Cover Letter Dear Sir or Madam, I’m applying for the Entry Lever Designer position in your firm. With the solid education, well-trained skills, and the enthusiasm on architecture design, i am ready to join your team.
Good at both Individual work and Team work. During my time in school, there are both individual studios and group studios. As to me, individual studio means freedom and well-scheduled work, while group studio means division of work, coordination and taking the responsibility when necessary.
Strong Knowledge on Ideas and Software. After 7 years of continuous study on architecture, both my ideas on design and skills of software are mature now. I’m interested in most of the lectures and enjoy getting ideas on design from the process of exploring the world. As I like exploring new things, I have learned a lot of software to support me to make my concepts come true. As a result, I’m proficient on most of the design software and good at making them work together.
Enjoy Pressure and Heavy Work I think my ability to work well under pressure will make me play an important role in my team, and I can feel my value when I am given some heavy work. Also I have some special ways to release my pressure and keep a good state at work. Please feel free to contact me, look forward to talking to you soon. Tel: 213 505 7573 E-mail: wuxiaotian123@gmail.com Sincerely, Xiaotian Wu
WORK SAMPLE (2009-2014)
Name: XIAOTIAN WU Cell: 213-505-7573 E-mail: wuxiaotian123@gmail.com Address: 1509 Solana Ct, Los Angeles, CA, 90033
Personal Statement
Born in a traditional town Wuxi and accomplishing my university-study in a typical Chinese ancient city Nanjing, I have witnessed and experienced the rapid urban transformation in China. I think it’s lucky for me, with the vision of an architect, not only to have the opportunity to be a spectator, but also to be involved in this extraordinary era. This stimulates me to continue my way on architecture and to pursue a higher degree abroad. With the basic knowledge on architecture, I’ve learned more about various concepts, ideas on architecture design, some of which are interdisciplinary researches. After 7 years of professional architecture education( 5 years traditional undergraduate education and 2 years advancing design concepts education), I believe it’s time to put all these knowledge and skills into real projects and practice more about communication with coworkers and clients. Therefore, I would like to apply for a job as in your company. My comprehension of architecture started to shape itself long before I entered this field, although it is until later I recognize the great influences of these tiny pieces in life: I did not realize my initial architectural skill of craftsmanship and understanding of the basic logic in architecture were stir up by my favorite toys LEGO, and hand-made models when I was an innocent boy; neither did I realize that my curiosity and unique personalities has such big impact on my view of architecture. I like to wander around cities to see places I am interested in or have never seen before – my inspirations are always from these places where I keep continuous observation on. Motivated by my interest, I have spent much time on the courses study to strengthen my theories about architecture and design skills in drawing, digital mapping, and so on. Due to my efforts, I have ranked top 5 in my school and won many honors from 2007 to 2012 academic year, such as the “Best Undergraduate Thesis”,“ Third School scholarship”; “First School scholarship”; “Excellent League Cadre” and “Excellent Student Scholarship”, to just name a few. I like concentrating on the studying in class to absorb more information than just reading books. So I can improve my study efficiency and save time to observe the outside world and search other knowledge of architecture on the internet or in the library. In the meanwhile, my horizon was broad on this field. Because of my own method of study, I can always come up with inspirations to create my works. Some of them may seem immature and irrational but most of them have accredited by my teachers, which make me confident about my ability in this field. During my graduate studies in SCI-Arc, I’ve seen so many advancing concepts and ideas on architecture design, which show me the spirit of donating oneself into architecture design as much as possible. I have to admit that I’ve learned more than I expected in these two years, In the first semester, I’m lucky to have Florencia Pita as
my first advisor in SCI-Arc, who can push us as much as we can and also control the design process very well. In the second semester, I really enjoy the studio of Andrew Atwood, who can help us find out our problems during design process and also inspire me to try something new and amazing, by the way, he also has a super strong knowledge on any software. In the third semester, I’m very happy to have Andrew Zago and Eric Owen Moss as my First Vertical Studio advisors. Andrew shows us how diagrams can influence architecture, and I really learned a lot when research the most famous buildings However, Eric lets us know how important it is to respect the existing building and environment on the site, and tells us that every step of design should have reasons, should be rational instead of just thinking it’s cool. In the forth semester, I’m so lucky to be selected to Wolf D. Prix’s studio that he and his assistant give us a good chance to learn a series of his design method which broadens our vision of design and our understanding of architecture. During the thesis semester, I’m glad to have Ramiro Diaz Granados as my advisor, who is a dynamo and always has new ideas. Although my thesis have been changed several times, neither he or I feel tired or bored after we did many researches and designs. So I’m grateful that he always requires a lot and has strong enthusiasm on pursuing the possibility of architecture design. In addition to the ideas on design, I am well trained to use maybe 15 more design software than Sketch Up, Autocad, Rhino and Photoshop. Because we want to break down the limits of each software, and let them work together to make our concepts come true. Also thanks to my teachers who have given me precious suggestions and courage in architecture design, my skills in this field improved a lot. I believe I have acquired the necessary theoretical framework and sufficient practical skills for future studies and work. As a student in the school of architecture, the academic achievements are really important but the practical application is also rewarding. My internships strengthened this view, when I practiced in both large design institute and experimental design studio in my junior and senior year. These early involvements into actual practice showed me how, in roughly opposite ways, these individuals fit their architectural ideals into the context of contemporary China outside the academe. The very survival of each individual provides me vivid lessons which always remind me of adjusting my route while advancing forwards. I remembered the most impressive scene was when the design group leader rejected my sheet drawing which I had spent much time on. I believe the design was logic and beautiful which suits people living, but the leader pointed to me that the mix-cost and income of the customs may not be desirable to afford this kind of design and moreover, though the design was nice, the space usage had not got the maximum benefits. All those have showed my lack of experience in the real practice. Adopting
the leader’s suggestions, I had revised my project for many times until the leader satisfied. The process was really painful and worthy especially when the leader(LiYi) appraised that “You are a creative young man with diligence and persistence, if you further study your major with practice, you will be more successful.” I think I will never forget these cherish experience of practicing in these large design institute and experimental design studio. I believe my strong motivation to develop my own logic which fits into this era will support me to go further. However, my understanding and methods should still be strengthened to achieve that goal. I believe I can do well with my enthusiasm on architecture and my modesty and honesty on work. I know it’s a long way for a young architect to grow up, to be mature and finally to be able to take responsibility of changing the world, but I will always keep going, just as the words in the poetry of Robert Frost:
The woods are lovely, dark and deep; But I have promises to keep; And miles to go before I sleep; And miles to go before I sleep.
01 Design Document
In this course, we suppose to learn what we need to draw in Design Development Phase. Instead of just drawing a boring and pale DD-book, the final drawings should also include a fantastic Mega Drawing. This is based on one of our projects, and the final product includes several chunk details, main structure of the theater, structure of the whole building, envelop details, theater ceiling details, theater-floors-envelop details, HVAC, ADA, Egress, and GFRC panel details.
SCI-Arc Applied Studies 2013 Fall Mega Drawing( 10ft x 10ft) Instructor: Tom Wiscombe, Herwig Baumgartner Project Team: Xiaotian Wu, Wenxin Lin, Yulun Wu, Ou Liu, Yige Liu
02 Diagrams
SCI-Arc Studio 2013 Fall TaiChung Public Library and Culture Museum Instructor: Andrew Zago Project Team: Xiaotian Wu
Diagrams are something shows the character of a building, some show the forms and relationships, some represent the plans or sections, some tell how circulation works. This Studio begins with a series of case study( Museums and Libraries).BAfter we studied about 50 projects, and drew the diagrams of the plans and sections. Then we build a diagram tree, which shows almost all the relationships among several objects. Then we start to draw our own diagrams. In this project, I start from several diagrams, and after a few steps the project is completed. 32800mm
C1-X-X-X rZ-5
Y(N)-1
C2-X-X-X
1 4
5
C3-X-X-X A
Y(N)-2=rZ-(N)
B Y(N)-2
Y8-2
A
34800mm
A
32800mm
rZ-1
Y7-2
Y6-2
Y5-2
New Museum SANAA
Y2-2=rZ-2
Y3-2
Y4-2
Y1-2=rZ-1
Singular Group
Z-1-1-1 C
translate
Z-1-1
Singular Group-Example Z
Z-1 rotate
rZ-2
Tokyo Aptartment Sou Fujimoto
Z-1-2
rY-1
Children's Center for Psychiatric Rehabilitation Sou Fujimoto
34800mm
Y(N)-3
rZ-3 Z-1-1-2 Z-2-1-1
Moriyama House SANAA
Y8-3
Y7-3
Y6-3
Y3-3
Y4-3
Y5-3
Y2-3
Y1-3=rZ-1
Nakagin Capsule Tower Kisho Kurokawa
translate
Fourm 2004 Herzog & de Meuron
Z-2-1
6
Z-2 rotate rZ-4
2
32800mm
Part of Y(N)-4=X(N)-4
3
Z-2-2
Y(N)-4
Z-2-1-2
translate
rZ-5
rZ-6
B-3
Level 1 Floor Plan 1: 300
Vitra Visitors Center Herzog & de Meuron
Z-3-0-0-1
Vitra Visitors Center Herzog & de Meuron
Z-3-0-0-2 rotate
rZ-7 Z-3-0
Z-3-0-0 Z-3-0-0-3
rZ-8 Asakusa Culture and Tourism Center Kengo Fuma
B
50000mm
1. Senior Reading Area 2. PC Checking Center
3. Children's Reading Area 4. Self Study Area
5. Coffee & Magazine 6. Community
Library Plan 1:350 25000mm
Âą 0.000mm
-25000mm
Section A-A 1: 300
Diagram1: Formular
Z-3-0-0-4
03 Rashomon in Design
This studio is mainly about how we consider the existing problems on the site, and how to protect the original buildings in different ways. So our method of conservation is that we keep the original facades and interior walls, and change the roof into transparent materials. Then we loft the shape of the original buildings into the air and give the loft parts two different conditions. In the loft part of the Getty, there are full of floors, so we can only understand the loft path from outside. As to the loft part of the Picklworks, the inside part of the loft is almost empty, so we can understand the loft path by standing inside the loft volume. As to the relationship of the neighborhood, we use the curved surface to connect the building, the bridge, the new residential and the block on the north. The curved surface comes from the height change of the vehicles on the bridge and the height change of the performance center. The whole curved surface becomes a continuous platform to connect every programs.
Level 1 Floor Plan 1: 300
Section A-A 1: 300
SCI-Arc Studio 2013 Fall Reconstruction of Picklworks and Getty Instructor: Eric Owen Moss Project Team: Xiaotian W, Yulun Wu
04 The New Painterly
This studio explores the relationship between color and form in architecture borrowing specific “painterly” techniques from the art field and using them as a point of departure to challenge notions of literal and abstract representation in building masses. By identifying contemporary notions and developing contingent understandings of two distinct but related terms found in the history of painting, art and architecture, Chiaroscuro and Tenebrism, this studio will seek out new understandings of their relationship to the discipline of architecture. “Misleading” is one of the main ideas of this studio, which we understand as the building can give visitors an unusual feeling by using faked shadows and transforming patterns. As to our project, we did several designs to achieve that purpose. Firstly, the exterior of our building is like a pyramid, but the edge of the building does not touch the ground, which means “the building seems can be climbed, but when visitors walk closer, they find out it’s a misleading.” Secondly, we project the opposite shadows back to the building, in this way, the color and form has a strange effect. In the daylight, the brightest part seems dark, and the darkest part seems high-lighted, and boundary of the building seems blurry or disappeared. In the night, it shows a different effect, and in both day and night, the form of the building seems not that clear.
Axon
Section 1: 500
South Elevation 1:500
Panorama
SCI-Arc Studio 2013 Spring Generative Morphologies Instructor: Andrew Atwood Project Team: Xiaotian Wu Shuangzhi Shen
05 Shadow of a Doubt
Light and shadow have historically been associated with the poetic, romantic side of architecture. They are one of the primary sources of the phenomenological, where the subjective perception of surface effects holds a great deal of importance. Shadows are the main protagonist for the mysterious and ephemeral. This is difficult to control let alone anticipate in terms of architectural effects, since light, in terms of physical optics, is a complex phenomenon. Representationally, shadows are used to restore a sense of spatial recession through the use of geometrical (ray) optics or rendering techniques and come in a wide range of expressions: solid black, hatched line, ray-traced, depth map, occlusion, etc. So what if shadows were used to generate space and form rather than simply represent it? How might shadow come out of the recesses of phenomenology and participate in the formation of space and its attendant plans and sections?
Section Slices
Section 1: 500
SCI-Arc Thesis 2014 Summer TaiNan Museum & Art Center Instructor: Ramiro Diaz Granados Project Team: Xiaotian Wu
06 Open System - Icy Fissure
On the first step of our design, we studied two open systems, they are Bouncing liquid and Boxing sports. Both of them are the feedback to the environment. Bouncing liquid reflects the interference and disturbance of the inevitable movement of its environment, and represents those movements by waves and bouncing actions. Also, during a boxing game, two players take actions according to each other’s reaction, because they need to anticipate what will their opponent do next, or how they will throw a punch, and then figure out the defending way. Then we use different materials to represent the characters of these open systems, instead of just tracing the videos Frame-by-Frame. After a series of hand-model making, we got something strange but still have the main characters of the two open systems. Then we combine the two open systems to a whole new one, based on which we starts to do massing models for the project. According to the program of our project which is a vertical sports center in New York, we decide to put different sports into these flouting boxes and cylinders. Some of the boxes push the surface of the building out, and the space outside these boxes and cylinders are the public space.
Section 1: 400
Study Models
SCI-Arc Studio 2014 Spring Sports Center in NewYork Instructor: Wolf D. Prix Project Team: Xiaotian Wu Yu Liu
07 Perception of The Changing Space
Perception is something by which we human beings feel and recognize the world. Perception of space means the variable feelings brought to visitors by the changes of architectural spaces. In our case, the building is a war memorial (Peace memorial), and I hope to bring psychological variations to visitors by managing the dimensions and forms of spaces. Entering the memorial, visitors will find the space changes from narrow to wide, and going through the long, narrow staircase they will finally reach the spacious top, where they can embrace the skylight and enjoy in full view the natural landscapes through large glass French windows. Through the creation of architectural spaces, I wish to guide the psychological changes of visitors: from oppression to comfort, and then back to oppression, and eventually utterly break the feeling of oppression at the building top, where they immediately become cheerful in front of the vast landscapes. There is another fact that, traditional Chinese treat "FengShui" as a significant factor of locating a building. Taking this factor into account, I finally accomplish the project.
North Elevation
South Elevation
East Elevation
Section A-A
Section B-B
Section C-C
NJUT Studio 2009 Fall Peace Memorial on The Hill Instructor: Genin Guan Project Team: Xiaotian Wu
08 Distribution of Functions Due to The Circulation
Distribution is one of the most significant elements which determine whether the architecture is successful. An appropriate distribution of space and functions helps people to make an accurate route selection when entering the building. In this project, circulation is the main factor which leads to the compartmentalization of functions and the changing of the space. As the property of the space has much to do with the function of each part, I'd like to devide the function areas into several parts and then organize the circulation of visitors, audience, students and the support crews. Then the antitype of this exhibition center comes out. Located in a plaza near Xi'anmen Castle, the site has to face two inner loops. Then the problems come out In order to attract people diving in the cars and dwelling nearby, I put two illuminant boxes on the base. One of the boxes faces the plaza and the acient castle, while the other one faces Daxinggong CBD, which is only one block away from the site.
NJUT Studio 2011 Summer The Exhibition Center Instructor: Lei Ou Project Team: Xiaotian Wu
09 Reconstruction of Factory Building This project is located in the 1865 Art Zone in NanJing, which used to be an ordnance factory, and we try to find a way to rebuild these wasted buildings which are called the urban brown-field. Instead of pulling the walls down, we prefer to keep the main walls and columns, and change the interior walls to adjust the new programs. By changing some elements of the original buildings and take advantage of the site environment, we are able to bring the wasted buildings back to life.
A
A
B
B
NJUT Studio 2010 Winter Reconstruction of Factory Buildings in 1865 Park Instructor: Wei Ding Project Team: Xiaotian Wu, Yi Hui
Level 1 Floor Plan 1: 200
North Elevation 1: 200
South Elevation 1: 200
10 Complex in DIstrict of Confucius Temple
This Project starts with the research of the District of Confucius Temple, which shows that people feel uncomfortable about shopping in the messy streets and bargaining with the vendors. As the income improves, people here wants to have a better place for shopping, dining, and hanging out. Therefore we need to build a complex for this area. The Confucius Temple District is historic, so the new building can not be too weird. As a result, I decide to use the pattern of cracked ice which is traditionally used on the surface of china. As to the interior space, I introduce several boxes to separate the programs, also the main circulation depends on a big ramp which goes through the building. Instead of a flat roof, I designed a roof garden for them, and the roof height is changing because of different programs.
Level 1 Floor Plan 1: 300
Section A-A 1: 200
Level 2 Floor Plan 1: 150
Section B-B 1: 200
NJUT Studio 2010 Fall Complex in DIstrict of Confucius Temple Instructor: Wei Ding Project Team: Xiaotian Wu
11 The Configuration between Building & Environment Configuration is the intersection between building and its environment, between visual intention and architectural space. In this work, I realize that the intention of this high-rise is not competing with other buildings or maximizing the floor aera, but organizing complex functions in one building. The office building has to offer the working space for logistics and officers, receive visitors and offer hotel services. Though the building is just as high as 100 meters, several functions has to be organized well and logic. As this is an office building of a car company, the high-rise should be different from buildings in this district. The gesture of the high-rise may be the best answer to the problems generated by the environment, also may be the best symbol of this disrict. There are several other problems, how could people in the high-rise communicate with each other? How does space in the building be interesting and attractive? How could the high-rise be unique and function well?
NJUT Studio 2011 Spring High-rise Office Building Instructor: Caiyun Qian Project Team: Xiaotian Wu
12 Ribbon of The Historical Harbor
This project locates at the river-side of the historical harbor in Chizhou. As the request of this project, we need to use a museum to remind people of the memory and make this place vivid. So this building should be attractive and outstanding both on ground and on the river. Rather than just designing a crazy form, working better with the environment is more important. In this way, this building can be modern and also merge into the surrounding naturally. The ribbon is not only the concept for the form, it’s also the main idea for the circulation. As a modern museum, we don’t need the original circulation of a building, instead we make the circulation a continuous ramp. Though this museum has three levels, visitors don’t need to climb any steps, even for the disabled it’s possible to visit the museum alone. The visitors don’t need to plan on which hall to visit first, because they will not miss anyone, and by following the circulation, visitors are able to walk through the museum and get to the river.
Level 1 Floor Plan 1: 400
Section A-A 1: 200
Level 1 Floor Plan 1: 400
NJUT Undergraduate Thesis 2012 Spring River-side Museum Design In Chizhou Instructor: Caiyun Qian Project Team: Xiaotian Wu, Xiaoxiao Yu
13 Advanced Coding Form
This course is mainly about learning several softwares and trying to solve problems or generate forms by writing codes. In the first half, we learn how to use Phython as a baterry in Grasshopper, and how to adjust the forms by changing several codes(quantity, gravity, distence, anger,radio, RGB codes). After that, we learn how to use Processing to write a bunch of codes to generate forms from just a point, or a line. With Processing we can solve several problems like using Swarm Tree to build a tree house, while with Phython and Grasshopper we are able to build some adaptive buildings or installations which can adapt to nature environment and solve some existing environment problems. import igeo.*; import processing.opengl.*; void setup() { size(1920, 1080, IG.GL); IG.open(""nal.3dm"); ICompoundField cceld = new ICompoundField(); IICompoundField cceld2 = new ICompoundField(); for(int i=0; i < IG.surfaceNum(); i++){ IG.surface(i).clr(1.0); //cceld.add(new ISurfaceVTangentField(IG.surface(i)).linear(1).intensity(1)); cceld2.add(new ISurfaceNormalField(IG.surface(i)).linear(1).intensity(5)); IG.surface(1).hide(); } ICurve crv1 = IG.curve(0); new ICurveTangentField (crv1).intensity(3); crv1.hide(); IG.duration(400); IPoint[] pts = IG.points(); for(int i=0; i < pts.length; i++){ new MyBoid(pts[i].pos(), new IVec(0,0,0)).clr(255,255,255).layer("gen"); pts[i].del(); } IG.focus(); IG.bg(0, 0, 0); IG.right(); IConng.syncDrawAndDynamics=true; I
} int count=0; void draw(){ if(count<300){ saveFrame("captured_frame/frame#####.png"); } IG.p(count); IG.p( count++; } class MyBoid extends IBoidTrajectory { IVec prevPos; ICurve prevCrv; MyBoid(IVec pos, IVec vel) { super(pos, vel); super(po fric(0.05); cohesionDist(1); cohesionRatio(0.3); separationDist(1); separationRatio(0.3); alignmentDist(0); alignmentRatio(0); ali target(MyBoid.class); } void update(){ if(IG.time()%3==0){ ICurve cir = new ICircle(pos().cp(), vel(), (0.06 + 1.5/(IG.time()+4))).clr(0, 0, 1.0).layer("circle"); if(prevCrv!=null){ IG.loft(cir, prevCrv); } prevCrv = cir; } if(IRand.pct(2)){ //new MyBoid2(pos().cp(), vel().cp().rot(IRand.dir(vel()), PI/6) ).clr(1.0,0,0); new MyBoid2(pos().cp(), IRand.dir(vel(), 4) ).clr(1.0,0,0).layer("xu"); } if(IG.time()%20==0){ push(IRand.dir(IG.zaxis,12)); } } } class MyBoid2 extends IBoidTrajectory { IVec prevPos; ICurve prevCrv;
}
MyBoid2(IVec pos, IVec vel) { super(pos, vel); fric(0.05); cohesionDist(0.5); cohesionRatio(0.5); separationDist(1); separationRatio(0.3); alignmentDist(0); alignmentRatio(0); target(MyBoid2.class); } void update(){ if(IG.time()%3==0){ ICurve cir = new ICircle(pos().cp(), vel(), (0.04 + 1.5/(IG.time()+10))).clr(0, 0, 1.0); if(prevCrv!=null){ IG.loft(cir, prevCrv); } prevCrv = cir; p } if(IRand.pct(1.5)){ new MyBoid2(pos().cp(), IRand.dir(vel(), 1.5)).clr(1.0,0,0).layer("xuxu"); } }
1. Swarm Going Z
2. Fractal Branch
3. Avoiding Geometry
4. Various Thickness
Coding Form - Swarm Tree
Instructor: Satoru Sugihara Student: Xiaotian_Wu & Hao_Wu
SCI-Arc Visual Studio 2014 Spring Python and Processing Instructor: Satoru Sugihara Project Team: Xiaotian Wu Hao Wu
14 Flexible Composites & Chemical Assembly
This class serves as a research platform and testing field for the exploration of flexible composites, a material lineages that could become a game changer in the building industry. Itâ&#x20AC;&#x2122;s incredibly attractive to architects willing to pursue a more advanced definition of materials. We encompass several areas of design: digital computation, digitally and physically distribute yarn pattern over complex surfaces, construction of necessary intricate mechanisms for laying carbon fibbers, aramid and other yarn reinforcements within a resin matrix. We also concerns the evolving historic relationship between structure and surface in architecture through the lens of contemporary digital fabrication, intricate tectonic assembly and advanced materials. Whatâ&#x20AC;&#x2122;s more, we try to put the emphasis on the design and development of complex and advanced building envelopes for future performances and applications.
SCI-Arc Applied Studies 2013 Spring Adcanced Tectonics Instructor: Marcelo Spina Project Team: Xiaotian Wu, Wenxin Lin, Yulun Wu, Yige Liu, Mengwen Li
15 Building A Pterodactyl
Eric Owen Moss’ Pterodactyl Project – an office building under construction in Culver City, CA, becomes a case study as the “Building a Pterodactyl” course attempts to offer an insight into methods and benefits of Integrated Project Delivery (IPD), Parametric/ Associative geometry modeling and the value of a Building Information Model (BIM) with emphasis on Structural Analysis and Fabrication. In this course, we are asked to build the digital model in Digital Project, and compare the real building with the digital models. After several visits to the site, we can decide which would be the better choice, the digital model or the real building. Finally, we give our reports to the workers and they can change parts of the construction. Then we start to design some iterations of the offices according to the structure in Digital Project, and also we run the models in Risa to check the structure.
SCI-Arc Applied Studies 2013 Fall Parking Garage & Offices In Culver City Instructor: M. Zarmine Nigohos, Hooman Nastarin Project Team: Xiaotian Wu, Chengfeng Lin, Cheng Lu