CLAIRE JIANG Univrsity of Michigan B.S.Arch

ContentsAggregate

Grids

Object Skeleton

Inhabitation

Moller Study

Independent Works

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Aggregate A project set in the historic district of Ann Arbor, this is an aggregation of three very different programs. To the far left is a structure containing transitional housing for the homeless and families in need. The bottom plan depicts an aquatic extension for the YMCA across the street, complete with international olympic sized pool. And finally to the right is a structure that acts a new train stop for Ann Arbor. The three programs that were required in the beginning of the project evolved as it progressed to become a total of 6. Three buildings that housed 3 pro-grams were connected on a second, totally public level, by 3 more very differently desig-nated spaces. The second plan showcases the circulation that connects all three buildings. A ramp above some of the housing units connects to a public barthroom. It also leads to a large walking platform directly above the olympic pool. And finally, this walking platform connects to a second floor on top of the train station, which houses a small covered area perfect for performances and gatherings.

The project started from a very unique angle. Given an aggregation of 8 totally different objects, we were to design spaces built from not the objects booleaned together, but the spaces around them instead. I took three ob-jects; a pair of pliers, a set of 2 packaging bubbles, and one not pictured - a wooden model made for a previous project. In finding the spaces under and around these objects, I created my three spaces. The transitional housing arose from the negative space around the wooden model. I propped up the pliers at an angle, which became my X of walking space above the swimming pool. This also gave me the idea to play with the way light entered the pool from above. The space under the packaging unit became the basic idea of the train station and performance space.From these simple negatives, I squeezed and pulled spaces until they became inhabitable and readable as their own buildings. The tricky part was connecting them in some way.

Because the challenge of creating space from the space around objects wasn’t enough, I connected three private programs with three public ones via a series of ramps. This new public space is raised a minimum of 25 feet off the ground, with exits in each different buliding.As shown in the section in perspective above, the ramp that exists as part of the transitional housing structure connects right to the sidewalk. There is also a large patch of grass perfect for curating a nice park area in the negative space created by these previously negative spaces. The thing about the spaces above these incredibly specific programs is that they can be refurbished for any purpose. The X path above the pool is very wide, and would be a perfect area to hose the Ann Arbor Farmer’s Market. The windows inserted into the ‘floor’ of the path are structural glass, and totally walkable.

Grids To any architect, a grid is a clean and organized tool. But when you intersect grids in three dimensions, the ordered means becomes chaos. It is in the conflicting lines of these intersecting grids that I drew out space. To the right are images indicating the remnants of the original three dimensional grid, not unlike a Rubik’s Cube. In section, however, these grids prove to not only show in facade, but also on the interior. The walls and circula-tion are all created with the vestigial lines of the three dimensional grid. Though most of the floor plates must remain parallel to the ground, whatever could be traversed on a slant was taken advantage of.It was especially difficult to design, as to utilize all axes of the grids I had to design in 3D from the beginning.

The plans of this structure show its purpose, a recreational facility with a focus on mountain climbing; its section shows its other purpose as a skate park. Because this structure was meant to be sandwiched in a narrow space between two other existing buildings, there is an open courtyard space on the ground floor. It is contextually walled in on both sides, and essentially creates an interior space from one that would be otherwise exterior.

The climbing structure is a direct reference to quartz, which has a molecular structure that is none other than a three dimensional grid. Though the molecules assemble themselves in a pyramidal structure, the end result can range from objects shaped like rectangular prisms to totally untamed and unknown design.

Object Skeleton

There are many instances in my work focused around the idea that there is inhabitable space in everything. For this project we were to focus on a “boolean union” of two objects, and the space it created. In this case, taking 5 simple cubes and extracting space from inside them. The interior spaces ranged from hexagonal to pyramids, with almost no hint given from the simple exterior. The small apertures only make sense as a whole when the individual has entered the structure.

This project was also a recreational facility, this time for mountain climbing and snowboarding. It was situated an an angle atop a mountain. The angle of the terrain created quite a few problems in regards to the interiors of the space, coupled with the fact that the ‘cubes’ used for the exteriors were to appear as if they had simply rolled down the mountain side. Each interior ‘object’ had to line up in a way that was inhabitable. When working with only geometric shapes (pyramids, cones, and cylinders), this was difficult. But the end result not only created interior spaces, but also some on the exterior of the structure. Given the cubes’ hap-hazard placement, there were many spaces created underneath the entire structure as well.

The spaces underneath the cubes could be used to provide shelter from storms, or just to take a quick break in. But again, views from these exterior spaces gave no hint as to what lay inside of these ‘sugar cubes’.

Inhabitation Inhabitation is a noble pursuit, especially with the world’s population threatening to skyrocket in the next couple decades or less. And it has been my pursuit throughout studios. This project, the first at Taubman College, was focused on the translation of the image to the left. These are textiles used in tires to help hold material together, used in an art installation. I interpreted this as a shifting and moving of space. No matter where you look in this im-age, it is possible to see spaces.

For the first iteration of this translation, we were introduced to the stack model. Rendered in layers of 4-ply museum board was the snaking space that I saw within the image. Both negative and positive spaces held the possibility of inhabitation. They are also all connected, all negative spaces link up, as well as all the positive.

For the second iteration of this translation, students were required to utilize concrete to capture the negative of our previous model. I aimed to recreate the snaking of the negative space through the positive, Again, the aim was to create a model in which both the negative and positive spaces could be traversed and inhabited. Also to be noted, orientation did not distract from its intended direction. Both models were also symmetrical and asym-metrical at the same time.

Moller When I entered the architecture program at the University of Michigan, we were asked to study the works of two great architects, Adolf Loos and Le Corbusier. I was tasked, along with my partner, of com-pleting a model of the iconic Moller House by Loos.

Mechanistic Insight, Corvus CoraxBallpoint pen, Gouache12”x13”

Illustration Art has always been a huge part of my life, one that I would not be able to live without. Aside from architectural works, I often complete commissions for art and illustration on the side. These commissions range from concdpt art of landscapes and characters to 3D models of objects and people.

Individual Projects In attempts to find new ways of seeing and experiencing architecture in design, I’ve been looking into other programs than Rhino and AutoCAD, specifically Unreal Engine. Similar to Lumion and Unity, I am able to import models from Rhino or Revit and design in detail. This also allows me to fully experience the spatial qualities and under-stand how to take them further. The physics of the renderers also helps to understand how objects move around, as well as how light plays a part in the experi-ence of the architecture.