Architecture Portfolio by Jingqi Li

RESUME

JINGQI LI PORTFOLIO https://issuu.com/lijingqi/docs/portfolio

LANGUAGE

English Chinese

EXPERIENCE

3524 Greystone Dr, Apt 122, Austin, TX 78731 lijingqi2009@gmail.com - 2105171570

Dedicated architectural designer with three years of experience on the path to registration. Active in all elements of the architectural process from schematic design to construction administration. Strong multidisciplinary background of industrial design and visual art with a profound interest in the overlapping of architecture, object, and art. Constantly exploring the creative space through marrying different forms and contexts. 11/2016 - Present Architectural Designer - Studio8 Architects, Austin, TX Designed and produced documentation for commercial office buildings. Performed a wide range of tasks from graphics of presentation, BIM modeling, material selection, construction documentation, bi-weekly site visits, rigorous review of shop drawing and RFIs.

09/2015-01/2016 Research Assistant of GIS for Low Impact Development - UT San Antonio, San Antonio, TX Applied space analysis tools such as Geographic Information Systems to evaluate the quality of both open spaces and activity areas as well to quantify and visualize the social and cultural impacts of the components of Low Impact Development practices.

10/2011-07/2012 Industrial Designer - LKK-Design, Beijing, China Performed a wide range of tasks from researching user experience, brainstorming, hand sketching, graphics presentations, material 2 selection, modeling, and design documentation. Designed a pathology slide scanner for a medical equipment company which eventually led to production. Designed and documented multiple conceptual products, including the Beijing public bus and wireless remote control for heavy industrial equipment.

07/2011-09/2011 Industrial Design Internship - ZCO-Design, Beijing, China Communicated and presented work proposals to clients from various industries. Worked as an industrial designer on various types of product design, including consumer products, electronic devices, and medical equipment.

EDUCATION

AWARD

SKILL+INTERESTS

08/2013-08/2016 University of Texas at San Antonio Master, Architecture 09/2007-07/2011 Shandong University of art & design Bachelor, Industrial design 06/2005-03/2007 Fine art Training Institution in Beijing 2016 2015 2015 2014 Revit Rhino Photoshop Indesign Illustrator

Deans Merit Award for Masters Project in Architecture Student Representative of Graduate Council Architecture Award Nominess UTSA COA M.Arch 3 Design Award Hand Drawing AutoCAD Arch GIS V-ray Watercolor Painting

PROFESSIONAL WORK 1 : 00

CENTRAL HEALTH BRACKENRIDGE BRIDGE PARK Project worked in Studio8 2017

2 : 00

701 RIO GRANDE OFFICE BUILDING

Project worked in Studio8 2017

3 : 00

4 : 00

RIATA CROSSING SHELL BUILDING

Project worked in Studio8 2018

EXPO1 SHELL BUILDING Project worked in Studio8 2017

5 : 00

INDUSTRIAL DESIGN PATHOLOGY SLIDE SCANNER Project worked in LKK 2011

ACADEMIC WORK 1 : 00

SIEMENS-TBSI

OPEN INNOVATION CENTER

Master Project Instractor: Taeg Nishimoto Spring 2016 2 : 00

SONSBEEK PAVILION MATERIALITY EXPLORE Advanced design studio Instractor: Taeg Nishimoto Fall 2015

5: 00

ART PIECES

CENTRAL HEALTH BRACKENRIDGE BRIDGE PARK August 2017 FIRM: STUDIO8 ARCHITECTS PROJECT TEAM: PRINCIPLE-Robert Byrnes, Xuhua Cheng, Jingqi Li, Justin Scaniio This project is studio8â&#x20AC;&#x2122;s response to join in the master plan of Brackenridge campus designed by HKS, to rethink of social space under the highway. Robert Byrnes led the team. Xuhua, Justin, and I helped concept developing and presentation graphics. My main role was in designing the concept of landscape architecture which connects with the campus through the underground space under the I-35 highway, as well as in rendering concept views.

701 RIO GRANDE OFFICE BUILDING July 2017 FIRM: STUDIO8 ARCHITECTS PROJECT TEAM: PRINCIPLE-Robert Byrnes, Jonathan Pearson, Jingqi Li, Justin Scaniio, Xuhua Cheng

This project is studio8â&#x20AC;&#x2122;s response to the Rio Grande development for office competition call for entries. Robert Byrnes led the team. Jonathan, Xuhua, Justin, and I helped concept developing and presentation graphics, My main role was developing the floor plan layout and the initial concept.

W 7TH ST NUECES ST

RIO GRANDE ST

RIATA CROSSING SHELL BUILDING MARCH 2018 FIRM: STUDIO8 ARCHITECTS PROJECT TEAM: PRINCPLE-Milton Hime, Jonathan Pearson, Jingqi Li

This project is two stories shell building designed for AQUILA real estate firm. Jonathan lead the team, my main role was to help produce CD set, and in the design of the lobby and interior floor plan layout.

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  

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  

 

   

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 

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 

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  

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 

   

  

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     

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     

 

  



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  

  

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 

  



 

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   

 

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   

 

 

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 

 

  

   

 



 

    

 

  

 



 





 

 

 

     





 

 

 

 



     

  

  



 

 



  

    

 

    

 

 

 

 

 

 

 

 

 



 























   

 

   

 



 

   

 

  





   

 

  

 









 





   



 

   

 

 

  

 



 

   



5' - 0"

EXPO1 SHELL BUILDING

METAL PANEL MCBI ARTISAN 12"

2' - 6" 2 1/2"

TILT-UP CONC. PANEL

2' - 6" 2' - 3 1/2"

4 3/4"

2' - 5 1/2"

1/2"

STEEL EMBED PLATE REF STRUC.

CONT. MTL FLASHING CLIP CLIP

STANDING SEAM METAL ROOF SUPERLOK PANEL

2"x2"x1/4" TUBE STEEL

Z. CLOSURE

2"x3"x1/4" TUBE STEEL 1/2" PER FOOT

1' - 2"

CONT. Z CLIP

2"x4"x1/4" TUBE STEEL

STEEL. CHANNEL CAP. REF STRUCT DRWGS.

STEEL EMBED PLATE SHIM

This project is one story shell building. Robert-Byrnes led the team, my main role was in the design of the facade at the schematic design phase , helping produce CD set, and following up in the Construction Administration Phase.

6X4 STEEL ANGLE REF STRUC.

MARCH 2017 FIRM: STUDIO8 ARCHITECTS PROJECT TEAM: PRINCIPLE-Robert Byrnes, Jingqi Li, Xuhua Cheng

1' - 0 3/4"

CONT. TUBE STEEL AWNING STRUCTURE EXPOSE

EL 21'

BACKER ROD AND SEALANT HSS 8X8X14 REF STRUC.

T.S. 5X5 REF STRUC.

LIGHT FIXTURE P1- BEGA -24507-BLACK TYP.

PERF. METAL SCREEN 36"W

HSS 8X8X14 REF STRUC.

1 1/2"

NOTE: ALL EXPOSED STEEL TO HAVE PAINT FINISH

HAKKA ARCHITECTURE WEILONG WU

Interval Space In-between Master Project Research

In 2015 winter, I went to visit one of the most famous Chinese traditional Hakka earth buildings in Meizhou, a small town located in Guangdong Province, southeastern China. After that, I started to study how did Chinese ancient Fengshui philosophy influence this type of vernacular architecture. First, Following with the Fengshui philosophy, ancient Chinese always take advantage of mountain and water to form a healthy natural air circulation system and seek the best solution for Qi (air and energy flows) to circulate efficiently through the building based on orientation, wind direction, terrain, and terrestrial magnetism. A good energy flow house brings luck to the family as what they believed. Second, Fengshui originated from an ancient divination text and the oldest Chinese classics --- I Ching. Permanence follows the general rules. This rule must have the simplicity and clarity to allow complexity changes coexist in one integrated system. In Weilong Wu, skywell as the most important element, composed of walls, windows, threshold, and roof to create a different experience of space. Similar as music in which sound must be chosen and arranged, architecture can be achieved through the selection and composition of their elements and material that they are made, and is to adjust the balances and tension of yin and yang. All of these researches lead my master project to fit with

the

traditional

Chinese

philosophy

and

culture.

SIEMENS-TBSI

OPEN INOVATION CENTER Master Project

Shenzhen, in southeastern China, is a modern metropolis that links Hong Kong to China’s mainland. The city features contemporary buildings, such as the 384m skyscraper Sung Hing Square, and a number of amusement parks. In 2014, Tsinghua-UC Berkeley Shenzhen Institute (TBSI) was jointly established by Tsinghua University, the University of California, Berkeley, and the Shenzhen municipal government on the initiative of promoting research collaboration and graduate student education. It is a platform for innovative research and graduate-student education with parallel functionality on the two partner campuses. Right now, the institute is located in one of those skyscrapers in Nanshan intelligence industrial park, known as Silicon Valley in China. On January 14, 2016, Siemens Company’s representatives visited TBSI to discuss the establishment of a “Siemens-TBSI Open Innovation Center” in the future. The Innovation Center is similar as the MIT Media Lab and will be a community of inventors who work atelier-style as members of research teams, doing the things that conventional wisdom says can’t and shouldn’t be done. My Project is to design a home and innovated environment for those inventors.

22:A

SHENZHENG--NANSHAN INTELLIGENCE INDUSTRIAL PARK

Overall view from the city

SCHEMATIC DIAGRAMS ---- LANDSCAPE

CIRCULATION

R PA

p ra

c ys Sk

Ne ew

id ew vi

VISUAL FIELD

d ar ty

r ou C

ill

Di ce an st ew

ROOF

STRE

ROOF

STRE

HIGH

WAY

HIGH

WAY

HIGH

WAY

The original site is 13’ higher than the

An artificial topography is created as a

city street and 7’ higher than the high

green roof; a glazed surface acts as the

way.

‘eye’ towards the outside

ROOF

STRE

HIGH

WAY

HIGH

STRE

UR TYAR D

ROOF

STRE

UR TYAR D

HIGH

WAY

HIGH

WAY

UR TYAR D

WAY

The north-face slope is made into a

The courtyard is modified to meet with

big courtyard

the circulation of the building.

ROOF

STRE

UR TYAR D

HIGH

WAY

HIGH

STRE

ROOF

STRE

UR TYAR D

WAY

HIGH

WAY

HIGH

WAY

The result is merged the green roof and

The landscape is modified to host a

artificial topography into one landscape.

number of specific functions including steps, seating, water pond, bamboo gadern,terrice.

The landscape is designed to act as a courtyard for the innovation center, where would be a space or a theater to host a big party and show. At the same time, the landscape also would be an amusement park for the city. Multiple accesses into the park give citizen freedom to take a walk, wander around the landscape and feeling the waving of terrain without consciousness of a building hidden under the green roof. Besides, creativity begins in wonder. For inventors, the broad vision space and a feeling in touch with nature can help them think, relax, and inspire their creativity.

SCHEMATIC DIAGRAMS ---- ARCHITECTURE

Layout options of each 120’X60’ cubic space of laboratory

Building concept process diagam

Two or three cubic space axis overlap to create an intermeiate space

View from the city street to the back landscape can be see through from the structure of the building.

ARCHITECTURE COMPONENTS

FLOOR

COLLON

void space

CONNECTION

CORRIDOR

Stair Elevator Ramp

ROOF skywell

WALL

ARCHITECTURE SPACIAL COMPOSITION

Interval space in-between

Public space Lab Cubic Size

Lab

Public space

120

B Functional space Lineal

private space

private space C

Curvilinear

laboratory Machine Shop

Program

laboratory

Fit on site

Mechanical Room

Conference Room Cafe CR

laboratory Atrium

laboratory

CR Gallary

Lecture Hall Event Space

Vurtical circulation

Horrizontal circulation

Exploded axonometric consisted of stairs and platforms with the interior and exterior circulation.

LA B

CON FER ENCE ROOM E IN CH MA

OP SH LAB

CA FE

36 LAB

AL IC AN CH ME

LAB

L AL EH R U LECT

OM RO

LO BB Y

GAL LARR Y

OM RO L A NIC HIE MEC

PACE EVENT S

4 3

8 6

SECTION A

1 1

10 5

3 3 8

6 12

1 Lobby 2 Gallery 3 Lab 4 Kitchen 5 Lecture Hall 6 Mechanical room 7 Cafe 8 Small Conference Room 9 Atrium 10 Large Conference Room 11 Machine Shop 12 Event Space 13 Public Elevator

SECTION B

GROUND FLOOR

6 7

FIRST FLOOR

hall ï¿½ qn n l BLecture n med qd mbd

SECOND FLOOR

4 2

THIRD FLOOR

ROOF PLAN

FLOOR PLANS

1 Interval space in-between the attrium and laboratory on the third floor

2 Interval space in-between the atrium and laboratory on the second floor

3 Void space of the laoratory

4 Void space of the atrium

5 View from Interval space face to the

6 Entrance front of the building

bamboo facade

7 View from the street to the courtyard

8 View from the event space to the courtyard

SCHEMATIC DIAGRAM ---- MATERIAL ENVELOP

Laminated wood ceiling

OUTER SKIN Bamboo Facade

INNER SKIN Horrizontal glaze wall Transparent glass panel act as the eye to see through from one space to another space Translucent glass panel keep the privacy of laboratory and other private space

INNER SKIN Vertical glaze wall Transparent glass facade as the eye face to the courtyard. Translucent glass facade keep the privacy of laboratory

LABORATORY CUBIC SURFACE Laminated wood panel

BAMBOO FACADE Bamboo is an ecological material and has been often used as Chinese traditional building material. Bamboo has a warm feeling and a sense of getting in touch with nature. Besides, Hollow and solid comparison created by a diverse density of bamboo pole, echoing to the transparency and translucency comparison generated by a transparent and translucent glaze curtain wall. These two intertwine together to create a wonderful illusion for space. In the meantime, when it rains, the rain curtain drops from the eave on the other side of the building, almost perfectly echoing to the vertical drop lines of the bamboo facade. Except for the function of shading the building regarding the bamboo facade, it can also create an artistic visual illusion during sunrise and sunset when the sunlight shone through the gap between bamboo, casting a mottled shadow on the ramp and into the building as well.

Ramp between the bamboo facade and glaze facade

SCHEMATIC DIAGRAM ---- BAMBOO

End point

7 3

6 Start point

Magic square & Yin Yang Ba gua

Magic square & Yin yang Ba gua

8 positive patternings

Matric DNA

1‘

2‘

3’

4‘

5’

6’

7‘

8 negative patternings

8’

9‘

9’

2’

3’

4’

6’

7’

8’

1’

16 positive and negative patternings composited into one panel based on the matric DNA

9’

2’

3’

4’

6’

7’

The final bamboo facade

8’

1’

2’

3’

4’

6’

7’

8’ 1

9’

2’

3’

4’

6’

7’

8’

1’

2’

3’

4’

6’

7’

8’ 1

outside to insede

Inside to outside

The overall facade facing to the north.

View from the lecture hall to the countyard

View from the countyard to the building in sunny day,

View from the countyard to the building in rain.

SONSBEEK PAVILION

Transparent glass vs Mirroed glass Contemporary Material(ity) Seminar

The original Sonsbeek Pavilion designed by Aldo van Eyck In 1965 was intended as a temporary structure, and it was dismantled when the exhibition was over. The pavilion consisted of six parallel placed walls with a common distance of approximately 2.5 meters (about 8ft) and a height of approximately 4 meters ( about 13ft). The walls were built from simple concrete blocks. The construction was covered by a transparent, free-floating plane. In a sense, the walls formed five streets. Because each wall was either interrupted or bent outwards by using a half circle form, the interior of the pavilion was transformed into a complex spatial system which expressly enticed wandering. By using the original floor plan, my intention of using materials to replace the original masonry wall and transparent roof includes tempered glass and mirrored glass. Instead of using two paralleled glass walls to present the thickness of masonry wall, I broke all the integrated line into shorter zigzag lines to replace 1 ft thickness wall. This way could make the building more creative to use mirrored glass and transparent glass together. My concept is to use the mirrored glass covering most of the half circle wall and acting as the boundary for the exhibition area and sitting area. In the meantime, transparent tempered glass will be placed at some specific spots to create the different visual angles for viewers to see through.

The mirror glass also acts as a boundary wall between the exhibition area and sitting area

Five parallel visual lines versus five streets.

the diagonal visual line is the only sight that visitors can see through from one side to the other side of the pavilion

Three horizontal visual lines represent the view from the one side hitting the other sideâ&#x20AC;&#x2122;s mirror glass.

Birdâ&#x20AC;&#x2122;s eye view of pavilion From the birdâ&#x20AC;&#x2122;s eye view, the difference of opaque mirror and transparent glass shows very clear, making it easier to imagine what visitors could see when they stand at a certain spot.

The dimension of the Glass panel The thickness available for tempered glass can be 12mm, and the maximum thickness for mirrored glass is 6mm. The dimension for the vertical tempered glass panel will be no more than 14” in height and not exceed 8’3” in length. Due to the unequal length of each wall, the length of each small glass panel will range from 3’ to 4’, same as the mirrored glass panel.

Roof glass panel

Mirrored glass

Transparent temple glass

Steel frame

Furniture

The vertical zigzag glass panel creates an intangible atmosphere with the shadow cast by the mirrored glass with different patterns based on the sunâ&#x20AC;&#x2122;s angle.

A diagonal visual angle to see through the whole pavilion. The mirror and transparent glasses create a visual maze. The sculpture you see sometimes is just the reflection of the mirror, not real. This brings viewers great surprise for wandering in the pavilion.

PATHOLOGY SLIDE SCANNER This is a project designed when I was working for LKK Design company. Based on the current market, there were several similar products existed, but few of them had been designed with anthropometrics in mind. Therefore, I wanted to create a scanner that could be ergonomic and aesthetically pleasing. In order to save material, the scanner was designed to wipe along with the inner machine, which has â&#x20AC;&#x153;Lâ&#x20AC;? shape like a microscope. In addition, this is medical equipment used by medical workers, It is very important to create a friendly and warm out looking to lighten the cool atmosphere of the medical environment.

THREE VIEWS

TOP VIEWS

RIGHT VIEWS

FRONT VIEWS

COLOR

SCENARIO VIEW

ART

oil