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Xiaojing (Kathy) Yuan Phone: +64 9 4151635 (New Zealand) Mobile: +64 2108208586 (New Zealand) +1 2675955588 (US) Email: kathyyuan0430@gmail.com (Personal) xyua934@upenn.edu (University)
Education 2018 - 2021 2014 - 2017 2011 - 2013
University of Pennsylvania - Masters in Architecture I Auckland University - Bachelor of Architectural Design Long Bay College - NCEA Merit Achievement
Employment 2017 - 2018 2017 - 2018 2017 2016 2011 - 2017 2015 - 2017 2015 2014 - 2015
Auckland University – Teaching Assistant Auckland University Open Media Lab - Digital Fabrication Research Assistant Formis Architects - Architectural Intern Shanghai Broad Future Electro Technology Co. Ltd. - Sales Assistance Intern Eden Arts Studio - Art Tutor Eden Staging Co. Ltd. - Interior Designer Isozaki and Huqian Partners – Architectural Intern Auckland Northcote Baptist Church – After School Program Art Tutor
Involvment 2020 2018 2017 2016 - 2017 2013 - 2017 2011 - 2013
Ars Electronica Project Korero Paki - 3D Graphics Designer PennDesign Women in Architecture Association Marketing and Advertising member Ars Electronica Festival Digital Spatial project ‘Lightscale II’ - design member Non-Profit Organization New Zealand Asian Floral Art Association - Manager/Tutor Auckland University Architects & Civil Engineers Association (ACE) - Member Long Bay College Concert Band - First Flutist
Achievement 2020 2019 2017 2017 2016 2016 2016 2014 2013 2010 2
Dales Traveling Fellowship Competition – Second Prize Schenck-Woodman Competition - First Prize Auckland University Open Desk Project - Selected Member Auckland Future Architecture Exhibition for Festival of Architecture- Selected Project New Zealand Marinetime Museum “At the Water’s Edge’ Exhibition - Selected Project New Zealand National Viewing Panel Exhibition - Selected Project Auckland University First in Course Award National Travel Exhibition in China ‘Life of Happiness’ - Selected Artwork New Zealand NCEA National Painting Scholarship Personal Illustration Collection Published as Book Series ‘Joy’
Content
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502
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501
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Pop-up Pavilion
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Other work
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602 Wing Pass
Cuboids and Cylinds
“Artificial Nature Within the Passage� Collaboration with Kirsten Lingxin Feng Professor: Simon Kim Socrates Sculpture Park | New York, United States University of Pennsylvania, Spring 2020
The studio explores unique spacial arrangement initiated by simple cubical and cylindrical geometry. Wing Pass explores the possibility of an open structure being interrupted by abnormal figures developed from cylindrical tubes that create an artificial habitat for diverse species. With undulating slabs creates habitable circulations for the human, the worm-like tubes overgrowing through the structure and provides passage for native birds. A new relationship between architecture and nature is expressed through the language of two structures collaborating, resulting in a building that is artificially constructed, yet provides a skeleton for nature to recreate through time.
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physical chunck model close-up
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The habitable circulation proposed by Claude Parent and Paul Virlio was the inspiration that led to the concept of “piped microecology� that is entwined into the cubic structure. The pipes set boundaries that divide internal space into two diverse types of environments for the occupation of both humans and other species. The notion of circulation is expanded in the concept stage as the behavior of the non-human residents were part of the consideration. They are their passage and enclosure. The concept design proposes undulating slabs as the main structure and accessible surface for human occupants. Where the slabs meet to form a connection to a different level, hence the boundary between habitable space and circulation is ambiguous. undulating Structurally, undulating surfaces are balanced by each other while the tubes provide additional support. The design consists of a combination of two structural languages.
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Precedent Claude Parent and Paul Virilio Visionary Architect - Habitable Circulation Images retrieved online
Concept Model concrete, crystal, moss bird passage and enclosure tunnel on top of undulating floorslab
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Homunculi - a microscopic but fully formed human being/structure concrete, garlic, dirt, moisture This physical model is a constantly growing micro version of the design›s structure to mimic and observe its performance.
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Artificial Nature ambience photography concrete, garlic, dirt, crystal, moss, branches
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Preliminary Section line drawing
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Final Section line drawing
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Exploded Axonometric render
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Final Plan line drawing
Ground Level plan showing theater space, cafeteria and indoor botanic garden as individual islands with overhanging tube passages.
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Reinforced Concrete Leg
Undulating Biological Concrete
with Artificial Shell
Green Slab with Drainage Detail
Undulating Floor Slab Joinery
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Bird Passage and Enclosure Connection to Uneven Slab
exterior render, on the wateredge A prediction of how nature takes over the structure in 20 years. Legs and spikes protruding out from the tube act as artificial branches and structural columns.
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interior render, open cafeteria Undulating floor slabs provide a man-made landscape within the architecture for indoor plantation. The tubes interrupt interior space to divide it into diverse habitats for humans and non-humans.
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601 Mega-Block Redux IV “Life in the Circle� Professor: Kutan Ayata Round House | Moscow, Russia University of Pennsylvania, Fall 2019
As city centers around the world continue to densify and increase in population, the need of new strategies of densification for urban housing rises. The projects of this studio work collectively to transform the current condition of the Round House in a circular layout. This project proposes an urban housing for artists in the community, as a structure respecting the radial planning of the existing building. The logical arrangement of the narrow layering units creates a new possibility for future housing typology. As a result, residents sense both privacy within their personal units and belonging to a community.
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corner render, metal cladding with tinted glazing
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massing study
full building axonometric
A radial grid is the formwork for dividing vertical units, while another horizontal grid
The rooftop is designated as a common area for new and existing residents to exhibit sculptures. Full-glazed facades are on the North and Southside
defines platforms.
with metal cladding on the others.
Southwest chunk axonometric The connecting bridge to the existing building is utilized as a gallery space for residents of both buildings.
Southeast chunk axonometric Double-height private are units separated by the geometry of the design, creating mezzanines for studio working spaces and common areas.
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collective mid-level plan
level 8 ground plan, connection to existing building 24
level 6 ground plan, private units and common area
physical site model with combined projects from fellow students Ground floor landscape is designed collectively while being adjusted when interacting with each individual project, resulting in a united yet dynamic circulation.
physical model close-up The relationship between each project and its neighbors are respected and protected by logical positioning and collaborated design of the roofscape. A continuous pathway is maintained through the roofscape, the bridge then leads to the sculpture garden on the roof of the addition.
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interior render, private unit The double-height private units have self-installed bed frame on the mezzanine level, and glazing towards the center of the courtyard with concrete finishes on the interior.
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exterior render, looking up towards the building Tinted transparent glazing reflecting the sky while exposing the metal cladding beneath, the angle reveals both the separated and combined moments of the narrow geometry to create dynamic space qualities.
exterior render, looking towards the balcony The public balconies are accessible through the mezzanine level. Privacy of the personal units is ensured by the cladded walls on the side surfaces.
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502 Urban Artifact “Defamiliarizing the Memories” Professor: Andrew Saunder Manayunk | Philadelphia, Pennsylvania University of Pennsylvania, Spring 2019
“...a city is a collective memory of its people, and like memory it is associated with objects and places.” --- Aldo Rossi Buildings are the urban artifact of a city. They are also fragments of memories and should be understood as not just physical things but also history, geography, structure, and connection with the general life within the community. The artifacts of Manayunk define the nature of the city. By repositioning and manipulating with scale and quantity, the relief defamiliarizes the memories and gives new context to the constructed artifacts. The program, a public market with an insect farm, indicates the collaboration of artificial with natural resources that can benefit the community sustainably.
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rendered site relief isometric, concrete and metal
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artifact relief, based on the idea of Louise Nevelson and the Mondrian Grid Reliefs are constructed logically with the intention of creating diversity in depth and scale. There are three types: bas relief, high relief and figural relief, that have been utilized to discover spatial qualities and composition of different functions.
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material defamiliarization
urban artifact of Manayunk
The image was taken on site of an old factory, showing concrete - a common material in a defamilar state.
The industrial history of Manayunk has left the town with a distinct touch of memory represented by these rusted artifacts. Being forgotten through time and hidden in old factories away from the contemporary world, the artifacts developed beautiful languages of their own that have the potential to create unique spatial qualities.
rendered site relief plan Diagonal frames are used to separate the site relief, which is then blurred and hidden by the introduction of bas reliefs, becoming habitable platforms in future process. The high reliefs construct another layer that is breaking the boundary of the bas, contrasting with shallowness and emphasizes the painterly idea of shadow and light.
rendered site relief isometric The site is distributed into multiple sections for holding different functions in further process, while they are connected by interactive streamlines as a second layer.
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rendered bird-eye view and plan The public market contains an insect farm with exhibition areas and interactive zones for the community to engage with the production process of diverse insect products. These products will be mainly related to edible goods, especially spices. The insect farm is a new take on the post-industrial opportunity in 21st century. It can be a potential substitution of meat farms as insect products are high in protein and have a lower impact on the environment. The market aims to change the perspective of consuming insect produces by the elegance through its space the visitors’ experience, showing them another side to this stereotyped food industry.
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site relief physical model detail
1:8 physical chunk model
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rendered chunk axonometric
rendered interior of the insect market
The market is constructed in multiple layers -- the exposed manufacturing hives and cafeteria, the ground-level landscape, the underground mechanics and workshop. The “familiar” gabled roof and spiral vertical circulation settled on top of an artificially constructed landscape produce a second layer of unfamiliarity, the observer begins to feel suspicious and surreal. The underground level is hidden with the landscape but intentionally exposed in certain areas, providing “sneak-peek” opportunities for the observer. Once again, the elegance of the upper level compared to the darkness and ambiguity of the underground influences the observer to doubt the space they are within.
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501 Vessel “Ambiguity and Gesture� Professor: Danielle Willems Penn Museum | Philadelphia, Pennsylvania University of Pennsylvania, Fall 2018
By removing the texture and color of the vessel produces a sense of ambiguity. Contradicting, the flatness of the geometrical drawing of the vessel reveals its true formal nature -- its gesture, which the observers were often distracted to notice. The studio practices the exploration of architectural forms through the study of the object. With the process, the notion of boundary, depth and mass is reinforced. This project explores the concept of ambiguity and gestures the vessel as both a container and being inside a container reflect the observer. The playfulness and personality it implements to space is the key to the atmosphere the project seeks to present.
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Wanyoro, Uganda, 1890 - 1930, wooden handcrafted footed bowl
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vessel orthographic drawings
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manipulated and exploded vessel isometric drawing The vessel is dissected with boundaries not following the logic of its form and given materiality and thickness that does not belong to its original nature. The authenticity that is once imprinted in the observer’s mind is destructed by these fabricated characteristics.
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Pavilion “The Vessel container”
Collaboration with Matthew Kohman, Xin Zhong, Haochun Zeng The pavilion seeks to represent an ambiguous relationship between the vessel and its container. Formal studies are inspired by gestures of the objects, with different composition creates different languages of what the massings are trying to communicate. In the final proposal, the container is almost “hugging” the vessels, by submerging them into its form their boundaries began to fade, and begin to communicate to the observer as an ambiguous creature.
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final pavilion, group work with fellow 501 students
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pavilion, group project with fellow 501 students carbon fibre structure with resin finish The pavilion contains five individual pieces, all constructed with carbon fiber weaved onto their designated waffle skeleton and settled into solidness with the application of resin.
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painted and unpainted pavilion close-up shot
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The archive (individual part) Being the vessel of the vessels it archives, the archive unit has an ambiguous relationship with the artifacts, the question of whether architecture itself becomes an artifact of its surrounding emerges. The project explores the concept of camouflage through an architectural form, in relation to the surrounding context. The concept of camouflage is represented through the posture and patterning of the architecture. The pattern is inspired by the dazzling pattern of battleships during World War 1. By adding the pattern blurs the boundary of the massing and flattens the shadow of its geometry, the archive becomes merging into its surroundings. The archive shelves in the interior play a part in representing the idea. They are hidden and compressed into the walls, making them difficult to spot. Once again, the vessels and the building are united as one massive artifact sitting in the context of the museum.
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Choisy Axonometric I Module 4
Penn Museum Archive sectional choisy
Penndesign I Fall 2018 I ARCH 501 I Instructor: Brian Deluna
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Pop-up Pavilion Adaptive Access “Revealing new spaces in the Manayunk Bridge” Schenkwoodman Competition 1st prize Collaboration with Matthew Kohman, June Yuan, Levi Faber Manayunk | Philadelphia, Pennsylvania University of Pennsylvania, Spring 2019
Between 1986 and 2015, the people of Manayunk had no access to their town’s most iconic structure — the concrete railroad bridge crossing the Schuylkill River. After waning ridership and SEPTA eventually ending its service, the Manayunk Bridge, originally built in 1918, fell into severe disrepair. Years of advocacy, planning, fundraising, design, engineering, and construction brought the bridge back to life and in 2015, after much fanfare, the bridge was opened to pedestrians and bicyclists. Because the adaptive reuse of the bridge was so successful, it’s now time to open even more access to this placemaking structure. It’s time to give back to Manayunk a piece of their town that has always existed but has never been accessible.
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left stair system, rendered chunk of the Pop-up Pavilion
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The idea behind the Pop-up Pavilion The proposal seeks to add access to the vaulted rooms underneath the bridge’s walkway creating an urban intervention that can host a verity of pop-ups with vastly different programs like venues for digital art or retail spaces for locally made products. Mimicking the experience of walking from train car to train car, the proposal utilizes the existing openings between the vaulted rooms to create a linear structure for short-term spaces. One of the main critiques of the effect of pop-ups on the urban fabric is that short term, high-priced leases often result in long periods of empty storefronts, decreasing the vibrancy of the street life. This proposal helps the town of Manayunk get ahead of this problem by creating a designated area for short-term spaces by increasing access to Manayunk’s most iconic structure.
left and right stair systems
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right stair system, section
Manayunk Bridge, photography
Proposed Entrance and Path, plan
Pop-up Pavilion, entrance
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Pop-up Pavilion, elevation exposed differential activities installed within the structure of the bridge
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Other Work As technology alters our behaviour, the ways architects communicate ideas in the modern age have changed dramatically. Though the authenticity and purity of freehand drawing can never be replaced nor duplicated by the digital tools. The ability to draw provides a solid foundation to the communication and expression of ideas.
Horse Portraits, Oil on Canvas, 33 x 46 in
Creatures, Digital Illustration, 11 x 8.5 in
Animal Studies, Pencil on Paper, 11 x 8.5 in
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