PORTFOLIO | CHENGCHENG HUANG M.ARCH, CED, UC BERKELEY ARCHITECTURE WORK SAMPLE 2010-2016
Chengcheng Huang | firstname.lastname@example.org | 510-708-8930 | Berkeley, CA 94704
Rhinoceros Google SketchUp AutoCAD Revit Grasshopper Vray Keyshot Depthmap
08/2015 - 12/2015 Architectural Studio(Andrew Atwood) UC Berkeley, Department of Architecture | Berkeley, CA Finished three projects with Atwood as instructor, explored architectural projections of composition, form and space. The Trinity House project has been selected to represent the studio section at the 2016 Berkeley Circus.
Adobe Photoshop Adobe Illustrator Adobe InDesign Microsoft Office 3d Printing Laser Cutter Hand Modeling Ecotect
12/2014 - 02/2015 Architectural Intern Central-South Architectural Design Institute Co. | Wuhan, China Framed concept and built model for a High-Rise Office Building project. Drafted plans with autoCAD for a Residential Building project. 10/2014 Intensive Studio Participant â€œSpace Betweenâ€? MIT Joint Studio | HUST, Wuhan, China Worked closely with professor Jan Wampler(MIT) on designing a public activity center between two buildings in Boston, used plexiglass to study the space, made a successful presentation. 09/2013 - 07/2014 Research Assistant Design Innovative System Research Center | HUST, Wuhan, China 03/2014 - 07/2014 Researched for professor Jun Wu(HUST) on 4 innovative strategies towards etopian age, researched and finished essays on characteristics and weaknesses of etopian age. 11/2013 - 01/2014 Collaborated with professor Daniel Anderson(MIT) on threats and opportunities of urban edge, studied cases in Boston and Wuhan, developed innovative strategies. 09/2013 - 11/2013 Worked for professor Jun Wu(HUST) on studying lingering garden with European methodology, analyzed with Depthmap software.
2016 Nominated The Fifth Annual Berkeley Circus (A Celebration of the Accomplishments of the CED Community) 2013 Excellent Prize Autodesk REVIT CUP 2013 National Student Competition in Sustainable Architectural Design 2011 1st Prize HUST Scholarship for Academic Excellence
My drive is to meaningfully affect the human experience by playing a part in the formation of perception, feelings and memories through the design of their surroundings.
1. TRINITY HOUSE [“Form, Site, Type“ Housing Design] 2. CYCLE ³ [Community Center design for Zhang-Village] 3. MOUNTAIN LAB [Educational Architecture Design] 4. 3D MARKET [Commercial Space Renovation] 5. SENSE THE WALL [River Dam Regeneration] 6. MOVING & RESTING [Kayak Club Design] 7. PATHS & PLACES [‘Space Between’ Searching Project] 8. COMPRESSION & DECOMPRESSION [Figured Space Practice] 9. DESIGNED BY NATURE [Hostel In Mountain Design] 10. EMBEDDED VILLA [Villa NM Abstracted Representation] 11. FLOATING VILLA [Fisher House Recreation] 12. OTHER WORK
TRINITY HOUSE [â€œForm, Site, Typeâ€œ Housing Design] | COURSE & DATE | INSTRUCTOR INDIVIDUAL WORK | KEY WORDS
ARCH 200A, UC Berkeley, 10/2015 Andrew Atwood form; space; compositional logic; staircase; intersecting
FORM Start from a foam model, I cut and manipulate the foam into a form(I) with a center volume and two branches spreading out, which responds to my initial interests. Then I simplified the foam form with simple geometry and blurred the boundry with curve surface(II). In order to create ambiguity with the form, I applied color image to it. The color image (III) involves the gradient of two colors and a blank rectangle suggesting potential windows. According to my compositional logic, I divided the form to two parts, and mapped the color image to each individually.(IV)
This is a residential housing design for single person. In this design, form has been used as spatial driver. Stairs were used not only for dividing space, but also creating connection between spaces horizontally and vertically.
FITNESS & ORGANIZATION In order to turn it into a house with physical limiting boundaries, I scaled and orienated my form to fit into a 20`x20`x44` bounding box(available site), and crop out the parts outside(V). Then I get (VI). After designing the interior space, the final model was created. (VII)
SPATIAL LOGIC My interior space was driven by the compositional logic of the form. Basically, there are two volumes from two directions extruding and intersecting to create the 3rd volume. This internal spatial logic was achieved by the placement of the stairs. You enter the house from the one volume to the 2nd floor(place to prepare and consume food). Then you will experience the transitional space to the 3rd floor(a place to relax and socialize) by going through a long straight stairs. The 2nd and 3rd floor are split floors, they can communicate with each other and share the space. In order to strengthen my concept, the handrails and interior walls are made inclined to correspond to the three-volume logic
1st Floor & site plan
CYCLE 続 [Community Center design for Zhang-Village] | COURSE & DATE | INSTRUCTOR INDIVIDUAL WORK | KEY WORDS
Graduation project, HUST, 6/2015 Hui Liu problem solving; sustainable design; cycle; ecology; civic engagement
This is a community center design project for two villages. In this design, I focused on solving problems and sustainable design strategies. My concept is self-sufficient eco-village. Circulated cycle has determined the location and form; Ecological cycle has determined the materials and tectonic; Behavior cycle has determined the program.
- Circulated Cycle
- Ecological Cycle Producer
Lack of communication of two villages terrible environmental condition lack of the employment chances
-Circulated Cycle; -Ecological Cycle; -Behavioral Cycle.
-Form -Technique(Eco) -Program
- Behavioral Cycle Overall Center: -Greenhouse production field -Center service area -Free market area
Problem Solved CYCLE 続
1st Floor Plan
2nd Floor Plan
MOUNTAIN LAB [Educational Architecture Design] COURSE & DATE INSTRUCTORS TEAM WORK
Integrated Studio, HUST, 03/2014 Mei Jiang Cooporator: Zixuan Huang (Participated in conceptual design, rendering, plan drafting and diagram drawing) nature; civic engagement; built environment
3D MARKET [Commercial Space Renovation] COURSE & DATE INSTRUCTORS TEAM WORK
Autodesk REVIT CUP 2013 National Student Competition, 08/2013 Zukang Lei Cooporator: Wei Xiao, Dongjie Ma (Participated in conceptual design, rendering and plan drafting) renovation; commercial space; place for gathering; civic engagement
In order to regenerate the conventional linear commercial space, we expand it three demensionally. By operating the linear space horizontally and vertically, we not only maintain the street-type space which is most suitable for small market business, but also create places for gathering and resting. Both the space and activities of the market are enriched as a result.
SENSE THE WALL [RIVER DAM REGENERATION] COURSE & DATE INSTRUCTORS TEAM WORK
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UA Creation Award & International Concept Design Competition, 11/2013 Baofeng Li Cooporator: Wei Xiao, Jeremie Lichtfus (Participated in all process, all the drawings in this portfolio are made individually) problem solving; experiential space; civic engagement; urban design
This is a conceptual urban design project. In this project of the regeneration of river dam, we introduced experiential void to solve this problems in urban scale and to further stimuli civic engagement.
THE RIVER DAM The river dam in Wuhan is about 4-meters high, 3-meters thick solid concrete wall. In summer, The River Dam has defensed the flood effectively, which is a positive effect. But however, through the whole year, it blocks the nice riverside view. Walking along the riverside street, one can barely sense the river. Thus, we are going to generate the positive engagement between city, people and nature while keeping its function of resisting the flood.
HANKOW Yangtze River Xiao Ming: “I don`t know where to play with my friends, the riverside is always very boring.” Mr. Zhang: “I was born and grew up in the City of River, but I can hardly feel it.” Old Li and his wife: “We used to see the river just through the window and spend time walking alongside the river. But now we can never do that again.”
CONCEPT - EXPERIENTIAL VOID
Change a straight solid wall into a flexible curving shape, which allows for more spatial possibilities.
Find the 1st potential VOID in the SOLID wall.
Creating VOID inside the wall, enables the wall to have experiential quality.
Taking the Water Wave as design Precedence. Making the lower levels â€œspreadâ€? into the city area like wave, inviting people to come and enjoy the new wall.
Creating the 2nd VOID in the wall. The river scenery and scenery on the other bank would invite people walking along the wall to enjoy them. And people may even enter the wall by the VOID.
You can walk inside the wall, on the wall, besides the wall. The wall becomes a positive engagement between city, people and nature.
By adding the experiential VOID into the wall, people can ex The River Dam is no longer the killer of the beautiful scene of people`s life.
xperience the wall either inside or outside. ery of the riverside or the joyful memory
MOVING & RESTING [KAYAK CLUB DESIGN] COURSE & DATE INSTRUCTORS INDIVIDUAL WORK KEY WORDS
ARCH 200B, UC Berkeley, 03/2016 (in progress) Jay Atherton
sensory perception; people`s experience; framing; day lighting; sound; moving and resting
There are basically two experiences inside the architecture - the moving experience and resting experience. What I am interested in is using architectural elements to meaningfully affect both human`s moving experience and resting experience. I look into three spatial qualities here - view; light and sound. My goal is to enhance human experience in terms of visual sense and auditory sense.
PATHS & PLACES [‘SPACE BETWEEN’ SEARCHING PROJECT] COURSE & DATE INSTRUCTORS INDIVIDUAL WORK KEY WORDS
| “Space Between” MIT Joint Studio, 10/2014 | Jan Wampler | social responsibility; paths and places; experiential quality; space model; traditional Chinese garden image; civic engagement
SOCIAL PROBLEMS Our neighborhoods have become unhealthy places to live and work, islands of life isolated in wastelands of space. They need squares, parks, walkways that encourage human interaction, communication, and the happy sharing of pleasant experiences - places integral to community life. The city need PATHS AND PLACES to enable positive and delightful walking, viewing and soul-enriching experiences. A site is given and is in Boston between buildings and we are going to design a small building with public places in this space. There are two steps to this project. The first will be to design the space without thinking of the form using Plexiglass to convey the space that will become a place. The second is using wood blocks to design the building around the first model.
PATHS The starting point of the project is the design of the major PATHS of the space. There are two categories of paths: Horizontal paths and Vertical paths. The Horizontal paths include a courtyard in the center and are mainly for people to go across the space. The Vertical paths are two paths intertwining with each other and gradually going up. They share the courtyard space in the air. And every landing of the paths will lead to a terrace which is a public space for people to enjoy outdoor coffee or exhibition. And the terraces are on different elevations, people can appreciate different street views when relaxing on the terraces.
Using plexiglass to show the space. Major spaces - translucent Secondary spaces - white Indoor public spaces - black Special spaces - red
The Major spaces include Outdoor public spaces, Café space, and an exhibition space. The Secondary spaces represent the paths. And the Indoor public spaces include Café space and a small theater space which owns certain functions to serve people. And Special spaces are somewhere enjoying special atmosphere created by all the other spaces together.
The 3rd iteration breaks the geometrical logic and makes the space spread to the outside vertically and horizontally, which could effectively invite people to come over. The paths are elegantly intertwining with each other and going up gradually creating a special courtyard place. The public spaces scatter on different elevations. While climbing on the paths, people can always have a rest going into the indoor/outdoor Café. The Courtyard surrounded by places and paths is the center of the space.
Using Bass or Balsa wood to show the buildings. According to the instructions of different qualities of public spaces as well as private spaces (which are not shown in space model), I transform the space model of plexiglass to the building model made of wood.
TRADITIONAL CHINESE GARDEN IMAGE
In Traditional Chinese Garden, the Courtyard is the most exciting & important part of the whole garden. Surrounded by buildings, it`s a perfect place to encourage human interaction, communication, and the happy sharing of pleasant experiences.
The ancient Chinese people enjoy the experiential change from narrow path towards an open central space. And also, a narrow entrance can make the most exciting open space afterwards less visible, which will provide people with a sense of mystery.
In Traditional Chinese Garden, spaces are placed on different levels and are always strewed at random, which will enable people on different sites to appreciate different sceneries.
Chinese people thought layering is very important in Garden Design since it will give people the sense of depths. As people walk along the road, they will feel the scenery they see is more like a scenario in a painting or a film which is waiting for them to explore.
The winding path is also a significant art in Traditional Chinese Garden design since it is less direct and more graceful, it will nurture and enrich the engagement between people and the building/environment. People will have rich experience while enjoying the place.
COMPRESSION & DECOMPRESSION [FIGURED SPACE PRACTICE] COURSE & DATE INSTRUCTORS INDIVIDUAL WORK KEY WORDS
ED 11B, UC Berkeley, 07/2014 Raveevarn Choksombatchai, Alex Spatzier, Maggie Lee
experiential quality; solid and void; double negation; figured ground analysis
“According to Hegel, negation can only be properly conceived when it is grasped as double negation... Double negation, in turn, is the structure that underlies all reality. As such the double negative is nothing less than the Absolute. When negation is doubled, it is no longer merely negative but becomes positive.” Mark C. Taylor, 1991
FIGURED SPACE MENTAL INTERPRETATION Starting from four interesting moments I observe from the previous model I made, I am going to translate the drawing to building with designing the space of a 8*8*12 volume. The aim is to envision experiential qualities. I feel what attracts me most is the gradual change from larger space into a narrower and narrower space which arouses the sense of COMPRESSION. Then I extract the geometry of the photography as well as the changing experience in the space as my concept of the design. Using the geometry as well as their experiential quality (showing by depth) as the four surfaces of the model, the translation from 2D drawing to 3D model has been made. DESIGN BY VOID The Exploded Axonometric Drawing shows clearly how the four major VOIDS are organized together. All of the four voids share the similar logic of spatial experience.
1st SUBTRACTIVE VOIDS (NEGATION)
2nd SUBTRACTIVE VOIDS (NEGATION)
The 1st subtractive voids create the logic of the s while the 2nd create the movement.
The figured ground analysis shows the nine scenes side to the other. There are eight major experienti the feeling of compression and decompression alte merge to one. And the space have no direction, yo profound experience.
The sencond negation is a practice to â€œdestroyâ€? the se voids created by the two columes start moving from away from each other to the two sides again.
The white space represents the double negative space.
SOLID VOID (NEGATION)
VOID (DOUBLE NEGATION)
c b a
you will experience when you go through the space from tial changes happening during the process, which will give ernately. Also, sometimes one space separates to two or ou can enter from all six sides of the box while still having
one you two this
eemingly perfect system to explore the double negative space. The two sides and rising to meet together at the center then getting
c b a f
DESIGNED BY NATURE [HOSTEL IN MOUNTAIN DESIGN] COURSE & DATE INSTRUCTORS INDIVIDUAL WORK KEY WORDS
Architectural Studio, 03/2012 Shaobo Hao
| wooden constraction; sustainability; nature
DESIGNED BY NATURE SUSTAINABILITY: Use the woods which is the main resource on mountain to build almost everything. The form of Dislocation overlap will effectively reduce its interruption to the hill. And the location or the shape of every house and the slope of the stairs is all determined by the natural environment. Thus, this is a project designed by nature. COMMUNITY & FREEDOM: The Hostel is mainly built for teenage travelers, we have a center hall in the middle of the community to provide place for travelers to gather together and share experiences. And all the single hostels are linked together by stairs according to the slope of the mountain, every house is accessible. Despite of the community I create, people can still enjoy their freedom. Since every house is independent, people living there will not be disturbed by others.
EMBEDDED VILLA [VILLA NM ABSTRACTED REPRESENTATION] COURSE & DATE INSTRUCTORS TEAM WORK
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ED 11B, UC Berkeley, 06/2014 Raveevarn Choksombatchai, Alex Spatzier, Maggie Lee Cooporator: Sebastian Cardoza (Participated in all process, all the drawings in this portfolio are made individually) mass observation; surface observation; solid and void; relationship with environment;materiality, weaving tectonic, innovative design
VILLA NM NEW YORK, USA, 2000-2007, BY UN STUDIO;
The house responds to the site of its rolling landscape of the countryside of Upstate New York. We are going to do an Abstracted Representation on Villa NM`s Relationship to the Earth through MASS OBSERVATION & SURFACE OBSERVATION. B
A box-like volume bifurcates into two separate volumes; one seamlessly following the northern slope; the other lifted above the hill creating a covered parking space and generating a split-level internal organization.
SOLID vs VOID
VOID - BUILDING; SOLID - EARTH & SKY
MASS OBSERVATION With my ‘Mass Observation Project’, we explore how solid and void are conceptually reversible, thus their roles are interdependent. We express our design concept by transforming the whole villa into a void that embraces sky and earth which are solid. By extruding with different depths, we create different voids to represent the relationship between the building and the earth in our book concept. Since the volume bifurcates to two legs, and the two legs are telling different stories of how they interact with the hills, we are making the model as two parts. The Book Concept is from the interesting different two sides of the building. When the “Book” is closed, you can see how the two legs bifurcate from the VOID. But once you open the “Book“, it tells you everything about its relationship with the earth, not by the means of words but the model itself. You can see clearly how one side is embedded in the earth, and how the other is lifted up to create a parking space.
SURFACE OBSERVATION STRIATION The villa appears as an abstraction of the site`s geography. In order to express the continuity of the landscape and the building, we view the landscape and the building as a whole. By using the tectonic of striation, we emphasize the flow from the landscape to the building then to the landscape again. MATERIALS After a failed trial with steel wire, we decide on using thin white Museum Board as the materials. We cut the Museum Board as stripes, but with different widths. From Sparse to Dense then to Sparse again, we are creating the rhyme which can discriminate the villa from the landscape while still keeping the continuity. For a single stripe, the width satys all the same to express the continuity. The length of the stripes could be infinite, representing the infinite landscape. TECTONIC - WEAVING By using the TECTONIC of WEAVING, we join two directions of stripes together in crossing each other. The weaknesses of paper stripes are their fragility and bendability. But, with the TECTONIC of WEAVING, we make fragile, bendable strips become a strong and flat surface without losing its continuity. The two clusters of stripes both represent the abstraction of the landscape in two directions.
FLOATING VILLA [FISHER HOUSE RECREATION] COURSE & DATE INSTRUCTORS TEAM WORK
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ARCH 200A, UC Berkeley, 10/2015 Andrew Atwood Cooperator: Yike Qin (Participated in all process, all the drawings in this portfolio are made individually) light; transitional space; case study; geometry; floating: windows, innovative design
Starting with our case study on Fisher House by Louis Kahn, what interests us most is the light created by his design on windows. There are two types of windows in Fisher House Design - slender, vertical windows and large, rectangle windows. And they each define different spaces - transitional space and living space. Our study is based on using light to claim space. We extrude windows and stop when encountering walls. There are two distinctive spaces that we create, one is large living space created by large windows, the other is slender transitional space created by narrow windows. Since the whole space is created by light, we make the whole villa floating with only one stair connecting ground and first floor. Also to break the original geometrical logic of two intersecting boxes, we introduce another geometry with different direction into this system.
1st Floor Plan
2nd Floor Plan
OTHER WORKS [ARCHITECTURAL DESIGN]
ARCHITECTURAL INTERN DATE: 12/2014 INSTRUCTOR: GAO
URBAN DESIGN PROJECT
COURSE & DATE: Urban Design studio, HUST, 12/2013 INSTRUCTOR: Jun Wu TEAM WORK: Cooperator:Yuefei Wu
RETAIL STORE RENDERING DATE: 06/2014
SLICING CHAIR [Chair Design] COURSE & DATE | | INSTRUCTORS INDIVIDUAL WORK | MATERIALS
Body Conscious Design, UC Berkeley, 03/2016 Galen Cranz cardboard; wooden stick
OTHER WORKS [SKETCHES] Sketches in ‘Fenghuang’ Town, China.
OTHER WORKS [WATERCOLOR DRAWING AND OIL PAINTING] Watercolor Practice in Yaoli Town, China I enjoy using color to express my perception over the things surrounding me.
MY EXPLORATION 2010 - ?
HOSTEL IN MOUNTAIN PROJECT
SPATIAL FORMATION PROJECT
Drawing in Wuyuan, Jiangxi, China.
Watercolor Practice in Yaoli Town, Jiangxi, China
Drawing in ‘Fenghuang’ Town,
, Hunan, China.
COMPETITION - 3D MARKET
COMPETITION - RIVER DAM REGENERATION
RESEARCH Research on Spatial Order of Lingering Garden & its MOP analysis.
MIT WORKSHOP - URBAN EDGE Making innovations to Urban Edge areas : the abandened train station, the nighttime vendors on sidewalk, the crumbling food square, the wall besides the road on campus.
LAB DESIGN PROJECT
UC BERKELEY ED 11B
Project 1 - Embedded Villa Project 2 - Compression & Decompression Project 3 - Through the Petal
Produced by 3D Printer. 2014
BELLASTOCK - WATERWORLD Building a Floating City with bamboo, water fountain tanks with European students.
WORKSHOP - STRING CONSTRUCTION
TRAVEL & PHOTOGRAPHY & DRAWING de Young Museum, CA, USA
Wu Town, Suzho
COMMUNITY CENTER DESIGN
MIT WORKSHOP - SPACE BETWEEN
UC BERKELEY ARCH 200A Project 1 - A Structure on A Deserted Island Project 2 - Fisher House Recreation Project 3 - Trinity House Design
PORTFOLIO CHENGCHENG HUANG
PORTFOLIO | CHENGCHENG HUANG