Architect portfolio for UCL application

ARCHITECT PORTFOLIO WANG QINYUAN

PHONE: +44（0）74 1998 4845 EMAIL: w.m.wang@dundee.ac.uk

CONTENT CUT OUT AN ISLAND

2-7

- Combine two modules into one

MUSEUM WITH A STRING OF CUBOIDS

8-12

ROTATION CREATES STORIES

13-17

INVERSION CITY

18-23

OTHER WORKS

24

- Connect modules in a line

- Create responsive module groups

- A modular test strategy for Inverness

- watercolor drawings and shopping bag design

1

I.

CUT OUT AN ISLAND - Combine two modules into one

Topic: high-rise building design Location: Wuhan, China Poject Type: academic Individual Work Semester: year 4 Time: 04/2019- 05/2019 Tutor: Tingwei Xu <be@buildever.com>

2

STAGE 1 CONTEXT & SITE ANALYSIS

SITE AT THE BOUNDARY

DIFFERENT CHARACTERISTICS IN DENSITY, BUILDING STYE MATERIAL, CIRCULATION

STAGE 2 CONCEPT & MASSING DEVEPMENT

DIVIDE THE SITE INTO TWO HALVES, REFLECTING THE CHARACTERISTICS OF BOTH SIDES

N

a. Divide the building into two parts based on the site analysis.

b. Cut out one part of the original building and put it on the ground to make it symmetrical with the original one.

c. Give different characteristics to two parts to make them consistent with the surrounding environment. Then combine the two into one by galleries and roof forms.

0m

5m

10m

GROUND FLOOR PLAN

3

STAGE 3 ARCHITECTURE DESIGN 7.1 8.1

7.1 Outdoor Garden

8.1 Outdoor Garden THE SIXTH FLOOR PLAN

THE SEVENTH FLOOR PLAN

4.1 6.1

6.2

4.2

4.1 Church 4.2 Wework Space THE THIRD FLOOR PLAN

6.1 Leisure and Fitness 6.2 Swimming Pool THE FIFTH FLOOR PLAN

3.1 2.2

3.2 2.1

2.1 Haidilao Hot Pot 2.2 Bookshop STRUCTURAL EXPLOSION DIGRAM

THE FIRST FLOOR PLAN

3.1 Xiaomi Museum 3.2Wework and Sales Space THE SECOND FLOOR PLAN

4

STAGE 4 SPACE OF DIFFERENT CHARACTERISTICS A. LOWER TRIANGULAR BUILDING The lower triangle building welcomes the campus with a combination of sloping entrance facades and open plazas.

Inside the building, a series of spaces for college students, such as hot pot restaurant, wework space, and church, are designed. They have open large spaces and free circulation —— we call it an island.

At the same time, the low height of the building did not block the tall buildings in the west. The outdoor garden of the high building is displayed, attracting more people.

ENTRANCE PLAZA

CHURCH

WEWORK SPACE

EASTERN VIEW OF PHYSICAL MODEL

5

STAGE 4 SPACE OF DIFFERENT CHARACTERISTICS B. HIGHER TRIANGULAR BUILDING The higher triangular buildings share similar characteristics with other office buildings in the city. Most of the interior space of the high-rise building is neat and regular. Only the outdoor garden and swimming pool on the middle floors show a relaxed and pleasant atmosphere, providing a place for workers to gather and interact —— we call it another island.

The long aluminum sheets of the facades shapes its sharp and modern image. As people drove past the elevated road, they could accidentally discover the vibrant part of the building from the gap of aluminum bars.

RENDERING FROM A WESTERN PERSPECTIVE

OUTDOOR GARDEN & SWIMMING POOL

OFFICE SPACE

WESTERN VIEW OF PHYSICAL MODEL

6

STAGE 5 COMBINE TWO INTO ONE To adapt to the surrounding context, one building was split into two parts. But at the same time, steps have been taken to make them closely related. a. The sloping roof and proper height of the low building form a continuous surface with the outdoor garden of the high building. The greenery of the garden echoes the landscape inside the campus. b. A central street connects the underground floor of the two buildings, allowing people to move freely between the two. The sunken street setting also attracts crowds to gather. c. Two transparent corridors connect the two buildings on the third floor, encouraging students and workers to achieve good communication in the wework and exhibition space.

NORTHERN VIEW OF PHYSICAL MODEL

SECTION OF THE BUILDING

CENTURAL STREET & GALLERIES

7

II. MUSEUM WITH A

Topic: museum design

STRING OF CUBOIDS

Poject Type: academic

- Connect modules in a line

Location: Wuhan, China

Individual Work Semester: year 3 Time: 02/2018- 05/2018 Tutor: Penny Lewis <p.r.lewis@dundee.ac.uk>

STAGE 3 ARCHITECTURAL DESIGN

STAGE 1 CONCEPT ANALYSIS A. MOST MUSEUMS CURRENTLY The exhibition halls are connected by public corridors. People who watch the exhibition spend most of their time reading the specific information of the exhibits, lacking time for independent and divergent thinking. However, the specific exhibit information is only useful for a short period of time and will be quickly forgotten.

EXHIBITS’ INFORMATION

DIVERGENT THINKING

±0.000

TIME

WHAT YOU GET AT ONCE

2 WHAT YOU GOT IN THE LONG TERM

±0.000 1

B. IDEAL MUSEUM Research shows that a stable state of space is conducive to promoting creativity in unconscious thinking. Therefore, I want to create a circular and complete circulation for all the exhibition halls, avoiding interrupting thinking. In this way, visitors can gain more from a long-term perspective.

EXHIBITS’ INFORMATION

DIVERGENT THINKING

4

TIME

INTERACTIVE SPACE OFFICE/ COMMERCIAL SPACE

a. Set corresponding massing modules for different function spaces.

LEISURE SPACE

c. Consider adapting to the environment: 1. The masses on the south are lower than the ones on the north, which is better for daylighting; 2. Leave an overhead gallery on the ground floor for ventilation.

5

WHAT YOU GET AT ONCE

WHAT YOU GOT IN

14

THE LONG TERM

STAGE 2 MASSING DEVELOPMENT EXHIBITION SPACE

3

15

b. Arrange the position of the cuboids according to two criteria: 1. a circular and complete circulation for all the exhibition halls; 2. easy access to office and commercial spaces

6

16

±0.000

0.400 7 ±0.000

0.400

±0.000

8

12

0.400

13

d. Establish corridors on three height roof platforms for more free circulations and lively roofing activities.

10 11

±0.000 9

0m

7m

14m

±0.000

1.ENTRANCE HALL 2.DEPOSIT CENTER 3.RECEPTION 4.STAFF ROOM 5. LOUNGE 6. BOOKSHOP 7. SOUVENIR SHOP 8. INDOOR GARDEN 9. RESTAURANT 10. KITCHEN 11. STORAGE ROOM 12. RESEARCH ROOM 13. REFERENCE ROOM 14. PHOTOGRAPHIC LABORATORY 15. SPECIMEN LABORATORY 16. IDENTIFICATION & CATALOGUING OFFICE

THE GROUND & THE 1ST FLOOR PLAN

9

8.000

21 16.000

10.000 17 21

12.000

20 20.000

22 8.000 17 12.000

23 20.000

17

24

10.000 18 12.000

19 4.000

27

16.000

29 16.000

30 31

16.000

12.000

17 6.000

17

8.000

20. DESIGN CENTER 21. DESIGN STUDIO 22. GALLERY 23. CONFERENCE ROOM 24. PRESIDENT OFFICE 25. OFFICE 26. MULTI-MEDIA CLASSROOM 27. CLASSROOM 28. DISCUSSION ROOM 29. BACKSTAGE 30. STAGE 31. LECTURE HALL

17 17. EXHIBITION HALL 18. CAFE 19. KITCHEN

7m

26

8.000

8.000

0m

27

17

17

4.000

26

25

28

16.000 4.600

25

16.000

20.000

14m

EXHIBITION HALLS PLAN

0m

7m

14m

OTHER SEPARATE ROOMS PLAN

10

EAST ELEVATION

NORTH ELEVATION

FLOOR EXTERIOR WALL reinforced concrete reinforced concrete wall 40mm No.200 fine stone concrete protective layer 20mm 1:2:5 cement mortar screed asphalt coil waterproof layer asphalt coil waterproof layer 20mm 1:2:5 cement mortar screed 20mm 1:3 cement mortar protective layer No.100 concrete cushion layer 120mm No.50 mortar brick wall ROOF surface layer 40mm C20 fine stone barrier coil waterproof layer 20mm 1:3 cement mortar screed 20mm C20 fine stone concrete slope insulation reinforced concrete

ROOF SPACE

PARAPET WALL 20mm 1:3 cement mortar protective layer coil waterproof layer 20mm 1:3 cement mortar screed structural wall

STRUCTURAL SECTION

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STAGE 4 EXHIBITION SPACE DESIGN I selected twelve exhibits which contain the element of square from the V & A Museum to set in this hall. a. A 45-degree wall divides the exhibition hall into an ancient world and a modern world. b. Present exhibits in innovative ways, such as hanging ancient tea cup groups. (Scene A) c. Set the height difference for the booths to attract people to get close. (Scene B) d. Present the exhibits in pairs to achieve interesting scenes (scene C-F) e. Arrange exhibits that are similar but with different materials in the same perspective. (Scene G)

C

A

D

F

B

SCENE C

SCENE D

SCENE E

SCENE F

E

G

PLAN

SCENE A

SCENE A

SCENE G

II. ROTATION CREATES STORIES - Create responsive module groups

Topic: design research about rules of games Poject Type: academic Individual Work Semester: year 5 Time: 09/2019- 12/2019 Tutor: Cameron Wilson <c.m.wilson@dundee.ac.uk> Jane Burridge <j.burridge@dundee.ac.uk>

STAGE 1 RESEARCH ON RULES OF GAMES

STAGE 2 HAND-SCALE GAME DESIGN

A. THE 1ST RULE: QUANTITATIVE REPETITIONS CAUSE A

A. GAME DESIGN

QUALITATIVE CHANGE The cube escape series is a very popular room escape game, using a main storyline to connect a series of small game levels. Many of these levels are passed through by repeating small movements to achieve a holistic visual effect. As shown in Figure 1, the player needs to move the rectangle which shows two numbers on it over and over again so that all rectangles have the same number at the point where they connect. And in Figure 2, the flies and cocoons are needed to be moved to vacant positions, eventually forming a square with only three flies and three cocoons per row and column.

FIGURE 1

The narrative cycle means that players have different experiences between doing the same thing. For example, in the same cube escape game, the player first needs to adjust the pieces of the square which show different kinds of spaces to form a maze map (figure 4), and then enter the maze to start the first journey (figure 5). After reaching a certain point, the player exits the world of the maze, re-splices the pieces of the square, forms a new maze map (figure 6), and then enters the second journey in the continuation of the maze (figure 7), and so on. Therefore, the narrative cycle maintains a fresh sense of "repetitive" playing through a "non-repetitive" game experience.

FIGURE 4

b. Develop it into three modules

c. Rotate the block to allow the ball roll from the upper left corner to the lower right corner! (some of the blocks are able to rotate while some are not.)

d. Quantitative repetitions cause a qualitative change (game result) e.Different narrative lines (different ball routes/ game process)

FIGURE 2

B.THE 2ND RULE: NARRATIVE CYCLE

FIGURE 3

a. Select basic module

FIGURE 5

FIGURE 6

C. MODULE TRANSFORMATION AND REPETITION

B. MODEL MAKING & ONE KIND OF GAME ROUTE

a. Simulate rotation scheme by computer

b. Assemble modules with wooden blocks and acrylic

c. Connect rotatable circles and modules with pins

d. Use a wooden board as a baseboard to hide the pins

Transformation helps to create a sense of rhythm when repetition. Copying, rotating, and mirroring are three common method. Among them, rotation is popular in design, because changing the direction of modules is one of the best ways to create a sequence, which can give the space a directivity and guide the flow of people.

A 30MM * 20MM HAND-SCALE GAME MODEL

14

STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

STEP 6

STEP 7

STEP 8

STEP 9

STEP 10

STEP 11

STEP 12

STEP 13

STEP 14

STEP 15

STEP 16

15

STAGE 3 HUMAN-SCALE SPACE DESIGN A. CONCEPT DESIGN "Concave" type, "L" type and "II" type are three common building mass forms. The independent existence of each building block prevents people from walking freely between them.

If we create responsive building blocks, each block has four terminals that is able to emit signals (as shown in the figure below). When the terminals are opposite each other, the original vertical wall of the building is rotated to the horizontal so that the horizontal planes are connected and the two blocks can be connected by a gallery.

ONE - LAYER MODULE GROUP

When modules are rotated to different directions, the module group takes on a significantly different shape and people will have free and changeable circulations. Meanwhile, diverse outdoor spaces are created.

On the right are different forms that can be represented by a 10 * 10 module group with 1/2/3 layer (s).

TWO - LAYER MODULE GROUP

THREE - LAYER MODULE GROUP

16

STAGE 3 HUMAN-SCALE SPACE DESIGN B. PHYSICAL MODEL DESIGN IR RECEIVER

IR TRANSMITTER

I use a power supply, a push-pull electromagnet, and a switch consisting of an infrared transmitter and an infrared receiver to make the physical model of the responsive module.

The principle of this electric circuit is: when the module terminals are not rotated to face each other, the infrared receiver cannot receive infrared, the circuit is connected, the electromagnet attracts the coin on the wooden board and the spring contracts so that the wooden board rotates to vertical; when the module terminals face each other, the infrared receiver receives the infrared radiation emitted from the other terminal, the circuit is disconnected, the electromagnet loses its magnetism and the spring bounces off the originally attracted wooden board so that the wooden board rotate to horizontal.

PUSH-PULL ELECTROMAGNET

CIRCUIT DIAGRAM

1. Connect the wooden module to the rotatable circular plate with rivets.

2. Place a flat surface inside the module and place the IR transmitter / receiver on it.

3. Place a push-pull electromagnet on the bottom plate inside the module and stick a coin on the wooden board.

4. Assemble an iron rod with a diameter of 3mm and several parts with holes, so that the board can be flexibly rotated.

5. Connect the power and test the infrared switch.

6. Connect all circuits in series.

SCENE ONE

SCENE TWO

SCENE THREE

17

IV. INVERSION CITY - A modular test strategy for Inverness

Topic: city research and hypothesis testing Location: Inverness, UK Poject Type: academic Group Work: Qinyuan Wang, Xirui Yang , Shuoan Qian Personal Contribution: city research and analysis drawing, theory research, strategy proposal, volume design and analysis drawing, scene collage drawing Semester: year 5 Time: 09/2019- 12/2019 Tutor: Colin Baillie <colin@baillie-baillie.co.uk>

18

STAGE 1 CITY INVESTIGATION INVERNESS Inverness is an ancient cathedral city in the Scottish Highlands.

TORNAGRAIN

It is the administrative centre for The Highland Council and is regarded as the capital of the Highlands.

Over the past two decades, Inverness has experienced continual population growth. The population of Inverness grew from 40,969 in 2001 to 46,869 in 2012. The Greater Inverness area, including Culloden and Westhill, had a population of 59,969 in 2012. In 2018, it had a population of 69,989. Inverness is

TORNAGRAIN

one of Europe’s fastest growing cities, with a quarter of the Highland population living in or around it.

Inverness's continual population growth caused the birth of its satellite town -- Tornagrain. New Urbanist satellite towns tend to detach themselves from existing cities entirely, often conflating their ambitions with a highly differentiated architectural vocabulary and promoting an idealised exclusive enclave.

We aim to unmask the seductive promotional imagery of the New Urbanist movement, raising crucial questions about this

INVERNESS

new mode of urbanisation. We will first make a framework to analyse the reality of Tornagrain , before then making proposals for accommodating a new neighbourhood within the central urban area of Inverness.

A. IMAGE - HOMOGENIZATION

B. HOUSE PRICES FOR UPPER-MIDDLE CLASS - A GATED COMMUNITY TORNAGRAIN £194,000

STEPHEN

TORNAGRAIN / 2017

ZERO C

£242,000 £272,000 £194,000

We are aiming for:

GRANTOWN-ON-SPEY / 1765

£380,000

£272,000

SEMI-DETACHED

PORTNAHAVEN / EARLY 1800s

D. SMALL FAR - LOW DENSITY

£380,000

DETACHED

TERRACED

C. ISOLATED IN GEOGRAPHY - LIMITED AMENITIES

£235,000

£194,000

TORNAGRAIN FAR: 0.23

INVERNESS CROWN FAR: 0.86

EDINBURGH NEW TOWN FAR: 1.18

GLASGOW BUCHANAN FAR: 2.23

INVERNESS CITY CENTER FAR: 1.07

£380,000 £334,000

£265,000

LONDON CITY CENTER FAR: 3.6

A HIGH-DENSITY, MIX-USE, HYBRID-TYPOLOGY COMMUNITY 19

STAGE 2 SITE CHOSEN

B. TYPOLOGY

- Find industrial areas as potential sites in Inverness for accommodating a new neighbourhood,

The typology of industrial area buildings is different from that of other areasâ&#x20AC;&#x2122;. Many buildings are inconsistent with the beautiful image of the city and have room for transformation.

INDUSTRIAL AREA TYPOLOGY

OTHER AREAS TYPOLOGY

C. ISOLATION When analyzing the industrial area, we discovered the reasons that make it morphologically incompatible with the rest of the city. The fence, barrier gate, railway, river and bridge have isolated it, which means that it is necessary to break traffic restrictions and strengthen the connection between the industrial area and the city.

2 1

3

A. MORPHOLOGY Comparing the morphology, and FAR of each area of INVERNESS, the industrial zone is clearly different from other parts of the city. It has the smallest FAR value and a single building image -which means that the current industrial building density is very low and has a great potential for density improvement.

1. RAILWAYS

2. SAND

3. SEA

4. RIVER

4 5 6

TRAFFIC ROUTES AROUND THE INDUSTRIAL AREA

5. BRIDGE HOLE

6. FENCE

7

8

INDUSTRIAL AREA BUILDINGS AND ITS SURROUNDING COLLAGE

7. RAILWAY

8. BARRIER GATE

20

STAGE 3 THEORY STUDY

STAGE 4 HYPOTHESIS: INVERT FIGURE GROUND

NOLLI MAP CITY & FIGURE-GROUND PLAN

a. Build a high-density community in Inverness b. Redefine figure ground and rearrange public sharing space , weakening the boundary isolation of public space and making it appear white in concept.

- Explore the relationship between public and private in the city

Nolli map, Roman, by Giambattista Nolli

1784 Giambattista Nolli drew a map of the city of Rome that was revealing. Nolli map redefines public space in the city. Black is used to represent closed public spaces, while white is used to allow more people to pass through.

A. ADAPTIVE REUSE FOR ORIGINAL BUILDINGS

B. MIX-USE BLOCKS FOR NEW BUILDINGS

Method 1: Transform it into Outdoor space

ROMAN

SATELLITE IMAGERY

FIGURE-GROUND PLAN

NOLLI MAP

RESHAPE MAP IN INVERNESS

- Rethink the relationship between public space and private space in an inverted form.

INVERT

Most factories in Inverness are enclosed and not open to the public. The display of nolli map and figureground plan is the same.

SATELLITE IMAGERY

FIGURE-GROUND PLAN

NOLLI MAP

AN INVERTED FACTORY

INVERSION VISION

ADD CONNECTION

Method 2: Transform it into a courtyard with transparent roof

Method 3: Transform it to combine with surrounding buildings

House + Retail+ Community FAR: 1.6

Culture + Retail FAR: 2.8

House + Mixed Commercial+ Community FAR: 2.5

House + Retail FAR: 4.1

House + Mixed Commercial+ Community FAR: 1.4

House + Culture+Mixed Commercial FAR: 1.6

Office+ Transportation+ Retail FAR: 4.5

House+ Retail+ Community FAR: 2.2

House + Community FAR: 1.1

Inversion transforms a factory to be a public space and gather people together.

INVERTED FACTORY VISION

21

C. CIRCULATION INSIDE

D. CONNECTIONS WITH OTHER REGIONS

a. Physical Connections

ORIGINAL BUILDING BEFORE

Adaptive reuse the abondoned railway to create galleries and 1. NEAR LANDSCAPE

2. BETWEEN BUILDINGS

landscape between buildings.

Build bridges to connect area on both coasts.

AFTER 3. WATERSIDE

2

BEFORE

b. Sight Connections Build a tower so that every part of AFTER

Inverness can be seen from there.

Combine the previous two steps to create a flexible circulation by adjusting the relationship between the volume and the virtual at different heights.

MODELS OF BLOCK DESIGN

SECTIONS

SECTION OF TESTED SITE IN AN INVERTED FORM 1-1

SECTION OF TESTED SITE IN AN INVERTED FORM 2-2

22

SECOND-HAND GROCERY STORE REMODELED BY A FURNITURE FACTORY

SEMI-PUBLIC SPACE FOR ACTIVITIES AND EVENTS

COMMERCIAL STREET FACING RAILROAD TRACKS

CENTER COURTYARD FOR COMMUNITY 1

CENTER COURTYARD FOR COMMUNITY 2

CENTER COURTYARD FOR COMMUNITY 3

BLOCK AXONOMETRIC DRAWING OF TESTED SITE IN AN INVERTED FORM

SEASIDE HOUSES

HOUSES CLOSELY CONNECTED TO THE STREET

FACADE OF CULTURAL DISTRICT

23

V. OTHER WORKS

Topic 1: Watercolour Drawings Semester: year 2 Time: 11/2016- 3/2017

Topic 2 : Eco Shopping Bag Design Semester: year 3 Time: 4/2018 Prize: Won Best Popularity Award; 2nd place among

320MM

115MM

FRESH SUMMER

63 participating teams

The design is dominated by orange and red, and is composed with collages. It is lively and energetic, and depicts the overall style of Wushang Asian Trade Center.

420MM

1. The main building shows the real building facade covered with mosaic tiles in bright yellow.

2. Add green leaf elements to add vitality and express the concept of environmentprotection.

3. The Background pattern is composed of the overpass symbol (an important landmark of the shopping mall) and the logo of the shopping mall.

4. The display window shows rich and diverse items, representing the various functions of shopping mall.

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