Zhenhua Jiang_PRV0001_2020spring

ZHENHUA JIANG M ARCH PRV0001 Portfolio Aug, 26th 2019May, 23rd 2020

TABLE OF CONTENTS Resume Reflective Introduction

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COURSES IN BAC Transdisciplinary Studio 1 Architecture Studio 1 City Lab Sustainable Material Assembly Making and Modeling Community Practice Personal Works Chinese Calligraphy

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POSTSCRIPT Postscript

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REFERENCE Reference

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Name: BAC ID: Degree Program: Date of Submission:

Zhenhua Jiang 100106952 M Arch June, 29th 2020

Zhenhua Jiang zhenhua.jiang@the-bac.edu 320 Newbury St, Boston MA 02115

EDUCATION Boston Architectural College August 2019 – Present Master of Architecture Program

Northern Jiaotong University, Beijing China September 1987 – July 1991 Bachelor of Architecture

Beijing Normal University, China September 1999 – January 2001 Master of Ancient Chinese Literature Program

CAREER OBJECTIVE

I really want to be a cultural communicator. I choose the major of architecture and hope to explore the different forms and connotations of Eastern and Western cultures in the professional work of architectural design. We come from different places and use different languages, but I hope to express a cultural meaning that all humans can understand through architectural language.

SKILLS AotoCAD Rhino

Adobe Photoshop Adobe InDesign Adobe Illustrator

ADDITIONAL SKILLS Chinese Calligraphy

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REFLECTIVE INTRODUCTION

We use different languages to express thoughts, feelings, and creativity.

Due to language barriers in different regions and ethnic groups, making cultural communication and understanding a difficult thing.

But some forms of art, such as music, painting, and dance, can cross language barriers and become cultural forms that all humans can understand. Architectural language is also a form of language that can be understood by all human beings across nations, countries and races.

A building should not merely be, serve some purpose, useful or not: it should also mean, or at least we should able to take it as meaning something or other.

Culture and values are the clues connecting different nations, countries and races. China and Europe have left very different architectural and artistic forms in human history, but in the exploration of culture and values, we will find the same connotation.

This is the source of motivation that I am committed to exploring.

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DIA BOSTON GALLERY Skylight Window

Windows with different visual effects

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DIA BOSTON GALLERY Transdisciplinary Studio 1 Date: Dec 9, 2019

The Dia Boston Gallery is a small satellite gallery for the Dia Art Foundation located at 10 Haviland Street in Boston, Massachusetts. The gallery houses three art works which have been relocated and reinstalled according to the artist’s intentions. site model with circulation analysis With the specific requirements of each piece in mind, the site was analyzed and documented as part of the pre-design phase. Extensive study and documentation was conducted on notable existing site features, natural and artificial light, circulation patterns, and current use.

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site map

site view

site view

DIA BOSTON GALLERY

ART WORKS

Map of Broken Glass (Atlantis), 1969 Artist: Robert Smithson

According to Artist Alan Rapp, “The tons of shattered glass forming Map of Broken Glass (Atlantis) (1969) are layered both literally and figuratively. As the title implies, the sculpture is to be seen not simply as a pile of flat, sharp, transparent fragments but also as a map of a legendary lost continent.

Map of Broken Glass

The Privet,1997

Artist: John Chamberlain The Privet is a floor-to-ceiling construction made of tall, thin metal strips in wild colors, fixed to a foundation of densely packed crushed sheet metal. The work is shaped like a row of neatly trimmed bushes, similar to those surrounding the mansions of the wealthy. The Hedge is a long row of 16 waist-high box-like units made of crushed metal strips, half in chrome and half painted in garish hues.

The Privet

Ten Vertical Constructions, 1977–79

Artist: Fred Sandback

To work in an “imagined” space, positing the page as a virtual plane with indeterminate spatial possibilities for his linear constructions—literally blurring the lines between drawing, sculpture, and architecture.

Ten Vertical Constructions

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DIA BOSTON GALLERY

Lighting Design

skylight windows

Ten Vertical Constructions, 1977–79

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The Privet 1997

Map of Broken Glass (Atlantis), 1969

DIA BOSTON GALLERY Sunlight At Noon

Sunlight At Noon

Section shows Skylight effect at noon

Sunlight At Noon

Sunlight At Noon

Section shows Skylight effect at noon

Stairecase Entrance

amp sible R Acces

Accessible

Entrance

Section shows accessible entrance and staircase 7 entrance

DIA BOSTON GALLERY

lig Sky

Stairecase Entrance

ht

p am R e

ibl

ss ce

Ac

sections show artworks

Skylight

Skylight Accessible Entrance

section shows interactive with berklee college

First Floor Entrance

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axonometric shows the relationship between the above and under floors lighting diagram

DIA BOSTON GALLERY The interior perspective shows the positional relationship of the three artworks and the effect of skylights.

map of broken glass

the privet

ten vertical constructions

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DIA BOSTON GALLERY In the previous two schemes, I designed the first floor as an empty space for people to rest, and placed the artworks on the second floor.

Following my original idea, that makes this site a gathering place. I gave up those 2 schemes and eventually I decided to design a small square above and make all the gallery spaces on the 1st Floor.

Compared with the area across the street, the Berklee College Plaza, Dia Boston Gallery square is a little bit higher and bigger and it can accommodate more people staying here. Furthermore, it forms an exterior interactive space with Berklee College Plaza.

At first, I designed the entrance as a triangle glass cone. This idea was inspired by the glass pyramid of the Louvre Museum. My purpose was to make an entrance to enter the gallery from the ground of the square and leave visitors more imagination. Tourists may wonder what a kind of place here? At the end I changed the triangle shape to a regular open entrance, but I retained the idea that made the entrance on the above of the ground to make it more inviting.

I scratched some drafts to make sure the three artworks can be displayed appropriately in the gallery. It is not easy to site the 60’-0� long work, The Privet.

So eventually I reduced the width of the exterior stairs and made enough space for it.

REFLECTION Actually I don’t think this is a successful design. A lot of things need to improve.

If I had more time, I will make more detailed designs for Dia Boston Gallery square above the ground. Rails will be set up for security, place benches for tourists to rest and chat, and design two or three statues to show that this is an artistic place.

I am willing to learn differente skills and keep improving.

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The main idea of this design is trying to create different space experiences and movements through “courtyard” design.

From the study of Allston public library at the beginning of this semester, I learned how does courtyard play the role in a building. The courtyard design gives more nature light to the reading room in the library, at the same time, it brings the external natural landscape into the indoor environment and creates quiet and comfortable spaces for those people who reading and studying here.

LONG WHARF FERRY TERMINAL Architecture Studio 1 Date: May 20, 2020

first courtyard

second courtyard

interior courtyard

third courtyard

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LONG WHARF FERRY TERMINAL Precedent Study

Through the spatial relationship analysis and study of the Allston Public Library, I learned the courtyard design is an important way to make the library getting more natural light and a good view for the reading spaces.

That inspired me to think how to design the Long Wharf Ferry Terminal.

Open & close space

Court yard Design

Circulation

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Lighting Analysis

Site Analysis

LONG WHARF FERRY TERMINAL surounding buildings open view space

Site

iott Marr

se t Hou Char

e hous Ware

enclosed view space

The long wharf terminal is a parking lot right now and the boarding dock is just a temporary movable staircase.

After a site tour, I focused the site analysis on the spatial relationship between the site and the environment, including the relationship between the site and surrounding buildings, the relationship between the site and the water surface, and the relationship between the site and the dock.

In terms of visual perception, the site protrudes from the long wharf to the water makes it connecting to the boarding dock of the ferry. The front part of the site which is facing the water has a wide view range from the park on the left and another wharf opposite the water to the sea on the right. I define here as an open view space.

On the back, the marriott building, the old Chart house and the whare house enclosed an area which I define here as an enclosed view space.

This section shows the relationship between Long Wharf and Commercial Wharf across water. While it also shows the back ground of the site looking from east to west.

Park

open view

Site

Site

Commercial Wharf

Section_N - S

iew

enclosed v

Site environment

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Design Process

LONG WHARF FERRY TERMINAL

1 courtyard

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2 courtyard

3 exterior +1 interior courtyards

LONG WHARF FERRY TERMINAL First Iteration On the first iteration, I was trying to make a pavilion to connect the dock and ferry.

After going through the pavilion, you will see a large transparent space which I called it an interior “courtyard”.

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LONG WHARF FERRY TERMINAL

Second Iteration 2nd courtyard

1st courtyard

The first iteration only considered the commuter circulation from the dock to the ferry. Further circulation analysis indicated that people would come from different directions from the city. Therefore, the second iteration created two courtyards, each of them was designed as a buffer space to enter the terminal.

A pitched roof was designed to keep this building coordinate with the environment.

1st courtyard

2nd courtyard

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LONG WHARF FERRY TERMINAL

Perspective view of Second Iteration

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LONG WHARF FERRY TERMINAL

Third Iteration I turned the second scheme at an angle, so it created another space between the ferry and the water edge of the dock, I called it the third “courtyard”.

Then I made the central of the main part empty to create a two-story high central space which I called it interior “courtyard”.

I made one edge parallel with the water edge and the other side parallel with the wall of Marriott. That’s the final iteration.

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Third Iteration

LONG WHARF FERRY TERMINAL

On the third iteration, I created three exterior courtyards by extending out three wings from the central space and made the central space as an interior courtyard simultaneously. The interior courtyard becomes the main part of this building. It is connected with the three exterior courtyards, gathering people who come from different directions to go to the dock, and guide people who take off the dock to different areas. Also, the central interior courtyard unites the three wings to the building and makes them as a whole body.

ďŹ rst courtyard

second courtyard

I intentionally desiened the pitched roof on the central space to make the building harmonize with the environment.

interior courtyard

third courtyard

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LONG WHARF FERRY TERMINAL

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Exterior Courtyard Interior Courtyard

LONG WHARF FERRY TERMINAL

Interior Courtyard Exterior Courtyard Exterior Courtyard

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LONG WHARF FERRY TERMINAL

commuter circulation 22

tour circulation

LONG WHARF FERRY TERMINAL

First Courtyard

Second Courtyard

Each of the three exterior courtyards has its own intention and character. The one facing Marriott and Chart House shows the relationship with the existing old buildings and guides people to the direction of Marriott and train station. Meanwhile, it also leads those people who come from train station through this courtyard to the dock.

The other courtyard on the northside of Marriott shows the relationship between water and the ferry. It extends the eyesight to the green park on the west and the buildings across the water, bringing a totally different view experience. This courtyard leads people to the direction of the old neighborhood along northeast Boston.

The third courtyard which facing the dock is a closed space for people to enjoy the sea view and wait for the boat. Compare with going directly from the dock to the ferry, this courtyard creates a buffer space and a different traveling experience.

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LONG WHARF FERRY TERMINAL In the interior space, I make the first floor of both the north and south wings open to the central to create different movements into this building. The edge of the west wing that facing into the central space is designed as a solid wall.

It is not only functioned as a structure element but also a sign that lead people in different directions.

Columns and solid walls are designed in this building as structural elements. Columns give more alternative options in space design and solid walls help to divide spaces between different parts of the building.

The central courtyard is designed as a higher space. It’s more than two floors high covered with a pitched roof. The charactor of this higher space is totally different with the three exterior courtyards. It intends to create a motion movement which makes it a transition space that gathering people from the city to the dock and guiding people from the dock to diffetent directions of the city.

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The central interior Courtyard

LONG WHARF FERRY TERMINAL

REFLECTION The second semester I got improved in both design thinking and skill.

But the work of this semester still makes me not satisfied. If I have more time, I will try to make diagrams better through using computer software. I will make the site analysis from more perspectives, such as the impact of tidal fluctuations , as well as the impact of sunlight in different seasons.

If I can consider more factors that affect the terminal, then it should be able to make my design more functional and sustainable.

I will learn more about the method of site analysis and diagram skills.

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CITY LAB

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CITY LAB

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CITY LAB

Section Practice

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Five perspective thinking

CITY LAB

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SUSTAINABLE MATERIAL ASSEMBLY

I learned very important knowledge from this course. For the selection of materials, not only the characteristics, sustainability and environmental impact of the materials, but also the convenience of obtaining such materials must be considered. In the process of selecting materials, understanding the local environment, geography and climate is an indispensable homework.

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SUSTAINABLE MATERIAL ASSEMBLY Image source: The Wood Innovation and Design Center

With a height of 29.5 metres, the Wood Innovation and Design Centre (WIDC) is the tallest contemporary wood building in North America. Located in the city of Prince George in northern British Columbia, These innovations included:

• A set of site-specific regulations to ensure life safety and structural integrity;

Images source: The Wood Innovation and Design Center

• The use of vertical cross-laminated timber (CLT) elements (including mechanical, elevator and stair shafts) to provide lateral stability to the structure; • The use of double layer CLT floors to meet structural requirements and contribute to acoustic isolation and efficient services distribution; • The use of superimposed (end grain-to-end grain bearing) columns to control shrinkage over the height of the building; • The use of high strength proprietary connectors to speed construction and improve structural performance.

Images source: The Wood Innovation and Design Center

Cross Laminated Timber, is a multi-layer mass timber product spanning two directions with precision accuracy resulting in a secure, airtight building solution for any floor, wall, roof, or core.

Images source: The Wood Innovation and Design Center

Floor Assembly Diagram 1. 3-layer-CLT 2. 5-layer-CLT 3. Lighting 4. Services in Ceiling Trough 5. Acoustic insulation 6. Service in Floor Trough

7. Play Wood 8. Acoustic Underlayment 9. Carpet 10. Wood Slats 11. Sprinklers

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SUSTAINABLE MATERIAL ASSEMBLY

The Cambridge Public Library includes the preservation of the historic library (27,200 s.f.) and a major new building (76,200 s.f.). The project features the first double-skin curtain wall of its type in the U.S. (180’ long, 35’ high, 3’ deep with adjustable louvers), allowing for complete transparency while protecting from excessive heat gain, heat loss, and glare. The facade saves energy (50 % reduction compared to conventional curtain wall) & maximizes comfort at the reading spaces. The 3’ airspace opens in summer to keep heat from entering the building & closes in the winter to create an insulating “thermal blanket.”

The Associate Architect is Ann Beha Architects.

Exhaust vent with operabale glass louveres

Exhaust vent with operabale glass louveres

Outer skin Inner skin Operable aluminum louvers

Glass visors

Exhaust vent with operabale glass louveres

Roof

Operable windows

Structural ladder frame Operable aluminum louvers

Structural ladder frame Inner skin

Operable windows

Structural ladder frame

Outer skin

Second flopor

Operable aluminum louvers

Operable aluminum louvers Operable windows

Section diagram showing daylightring through the double-skin facade.

Glass visors

Intake trench with operable dumper

Operable windows

Intake trench with operable dumper

Boston

Axonometric model illustrating the movement of air within the double-skin facade cavity space in winter mode(left) and summer mode (rihght).

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Josef Gartner Facade

Intake trench with operable dumper

SUSTAINABLE MATERIAL ASSEMBLY

Project location Address: De Hilweg 2, 4251 MT Werkendam, Netherlands To avoid any unnecessary waste of material and energy, the hexagonal structure of the original Biesbosch Museum pavilions has been retained, and a new 1000 m2 wing was added on the south-western side of the building. Featuring extensive areas of fenestration, the wing opens to the museum garden on the island. The extension houses an organic restaurant that offers views of the adjacent water and landscape, and space for temporary exhibitions.

Green roof

Recycled steel construction, foundation and roof panels

Local water and food for restaurant

Underfloor heating / cooling

Solar heat-resistant glass

Ground wall as a heat buffer Biomass heater

Willows filter (water purification) Plants

River cooling

Growing medium

Waterwheel to generate electricity

Filter cloth Drainage layer Root barrier Waterproof membrane

Local willow for biomass heater Ground wall as a heat buffer

Green roof

water purification system

Existing building: Introvert, no relation with the surroundings

Proposal: Extending on the south east side View on the surroundings Activation of the museum island

Landscaping museum as landart Roof as a common space with a view

Tree roots take in water and pollution from the ground

Water enters tree where pollution is cleaned up

Pollution soil

Clean soil

Watre table

Clean groundwater

Polluted groundwater

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MAKING & MODELING

This is a very interesting course. While learning 3D design software, we can design and make various models by ourselves, and make our design a reality.

This process is a very meaningful experience.

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MAKING & MODELING

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MAKING & MODELING

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MAKING & MODELING REFLECTION This class is very interesting and I learned a lot of skills in school.

I had never drawn anything use 3D softeare before taking this class.

Now I started to use Rhino to creat models.

I think it’s a big break through for me in software skills.

Also, I tried to practice making a simple fuiniture by my self and I got some good experiences. I’m very excited to make my 3D model a real work.

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COMMUNITY PRACTICE

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COMMUNITY PRACTICE

Shruti Zhenhua

Catherine & Her Daughter

First Meal John

Andrew

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COMMUNITY PRACTICE Debate: Code & Licensing: Why the Matter

WHAT IS INNOVATION? MAKING CHANGES IN SOMETHING ESTABLISHED, ESPECIALLY BY INTRODUCING NEW METHODS, IDEAS OR PRODUCTS.

WHAT IS LICENSURE?

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“IMPROPERLY DESIGNED BUILDINGS CAN POSE SERIOUS THREATS TO OCCUPANTS AND THE PUBLIC. THE ESSENTIAL PURPOSE OF LICENSING ARCHITECTS IS TO PROTECT THE HEALTH, SAFETY AND WELFARE OF THE PUBLIC AND SHIELD CONSUMERS FROM UNQUALIFIED PRACTITIONERS.” - AMERICAN INSTITUTE OF ARCHITECTS

Mission Through educational workshops, classes, and Tool Kits for particular subjects that affect the urban housing and living context. Housing, New Constrcution and Education of Youth are just a few areas CUP addresses in collaboration with agencies, artist and advocates to give people power to make changes in their community and personal lives; ultimatley changing public policy and urban conditions.

COMMUNITY PRACTICE

Design Process

Curation of Learning Tools

Public Issue or Policy Issue

Bid For Collaboration

Fun and Funny

Collaboration Announced Production of Materials

Services

Design Process Collaborative

Community Education Envisioning Development Toolkits Making Policy Public

Visual communication

Public Access Design Technical Assistance Youth Education Urban Investigation City Studies Teacher Trainings

Design Firm Precedents -The Center for Urban Pedagogy

Useful

CUP is committed to bringing individuals from different fields together in creative dialogue. All CUP projects include CUP staff, artists or designers, community-based or advocacy organizations, and the people directly affected by the issues we address.

Every CUP project results in a piece of visual communication. CUP works with artists and designers to create everything from documentaries to posters to comic books to contraptions, all with a strong visual presence and a focus on making information accessible, enjoyable, and meaningful.

CUP projects produce visual tools designed to be used by communities that can most benefit from the information.

Turn the design ideas into reality. The Design of Tool Kits, Media Communications and Classes evokes a sense of interest and inclusion into city processes. Ultimately, stemming people in urban communties to take ownership. Ownership comes in the form of positions in local agencies, creation of community groups and further branching to suceed in changes.

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COMMUNITY PRACTICE

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Design the Firm Website

COMMUNITY PRACTICE BAC Lot Design

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COMMUNITY PRACTICE Big Plan + Projects

Chart of COVID-19 cases in Boston area Updated by April 16th, 2020

Boston 10,724 Cases 372 Deaths

Diagram of COVID-19 cases in Boston area by ages Updated by April 16th, 2020

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Map of COVID-19 cases in Massatrusettes recorded by county Updated by April 16th, 2020

COMMUNITY PRACTICE REFLECTION Actually the course Community Practice is very challenging for me because English is not my first language. I was even scared when I heard we would take a debate in class. fortunately, my classmates are very kind, so it made me having more confidence to communicat with them.

Everyone in my group came from different country with totally different cultural background. I learned a lot from them.

The class gave me a unique perspective to view and think about the role of culture in reality.

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PERSONAL WORKS

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CHINESE CALLIGRAPHY

These three calligraphy works are the names of three managers who are the managers of the company I used to work. I did these for them as gifts when I left my job.

The names in English from left to right are: Michel, Sarada and Lafayette

postscript

The first year in BAC, I encountered very big challenges. After leaving school for more than 20 years, I returned to the classroom and found that it was completely different from before.

Although I studied architecture at a university in China, during the past two decades, I have not been engaged in work related to this major. Therefore, this is almost entirely new to me.

When I was in college, all my homework was done by hand, without a computer, let alone so much design and drawing softwares. At the beginning, I always felt unable to keep up with the progress. I felt that the young classmates were so smart that I felt discouraged and even wanted to give up.

I am very grateful to the teachers and classmates in BAC, I got a lot of encouragements and supports here, it made me more confident to keep study hard continuously. I think I am not only studying architecture in BAC, but also studying American culture and philosophy.

After a year of study, I feel that I have gained a lot. The first is that I have met with students from different countries and regions around the world. This makes my thinking open and inclusive, meanwhile, I experienced communicating with classmates from different bacground of cultures. This experience helps me understanding other cultures in the world; the second aspect is that my language comprehension ability has also been improved, and I can understand the content of the teacher’s lecture more accurately.

Although my expression ability still needs to be improved, but at least I can express some major Thoughts; Another is, I have learned a lot of new knowledge and ideas, as well as new computer software, which can help me accomplish many tasks that were difficult to accomplish before.

I appreciate all of those who gave me a hand to surport me going through this year.

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Reference https://www.jstor.org/stable/3332870?seq=1#metadata_info_tab_contents https://www.mass.gov http://mg-architecture.ca/work/wood-innovation-design-centre/ https://www.archdaily.com/630264/wood-innovation-design-centre-michael-green-architecture https://www.archdaily.com/138698/cambridge-public-library-wins-harleston-parker-medal-william-rawn-associates-architects-and-ann-beha-architects https://www.architecturalrecord.com/articles/7848-cambridge-public-library https://inspiration.detail.de/visitor-centre-at-the-de-biesbosch-national-park-113618.html?lang=en https://www.pinterest.com/?news_hub_id=5106127482619214164&utm_campaign=interestrecommendations&e_t=e5f21e86a4a342db8b6f3ff643554e62&e_t_s=cta&utm_source=31&utm_medium=2024

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Zhenhua Jiang zhenhua.jiang@the-bac.edu 320 Newbury St, Boston MA 02115

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