A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.59 episode is about Boyuan Jiang, who graduated from Columbia University and working in SHoP.
Why go abroad?
To study and take a breath.
Is there anything happened impressed you the most abroad?
New York is a global city with tremendous tolerance, where diverse populations and cultures somehow managed to live together. Occasionally I came across with interesting people and things that impressed me simply with their existence. The longer I stay the stronger I feel that introspection based self-understanding is probably the most difficult skill one is to learn to approach inner peace.
What do you miss the most about China?
Family, culture and being grounded.
Will you come back? Why?
Yes. My root is in China, and I‘m more comfortable with the Chinese way of thinking in its intellectual sense.
Is it more distinct to view China in a different environment after going abroad? Any thought?
Those things that I felt unclear about before did get cloudless, but at the cost of losing explicit understanding of many other things that I used to be very familiar with.
What are the educational characteristics of your school?
Probably all GSAPPers would mention “diversity” in our answers. It is both a gift of New York’s dynamic culture and a result of the school’s intention. The M.Arch program that I graduated from is especially so for admitting one half non-architecture background students, which embarks numerous inspiring communications in the program’s 3-year timespan. The School of Architecture at CUHK is pedagogically influenced by ETH when I was there. Its rigid training on basic skills and ontological emphasis of space, tectonic and materiality well complemented the east coast school’s preference of conceptual purity.
What are the characteristics and interesting points of you firm?
SHoP Architects 近几年在美国比较火，尤其是在纽约圈子影响力较大。五个合伙人在入读哥大M.Arch项目前都没有建筑背景，毕业后成立了这家公司。早年的实践非常重视新技术、材料和生产的紧密结合，成为延续至今的特色。如Barclay Center等项目采用Catia设计和建模，与厂商实现无缝对接。公司一度拥有自己的生产和施工子公司SHoP Construction，尝试提供一体化的设计与建造服务。另外SHoP在全预制住宅、3d打印建筑、虚拟现实、设计方融资等领域也有深入的实践经验，属于美东前瞻性较强的公司。随着项目更加多元化以及体量的增大，SHoP目前已经发展到近200人规模，正在经历一次比较重要的转型期。
SHoP Architects is a rising star in recent years’ American architecture profession, especially influential in New York, where the five founding partners went to school at Columbia University GSAPP. With their various background, the early practices of SHoP focused on streamlining new technology, material and fabrication in architecture, which became one of the major characteristics the firm is known for today. Projects like the Barclay Center utilized Catia to better smoothen the friction between design and construction. Similar efforts also include establishing SHoP Construction, a separate company providing fabrication and construction services. The firm is also experienced in multiple advanced fields such as prefabrication, 3d printing, VR and financing their own projects. As the scope of work becoming larger and more diverse, SHoP has grown to a 200 people practice currently undergoing its critical turning point.
Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?
Guo Xi and Claude Monet. Guo’s Early Spring scroll and Spring Snow in Guan Mountain scroll, and Monet’s Water Lilies series are I-pin (untrammeled) class masterpieces to my standard. However, the most influential artworks for my architectural design probably come from Italian artist Giorgio de Chirico and Chinese painter Xu Lei. Despite being Surrealists, they precisely depicted European and Chinese classic spatial aesthetics respectively in their works.
▼左: 郭熙《早春图》（1702），Left: Guo Xi, Early Spring, 1072 / 右: 莫奈《睡莲》局部（1915-1926），Right: Claude Monet, Water Lilies (Detail), 1915-1926
▼左: 契里柯《一条街上的神秘与忧郁》（1914），Left: Giorgio de Chirico, Mystery and Melancholy of a Street / 右: 徐累《蝴蝶君》（2002），Right: Xu Lei, Mr. Butterfly, 2002
What amazing character do your works have?
Probably Vagueness and Equivocality are the characters, though not amazing. At GSAPP, I tried to use my projects to understand and express my views toward various topics by intentionally idealizing the designs to relatively utopian extents. In this process I realized how my intellectual thinking and aesthetic interests are different from the western traditions. Rather than focusing on polarized objects (either abstract or physical), I intuitively tend to investigate the indefinite field among the objects. My works always try to balance one or more pairs of contradictory relations, such as Nature-Human, Individuality-Collectivity, Freedom-Order, etc., to find the most appropriate location for the designs to embark meaningful dialogues. Placing “relation” at the center of my scope leads to fuzzy results suggesting infinite potentials and, hopefully, powerful tensions. My favor for such approach is probably originated from its homology with traditional Han Chinese culture, which tends to intellectually absolutize relativity. This is also where my portfolio’s name, RELATE, comes from.
When did you start to follow gooood? Any suggestions?
About 4 to 5 years ago, when I was not familiar with mainland’s architecture practices, Gooood introduced many Chinese architects and firms to me. I wish the platform could continue bridging China to the rest of the world.
W O R K
神田山 | Kanda Mountain
哥伦比亚大学毕业设计，Lucille Smyser Lowenfish Memorial Prize 获奖方案。
Instructor: Sarah Dunn
Time: Spring 2016
Columbia University GSAPP final project. Recipient of the Lucille Smyser Lowenfish Memorial Prize.
神田山是我空想和讽刺程度最高的作品。导师Sarah Dunn设置的课程大纲实验性很强，以研究二十世纪中叶的巨构建筑风潮为起点，由学生自己选择东京的一项社会问题，自选基地进行乌托邦式巨构设计，学期末每个学生创作一张以剖面为主的巨幅建筑图为最终成果。我选择的关注点是东京的老龄化问题。日本的老龄人口比例常年高居世界前列，2015 年，日本政府提出构想，计划将一百万生活在东京都市圈的老年人移至偏远地区，以此达到疏解东京人口压力与带动地方经济的一石二鸟之功。然而这项提议被社会广泛批评为可行性低、漠视老年人参与都市生活的愿望与努力。神田山作为对这一政策的讽刺性回应，通过在东京市中心建造一座7英里长的巨构建筑为这一百万老年人提供居住空间，并试图从多个角度连通历史与当下，使老年人的传统与东京充满活力的都市文化相互渗透。
The Kanda Mountain is the most utopian and sarcastic architectural work of mine. Instructor Sarah Dunn set up an experimental syllabus for the studio: starting with a revisit to the Megastructure fever of the mid-20th century, asking students to choose their own sites and social topics in Tokyo to design a megastructure, and finishing the term with one large sectional drawing from each student. Tokyo’s greying problem is chosen as the theme for this project. Japan’s greying crisis is thought to outweigh all other nations as it has the highest elderly population proportion in the world. In 2015, in response to the foreseeing elderly nursing pressure of Tokyo City, the Japanese government proposed to move 1 million elderly citizens from Tokyo to multiple suburban areas. However, this plan is criticized for its feasibility and being inconsiderate to aged population who are striving to be a part of the city’s dazzling modern urban culture. Designed to provide a sarcastic alternative, the Kanda Mountain is a 7-mile long megastructure in the center of Tokyo to accommodate the city’s elderly population, connect the past with the contemporary, and introduce possibilities for nurturing new cross-generation cultures.
The project is composed of 11 mountain-like buildings extruded along the historical trace of the Kanda River, a half-abandoned, historically important waterway whose own history metaphorically resonates with the elderlies’ contemporary “hidden” condition in Tokyo. Relocating the aged population to such a site will not only utilize existing infrastructure built along the river, but also redefine the public vision against both the elderlies’ aspirations and the city’s own past.
Besides its well-known spiritual symbolism in Japanese culture, Mountain particularly echoes with the aging theme with a unique Japanese tradition. Ubasute, literally means ‘Elderly Abandoning Mountain’, refers to the custom allegedly performed in ancient Japan, whereby people carried their elderly relatives to a remote mountain and left them there to die. The story sarcastically reflects the present situation of the government’s relocation plan. As an artificial mountain erected above the trace of the Kanda River, the Kanda Mountain tries to juxtapose all these metaphorical meanings, and through them critically question the social alienation of today’s elderly generation. The exact forms of the Kanda Mountain are designed based on a typological study of the 1820 book “Illustrations of Japanese Famous Mountains” by Tani Buncho. Besides providing elderly accommodations, the 11 mountains are each assigned with one distinct program responding to its immediate urban context. For instance, the Akihabara Bridge spanning over Akihabara Station supports digital and comic industry, the Holy Mountain, taking the shape of Mount Fuji and locating at the intersection point of the Imperial Palace-Mount Fuji axis and the Kanda River, provides multi-religious spaces while reminding people of the ancient time when Mount Fuji is visible from that location. These specific functions try to bring Tokyo’s dynamic urban life closer to the elderlies and establish an effective cross-generation communication at a city scale.
▼左：神田河曾是东京都护城河，Left: The Kanda River used to be Tokyo’s city moat / 右：《日本名山图会》中的山形，Right: Mountain forms in Illustrations of Japanese Famous Mountains
▼神田山十一峰分段模型，Models of the eleven mountains
▼以日本传统屏风形式绘制的神田山十一峰剖面，Sections of the eleven mountains drawn as a Byobu.
▼上：知山所在的市谷地区保留了神田河最宽的水面，为老人及临近的多所高等学府提供教学设施。Above: The Knowledge Hills located in Ichigaya provides educational facilities for both the elderlies and nearby universities / 下：位于御茶之水的康山毗邻多家医学院与医疗机构，为长者提供健康服务。Below: Located in Ochanomizu where multiple medical schools and hospitals gathered, The Health Strata provides healthcare services to the elderlies.
▼康山，The Health Strata
▼知山，The Knowledge Hills
▼圣山是神田山主峰，位于皇居-富士山连线与神田河的交点上，包含各种宗教空间。历史上从该位置可以直接看到富士山。As the Peak of the Kanda Mountain, the Holy Mountain contains various religious spaces. It is located at the intersection of the Imperial Palace-Mount Fuji axis and the Kanda River, where Mount Fuji could be seen with bare eyes in the past.
▼圣山的主殿为多信仰集会空间，以巨幅LED屏幕环绕中央一道从神田河取水而成的瀑布。The multi-faith Main Hall of the Holy Mountain features a giant 360 degree LED screen surrounding a central waterfall created from the Kanda River water source.
▼上：溜池山以空中温泉再现了历史上神田河在此处形成的宽阔蓄水池。Above: The Tameike Onsen reproduces the historical Kanda River Reservoir in the form of a sky onsen / 下：赤坂山以公共空中森林呼应赤坂御用地的皇家私有园林。Below: The Akasaka Woods provides a public sky forest to resonate with the private garden in the Akasaka Imperial Palace.
▼溜池山，The Tameike Osen
▼赤坂山，远景为赤坂御用地。The Akasaka Woods with the Akasaka Imperial Palace in the background.
▼筑地鱼山接收了因东京奥运会而被迫关闭的筑地鱼市的功能。The Tsukiji Fish Mountain takes on the function of the Old Tsukiji Fish Market, which is going to be closed for Tokyo Olympics.
Despite the obvious sarcasm and playfulness of the design, the project is based on serious site and social researches and provides a possible solution for Tokyo’s growing aging population. The programmatic and spatial arrangements are designed to provoke refreshing mixed lifestyles where the value of the elderly traditions could be revealed and respected. Mountain and water are the two most symbolic natural figures in traditional Eastern culture. The symbiosis of them in Kanda Mountain is in line with all the ancient artificial attempts to summon spirits through physical forms. A great wall is erected in Tokyo to resuscitate the fading ghost of the past.
▼从康山望向圣山，两者之间即为古代东京都范围。View of the Holy Mountain from the Health Strata. Historical Tokyo city is enclosed in between.
▼神田十一峰图绘屏风，Kanda Mountain Byobu
山水堂 | Mountain-Water Church
Location: Hong Kong
Instructor: Patrick Hwang
Time: Spring 2012
The Chinese University of Hong Kong, School of Architecture final project.
Although the project is required to be designed as a Christian Church, I try to minimize the influence of specific religious motif and make the Mountain-Water Church a place for visitors to experience a spiritual journey of self-rediscovery. The long and narrow site is located at the foot of a hill near the Tolo Harbor in Hong Kong. The natural context and the shape of the site with its single entrance at one end suggest a linear spatial movement through nature, initiating the concept of “a journey through a garden”. The project is inspired by the representation of Mountain and Water in traditional Chinese garden designs. ‘Stacking mountain, planning water (叠山理水)’ is the design method using rock, creek and pond to represent the mountain, river and lake in real nature, intimately connecting the mortal human scale to the eternal nature. ‘View changes with moving steps (移步换景)’ describes the rich visual experience achieved by precisely controlled views along designed travel routes. Based on the above two methods and the understanding of emotional rhythm in traditional Chinese landscape paintings, a narrative spatial experience is choreographed in the Mountain-Water Church.
▼上：概念图，Above: Concept Drawing / 中：山水堂轴测图，Middle: Water-Mountain Church axonometric drawing / 下：富春山居图节奏分析，Below: Rhythm analysis of the Dwelling in Fuchun Mountains
The Church is divided into two parts, the back part are primarily living and studying spaces for the priests, while the front part serves for public events. Visitors will pass through an exterior pond with the view of a small cascade upon their arrival at the entrance. After walking through a shaded corridor leading to the main lobby, they step up a staircase to enter the Congregation Hall from the second floor, where the climax of the itinerary happens. Here they will “rediscover” a sky-lit interior water surface at the altar, which flows out of the building to form the cascade falling into the entry pond. Thus, from the unconsciously experienced light and water at the start of the journey, to the intentional architectural suppression of these two elements in the middle of the journey, until the rediscovery of them at the sublime moment, the narrative scenes create a self-reflective adventure. As a key component connecting the two water bodies, the cascade links the beginning and the end of the itinerary and dissolves the linearity of time at a phenomenological sense. If the journey traveled before entering the Congregation Hall could be seen as the Christian “Via Dolorosa”, the revealing of the altar is designed more as a Buddhist “Moment of Enlightenment”, providing an opportunity for visitors to meditate and introspect.
▼大殿神坛，Altar at the Congregation Hall
▼左：大殿节点图，Left: Congregation Hall detail drawings / 右：流线分析，Right: Circulation diagram
▼叙事场景序列分析，Narrative sequence analysis
Besides using building massing and water feature to resonate with the mountain and harbor in the surrounding context, there are other traditional-Chinese-garden-inspired designs adopted in this project. For instance, the timber fins on the facade break visitors’ views into fragments so that even the same landscape can be constantly rediscovered while they move through the space. The Water-Mountain Church unrolls itself as a traditional Chinese scroll painting, gently waiting to embark the visitors on dialogues with their inner-selves.
▼大堂入口模型， Model of the Lobby entrance
自证池 | Pygmalion Pool
Location: New York
Instructor: Janette Kim
Time: Fall 2013
在心理学领域，作为自证预言分支的皮格马利翁效应表明，对他人的正/负面预期会诱导其进行自我暗示并最终做出相应行为。对公屋领域中发生的这一效应，最著名的案例来自Pruitt–Igoe。在2011年的纪录片《The Pruitt-Igoe Myth》中，当年的居民回忆了一个细节：在一栋楼的灯具被好事者破坏后，管理方的反应是迅速为所有灯具加装防护网，这导致“更多人想把灯弄坏”。道格拉斯社区的情况与此如出一辙。
The Pygmalion Pool is another utopian work of mine trying to respond social problems with radical architectural approach. The swimming pool project is located in a NYCHA managed public housing community named Douglass Housing, where the majority occupants are low-income people. Numerous surveillance cameras, strong fences and warning signs suggesting ‘correct behavior’ flood every dominant public space in the community. As a sharp contrast, the high-end housing community across street hides all surveillance cameras from public views, opens up outdoor amenities and starts all their signage with a “Please”. What is even more ironic is that vandalism is still very obvious in Douglass Housing. Further research on New York’s public housing shows that media and management bodies tend to associate the low-income residents with typical labels such as crime, vandalism and drug addiction.
The Pygmalion Effect is a Self-Fulfillment Prophecy being widely adopted in psychological studies to describe the phenomenon whereby higher/lower expectations lead to an increase/decrease in performance. As an example, in the 2011 documentary The Pruitt-Igoe Myth, a former resident recalled a detail: after someone broke a lighting fixture, the management’s immediate response was installing protection for all lights, which ‘only make more people trying to break them.’ Similarly, NYCHA’s surveillance and over-controlling also contributes to the unsatisfied status of Douglass Housing.
▼道格拉斯社区中的监控与警告，以及媒体对公屋的报道。Surveillance and warning in Douglass Housing, and media reports covering public housing.
▼自证预言/皮格马利翁效应，Self-Fulfillment Prophecy / Pygmalion Effect
The Pygmalion Pool tries to respond to this problem by radically change the negative expectation upon the residents. The pool is hanged above a sloping ground by twelve vertical structures named ‘tower islands’, which are the key features for applying Self-Fulfillment Prophecy theory in this project. Apart from some being used as public vertical circulation cores, most islands are designed to be surveillance-free temporary ‘private’ spaces, each contains a locker, a changing room, bathrooms, and a double-level hydraulic elevator as undefined multi-functional spaces. The islands can be temporarily locked at all entrances when being used, isolating users from the public water above and the public ground below and thus redefines the psychological identity of both levels. Visitors can use the islands in whatever way they prefer and stay for as long as they want while the pool is open. The islands are conceived as spaces providing the residents with extreme privacy and freedom. They can bring furniture into the multi-use spaces and spend an afternoon there without entering the pool; even drug, sex and alcohol are not prohibited.
▼体现楼岛构思的概念图，Concept drawing depicting the Tower Islands
By temporarily privatizing a public space, and by returning the absolute control back to the hands of the users, the project might help to establish a positive cycle of expectations and transform the residents’ performance. While such radical argument cannot provide any practical solutions, it does remind us of the critical relation between social class and spatial justice, a topic fading away from today’s academic discussions.
▼自证池成为道格拉斯社区的入口。The Pygmalion Pool functions as the gateway to Douglass Housing.
河廊园 | Xs Campus
Location: Washington D.C.
Instructor: Janette Kim
Partner (Phase 1): Jack Tao
Time: Spring 2015
在设计前期，我们针对华盛顿特区的洪水危机构想了一套名为“WET-LINE”的人工蓄洪系统。由于华盛顿的洪水区大部分与一条被掩埋的河流流域重叠，我们提出打开河道、引水入城的方案，作为基础设施的水系同时也为更新城市景观及经济增长带来发展机遇。在将WET-LINE提案设计为桌游IN HOT WATER时，我们设定了政府、企业家、市民三个玩家角色，他们既要竞争资源，又要共同合作才能赢得游戏。玩家若在规定轮内（洪水到来前）完成各自区域内的水系建设任务并与其他玩家的水系连通，则资源（游戏币）最多者获胜，若在规定轮内未能建成完整连通的水系，则无人获胜。设计游戏过程中，我们必须深入研究不同群体在城市更新项目中的利益诉求并建立多元的博弈机制，这对我其后独立设计的河廊园影响很大。
The Xs Campus for Corcoran College of Art and Design (CCAD) in Washington D.C. is probably the most complicated student project of mine. It discusses the strategic tension between top-down design (“X”) and bottom-up local involvements (“s”) in large-scale urban projects, and tests the designer’s role in such process. The studio, focusing on Strategic Thinking in design, is divided into two phases. Phase 1 requires students working in groups to design a systematic solution for D.C.’s flood risk and transform it into a board game; phase 2 asks students to individually design a campus based on the phase 1 proposal. My final design is deployed in three scales: a citywide waterway system to resist flooding risk, a communal campus to integrate urban functions, and an autonomous strategy to reconcile users’ daily appeals.
In phase 1, we developed an infrastructural waterway system named WET-LINE to solve D.C.’s flooding risk. As D.C.’s inland flooding zone is paralleled with a historically existed creek, we proposed to reintroduce water back into the city as a system to trap the flood impact during extreme conditions and provide new urban landscape and economic opportunities. When translating the WET-LINE into the board game IN HOT WATER, we set up three players as the Government, the Entrepreneur and the Citizen, each has to both compete and collaborate with the other players to win the game. If they could finish the waterway construction in their own region and connect them with each other’s waterways within required rounds (before the flood comes), the player with the most resources (game money) wins; if they could not meet the collaboration requirement, all players will lose. We have to understand different social groups’ appeals and establish diverse game mechanisms in this design process, which deep influences my design of the Xs Campus in phase 2.
▼WET-LINE 水系规划图，WET-LINE Proposal planning
▼上：WET-LINE 水系蓄洪机制，Above: WET-LINE flood resisting mechanism / 下：WET-LINE对国家广场地区的改造构想，Below: WET-LINE reshapes the National Mall
▼WET-LINE 对国会山前广场改造构想，The Capitol, the WET-LINE Proposal
▼IN HOT WATER 桌游初始设定，The Board game IN HOT WATER initial set up
▼IN HOT WATER 桌游结束状态，The Board game IN HOT WATER as finished
The campus site is selected to be the Randall neighborhood, one major inland flooding zone without clear urban identity, yet has convenient accessibility and a wide range of existing urban functions. The CCAD has once considered the Randall Junior high school building in this neighborhood as their new campus location, thus the design invites the CCAD back as the client and tries to utilize and integrate the existing urban programs into the campus. The design is architecturally achieved by the WET-LINE waterway as the macro-scale urban grid, a continuous 2-story prefabricated concrete skeleton system called FRAME as the middle-scale infrastructure defining the campus form, and plug-in programmatic spaces named BUBBLEs, developed under the collaboration of CCAD and local groups. The architect’s power decreases in these three-scale system: I have the absolute design control of the WET-LINE waterway, while only providing FRAME prefabrication catalogs and site design code to the client and leaving the BUBBLEs as conceptual elements.
▼河、廊、榭三要素， The WET-LINE waterway, the FRAME and the BUBBLE
▼河廊园预制模块目录，The Xs Campus prefabrication catalog
▼河廊园与基地现存建筑结合的一些可能构想，Possible scenarios of the Xs Campus elements intersecting with existing structures
▼河廊园三要素的一种组合可能，Possible combination of the three elements in Xs Campus
▼对Randall中学旧楼被改造为CCAD画廊空间的想象，Imaginary illustration of the Randall School Building being renovated as CCAD Gallery
▼对Xs剧场空间的想象，画面右侧为目前作为演艺俱乐部使用的教堂建筑。 Imaginary illustration of the Xs Theatre. To the right is a church building currently occupied by a preforming club.
▼对河廊园跨越高架桥的想象，Imaginary illustration of the Xs Campus spanning over elevated highways
▼对河廊园图书馆亲水空间的想象， Imaginary illustration of the Xs Campus Library
▼对河廊园一社区教堂地块建造过程中被赋予不同使用功能的想象，Imaginary illustration of the Xs Campus performing various functions during its construction process on a parcel with a community church
Like the board game, the Xs Campus is a design of strategy rather than physical forms: the site is divided into 9 segments with total 16 parcels along the WET-LINE waterway, each assigned with a campus program to be integrated with existing urban functions. For instance, the dormitory parcel is close to residential buildings, the theatre is close to a performance club, the infirmary is close to a community clinic, etc. The client and the local stakeholder/landlords will collectively choose the FRAMEs from a catalog provided by the architect and decide the exact location of the FRAMEs as long as they could be connected with each other at parcel boundaries. The construction of the FRAMEs is then carried out respectively according to the contracts individually signed between CCAD and each local group. Finally, they will hire third parties to design and build the BUBBLEs per their varied demands. The intriguing part of the project is that I have to design a system that restrains my own design scope. It requires rethinking of architects’ role in public urban designs: what and how to control? Should compromise be considered as a positive result in large scale planning projects where ongoing dialogues and collaborative decision-makings are necessary? The reason for self-constrain is to leave enough room for the project’s spontaneous growth in the future. Hopefully the completion of the BUBBLEs will not mark the completion of the campus. Only in the process of being used, maintained, altered, flooded, preserved or destroyed could the Xs Campus be truly embedded into the trivial life and memory of its users and acquire profound vitality.
▼对日常情况下河廊园WET-LINE水道的想象，Imaginary illustration of the Xs Campus WET-LINE waterway in normal situations
▼对河廊园WET-LINE水道遭遇洪水时的想象，Imaginary illustration of the Xs Campus WET-LINE waterway in a flood
▼河廊园同时被建设、改造与拆毁的场景，可能更接近现实中会发生的场景。The Xs Campus being constructed, renovated and dismantled at the same time. Probably a more accurate image for the real world situation.
一屏寺 | Shade Temple
导师：Thomas Phifer, Gabriel Smith
Location: New York.
Instructor: Thomas Phifer, Gabriel Smith
Time: Fall 2015
Located in the Fort Tryon Park in Upper Manhattan, the Shade Temple is a Zen Buddhist congregational and meditational space. It discusses the relation between human and nature through revealing the spiritual energy of its site. By physically and mentally reframing nature with minimum artificial intervention, the temple provides a field for visitors to recognize the “Buddha-Nature” within all beings. The Buddhist statement “All (including living and nonliving) beings possess inherent potential to become Buddha” indicates the possibility to rethink the relation between artificial products and natural beings. The concept of Shade Temple is to create a structure that would not be meaningful without being experienced together with its site context. In other words, artificial structure and natural environment are considered as equally important counterparts to compose the Bodhimaṇḍa of Shade Temple.
High sensitivity to site environment is the key for designing Shade Temple. A linear screen made of charred wood gently meanders along the boundary of the site, separating the central open lawn area from the trees and bushes at periphery. While the lawn, together with a pulpit, is mainly dedicated to collective experience and congregational events, three platforms at the other side of the screen mark three existing “spiritual” spots on the site (A large rock on a clearing land; View of the Hudson River framed by trees; Edge of a small cliff) as individual meditational spaces. The screen not only defines program, but also acknowledges visitors of the site. Its shape follows the topographical change and its height is precisely designed so that a person standing at the pulpit can see a tiny part of the Hudson River while the periphery of the site is concealed. Special designed gates at each of the meditational spots allow visitors to sneak through the screen as quick and quiet as possible as if they are passing through a soft curtain.
▼一屏寺集会空间，右侧为讲坛，可以远眺木屏背后的哈德逊河。The congregational space in Shade Temple with the Pulpit to the right. View of the Hudson River beyond the screen is depicted.
▼向步道突出的条木标示着通向冥想空间的门，The gate to the meditational space is indicated by the projected timber strip
▼木门如布帘般被掀起，The gate opens as a soft curtain
▼三个打坐台之一以及被树木框景的哈德逊河，View of the Hudson River framed by trees and one of the three meditational platforms
▼一屏寺的五种建构类型，Five tectonic types in Shade Temple
As Henri Matisse said, “I close my eyes to see better.” To conceal is to enlighten. The Shade Temple, being simple and elegant as it is, is a stage or backdrop to balance the artificial and the natural, further helping visitors to reflect on themselves. The screen creates a field that strengthens the existing genius loci while the site in turn renders the screen a spiritual monumentality. The artificial structure cannot, and should not replace nature, but only carefully locate and guide the strength of nature. After all, there is no prior division between human and nature, they construct each other: human is a result of natural evolution, and nature is an imaginary concept conjured by human.
对皮拉内西监狱空间的三维重建 | 3D Reconstruction of Le Carceri d’Invenzione
Research Project, Fall 2015
The project three dimensionally reconstructs the spaces depicted in Piranesi’s famous Le Carceri d’Invenzione, revealing how their intriguing structures work together to create the sublime visual experience. The 3d model is then used to produce two dimensional images that highly emulates Piranesi’s original style.
▼皮拉内西，监狱系列图一，1761年。Giovanni Battista Piranesi, Le Carceri d’Invenzione, Plate 1, 1761 / 对监狱系列图一的重建，Reconstruction of Plate 1
▼皮拉内西，监狱系列图六，1761年。Giovanni Battista Piranesi, Le Carceri d’Invenzione, Plate 6, 1761 / 对监狱系列图六的重建，Reconstruction of Plate 6
▼重建获得的三维空间模型轴测图，Axonometric drawing of the 3D model for reconstruction
▼在重建的三维模型中捕获的皮拉内西式二维图像，Piranesian image captured in the reconstructed 3D model
When: 2013 – Current
Where: New York
Name: Boyuan Jiang 姜伯源
From: Beijing, China
SHoP Architects, ROCCO Design Architects