JIAJUN TAN
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MArch2, Southern California Institute of Architecture,USA
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JIAJUN TAN This portfolio is a compilation of the selected course works I completed in SCI-ARC during 2014-2016 and in Harbin Institute of Technology (China) during 2009-2014, all of which support my definite comprehension and execution of the course outcomes(studio works and visual studies, apply studies as well as design documents). Consisting of 88 pages, my portfolio explores possible thoughts that how architecture as a descipline could be extended and the way architecture could be expressed, in the context that digital tools are intensely prospering.
Content
Face(de) Gohstly Programing Camouflage Phanton Library Nature Form Diving Tower The Bricks Undefined Form Variable Resolution Ningbo-Tokyo Monolithicity Hiding in the Plain Sight 01
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Face(de)
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Project type: individual work, graduate thesis Instructor: Andrew Zago Fall 2016, SCI-ARC It is a subconscious activity that people like to read faces. We find faces in satellite photos of Mars mountain. The dark spots on butterfly wings can sometimes recognized as eyes of larger sized animals. Even the electric socket can be read as a face. As for architecture, especially classical architecture, faces are more often found on their facades which are made symmetrical. Facade as an architecture term is a foreign loan word from French façade which means face. A facade of an architecture functions the same as a face of a human. This thesis focus on the question that if we can use this phenomenon as a design tool. A good possible answer is Claude Ledoux’s mason de campaign which is a series of country houses in France. On facades of these houses, we may recognize one face or several faces simultaneously. The resemblance of faces is like personification in literature, by which a sentence is made vivid. We can see how the resemblance of faces contribute to the facades. fig1. west view of building with context model fig2. south view of building with context model
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fig3. diagrams of figures and background, observation about the subconscious reading of faces.
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However, most facades in this issue are symmetrical and unified. What I am trying to do is to make an unsymmetrical and seperate order. At first, I took the figures from Ledoux’s facades and made them repetitive patterns. Each figure is potentially multiple readable as faces. Then, by varying the performance of the figures and the background which were also flatten from mason de campaign, I could makemore facial expressions at the same time. fig4. west elevation axonometric drawing fig5. south elevation axonometric drawing
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fig6. face analysis, Villard Honnecourt fig7. proportion study, Francesco di Giorgio fig8. elevation drawings of mason de campaign, Claude Ledoux fig9. proportion analysis
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Compared to classical buildings which could be regarded as a main characteristic face, this order creates a field of faces. You may find no face at all, or you can find 30 faces at the same moment. It is like literature versus twitter, twitter as a field of communication, even though full of nonsense, is more influential than any single great literature. The project is the contemporary art wing of Lima art museum, 6000 square meters, including a gallery, a library and a shop and a few classrooms.
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The mass of the building comes from the combinition of a series of proportion analysis of faces and the silhouette of mason de campaign. The geometry of the analytical lines become the interior space. The exterior patterns were applied to reach the balance of the diagrams. The interior patterns were the projection of the exterior patterns, which generate a new field because of the distortion of the projection process and the different canvas.
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fig10. section drawing fig11. facial expression analysis fig12. mass diagram1 fig13. mass diagram2
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second floor
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first floor
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underground floor
1.gallety 2.classrooms 3.offices 4.metro 5.library 6.shop and cafe 7.metro entrance 8.emergency exit
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fig14. plan drawings fig15ďźŒfig16. detail model fig16 fig14
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GHOSTLY GHOSTLY
Project type: Group work(coworker Yunke-He), studio Instructor: Dwayne Oyler Spring 2016, SCI-ARC Ghostly, which means ‘wedged between a world of spatial and formal manipulation and that of phenomenological effects’. Aiming for blurring the moires and figures, we took smoke and fabric as the original reference object to build the model. Capturing the movement is the point that we are really interested in when we doing this studio, the uncertain shape of the fabric in wind and smoke allow us bring the sense of movement into our project. Material is another thing we tesred. In order to get the ‘ghostly’ effect, frameworks, X-ray effect, the combination of different materials and colors help us to challenge the edges and shape of our building. Instead of seeing formalism as heavy and monumental, materials and different help the ghost working in our project.
left. close look to the study model of material right. section model of the final project
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Multiple-layer is our basic tectonic system for achieving this. The presence of the second figures start to emerge as you move around the screen. We also apply 3D fins to the back of the facade system which at first glance is not noticeable. But as you move around the system you will realized a relatively deep 3D system is at play there, and it becomes unclear exactly what is producing that effect. These allow the figures to appear and disappear depending on whether or not they are view elevationally or on the oblique. That lack of clarity about what producing the effect was one of the thing we found to be a key interesting aspect of the ghost.
left. two reference images(fabric,smoke) right. close look to the section model
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Returning to our interest in movement- We were especially interested in the idea that ghost didn’t have a fix position. They rarely stands still so it was important to allow the figures to move freely across different forms and geometries in order to express that. This idea continued in one of our site strategies, as we extended the geometry of figures to move out in subtle ways onto the ground. This was important to us‌so we looked at the things that had most effect on the building and we allowed those to work on the site. So the liner elements you are seeing on the facade are now happening on the ground and they are a combination of skylights elements and landscape manipulation. 17
background. 4th floor plan drawing with site right. pattern study(1,2.pattern of the building envelope 3.pattern of the landscape)
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background. section drawing left. process of the formation of the mass and double-layer
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The organization of the building exploits some of the key geometric strategies. We started by identifying which elements of the program requires solid mass, and which allowed for varying degrees of transparency. The diagonal columns, walls, fins and the pattern on facades creates a transparent volume while the object in the middle moves you into the building. That object serves as primary vertical circulation. 20
Programing Camouflage Project type: Group work(coworker Cunhao li), studio Instructor: Elena Manferdini Spring 2015, SCI-ARC The project uses Bernd and Hilla Becher’s photographs of industrial Architecture as a point of departure.Over time, Such abandoned industrial buildings become clumsy out of scale volumes, able to genuinely display all their pragmatic anachronistic features. They become abstract diagrams of autonomous architectural postures.
left. silhouette of industrial buildings from Becher’s photographs
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left. texture mapping study right. form language analysis of industrial buildings
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left. isometric rendering next page.site plan
we use these catalogues of industrial building to jump start a discussion on the relationship between programmatic function and architectural language in the definition of a new contemporary type of agricultural building. Controversial issues of legibility vs functionalism are at the core of these explorations.
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last page.elevation left.section drawing right(up).plan drawing right(down).interior rendering
FRONT FACADE DRAWING 31
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Phanton Library
Project type: Group work, Design Document Instructor: Herwig Baumgartner, Brian Zamora Coworker: SungYoon Jeong, Junzhe Liu, Jiahe Lu, TsuHsu Cheng Fall 2015, SCI-ARC We take a new approach to Design Development as it is conventionally understood in practice. Our approach is a disciplinary one, where we challenge representation and search for relevancy in an era where documentation of design and manufacturing are in flux and are increasingly based on three-‐dimensional live data. While BIM is an important development in this regard, our aim is to re-‐think how we can envision and communicate design in innovative ways which exceed the design object itself.
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This project is a studio design work by Ke Li and Junzhen Liu. It is a library in Spain with a gallery, an auditorium, a underground parking lot. The total are for this building is 3000 square meters. We take over the design document phase. The whole wok includes Interior structure structure, Roof tectonic, Foundation tectonic, Envelope structure system, Life safety egress, ADA plan ,HAVC system ,Cost analysis. My main job is to design the envelope system which includes the tectonic of roof and the external wall and the connection between systems. 35
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OUTER WALL TECTONIC
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ROOF TECTONIC
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PRIMARY STRUCTURE
ADA PLAN
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SECONDARY STRUCTURE
HVAC SYSTEM
WHOLE STRUCTURE
LIFE SAFTY EGRESS
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Project type: Group work, studio coworker:Wang Xuesong, Song Chaoyue, JIng Chenxi Instructor: Luo Peng Spring 2013, Harbin Institute of Technology The topic of the project is to create a structure that based on nature form.We finally choose the jelly fish as our research object.The main focus of the design is to imitate the elegant and light feeling of jelly fish moving.The design combine three different structure systems-the steel arc,the steel cable and the membrane.The three systems work together well and are proved very stable by digital structure analysis.Its outlooking is like a jellyfish moving in the water.
Nature Form Nature Form
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from several nature forms we choose jelly fish for its elegant looking
too much steel,too heavy
decrease the use of steel
the shape is too simple,lack of the feeling of freedom
no innovation of structure
i m i t at i o n o f the skirt of jellyfish
use both hard and soft materials
the loop cable make a sense of lightness
the form is boring
cable with steel arc make a sense of lightness
m a k e t h e structure more integrate
loop cable become three arcs
The Process We b e g i n w i t h t h e q u e st i o n h o w to m a ke a c o m b i n at i o n o f Architecture,Structure and Nature.In the one-month design,we consistently explored our project,many ideas came out,each time we made a model. After several evolution, we made our final design,which was a mimicry of jellyfish and was also a combination of both hard and soft structures,resulted in a light feeling.
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set up main triangular arch
side supporting frame hold the structure
set up the arc and side column,connect them by lasso
add side horizontal connection to theside column
use lasso to connect the whole structure more complete horizontal support
set a reverce lasso and make the structure more stable,then put membrane
The structure The whole structure contain three systems.The first one is the triangular arc,it support the main weight of the building.The second system is the lasso,it to some degree counteract with the weight of the arc and form the skeleton of the whole shelter.The third system is membrane,it is light and flexible,could easily cover the gap between the lasso and also make the laso more stable. 45
paste membrane
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Detail view of the structure perspective Guyed masts
Steel arch supporting structure Roof ventilation structure The roof steel Sun roof plate Backstay cable The ground cable node PTEE membrane material Pervious to light membrane material Ventilation seam The side membrane material The main supporting bar
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Secondary supporting bar Supporting bar node
Main scantling form name
size of section
material
type
steel arch
second arch
SectionB-B
roof steel frame
side column
side support
side horizotal support
main lasso
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First floor 49
Second floor
Third floor
Explosion Diagram 50
Diving Tower
Project type: solo work, studio Instructor: Zhang Shanshan Fall 2012, Harbin Institute of Technology This tower is a hotel with residenti-al use as well as diving training use.This design has two main focuses.The first focus is to create a special experience for tourists by dealing with the light and the eyesight,especially the light pass through the water.The second focus is to explore a special water-support structure.In the design,the water is the key point.
left. study model right. final model next page. section drawings
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1,entry hall 2,commodity 3,kitchen 4,restaurant 5,diving preparation 6,garden 7,water cleaning system 8,meeting room 9,storage 10,office 11,gym
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SectionB-B 54
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level9 1,entry hall 2,cafe 3,commodity 4,meeting room 5,storage 6,diving preparation 7,office 8,kitchen 9,restaurant 10,gym 11.KTV 12,lecture hall 13,service
The structure Water make an important role in the structure.It not only provides the divers the diving environment,but also support the functional blocks by floating them,the blocks are just like submarines diving into the water tower.The core and the outside frame become a stable water tank to keep the water. 55
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last page left. final model last page right. plan drawings left up. diving space rendering left down. structure logic diagram right left. study model of module right right. program logic
the core
the outside frame and the core become a tank
water pouring into the tank
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restaurant
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diving preparation
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diving preparation
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swimming pool
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blocks diving into the tank hall
office,gym
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cafe,KTV,lecture hall, diving preparation
The function Hotel funtions are put in cone-like shape blocks.These blocks are arranged in an order of spiral rising.The functional spaces are directly face the suroundings,so different functions are easily expressed by the facade.The spiral rising blocks also form the diving space as spiral channel. 57
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The Bricks
Project type: solo work, studio Instructor: Bu Chong Spring 2012, Harbin Institute of Technology The site is an assumed environment with a south lake and a north shore on the slope of which the building sits on. The intent of the project is to create a landscape, an art museum and a rest space. The main focus is to admire the lake scenery and create a communication between guests and nature by the power of silence. How I deal with the scenery is to enforce it by hiding the building mass which is a simple cube. The mass sits under the upper ground level and create a platform which
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A 1,lobby 2,lecture room 3,exhibition 4,classroom 5,temporary exhibition 6,viewing platform 7,storage 8,bookstore 9,toilet 10,cafe 11,office 12,laboratory 13,main entrance 14,side entrance 15,staff entrance
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is supposed to carry the landscape and also served as the entrance plaza, all the functional space is under the platform. The whole building follow a grid order which is 6*6 square with a two-floor-high gallery on the north which is relatively close and silent, the rest open space is facing south to the lake view. On the ground level, some geometrical volumes are applied as landscape material. It is inspired by the abstract painting of Kazimir Malevich. In his paintings, geometries express different moods. I try to put the blocks according to the grid to create a sense of stable and silence. For the landscape level, they serve as abstract expressive shape. For the lower functional level, they serve as entrances, roof windows, they are the connection between two levels. 61
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Undefined Form Project type: Individual work, studio Instructor: Hernan Diaz Alonso Fall 2015, SCI-ARC
MOVIE ADDRESS: https://youtu.be/oi3zuaw4LqQ 63
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The title of this studio is “undefined form� in which we explore about the form of popcorn and develop by sophisticated fabrication. The program of this porject is temporary concert hall which locates in Tokyo. The final expression of our studio are movies that projected in the keck hall to make audiences feel the space of the real scale as if they can touch the details.
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In this project, I explore about how texture generate form of different control levels and how they influence on space. This Project takes the random form of popcorn as a departure. At first, I use two popcorns that one contain another to generate the basic posture and the inner space. Then I fill the space with textured mass which comes from a mould texture in oreder to break the continuity and create open space which the entrances and circulation depend on.
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The open space was created by the meeting of the textured mass and shell. They were broken and combined by applying textured layers with different geometrical accuracy like the dots on the shell and the pattern mullion underneath it. For the music hall at the center, I use the form of inside popcorn as topology and wrap the space using layers and terrace to realize the function. By doing so, I can reinforce the relationship of popcorn form and music hall and make the texture contribute to the complexity of the space. 69
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up. street view of site in copenhagen down.close look rendering
Variable Resolution Project type: Group work(coworker Nastaran Ghaidar), studio Instructor: Casey Rehm Fall 2014, SCI-ARC The project of the studio is based on the collusion between objects and images in the production of architectural form. The vehicle for this is a library in Copenhagen, based on a competition organized by AWR. The project interrogate the potential of medium specific appearance-making in architecture, differentiating between realism as a representational mode, involving degrees of representational accuracy, and reality-that which is represented. The basic volume of our project was generated from the photos around the site in 3D coat. At that stage, we abstract the photos in photoshop, we outlined the potential architectural elements such as the facade of the surrounding building, the cloud, the texture on the ground and so on. Then we used the abstracted images to generate our building. 71
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To create an architectural mass that generates a sense of moving repetition, we manipulated the images to produce rhythmic articulations that was broken by a singular transparent form, giving the building a sense of balance and dichotomy. The color of the voxels were generated from the surrounding buildings’ bricks and the water. The blue and orange are complementary colors and oscillate uncomfortably as we move closer to the building. When we zoom away, we can see the distinct colors of the voxels that almost appear gray, reflecting the nearby water. left. form generated by photos right. selected form
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left. voxel applying right. up. front elevation rendering right. down. .entrance rendering
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up. slit scan section rendering down.slit scan elevation rendering
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Ningbo-Tokyo Monolithicity
up. ninbo museum wall bricks and wapan detail down. ninbo museum wall tectonic
In this project, we aim to theorize and generate alternative instantiations for the Tokyo Opera House, and in doing so suggest a new project. The Tokyo Opera House will be understood as the ‘Host’. Then we consider the enigmatic representations available and reimagine them with contemporary technological and material means derived from other contemporary project, which for our project is Ningbo Museum designed by Wang Shu.
Project type: Group work, Apply study Instructor: Marcelo Spina Cowrker: Jiashu Zhang, Xiangtai Sun, Yunke He Fall 2014, SCI-ARC The project of the studio is based on the collusion between objects and images in the production of architectural form. The vehicle for this is a library in Copenhagen, based on a competition organized by AWR. The project interrogate the potential of medium specific appearance-making in architecture, differentiating between realism as a representational mode, involving degrees of representational accuracy, and reality-that which is represented.
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With the not so recent emergence of advanced digital tools and computation in architecture, the tendency towards monolithic form became nothing but pervasive. Propelled by new developments in composite materials, manufacturing technologies and aesthetic sensibilities, monolithicity became a formulaic attribute for contemporary visual representation. That is, the image of built form looked monolithic even if the form actually built did not.
STRUCTURE ANALYSIS
The outer wall decoration of Ningbo Museum is made in two ways. Some walls are decorated by tiles collected in local areas. This sort of decoration itself was a common way of building an economical house in old days in Ningbo when cements are not introduced. Other walls are decorated with cement-covered bamboos. 81
up. final model detail down. model making process
left. wall detail drawing right. structure system analysis
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Hiding in the Plain Sight Project type: Group work, Visual study Instructor: Elena Manferdini Cowrker: Xiangtai Sun Fall 2014, SCI-ARC The project closely analyzes examples of “camouflage” techniques: geometric abstract-pop art vs.biomorphic realistic expressionism. We focus on the tactical elements that enabled this body of work to create specific optical effects (rather than on their relative artistic contents or historical positioning) and unravel the underpinning strategies used in these two painterly approaches to trigger viewers’ simultaneous reading of a figure against its environment. We use Zbrush alphas, processing codes, materials, Matcap, textures and add element of fantasy and fiction to the natural scanned elements. We modify their photorealistic object into a fantastic one in order to achieve the desired effect in their final landscapes. 83
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We use as a point of departure for this exercise the site of an actual competition held in Seoul this summer: The Mapo Oil Depot. The site is valuable industrial legacy of Seoul but has been forgotten since its own purpose was terminated. The main objectives of this project are creating an “Open Park� and return this place to citizens with diverse programs such as performances, exhibitions, information and leisure utilizing the uniqueness of this site. 85
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Education Degree
Southern California Institute of Architecture Master of Architecture Harbin Institute of Technology, Harbin, Heilongjiang, China Bachelor of Architecture
2014.9-2016.9 2009.9-2014.7
Awards & Scholarship Third Prize, People Scholarship September 2009 --- July 2010 HIT, Harbin, China First Prize, National University Student Innovative Experiment Project 2010 HIT, Harbin, China Third Prize, Sunshine Scholarship for student 2012 HIT, Harbin, China First Prize, National Design Competition Of Architecture Students 2013 China Architectural Education Advisory Committee,China
Name: Jiajun Tan Gender: Male Date of Birth: 10/24/1990 Citizenship: China Cell Phone: (626)408,4524 Current Address: 300 s Santa Fe ave 3-370, Los Angeles,CA90013 E-mail: tjjtanjiajun@163.com
Professional Experience Internship
The Architectural Design and Research Institute of HIT, China 2013.09--2013.12 Project:Architectual design and site olan of The Second He Tai Zi community parts: plans, modeling Project: Jilin Teachers' Institute of Engineering and Technology parts: Concept, plans, modeling, rendering XEFIROTARCH Project:Rususupuisto Competition parts: section drawing, modeling Project: Conexion Barceloneta parts: modeling, diagrams
2015.05--2015.9
Professional Skills 3D Modeling 2D Graphics Rendering
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Rhinoceros, Sketch up ,Grasshopper, MAYA, ZBrush Adobe Creative Suite (PS / AI / ID), AutoCAD V-ray for Rhino / SketchUp, Mental Ray, Podium for SketchUP,Keyshot
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