, video games, talent shows, and KOLs offer their audience with surrogate lovers, surrogate heroes, andurrogate wealthy, while swallowing them into the sweet ocean of unreality. Electronic screens, the simulacrum of capital in the digital age, not only provide places for public consumption but also represent the complicated spatial penetration of private territory.

Never has there been such an era in human history, that dwelling relies so heavily on the digitalized infrastructure, where stable yet exclusive interactions frequently occur. There has also never been such an era, that Wi-Fi and smart phone charging became almost as essential as breathing. Private conversations and images, even the data of heartbeats and breathing are being collected and becoming part of an enormous “cloud”. Regardless of this COVID-19 pandemic, the era has arrived. Conflicts thus arise between the current configuration of the private and the public in architecture and smart screens that bring programs into our everyday life.

This studio approaches such tension between physical space and screens by examining individual territories. It investigates how the self expands into the outside and how the outside creeps into one's home. It is time to renegotiate the boundary between one's space of living and one's screen of living. It is also both a challenge and an opportunity for the discipline of today's architecture.

Note: This course is composed by design (6 credits) and research (3 credits). This course also includes the local field trips and multiple guest lectures.

Required Readings

Craig Buckley, ScreenGenealogies:FromOpticalDevicetoEnvironmentalMedium.

Vilém Flusser, from “Warning” through “to Interact,” in Flusser, IntotheUniverseofTechnical Images . (Minneapolis, Minn.: University of Minnesota Press, 2011).

Byung-Chul Han, IntheSwarm:DigitalProspects . (Cambridge, MA: MIT Press, 2017).

William Mitchell, ME++:TheCyborgSelfandtheNetworkedCity(Cambridge: MIT Press, 2003).

Keller Easterling, TheActionIstheForm:VictorHugo'sTedTalk . (Moskva: Strelka Press, 2012).

Grading

Participation and weekly performance 20%, research submission 20%, midterm review 20%, final project 40%

Academic Integrity

Syracuse University's Academic Integrity Policy holds students accountable for the integrity of the work they submit. Students should be familiar with the policy and know that it is their responsibility to learn about the course-specific expectations, as well as about University policy. The University policy governs appropriate citation and use of sources, the integrity of work submitted in exams and assignments, and the veracity of signatures on attendance sheets and other verification of participation in class activities. The policy also prohibits students from submitting the same written work in more than one class without receiving written authorization in advance from both instructors. The presumptive penalty for a first offense by an undergraduate student is course failure, accompanied by a transcript notation indicating that the failure resulted from a violation of Academic Integrity Policy. The standard sanction for a first offense by a graduate student is suspension or expulsion. For more information and the complete policy, see http:// academicintegrity.syr.edu.

Schedule

The studio will meet between 2:00-6:00 p.m. of every Tuesday and Friday, with the exception of the first meeting on August 27th (Th), and the last meeting on November 12th (Th).

Week Date Topic

01 8/27 VC Presentation & Studio Introduction

02 9/1 Research Instruction and Desk Crit

9/4 Research Desk Crit

03 9/8 Research Desk Crit

9/11 Research Desk Crit

04 9/15 Assignment 1 Submission

9/18 Program Proposal

05 9/22 Design Desk Crit

9/25 Design Desk Crit

06 9/29 Design Desk Crit

National Holiday No Class

07 10/6 Design Desk Crit

10/9 Midterm Review

08 10/13 Design Desk Crit

10/16 Design Desk Crit

09 10/20 Design Desk Crit

10/23 Pinup

10 10/27 Design Desk Crit

10/30 Pinup

11 11/3 Design Desk Crit

11/7 Design Desk Crit

12 11/12 Final Review

Research Assignment

Screens and the Domestic Space: A Media Archeology

From the panorama to the Internet, mass media have a long history of shaping and transforming the spatial and psychological distribution between the public and the private within the society. This research assignment examines how various media in history have assembled or destroyed the masses, with a special attention paid to the spatial consequences of their screens. The goal of this research assignment is to render explicit how smart screens have changed the spatial configuration and what kind of domesticate space can best acknowledge the ever more porous public-private boundary of our age.

Students will be divided into groups of two. Each group will choose one medium from the list

below. Students will be asked to investigate how the chosen medium and its screens influence the spatial configuration between the public and the private, what kind of collectivity, social networks, and logistic infrastructure they commend, and what environmental control technologies have to be involved to enable such gathering or dispersion of the crowd.

Each group will produce sixteen 8*10 in (20*25cm) pages of drawings and texts as part of the studio booklet. The studio will collectively design the front and back matters, the cover, and the layout of the booklet. Each group will also prepare a 20-minute presentation for guest critics.

Group 1: Panorama

Stephan Oettermann, The Panorama: History of a Mass Medium. New York: Zone Books, 1997. Walter Benjamin, “Paris, the Capital of the Nineteenth Century,” in The Arcades Project, Cambridge, Mass.: Belknap Press, 1999.

Group 2: Kinetoscope

Group 3: Cinema

Tom Gunning, “Cinema of Attractions.”

Brian Jacobson, Studios Before the System: Architecture, Technology, and the Emergence of Cinematic Space.

Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film.

Walter Benjamin, “The Work of Art in the Age of Its Technological Reproducibility.” Pay attention to his description of the collective in relation to both cinema and architecture.

Group 4: Television

Lynn Spigel, Make Room for TV.

Theodor W. Adorno, Max Horkheimer, “Cultural Industry.”

Group 5: Computer Screen (Early Internet)

Paul Edwards, The Closed World.

Fred Turner, From Counterculture to Cyberculture.

Group 6: Smart Screen

Byung-Chul Han, In the Swarm: Digital Prospects.

William Mitchell, ME++: The Cyborg Self and the Networked City.

Design

Project

In the age of digital images, what “the domestic space” entails can also be different from the previous era. In the design project, students are encouraged to redefine the domestic space and to engage with the tension between one's private living space and the screens. Students can either focus on how the territory of the self expands into the city or how the city creeps into the domestic space of the self.

In this phase, students will work individually. And they will be free to employ any methods of design and presentation they like.

Midterm Review

Each student will be asked to prepare a 20-min presentation. It is up to the student to choose whether physical models, boards, videos, or PowerPoints are necessary.

Final Review

Each student will be asked to prepare a 20-min presentation. It is up to the student to choose whether physical models, boards, videos, or PowerPoints are necessary. Each student will also layout their final drawings and photographs in eight 8*10in pages, following the booklet format decided earlier this semester.

Guest Lectures

Liam Young

Aric Chen

Junyuan Feng

Jia Weng

Arch 3011 Architecture and Modernity I: Site and Space

Yale School of Architecture, Fall 2021

Professor: Eeva-Liisa Pelkonen

Teaching Fellow: Jia Weng

Course Description

The goal of the course is to unpack the legacy of architectural modernism, which has cast a long shadow on how architecture has been designed, built, represented and discussed around the globe since its advent in 1890. The title alludes to the idea that modern architecture should both reflect the social, economic, and technological changes brought by the processes of modernization (industrialization, urbanization, and internationalization) as well as help mitigate the experience of the new conditions.

The course acknowledges the European bases of the modernist project centered on developing universal, international, and global architecture from the get-go. The parallel ambition to communicate specific cultural and societal ideas and meanings at varied social, historical, and geographic context will be highlighted in tandem.

Special attention is paid to understanding how architectural ideas, imagery, standards and technologies migrated across the globe and sponsored an increasingly transnational and global architecture culture during the period at hand. Therefore, in addition to gaining new insights of canonic buildings and sites, students will become aware of the advent of increasingly multicentered global architecture scene.

Course Structure

The course consists of lectures, discussion sessions, and visual assignments. Weekly lectures are 1 hour 50 minutes long and consist of two parts: an hour-long slide lecture that gives an overview of key sites and space through a particular thematic and historical lens, and a second part entitled “Double Take” that invites students to consider the theme from a different point of view. Discussion sections are centered on a particular architectural thematic related to the weekly topic and consider various methods of architectural inquiry, both visual and formal. They will encompass visits to archival and museum visits to examine the university's collection of modern art and architecture. Yale's campus will also be used as a laboratory to study 20th century artistic and architectural culture focusing on the aspects of site, space, and material.

Teaching Fellow Responsibilities

lead discussion sections, write prompts to some of the weekly assignments, give feedback to the creative assignments produced by students based on each week's theme.

Summarize the strengths and weaknesses of the Teaching Fellow. In what ways was their teaching effective and in what ways could their teaching be improved?

“It is alarming that publications devoted to architecture have banished from their pages the words Beauty, Inspiration, Magic, Spellbound, Enchantment, as well as the concepts of Serenity, Silence, Intimacy and Amazement. All these have nestled in my soul, and though I am fully aware that I have not done them complete justice in my work, they have never ceased to be my guiding lights.”

–Luis Barragán, Pritzker Prize acceptance speech (1980).

Choose and study a building of one of the following Mexican architects: Luis Barragán; Juan O'Gorman; Ricardo Legorreta.

You can also look at the buildings of Brazilian architects: Vilanova Artigas (La Louveira, Sao Paulo; 1949); Lina Bo Bardi (SESC Pompeia; Sao Paoulo, 1982)

Map the sequence of spaces, experiences, and emotions one may have when moving through your selected building, paying special attention to the use of color. Ask what value do they assign to color. Is color used as means to elevate the human experience of space? Or is color used in reference to native cultures, vernacular architectures, and/or pre-colonial histories? Or is color used in reference to modern art?

Your experiential “maps” can take the shape of a storyboard, a series of perspectival and axonometric drawings and/or sketches, or an animation.

Describe or comment your project with a short caption (max 500 words) under “Discussions” on Canvas. Post your maps on the Miro boards before 9:00am on Tuesday November 11, 2021 and be prepared to present and discuss them in class.

Object

Visit the Yale University Art Gallery (YUAG) furniture collectionLinks to an external site. and do a retroactive advertisement for one of the exhibited chairs. You can also suggest a chair outside of this collection. Pay attention to the integration of image and text/sound. Post your advertisement on Miro board along with a short description (max 500 words) under “Discussions” on Canvas before 9:00 am on Tuesday September 14, 2021. Please bring a hard copy of your assignment to your sections and be prepared to discuss it in class.

Suggested list of chairs at the Yale Art Gallery, Level 3, Modern and Contemporary Art and Design

William L. Price, Chair, 1906

Charles Summer Greene, Side Chair from the Robert Blacker House, 1907

Frank Lloyd Wright, Side Chair from Imperial Hotel, 1921

Eugene Schoen, Armchair and side chair, 1931

Russel Wright, Armchair, “American Modern” Line, 1935

Wallace Nutting, Side Chair, 1917–36

Gilbert Rohde, Side Chair, 1939

Oskar Stonorov & Willo von Moltke, Side Chair exhibited in “Organic Design in Home Furnishings,” 1940

Charles and Ray Eames, Preproduction DCM, 1946–49

Paul McCobb, “Directional” Side Chair, 1954

Eero Saarinen, Tulip chair, 1956

George Nakashima, “Conoid” Side Chair, 1962

Verner Panton, Stacking Chair, 1967

Tage Frid, Stool, 1979

Robert Venturi, Side Chair, 1987

Wendy Maruyama, Mickey Mackintosh Chair, 1988

Frank Gehry, “Cross Check” Chair, 1989–91

The YUAG is located at 1111 Chapel Street between York and High Streets in New Haven. The operating hours for Yale ID holders are Tuesdays, Wednesdays, and Fridays from 10:00 am to 5:00 pm and Thursdays from 10:00 am to 8:00 pm. Yale ID is required for entry. You can also visit the gallery during public hours on weekends (Fridays 5:00-8:00pm, Saturdays and Sundays 10:00am6:00pm), but will need a reservationLinks to an external site.. For more information, visit the YUAG website.Links to an external site.

Student Drawing by Tong Hsu

Form

Visit Yale University Art Gallery (YUAG) to view paintings at the Société Anonyme collection (see below). Translate a Duchamp, Klee, Malevich, or Mondrian painting into a 3-D drawing or model and post them on Miro board. Describe or comment your project with a short caption (max 500 words) under “Discussions” on Canvas before 9:00 am on Tuesday September 28, 2021. Please bring your 3D drawing or model to your sections and be prepared to discuss them in class.

Painting Locations:

Yale Art Gallery, Level 4, Special Exhibitions

Piet Mondrian, Fox Trot B, with Black, Red, Blue, and Yellow, 1929

Paul Klee, Heitere Gebirgslandschaft (Joyful Mountain Landscape), 1929

Kasimir Malevich, Tochilschik Printsip Melkaniia (The Knife Grinder or Principle of Glittering), 1912–13

Marcel Duchamp, Tum, 1918

Arch S242 Globalization and Architecture in and through China

Yale College, Summer 2024.

Primary Instructor: Jia Weng

Yale School of Architecture,

Responsibilities: develop the syllabus, write prompts to assignments, lecture, lead discussions, organize hands on close reading exercises, advise students on their final projects with detailed written feedback.

Syllabus

Introduction

This course delves into the complexity and ambiguity of globalization through architecture. From nineteenth-century treaty ports to Special Economic Zones, from the Silk Road to the Belt and Road Initiative, we will investigate how the built environment and global networks have mutually conditioned each other. As information, money, and materials circulate globally, they transform how architecture interacts with its surroundings. Students are invited to consider architecture as a medium through which supranational institutions and corporations thrive and expand. Using China as an entry point, this course enriches the history of modern architecture by investigating how styles, environments, and technologies travel beyond their places of origins.

Capitalizing on old geographical affinities that have been lying dormant for decades, China's Belt and Road Initiative activates a new mode of globalization, one that materialized through Infrastructural investments and architectural constructions. This course contextualizes the BRI through four historical episodes: 1910s-1940s, 1950s-1960s, 1970s-1990s, and 2013 until now. Through a series of architectural projects, this course will show how different globes were conceived and constructed in each episode. As a site and an actor, China is important because stoppages and holes in the global networks are as constructive as the network itself. Contrary to Manual Castells' notion of flows, we will foreground the mechanisms of regulation and exclusion embedded in architectural and infrastructural spaces. Built environments constrain but also enable the flows. The flows pass through but also transform their channels.

The course will meet ten times. Each session will consist of a 30-minute talk and a 150-minute discussion. The talk will provide the historical background of the period of interest. It will review how the period was covered in the canons to show how the assigned readings enrich the existing scholarship. Apart from the readings, students are expected to complete low-stake exercises each week. These exercises will be shared and discussed in the class. Designed to help the students understand the assigned texts through examples found in real life, these exercises will assist the students in working toward the final project, which is coming up with their own definition of globalization through concrete examples. Students will receive letter grades for each exercise starting from week one.

Requirements

No previous course work is required compete all the required readings before each session and be ready to actively participate in discussion in class.

upload your weekly assignment to the Miro board (link to be announced each week) before it is due.

for specific prompts of each assignment and the final project see below. The due time will be coordinated and communicated at the beginning of each week.

The course is graded as follows:

overall participation 20%

exercise 1–3 15% each (45% total)

final project 25%

According to the Summer Session policy, attendance is compulsory. No extensions or makeup assignments are permitted. It is essential for you to follow the Yale University code [https://catalog. yale.edu/handbook-instructors-undergraduates-yale-college/teaching/academic-dishonesty/] on plagiarism and academic honor. Writing and language tutoring is available through the Yale College Writing Center [https://poorvucenter.yale.edu/undergraduates/writing-center] and the Center for Language Studies [https://cls.yale.edu/].

WEEK 1: OVERVIEW

Session 1

Monday, July 1

Talk: A Prehistory of Globalization: When, Where, and How Jürgen Osterhammel and Niels P. Petersson. Globalization:AShortHistory . (Princeton, N.J: Princeton University Press), 2005, 13–29.

Eric Tagliacozzo, “from China to Africa,” In AsianWaters:OceanicWorldsfromYemento Yokohama (Princeton: Princeton University Press, 2022), 25–52.

Exercise 1: Globalization Materialized Globalization is not only spatial but also tangible. Rather than a mere concept, it materializes through architecture and infrastructure. Read the assigned text in advance, take concepts such as space of flows, splintering urbanism, and extrastatecraft, and find a place or a thing that embodies the concept of choice, upload your example here and post it to the Miro board,Links to an external site. and be ready to discuss it in class. (due session 2)

Session 2

Wednesday, July 3

Talk: Globalization through Architecture

Keller Easterling, Extrastatecraft:ThePowerofInfrastructureSpace(London ; New York: Verso, 2014), 11–25.

Stephen Graham and Simon Marvin, SplinteringUrbanism:NetworkedInfrastructures, TechnologicalMobilitiesandtheUrbanCondition(London ; New York: Routledge, 2001), 7–36. Manuel Castells, TheRiseoftheNetworkSociety(Malden, MA: Wiley-Blackwell, 2010), 440–460

WEEK 2: 1910s–1940s

Session 3

Monday, July 8

Talk: Beaux-Arts, Streamline Moderne, and Global Economic Integration

Banister Fletcher, “Tree of Architecture,” in AHistoryofArchitectureontheComparativeMethod Delin Lai, “Idealizing a Chinese Style: Rethinking Early Writings on Chinese Architecture and the Design of the National Central Museum in Nanjing, JSAH , Vol 73, No. 1 (2014), 61-90.

Jeffrey W. Cody, Nancy Shatzman Steinhardt, and Tony Atkin, eds., ChineseArchitectureandthe Beaux-Arts , (Honolulu: University of Hawaii Press, 2011). xi–xxi

Session 4

Wednesday, July 10

Talk: Environmental Determinism

Ellsworth Huntington, “The Distribution of Human Health and Energy on the Basis of Climate,” in CivilizationandClimate.

Corey J. Byrnes, FixingLandscape:ATechno-PoeticHistoryofChina'sThreeGorges , (New York: Columbia University Press, 2018), 93–130.

WEEK 3: 1950s-1960s

Session 5

Monday, July 15

Talk: Architecture in the Cold War

Lukasz Stanek, ArchitectureinGlobalSocialism(Princeton, NJ: Princeton University Press, 2020),

1–35.

Charlie Q. L. Xue and Guanghui Ding, AHistoryofDesignInstitutesinChina:FromMaoto Market , (New York: Routledge, 2018), 19–35.

Exercise 2: Final Project Proposal

Identify your research object for the final assignment. It could be a building, an infrastructural system, a natural element, or a thing that enables or is enabled by, transforms or is transformed by globalization. In 250 words, please introduce the object and state your reasons of choice. Synthesizing, using, (and possibly critiquing) 2-3 readings in the first half of the class is encouraged.

Session 6

Wednesday, July 17

Talk: Architecture and the Non-Aligned Movement

Cole Roskam, “Non-Aligned Architecture: China's Designs on and in Ghana and Guinea, 1955-92,” ArchitecturalHistory58 (2015): 261–91.

Lloyd G. Adu Amoah, “Diplomacy of Architecture: Ghana, China and 60 Years of Spatial Engagement,” Charlie Q. L. Xue and Guang hui Ding, ExportingChineseArchitecture:History, Issuesand“OneBeltOneRoad” (Singapore: Springer, 2022), 61–83.

WEEK 4: 1970s-1990s

Session 7

Monday, July 22

Talk: Globalization and Postmodernism

Jonathan Bach, “Shenzhen: From Exception to Rule,” in Mary Ann O'Donnell, Winnie Won Yin Wong, and Jonathan P. G. Bach, eds., LearningfromShenzhen:China'sPost-MaoExperiment fromSpecialZonetoModelCity(Chicago: The University of Chicago Press, 2017), 23–39. Keller Easterling, “Zone: The Spatial Softwares of Extrastatecraft,” PlacesJournal , no. 2012 (June 10, 2012)

Exercise 3: Flows

Globalization is characterized by institutionalized flows that transgress boundaries while tying nation-states, cultures, and climates together. They rely on architectural and infrastructural channels for their movements. Pick one thing that flows, such as cargo boxes, toys, clothes, copper, gold, people, currency, flights, oil, water, or air, and make a photomontage of the thing of choice using images of their regulation, transmission, reception, storage, and consumption. Pay attention to different scales connecting the very small (macroscopic) to the large (planetary). Upload your montage to the Miro boardLinks to an external site. and this assignment portal, and be ready to discuss it in class.

Session 8

Wednesday, July 24

Talk: Flows and Stoppages

Buckminster Fuller, “Fluid Geography,” in TheBuckminsterFullerReader , ed. James Meller (Middlesex, England: Penguin Books, 1972).

Taomo hou, “Revolution Offshore, Capitalism Onshore: Ships and the Changing Relationship between China and the World,” MadeinChinaJournal6, no. 2 (December 2, 2021): 104–9.

WEEK 5: 2013-Present

Session 9

Monday, July 29

Talk: BRI

Student Presentation

Kenny Cupers, Cole Roskam, and Girma Hundessa, “Architecture as Technical Governance at the

African Union,” Architectural Theory Review, August 24, 2023, 1–33.

Xiaoxuan Lu, “The Xinjiang Model” and “Infrastructure” in Shifting Sands: Landscape, Memory, and Commodities in China's Contemporary Borderlands, (Austin: University of Texas Press, 2023).

Session 10

Wednesday, July 31

Talk: The Global and the Planetary

Student Presentation

Jerry C. Zee, ContinentinDust:ExperimentsinaChineseWeatherSystem (Oakland, California: University of California Press, 2021), 172–200.

Dipesh Chakrabarty, OnePlanet,ManyWorlds:TheClimateParallax,TheMandelLecturesinthe Humanities (Waltham, Massachusetts: Brandeis University Press, 2023), 1–18.

Exercise 4: Final Project

What is globalization? Define it with one image of architecture, infrastructure, elements, or things and an accompanying essay of 1500 words. Using, synthesizing, and critiquing 2–3 of the texts covered in the course is required.