GSAPP
Master of Science in Advanced Architecture Junda Xiang / 2014 - 2015
GSAPP
2
GSAPP
CONTENTS 1. SCHOOL AS A STADIUM
4
2. PICTORIAL SPACE
14
3. LINE AND VOLUME
30
4. MELODY UNDER NYC
54
5. OPEN CARTOGRAPHY
56
6. PARAMETRIC REALIZATION
58
Professor: Eric Bunge , Mimi Hoang / 2014 Summer Professor: Micheal Bell / 2014 Fall Professor: Dwayne Oyler, Jenny Wu / 2015 Spring Professor: John Thomas Szot / 2014 Fall Professor: Juan Francisco Saldarriaga Chaux / 2014 Fall Professor: Mark Allan Bearak / 2015 Spring
3
SCHOOL AS A STADIUM AN EVENT DRIVEN ARCHITECTURE SCHOOL
Professor: Eric Bunge , Mimi Hoang ; Collaborator : Xiangzhou Chang
4
SCHOOL AS A STADIUM 5
SCHOOL AS A STADIUM
EVENT DRIVEN SCHOOL The world is changing so fast than in recent few decades. This trend is also reflected in the field of architecture. No matter how carefully a curriculum is designed, it’s always lagging behind the step of the world. Now it’s a time to rethink architecure education. It’s a great chance now to reform our curriculum driven architecture schools into event driven schools. Because events are always reflecting what’s happening right now in the world.
SCHOOL FIELD OCCUPATION TIME SLOT
ARCHITECTURE SCHOOL TRANSFORMATION 6
SCHOOL AS A STADIUM EVENT DRIVEN SCHOOL WEBSITE DESIGN Every Piece of ground could be scheduled for events from both inside and outside the school. Just like how to manage a stadium. Events could be beneficial for both the people who run it and those spectators who view them. The function of school transformed from providing curriculums to providing a place to let everthing amazing happens. 7
SCHOOL AS A STADIUM
8
SCHOOL AS A STADIUM
STADIUM A stadium is a place or venue for (mostly) outdoor sports, concerts, or other events and consists of a field or stage either partly or completely surrounded by a tiered structure designed to allow spectators to stand or sit and view the event. (Wikipedia) As the site is so narrow and triangular, there is no way construct a stadium horizontially, so we choose to construct it vertically.
This kind of step like space provide the mutiple functions for all kinds of event happening here, including gallary space, auditorium space, sports space, and so on. And at the same time, it provide a huge continuous space without any kinds of visual blocking. So , whether you are working in your studio or standing on these huge steps, you could be aware of what’s happening in the whole building all the time. That’s the spirit of a stadium. 9
SCHOOL AS A STADIUM INTERIOR PERSPECTIVE ( FROM SPOT B )
10
SCHOOL AS A STADIUM
MUTIPLE FUNCTIONS OF THE EVENT PLACE
11
SCHOOL AS A STADIUM CIRCULATION AND STRUCTURE
12
SCHOOL AS A STADIUM
INTERIOR PERSPECTIVE ( FROM SPOT A )
13
PICTORIAL SPACE POLLOCK’S PICTORIAL SPACE IN ARCHITECTURE Professor: Micheal Bell
14
Work published on Arquitectorial (http://arquitectorial.com/) in May, 2015
In Frank Stella’s book “Working Space” , he expressed how artists are struggling to gain 3-dimensional sense in 2-dimensional paintings. This is the so called pictorial space in art field. On the other way, can architects learn space from artists? How these kinds of pictorial spaces could be different from normal architectural spaces? And how these pictorial spaces could inspire architects to explore new spatial sense in architecture? That is the study topic of this sutdio.
PICTORIAL SPACE
PICTORIAL SPACE
15
PICTORIAL SPACE EXPERIMENTS In order to materialize Jackson Pollock’s famous painting Number 1, 1948, various of experiments are carried out, from literal translation of lines to people’s recognition of paintings like this, to how to construct installations like this tectonically. 16
PICTORIAL SPACE 17
PICTORIAL SPACE 18
INSTALLATION EXPERIMENTS The installation experiment is a transition from merely sculpture-like translation to a fully application to a building. This is an outdoor concert hall in the Central Park. A rich figureground relation makes the installation an integral part of the park. Besides, those reflective panels create an interesting interaction between people and the installation. This is the essence of Pollock’s painting from my point of view, which is the understanding of the painting varies from person to person, and finally you would find yourself in the painting.
PICTORIAL SPACE 19
PICTORIAL SPACE
STROKE
SPACE
SPACE
TWISTED
“It is here that Mondrian rattles the bones of human configuration for the last time; it is here that the white rectangle steps out of the background landscape into its own space.” ------ “ Working Space”, Frank Stella 20
PICTORIAL SPACE
TOURIST CENTER The final task is to apply the o u tco m e o f t h o s e p r e v i o u s experiments, into a real building. My proposal is a tourist center in the Meadow Corona Park, which used to be the site of two twentieth century World’s Fairs. The park as a historical site, I wanna bring a new perspective to it. Here I combine the tourist center with a look-out tower. For me, tourist center is not just a place you get a stack of documents, but a place provides you an unique view of the attraction.
FINAL MODEL 21
PICTORIAL SPACE 22
The reason why the volume is extruding outward is because I don’t just want to make these structures as a canopy, but something you could walk towards, even through them. The structures and volumes are intertwined with each other, makes the pictorial space in this buidling more complex and rich.
PICTORIAL SPACE 23
PICTORIAL SPACE
24
This project is an reconstruction project based on the previous entrance of the Meadow Corona Park. This platform used to serve as a the roof of a police station and some public restrooms. By adding a vertical volume to the previous horizontal volume, I create a tighter relation between two levels of ground, in this way, this platform is better used as an intergral part of the building. These structures and single walls enclose a semi-outdoor space on the platform.
PICTORIAL SPACE
PERSPETIVE ON THE PLATFORM
25
PICTORIAL SPACE 26
SECOND FLOOR PLAN
PICTORIAL SPACE
THIRD FLOOR PLAN
27
PICTORIAL SPACE
28
PICTORIAL SPACE BIRD EYE PERSPECTIVE 29
LINE AND VOLUME LINE AND SPACE IN ARCHITECTURE
Professor: Dwayne Oyler, Jenny Wu; Colloborator: Joshua Erhlich
30
Work published on SUPER//ARCHITECTS (http://super-architects.com/) in May, 2015.
Architecture design studios often have the typical telltale signs of a so-called “urban� project. The walls are plastered with giant maps of the city, students have spent the first few weeks fighting over how to complete some overly ambitious site model, and there are drawings littered with massive arrows of imperceptible connections between urban destinations. While these approaches certainly have their place, we find that some of the more interesting investigations into the urban problem operate on multiple scales simultaneously, and in many cases, they begin by looking at the city from the inside out. Dwayne and Jenny
31
LINE AND VOLUME LINE ,VOLUME AND INBETWEEN SPACE Lines exist in nearly every form in the city. From the linear entanglement of the freeway systems, to the flows of infrastructure between sites, to the structural systems of individual buildings, there is an inescapable linearity to the urban environment. These lines, more often than not, are about connection and extension; continuity is essential to the way they operate. At the same time, much of our programmatic needs result in the seemingly contradictorily form of volumes. Unlike the line based systems, these volumes are typically about enclosure, separation, and containment.
32
READING OF CITY THROUGH LINES
Our reading of the city is that, besides those linear elements and volumetric elements, there are void spaces in between, which are easily be neglected but actually are integral part of the city. These inbetween spaces are not existing there statically, but actually are morphed by the counter force between the rigidity of volumtric elements and the fluidity of linear elements. As is shown in the drawing above, these inbetween spaces are imposed a sense of movement and start to change themselves.
SITE PLAN Cities are typically massive, amalgamous entities driven by various forces. And while a great number of these forces allow for the influence of the architect, that influence is often offset, diluted, and manipulated into a more palatable version of itself before becoming realized. We are interested in the development of urban strategies that recognize an architect’s strengths. 33
34
LINE AND VOLUME
MIDTERM CHUNK MODELS The heart of the problem is the tectonic intersections of the two systems s- and we mean that quite literally. The moment where linearities encounter volumetric enclosure is a defining moment in the formation of an urban strategy. So, before we dig deeper into the adjustment of the urban scale strategy, we test our ideas quite tectonically in the first place. 35
LINE AND VOLUME
36
LINE AND VOLUME
INTERIOR PERSPECTIVES The contrast between a rather simple exterior appearance and complex interior spaces is part of our goal. Several simple counter forces could always create interesting outcomes. These inbetween spaces are the spirit of the building.
BIRD EYE PERSPECTIVE
37
LINE AND VOLUME
38
LINE AND VOLUME ELEVATIONS / MIDTERM PHYSICAL MODEL (ABOVE) ELEVATIONS / FINAL SCHEME (LEFT) 39
40
LINE AND VOLUME SECTION A-A
41
42
LINE AND VOLUME SECTION B-B
43
LINE AND VOLUME 44
INNER VOLUMES The design and arrangement of these inner volumes are the first step of our design. In other words, just like we apply an inside-out strategy in urban scale design, we also use the same strategy on architectural scale. Each of these inner volumes serves as different purposes, and are connected by bridges. When you merely look at these inner volumes and circulation systems, you would think them as a group of buidings , because they have both “ indoor” and “outdoor” spaces. But all of these are actually covered by another layer of skin. This multi-layer spatial character creates a rich spatial experience. When walking in the buidling, you are constantly shifting among interior, semiinterior, exterior, and semi- exterior spaces.
Complexity is not created by comlexity itself, it’s created by the composition of simple elements. For a building like this , the interior design is rather simple. You don’ t have to manually devide and design every space, what you have to do is just make use of every spatial type itself, cause all spaces have been divided once the inner volume - outer skin relation is confirmed. Basically, all these geometric inner volumes serves as more functional purposes, like auditoriums and offices; those inbetween spacs are more used for flexible purposes, like cafe, exhibition halls,ect.
LINE AND VOLUME
You could either say the outer skin is stretched by inner volumes , or the inner volumes are wrapped by the outer skin. These two here serves as an integral entity, to create the inbetween spaces.
45
LINE AND VOLUME
46
LINE AND VOLUME 47
48
49
50
51
LINE AND VOLUME
52
LINE AND VOLUME 53
MELODY UNDER NYC CINEMATIC LANGUAGE
Professor: John Thomas Szot Collaborator: Chen Peng, Zheheng Jong, Ye Zhang, Jun Qin
54
Work published on Viewing NYC (https://viewing.nyc/) in December, 2014
So of course I was devastated I didn’t know what to do wtih my life because until then that was my plan I was gonna to be a dancer All of a sudden It was gone So I was very sad and confused and didn’t know what to do So my parents wanted to cheer me up So they took me on a trip to Austria But what happened when we were in Austria is We went to see a show for tourists And part of the show was a man playing a saw And that’s the first time in my life that I have encountered saw playing It was the first time since the accident that I felt excited about something that was not (dance) And I just felt like I would like to learn to play this instrument
MELODY UNDER NYC
I used to be a dancer Since I was a little girl that was my dream to be a dancer But one day I was coming back from Lincoln Center And I was crossing Central Park South And I was hit by a car And that was the end of my dance career
So I went back stage And I asked the saw player if he would teach me how to play He said no And of course I offered him money No He said go home pick up the saw imitate what you see me do on stage and figure it out on your own So that’s what I did I came back here I borrowed the saw from somebody who was using it for wood work And I figured it out And the rest of the history ... 55
OPEN CARTOGRAPHY VISUALIZE CITI BIKE DATA WITH NYC SERVICES Professor: Juan Francisco Saldarriaga Chaux
56
OPEN CARTOGRAPHY 57
PARAMETRIC REALIZATION CHINESE TEA TABLE IN DIGITAL AGE Professor: Mark Allan Bearak
58
PARAMETRIC REALIZATION 59
60
ACKNOWLEDGEMENT The Completion of the porfolio owes to many people during my short year here in GSAPP. All of these works would never be finished without my dear studio professors’s patient guidence. Professor Eric Bunge and Mimi Hoang, who lead me into the new world of architecture when I first stepped on this land. Professor Micheal Bell is the best educator I have ever seen. Professor Dwayne and Jenny are amazing innovators in the realm of architecture, have changed my path in this major profoundly. And Yaohua Wang, my TA for two semesters, who did a much better job than what a TA supposed to be. And my many thanks to my first TA, Rodrigo, and my partners in this years, Xiangzhou Chang and Josh Erhlich. Besides these great instructors and friends in GSAPP, what my families has suppoted me is beyond imagination. My mom and dad, I can never say how much I owed you all these years. And thank you my dear one, who carefully nourished this relationship for the not-easy year, encouraged me during my hard tmes, makes all these outcomes possible.
61