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    <lastmod>2016-03-11</lastmod>
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  <url>
    <loc>http://www.yutian-wang.com/work</loc>
    <changefreq>daily</changefreq>
    <priority>1.0</priority>
    <lastmod>2020-11-04</lastmod>
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      <image:title>Project</image:title>
      <image:caption>Liberty Enlightening the World (Statue of Liberty), is a colossal statue given to the United States by France in 1886, standing at Liberty Island, New York in the mouth of the Hudson River in New York Harbour. The statue is the  symbol of civic freedom to the people of the world, since the civil war in USA. The broken shackles on the feet of the statue asks people to be free from oppression and resistance. Designed by Frederic Bartholdi, the statue was a modern day rendition of Roman goddess Libertas, who represented freedom from tyranny and oppression.</image:caption>
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    <image:image>
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      <image:title>Project</image:title>
      <image:caption>Japan is a long island with a rich, seasonally influenced life, surrounded by ocean and mountains. Characteristic of Japan is the life and culture established within the diverse nature that emerged from the island’s topographical complexity. It is important to investigate this sustainable interrelationship within today’s context of globalization. In the 20th century, the development of industry, guided by the value of optimum efficiency, significantly changed world structure. It happened in cities as well in rural areas. The increasing specialization and industrialization of industry led to the decline of unproductive activities such as hunting, harvesting wild plants, and forest management, with the decline of forestry especially impacting the rural village landscape. Economic growth starting in the 1960s attracted many young people from rural areas to pursue employment in cities. Rural areas are now confronting a shrinking and aging population and the lack of the income from industry, which threatens the landscapes of rural villages. How can we propose architecture in such a context? How can architecture contribute to sustain local diversity?</image:caption>
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      <image:title>Project</image:title>
      <image:caption />
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5c00c48dc2241b16354ba757/1543554189346/</image:loc>
      <image:title>Project</image:title>
      <image:caption>Manhattan is currently undergoing a significant housing shortage. As most new residential developments in the city cater to more profitable higher end markets, the supply of mid-range and affordable housing is extremely limited. In response to this shortage, Mayor Bill de Blasio has promised to provide 200,000 affordable housing units in the next ten years. If this agenda is pushed aggressively it would have to drastically alter current inclusionary zoning laws, and aggressively transform the way affordable housing is introduced into developers’ financial templates. Standard zoning regulation currently makes it almost impossible to introduce new mixed income housing projects into many neighborhoods of Manhattan.    The moment is ripe to rethink the capacity of Manhattan grid to accommodate a significant increase in density and, in doing so, provide new alternatives for domestic urban life. Given the cost of land in and around Manhattan, it is only through a drastic increase in density that more accessible housing units can be introduced into the market. Beyond the introduction of additional units, a significant increase in FAR also allows us to question more general conventions of urban life. A new block configuration opens up a myriad of new relationships that can alter the conventions of urban life. How does an increase in residential density affect mixed-use programs in the block and its surrounding areas? How does it impact existing infrastructural networks (mobility networks, educational facilities, etc.)? How does it question conventions and scales of public and private open space? What are the new relationships between unit, building, block and city? Through a series of abstract and applied strategies, the project attempts to tackle this and many other questions regarding housing as a driver of urban transformation.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5c00c5a1352f53585212b469/1543554476691/rrr.jpg</image:loc>
      <image:title>Project</image:title>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5c00c614032be4bd1f806182/1543554580405/</image:loc>
      <image:title>Project</image:title>
      <image:caption>Fan is a portable invention from China with thousands of years history. The movable skeleton of fan enables the form of which can adjust to two distinct forms according to specific requirements. When the fan is not needed, the shape could be transferred to a stick-shape. So here comes the question, is architecture form also capable of switching shape to meet the need of function and space?</image:caption>
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      <image:title>Project</image:title>
      <image:caption>Courtyard house has become the representative typology in Beijing since 600 years ago.  Based on the consideration of local solar exposure, wind direction, spaces are distributed by different scales of courtyards, making people feel warm in the Winter and cool in the Summer, which is the main factor of Beijing courtyard house. To some extent, Beijing courtyard house, reflects traditional Chinese philosophy towards human and nature. Typically it can be difined as two parts, front couryard and back courtyard. The back courtyard mainly serves as daily living function, distributed on two sides of North to South axis, facing one rectangular couryard, symbolized as “Round sky and square earth”. People can feel the repeating change of day and night, seasons and years from this inner-faced “window”, the courtyrad.  The organization of courtyards in the house is clear that  every one is strictly separated from each other, forming hierarchy and order of master and servant, male and female, elder and young.</image:caption>
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      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cb95509104c7b4c581be19d/1555649841941/7.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cb9569f53450a2f3fafa100/1555650213699/axon.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cbd251feef1a160e79bc72a/1555899697718/master+1.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cbd28edeb3931451abe37a9/1555900661844/55.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cbd2916419202c35e79f27d/1555900703025/axon.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cbd2af19140b7c58534f0d7/1555901184450/2_2a.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cbd2c3f4785d355b8284c5e/1555901525911/4_1a.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5cc7b0654e17b6797d08046a/1556590707958/ext2.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5d45d0698560f600013acafb/1564856446999/night+2+s.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5df1a4721abf407f2f3bda94/1576116727244/</image:loc>
      <image:title>Project</image:title>
      <image:caption>The project- Green Ribbon is a miniature of the future planned greenway system in Chengdu city. It is a greenway with the greenway. The design concept is to explore the reciprocity between architecture and landscape as a hybrid typology in the field of contemporary urban landscape. By inventing an undulated green ribbon as roof of the building, a series of inward-outward boundaries creating architecture and landscape mutually penetrates each other and generates multiple layers of transparency that encourage a maximized interaction with the public.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5df1ad1c8a511565c57c2709/1576119596813/Final+Board+a24f.jpg</image:loc>
      <image:title>Project</image:title>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5df1cb94b0e08d4732753e14/1576121561881/</image:loc>
      <image:title>Project</image:title>
      <image:caption>The characteristic of Sharjah is deeply rooted in its unique nomadic desert landscape and rich cultural heritages. The project investigates the meaning of Arab modern art museum as an urban artifact to the resilient urbanism of Sharjah by designing a monument rising from the horizontal urban morphology, which are embraced by a series of peripheries from all directions layer by layer. The physical relation between the center GEM and surroundings are envisioned as the juxtaposition of intertwined intangible Arab-Islamic culture tradition and tangible everyday life. The concept is also a metaphoric move that the Arab modern art museum is a shining emblem connecting the past and present of Sharjah’s belonging memory, the simple yet powerful move deviates from the boredom of migrating Islamic cultural heritage into elite modern architectural language which only offers an immediate labeled image of Sharjah or UAE as a whole. On the contrary, the design not only creates featured symbol of local culture but also praises the ordinary life, the true beauty of the exhibited Arab modern art pieces in-between is then subtly revealed through these two major types of mutually complementary spatial experience in the museum.</image:caption>
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      <image:title>Project</image:title>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5e8caf31eb2a1c2dd2ed092f/1586278204544/a.jpg</image:loc>
      <image:title>Project</image:title>
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    <image:image>
      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5fa21ba6a99ebc5468e299a5/1604459174958/</image:loc>
      <image:title>Project</image:title>
      <image:caption>The Renmin Canal, rooted in the forest plate mechanism in western Sichuan, not only diverts water to irrigate farmland, nurtures the soil and water, but also connects the future ecology of Kaizhou New City and the cultural link of the local memory. The concept intends to concentrate the 6-kilometer-long landscape of Renmin Canal, and extract spatial intentions such as "canals", "peaks", "valleys", "islands", and "ponds" to condense them into a ring to create a Man-made scenery with the theme of "water". In this sensory garden with "water" as the carrier, we create a variety of water forms-"waterfall", "water curtain", and "shallow pond"-from dynamic to static-depicting the differences depicted by water Sound and timbre compose a musical chapter about praising water. We believe that in the near future, this design will become the monument of Renmin Canal and the business card of Kaizhou's urban public space.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/5fa22f495ca2e7161182674c/1604463210581/</image:loc>
      <image:title>Project</image:title>
      <image:caption>The Yanqi Wetland in Tianfu New District of Chengdu has a rich cultural characteristics of the Linpan area in Western Sichuan. The design intends to fully preserve the landscape that farm house and canal, gully, and farmland coexist with each other, and explore how architecture brings continuity that invites nature into our site. On the basis, the lightweight roof using the new material i-mesh absorbs and connects the surrounding landscape view through the expanding and folding, forming a three-dimensional, continuous landscape picture scroll, it also integrates the original buildings of different scales. The volume is incorporated under the continuous and complete roof, and enclosed in a tranquil water courtyard space. Mountains, water, forests, vegetation, roofs, new materials, and old houses here join together to form a habitat that immerced within the natual landscpae of Yanqi Wetland Ecological Demonstration Zone, a cloud pavilion floating among the undulating forest ravines in western Sichuan.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://www.yutian-wang.com/new-gallery</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2015-11-28</lastmod>
    <image:image>
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      <image:title>Calligraphy</image:title>
      <image:caption>Symbolic Extraction, Emotional Representation I started practicing Chinese calligraphy since the age of six and followed the guidance of master Kang Moru. Chinese calligraphy has a long history that originated from the imaginary imitation and symbolic extraction from natural object and phenomenon. After that it has been developing and mutating as social transformation continuously occurred. As a result, cultural and aesthetic attributes that conveyed by calligraphy was expanded from objective recording to emotional representation. Calligraphy is judged not only by its capacity of displaying balance between strokes of characters but also the rhythm and force that showed from brush and paper’s touching.  The contemporary importance drawn from appreciating calligraphy is not simply a way of admiring ancestress artworks, but rather use calligraphy as a methodology to retrospect history and culture, and attempt to derive new meanings from old, bridging conflicted but intimate interaction among various art forms.</image:caption>
    </image:image>
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      <image:loc>https://static1.squarespace.com/static/5657da1fe4b0f33a7acccf7f/t/565950c1e4b027c789a973b8/1448693310094/IMG_0701.JPG</image:loc>
      <image:title>Calligraphy</image:title>
      <image:caption>Symbolic Extraction, Emotional Representation I started practicing Chinese calligraphy since the age of six and followed the guidance of master Kang Moru. Chinese calligraphy has a long history that originated from the imaginary imitation and symbolic extraction from natural object and phenomenon. After that it has been developing and mutating as social transformation continuously occurred. As a result, cultural and aesthetic attributes that conveyed by calligraphy was expanded from objective recording to emotional representation. Calligraphy is judged not only by its capacity of displaying balance between strokes of characters but also the rhythm and force that showed from brush and paper’s touching.  The contemporary importance drawn from appreciating calligraphy is not simply a way of admiring ancestress artworks, but rather use calligraphy as a methodology to retrospect history and culture, and attempt to derive new meanings from old, bridging conflicted but intimate interaction among various art forms.</image:caption>
    </image:image>
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      <image:title>Calligraphy</image:title>
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      <image:title>Calligraphy</image:title>
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