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WORK SAMPLE OF YUHAO ZHENG

Master of Science in Advanced Architectural Design

Graduate School of Architecture, Planning and Preservation

Columbia University

Yuhao ZhengAdd: 3147 broadway, apt 6, Newyork, Newyork, 10027Tel: 01-9293057063, E-mail: [email protected], Linedin: https://cn.linkedin.com/in/yuhao-zheng-54b72b120

Education

Columbia University 2016,06-2017,05

Shenzhen University 2010-2015

Enrolled in Steven Holl(Steven holl Architects), Gregg Pasquarelli (SHoP), and Mariana Ibanez (Ibanez Kim) studio.

Graduate Schol of Architecture, Planning and Preseration, New York

Master of Science in Advance Architectural Studies

School of Architecture and Planning, Shenzhen, ChinaBachelor of Architecture

Outstanding Graduates of Shenzhen University(3%) 2nd Prize Scholarship, Excellent Student in Academic Performance,SZU(10%) 2nd Prize, SUIADER Scholarship for Excellent Student of Academic Performance, SZU(10%) Excellent student work of 2014 national design competition of architecture studentsNational scholarship, Ministry of Education of the People’s Republic of China(rank 1 among 450 students) 1st Prize, SUIADER Scholarship for Excellent Student of Academic Performance, SZU(5%) 3rd Prize, SUIADER Scholarship for Excellent Student of Academic Performance, SZU(15%) 1st Prize Scholarship, Excellent Student in Academic Performance, SZU(5%)3rd Prize Scholarship, Excellent Student of Social Work, SZU

2015

201320112012

2013,2011

2013

2014

2012,2014

2012,2014

Hornors and Awards

Softwares

Skills and Languages

AutoCad, Rhino, SketchUp, 3dsmax, Adobe Photoshop, Illustrator, InDesign, After Effects, Premiere, V-ray, Revit, Grasshopper, Microsoft Office Suite English(proficient), Mandarin Chinese (native), Cantonese (native), Chaozhou Dialect (native)

Languages

The 26th summer Universiade, Shenzhen, China

01,2013-02,2013

Debate Team of Shenzhen University

09,2010-06,2011

Entertainment Department of Shenzhen University, China Member in 2010, leader in 2011

09,2010-06,2012

Other

The 5th Bi-City Biennale of Urbanism\Architecture Hong Kong/Shenzhen

12,2012-03,2013

+ Facilitated the deisgn of Value Farm and Machine Hall (built)+ Participated in Berlage Winter school (study in providing possible develop solution for value factory)+ Participated in the Ying Zao Fa Shi Workshop hold by OMA (translate the original documents and 3D model the Dou Gong structure. (Set up the final 1:1 scale model in blue form of Dou Gong for the presentation)+ Participated in Martine de Maeseneer’s Workshop on Designing & Spatial Qualities

Academic Experience

Works selected for GSAPP Abstract 2017 2016-2017

Professional Experience

Shenzhen LWK & Partners Architectural Design co.,LTD 09,2014-12,2014

+ Assisted with SD and DD for project Landmark Riverside, Chongqing, China (built)+ Created digital diagrams, renderings, drawings and presentation materials

Modiya Interior Design 07,2015-10,2015

+ Rearrange the layout of the plan and create digital model+ Contact material supplier and collect material sample plates

Australia PT Design Consultants Limited 12,2015-04,2016

+ Assisted with SD, DD in project a. Nanjing Renheng Complex Design, Nanjing, China b.Hunan Meixi Lake Residential and office planning , Hunan, Changsha China c. Jiulifeng Residential Planning, Jiangxi, China + Created digital and physical models, diagrams, renderings and technical drawings+ Prepared presentation and submission packages+ Assisted project co-ordination with clients and contractors

Intern Architect, Shenzhen

Designer, Shenzhen

Intern Architect, Shenzhen

Easy Rent 07,2017- 09, 2017

+ Primarily assist broker to rent apartment + Network effectively with potential clients, and signed 15 apartment individually in the first month

Part-time Salesperson, New York

SAPPHOArchitectonics of Music: Time - Scale

AUGMENTATION IN NOTATIONPowers of N, Architecture of Immersion and Bewilderment

UNDERGROUND STADIUMThe Space of Wall, Reconceiving the Urban Stadium

ROOTPublic Space Renewal and Reconstruction

JING ROOFArchitecture dep design

EIGHT DIAGRAM GARDENYangzhou Dongguan Street Tea House Design

“Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure.They’re huge and abstract. And they’re very beautiful.”

Program and function give birth to Architecture, but Architecture gets its second life from the chemical reaction between architecture and any other disciplines. The Inner logic of this chemical reaction is the Big fish; it hides in the deepest ocean. The pro-cess of making architecture is finding the inner logic between architecture and the existing world, and absorb the beauty of it to a piece of architecture. From music and movement to form; from politic, sociology, and psychology to program; From mathematic and chemistry to building technique; From the past to the future.

CONTENT

Professional Work

01

09

17

23

31

43

49

53

RESIDENTIAL HIGH-RISE DESIGNbased on High-rise, high density and urban village Renewal

RE-PARASITE OF HIGH-RISEThe possibility to re-parasite 37

Sappho | Patra Education FacilityArchitectonics of Music: Time - ScaleTime: Spring 2017Critic: Steven Holl & Dimitra TsachreliaLocation: Patra, GreecePartner: Keren BaoConcept Development 50%, Model Making 40%, Model Shot 60%, Diagram 90%, Drawings 40%

1 2

Psappha is a musical composition for multi-percus-sion solo by Greek modernist composer Iannis Xe-nakis. Written for six groups of instruments, three of wood and/or skins and three of metal, Psap-pha is sharp, brittle, and even violent at times. This intensely masculine work seems almost in contra-diction to its title. The inspiration here, however, manifests not as aesthetic, but as structure. The work’s rhythmic structures are derived from small rhythmic cells characteristic of Sappho’s poetry. These rhythms pervade the entire work and make both local and large scale appearances. Much of the specifics of instrument choice is left up to the performer: Xenakis writes, “timbre serves only to clarify the rhythmic structures,” suggesting the “words” of this poem are only a secondary color to the structures that contain them.

Psappha was to honor the great aincient Greek poetess Sappho, whom the composer Iannis Xe-nakis credited for introducing the shift

of rhythm and temple into the poem. Xenakis bor-rowed this change of rhythm into the drum solo. The piece is featured by its dramatic change of the rhythm between each section.

Our project is based on section 6, which is unique because of the stable base drum beat composed with the changing temple of other instrument fam-ilies.

The section is divided into 7 sections equally ac-cording to the stable base beat temple. Corre-sponding to the sieve theory Xenakis used to com-pose this piece, the sections of the drum score was overlapped.The overlapped scores are analyzed according to mathematical set theory. . We got the difference set for the beats that are not repeat-ed during the whole macro section; the intersect set for the beat that are repeated between the 20 sections for section 6; the union set for every beats that we get.

3 4

FIRST FLOOR PLAN

By making drum into a solo, Xenakis want to deliver the idea that every musician should be respected as they all have put a lot of effort to finally be able to perform. The freedom he gave the musician to choose the instruments as well as base temple shows

another part of this idea. Our project carries on this idea by making the whole building monumental and providing unique practice room for each student as if they are performing.

7 8

The Space of Wall, Reconceiving the Urban StadiumUnderground StadiumFall 2016Critic: Gregg Pasquarelli & Angelica T. Baccon Partner: Yihan Xu Concept Development 80%, Model Making 90%, Model Shot 100%, Diagram 70%, Drawings 100%, Renderings 100%

9 10

A

A-A A-B

B

B-A B-B

C

C-A C-B

D

D-A D-B

E

E-A E-B

Combing this five type of wall, we can create a more complicate spacial relationship. The types only represent the concept of this spacial relationship. This methodology helps design-

er has a better sense to create more fantastic space.

A-C A-D A-E

B-C B-D B-E

C-C C-D C-E

D-C D-D D-E

E-C E-D E-E

SECTION COMBINATIONSWhen we talk about the modern stadium, what cames first in our might will be a thick wall with large volume. It is true that to satisfied stadium’s function requirement, most of the stadium is envel-oped by a giant thick wall, like an ancient fortress or an armory. In this case, instead of provided easy access public space to the city, urban stadi-um acts as a solid stone of a city, occupying the limited land use.

However, there is an enormous basic difference between stadium and fortress. Stadium as a pub-lic space serves the function of providing citizens easy access to it while fortress prefers keeping people away to guarantee the safety of the owner who lives inside.

Is the existing form of the stadium the best way for it? Is What is the another option for the urban stadium?

For one hand, we started with the analysis of wall (the spacial relationship wall contributed) and tried to applied this analysis to create a methodology for Stadium even architecture design.

For another hand, we analyze the development situation of the New York City. Trying to find a perfect solution and location to address a modern

urban stadium.The goal of the project is to provide a possibility that when urban stadium satisfied the functional requirements of the arena, it can still be public-friendly.

We believe that the goal of studying the space of wall should focus on analyzing the spacial relationship that “wall“ can contribute to. Thus, we come up with five type of “wall” (or we can say spacial relationship) that can cover most of the spacial relationship both in nature, building and urban scale.

Block: Separate space into different part com-pletely. With no visual or physical connection

Perceive: create a sense of wall, and remained physical and visual connection

Miss: using a slope to separate space into differ-ent parts with no physical connection but remain visual connection.

Carve: carving land to separate space, remain visual connection.

Bridge: divide space vertically with no physical connection but continued the visual connection.

11 12

P R O T O T Y P E S A N D N O TA -T I O N S Y S T E M

13 14

S E C T I O N A - A

15 16

The building ought to accomodate 1000 undergraduate students, and 600 graduated students, 100 teachers and more than 20 staffs. Compare with usual project, this project focus on the local context which is based on Chinese Traditional Culture and also break the tedious space in common school, but to builda lively and opening space.

JING ROOFArchitecture dep designTime: 2014, 04 - 2014, 06Critic: Yuan Lei

17 18

Circulation Analysis

The graduate students’ classrooms are in the south. Multifunction classroom and teachers’ office are located in the middle of the building. Executive room and lec-ture hall are in the west of the building.

The 45-degree-angle straight line is used as the texture to deco-rate the main entrance square, which is anasto-mose the main entrance direction. Also, design a sunken square at there, to organize both circula-tions.

Internal Layout

19 20

Sunshine can be blocked by the facade shutter and the roof, The atrium can beused for lighting the building and emit the hot air, which is also the center communication beteween teachers and students.

There are bridges connect different sides on each level. The reasonable distribution of the vertical traffic system guarantee the accessibility and publicity of the building.

21 22

C O N S T A N T R E P E A T P A U S E R E P E A T T W O T I M E S R E P E A T T H R E E T I M E S

R I G H T & L E F T H A N D H A N D S H O R I Z O N T A L O N E H A N D U P T W O H A N D S U P T W O H A N D S D O W N

A R C H E D H A N D L E F T & R I G H T F E E T F E E T I N A I R B O T H F E E T I N A I R K I C K I N G F O O T

E X T E N D E D F O O T F O O T H I G H I N A I R R A I S E D F O O T Q U I C K S T E P W A L K I N G

S H I M M Y T U R N T U R N A N D S H I M M Y J U M P S H O R T P A U S E

C O N S T A N T R E P E A T P A U S E R E P E A T T W O T I M E S R E P E A T T H R E E T I M E S

R I G H T & L E F T H A N D H A N D S H O R I Z O N T A L O N E H A N D U P T W O H A N D S U P T W O H A N D S D O W N

A R C H E D H A N D L E F T & R I G H T F E E T F E E T I N A I R B O T H F E E T I N A I R K I C K I N G F O O T

E X T E N D E D F O O T F O O T H I G H I N A I R R A I S E D F O O T Q U I C K S T E P W A L K I N G

S H I M M Y T U R N T U R N A N D S H I M M Y J U M P S H O R T P A U S E

D A N C E TA X O N O M I E S

We look into the dancer’s movement linearly and began looking at the four elements that dance is comprised of: Body, Space, Energy, and Time. We developed our own manual of dance moves and positions that we noted and documented when looking at Ballet, Capoeira, and Salsa.

Our research began with Ballet and Capoeira in order to observe the body’s movement throughout time. We photoshopped the dancer’s movement linearly and began looking at the four elements that dance is comprised of: Body, Space, Ener-gy, and Time. We developed our own manual of dance moves and positions that we noted and documented when looking at Ballet, Capoeira, and Salsa.

We referred back to the four elements of dance: Body, Space, Energy, and Time. So, we looked at the dances within their respective locations that they were performed in and the different sorts of spaces that they inhabit. In elevation, you see the body within the space (for 30 seconds), performed linearly. Projected in plan is the distance that the body has traveled, and in short section is the cal-culated kinetic energy of that body. Unlike Vitruvi-us and Pacioli, who focused solely on the body, we are actually focusing on the space that the

occupies, the audience space, and the stage space. This became our version of the Laban Cube, in which we tried to focus on systems, en-velopes, and spaces.

In developing our architectural strategy, we looked back on the initial dances and the way those rela-tionships inhabit the architecture that they occupy. Through that, we determined that dance can exist above, below, or set within. This allowed us to look at the plan and the elevation in order to de-termine that actual occupied space of that dance within the architecture.

In developing our performance spaces, we fo-cused on establishing these relationships with the ground plane and through a series of scales with some that are small (100), medium (300) and large (750). When designing the envelope in which these figures lie, we looked to the site for orientation and extension of axes. The first be-ing true north, Pier I, and Freedom Place. Then through this multi-axial orientation we placed the figures through a processional sequence and de-termined the voids around them based on how they intersected with a regular envelope that was then striated to continue this uniformity from the site.

25 26

WAIST

BOURREE HIGH ARABESQUE TEMPS LE VE ARABESQUE

HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

B A L L E T

T H E N U T C R A C K E R

D A N C E R : H E E S E O

0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60

SHINES BODY ROLL SALSA ARABESQUE SALSA SPIN

WAIST

HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

S A L S A

S O L O P E R F O R M A N C E

D A N C E R : L U C I A J I M E N E Z

0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60

GINGA NEGATIVA AU BANANEIRA

WAIST

HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

C A P O E I R A


D A N C E R : A N D R E A C A T O Z Z I

0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60

WAIST


HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

B A L L E T



0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60


WAIST

HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

S A L S A



0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60


WAIST

HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

C A P O E I R A



0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60

WAIST


HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

B A L L E T



0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60


WAIST

HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

S A L S A



0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60


WAIST

HEAD

SHOULDER

KNEE

FOOT

3’0”

6 ’0”

4 ’6”

1 ’6”

0 ’0”

C A P O E I R A



0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60

D A N C E N O TAT I O N S

Certain notation drawings focus more on gestures and movements of bodies, some are abstracted representations of the human figure, and other s are

more technically and mathematically calculated.

Model 1above/ below/in between

Model 2 abstract articulation of the types of elements we

are working with

Model 3 solid to projection to notation

P R O T O T Y P E

27 28

First Floor Plan

Generally speaking, the central axis should run from north to south, with its north end pointing directly to a mountain running from east to west. The mountain is regarded as the guardian of

the city. A winding river around the city is believed to be an auspicious feature.

Siheyuan has become the representative typology in a great deal of historical Chinese cities for hundreds of years. 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 characteristic of Siheyuan in Yangzhou. Eight Diagrams is a Chinese traditional discipline which studies the way in which human beings co-exist in harmony with nature. Great phenomenon will be shown via the combination of these two factors.

The site is located in the center of Yangzhou, adjacenting to one of the hottest tourist attractions: Ge Park. The site is surrounded by traditional

Chinese houses, linking to a busy street and to silent ancient alleys. Moreover, it plays an important role in the space conversion. Based on the background of the city environment, the project is willing to present a semi private state in order to create a traditional Chinese architectural culture atmosphere.

As a tool to deduce the relationship between var-ious kinds of things in the world, Eight Diagrams like eight infinite and invisible pockets, everything in the universe could be loaded. Eight Diagrams mix with each other and become the 64 dia-grams, and are used to symbolize all kinds of natural phenomena and human phenomenon. Thus we use Eight Diagrams as our basic element in order to create a harmony world within the Tea house.

Eight Diagram Garden, Yangzhou Dongguan Street Tea House Design2015.08 - 2015.11Partner: Shiyu WuConcept Development 60%, Model Making 40%, Model Shot 60%, Diagram 50%, Drawings 20%, Renderings 100%

31 32

route sight space

take out

service

grandfather

Axis Evolution

Basic Element

Analysis of Circulation

Through the wall layout, most of the traditional houses have obvious spatial separation. The space is monotonous and the route is fixed.

The mos t impo r tan t pa r t o f traditional Chinese garden is space experience, especially the path and boulevard, using many dif ferent methods for creating space.

I n s umma r y, t h r ee k i nd s o f responses presented before are selected in this project.

Vision Shrink

Take out

Enframed Scenery

Route Sight Space

Long Corridor Stairs (Deng Gao)

Service

GrandfatherOpen upSceneryCircuitous

Changing the route to extend deeper into the courtyard, which will get closer to the environment.

The rhythm of the spatial scale is a different experience, changing the field of vision. More abundant space can be experienced.

Rotating walls angle to break the traditional plane layout, which wil l easily create rich spatial experience and enrich the overall tour space rhythm.

Gathering with eight diagrams and four major elements (Collecting, releasing, accumulating and dispersing), the flown line is specific in it's lanscape.

33 34

SECTION ANALYSIS BASED ON WALLS

Different scales of spaces and courtyards are shown in the section. Strict space hierarchy is broken into a system of several secondary courtyards and rooms. The relationship of programs in the living part are conserved, and new added commercial and

cultural parts appear to actived surrounding environment.

35 36

FORM ELABORATING

Set four main function zones.

Move towards building No.3, be closed to the elevator below to acquire the structure support.

Break each zone into specific areas.

A d j u s t b a l l s ' s i z e s according to each zone's total area.

Move towards east to obtain more sunshine, wind and wider horizon for the park.

A d j u s t b a l l s ' s i z e s according to their areas.

Set up an independent route for living zone.

Move upper bal l s to reach a more stable state for the whole building.

Adjust balls' positions on the basis of thei r correlations.

Seperate quiet zones and activity zones apart.

Move living zone towards t he ex i s t i ng ho te l t o decrease the nagetive interaction

Plant in the traffic balls to connect upper and lower zones.

Pull up the cultural zone to acquire a better view.

M o v e c u l t u r a l z o n e t owa rd s t h e h i g he s t bui lding and open to the south to get a wider horizon.

Fu r t he r re f i nemen t to create proper spaces for parks.

Level 1st: Sequence

Level 2nd: Position

Level 3rd: Refinement

abcd

a: living zone b: cultural zone c: ecological zone d: commercial zone

We divided the functions into four zones: Living zone, Cultural zone, Ecological zone and Commecial zone. We based on their characteristics and spatial needs to elaborate the

form of the parasite buildings.

In nature, animals and plants form a mutually beneficial relationship by parasitism. In this project, we implanted this kind of relation into city development, based on what we learned from nature. Using the concept of Re-parasite, we are able to activate the remaining space in the city, and to ease Shenzhen’s problem of lacking available land resources. This project also provide the citizens an interesting vertical community.

The high-density of Hongkong development pattern guarantee the available land sources for Hongkong. Thus, we used the concept of Re-parasite to increase the density of high-rise area in Shenzhen and earn a second chance for Shenzhen to develop better.

To better evaluate the extra space between high-rises, we create an equation to help to decide whether this space can be use for re-par-asite.

We used cocoon as the prototype to form the new building and space mesh structure as the basci structure selection which inspired by the Cob web. We believe that our new building should rely on one spot of the host building to realize reparasite, just like the brunch support the large crounw of a tree. The host and the para-sites share nutrition (energy) and water(people) with each other so both new and old buildings can benefits from it.

Re-parasite of tall buildings, The possibility to Re-parasite2013,09 - 2013.12Critic: Jia YuPartner: Shiyu Wu, Qiyang Lin, Junchang Zhu Location: Shenzhen, China Concept Development 35%, Model Making 50%, Model Shot 50%, Dia-gram 50%, Drawings 40%, Renderings 100%

37 38

Traffic Analysis

Library

Park

Connected with Buildint O

ne

174.00

148.00

115.00

93.00

62.00

42.00

Cultural zone

30th Floor

24th Floor

17th Floor

12th Floor

5th Floor

1st Floor

Function

Height (m)

Connection sto

ry

Transfer st

ory

Ecology & Interest z

one

Commercial zone

Commercial zone

Living zone

Workshop lobby

Lounge

Meeting lo

bby

Interest p

laza

Book store

Cafe

Main lobby

Building One

Main Entry

Sub-entry

Building Two

Building Three

Building Four

Hotel lobby

Connected with Building T

wo & Three

Connected with Building O

ne & Four

Connected with Building T

wo

Connected with Building O

ne & Four

Connected with the g

round

CIRCULATION ANALYSIS

RENDERINGS

One of the entrances from the host building to the parasite building, it also serve as a communication space for the people to

have a meeting or short conversation.

Translation floor of the parasite building, vistors can choose different elevator to ecological zone or cultural zone. It also serve

as a place for temporary exhibition.39 40

Public Space Renewal and ReconstructionTime;2014,10 - 2015.01Critic: Fang ChenPartner: Xiaojin Liu, Wenhui Chen, Binbin ChenLocation: Shenzhen, China Concept Development 60%, Model Making 20%, Model Shot 60%, Diagram 40%, Drawings 30%, Renderings 70%

41 42

Eco-Bridge

Transfer Hub

High Rise

Urban Complex

Ground-Floor

Basement One

Basement Two

Basement Three

Underground Railway Track

Bus Tunnel

Pedestrian Circulation

Pedestrian Circulationfor Transference

Commercial Annex

Primary School

Eco-Bridge

Office

High-Rise

Park

Fisherman's Wharf

Residential Garden

PingLe Hospital

City Balcony

KKMall

Urban Comple

Urban Village

SOHO

Recreation Trail

LiZhi Park

LiZhi Lake

Sunken Plaza

JieFang Road

Entrance Of XinXing Mall

JingHua Street

TongXin Road

BingHai Road

JingHua Street

Shennan Road

Hongling Road

CaiWuWei No.1 Street

CaiWuWei No.1 Street

Mater plan

43 44

Bus Terminal

Transportation Hub

Green House

Underpass

Parking Garage

Green Rooftop

Commercial Annex

Ecp-Gridge

Restaurant

Hotel

Club

Office

Meeting Room Conference Hall

SOHO

Theatre

Shopping Mall

Outdoor Theatre

Underground Commercial Street

Section

Shenzhen - a typical "generic city" as Koolhhas describes - took only 20 years rather than a hundred years which a typical western city need to develop into a metropolis. The giant roads planed for industrial need are now blamed for separating land into pieces. The collective green space is now considered not convenience enough for people to visit. As a result of that, the possess of urban renewal plays an important role to solve this problem.

Caiwuwei is a unique site in certain prospect. This site locates beside CBD of Luohu district, one of the most bustling estate in Shenzhen, which originally belongs to a same area. In 1980s, during the economic reform, a great deal of urban villages were built and developed in a tremendous speed, while rest of the land was governed recklessly, which has resulted dirtiness and disorder nowadays. Historical and geological reason not only made blocks inside the site inseparable, but also made the contrast so intense that wandering around the site would create a time-space chaos.

We hope our architect can act like a root, not only absobing the "nutrition" from the nearby, but also connecting the land.

The root of trees are useful in gathering the soild and absorb the nutritions, which would have a significant arrangement on the whole body. Just the same function as the root, the shape of the skyscrape is the main structure, linking with dispersed appurtenances, which are effectively unify the chaos.

We attempt to provide a symbiosis system, which can naturally metabolize through the urban regeneration. Benefited from the flexible design, functions can be redefined by the residence when changes are necessary. It can not only serve as a buffer and transition zoon during the city renewal, but also become a memorable relic when the process is finished.

45 46

Original Form-Develop Seperately Develop in Unified Way

Elevate to Form Clear Path for Both Sides

Follow Texture of Jingdu Hotel

Connect to be Complex Twist Complex to Form Various Public Space

Recreation trail

Continue Green rooftop

CityBalcony

Lizhi Park

Urban Complex

Fisherman's Wharf

S m a l l Stores

Eco-bridge

Fisherman's Wharf

Water Front Square

47 48

Urban villages have been constantly supporting city's rapid and unhealthy development. It not only provided the city cheap labor force but also Low-rent Houses for graduates and low-income families. However, in the process of urban renewal, developers denied the value of the urban villages and ignore the interest of the people from the villages. By analyzing the composition and demands of the people who live in the urban villages, I tried to provide a possible developed pattern for the urban villages’ renewal.

Residential High-rise design based on High-rise, high density and urban village Renewal2013.09 - 2013.11Critic: Jingzhong MaLocation: Shenzhen, China Work Selected for the 2005 national design competition of architectural students

49 50

Analysis of Constitution and Relationship

Based on Parsons' theory, Urban village is an organic whole composed of different groups of people and each group play differet part of role in this society. None of them should be ingored. So I established three behavior models by Maslow's hierarchy of needs of needs, by analyzing the behavior and psychological need of different groups, we understand the distinctive need of living space and public space systematical. These analysis helped me decide which elements should be valued and expressed in the design.

Cre

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Uni

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Publ

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omm

unic

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Exhi

bit

Cog

nitiv

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entit

y

Priv

acy

Spac

ial F

acili

ty

Spat

ial P

artic

ular

ity

Spac

ial D

iver

sity

Com

mun

icat

ion

Popu

latio

n

Ente

rtai

nmen

t

Com

mun

ity A

ctiv

ity

Secu

rity

SOH

O

Com

mun

ity S

ecur

ity

Hea

lth |S

port

|

Job

Opp

ortu

nity

Excl

usiv

ity

Func

tiona

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ce

Use

tim

e

Ligh

ting

Air

Noi

se

Envi

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Com

sum

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Die

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Com

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ervi

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Cro

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Tra

ffic

Self-Actualization Esteem Belongingness Safety Needs Physiological and basic needs

WorkersFamily

Villagers For tower

Urban Village

Villagers

Graduates

Low income family

Migrant workers

City pupulation

City

Stationary population

Floating population

Graduates

Low income Family

Villagers

Rely on their's cheap house

Merchants

Strugglle to leave the village

Complaint their invasion to the village

Safety threat

Environment Disruption

Transfer Mutrualy

Rent

Comtempt

Support

Transfer Mutrualy

Provide cheap goodsand food

Rely on their's rent

Analysis of needs

WorkersHawkers

For Annex

Box: 1Area: 30 ㎡Living Room 1Kitchen 1Toilet 1

Balcony 1

Residential

Comercial and SOHO

4 m 4 m 4 m

4 m

4 m

4 m

4 m

4 m 4 m4 m

4 m

4 m

4 m

4 m

4 m

4 m 4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

4 m

5 m

5 m5 m

5 m 5 m

5 m 5 m5 m 5 m

5 m 5 m 5 m 5 m

Box: 1.5Area: 45 ㎡Living Room 1Kitchen 1Toilet 1

Courtyard 1Bedroom 2 Bed 2

10 m 10 m

10 m 10 m10 m

10 m

10 m


Courtyard 1Bedroom 3


Courtyard 1Bedroom 2

Box: 1.5Area: 60 ㎡Living Room 1Kitchen 1Toilet 2Bedroom 2Balcony 1

Single Apartment

Box: 1.5Area: 45 ㎡Living Room 1Kitchen 1Toilet 1

Balcony 1Bedroom 1

Family Apartment

Single Apartment Single Apartment Single Apartment Single Apartment

Box: 2Area: 60 ㎡Living Room 1Kitchen 1Toilet 1 Bedroom 2

Family ApartmentBox: 2.5Area: 75 ㎡Living Room 1Kitchen 1Toilet 2Bedroom 3

Family ApartmentBox: 3.5Area: 105 ㎡Living Room 1Kitchen 1Toilet 3

Balcony 1Bedroom 3

Family ApartmentBox: 5Area: 120 ㎡Living Room 1Kitchen 1Toilet 3

Balcony 2Bedroom 3

Family Apartment

Courtyard 1Courtyard 1Courtyard 1

Box: 1Area: 30 ㎡

ShopBox: 1.5Area: 30 ㎡Kitchen 1Toilet 1 Bedroom 1

SOHOBox: 2Area: 60 ㎡Kitchen 1

RestuarantBox: 2Area: 60 ㎡

Kitchen 1Toilet 2Bedroom 1

SOHO

Toilet 1

Box: 2Area: 60 ㎡

Office

Toilet 1 Office 2

Box: 2Area: 60 ㎡

Kitchen 1Toilet 1 Office 2

OfficeBox: 3.5Area: 105 ㎡

Kitchen 1Toilet 2Office 2

SOHO

Bedroom 3

Box: 3.5Area: 105 ㎡


OfficeBox: 5 Area: 150 ㎡


SOHO

Bedroom 2

Box: 5 Area: 150 ㎡


Office

Balcony 2Balcony 2

6 m6 m 6 m 6 m 6 m

6 m 6 m6 m 6 m

6 m6 m6 m

6 m6 m

6 m

10 m16 m

16 m 16 m 16 m16 m

51 52

First Floor PlanArea: 701.44

Second Floor PlanArea: 651.08

Third Floor PlanArea: 247.48

Shekou Zhaoshang Shuangxi Garden, Shenzhen China

Kinder Garden Design

Department 5 , PT Design

53 54

Villa Design, Shekou Zhaoshang Shuangxi Garden, Shenzhen China Town House Design, Jiulifeng, Ganzhou, Jiangxi, China

BNK Main Entrance, Nanjing Renheng, Nanjing, China Office Area Design, Hunan Meixi Lake , Hunan, Changsha China

Commericial Renderings From Professional Pratice

Created digital and physical models, diagrams, renderings and technical , draw-ings Prepared presentation and submission packages, Assisted project co-ordina-

tion with clients and contractors

57 58

Model House Interior Design, Jindi American Style, China

Private Club Hall Interior design, Dongguan Vanke, Guangdong, China

Commericial Renderings and Pictures From Professional Pratice

rearranged the layout of the plan, created the digital model for the project, con-tacted material supplier and collected material sample plates for the client to

choose.

Model House Interior Design, Huadiziyuan, China

Model House Interior Design, Guiyang Vanke, Guizhou, China

59 60

work sample of yuhao zheng - archinect.imgix.net

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