Architecture Portfolio by Mengdi Jia

MENGDI JIA mengdi411@outlook.com (734)-604-6811 https://www.linkedin.com/in/mengdi-jia-9079b8159

PROJECTS

GREEN CITY

HEAT ISLAND

OFFICE 1901

ART HOUSE

POETIC GRID

An urban expression of nature

A pavilion of heat experience

Urban office tower through the use of BIM

Residential building with museum concept

Penn Museum archive extension

THE CABINET An artifacts' cabinet with wonderment

HEAVY SEAMS Full size precast concrete panel

GREEN CITY

Arch 701, Research Design Studio Instructed by Thom Mayne and Ung-Joo Scott Lee Collaborated with Siwei Zhu Selected for Pressing Matters X (2021) Software: Arc GIS Pro, Rhino, Grasshopper, V-Ray, Photoshop and Illustrator This project serves as a green connection between the San Gabriel Mountains and Long Beach along the existing San Gabriel River Trail and aims to transform the previously owned mining pits to public parks that will become the 4th largest park in LA. The overall building footprint counts only 1/8 of the total green space. By combining natural and artificial landscapes, layering complex typographical features and inserting different public programs, the project offers a unique park experience with four different park types for the adjacent communities and LA. In the periphery, each park’s boundary is shaped by the formal languages of the pits and the dam. The existing urban fabrics continue towards the parks to form new city centers along the edges. The central density zone is then defined by the four pockets of greens and continues the city grid of Baldwin Park. In this way, the design reintroduces nature to urban life and offers opportunities for people to explore the beauty of the natural scenery and recreational activities within just a short walking distance.

San Gabriel River Trail

San Gabriel Mountains

Santa Fe Dam Recrea�on Area

Irwindale

El Monte

El Monte Whi�er Narrows Recrea�on Area

Whi�er Narrows Recrea�on Area

El Dorado Park

Long Beach

El Dorado Park

Long Beach

Navy Golf Course

Seal Beach Na�onal Wildlife Refuge

Before

Navy Golf Course

Seal Beach Na�onal Wildlife Refuge

After

"ECOLOGICAL CORRIDOR"

What do bring to the future of city design and bring nature back to architecture and infrastructure?

Site strategy Horizontal Link: New Downtown

Mobility Link

Density Link

Exsting Pits: Purified

Exsting Pits: Contaminated

Duarte

Azusa

Azusa Arcadia

Dam

Arcadia

Park

Temple City

Park

Irwindale

Temple City

Covina

El Monte

Covina

El Monte Park

Baldwin Park

Adjacent City Influence

Adjacent City

West Covina

Original Pit

Duarte

Azusa

Arcadia

Temple City

Covina

El Monte

Covina

El Monte

Baldwin Park

New Urban Edge

Park Formation West Covina

West Covina

Semi-public Park

Lakeshore Build

Water Original Pit

Duarte

Azusa

Arcadia

Temple City

Covina

El Monte

Covina

El Monte

Baldwin Park

Urbanized Green

Mobility Linkage West Covina

West Covina

Main Trail

Public Park

Ring Trail

Semi-Public Par

Secondary Trail

Lakeshore Build

Sectional Relationship

Public Park

Before: 1000 Acres

Arcadia

Santa Fe Dam Recrea�on Center

A�er: 5270 After: 5270Acres Acres

Temple City

Public Park

B El Monte

= Griﬃth Park X 1 (4210 acres)

Long Beach

Semi-Public Park Arcadia

= Temple City

Central Park X 1 ( 840 acres )

The 4thlargest largestPark park in LA The 4th in LA

B El Monte

Topanga Park Castaic Lake State Recrea�on Area Malibu Creek State Park Irwindale Recrea�on Park Griﬃth Park

Long Beach

San Gabriel Mountain

Before: 1000 Acres

Existing Park

Public Park

Duarte

Azusa

Santa Fe Dam Recrea�on Center Irwindale

Covina

Natural Park

Baldwin Park West Covina

Before San Gabriel Mountain

A�er: 5270 Acres Public Park

Duarte

Azusa

Leisure Park

Irwindale

Griﬃth Park X 1 (4210 acres) Semi-Public Park

Covina

Baldwin Park

West Covina

Central Park X 1 ( 840 acres )

The 4th largest ParkPark in LA Sports After

Topanga Park Castaic Lake State Recrea�on Area Malibu Creek State Park Irwindale Recrea�on Park Griﬃth Park

Public Green:4360 acres Semi-public Green:540 acres Water: 370 acres Building: 650 acres

BUILT TO NATURE RATIO: 1 : 12

Barcelona Block X 113 = 79,000 People

Unité d’Habitation X 120 = 192,000 People Towers X 50 = 90,000 People

= 0.36 M People Total 10

Overall Scheme: Nature + Building Footprint

Swimming Pool & Boating

Cultural Center

Lake Gallery

Skate Park

Leisure Park Movement + Activities

HEAT ISLAND

Arch 602, Core Studio II Instructed by Ben Krone Collaborated with Shiyue Liu Selected for Pressing Matters X (2021) Software: Rhino, Grasshopper, V-Ray, Photoshop and Illustrator This project is designed for Expo 2025 in Osaka that seeks to raise awareness about the heat island effect and its related issues about climate equity. The initial concept models express the process of heat penetrating into concrete surfaces, through absorbing, storing and releasing. The overall form and performative nature of the paper models correspond to the kinetic energy of compression and tension. The pavilion expresses a fluid play between tension and compression and the volumes wrapped by these large gestures form spaces with different pockets of heat. The central mass, formed by thick concrete walls, serves as the main heat source for the pavilion and radiates to the periphery, which echoes the heat island effect. The varying sizes and density of folded panels further emphasize the distribution of heat.

"HEAT EXPERIENCE"

How different can be created through the performative nature of materials, manipulation of roof perforations and formal gestures?

ABSORBING COMPRESSION

STORING

RELEASING TENSION

Analog Model: 3 stages of heat penetrating into concrete surfaces

Aggregation of Analog

Absorbing

Releasing Releasing

Translation of Analog

82°F

80 °F 82 °F

75 °F

72 °F

Different Heat Experience

ctio

Heat and Sun Diagram

1. Core 2. Hidden Space 3. Rainwater Collecting Pool 4. Vine Platform

Material Diagram

5. Indoor Garden 6. Occupiable Green R 7. Ramp to the 2nd leve 8. Souvenir Store

Roof el

7 6 8

ctio

9. Cafe and Bar 10. Entrance Plaza 11. Plants Exhibition 12. Waiting Zone

PANEL ATTACHMENT CLIP GLUE LAMINATED TIMBER BEAM STEEL PLATE ALUMINUM PANEL TRANSPARENT POLYCARBONATE SHEET

Roof Panel Detail HIGH ALBEDO CMU AIR CAVITY HIGH ALBEDO CONCRETE WALL WALL TIE

CONCRETE FLOORSLAB CONCRETE FOUNDATION

Concrete Wall Detail

Vine Column

Rainwater Collection Pool

Water Chanel

POLYCARBONATE SHEET ALUMINUM PANEL GLUE LAMINATED TIMBER ALUMINUM MULLION

Assembly Detail

STEEL PLATE

Heat Chamber

OFFICE 1901

Arch 532 Construction II Instructed by Franca Trubiano and Patrick Morgan Software: Rhino, Revit and Enscape

This project focuses on the design and construction of an office building with the assistance of BIM. All the structures, claddings, building systems and interior details are carefully considered to meet the building's practical requirements. The building features a loft space with exceptional stairs and two large open spaces for gathering, chatting and relaxing.

22' - 0"

20' - 0"

DOUBLE SKIN FACADE

1 A302

A202 1

20' - 0"

CURTAIN WALL

100' - 0"

CURTAIN WALL

A201

4 2

CARPET TILE

CONCRETE FLOORSLAB

1 A301

5th Floor RCP

Level 5 63' - 0"

A203

21' - 6"

1' 0' - 2" - 2 1/2"

21' - 6"

12' - 6"

A302

ALUMINUM MULLION CURTAIN WALL

CURTAIN WALL

Double Skin Facade

60' - 0" 20' - 0" 2' - 0"

21' - 3"

2' - 0"

14' - 9"

39' - 1"

20' - 0"

A203

2' - 4"

41' - 6"

A302

22' - 10"

8' - 10 1/2"

18' - 6"

2 12' - 6"

A302

Level 5 RCP 1/8" = 1'-0"

20' - 0"

1 A404

3' - 8 1/2"

1 A301

Loft Space

A201

A203 36' - 1"

21' - 6"

EXCEPTIONAL SUITE FLOOR PLANS 20' - 0"

20' - 0"

2 A203

A302

Drawn By 20' - 0"

100' - 0"

Date 1

A202 1

A201

2020/5/2 22:54:56 M Jia

A104 20' - 0"

Lounge Area

98' - 0"

41' - 6"

A302

Level 6 A202 1/8" = 1'-0"

14' - 9"

21'

41' - 6"

22' - 0"

rs\mengd\OneDrive\Documents\UPENN\2020Spring\Construction II\Assignment 6\Assignment5.rvt

4 A403

22' - 0"

20' - 0"

2' - 0"

21' - 3"

1901 WALNUT STREET PHILADELPHIA, PA 19103

60' - 0" 14' - 9"

Loft 1901

A202

98' - 0"

22' - 0"

A203

41' - 0"

60' - 0" 21' - 3"

22' - 0"

2' - 0"

20' - 0"

2' - 0"

14' - 9"

2' - 0"

41' - 0"

20' - 0"

A201

A302

A201

5th Floor RCP 20' - 0"

36' - 1"

A202

A201

4 6

Mezzanine + Typical RCP

2 A203

2020/5/2 22:54:58 M Jia

Date Drawn By

A112 Scale

2 A203

1/8" = 1'-0"

Mezzanine + Typical RCP Date Drawn By

1901 WALNUT STREET PHILADELPHIA, PA 19103

36' - 1"

5 C:\Users\mengd\OneDrive\Documents\UPENN\2020Spring\Construction II\Assignment 6\Assignment5.rvt

Loft 1901

21' - 6"

1901 WALNUT STREET PHILADELPHIA, PA 19103

12' - 6"

2 A302

Loft 1901

100' - 0"

Level 5 RCP 1/8" = 1'-0"

2020/5/2 22:54: M

A112 Scale

1/8" = 1'

METAL COPING

PRECAST CONCRETE PANEL

2' - 6"

AIR AND VAPOR BARRIER

RIGID INSULATION

PLYWOOD SHEATHING BATT INSULATION COLD FORMED METAL FRAMING

EPDM MEMBRANE TAPERED INSULATION

Level 8 102' - 0" MASONRY ANCHOR

CONCRETE DECK

Roof Detail 3

WALL SECTION 7 - Callout 2 1 1/2" = 1'-0"

CURTAIN WALL

Level 4 47' - 0"

ALUMINUM MULLION CARPET TILE CONCRETE FLOORSLAB

CONCRETE BEAM CONCRETE DECK

Facade Detail

WALL SECTION 6 - Callout 1 1 1/2" = 1'-0"

ART HOUSE

Arch 601, Core Studio I Instructed by Brian Phillips Software: Rhino, V-Ray, Photoshop and Illustrator Museum living is often reserved for high-end projects associated with large institutions. Alternatively, this project looks to develop a relationship between the preponderance of local art producers with everyday residents. “Art” is ubiquitous inside the building from both architectural expressions and behavioral patterns. The expressive curved elements result in a unique spatial quality and atmosphere, and how people behave in and around them creates delightful motions and promotes a hybrid experience, similar to the delightful moment of conceiving and digesting an artwork. The creative work also provides a platform for engagement among different clusters of people. By letting artists and other residents living closely together with shared space and offering opportunities for engaging in communal art projects, the design helps alleviate the gap among all residents. “Street life” is fully realized through a public first floor, roof garden and their connection that includes a small art market, exhibition spaces, public greenery as well as an open street-facing skate park.

"MUSEUM LIVING"

stands for an immersive and accessible living experience that is analogous to visiting a museum.

Existing

Future

The overall site strategy is to relieve the tension of the existing hard edges. The building footprint is formed by subtracting the triangular boundary with larger circles, which redefines the corner condition. Smaller circles are introduced later to form passageways and gathering space at the center.

15’ 30’ 45’ Small Gathering

Large Gathering

Small Carved-out

60’

Large Carved-out

Entrance and circulatio

Corner Condition

Retail Retail

Retail Retail Skate Skate Park Park

Retail Retail Retail Skate Skate Skate ParkSkate Park Park Park

Retail Retail Retail Retail

Retail Retail

Retail

Retail Retail

Retail Retail Skate Skate Skate Skate Park Park Park Park

Skate Skate Skate Skate Park Park Park Park

Skate Skate Park Park

Plan Iterations

Bottom to Top

Attach public program

Add units

Connect roofs Vertical Journey

A: 1B1B with shared terrace

B: 3B2B with private terrace

Office

Lobby

Cafe

Art retail

Skate park Ground Floor

Lower Floor

C: Co housing

Upper Floor

Uppper Floor

An upward experience of museum living

Public rooftop as a sculpture garden

05 POETIC GRID Arch 501, Foundation Studio I Instructed by Emmett Zeifman Software: Rhino, V-Ray, Photoshop and Illustrator This project is an extension for Penn Museum that mainly serves as an archive for displaying and storing the artifacts from the museum. The premise is to redefine the museum courtyard and its relationship to the existing context and introduce a poetic play on top of the shifting grid system I created. The extension could be treated as the fourth wall of the courtyard with connections to the existing museum. A shifting grid system is introduced to both meet structural needs and frame multi-scaled elements including display shelves, ramps, floors, and rooms. The fourstory, L-shape archive is surrounded by a continuous promenade that fits the exhibition space and other programs together. The space resolving from the dense and pixelated tectonics, juxtaposed with views along the promenade, would create a multi-layered spatial experience and effect.

"PIXELATE"

means to divide elements in various dimensions into a uniform system that brings both rational compositions and harmonious aesthetics.

South Elevation

Ground Floor Plan

Public Privte Archive Second Floor Plan

Exhibition Stacks

Stacks Connection to existing archive

South Section

Promenade Experience

Stacks Archive

Auditorium

Vertical garden

Auditorium

Classroom

Connection to existing museum

Archive in Display

Physical Model

THE CABINET

Arch 501, Foundation Studio I Instructed by Emmett Zeifman Collaborated with David Wong, Maria Garcia, Yasmine Mcbride Selected for Pressing Matters IX (2020) This pavilion is designed to display 4 artifacts from the Penn Museum. It challenges the modern display of artifacts on white pedestals and instead highlights the customized relationship between artifacts and their "cabinets" and emphasizes the wonderment of the design of the "cabinet" itself. 2 framing systems are interlocked with each other. The larger frames serve as the main structure and the dense scaffoldings wrap up the artifacts. This generates an interlocking profile and a pixelated effect. The use of 5 similar colors on each side creates an illusion of shimmer when viewed around the pavilion.

What if artifacts and their containers together to form new identities?

"HYBRIDIZE"

Assembly Detail: Inner System

Assembly Detail: Outer System

HEAVY SEAMS

Arch 734, Concrete Seminar Instructed by Richard Garber Collaborated with Hongbang Chen, Michael Hergert, Shifei Xu Project Manager: Andrew Gorgas, Mark Gorgas from Northeast Precast This seminar looked at the potential and flexibility of precast concrete, a material that has helped to accelerate the construction process of buildings and reduce onsite construction activities. More importantly, it also addressed the sustainability of precast concrete by using plasma-cutting stainless steel for formwork that can be reused for multiple casting. The design features a smooth transition from surface to depth through the seams. The repetition of seams and the aggregation of panels create an illusion of infinity, both horizontally and vertically. A sense of lightness is also generated by the resulting tectonics on this heavy material.

"CONCRETE",

What is the design and sustainability potential for a material that has been developed throughout history?

CONCRETE

5°

1 2"

5°

METAL SHEET

5 8"

1 58 "

1 2"

1 58 "

5 7 5 8" 8" 8"

SECTION A 7 3 16 "

3 58 "

6" 1

1 2"

3 16"

3 83 "

3 87 " 3

5 8"

4 13 16"

3 43 " 7 16"

7 8"

3 8"

3 58 " 3

3 4"

1 13 16"

3 58 " 4

13 16"

3 41"

5 8"

1 21"

1 13 16"

3 58 "

3 41"

4 13 16"

3 43 "

4 13 16"

3 43 "

3 58 "

3 41"

2 21

1 13 16"

3 58 "

1 13 16"

3 58 "

9 43

FRONT

1 21"

1 2"

ALP LIFTING PIN ANCHORS #LPA1T258G

1 2"

1 15"

1 58 "

CONCRETE 95 5°

1 7 1 16 2" 8" 2"

METAL SHEET

3 4 16 "

3 83 "

3 87 "

SECTION B 5"

1 15 16"

METAL7 3 16" SHEET

3 58 "

1 2"

1 15 16"

95 3"

4 13 16"

3 43 "

3 58 "

1 13 16"

3 58 "

3 41"

9 43

1 21" 5 8"

1 21"

ALP LIFTING RUBBER RECESS MEMBERS #LPRM1T

1 58 " °

ALP LIFTING PIN ANCHORS #LPA1T258G

ALP LIFTING RUBBER RECESS MEMBERS #LPRM1T

5 8"

1 58 "

1 21" 1 81"

5 7 5 8" 8" 8"

19 41

3" 1 7 1 2" 8" 2"

5 7 5 8" 8" 8"

1 58 "

9 43

5 8"

SECTION B

3 58 "

CONCRETE

1 2"

2 21

1 58 "

1 2"

3 83 "

3 87 "

3 83 "

3 87 "

5 8"

1 2"

7 3 16 "

1 15 16"

SECTION A

7 3 16 "

3 58 "

METAL SHEET

ALP LIFTING PIN EYE ANCHOR #LPEA1TG W/ ALP LIFTING PIN RUBBER RECESS MEMBERS #LPRM1T

19 41

3 4 16 "

METAL SHEET

3 58 "

1 21"

3 4 16 "

1 2"

1 58 "

3" 2 58 "

1 58 " 1 2"

1 21"

1 7 1 2" 8" 2"

5 7 5 8" 8" 8"

3 58 "

ALP LIFTING PIN EYE ANCHOR #LPEA1TG W/ ALP LIFTING PIN RUBBER RECESS MEMBERS #LPRM1T CONCRETE

CONCRETE 5 7 5 8" 8" 8"

1 21"

3 4 16 "

1 21"

7 3 16 "

3 58 "

CONCRETE 3 43 "

3 83 "

3 87 "

4 13 16"

3 58 "

1 7 1 2 " 8 " 2 " 3 1" 1 13 16" 4

3 58 "

1 21"

1 58 " 95

1 15 16"

METAL SHEET

1 2"

1 15 16"

5 8"

1 58 "

1 21" 1 81"

5 7 5 8" 8" 8"

1 2"

3 4 16 "

3 58 "

SECTION C 1 21"

METAL SHEET

1 15 16"

3 83 "

4 13 16"

3 43 "

1 15 16"

3 58 "

1 58 "

3 87 "

3 41"

3" 1 7 1 2" 8" 2"

SECTION D

CONCRETE

3 58 "

7 3 16 " METAL SHEET

° 95

5°

° 95

4 13 16"

3 43 "16

1 15 16"

3 58 "

1 15 16"

1 15"

3 83 "

1 2"

1 15 16"

3 87 " 9

1 13 16"

3 41" 9

1 21"

5°

5 8"

1 2"

1 58 "

5 7 5 8" 8" 8"

3" 3 4 16 "

1 21" 1 81"

1 21"

1 13 16"

3 58 "

1 15 16"

7 3 16 "

3 58 "

1 2"

3 4 16 "

1 2"

1 21"

5 8"

1 58 "

5 7 5 8" 8" 8"

SECTION C

1 7 1 2" 8" 2"

CONCRETE

SECTION D 3 4 16 "

7 3 16 "

3 58 "

3 83 "

3 87 "

4 13 16"

3 43 "

CONCRETE

3 58 "

1 13 16"

3 58 "

3 41"

1 21"

1 7 1 2" 8" 2"

ALP LIFTING PIN ANCHORS #LPA1T258G

1 2"

1 15 16"

7 3 16 "

3 83 "

1 58 " 1 2"

4 13 16"

3 43 "

3 58 "

3 41"

1 13 16"

3 58 "

3 41"

1 21"

LEDGEND

5" 1 15 16"

5 8"

CNC CUT FOAM CNC CUT FOAM 5"

1 2"

1 58 "

15 16"

1 2"

1 58 "

1 2"

1 58 "

METAL SHEET

1 2"

1 58 "

1 2"

1 7 1 2" 8" 2"

1 58 "

1 7 1 2" 8" 2"

2x10 WOOD BOARD 2x10 WOOD BOARD

5 8"

3 58 " 3"

METAL SHEET 1 21" 1 81"

LEDGEND

1 7 1 2" 8" 2"

CONCRETE 1 7 1 2" 8" 2"

19 41

BOTTOM

SECTION E 1 21"

1 7 1 2" 8" 2"

CONCRETE 1 7 1 2" 8" 2"

19 41

5 8"

1 15 16"

1 13 16"

3 58 "

3 87 "

3 58 "

ALP LIFTING RUBBER RECESS MEMBERS #LPRM1T

95 SECTION ° E 5 8"

3 58 "

4 13 16"

3 43 "

ALP LIFTING PIN ANCHORS #LPA1T258G

1 2" 8" 2"

1 58 "

3 83 "

3 87 "

1 15 16"

1 2"

7 3 16 "

3 4 16 "

1 58 "

METAL SHEET

1 2"

1 21"

11 15 " 16 7

1 7 1 2" 8" 2"

3 58 "

1 15 16" CONCRETE

5 7 5 8" 8" 8"

1 58 "

1 21" 1 81" 3 4 16 "

SECTION F

Section Profile

Lifter Placement

Reusability + Flexibility

7 87

4” x SPECIFIED X 3/8” PLATE

The main formwork is made of stainless steel, which can be reused several times and reduce construction waste. Each panel can be assembled in various angles to create a folding effect.

6” x 6” X 3/8” PLATE

45°

HingePLATE Detail EMBED

PANEL 1 A6

6” x 6” X 3/8” PLATE

25°

A10 85

25°

A11

A12 85

A14

25°

A12

A11

A10

6” x 6” X 3/8” PLATE

25°

A13

A14

PANEL 2

A13

64°

89 °

A1 90 °

Bending Profile 6

1 21"

1 15 16"

1 2"

METAL SHEET

1 2"

3 58 "

1 58 "

ALP LIFTING RUBBER RECESS MEMBERS #LPRM1T

1 58 "

1 7 1 2" 8" 2"

5 7 5 8" 8" 8"

3 21

40 41

1 21

SECTION A

40 41

#3 REBAR (3/8”)

5 81

9 87

3 7 16

7 58

11 5 21 1 16 3

3 21

BOTTOM

1 21

40 41 SECTION B

Rebar Placement

Formwork Assembly

Seams and Voids

Aggregation of 2 Panels

THANK YOU !