Address: School of Design, University of Pennsylvania, Tel: 86-15202217673 +1-215-847-7453 E-mail: wangshuo@design.upenn.edu
[EXISTANCE & PERCEPTION] PORTFOLIO OF WANGSHUO
CONTENTS Architects walk in two lines, abstract world and real world. They start from the abstract world, due to the nature of their work, head to the real world. The most outstanding architects are those when they finished work, they could to make it closest to the original abstract. That is where architects different from the builders.
1
[Rear Window] Four villas to express the story of the movie Rear Window.
2
[Pencil Tower] Skyscraper design in New York.
3
[The RongXi cabin] A transfermation of spatial relations in Chinese Landscape Painting.
4
[Starry Starry Night]
The expression of the story of two people in a 2mĂ—2mĂ—2m space. 5
[Track Down The Trace] Urban reconstruction design of the TianJin Xiyuzhaung area.
6
[Supplement Works] Photographs, paintings and other works done in school and during internship.
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49
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[Rear Window]
Four villas to express the story of the movie Rear Window. Personal research work Could a movie be a starting point a series of space? Could it become a medium to connect space with narration?
Plot
[Rear window] 1954 America Directed by Alfred Hitchcock
overlook
telescope
invasion
confrontation
overlook
telescope
invasion
confrontation
overlook
telescope
invasion
confrontation
Clue
Rear Window is considered by many to be a masterpiece that is perfectly constructed to man i p u l ate th e n arrati ve an d th e vi ewer's experience of it. The 1954 film stars James Stewart, Grace Kelly, and Thelma Ritter and is based on a 1942 story by Cornell Woolrich originally entitled "It Had to Be Murder." Hitchcock often refers to Rear Window as his "most cinematic" work because it is told in purely visual terms. It is impressive that Hitchcock was able to form such a suspenseful and compelling story given the restrictive nature of the setting. The film takes place in the cramped apartment of L.B. Jefferies, an immobilized photographer who has nothing better to do than look out at the surrounding buildings and their tenants. The film is essentially seen from the perspective of a person bound to single spot and all of the action takes place around that spot (Pallasmaa). The viewer is shown what that person sees and how that person reacts. Many of Hitchcock's films indirectly employed the use of voyeuristic framing to make the viewer feel like they are witnessing the events portrayed on screen. The frame is likened to a window through which the audience may satisfy its impulse to pry into the intimate details of the character's lives (Giannetti 46). In Rear Window, this voyeuristic framing technique is taken to a literal level in an attempt to expand the emotional involvement of the viewer. This presentation of overt voyeurism in the context of a confined setting presented a considerable challenge to Hitchcock. Not only must he tell an exiting story, but he must do so with an immobile protagonist who participates in the morally dubious activity of peeping. Hitchcock not only manages to create a sense of claustrophobia that is not suffocating, but he is also able to make an ingeniously subtle and profound statement on the morality of voyeurism.
03
Context
Model
Structure
Space
04
Continue to disassemble the four plots into details, which each plot includes three actions. There are twelve actions altogether consists a whole moive. Transform each action into space and the twelve kinds of space translate the movie into a spacial perspective
05
24:50
34:04
39:13
41:21
49:10
50:41
88:15
95:40
97:57
102:05
107:22
108:58
focus
amplify
call the police
message
the garden
the invasion
come to light
confrontation
a fight
confrontation
view the yard
invasion
attractor
telescope
overlook
overlook
06
Overlook
Telescope
07
overlook
Invasion
message
attractor
the garden
view the yard
the invasion
focus
Confrontation
come to light
amplify
confrontation
call the police
a fight
08
Overlook
Telescope
Invasion
Confrontation
09
10
Villa I —— overlook "- Must have been watching out that window for hours. - Yes, I was." 37:26 In this part, the charactor look out of the rear window of his department. He has a overlook of many events.
second ploor plan 1:200 Three main volumes stay Side by side with each other, consisting the first villa. 1 A
A
2
3
first ploor plan 1:200
From top view, we can distinguish three volumes stay abreast from each other, representing the three actions of the first part of the movie. In the modular range, we can distinguish the main space inside the villa from the volume.
section A-A 1:200 11
12
Villa II —— telescope "- Take those binoculars out and bring them here, will you? - Trouble, I can smell it" 40:20
third floor plan 1:200
In this part, he uses his camera and telescope to have a further look at a specific event.
second floor plan 1:200
Developed from the first part, the three volumes begin to insert to the next one, representing the process of looking ouside using a telescope.
first floor plan 1:200
.
ion
tel e
sco
pe
ilit
e Th
13
ab me
he
t y in
ide
lo
s ng-
ect dir
r
pe
14
B
A
Villa III —— invasion "- Let's get down and find out what's buried in the garden. - Why not?" 91:40
B
A
In this part, the charactor enters the room of the salesman. The story reached a climax.
first floor plan 1:200
In the third part, a long and narrow part insert the whole villa, representing the invasion process in the movie.
Inside the villa, the flows from one end to the other, which enables people to experience the invasion process.
15
section A-A 1:200
section A-A 1:200
16
Villa IV —— confrontation "- What do you want from me?" 108:02 In this part, he was discoveried by the salesman. They fight but the salesman was soon caught by the police. A
A
first floor plan 1:200
In the forth part of the movie, the spy behavior was discovered. In the villa, the volumes express the confrontation in the movie. 1
2
3
section A-A 1:200
3 1 2
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18
Put four villas together we can distinguish the different part of each other. What's more, we can see the development of the movie plot through the four villas.
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20
[Pencil Tower]
Asset urbanism architecture design in New York. shyscraper design (team work) As the New York real estatei ndustry booms, there appears to be too much supply in the uber-luxury segment, residential and commercial, speculating that in the coming years there would be more supply than demand. 432 Park Avenue is proposed to be a skyscraper with multiple charter schools benefitting the city, the real estate industry as well as thef oreign investors.
As the New York real estatei ndustry booms, there appears to be too much supply in the uber-luxury segment, residential and commercial, speculating that in the coming years there would be more supply than demand. 432 Park Avenue is proposed to be a skyscraper with multiple charter schools benefitting the city, the real estate industry as well as thef oreign investors. • Wealthy investors and major banks have been making windfall profits by using the little-known federal tax break (called the New Markets Tax Credit) to finance new charter schools. • A federal program known as EB-5 allows foreign investors to invest at least $1 million in certain job producing projects. The charter schools have become popular among these investors. • By combining the various credits, with the interest from the loan itself a lender can almost double his investment over these ven-year period.
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“….Indeed, as various news outlets have documented, business heavyweights are dumping millions into the nationwide campaign to promote charter schools as a replacement for public education. That includes, most recently, Facebook's Mark Zuckerberg…” • The tax credit may also explain why Mark Zuckerberg donated a half a million dollars worth of stock to organizations that distribute charter school funding and opened his own foundation, STARTUP: Education, to build new charter schools. • In the midst of the careers of the UHNWI, making as much money as possible, every philanthropist is selflessly spending gobs of money with no desire to get any return on investment.
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6
5
1
1
3 6
1
6
2 2 1
2
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6
1 2 3 4 5 6
Classroom Lecture Hall Conference Rooms Cafe/Lounge Restrooms Gallery
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4 3
3 5
5
1 2 3 4 5 6
Classroom Workshops Conference Rooms Cafe/Lounge Restrooms Gallery
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[The RongXi Cabin]
A transfermation of spatial relations in Chinese Landscape Painting Personal research work The spatial cognition of tradition Chinese Landscape Painting derived from the way people perceive the outer world. Meanwhile the space reflects people's inner mind.
[The RongXi cabin]
Look to Mondriaan's works of the Neoplasticism period, the same situation happened in his paintings.
The meaning of the RongXi Cabin is if people could be able to live in the environment what the painting shows, the painter would rather make the cabin as little as it could only has a capacity of his knees. If building a house is just like making a little world, then the elements inside the boundaries of the painting is the whole meaning of Chinese Garden.
If assimilate traditional Chinese Garden to Chinese architecture, then the central issue is no longer buildings, but sceneries or elements. The concept scenery here does not mean landscape, but a kind of element with special function in traditional Chinese paintings. They not only confined to what they are, but more importantly, where they are and what the relationship of each other.
Mr. WangShu has likened architecture to creating a chinese garden: it requires the ability to be flexible, to improvise and to solve unexpected problems. That is to say, the spacial relation in the Chinese paintings and Chinese Garden could be abstracted and refined in today's architecture.
mountain
trees
Different typical elements of the Chinese landscape painting
stream
clouds 33
cabin
water 34
Scenery in different distance
ac e sp of e ns Se
In the traditional Chinese landscape paintings, every elements serve as a kind of medium. Different elements works together to form a general scene. In one piece of painting, there are always some levels to express the spacial relation of the outside world, in these levels are the different elements play a role in achieving this purpose.
distant view middle view close view
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36
Abstract four typical elements most often seen in a piece of Chinese landscape painting and transform them into volume and then make further transformation into four kinds of spacial style.
buildings
rocks
trees
clouds
The RongXi Cabin (1372) Ni Zan (1301-1374), Yuan Dynasty
buildings
37
trees
rocks
clouds
38
trees
building
Rocks
Put these four space model together in a basal and arrange them orderly refer to the spacial relation in the painting RongXi Cabin.
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40
relation of volume
combination form
C
empty space
±0.00
0.60
B
B ±0.00
0.30 6.300 4.800
0.60 ±0.000
section A-A 1:300
0.90 3.900 0.900 ±0.000
1.20
section B-B 1:300
0.90 6.300 4.800
A
A
1.800 ±0.000
C
section C-C 1:300 41
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[Starry Starry Night]
The expression of the story of two people in a 2mĂ—2mĂ—2m space. Personal research work This space could be a kind of circumstance for the story of the two heroes. Through the positional relationship between people and space, we can express the story in a spatial perspective.
[Starry Starry Night]
Eight scenes of relative position of two heroes and space
2m
2m
These eight scenes represent eight kinds of relationship between the two characters, and these eight scenes consist a series of relationship of charactors and space. At different positions in or out the space the two charactors can form different kinds of relation, which can represent the plot in the movie.
2m
V
II
VI
meet again
farewell
escape
teamwork
invatation
folloe
acquaint
I
III
VII
IV
VIII
space
encounter
In the movie Starry Starry Night, the two heroes didn't know each other in the beginning, then they met and began to learn more and more about each. Gradually they became good friends and decided to visit the girl's grandfather who live in the mountain. Finally they escape from the city, which represents the troubles and to look at the starry night in the mountain, which represent the freedom.
Two kinds of lines represent the relative position of the boy and the girl. The space is a kind of medium where story happens.
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girl boy 46
The basic space operation of this 2m X 2m X 2m space. Two system represent two aspects of the world in the movie.
space changing
flowing
frame surrounds
grid system
"Architecture can't force people to connect, it can only plan the crossing points, remove barriers, and make the meeting places useful and attractive."
2m X 2m X 2m
Through the elevation we can see how this space serves as a medium to affect the relation of the boy and the girl. Through the section we can see the space inside.
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[Track down the trace]
Urban reconstruction design of the TianJin Xiyuzhaung area. Curriculum design (team work) With the development of the modern city, many old buildings and towns disappeared, as well as the traditional life style. It is necessary for people to consider to preserve the "trace" of the city.
[Track down the trace]
The historical evolution of this area.
Urban reconstruction design of the TianJin Xiyuzhaung area.
China
TianJin
HongQiao District
1860
1920
old city
1950
2014
2020
new CBD 1.residential area 1 ?
2
2.commercial area 3
4 2014
river and park
51
reconstruction plan
context
3.recreational area 4.TianJin West Railway Station
2020
tracfic
city landscape
green land
52
One city's culture is a key point to distinguish a city from others, so it is important to preserve the traditional life style in an area. The culture can recall the memory of the past even if the city has changed a lot through the process of modernization.
result
transition
familiar
diverse
sh
y
io
on iti ex h
ib
hi fo l
k&
&
sto r
ct un lf na igi or 53
culture
recreation
rk
collide
pa
harmony
&
effective
commercial
an ts
suitable
pl
ruduce
s
expand
es
medern city
in
ecological
ss
environment
bu
landscape
n
old
er
small space
od
solution
m
problem
ow
situation
n
concept
Continue the small scale context of the neighbor residential area in the site. Meanwhile respond to the large scale of the whole city.
ecology
54
In order to memorize the traditional life style in this area, my solution is to arrange a array of a series of small scale construction. These construction use traditional materials to recall the spacial cognition of the past.
"Big trees"
The origin context of this area is small scale net. Abstract this net and simplify it into a more simple and orderly.
origin context
main road
net system
orderly spot
"Chinese garden"
"Slope roof"
"Grape trellis"
"Sunset on the roof"
traditional meterials
Arrange the little scale construction into the volume groups.
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In the master plan, we can distinguish the small scale constructions in the whole site. Different forms of space have different functions.
form
place
function
large space
high-rise
cut volume
discrete space
ground-level
accommodate
structures
corrider
elements
small space
underground
narration
project area distribution Building land commercial land 33.6% 5.57ha recreational & cultural land 8.68ha
master plan
building area distribution Commercial & Office 5.57ha commercial area 40% 0.966ha office area 1.123ha
9.0% Traffic land 60%
54% Green land roof greening reservational greening indoor greening outdoor platform 3.4% Infrastructure facilities
53%
Recreational & cultural 8.68ha museum 5000 ㎥ experience space 1.123ha Building area 20.9ha Site area 14.382ha Open area 11.23ha Rate of open area 53%
N
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The buildings group
The spot grid
The connection system
Landscape and sight view
Landscape and sight view
The site fundus
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The reconstructional process provide modern office and commercial place for people and more open space for the citizens. Meanwhile, this process preserves the small scale context of this area, making it a better place for people to work and entertain.
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[Supplement Works]
Photographs, paintings and other works done in school and during internship. This part is about some supplement works including photogaphs, traditional Chinese painting and some basic skills of sketches and watercolor paintings, as well as other works done in school and during internship.
[Supplement work - Photographs] In this series of snow scenery photos, I try to connect photographs to Chinese traditional paintings. They share similarity in color, composition and contents.
Red plum, Wu Changshuo, Qing Dynasty
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Plum in snow, Photographed in China Jan 31, 2014
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[Supplement work - Paintings]
sketch-HuTong 2012.1.31
sketch-The bamboo house 2012.5.6
sketch-Folk house 2012.5.22
watercolor painting-Folk house 2012.5.24 Pingshan, China
watercolor painting-Small alley 2012.5.25 Pingshan, China
watercolor painting-Ancestral hall 2012.5.26 Pingshan, China
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traditional Chinese painting-Longevity peaches 2014.1.30 Pingshan, China 66
[Supplement work - other works] During last few years from 2010 to 2014, there are some other works done in school and during the internship.
HALF SEA, HALF FIRE The spatial constitution work
2011. 10
ANT-TRIBE SETTLEMENT Design of low-income-citizen settlement
2014. 1
CULTURAL COMPLEX The folk-culture museum
2012. 6
MIXED OFFICE High rise building design in Tianjin
2014. 6
ORGANISM Wen Chuan earthquake musem
2012. 12
SPIRIT OF PLACE A research project of the Mega City
2014. 7
ATRRACTION Business area reconstruction
2013. 6
JIMO RAILWAY TBD Internship project
2013. 8
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Architecture stays in a constant state of flux and design is always being modified under accumulative experiences and awareness. As a person with interest in questioning new things and stimulating, I believe the more design training I gain, the more knowledge and untouched fields I'm eager to detect.