JINGWEN LUO
SELECTED WORKS | 2017-2020
CONTENTS 01 Unfolding Horizon | La Brea Tar Pits on Miracle Mile Spring 2020, Los Angeles 02 An Active Living Center | Stuyvesant Town Re-imagination Fall 2018, New York 03 Art of Stuff | A New Art School Spring 2019, Roosevelt Island 04 Goodly Pleasure | An Oddkin Garden Fall 2019, Istanbul 05 Figural Voids | Penn Museum Archive Fall 2017, Philadelphia 06 Work Samples
01
Unfolding Horizon La Brea Tar Pits on Miracle Mile
Los Angeles is a city of paradoxes, committed to the invented, yet to be imagined future and nurturing both real and fictional histories. La Brea Tar Pits, the largest urban paleontological research site in the world, is located on Wilshire Boulevard, the city’s “Miracle Mile” and embodies these diametrically oppositional identities. Over the past century, the La Brea Tar Pits/ Hancock Park site, originally 27 acres, has ceded space to allow for the creation of the Los Angeles Contemporary Museum of Art and most recently the Academy of Motion Pictures. Now focused on 13 acres, the Tar Pits and the nearly 50-year-old Page Museum reflect the impact of constant active on-site excavation and research and the wear and tear of visitation that continues to grow as it serves both metropolitan and international communities. By creating a backbone that connects Wilshire Boulevard and Mchael Heiser’s Levitated Mass, this project aims to establish an urban pathway that responds to the adjacent cultural landmarks and the new subway stations. The design elevates ground circulation to roof level, unfolding the horizon of Museum Row. It also unfolds the story of the site by creating various viewing platforms and pathways that engage visitors with the process of finding, excavatng, and preserving fossils.
Spring 2020 | 704 Studio | Partner: Regina Wei University of Pennsylvania Instructor: Marion Weiss Guest Critic: Michael Manfredi
Site as Urban Oasis
Site as Research Center
Site as Active Excavation Site
Miracle Mile | Urban Fabric
Miracle Mile
Ross's insight was that the form and scale of his Wilshire strip should attract and serve automobile traffic rather than pedestrian shoppers. He applied this design both to the street itself and to the buildings lining it. Ross ordered that all building facades along Wilshire be engineered so as to be best seen through a windshield. This meant larger, bolder, simpler signage and longer buildings in a larger scale. They also had to be oriented toward the boulevard and architectural ornamentation. The preponderance of shopping malls and the development in the 1960s of financial and business districts in downtown and Century City lessened the Miracle Mile's importance as a retail and business center. But this stretch of Wilshire near La Brea Tar Pits regained its importance as a retail and business center, the area has regained its vitality thanks to the addition of several museums and commercial high-rises.
Museum Row
The Los Angeles County Museum of Art (LACMA), The Petersen Automotive Museum, A+DMuseum, Craft and Folk Art Museum, George C. Page Museum, and La Brea Tar Pits pavilions, among others, create "Museum Row" on the Miracle Mile
Site Plan
Existing Site
New axises on site
Proposed connections
Taking the project as an opportunity to connect the fragmented landmarks around the site, we first identify key elements on the site, which are the page museum, tar pits, and the lake pit. We then draw axises along 6th street, Curson Ave, new LACMA to make new connections on the site. We then developed the form: the backbone as a pleistocene rooftop garden and also an urban pathway connecting Wilshire Blvd to Michael Heizer's Levitated Mass, forming a circulation loop from the subway stations to the various cultural landmarks around the site. The protruded massings, which function as excavation work station and public wing, attempt to respond the form of the new LACMA. .
Massing Diagram | Urban Connection
Plants original to the site since the ice age Rooftop Pleistocene Garden Exhibition Space
Research Center
Public Wing: cafe & bookstore Excavation Work Station
Plants are excellent indicators of climate, and this pleistocene garden aims to unfold the natural data and history of the Los Angeles Basin. The pleistocene rooftop garden, together with the research center, excavation pavilion, and the exhibition space, makes the La Brea Tar Pits a place to discover the narrative of natural history, a place to celebrate exploration and community gathering.
S.W. Corner
S.E. Corner
Public Wing, Pleistocene Garden, Existing Page Museum & Lake Pit The public wing sits above the lake pit, and the grand stair in the front offers an open view to the lake pit and the Wilshire Boulevard. At night, it can be transformed into an outdoor theater. Visitors can walk on the rooftop pleistocene garden from the Wilshire Boulevard and tour around the existing Page museum and go into the cafe and bookstore from the roof.
Exisiting Frieze, Pleistocene Garden, & New Exhibition The rooftop garden wraps around the existing page museum and provides great viewing opportunity of the the frieze and the Los Anegels skyline. Beneath the garden is the exhibition space, pedestrains are able to look inside at the exhibition without going in the interior.
Research Center & Excavation Pavilion The new research center and the excavation pavilion wrap around the tar pits, which gives researchers a more continous working space from excavating to researching and provides visitors a more engaging experience of discovering the "journey of the fossils" on the site.
Research Center & Excavation Pavilion The excavation work station provides an engaging experience between the visitors and researchers, fossils are being excavated underground, and cleaned fossil is suspended by the pavilion, visitors can get a better understanding of the "journey of the fossils" through this vertical connection.
02 An Active Living Center
Stuyvesant Town Re-imagination
This Studio collectively worked to transform the entire character and experience of Stuyvesant Town in New York City, an entire neighborhood consisting of 18 blocks and 33 buildings. Each student is given a courtyard within the complex and asked to reimagine urban living conditions in 20 years. This project speculates on how urban housing could facilitate recreational activities given a more and more prevelant sedentary living culture. The building is designed to connect existing units on different levels with only one core that touches the ground. The large open courtyard is transformed into an active soft landscape that provides possibilities for various activities. A full-service gym is also incorporated in the central knot of the massing that faces the busy 14 th street. To enrich the overwhelmingly uniform elevation of the existing units, the proposed design introduces balconies, planters, and terraces to new apartments, which become platforms for interactions, activities, and personalities.
Fall 2018 | 601 Studio | Individual Project University of Pennsylvania Instructor: Kutan Ayata
Form Finding Massing interations seek to develop different ways of connecting the existing units and leaving as much open space in the courtyard as possible. By connecting the existing units on different levels, the form becomes a knot that ties the existing buildings together. The corners of the two vertical chunks are tapered to guide views and circulation of the ground level. 10
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Climbing Wall Brick Perforated Brick Glass Mullion Metal Panel Roof Tile
Material & Facade Logic
Gym/Public Active Space Residential
Program Division
Massing Logic
Active Soft Landscape
1) Mid-level extension 3) On top 2)Co-planar
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Connections to Existing Buildings
Chunk Model
Section Chunk \ Intersection of Apartment Units and Gym
Plan/ Courtyard Transformation
Ground Level The project transforms the entire courtyard to soft landscape that consists of various zones differentiated by levels and materials with running tracks in between. The runing tracks act as guides for circulation that connect each entrance of the existing building to external pathways. All of those tracks lead to a common destination, that is, the new entrance of the proposed additions. This is a suggestive and also welcoming gesture for visitors to explore even more active space in the interior and also to discover climbing wall that is part of the entrance.
Plans/Interlocking Units
There are four different units ranging from one bedroom to three-bedroom duplexes to accomodate various user groups. By using two interlocking systems of residential volumes, the project is able to accomodate enough units while stays relatively slender and light formally and not over shadows the courtyard and the existing units. Moreover, each unit is equiped with either a planter, terrace, or balcony that functions as a platform for interactions, activities, and personalities.
Interlocking Units 1 Bedroom & 3 Bedroom
1 Bedroom
Interlocking Units 2 Bedroom & 2 Bedroom
2 Bedroom Type 1
3 Bedroom
2 Bedroom Type 2
Level 12/ hallway connecting new and old units
Level 14/gym and residential units
Elevation & Section The elevation shows two means of transition from old units to new additions: color gradation and window size. Planters, terraces and balconies are also manipulations that enrich the language of elevation formally and spatially. The new addition seems to peel away from the old facade, and color transition aims to strengthen this directionality and energy.
Exterior Render | Drone Shot
Section | Elevation
Exterior Render | View From the Courtyard
Exterior Render | View from 1st Ave
Exterior Render | View from 14th Street
03
Art of Stuff A New Art School at Roosevelt Island
Before Banham, Price, and the Pompidou, architecture followed certain rules, adhered to classical orders, and obeyed certain procedural measures, but also told stories, documented histories, and produced symbolic representations of cultural conditions. Modernism and later the techno-aesthetic proposed a reductivist and abstract approach to form making as a means to reifying, at least superficially, industrial ideas of efficiency, efficacy, and performativity.While architecture has since continued to oscillate between extremes of functionalism and formalism, the ambition posited here is to find a contemporary center: Can we cultivate a formal and tectonic language that connects to the rich disciplinary history and aesthetics that can also be driven by contemporary performative metrics? Formal interests can both recall abstractions of histories, but can also evince new strategies for controlling and filtering light, mitigating the movement of water, or proposing novel techniques for ventilation. This studio investigats these questions through the design of a new Art School on Roosevelt Island in New York. Our design proposes to utilize tubes as circulatory and gallery space to connect office and performing space at the two ends. By using glass bricks as facade material, the building stands as an transluscent entity that reveals and celebrates the intricacy in the interior. The visual richness implied by the connection and conglomeration among different parts suggest a kind of machine aesthetics.
Fall 2018 | 602 Studio | Partner: Qiaomu Xue University of Pennsylvania Instructor: Daniel Markiewicz
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Physical Collages The studio starts with collages. One collage utilizes mechanical "stuff", such as pipes of various scales and shape, to investigate aggregational forms and the level of intricacy that can be achieved through pipes. Another collage is trying to imagine negative space of those figurative pipes. Combining these two collages is a conceptual massing that is transparent from exterior to reveal the intricacies of the interior.
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Renders Illuminated as a glass box at night, revealing intricate machine-like interior
Axomentric Diagram
Normative space as office and performing space
Pipes as connecting and flexible galleries
Figural forms as concrete shells
Two layers of glass bricks with mullions in between
There are three basic elements of our proposed design: four concrete shells that cut into the rectangle bar parti as a way to draw in visitors; pipes that wrap around the massing that function as circulation and gallery space; and the solid chunks that house theater space and administration and educational space at the two ends.
Wall Section
The wall section indicates the assembly of different materials. The drawing also represents spaces of multi-layer: inside and inside; inside and outside; outside and outside.
Physical Model
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1 : Office & Classroom
5 : Small Performing Space
2 : Gallery
6 : Roof Platform
3 : Atrium
7 : Half-Cut Pipe as Terrace
4 : Large Theater
8 : Storage & Mechanical Space
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Plans
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Fifth Level Plan 1 : Flexible Space for Various Activities
5 : Small Performing Space
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4 : Transition Hub & Gallery
8 : Exterior Gathering Space
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First Level Plan
04
Goodly Pleasure An Oddkin Garden in Istanbul
Located in a congested historic neighborhood in Istanbul, Buyuk Valide Han has become a gem for tourists who would climb up to its deteriorating roof to discover unexpected views across the Bosporus. Goodly Pleasure aims to capture the intrigue of the Han’s roof experience by introducing a series of gardens on top of and within the roof, interior, and courtyard of the Han. These gardens are curated as multi-sensory artistic experiences that provide a respite from the crowded streets outside the courtyard. Throughout Islamic history, the concept of the garden has evolved from a mere escape from heat to encompass a variety of forms and purposes that often combine color, material, pattern, architecture, and nature in curated combinations. One of the most identifiable features of the Islamic garden that has precipitated over time is the focus on water. Water is claimed as a “goodly pleasure,” as it signifies purity and offers sensory experience through its sound and movement. In reference to this focus on water in Islamic culture, Goodly Pleasure channels water from the roof through interior spaces and into the courtyard, producing unique garden experiences as different types of natural, architectural, and other artificial elements combine with each other. On the roof, water flows through a central axis, creating a trickling sound and animation effect, and nourishes plants that are constantly growing and evolving. The color and texture of plants merge with other materials and creates a vibrant and continuous garden fabric. Elements from the roof transition to interior garden follies where their colors and textures combine with digital projections and other types of curated images and patterns. Finally, water is channeled onto the façade and drips down to the courtyard and form a cascade of waterscape. Visitors who come in search of those beautiful roof views may instead find themselves immersed within the gardens of Goodly Pleasure. Fall 2019 | 701 Studio | Partner: Jennifer Son University of Pennsylvania Instructor: Ferda Kolatan
History & Contemporary The historical Valide Han is located in Istanbul’s bustling Eminonu district. Hans were traditionally used as urban markets and commercial exchange zones throughout the Ottoman Empire.The value of these Hans as social, economic, and cultural nodes is not only of historical nature. Much of the local business habits today are still rooted in the customs and politics of the Han culture. While many of these Hans still exist in Istanbul, they are in a general state of decay as commercial street activities have slowly moved away from the ancient Han typology toward newer models like stores, shopping centers, and malls. The “Buyuk Valide Han”, our project site, was originally built in the 17thcentury and has been partially destroyed by fires and earthquakes. The city around it has grown rapidly, turning the Han and its surroundings into a maze-like structure.
The hidden character of the Han has led to an interesting phenomenon. Over the past few years, its dome-shaped roof-scape, which offers sweeping views of Istanbul, has become a popular venue for locals and tourists to (illegally) climb, take photos and post on social media. The Han, which was forgotten for decades has thus gained a new and somewhat notorious visibility as a “selfie-site”. These kinds of image-based realities are becoming substitutions for the actual experience of a city’s architectural qualities. As a result, the Han’s current identity is predominantly defined by the viral exposure of rooftop selfies found on the internet. To account for this fact and to speculate how architecture can potentially counter or incorporate these tendencies is another critical aspect of the project.
Roof Typology Studies
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An Oddkin Garden “Oddkin” architecture seeks to develop design strategies by closely examining a site’s idiosyncrasies and by mixing them into new types of hybrid urban objects. Istanbul is a city filled with vibrant colors, textures and patterns. By hybridizing natural elements with these man-made elements found in city – textures and patterns, the new garden aims to achieve the design of unexpected collaborations and combinations in architecture, in a way to take on new meanings in regard to their place and origin. The design transforms the entire Han to a series of interior and exterior gardens, using water as the transition elements in between. Patterns become mosaics, which blend in with vegetations and textures resulted from deteriorating materials. These lush and colorful gardens provide space for community gathering as well as individual meditation.
Vertical Transition | From Nature to Artificial
The garden on the rooftop is occupied with various vegetations and ponds. As it is transitioned to the interior garden pods, vegetations become abstracted to patterns and colors. Real plants are transformed to digital projections of abstract botanical designs, a happy rooftop garden is channeled into a dark and mysterious botanical installation.
Garden Follies Water flows through a central axis on the rooftop garden, it falls into garden pods and water channels on the facades that form into fountains in the courtyard. Gardens are hybrids of structural and geometric elements from the Han and decorative and natural motifs found in Istanbul. Roof garden is a coherent fabric of plants, textures, patterns, colors that combined together. Nature is curated in a way that compliments and blends in with artificial elements.
Chunk Model | Perspective View
i. Roof Garden Vignette 1
ii. Roof Garden Vignette 2
Section Chunk Oddkin Objects Gardens are curated as multi-sensory artistic experiences that provide a respite from the crowded streets outside the courtyard. Accesses to the rooftop are through spiral staircases in various locations of the Han. Objects on the right are examples of Oddkin hybrids of various architectural elements. They aim to test with conceptual transitions and formal relationships.
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Figural Voids Penn Museum Archive
Figural Voids Penn Museum Archive is a proposal for the existing Penn Museum located within Penn campus. The proposed archive includes a cafe, galleries, offices, and storage space. The condesiderations of the connection and relationship between the new and the old, the pedestrain walkway and museum are the drive behind this project. As the new archive stands in front of the museum, the design aims to intentionally frame different moments of the museum and makes the historical faรงade part of the design of the new archive. Therefore, the architecture is not blocking, but framing the views to the museum and functioning as a threshold to enter the courtyard.
Fall 2017 | 501 Studio | Individual Project University of Pennsylvania Instructor: Andrew Saunders
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Interior Render
Exterior Render
Interior & Exterior Gallery spaces frame views to the courtyard and the existing museum, allowing for visual connection between the old and the new. The layering technique of the new gallery's facade encourages interactions and extends visitors' experience beyond the exhibition to the space and architecture itself.
Physical Model
Figure-Ground Relationship There are two major programs of this project: gallery and exhibition space and storage and archive space. Archive occupies the more normative space while the exhibition takes place in space that is figuratively carved into the normative container. The gallery spaces are interconnected and also linked back to the existing museum, thus forming a complete circulatory loop from the old exhibition space to the new galleries.
1 : New Gallery
4 : Roof Terrace
2 : Archive
5 : Existing Gallery
3 : Archive
6 : Entrance to the Courtyard
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Plan Diagram
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Perspective Render The gallery spaces frame the views to the courtyard and the museum in the back, providing a visual connection between the new and the old. The gallery also features a rooftop space for public events.
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WORK SAMPLES
Barbara Walters Campus Center at Sarah Lawrence University
Summer 2018, KSS Architects Elevation and Plan Studies/Green Roof Studies/Amphitheater Stage Layout
New Academic Building at Rowan University
Summer 2018, KSS Architects Render/Elevation & Material Studies/Furniture Layout
Competition Entry for Kyoto University of Art & Design Summer 2017, Riken Yamamoto Field Shop Physical and digital model/Lasercut/Pattern Studies
The Fourth Tower at Marina Bay Sands Resort
Summer 2019, Safdie Architects Plan and Section Diagrams/Presentation Model /Design Iterations/ Paneling System The fourth tower is an addition to the existing Marina Bay Sands resort. I developed design iterations for the forth tower and built the presetation models. I also developed Grasshopper scripts for paneling system of the skypark and created plan and section diagrams for client presentation. 4.69째
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