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05.2018

PORTFOLIO Selected Work // 2016-2018

UCLA MARCH I // XIANGRU XU


CATALOGUE Selected Work // 2016-2018

1// Karma Aqua Resort Design on Mykonos Island

2// Above the Volcano Mexican Museum Extension

3// Fibonacci Steel House Residential Housing - Film Producer

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4// Alter-Ego Fire Station Project

5// Mock-Up Machine Kinectic Facade Design

6// Other Work - Work Sample at RTKL - Photography

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CONTACT xiangru.xu10@gmail.com +1 213-716-0950


05.2018

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6. UCLA MARCH I // XIANGRU XU


1.


// Karma Aqua INSTRUCTOR

Georgina Huljich with John Spence

CONTRITBUTIONS Teamwork with Tianyu Kan

COURSE DESCRIPTION

Using abstract and de-familiarizing techniques to instigate infractions on, and misappropriations of the real, the studio will aim to propose a new architectural paradigm for the rural outskirts: one that is comfortably at odds with its context and ‘whitewashed’ vernacular references as a foundation for its originality. Rather than falling into known functional paradigms of repetition and standardization, the studio will attempt to inventively combine advanced approaches to form, Le Corbusier visiting the Acropolis, Athens, 1920s Island of Mykonos, Greece plasticity and materiality with notions of local traditions and use of available craftsmanship in a creative way.

The class will produce images that will aim to engage with the “real”, questioning what it really means in this particular context and exploiting its fictional possibilities for defamiliarization and estrangement. In contrast with the all too often commonplace understanding of photorealistic images in architecture, the studio will look at the problem of realism in our disciplinary field. Problems of rendering; photography and physical modeling will be looked upon not only as technical means, but also as conceptual devices that can alter the understanding and perception of architectural objects. In fact, the studio will aim to situate and contextualize objects in ways that are slightly unfamiliar and perhaps even strange.


OBLIQUE R

As a vital and indispen ensures similarity rathe placeless.

Designing a resort inevi energy resources includ for electrical appliance, pattern of human activ forging a new experienc


RENDERING

nsable element of space, water fulfills aesthetic and therapeutic values, while it can be experienced in a whole variety of ways, it often er than daring to mark any distinctive experience. After repetitive duplication and plagiarism, water in architecture becomes same and

itably with water, it interests us to focus on empowering the movement of water through innovative ways. As the home to inexhaustible ding sun and wind, disguised windmills and solar-penalized building envelope are utilized and deployed to generate the energy needed , water pumping/ recycling, and everything else. Energy surplus are exported and imported within this disconnected island following the vities throughout different times, decentralizing obsolete and colossal energy production infrastructure into architectural tectonic, and ce with natural elements.


Mapping Mykonos’ Pool


Town Center Residential/Commercial

General Residential

Residential with Inactive Farmland

Farmland

Natural

Urban / Rural Transect Diagram

Cluster B Unit, 55 sqm

Cluster A Unit, 53 sqm

Cluster A Unit, 49 sqm

Cluster B Unit, 47 sqm

Cluster B Unit, 36 sqm

Cluster D Unit, 34 sqm

Cluster C Unit, 37 sqm

Cluster A Unit, 32 sqm

Cluster C Unit, 59 sqm

Unit Floor Plan At the scale of the entire site, the gradient between the four clusters’ different figure ground relationship, responded to the different vignettes as one move from the old town center to the less populated rural and natural side of the island. To take advantage of the unobstructed sunshine and consistent and constant northern wind, we envisioned a decentralized system of disguised technology such as minimal windmills and pixelated solar panels.

Ground Floor Plan


PLA

Orgnizational Grid 1

Orgnizational Grid 2


AN

Orgnizational Grid 3

Orgnizational Grid 4


As home to inexhaustible energy resources including wind and sunshine, Mykonos island and Greece in large have been making little progress in sustainable energy. While the subsea interconnection to mainland would provide a quick fix for the island, the power is dependent on a higher level (64%) of expensive imported fossil fuels. The dependence on the most damaging energy sources for the environment could be calling for an alternative.

Units

Solar Panel

Windmill

Tech Diagram

UNFOLDED


D SECTION

To take advantage of the unobstructed sunshine and consistent and constant northern wind, we envisioned a decentralized system of disguised technology such as minimal windmills and pixelated solar panels.

Solar Panel

The scattered windmills below the ground and disguised solar panels on the building envelope signifies the decentralization of energy generation, while four clusters of aggregations reunited them as a connected ecological system, sharing energy surplus, based on the pattern of human activity at different times.

Building Mass

Building Foundation with wind tunnel and infrastructure core

Exploded Axon - Units


WEST CORNER While the contemporary technology makes it easy to disguise and hide all the gadgets or surface conditions, some quasi- solar panel patterns are selectively revealed to suggest the character of the building, and at the same time creating stepped surfaces for overflowing water to circulate between different levels.


EASTER CORNER Meandering boundary between water and architecture, pixelated and fragmented corners dematerialized each unit’s stiff corner instead of indiscriminately imitating the vernacular filleting treatment of architecture on Mykonos.


POOL The intentional blurring of the pool’s edge is aimed to enhances the feelings of the expanse. By preserving the rock on the original sites, Karma Aqua demonstrates a connection with the natural while it still maintainss its role as a modern construction. The pool then becomes an important architectural moments of the resort.


STEPPED CLUSTERING While technology made it possible to hide itself as much as we want, windmills are not made totally invisible in the project. The pixelated and fragmented building corners dematerialized each unit’s stiff corner instead of indiscriminately imitating the vernacular filleting treatment of architecture on Mykonos, and corresponded to the stepped building massing, becoming part of the formal language of the project.


MODEL PHOTOS


MODEL PHOTOS


2.


// Above the Valcano INSTRUCTOR Wonne Ickx

CONTRITBUTIONS Teamwork with Tianyu Kan

COURSE DESCRIPTION

The studio will investigate the relation between architecture and topography, through the modernist development Jardines del Pedregal (Rocky Gardens) in Southern Mexico City. El Pedregal was a major real estate project (1,250 acres or 5.1 km2) undertaken by Mexican modernist architect Luis Barragán. When it was originally developed, in the mid-1940s in the lava fields of the Pedregal de San Ángel, it was probably the biggest urban development the city had seen. The area has changed a lot since its original development but even as its modernist spirit and its original elements of ecosystem protection are gone critics have described its original development, the houses and gardens as a turning point in Mexican architecture. Some of the old modernist houses have been catalogued as part of Mexico’s national patrimony.

The Museo Diego Rivera Anahuacalli or simply Anahuacalli Museum is a museum located in Coyoacán, in the south of Mexico City, which was selected as this studio’s site. The unique museum was conceived and created by muralist, Diego Rivera, who, motivated by his own interest in Mexican culture, collected nearly 50,000 pre-Hispanic pieces during his life, and projected a building to place and exhibit them. The Anahuacalli was completed after Rivera’s death by architects, Juan O’Gorman and Heriberto Pagelson as well as Rivera’s own daughter, Ruth Rivera in 1963 and oficially opoened in 1964. Actually the museum is surrounded by a unorganized cluster of additional building such as tickets booths, restrooms, workshops, offices, etc. The project seeks to reorganize this auxiliary program into an straomng architectural proposal, adding an additional 2,000 square meters of exhibition space to fulfill the museums needs.


// CONCEPT At the time when Anahuacalli was designed and built, Rivera built the museum with a perfectly formal and symmetrical square out of the most indigenous material on the site, black volcanic rocks, and thus unified the man-made and natural into one identity. While in our addition project, we intend to unfold and articulate the dualities of being natural and being man-made, this is achieved by splitting the square level into two platforms, that each curates a distinctive and divergent experience. Built at similar size of nearby houses around the square, a collection of new buildings organize each of their own respective programmatic district, allowing circulations and visual exchanges at its own specific locations and levels, and at the same time enclose the plaza. The sunken square, which was originally envisioned by Diego Rivera as a water pond, could be realized again by performing as a water pond to hold events in memory of Diego Rivera. The compressed and densified plaza leads to the upper platform that expands the view into the landscape, making it an ideal location for sightseeing and other forms of gatherings. By doing this, we hope to bring back the dialogue between architecture and landscape, which was absent in the discussion when the museum was a result of theoretical exchange and reconciliation between architecture and visual arts.


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1. SITE PLAN / 2. LOWER FLOOR PLAN / 3. SECOND FLOOR PLAN / 4. AXONOMETRIC VIEW Enclosing the plaza in a similar manner of the existing structures, the collection of buildings organized each of their own respective district, allowing passaging and views at its own specific locations and levels, while at the same time re-energized and re-vitalized the plaza altogether.


PLAN 1F Despite their similar volumes, and relationships to the landscape and the plaza, each of the buildings own slightly nuanced ways of connection forged a new Museum Anahuacalli with rich and abundant spatial experiences.


EXTERIOR VIEW A continuous sweep of parapet and a panoramic view of landscape

LONGIUDINAL PERSPECTIVE ELEVATION


Section A: Ticket booth at administration building

Section B: Open corridor and roof deck for administration building

Section B: Corridor and roof deck for administration building

Section D: Upper platfrom, and drawing room exhibition space

Section D: Upper platfrom sandwiched between bridge and lower platform

Section H: Bar counter and stools next auditorium, serving as reception and additional event space

Section I: Auditorium with a direct and open look towards the landscape beyond

SECTION MOMENTS Transverse section series at steps/ drawing room/ exhibition space/ auditorium/ administration building

LONGIUDINAL PERSPECTIVE SECTION


MODEL


L PHOTO


EXHIBITION INTERIOR VIEW Main exhibition room with high ceiling and view towards the plaza

As the lower platform blends into the landscape and invites visitors to walk on and touch the pristine landscape, and the sweeping upper platform provides a dispersing view of the panoramic landscape across a distance. They together become a mediator between the landscape and square after unfolding the dualities, forging a rich and abundant spatial experiences for visitors.


INTERIOR VIEW Stairs leading people to the lower platform and landscape from the plaza

AUDITORIUM INTERIOR VIEW Auditorium with a direct and open look towards the landscape beyond

Stepping down from the square, the lower platform becomes a starting point for trails into the lush landscape that has existed long before Anahuacalli was built but was never given much attention to, the organic outline of the lower platform, occasional openings for plants, and the platform surface that rises and falls with the topography next to it, blurred the boundary between landscape and architecture.


MODEL PHOTOS


MODEL PHOTOS


3.


// Fibonacci Steel House INSTRUCTOR Julia Koener

CONTRITBUTIONS Individual Design Work

COURSE DESCRIPTION

This course is aimed to study steel material and understand its basic characters and conctruction method by looking into different case studies. Develop a series of diagrammatic schemes addressing the role of profile as a boundary that contains mass, program and the structural grid in plan considering organizational strategies that will begin to generate matrices and volumetric relationships in section.

Coordinate concept, structural and environmental ideas into the final design of the project; for a comprehensive understanding of the design and construction process. This set of drawing documents should be the basis for the construction of a small residence, therefore overlays and information shown should be of aggregate nature and layout and information on plans shall be laid out according to graphic and comprehensible principles. As a housing porjectm, the potential client is a film maker. Compared to normal housing, a screen room is prerequisite accroding to his job content.


Front View // Concept Model

Bird View // Concept Model

Front View // Structure Model

Bird View // Structure Model

// CASE STUDY // Element House by MOS Architecture (Group Work with Wen Wang)

The precedent for this project was Element House designed BY MOS Architecture in New Mexico. The program of this house is organized along a branching Fibonacci sequence. The distinctive orientation and basic geometry of the Element house is derived by fibonacci sequence, it is expansive geometric system of growth, radiating and aggregating outward, one module after another. the growing sequence is following the program needed and the environmental factor.

Plan area : building volume = 1 : 23

PRECENTANALYSIS

MOS architects / Element House / NEW MEXICO / 2014

XIANGRU XU/ WEN WANG


// SITE CONDITION The site is located at Mount Washington near Glassell Park. The site consists of four parcels with a private street for access; each studio will operate on all four lots with a similar number of students working on each one. As the section of site shows, steep land poses specific problems to architecture and provides steel as a strong building material an opportunity to realize the project.

Section of Site

// CONCEPT There are different kinds of Fibonacci sequences existing. The spiral expanse as an underlying principle in the steel house project. It provides a clear linear program and at the same time is modified to respond to the extremely steep hill site. The concept of the Fibonacci sequence combined with site condition is the form of this building. The screening room is placed in the highest point of the site and when the back door is open, it extends to the second-floor’s rooftop and creates the possibility for various social activities. Thus, large span cantilever is a result of this concept. Part of the building is then detached from the ground and this supports creating an isolated feeling between bedroom and surrounding program. Also, the privacy of the program increases vertically along the form. Fibonacci Diagram

Program Diagram


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1. SITE PLAN / 2. GROUND FLOOR PLAN / 3. SECOND FLOOR PLAN / 4. ROOF SPACING Steel as a building material performs extremely well in cantilever structures. It is good at tension and strong enough to span long distances. It can achieve high performance in construction with relatively smaller size and weight compared to other material.


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THIRD FLOOR PLAN As the arrangement of the program follows fibonaaci sequence, an outdoor courtyard emerges in the center which helps bring the natural world into the heart of the domestic realm.


Screen Room

LIBRARY

Closet MASTER ROOM

Fibonacci Sequence

MASS

ENVELOPE

PLAN 1F

PLAN 2F

STRUCTURE

PLAN 3F

A group of I beams with hierarchy of sizes are introduced into this building to realize the cantilever. They partly sit in the ground and then get a strong support.

SECTION A-A’


Garage

Pantry Living Screen Room

Closet

LIBRARY

MASTER ROOM

Fibonacci Sequence FIBONACCI SEQUENCE

MASSMASS

ENVELOPE ENVELOPE

STRUCTURE STRUCTURE

The spiral expanse as an underlying principle in the steel house project. It provides a clear linear program and at the same time is modified to respond to the extremely steep hill site.

SECTION B-B’


PERSPECTTIVE


E SECTION C-C’

The house caters for both work and relaxaxtion. Featuring a screen room and designated library, the film producer will be able to work at home and social with others. When the backdoor is open, the screen room will function as a semi outdoor activity room to enjoy california’s sun.


WEST ELEVATION

// Western View // PHYSICAL MODEL


SOUTH ELEVATION

// Southern View // PHYSICAL MODEL


Metal Supporting COR-TEN Steel Panel Plywood Panel Box Gutter

COR-TEN Steel Panel

Hanger

Plywood Panel Wall Insulation

Hanger Plywood Floor Panel Floor Insulation Concret Slab Corrugated Steel Decking Cantilever Beam Retaing Wall

2' Diameter PILE

24*30

WALL SECTION

METAL SURPPORTING DETAIL


AXNOMETRIC DRAWING


4.


// Alter Ego Firestation INSTRUCTOR Karel Klein

CONTRITBUTIONS Teamwork with Miaomiao Chu

COURSE DESCRIPTION

The fire station has a very defined set of constraints while having a unique mix of program. It must accommodate everything from revolving living paces to the storage and maintenance of large equipment. It is a public building where architectural issues are both expressed and realized in a modest way. Its organization is also typically perfunctory, as befits its function. And yet examples from Venturi and Scott Brown’s Fire Station #4 to Zaha Hadid’s Vitra Fire Station demonstrate that there are opportunities for architectural ambition given a more ambitious client and the ability of the designer to be very canny in the management of what is usually a very constrained budget.

Fireman has a heroic face and an ordinary face at the same time. Inspired by Philip Dujardin’s sureal photoshoped architecture image, this studio would begin with the two sides of building elevations to investigate the two existing programs in a firestation: residential and fire engine. The contradictions and consistency of these two programs sit in the building and becomes the theme of this studio.


FRONT ELEVATION Conceptual Collage

BACK ELEVATION Conceptual Collage

FRONT ELEVATION Design Process

BACK ELEVATION Design Process

FRONT ELEVATION Conceptual Collage

BACK ELEVATION Final Scheme

Fireman is different from ordinary people, has a two- side juxtaposition life, living like an ordinary people and working as a hero. We start from designing the elevations of the architecture to excavate the potential energy in a Fire station, and also address a fire man’s life. As can be seen from our very beginning “photoshoped” elevations, we indicated a fire station’s alter ego character on facade including the “work part” and the “domestic part”, which are independent but integrated at the same time.


// CONCEPT

We found that fireman’s heroic moment is usually more respected by people, and their other daily life such as training, living, administrative parts are always neglected. Thus we want to emphasise a fire man’s domestic life in our design. We separated the two side of a fire man’s life and reveal it in our architecture form. The pitch roof house is lifted above the top of a ramp podium base to address firemen’s residential life which respond to our design idea. Fireman’s house is inside and above the building. The house is lifted up with 3 stories, from top to bottom has a upgrading of openness. The top level is independent horizontally, to achieve the highest privacy of human’s daily life, but has tight and direct connection with offices and engine bay down stairs to ensure the speed of emerhency movement. The second floor is arranged for restaurant and day room with big openings and access to the ramp, which is a good space for BBQ, party and other outdoor activities. The bottom of the house locates as a transportation junction finished with arch structure to achieve the highest openness. Fireman’s uniform and equipment are located in this space, thus they can get changed in a quirkiest way. The space in ramp base is evenly split into 2 parts which are four engine bays and daily operation rooms. Administrative programs are arranged in a linear way next to engine bays to achieve a highly efficient circulation, so officers and firemen are able to exchange informations, get order and carry out urgent tasks quickly.

// SERIAL SHORT SECTIONS


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1F

2F

3F

FLOOR PLAN


TOP - WORM EYE VEIW AXON BOTTOM - BIRD EYE VIEW AXON


SHORT PERSPE


ECTIVE SECTION

In our drawings we use a style of housewife in 1950s to decorate the interior of the fire station. The decoration of that time with a more bright color and harmony tone to indicate the peaceful and happy life postwar. We also want our fire man live in a beautiful space full of the happiness of home, not only treat this architecture as a working place but more as a home. Work hard and Live happily in this fire station.


// Outdoor BBQ //

// Gym //

LONG PERSPEC


CTIVE SECTION

// Training Rooms & Office //

// Equipment & Pole //


MODEL PHOTOS


SECTIONAL MODEL PHOTOS


5.


// Mork-up Machine INSTRUCTOR Peter Vikar

CONTRITBUTIONS Group Work with Beyza Paksoy, Raoyang Yang, Mertcan Buyuksandalyaci

COURSE DESCRIPTION

This course is going to study active facade and how it can be applied to existing buildings. explores this rapid physical mock-up technique as a novel approach to visualize 1:1 scale, multi-material, kinetic - or static building facades for design architects. During the study, students are required to design a mobilizable facade and use mechanical arm to show final effect.

Students would design robotic instruments that can change shape, dimension, orientation, texture and/ or other qualities based on certain criteria. Designing these small scale kinetic devices - with 1-2 degrees of freedom and composing their motion allowed them to explore a bottom-up approach towards robotics and forward kinematics as an underlying logic of physical machines. In the second phase students used robotic filming techniques to multiply and distribute their ‘robotic-panels’ to achieve a dynamic whole.


MOTION - 3D

FINAL EXTEROPR RENDERING // SOLAR ANLYSIS The project targets at a post-modernism building, Westin Bonaventure Hotel, designed by architect John Portman. It is located at the center of downtown Los Angeles. The building is famouse for its labyrinthine and cinematic interior space. While its mirrored-glass, cylindrical exterior can esaily be spotted from the 110 freeway, the building itself suffers from intense light and the cost spent on air-conditioning is extremely high. In order to deal with the problem, a solar anlysis was conducted first to calculate how much shading it need and where it need.

Solar Energy

Area Need Shading

Possible Solution

Shading Area

United Divison

Triangle Division


Motor

MODULE RHINO TEST // SOLUTION: KINECTIC FACADE Fold-up is an architectural facade system that takes the principle of the folding motion and transforms it into a dynamic shading system. The unit consists of two right-triangular plates hinged from the hypotenuses, forming a square shape which can transform in a range between fully open and fully closed positions. Fold-up system functions as a vertical shading unit. It uses a simple actuation system to open up while it uses gravity to return to the fully closed position.


EXTERIOR R

The system provides a vast a can be manually adjusted or uses the sun position to adap also engaging the users by d


RENDERING

array of positions to adjust to various lighting desires which can easily be integrated with an automated system which pt itself to it. This produces a dramatic shading effect while dividing the view from within different parts of the building.


SHADING MOTION

Top View

// Transition Diagram//

Closed

20% Open

80% Open

Fully Open

Front View

// Transition Diagram//

Front View

// Prototype Motion //


SNAPSHORT // Motion Video//

Prototype First Test

Final Recoding - Open

Final Recoding - Closed


INTERIOR R


RENDERING


6.


// Other Works

WORK EXPERIENCE (REVIT*)

One-year work experience at RTKL granted me a comprehensive understanding of real architectural practice, especilly in the field of mixed-use building type. It showed me the flow of each step in terms of architectural design and the role of each individule. It was a good chance for me to learn how to teamwork with others. Revit is the main software I used at RTKL, as well as Rhino, Sketchup and Autocad. As the company has a high demand on BIM, it was a must for everyone to be able work on Revit. PHOTOGRAPHY WORK

Lens is another eye for me. This eye can see what I cannot see; this eye can preseve what I may lose; this eye can record what I may forget. Those precious moments are frozen and in some way we own them forever.


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Night Aerial View

Chongqing Zheshang Center INSTRUCTOR Chunwei Fan

CONTRITBUTIONS I am mainly responsible for digital REVIT model and modification of plan and section.

The project is located in Chongqing, a well-known mountainous city an d also a hub of the Changjiang River. Here mountain and water are inseparable as mountains here represent an order while water conveys a certain spirit. The “new urban landscape� design of this project allows visitors to explore its interests and rich multi-level design. Shopping mall, theme stores, aerial stores, offices and other functions and services of this project are distributed in the various land parcels of this project.


Entrance View

B1 FLOOR PLAN


Entrance View

Suning Wuxi Plaza INSTRUCTOR Lei Huang

CONTRITBUTIONS I am mainly responsible for digital REVIT model and modification of plan and section.

Wuxi Suning Plaza is located in Wuxi, Jiangsu Province, China. It is a mixed-use commercial complex including office, hotel and retail. Based in Wuxi, its design concept tried to tackle Wuxi’s local culture and finially use modern design skill to achieve a functional building. The site area is 23050 m2 and general floor area is 316889 m2.


Road View

2ND FLOOR PLAN


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