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PORTFOLIO | YANG ZHANGZHENG Works 2013-2018

01 Temporary Archetype Revolution in East Village, NYC 2018.07

02 One Hundred Years of Solitude Bibliotheca of nostalgia 2017.6

03 Reverse Raumplan A tribute to Adolf Loos 2017.10

05 Variated Dittos Modern Feminism Practice 2018.11

06 Moonrise Kingdom An arena beside a river 2017.4

04 Catch Me If You Can Experimental laboratory in campus 2017.8


01 Temporary Archetype Revolution in East Village, NYC Summer Studio, GSAPP Individual Work Advisor: Gabriela Etchegaray + Jorge Ambrosi 2018.07


PROCESSION ROUTE / SCHEDULE 10:00 AM STREET GARDEN & BIRD SANCTUARY (Forsyth bet. Broome & Delancy) 10:45 11:00 11:10 11:20 11:30 11:40

GARDEN OF EDEN MEMORIAL CEREMONY (Forsyth St. bet. Stanton & Rivington) ROCK & ROSE GARDEN (Houston and 2nd Ave, NW corner ) LIZ CHRISTY GARDEN (NE Corner Bowery & Houston) ALBERTS GARDEN (2nd St. bet. Bowery & 2nd Ave.) HOPE GARDEN (2nd St. bet Aves A & B) KENKELABA HOUSE GARDEN (2nd St., bet. Aves. B & C)

12:15 LA PLAZA CULTURAL (SW Cor. 9th St. Ave. C) 9TH STREET COMMUNITY GARDEN & PARK 1:00 Inc. (9th St. & Ave C, NE corner) 1:30 1:45 1:50 2:30 2:45 2:55

DIAS Y FLORES GARDEN (13th St. bet. B & A) EL SOL BRILLANTE GARDEN (12th St. bet Aves. A & B) (12th & Ave B, SW corner) DE COLORES GARDEN (8th bet B&C, northside) EARTH PEOPLE GARDEN (8th bet B & C, northside) BELLO AMANECER BORINCANO (Avenue C bet 7th and 8th Sts.)

3:15 GARDEN (SW cor.) 3:30 3:45 3:50

CREATIVE LITTLE GARDEN (6th Street bet. B & A) 6BC BOTANICAL GARDEN (6th St. bet. Aves B & C) STANNARD DIGGS GARDEN (6th st. Bet. Aves. C & D)

4:00 PARQUE DE TRANQUILIDAD (4th St. bet. Aves C & D south side) 4:15 5:00 5:10 5:20 5:30 6:00

(4th St. bet. Aves. C & D, northside) ALL PEOPLES GARDEN (3rd St. bet. Aves. C & D) BRISES DEL CARIBE (3rd St. bet. Aves. B & C) AMIGOS GARDEN (3rd St. bet. Aves. B & C) TU PEUBLO BATAY (4th St. bet. B & C) BUTTERFLY RELEASE CLOSING CEREMONY (8th St. bet. Aves. C & D)

“Right to the City” After the movement of community garden protection and squatting with the goal of “the right to the city”, it seems that East Village and Lower East Side have reached some kinds of agreement with New York City. Street culture and punk music are still thriving here. However, because every possibility is absorbed into the urban management which is under control

of capitalism system, the victories of the two movements to some extent have suggested the death of some active factor. It is the time to reconsider the meaning of right to the city and introduce a new system to local gardens which could foster a relationship between community gardens and local people.


Temporary structure Te m p o r a r y s t r u c t u r e , w h i c h c o u l d b e c o n s t r u c t e d a n d removed within a short time, bring the new possibility to the neighborhood. The structure of fluidity, as well as the function, such as chapel, restaurant, dancing square, skateground and theater can evoke the new vitality to the already solidified system.


TEMPORARY SKATEGROUND 500㎡ Cement Board ···················· 2400*2400mm*n Metal Rod 1 ··················· Φ100mm*2500mm*n Metal Rod 2 ···················· Φ40mm*3300mm*n Wood Board 1 ············· 2400mm*4400mm*12 Wood Board 2 ············· 2400mm*2100mm*12 Prefab Stairways 1 ················ width: 1200mm hight: 2500mm Prefab Stairways 2 ················ width: 1200mm hight: 7600mm


TEMPORARY RESTAURANT 500㎡ Canvas ···························· 5000*2580mm*n Metal Rod 1 ·············· Φ100mm*3200mm*n Metal Rod 2 ··············· Φ40mm*3800mm*n Metal Rod 3 ··············· Φ40mm*6000mm*n Board ·································· 4700*800mm*n 1150*800mm*n Louver Slat ························· 150*6000mm*n Prefab Stairways*2 ·········· width: 1200mm hight: 7000mm


TEMPORARY DANCING SQUARE 875㎡ Canvas 1 ························································· 1000*2100mm*n Canvas 2 ························································· 2400*2400mm*n Metal Rod 1 ········································· Φ100mm*9500mm*n Metal Rod 2 ··········································· Φ40mm*3000mm*n Metal Rod 3 ··········································· Φ40mm*6000mm*n Board ·································································· 4800*800mm*n

Louver Slat ························································· 150*4900mm*n


TEMPORARY CHAPEL 750㎡ Canvas ······················································ 1000*2100mm*n Metal Rod 1 ····································· Φ100mm*9500mm*n Metal Rod 2 ······································ Φ40mm*3000mm*n Metal Rod 3 ······································ Φ40mm*6000mm*n Board ··························································· 2400*800mm*n Louver Slat ················································· 150*6400mm*n Prefab Stairways 1 ·································· width: 1200mm hight: 9600mm Prefab Stairways 2 ································ width: 1200mm hight: 19500mm


TEMPORARY THEATER 1000㎡ Canvas ··················· 15000mm*3780mm*16 Metal Rod 1 ············· Φ100mm*13000mm*n Metal Rod 2 ············· Φ100mm*8500mm*32 Metal Rod 3 ················ Φ40mm*6000mm*n Board ··························· 3200mm*800mm*n Louver Slat ················ 300mm*13500mm*n Prefab Stairways*4 ············· width: 1200mm hight: 20000m


MEMORIAL 50㎡ Canvas ············································ 2600*5300mm*4 Metal Rod 1 ······························· Φ100mm*10000mm*4 Metal Rod 2 ································ Φ100mm*5300mm*n Metal Rod 3 ·································· Φ40mm*3000mm*n Board ···················································· 2400*800mm*6 Louver Slat ············································· 150*5000mm*n Prefab Stairways ······························· width: 1200mm hight: 4500mm


02 One Hundred Years of Solitude Bibliotheca of nostalgia 4th Year Museum Design Studio Individual Work Advisor: Mr. Boyuan Robert Jiang 2017.6


The Monolith on the early earth

The Monolith on the moon


Concept from 2001: A Space Odyssey The Monolith in 2001: A Space Odyssey (1968) seems to represent or even trigger epic transitions in the history of human evolution from ape-like beings to civilized people or from earth-living creatures to citizens of universe, hence the odyssey of mankind. In the most literal narrative sense, the Monolith is a tool, an artifact of an alien civilization. It appears in many places, always in the purpose of observation. Arthur C. Clarke has referred to it as "the alien Swiss Army Knife"; or as Heywood Floyd speculates in 2010, " A shape of some kind for something that has no shape."

Transformation of Library China has witnessed the great mutation of the landscape in the countryside. The library, as another form of monolith, gaze into the past and future, document all these changes in silence. Information storage, as one of the main function of library, has a new interpretation in China. The carrier of information is not just text written in the books but all kinds of appliance in daily life. Villagers choose their own tangible belongs , sending them to the library. Therefore, the building has become a huge time capsule with a large amount of memories, gazing at the village in silence. When the information reach a certain quantity, the library could reflect the change in specific area, or even the shift of time. The tower library is cut by 5-meter-radius arcs. Some parts of boxes are discarded, creating a gradual change vertically. The lower part of the building contain the function of viewing and public activity, while the upper part is mostly used for storage and exhibition.


Symmetric Plan vs. Asymmetric Plan The blocks with different visibility create a vertical change, meeting different needs. The layout shift subtly from the original (1:1:1)² to asymmetric (1:2:3)². The multi-hierarchy rooms create unique atomospheres of space, from the long narrow corridors to the spacious halls. Therefore, different ways of storage could be created according to specific rooms.

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Top Level

Mid Level

Entrance Level

Balance of Entity and Space Solid: Symbol of the past, keeping still, would not changed by time, carrier of old memory; Void: Symbol of the present , countless possibilities created by visitors, container of time; Logic of time conducted by vertical change: The higher the floor is, the more memory are carried, and the less space for visitors in the present left.


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Ways of Viewing and Storing

Visitors would get unique experiences on each floor. Lower floors provide good places for observation, the changes of the site could be seen as time goes by. Upper floors have enclosed environment and small windows, where visitors would feel strong contrast of light while moving through the rooms.

In the corridors, storage space is dug by villagers according to the size of collection, the number of holes would grow in the future. Oversize collections would be kept in spacious halls during the construction of the building and could never be brought out again because of the cramped doors.


"...time was not passing...it was turning in a circle..." Gabriel GarcĂ­a MĂĄrquez, One Hundred Years of Solitude


03 Reverse Raumplan A tribute to Adolf Loos 3rd Year Art Gallery Design Studio Individual Work Advisor: Prof.Gao Dehong 2017.10


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Building in 3-D perspective I tried to create a new model of space on the basis of Ruamplan. The building is conceived by interconnected continual spaces rather than specific plans,

facades or sections. And the spaces shall only be designed in a 3-D perspective. Four layers are joined at different stages in design.

Massing management: Each space has a different height. They are connected so that ascent and descent are not only unnoticeable, but at the same time functional.

Exterior space: Hollows with windows and entrances are created, the simple and hermetic facades are kept. They are symmetrical on the first two floors, change vertically on the upper floors.

Interior promenade: A continuous staircase rise around the atrium, being connected to functions. Those non-continuous ones provide the access to the different rooms from the stepped platforms.

Vertical differentiation: The vertical distribution progresses from the public rooms on the ground floor to the more private on the upper floors, which could be reflected by different arrangements of furniture.


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The Voyeuristic Quality of Spaces The Raumplan, with its rooms evolving around the central steps, allows visual connection among the different areas. Between the spaces, pierced walls frame the views on a diagonal direction, giving the interior an almost theatrical quality often described as “voyeuristic“.

Different spatial organization and furniture arrangement, blur not only the distinction between rooms, but also between the outside and inside, reflecting the different degree of privacy of the various spaces connected by central steps.


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The Role of the Atrium The atrium and the staircase zigzaging up through the atrium, which play a critical role of reference in the arrangement of space, is the precondition for the whole concep-

tion. As another facade. the atrium and the windows imply a continuity of the vertical space.


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The Character of the Spaces The inside surfaces always differ from one room to the next. Material was chosen mainly for its affective value, tending to play down their object-like character and create a sugges-

tion of spaciousness. Framing elements such as columns and beams delineate space by standing out from the wall as separate elements.


Eccentric Circulation (Asymmetrical Experience of Symmetry) Doors to rooms are positioned off-center, giving an improved view of the room. Circulation through the room avoids the center and the route leaves the room by another door which is also eccentrically placed. In this way circulation routes are kept to the

perimeter of the room and away from the center which can then become a "place". By contrast, symmetrical movement can occur at the front door and the doors to the terrace.


05 Variated Dittos Reconsideration of Modern Feminism Practice Fall Studio, GSAPP Individual Work Advisor: Bryony Roberts 2018.11


Notes of Mark Wigley: Untitled: The Housing of Gender

The husband is given this space of immaterial knowledge while the wife is given a dressing room, space of material masks, off her bedroom. But her space is not private, as the young children, girls, and nurse sleep in it. This new space marks the internal limit to the woman’s authority in the house. She does not command the whole space. Her disciplinary gaze operates between the inner locked door of the study and the outer locked door of the house.

The divisions of the house represent both the order and that which is ordered. Alberti monumentalizes the space between genders by differentiating between male and female spaces in terms of location, access, and levels of comfort. This reaches its extreme in his division between the husband and wife’s bedroom. But while the separate doors to the bedrooms publicize the split between genders, the door between them is privatized.

Women, on the other hand, are almost all timid by nature, soft, slow, and therefore more useful when they sit still and watch over things. It is as though nature thus provided for our well-being, arranging for men to bring things home and for women to guard them. The woman, as she remains locked up at home, should watch over things by staying at her post, by diligent care and watchfulness. Alberti Everything is “assigned to separate places” which are then given the husband’s seal of approval... The wife learns her “natural” place by learning the place of things. She is “domesticated” by internalizing the very spatial order that confines her... Indeed, she is one of the possessions whose

status the house monitors and is exposed by the structure of the house she maintains. It is this exposure by a system of classification, rather than a simple enclosure by walls, that entraps her.


Boundaries are only established by the intersection between a walled space and a system of surveillance which monitors all the openings in the walls. The spatial structure of the house is maintained by both the systems of locks, bars, bolts, and shutters that seal the openings and a controlling eye. In this way, the woman can be held to the thresholds of the house, the doors and windows. Likewise,

the girl is confined to an inner room away from even the windows, guarded by a “watchful eye” and is only brought formally to the window in order to attract a suitable husband to whose house she will then be ceremonially escorted. The word for raising a female child being literally that for “surveillance.

The task of architectural theory becomes that of controlling ornament, restricting its mobility, domesticating it by defining its “proper place” (bondage to the ground, faithful representative of the presence of a building) in opposition to the impropriety of the prostitute (mobility, detachment from the

ground, independence, exchangeability). The practices of ornamentation are regulated so that ornament represents and consolidates the order of the building it clothes, which is that of man. It is used to make that order visible.


A work space which really has gender awareness will not set rules to limit the gender of user. The Wing’s woman-only policy of membership caters to a widespread danger of feminism movement: It is becoming a movement creating a new privileged class rather than fighting for equality. The danger become sharper especially when a kind of aristocratic but monotonous interior has combined

with a one-gender-specific rule. It’s time to design a system which are open to every identity and at the same time have the ability to create a real sense of comfort. The word identity would be used rather than gender in this project to cover wider spectrum of self-awareness.


The rooms has their unique moment to show the condition of users at different place, which means each room will become an independent theater with stage and auditorium, and people can chose their place according to their preference. They are combined directly without passages, so going through a series of other rooms becomes an unavoidable experience reaching specific one. Then by changing the relationship among rooms, including the circulation, height and eyesight connection, a hierarchy of space can be created.

A light system is introduced to offer more possibility of the self awareness and explain what is “everyone�, what is diversity of identities. The system contains the color of each rooms, the natural light and artificial colored light. But there is no solid connection between one color and an identity, what an architect should do is leaving the possibility to users. So even one room will contains totally different activities at different time. Then entering a room will become a kind of adventure, passing through other rooms seems to be more important than entering the original destination.


04 Catch Me if You Can An experimental laboratory in campus 4th Year Activity Center Studio Individual Work Advisor: Prof. Gao Dehong 2017.8


An irony of Campus Politics in China Chinese university students are being watched. Since '89 Democracy Movement, new student organization need layers of approval to be set up. Their activities are limited by school authority. The administrative system work like a elaborate machine. It seems like that no reform could be promoted under the peculiarly political climate. The effective large-scale mode of production of Modernism is presented in Play Time (1967) through the uniform office desks. The clerks shuttle back and forth among blocks. While in Underground (1995), the underground space are taken as

a refuge, a place for carnival, and even a key logistics node for resistance at a time. They are two sides of one coin. An ultimate irony would be constituted when the two scenes are put together. The office and the activity center were arranged on the second floor and basement with independent entrances respectively. The problem that school managers are failed to get real feedback from students because of the top-down system of rule would be solved in the building. Students could express and share their opinion freely in the underground space; managers' sight would be blocked by entrance plaza so that students underground would not be supervised.


The Communication without Sight Lines Two pieces of curving wall separate the up and down. The walls blocked sight lines so that conversations between managers and students can only carry on through voice. The

whole building was thus organized according to this specific idea about acoustics. The curving walls on the ground floor have several patterns to fit different applications.


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Reading Room Lecture Hall Dining Hall Group Discussion Room Community Room Square Equipment Room

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Dynamic Space & Static Space The room/circulation relationship have maximum possible freedom in the basement. Students could wander among rooms unimpededly. The plan consist of several layers. The traffic flows are like a soft large piece of net, covering the whole plan, connecting the peripheral corridor, which is the

place to communicate with school managers upstairs; The walls and columns, as the main element in the plan, just define function but not divide space; The scattering auxiliary rooms, including staircases, rest rooms and storages, are the hardest zones in the plan.


How to Use This Building to Speak out Your Own Mind

â‘ Speak out whatever you want to say in the underground corridor, the administrator could not see you because of the curving walls.

â‘Ą Walk upstairs to the ground floor. There are four staircases to chose from, which are located in the corners of the entrance plaza.


③ There are eight exits on the side of entrance plaza. The managers are not able to identify you.

â‘Ł The last bulwark is the intermediate space on the ground floor. You can chose random exit in the case you are recognized.

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I WOULD LIKE TO SAY SOMETHING TOO...

...EVERYONE CAN HEAR THE VOICE BUT CAN NOT SEE THEM...

FREEDOM OF ASSOCIATION

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06 Moonrise Kingdom An arena beside a river 4th Year Arena Studio Individual Work Advisor: Mr. Ju Wei 2017.4


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A Pure Form Echo the Content The arena's external form is essential because it is located beside The Slender West Lake, which is known for its beautiful scenery. The pure form have a feeling of floating. The main roof with the shape of cycloid is supported by ten arch type beams. The corridor around the main venue, is like a ribbon

floating around the moon. The glassed western and eastern sides provide spectacular views to The Slender West Lake. Creating a pure and wonderful form, is the best response to the beautiful surroundings.


Second Floor Plan

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The Formularized Construction Unlike functionalist architecture, so-called "constructional honesty" means nothing to the arena. Exposing the structural frame is not the ultimate purpose but the means to emphasize the form and redefine spaces. The arcuate columns on the

second floor corridor interrupt the continuous space regularly, emphasize the relationship between the square corridor and the vaulted main part. However, the structural elements are hidden on the ground floor.


Steel Beam Exhaust Vent Light Roof Sheathing Sound Absorption Material Reinforced Concrete Floor Metal Faรงade

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