Issuu

Selected works 2017 - 2021: Including Revit works Chengyu Zhang M.Arch Degree / University of California Berkeley / Architectural Designer C: 416.732.5812 | E: arch_cyzhang@berkeley.edu

Part I - Revit works Krug - Downtown Showroom, Toronto

Store Interior

Interior/finish/detail/lighting

Changchun Deer Valley - Changchun, Jilin, China Residential/landscape/detail/material

Model Study

Part II - Academic works The Shed - Street Sports Centre

Landscape/structure/detail/lighting

The Last Cemetery of the Red Guards Exhibition/landscape/history

Homo Bathroom on Church street Structure/detail/materiality

The Babel Tower

Technology/sociology/religions/history

Urban design Memorial design Architectural design Fictional design

C:\Users\Barcelona\Desktop\1825 - DKS Arch D Titleblock.dwg, 2019/01/10

1 LOCATION PLAN Krug - Downtown Showroom, Toronto

PROJECT STATISTICS

SCOPE OF WORK WORK UNDER THIS APPLICATION IS LIMITED TO INTERIOR ALTERATION AT THE PREMISES NOTED ABOVE.

OWNER

MEP ENGINEERS

KRUG 215 QUEEN STREET WEST TORONTO, ONTARIO M5V 1Z4

SMITH + ANDERSON 4211 YONGE STREET SUITE 500 TORONTO ONTARIO CANADA M2P2A9 TEL 416-487-8151 WWW.SMITHAND ANDERSEN.COM

THE TENANT SPACE IS COMPRISED OF FURNITURE SHOWROOM AND OFFICES. THE PROJECT INVOLVESNEW ARCHITECTURE, FINISHES, MILLWORK FIXTURES, MECHANICAL, ELECTRCIAL, PLUMBING, FIRE AND LIFE SAFETY.

ARCHITECT

THE G.C SHALL PROVIDE ALL LABOUR, MATERIAL, EQUIPMENT AND SERVICES AND PERFORM ALL OPERATIONS REQUIRED TO COMPLETE WORK AND RELATED WORK DESCRIBED AND SPECIFIED HEREIN, AND AS MAYBE RESONABLY IMPLIED AS NECESSARY TO COMPLETE THE WORK IN ALL RESPECTS.

DKSTUDIO ARCHITECTS INC. 443 ST. GERMAIN AVENUE TORONTO, ONTARIO CANADA M5M1W9

THE G.C SHALL EXAMINE ALL SPECIFICATIONS, PLANS, APPENDICES AND ALLOTHER CONTRACT DOCUMENTS OF THE WORK AND BRING ANY DISCREPANCIES TO THE ATTENTION OF THE ARCHITECT. WHERE CONTRACT DOCUMENTS VARY INTERNALLY OR WITH APPLICABLE LAW THE MORE STRINGENT REQUIREMENT SHALL APPLY. ALLL DRAWINGS SPECIFICATIONS AND OTHER CONTRACT DOCUMENTS SHALL BE READ IN CONJUNCTION WITH EACH OTHER. AWAIT CLARIFICATION FROM ARCHITECT PRIOR TO PROCEEDING AS APPLICABLE.

DMYTRIY PEREKLITA,OAA PRESIDENT TEL. +1 416-342-8017

FILIP SIMPSON SENIOR ASSOCIATE filip@dkstudio.ca

THE G.C IS RESPONSIBLE FOR COORDINATION OF THE WORK OF ALL TRADES WITH ALL OF THE INFORMATION CONTAINED WITHIN THIS SET BETWEEN ARCHITCTURAL AND ENGINEERING DRAWINGS. NOTE: ALL OF THE INFORMATION IS NOT LOCATED IN ANY ONE DRAWING. IF THE A SERIES OF DRAWINGS CONTAINS INFORMATION RELEVANT TO THE CONTRACTOR OR SUB-CONTRACTOR AND IS NOT SHOWN IN THE S,M,FP,OR E SERIES DRAWINGS THE G.C IS STILL RESPONSIBLE FOR THAT INFORMATION, AND VICE VERSA. NO VARIATION IN PRICE WILL BE ALLOWED SHOULD THE CONTRACTOR OR SUBCONTRACTOR OMIT ANY INFORMATION ON EITHER SETS OF DRAWINGS.

BHAVIKA SAGAR, B.ENG PROJECT DESIGNER Bhavika.Sagar@smithandandersen.com

JASON WONG, P.ENG PROJECT DESIGNER jason.wong@smithandandersen.com

BASE BUILDING 130 SPADINA AVENUE, SUITE 707 TORONTO ON M5V2L4 CHRISTOPHER ISHMAEL Cishmael@malibutoronto.com

THE DR COPYR AND O CANNO OR USE ELECTR FOR RE CODE AUTHO

DO NO BE VERI ANY DI IMMED

PROJ DRAW CHEC SHEET

REFER TO RESPONSIBILITY SCHEDULE FOR CLARIFICATION OF WORKS.

ISSUE

KEY PLAN

3D view SW

Key Plan SCOPE OF WORK

PROJECT DIRECTORY

NO. 01 02 03 04 04

D 2 2 2 2 2

MOST REMOTE POINT WITHIN SPACE P-X PATH OF TRAVEL

21877 71' - 9 1/4"

J 4706 15' - 5 1/4"

L 1194 3' - 11"

N 2164 7' - 1 1/4"

O 2032 6' - 8"

Q 1704 5' - 7"

S 4696 15' - 5"

POINT OF EGRESS

1474 4' - 10"

476 1' - 6 3/4"

EGRESS WIDTH 1100mm

5 | CHAIR DISPLAY

EXISITING FIRE SEPARATION

2 JOR8-SR

3 | SHOWROOM

00 ø 17

11 | OFFICE 1

ISSUES

2220 7' - 3 1/2"

MECHANICAL ROOM

NO. 01 02 03 04 04

0 50 ø1

14 | CORRIDOR

DATE DESCRIPTION 2019/01/11 95% DD SET 2019/02/07 PERMIT SET 2019/05/03 PRICING SET 2019/08/01 PRICING SET REV.1 2019/08/13 PERMIT REVISION

FHC

15 | ELEVATOR LOBBY

0 50 ø1

00 ø 17 9 | UNIVERSAL WASHROOM

OPEN TO BELOW

MECHANICAL ROOM

SEAL

TRANSFORMER ROOM

SHEET TITLE

EGRESS PLAN 1 : 75

SHEE

A05

EGRESS PLAN

EQUIPMENTS ACCESS DOOR, NOT AN EXIT

SEAL

13 | LIBRARY

C:\Users\Barcelona\Desktop\1825 - DKS Arch D Titleblock.dwg, 2019/01/10

12 | OFFICE 2

1825 DK TEAM DP ARCH D (24"X36")

219 QUEEN STREET WEST TORONTO ONTARIO

10 | STORAGE

PROJECT NO. DRAWN BY CHECKED BY SHEET SIZE

4 | SERVERY/RECEPTION

ers\Barcelona\Desktop\1825 - DKS Arch D Titleblock.dwg, 2019/01/10

166 6 1/2" 2704 8' - 10 1/2"

DO NOT SCALE THE DRAWINGS. DIMENSIONS ARE TO BE VERIFIED BY THE CONTRACTOR ON SITE. REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY.

1 : 50

3 | SHOWROOM

KRUG - SHOWROOM

6929 22' - 8 3/4"

00 ø 17

EGRESS LEGEND

THE DRAWINGS AND SPECIFICATIONS ARE COPYRIGHTED PROPERTY OF dkstudio architects inc. AND OTHER RESPECTIVE COPYRIGHT HOLDERS. THEY CANNOT BE REPRODUCED, COPIED, TRANSFERRED, OR USED, IN WHOLE OR IN PART, PHYSICALLY OR ELECTRONICALLY, FOR ANY OTHER PURPOSE THAN FOR REVIEW FOR CONFORMANCE WITH BUILDING CODE AND ZONING BY-LAW OR AS EXPRESSLY AUTHORIZED BY THE ARCHITECT IN WRITING.

2 | CONFERENCE ROOM 1 | HEALTHCARE

C:\Users\Barcelona\Desktop\1825 - DKS Arch D Titleblock.dwg, 2019/01/10

EXIT# EGRESS WIDTH=1100mm (43.3")

REMOTE DISTANCE POINT TO EXIT 2 = 15.0 M

3286 10' - 9 1/4"

5424 17' - 9 1/2"

1190 3' - 10 3/4"

6172 20' - 3"

TRAVEL DISTANCE FROM REMOTE POINT X TO EXIT#

REMOTE DISTANCE POINT TO EXIT 2 = 16.0 M

1100

REMOTE DISTANCE POINT TO EXIT 1=14.0 M

3' - 7 1/4"

REMOTE DISTANCE POINT TO EXIT 1 = 13.6 M

KRUG - SHOWROOM

DIRECTION OF TRAVEL

Egress Plan

SHEET NUMBER

A010

3D view SE

REV.

Krug - Downtown Showroom, Toronto

FINSIHES 21877

P-1: P-2: PL-1: GYP-1: GYP-2: GL-1: MR-1: E-1: PC-1: CPT-1: TL-1: ACT-1: MTL-1: MTL-2:

71' - 9 1/4"

11 | OFFICE 1

GYP 2

6826

CPT 1

2840 9' - 3 3/4"

EXISTI NG DOOR

GYP 2

P-1 GLOSSY PLASTIC LAMINATE

1 GYP

2166

7' - 1 1/4" 3266

EXISTING DOOR

GYP 2

C-2

1984

7| COAT CLOSET

GYP 2

1562

MR 1

8 | WASHROOM

GYP 2

E 1

9 | UNIVERSAL WASHROOM

GYP 2

717

GYP 2

ACT-2

CPT 1

2' - 4 1/4" 00 " 16 -3 5'

1873

DATE DESCRIPTION 2019/01/11 95% DD SET 2019/02/07 PERMIT SET 2019/05/03 PRICING SET 2019/08/01 PRICING SET REV.1 2019/08/13 PERMIT REVISION

MIRROR

P-1 GLOSSY EPOXY

P-2 TINTED POLISHED CONCRETE

CARPET

TILES

SEAL

6' - 1 3/4"

CEILING FINISH ACT-1

ACT-2

P-1 ACOUSTIC CEILING TILE

P-2 ACOUSTIC CEILING TILE

C-1

P-1 FINISH ON EXPOSED CEILING

C-2

P-2 FINISH ON EXPOSED CEILING

SHEET TITLE

FINISH PLAN

FLOOR FINISHES SHEET NUMBER

1 : 50 MATERIAL PEGBOARD

SLANTED SHELVES

A110 H

OPEN SHELVING

G OPEN SHELVING U/S LEVEL 3

U/S COLUMN CAP

127

500

1' - 7 3/4"

3300

3140 U/S SHOWROOM 2919

PAINTED EXISTING DUCT TO REMAIN

EXISTING EXIT DOOR P-2 FINISH

U/S NEW CEILING 2404

ASSISTANCE REQUIRED LIGHT & SOUND

1000 3' - 3 1/4"

890 2' - 11"

8' - 10 1/4"

2700

1000 3' - 3 1/4"

1034 3' - 4 3/4"

2470 8' - 1 1/4"

2750

9' - 0 1/4"

2259 7' - 5"

2800

ACCESS BUTTON

9' - 2 1/4"

1/2" PAINTED MDF THE DRAWINGS AND SPECIFICATIONS ARE COPYRIGHTED PROPERTY OF dkstudio architects inc. AND OTHER RESPECTIVE COPYRIGHT HOLDERS. THEY CANNOT BE REPRODUCED, COPIED, TRANSFERRED, OR USED, IN WHOLE OR IN PART, PHYSICALLY OR ELECTRONICALLY, FOR ANY OTHER PURPOSE THAN FOR REVIEW FOR CONFORMANCE WITH BUILDING CODE AND ZONING BY-LAW OR AS EXPRESSLY AUTHORIZED BY THE ARCHITECT IN WRITING. DO NOT SCALE THE DRAWINGS. DIMENSIONS ARE TO BE VERIFIED BY THE CONTRACTOR ON SITE. REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY.

T/O LEVEL 2 0

FILE CABINETS

PROJECT NO. DRAWN BY CHECKED BY SHEET SIZE

FILE CABINET MATERIAL SAMPLE DRAWERS MATERIAL LIBRARY MTL-1 FRAME SYSTEM

South Elev.

GLASS

FLOOR FINISH

3783 12' - 5"

NO. 01 02 03 04 04

P-2 ON GYP.

ACT-2

5' - 1 1/2"

ISSUES

P-2 FINISH

GYP 2

ACT-2 PC

15 | ELEVATOR LOBBY

EXISTI NG DOOR

C-2 PC

6' - 8 1/2"

GYP 2

P-1 ON GYP.

1825 DK TEAM DP ARCH D (24"X36")

P-1 FINISH

10' - 8 1/2" 2042

C-2 PC

W 2

22' - 4 3/4"

12 | OFFICE 2

2862

3190

2328

3' - 7 1/4"

3' - 1 1/2"9"

9' - 4 3/4"

6 | STORAGE

ACT-1 GYP 1

WALL FINISH

PROJECT NO. DRAWN BY CHECKED BY SHEET SIZE

219 QUEEN STREET WEST TORONTO ONTARIO

CPT 1

10' - 0 1/2"

13 | LIBRARY

DO NOT SCALE THE DRAWINGS. DIMENSIONS ARE TO BE VERIFIED BY THE CONTRACTOR ON SITE. REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY.

KRUG - SHOWROOM

GL 1

1100

25' - 6 1/2"

4' - 1"

ACT-1 GYP 1

955 230

3059

22' - 0 3/4" 7784

2' - 0"

1245

460

FLOOR TRANSITION

PL-1 MILLWORK

1' - 6"

3083

GL 1

MTL-1

10' - 1 1/2"

3915

5' - 7 1/4"

610

EXISTING WALL

14 | CORRIDOR

CEILING FINISH

GYP

1006

1707

C-X

524 1' - 8 3/4"

653

C-2

861

3' - 7 1/2" 2' - 10"

2' - 1 3/4" 3' - 3 1/2" 6727

W 2

1105

3347

7' - 2 1/2"

FLOOR FINISH

4 | SERVERY/RECEPTION

10' - 11 3/4"

1105

861

1238

1125 PC

12' - 10"

5094 ACT-1

16' - 8 1/2"

3814

12' - 6 1/4"

GYP 1

10 | STORAGE

22' - 0 1/2"

6719

847

GYP 2

7 3/4" 3' - 1 1/2"

9' - 11 1/4"

6' - 6"

C-1

200 955

3027

1' - 0 1/4"

C-2

6114

3' - 8 1/4"

3027

WALL FINISH

W 2

PL 1

C-1

---

20' - 0 3/4" 2196

2' - 9 1/4"3' - 7 1/2"

9' - 11 1/4"

MTL-2

312

GYP 2

2' - 10"

2' - 7 1/2"

4' - 0 3/4"

7581 13' - 3 3/4"

800

24' - 10 1/2"

PL 1

3 | SHOWROOM

LEGEND

GFI

3282

GL 1

10' - 9 1/4"

ACT-1

7' - 7 3/4"

1745 5' - 8 3/4"

10' - 5 1/2"

260

862

26766 87' - 9 3/4"

1 | HEALTHCARE

4056

10 1/4"

2649

8' - 8 1/4"

674

21 | CONFERENCE ROOM

C:\Users\Barcelona\Desktop\1825 - DKS Arch D Titleblock.dwg, 2019/01/10

14' - 2"

2' - 2 1/2" E

Finish Plan

4316

2' - 10"

1067

3' - 6"

1728

C-2

5' - 8"

8' - 9 1/2"

W 2 5 | CHAIR DISPLAY

845

2' - 9 1/4" 2678

558 1' - 10"

WHITE PAINT FINISH DARK GREY PAINT FINISH P-1 GLOSSY PLASTIC LAMINATE TBD P-1 GYP. P-2 GYP. CLEAR GLASS MIRROR P-1 GLOSSY EPOXY P-2 DARK GREY TINTED POLISHED CONCRETE CARPET TILES TBD ACOUSTIC CEILING TILE P-1 POWDER COATED METAL FRAME P-2 POWDER COATED METAL FRAME

HEAVY DUTY TRACKS

SOUTH ELEV. @GRID 7 - PART 1 1 : 25

BROCHURE FILE CABINET

1825 DK TEAM DP ARCH D (24"X36")

ISSUES NO. 01 02 03 04 04

DATE DESCRIPTION 2019/01/11 95% DD SET 2019/02/07 PERMIT SET 2019/05/03 PRICING SET 2019/08/01 PRICING SET REV.1 2019/08/13 PERMIT REVISION

REV.

Krug - Downtown Showroom, Toronto

1470

3' - 1"

25 25

697

2' - 3 1/2"

1" BUILT-IN STAND SUPPORT

HEAVY DUTY TOP SLIDING TRACK

462

GLASS SAMPLES PROVIDED BY CLIENT

1' - 6 1/4"

462

939

1' - 6 1/4"

4' - 9 3/4"

PROVIDE BLOCKINGS TO SUPPORT FLOATING SHELVES

WOOD SAMPLES BY CLIENT

WHITE COLOUR CORE LAMINATE FLOATING SHELVES

26 2"

9X9 GLASS SAMPLES SHELVES

3 A413

L METAL WALL BRACKETS

PROVIDE BLOCKING TO SUPPORT FLOATING SHELVES

DO NOT SCALE T BE VERIFIED BY T ANY DISCREPAN IMMEDIATELY.

DETAIL SECTION THROUGH GLASS SHELVES 1:2 722

2 3/4"

PROJECT NO DRAWN BY CHECKED BY SHEET SIZE

ISSUES NO. 01 02 03 04 04

DATE 2019/01 2019/02 2019/05 2019/08 2019/08

1 1/2"

2' - 4 1/2" 1/2"WHITE COLOUR CORE PLASTIC LAMINATE ON PLYWOOD FINISHED GRADE ON BOTH SIDES

THE DRAWINGS A COPYRIGHTED P AND OTHER RESP CANNOT BE REP OR USED, IN WH ELECTRONICALL FOR REVIEW FOR CODE AND ZON AUTHORIZED BY

BOTTOM MOUNT DRAWER SLIDES

DETAIL SECTION THROUGH SAMPLE DRAWERS 2 A413

SUPPORTS FOR BOTTOM MOUNT DRAWER SLIDES TO SIDE PANELS

891 2' - 11"

SIDE SUPPORT PANELS

2 SUPPORTS FOR CENTER MOUNT DRAWER SLIDES TO SIDE PANELS

710

2' - 4"

SEAL 2 BOTTOM MOUNT DRAWER SLIDES

SHEET TITLE

LIBRARY - SECTION THROUGH WOOD SAMPLE TRACKS 1:5

LIBRAR

\Users\Barcelona\Desktop\1825 - DKS Arch D Titleblock.dwg, 2019/01/10

A413

219 QUEEN STREET WEST

1:2

KRUG - SHOWROOM

2212

4 7' - 3"

2212

7' - 3"

SAMPLE DRAWERS

LIBRARY - SECTION THROUGH GLASS SHELVES 1:5

SHEET NUM T/O LEVEL 2 0

PULL OUT DRAWER PLAN DETAIL 1:5

A413

CCY

ERTY PROP 4600 1000

1400 2900 4500 2000 6500

TRADITIONAL

100

BUILDING ENVELOPE GOLF CART PARKING

2 200

A4.1

5518

5050

5550

1900 3600

3150 100 450

645

2500

830 900

SPECIAL VILLA 3

3880

ING EN BUILD

AUTOCOURT (STONE) -200 mm

3255

2040

VELO PE

1270

796 660 854

MAIN LEVEL FLOOR PLAN PROPERTY LINE SCALE: 1 : 100

PROPERTY LINE

3480

3840 100

PLANTER

TYP.

920

400

1550

PROPERTY LINE

9 A6.1

-200 mm

SKYLIGHT

A4.1

-200 mm

2500

G LKIN W A ATH P

2510

220

OP-O FF T DR

DN DN

1050 600 TYP.

6 1

1330

9 200

300

PLANTER

2035

BUILDING ENVELOPE

GARAGE 113

1900

ISSUE: 100% BASEMENT SCHEMATIC DESIGN REVISIONS:

STAFF ENTRY

900 1150

2050

MECH 114

2600

CARPET

7700 1200

PLANTER

2300 1400

660 640

W AL PA KIN TH G

1690

BREAKFAST PATIO (STONE)

-600 mm

1900

WOOD

ISSUE: 100% BASEMENT SCHEMATIC DESIGN

1 A6.1

100 1900

LARGE POND

TILE

3080

1250

SKYLIGHT

5100

1250 500 1000

1400

2600

2300

F.P.

400

DINING PATIO (STONE) 0 mm

1 A5.2

1400

D.W.

CHECKED BY: CCY

PROJECT NUMBER: 10144

2050

RANGE & HOOD

0 mm

PLANTER

5735

5000

D.W.

TYP.

WATER LEVEL

880

200

2-STORY LIBRARY 111

HALL 112

900

-1450 mm

PLAN MATERIAL KEY - TRADITIONAL

3770

9 A6.1

1400 TYP.

900 150

CHINESE KITCHEN 116

900

5600

3 A6.1

400

ENTRY PORCH 0 mm

OPEN BOOKSHELVES

4800

150 900

2480

WATERFALL

1320

500

STOR.

LINE

ROOF ABOVE

150 1200

BUILT-IN OVENS

1930

STREAM

THEATER 108

ENTRY 110

BREAKFAST ROOM 118

WINE

900

STOR.

DRAWN BY: CCY

4050

0 mm

1800

COATS

POWDER 117

BUILT-IN FRIDGE

PROP

DATE: 2012-02-03

DESK

mm 00

R 4900 482

RANGE & HOOD

PNTRY

2750 1600

DINING RM. 120

-1350 mm

BRIDGE

2650

CHANGCHUN CHINA

SINK

1325

TYP.

1325

BUILT-IN FRIDGE

POND PATIO (STONE)

STREAM

2225

WESTERN KITCHEN 119

2 A6.1

925

3825

R 61

600

3825

GALLERY 121

800

2500

OPEN TO BELOW

BUILT-IN OVENS

1100

WATERFALL

HALL 109

56.000°

STAIR: 165mm RISERS, TREADS VARY

4 A10.1

4015

2660

65.000°

950

800

275

3300

DIST TO

1800

1300 3300

4400

2550

(SEE LOWER LEVEL PLAN)

200 325

0 mm 900 200

1300

CLOSET 105

8500

A4.1

HALF LEVEL PLANTER

1 7 1100

3 VILLA SV3 - TRADITIONAL STYLE - SOUTHWEST PERSPECTIVE VIEW

CHANGCHUN CHINA

DIST TO PROP LINE

2500

410

A4.2

1390

GUEST BEDROOM 2 104

1200

GUEST LIVING RM. 107

A4.1

ARCADE 122

1 A10.1

-4350 mm

Southwest Perspective View

1025

1375

GARDEN COURTYARD (STONE)

F.P.

SMALL POND

2080

890

750

600 525

1860

WALKING PATH

HALL 124

2000 200

1630

1885

950

1600

0 mm

2100

100

500

2000

GUES

800 450

1750 1000

DECK

PROJECT NUMBER: 10144

1975

BATH 102

150 900

195 800 195

VESTIBULE 106

510 3550

-2600 mm

1500

650

910

100

WATER LEVEL

CHECKED BY: CCY

2725

150 900

A4.1

PORCH (STONE)

LIVING ROOM 123

DRAWN BY: CCY

0 mm

GUEST BEDROOM 1 103

-2600 mm

2000

PATIO (STONE)

A4.2

DATE: 2012-02-03

900

PLANTER SUNROOM 125

ROOF ABOVE

100

1800

(SEE LOWER LEVEL PLAN)

2200

PLANTE R

600

CLOSET 101

PLANTER BELOW

300

7000

1000

CHANGCHUN DEER VALLEY

6210

1400

1200

A4.2

HOT TUB TERRACE BELOW

OVERHEAD DOOR

-3200 mm

200

228 Midland Avenue Post Office Box 529 Basalt, Colorado 81621 970-927-4925 fax 970-927-8578 ccyoffice@ccyarchitects.com

GE NV EL OP E

7000

4180

A4.2

BATH 100

1250

6000

4205

1155

4900

2600

300

LINE PROP

3590

TO DIST

CHANGING ROOM 126 900

2500

BU ILD IN

6050

A R C H I T E C T S

4100

2000

PE VELO

6050

LINE

ING EN

POOL ROOM 127

INDOOR/ OUTDOOR POOL

2 A5.2

2 A5.1

4000

BUILD

3750

200 130

2800

860

ERTY PROP

CHANGCHUN DEER VALLEY

C 5600

4000

3845

1005 1100

A4.2

PE VELO

L 4600

6320

1185

ING EN

K 1300

B A

J 7650

DIS T

BUILD A4.2

H 2600

368

G 5300

34 35 TO PR OP LIN E

F 2700

R 7950 mm

A R C H I T E C T S

228 Midland Avenue Post Office Box 529 Basalt, Colorado 81621 970-927-4925 fax 970-927-8578 ccyoffice@ccyarchitects.com

CCY

LINE

Changchun Deer Valley

3350

1 A5.1

PROJECT NORTH

PL AN

LEVEL FLOOR PLAN 1 MAIN 1 : 100

RT H

Main Floor Plan 1:200

A3.1 © COTTLE CARR YAW ARCHITECTS, LTD.

REVISIONS:

A R C H I T ERTY PROP

CCY

LINE

228 Midland Post Office Basalt, Colora 970-927 228 Midland Avenue Post Office Box 529 fax 970-92 Basalt, Colorado 81621 970-927-4925 ccyoffice@ccya fax 970-927-8578

A R C H I T E C T S

2700

5300

2600

7650

1300

4600

2800

4100

2500

2 A5.1

A4.2

ccyoffice@ccyarchitects.com 2

ROOF BELOW, SEE UPPER LEVEL FLOOR PLAN

4000

5600

900

TERRA COTTA TILE ROOFING STANDING SEAM METAL ROOFING

900

MEMBRANE ROOFING

R 900

SLOPE SLOPE

500

A4.1

ISSUE: 100% BASEMENT SCHEMATIC DESIGN

4 SLOPE - .5:10

SLOPE - .5:10

GUTTER WITH DOWNSPOUT

SLOPE

TYP.

700

500

700 4600

TYP.

SLOPE - .5:10

STANDING SEAM METAL ROOFING

500

GUTTER WITH DOWNSPOUT

ROOF CRICKET 1250

STONE CHIMNEY CAP

4 A6.2

PROJECT N 1014

TYP.

SPECIAL VILLA 3

ISSU 100% BAS SCHEMATIC

6500

ROOF BELOW, SEE UPPER LEVEL FLOOR PLAN

TRADITIONAL ROOF PLAN

SCALE:

1 A5.1

PROPERTY LINE

PLAN. 1 ROOF 1 : 100

2 A4.1

SCALE: 1 : 100 PROPERTY LINE

3 VILLA SV3 - TRADITIONAL STYLE - SOUTHWEST PERSPECTIVE VIEW

9 2000

STANDING SEAM METAL ROOFING

CHEC BY CC

STANDING SEAM METAL ROOFING TYP. 600

900

DRAWN CC

4500

5 A6.2

TYP.

DAT 2012-0

900

1 A6.2

A4.1

TERRA COTTA TILE ROOFING

SLOPE - .5:10

TRADITIONAL

1 2 A7.1

700

SLOPE - 1.5:10

900

WALL BELOW, TYP.

MEMBRANE ROOFING ROOF BELOW, SEE UPPER LEVEL FLOOR PLAN

SLOPE

3600

700

SLOPE

500

3 A6.2

500

SLOPE

SLOPE - .5:10

2 A6.2

900

TERRA COTTA TILE ROOFING

SLOPE

SLOPE - .5:10

1250

1 7

CHANG CHIN

WALL BELOW, TYP.

900

1600

SLOPE

REVISIONS:

STANDING SEAM METAL ROOFING

GUTTER WITH DOWNSPOUT

A4.2

1 A5.2

TERRA COTTA TILE ROOFING TYP. 500

6 A6.2

GUTTER WITH DOWNSPOUT

2900

ROOF BELOW, SEE UPPER LEVEL FLOOR PLAN

Roof Plan 1:200

CHECKED BY: CCY

PROJECT NUMBER: 10144

8500

A4.1

A4.2

PERSPECTIVES

DRAWN BY: CCY

500

SPECIAL VILLA 3

DATE: 2012-02-03

SLOPE

South Garden Perspective View

1400

CHANGCHUN CHINA

1900

R 700

SLOPE

900

7000

SLOPE

4200

A4.1

SLOPE - .5:10

COLUMNS BELOW, TYP.

5 A4.2

1 VILLA SV3 - TRADITIONAL STYLE - NORTHEAST AERIAL PERSPECTIVE

1250

700

2600

2 A5.2

WALL BELOW, TYP.

7000

ROOF BELOW, SEE UPPER LEVEL FLOOR PLAN

SLOPE - .5:10

1250

700

SLOPE

LINE

A4.2

2 A7.2

A4.3

CHANG DEE VALL

GUTTER WITH DOWNSPOUT

2 VILLA SV3 - TRADITIONAL STYLE - SOUTH DETAIL PERSP

CHANGCHUN DEER VALLEY

4000

1250

ERTY PROP

B A

4600

A4.2

PROJECT NORTH

PL AN

RT H

A3.3 © COTTLE CARR YAW ARCHITECTS, LTD.

REVISI

SECTION LOOKING SOUTH 2 EAST/WEST 1 : 100

Changchun Deer Valley

3 A6.2

1 A5.2

15 0T YP .

1 A6.2

8065 mm

SPRING PT.

DROPPED CLG, TYP. BEAMS, TYP.

6230 mm

SPRING PT.

4600

3760 mm

MASTER BEDROOM 215

SPRING PT. 4 A6.2

10 A6.1

DROPPED CLG, TYP. BEAMS, TYP. 4460

3760

250

UPPER LEVEL 3465 mm

SUNROOM 125

LIVING ROOM 123

GALLERY 121

DINING RM. 120

9 A6.1

MAIN LEVEL 0 mm

CHANGING 018

3000

MASSAGE RM 020

3090

DROPPED CLG, TYP. SAUNA 022

FITNESS 017

TOILET ROOM

GAME RM 016

SPECIAL VILLA 3 TRADITIONAL

BAR 015

LOWER LEVEL -3465 mm

CRAWLSPACE

BUILDING SECTIONS SCALE: 1 : 100

A5.1

SECTION LOOKING NORTH 1 EAST/WEST 1 : 100

East Section Looking North 1:100 © COTTLE CARR YAW ARCHITECTS, LTD.

CCY

A R C H I T E C T S

1 228 Midland Avenue Post Office Box 529 Basalt, Colorado 81621 970-927-4925 fax 970-927-8578 ccyoffice@ccyarchitects.com

1 A5.2

SECTION JOGS AT THIS LOCATION 7215 mm

SPRING PT.

TY P. 15 0

3 A6.2

DROPPED CEILING, TYP.

6365 mm

CLOSET 202

GUEST BEDROOM 3 203 2900

BATH 204

SPRING PT.

UPPER LEVEL 3465 mm

ENTRY 110

STAFF ENTRY

CARD ROOM 006

CRAWLSPACE

WINE 005

REC. ROOM BEYOND

THEATER 108

GUEST LIVING RM. 107

VESTIBULE 106

GUEST BEDROOM 1 103

CLOSET

MECH. ATTIC

DROPPED CEILING, TYP. THEATER 003

CRAWLSPACE

BATH 100

CHANGCHUN CHINA

3265

2-STORY LIBRARY 111

B.O. ROOF 6665 mm

3265 mm

SIM

150 TYP.

CLOSET 206

MAIN LEVEL 0 mm

POWDER 001

CRAWLSPACE

DATE: 2012-02-03 DRAWN BY: CCY

DROPPED CEILING

3200

3215

STAFF BATH 008

STAFF LIVING 007

GUEST BEDROOM 4 207

SPRING PT.

1 A6.2

BOOKSHELVES

BEAMS, TYP. DROPPED CEILING TYP. GARAGE 113

SITTING 210

450450450

4 A6.2

3750

2-STORY LIBRARY 111

3215 mm

DROPPED CLG, TYP. BEAMS, TYP.

BEAMS, TYP.

SPRING PT.

CHANGCHUN DEER VALLEY

DROPPED CLG. MECH ATTIC

LOWER LEVEL -3465 mm

CHECKED BY: CCY

PROJECT NUMBER: 10144 ISSUE: 100% BASEMENT SCHEMATIC DESIGN

SECTION LOOKING SOUTH 2 EAST/WEST 1 : 100

East Section Looking South 1:100

REVISIONS:

Changchun Deer Valley

STEEL SCREEN SPARK ARRESTOR

WOOD FLOORING, EXACT PRODUCT & FINISH BY INTERIOR DESIGNER

LINE OF EXHAUST HOOD (SHOWN DASHED) 50

TOWEL BAR: EXACT MODEL & FINISH BY INTERIOR DESIGNER

A R C H I T E C T S

420

1930

420

1930

STONE CHIMNEY CAP, SLOPE TOP TO DRAIN

NOTE: INSTALL BACKSPLASH AT WOOD FLOORING, EXACT BACK AND SIDE WALL OF VANITY PRODUCT & FINISH BY (TYPICAL) INTERIOR DESIGNER WOOD PARTITION WALL 700

RANGE & HOOD

600

BY INTERIOR DESIGNER

500

700

PAPER HOLDER: EXACT MODEL & FINISH BY INTERIOR DESIGNER

700

600

435

1900

435

450

1900

435

500

900

900 1100

PLAN - MASTER BATH 214 2 1ENLARGED : 30 900

1100

900

1500

900

1100

1500

EQ.

1425

900

400

100 260

OPERABLE GLASS & STEEL DOORS

1425

50 TOWEL BAR: EXACT MODEL & ENLARGED FINISH BY INTERIOR 1 DESIGNER 3

1 : 30

100 50

FIRE BRICK

A10.1

625

100

STONE HEARTH 50

220

SPECIAL ENLARGED VILLA 3PLANS

100

100 50

STONE VENEER BELOW STONE VENEER BELOW HEARTH

STONE MANTLE ABOVE

625

220

PLAN - LIVING ROOM 123 FIREPLACE WOOD FLOORING

A10.1

FIRE FIRE BRICKBRICK

HEARTH

STONE VENEER BELOW HEARTH OPERABLE GLASS & STEEL OPERABLE GLASSDOORS STONE MANTLE ABOVE

& STEEL DOORS

TOWEL BAR: EXACT MODEL & FINISH BY INTERIOR DESIGNER 100 625 220 1080

100 260

100 260 625

FULLMASONRY MASONRY FULL WOOD-BURNING WOOD-BURNING FIREPLACE FIREPLACE WOOD FLOORING

380

220

STONE HEARTH

700

1080

700

220

120

625

TRADITIONAL

STONE MANTLE ABOVE

380

100

STONE VENEER BELOW HEARTH

120

700

100 260

EQ. BAR: EXACT MODEL EQ. TOWEL & FINISH BY INTERIOR DESIGNER

700

9 EQ.

ISSUE: 100% BASEM SCHEMATIC D PROJECT NUMBER: 10144

REVISIONS

ISSUE: 100% BASEMENT SCHEMATIC DESIGN REVISIONS:

MAIN LEVEL 0 mm

SPECIAL VILLA 3 5 5

FIRE BRICK

120

SLOPE

600

EQ.

FULL MASONRY WOOD-BURNING FIREPLACE

FRAMELESS FROSTED FRAMELESS FROSTED OPERABLE GLASS GLASS PANELS & DOORS GLASS PANELS &DOORS DOORS & STEEL

FIREPLACE

900

CHECKED BY: CCY

MAIN LEVEL 0 mm

ELEVATION - FIREPLACE

INSTALL BACKSPLASH NOTE: INSTALLNOTE: BACKSPLASH AT BACK AT BACK AND SIDE WALL OF VANITY, AND AT AND SIDE WALL OF VANITY, AND ATMASONRY FULL WALLS SURROUNDING TUB WALLS SURROUNDING TUB WOOD-BURNING

BENCH

1500

PROJECT NUM 10144

DRAWN BY: CCY

SMALLER COMPLIMENTRY TILE SMALLER COMPLIMENTRY TILE PATTERN TO ALLOW SLOPES TO PATTERN TO ALLOW SLOPES TO NOTE: INSTALL BACKSPLASH AT BACK DRAIN DRAIN

NOTE: INSTALL BACKSPLASH AT BACK AND SIDE WALL OF VANITY, AND AT WALLS SURROUNDING TUB

900

100

SLOPE

FRAMELESS FROSTED STONE 200 TOWEL BAR: EXACT MODEL & STONE PANELS & DOORS FINISH BY BENCH INTERIOR DESIGNER

200GLASS

CHECKED BY: CCY

DATE: 2012-02-03

STONE HEARTH

STONE BENCH

200

EQ. 1425

500

600

EQ.

DRAWN BY

CHANGCHUN CCY CHINA

PAPER HOLDER: EXACT MODEL & FINISH BY INTERIOR DESIGNER

FRAMELESS FROSTED GLASS PANELS & DOORS

SLOPE

600 900

DATE: 2012-02-03

SHOWER DRAIN

AND SIDE WALL OF VANITY, AND AT SMALLER COMPLIMENTRYWALLS TILE SURROUNDING TUB PATTERN TO ALLOW SLOPES TO DRAIN

SLOPE 900

850

100

900

800

STONE BENCH

CHANGCH CHINA

SHOWER F HEAD SHOWER DRAIN

1500

600

VANITY, LAVATORIES & FAUCETS BY INTERIOR DESIGNER MIRRORS

SLOPE

SHOWER DRAIN

CHANGCHUN DEER VALLEY

SHOWER HEAD

SMALLER COMPLIMENTRY TILE PATTERN TO ALLOW SLOPES TO DRAIN SLOPE

SLOPE

400

SLOPE

800

1250

SLOPE

400 800

1250

SHOWER HEAD

SLOPE 200

EQ.

PAPER HOLDER: EXACT MODEL & FINISH BY INTERIOR DESIGNER

EQ.

SLOPE

VANITY, LAVATORIES & 500 900 FAUCETS BY INTERIOR DESIGNER1100 MIRRORS

800

EQ.

SLOPE

400

800

EQ.

TUB, TUB FILLER & TUB DECK AND APRON BY INTERIOR DESIGNER VANITY, LAVATORIES & FAUCETS BY INTERIOR DESIGNER MIRRORS

900

TUB, TUB FILLER & TUB DECK AND APRON BY INTERIOR DESIGNER

1250

1000 1250

SLOPE

TUB, TUB FILLER & TUB DECK AND APRON BY INTERIOR DESIGNER

1000

1250

400

SLOPE

600

TUB, TUB FILLER & TUB DECK AND APRON BY INTERIOR DESIGNER

3 ENLARGED ELEVATION - FIREPLACE

: 30 PAPER1HOLDER: EXACT MODEL & FINISH BY INTERIOR DESIGNER

SHOWER HEAD FLOOR TILE: EXACT PRODUCT & LAYOUT BY INTERIOR DESIGNER SHOWER DRAIN EQ. EQ.

1000

1220

1250

800

TOWEL BARS: EXACT MODEL & FINISH BY INTERIOR DESIGNER

PAPER HOLDER: EXACT MODEL & FINISH BY INTERIOR600 DESIGNER

228 Midland Avenue Post Office Box 529 Basalt, Colorado 81621 970-927-4925 fax 970-927-8578 ccyoffice@ccyarchitects.com

ELEVATION - FIREPLACE 3 1ENLARGED : 30

FLOOR TILE: EXACT PRODUCT F & LAYOUT BY INTERIOR DESIGNER

EQ.

SLOPE

1250

1000

8 EQ.

900

1220

400

LAYOUT BY INTERIOR DESIGNER

600

TOWEL BARS: EXACT MODEL & FINISH BY INTERIOR DESIGNER

600

LEVEL 1 : 30 Enlarged Elevation - Fireplace 1:30 MAIN 0 mm FLOOR TILE: EXACT PRODUCT &

380

1220

ELEVATION - FIREPLACE 3 1ENLARGED ENLARGED : 30

CHANGCH DEER VALLE

OPERABLE STEEL & GLASS DOORS (SHOWN DASHED)

REVISIONS: MAIN LEVEL 0 mm

STONE HEARTH

800

1220

8 FLOOR TILE: EXACT PRODUCT & LAYOUT BY INTERIOR DESIGNER

800

TOWEL BARS: EXACT MODEL &

FINISH BY INTERIOR DESIGNER TOWEL BARS: EXACT MODEL & 500 900 FINISH BY INTERIOR DESIGNER

900

120

500

OPERABLE STEEL & GLASS DOORS (SHOWN DASHED)

CCY

A R C H I T E C T S

FIRE BRICK STONE HEARTH

OPERABLE STEEL & GLASS DOORS (SHOWN DASHED)

380

STONE HEARTH

FIRE BRICK

STONE MANTLE

ISSUE: 100% BASEMENT SCHEMATIC DESIGN

OPERABLE STEEL & GLASS DOORS (SHOWN DASHED)

STONE MANTLE

400

450

PROJECT NUMBER: REVISIONS: 10144

FIRE BRICK

100

1900

STONE MANTLE 850

435

DATE: 435 2012-02-03 PROJECT NUMBER: 10144 DRAWN BY: CCY ISSUE: STONE MANTLE CHECKED 100% BASEMENT BY: SCHEMATIC DESIGN CCY 435

1900

435

850

900

CHECKED BY: CCY

BEAM BEYOND

450

200

500

CHANGCHUN DRAWN BY: CCY CHINA

DROPPED CEILING

MIRROR

900

DATE: DROPPED CEILING 2012-02-03BEAM BEYOND

CEILING BEAMS

350

PLAN - WESTERN KITCHEN 119 & POWDER 117 4 1ENLARGED LINE OF CABINET Enlarged Plan - Western Kitchen 119 & Powder 117 1:30 : 30 BELOW(SHOWN DASHED)

500

CEILING BEAMS

BEAM BEYOND

VANITY & FAUCET BY INTERIOR DESIGNER

BACKSPLASH

CHANGCHUN CHINA

MIRROR

LINE OF CABINET BELOW(SHOWN DASHED)

PLAN - WESTERN KITCHEN 119 &CABINETS POWDER 117 LINE OF UPPER 4 1ENLARGED (SHOWN DASHED) : 30

CEILING BEAMS DROPPED CEILING ROOF CRICKET (MATCH SLOPE BEAM OF ROOF) BEYOND

CEILING BEAMS ROOF CRICKET (MATCH SLOPE OF ROOF) DROPPED CEILING

LINE VANITY OF UPPER CABINETS & FAUCET (SHOWN DASHED)DESIGNER BY INTERIOR BACKSPLASH

350

G PLAN - WESTERN KITCHEN 119 & POWDER 117 4 1ENLARGED G : 30

ROOF CRICKET (MATCH SLOPE OF ROOF)

450

EQ.

700

1400

CHANGCHUN DEER VALLEY

NOTE: INSTALL BACKSPLASH AT BACK AND SIDE WALL OF VANITY (TYPICAL) VANITY & FAUCET WOOD PARTITION WALL

PAPER HOLDER: EXACT MODEL & FINISH BY INTERIOR DESIGNER

LINE OF CABINET DASHED)

1400

600

CHANGCHUN DEER ROOF CRICKET (MATCH SLOPE OF ROOF) VALLEY

MIRROR

PAPER HOLDER: EXACT MODEL & FINISH BY INTERIOR DESIGNER NOTE: INSTALL BACKSPLASH AT BACK AND SIDE WALL OF VANITY MIRROR (TYPICAL) WOOD PARTITION WALL VANITY & FAUCET BY INTERIOR DESIGNER

350

BELOW(SHOWN LINE OF UPPER CABINETS (SHOWN DASHED) BACKSPLASH

600

PAPER HOLDER: EXACT7MODEL & FINISH BY INTERIOR DESIGNER

350

300

1400

EQ.

STONE CHIMNEY CAP, SLOPE TOP TO DRAIN 228 Midland Avenue Post Office Box 529 81621 E Basalt, C T Colorado S 970-927-4925 STEEL SCREEN SPARK fax 970-927-8578 ARRESTOR ccyoffice@ccyarchitects.com

228 Midland Avenue Post Office Box 529 Basalt, Colorado 81621 970-927-4925 fax 970-927-8578 ccyoffice@ccyarchitects.com

STEEL SCREEN SPARK ARRESTOR

850

600

800

500

EQ.

200

EQ.

600

LINE OF UPPER600CABINETS (SHOWN DASHED) 600 600 BACKSPLASH

2450 EQ.

600

1400

600

RANGE & HOOD 900

BUILT-IN FRIDGE

EQ.

300

2450

300

2450

600

EQ.

500

EQ.

625

450

RANGE & HOOD

1350

600

EQ.

600

200

600

900

PNTRY

600

1350

200

600

2450

STONE CHIMNEY CAP, SLOPE TOP TO DRAIN

WOOD FLOORING, EXACT PRODUCT & FINISH BY INTERIOR DESIGNER

7 625

OF CABINET PLAN - WESTERN KITCHEN 119 &LINE POWDER 117 BELOW(SHOWN DASHED) 4 1ENLARGED : 30 600

WOOD FLOORING, EXACT PRODUCT & FINISH BY INTERIOR DESIGNER 600 450

450

300 600

600

800

550

STEEL SCREEN SPARK ARRESTOR

NOTE: INSTALL BACKSPLASH AT BACK AND SIDE WALL OF VANITY (TYPICAL) WOOD PARTITION WALL

800

625

EQ.

600

EQ.

750

600

420

TOWEL BAR: EXACT MODEL & FINISH BY INTERIOR DESIGNER

EQ.

TOWEL BAR: EXACT MODEL & FINISH BY INTERIOR DESIGNER KITCHEN SINK

1930

800

TOWEL BAR: EXACT MODEL & FINISH BY INTERIOR DESIGNER

600

900

LINE OF EXHAUST HOOD (SHOWN DASHED)

RANGE & HOOD

600

BUILT-IN OVENS

600

1350

900 750

KITCHEN SINK

900 550

900

BUILT-IN FRIDGE

1350

900

PNTRY

BUILT-IN FRIDGE 600

750

BUILT-IN OVENS

625

BUILT-IN FRIDGE

600

LINE OF EXHAUST HOOD (SHOWN DASHED)

550

KITCHEN SINK

600

WOOD FLOORING, EXACT PRODUCT & FINISH BY INTERIOR DESIGNER

PNTRY

550

H BUILT-IN OVENS

PNTRY

EQ.

KITCHEN SINK

WOOD FLOORING, EXACT PRODUCT & FINISH BY INTERIOR DESIGNER

420

A R C H I T

WOOD FLOORING, EXACT 50 420 PRODUCT & FINISH BY INTERIOR DESIGNER

450

500

600

750

BUILT-IN OVENS

F H

CCY CCY

Basalt, Colorado 8 970-927-4925 fax 970-927-85 ccyoffice@ccyarchite

1080

10803 A10.1

A10.1

TRADITIONAL 220

220

625

100 50

STONE MANTLE ABOVE

STONE HEARTH

SCALE: 1 : 30

TRADITIONAL

TRADITIO

STONE HEARTH

WOOD FLOORING

A10.1

ENLARGED PLANS

SPECI SPECIAL VILLA 3 VILLA

WOOD FLOORING

ENLARGED ENLARGE PLANS

PLANS

SCALE: 1 : 30

PLAN - MASTER BATH 214 2 1ENLARGED : 30 PLAN - MASTER BATH 214 2 1ENLARGED Enlarged ENLARGED PLAN - MASTER BATH 214 Plan - Master Bath 214 1:30 : 30

1 : 30

SCALE: 1 : 30

PLAN - LIVING ROOM 123 FIREPLACE 1 1ENLARGED : 30 PLAN - LIVING ROOM 123 FIREPLACE 1 1ENLARGED 1:30 PLAN - LIVING ROOM 123 FIREPLACE ENLARGED : 30 Enlarged Plan - Living Room 123 Fireplace

1 : 30

A10.1

SCALE: 1 : 30

A10.1

A10.

A D

12 650

A R

GLASS AND ALUMINUM OVERHEAD DOOR 900

550

3000

500

900

600

100

- POOL HOUSE - WEST ELEVATION 13 WINDOWS 1 : 100

2400

POOL ROOM 128

2400

ccy CHANGING ROOM 127

POOL ROOM 128

LOWER LEVEL -3465 mm

- POOL HOUSE - SOUTH ELEVATION 12 WINDOWS 1 : 100

POOL ROOM 128

CHANGING ROOM 127

ENTRY 126

POOL HOUSE LEVEL -2400 mm

LOWER LEVEL -3465 mm

CHINESE KITCHEN 116

- POOL HOUSE - EAST ELEVATION 10 WINDOWS - POOL HOUSE - NORTH ELEVATION 11 WINDOWS 1 : 100 1 : 100

MAIN LEVEL 0 mm

CHINESE KITCHEN 9 WINDOWS1 : 100

GUEST BEDROOM 203GUEST BEDROOM 203 VESTIBULE 205

UPPER LEVEL 3465 mm

HALL 209

GUEST LIVING 206

21 10

10 21 1071

MAIN LEVEL 0 mm

2950

SUNROOM 125

1071

BATHROOM 100 1030

ARCADE 122

SUNROOM PARTIALEAST ELE. 8 WINDOWS1 : 100

STAIR WINDOWS PLAN 7 WINDOWS1 : 100

K 4964

SUNROOM 125

1218

MASTER BEDROOM 215

GUEST LIVING 206

GUEST BED 103

- NORTH COURTYARD ELEVATION 5 WINDOWS 1 : 100

1600

GUEST BED 203

BATHROOM 100

GUEST BEDROOM 103 VESTIBULE 106

- SOUTH COURTYARD ELEVATION 6 WINDOWS 1 : 100

MAIN LEVEL 0 mm

HALL 109

GUEST LIVING 107

HALL 124

GALLERY 211

BATHROOM 201

GUEST BEDROOM 103

570

GUEST LIVING 107

STAIR

SUNROOM 125

UPPER LEVEL 3465 mm

BATHROOM 214

BEDROOM 215

MAIN LEVEL 0 mm

LIVING ROOM 123 570

SUN ROOM 125

1030

STAFF BATH 115 MECHANICAL 114

HALL 124

DINING ROOM120

GALLERY 121

LIVING ROOM 123

- WEST ELEVATION 4 WINDOWS 1 : 100

- SOUTH ELEVATION 3 WINDOWS 1 : 100 LOWER LEVEL -3465 mm

SP V

3300 5 :1

2000

1541

5 :1

3200

200

5 :1

4800

5 :1

DINING ROOM 120

1000

BREAKFAST 118

GARAGE 113

- EAST ELEVATION 2 WINDOWS 1 : 100

STAFF ENTRY

1250

800

400

2- STORY LIBRARY 111

850

1200

700

1760

ENTRY 110

700

220

700

1400

THEATER 108

700

BATH 204

450

1550

1350 700

700

1800

GUEST LIVING 107

600

BATH 204

800

600 410 700

1050

700 200

UPPER LEVEL 3465 mm

BATH 201

490 210

GUEST BEDROOM 104

W PA

1550

CLOSET 206

300 700

750

1000

1550

800

1000

1350

1700

1350

2940

FROSTED GLASS

750

GUEST BEDROOM 207

700

BATH 102

1910

700

1050

CLOSET 101

1000

2400

GUEST BEDROOM 104

200

LIVING ROOM 123

2-STORY LIBRARY 111

700

1000

900

1400

1550

550

700

1000

600

1200

390

2500

SITTTING 210

390

300

850

1550

2500

2- STORY LIBRARY 111

1550

1200

CLOSET 202

2500

GARAGE 113

1550

MASTER CLOSET 212

750

390

MASTER BEDROOM 215

BATH 204

1200

2300

2-STORY LIBRARY 111

MASTER BATH 214

750

1250

1000

800

1000

1250

2600

GUEST BEDROOM 207

1700

500

600

260

1021

200

500

900

2160

700

1700

BATH 100

- NORTH ELEVATION 1 WINDOWS 1 : 100

MAIN LEVEL 0 mm

THE SHED COMMUNAL STUDY, INTEGRATED DESIGN, TORONTO University of California, Integrated Design Studio Instructor Marcel Sanchez Prieto Fall 2020

This project takes the decaying skatepark in Oakland - Lower Bob’s as its site. The project is aiming to create a communal stage for the thriving street sport culture, juxtaposing different scenarios side by side, constructing a heterotopia for the street culture. Architecturally, the project makes use of the existing urban elements to create attachment from sporters, meanwhile, offering more qualified playground and activity spaces of different scale and for multiple uses.

itz Fr ee w ay

on Fr

e Fr

Ni m

itz

ay ew

oa eR

Port of Oakland

Railway & Highway

Existing site objects

Abandoned

9th

Str ee

Communal group

“Decaying street culture.”

“At the end of space.”

Lower Bob’s, San Francisco

Deadend of 9th Street

The existing skateboarding park is still regularly occupied by hippies and holding events. While without architect’s intervention, the site is decaying day by day.

The site and the Lower Bob’s are located at the end of the 9th Street, Oakland, going against the Nimitz freeway, staring the port of oakland. Like the noisy culture, the site is being pushed to the end of urban space. Without archtect’s intervention, the space will shortly be destroyed by metropolis’s regulation.

Conceptual Illustration The project is hiring a universal roof claiming the boundary and controlling the spaces below it.

Sloped roof: anwsering to site.

Lifted volumes: open spaces.

Angled walls: more interactive.

Hollows: ‘Interior’ courtyards.

1.Open play ground for skateboarding. 2.BMX trail. 3. Interior BMX and bouldering preparation. 4.Basketball court. 5.Cafe. 6. Exterior event space. 7.Circulation core complex. 8.Office. 9. Universal canopy. 10. Existing warehouse. 11.Existing skate park. 12. Plaza. 13. Renovated parking lot.

A B

1.wheel ramp 2.lobby 3.dry storage 4.mechanical room 5.skatepark 6.egress 7.classroom 8.metal shop 9.wood shop 10.medical examination 11.public restroom 12.locker/bathroom storage

13.BMX track 14. BMX 15.bouldering

7.classroom 16.cafe 17.office 18.maintenance room 19.conference 20.restrooms 21.kitchen 22.water tanks

A - A section

B - B section

Admin programmes: offices, classrooms & Mach.

Roof space: event space and basketball court below the universal canopy.

Circulation core connecting floating volumes in air.

Street sports facilities route.

Semi-exterior event space, connected to the playground routes and sight communication.

What the ROOF brings:

Surrounding circulation from nearby neighbors, existing Lower Bob’s skatepark.

- Shading & light patterns: being a playful sports complex, the light and shadow patterns cast from the canopy always add on pleasure and atmosphere. Playground flexible routes and sight communication.

- Flexbility: the roof free the site as it doesn’t has to be a ‘building’ so that the circulation is flexible and the spaces below are of different scale and use.

- Controllability: the universal roof welcomes the street with angled, lowered entrance, frees the inside with higher and opener height.

Secondary structure in the roof Primary beam structure in facade Top anchor connecting cables Cable counters lateral force

Secondary structure in the roof

Dead load cable holding skateboards weight Cable size not determined; but should be based on cable weight, skateboards weight, connectors weight.

Skateboard connecting kit Standard skateboard size: 3’ Horizontal metal structure Connector holding cables Connector holding cables Connecting cable unit

Connector between cables

Connector type not determined; but should be based on cable pattern, size and weight.

Bottom anchors connecting cables

Primary base beam connected to base Base of the underground rooms

Feature Facade The facade for shading, meanwhile, exhibits the hundreds of skateboards as a feature of street culture which corresponses to the existing atmosphere of the Lower Bob’s; newer techniques of facade system is introduced as well.

Cable Facade System

BMX trail with skateboards background.

Event space with feature graffiti wall.

Multi-functional palyground.

Symmetrical space: temple of sports.

Materiality: steel, wood and white concrete.

Roof event and sport space.

West facade facing highway.

South facade facing neighbor.

Date:21/06 Time: 12:00 Elevation:69.06 Azimuth:128.28

Date:21/06 Time: 15:00 Elevation:42.7 Azimuth:246.06

Date:21/06 Time: 18:00 Elevation:27.75 Azimuth:279.24

Date:21/09 Time: 12:00 Elevation:49.86 Azimuth:155.55

Date:21/09 Time: 15:00 Elevation:43.65 Azimuth:222.89

Date:21/09 Time: 18:00 Elevation:12.3 Azimuth:260.52

Date:21/11 Time: 12:00 Elevation:30.61 Azimuth:164.89

Date:21/11 Time: 15:00 Elevation:25.04 Azimuth:212.43

Date:21/11 Time: 17:00 Elevation:8.43 Azimuth:236.22

The Last Cemetery of the Red Guards in China

Thesis studio 204 Instructor: Tom Buresh Advisor: Greg Castillo Chengyu Zhang Presentation date: 2021.05.06

This project is trying to construct a memorial with multiple narratives. Realiz-

ing that most existing memorials are strong and single-narrative, this memorial tries to convey multiple narratives and memories, and by generating conflicts between those contents, it is capable of presenting the whole image of one historical event.

The object of the memorial is the last cemetery of the Red Guards in China, and

the history to which it belongs to is the period of the Cultural Revolution. Due to its unique existence and the fact that the memories of that time is almost fading away with the decease of those who have been through the history and survived, this project is neccessary and can function as an archive for those disappearing memories.

Imagine visiting the Vietnam Veterans Memorial:

In a modern context like our time, population with mixed backgrounds crowd in

Washington DC, including Vietnamese for sure. What would one see in the reflection on this heavy marble memorial? Is it simply the images of American soldiers? Or it depends so much on the visitors’ identities?

This raises the first concern about the singularity of memories in memorials.

American guy visiting Vietnam Veterans Memorial

Imagine addressing the Vietnam Veterans Memorial:

Maybe it is too late to hesitate on this imagination, while are there any groups

of people that would address the war ‘the American War’ instead of ‘the Vietnam War’? Would they hope to reveal the stories of the other side of this historical event?

Vietnam guy visiting Vietnam Veterans Memorial

This raises the second concern about the lack of narratives in memorials.

Memory is not an image, but an model: From the observation on the Vietnam Veterans Memorial one can say that:

-memories would be affected by the identities and backgrounds of the visitors

-memories have a dimension of time - they are not stable but mutable

-memories are flatten in the documentary in memorials while there is a layer of

‘lived’ memories in the place

Memorials should be responsible for multiple narratives:

It is a world of politics, while under this globalization, memorial in one place

can become the symbol of meanings in many other places. It is then responsible for those positions it takes in the web of meanings.

Multiple narratives can reveal a confident and thorough not image but dynamic

model of the historical event.

Site Analysis

Location: Shapingba District, Chongqing, China Area: approx. 2000 sqm. Buried: the deceased in the Cultural Revolution in 1960s and 70s Topography: mountainous. Height diff around 4-6 meters. Context: Near to local university and government. To the south is Chongqing old district which residents mainly elder people. Diversity of visitors and passers by: Government stuff, students of higher education, elderlys who have been through history.

Regional Map

Accessibility: In the deep decayed corner of the local park, pathway to it hardly found, covered by wild plants. Not accessible during the year except for the tomb-sweeping day - April 4th to 6th. The weather then is rainy almost every year. Government policy: Do not mention it, do not renovate it, do not demolish it. Let it go by itself.

Conflict between the name of the park and the deceased: The name of the cemetery is the cemetery/memorial of the Red Guards. While the deceased who were buried here are actually of three groups: -Red Guards -Intelligentsia victims -Innocent victims Voices to “whether should this cemetery be demolished” varies then: -Red Guards: -No. This is a symbol of honor. -Yes. We have caused a lot of death. -Intelligentsia: -No. We should remember the trauma. -Yes. Out of anger. -Victims: -Definitely yes. They are no heroes, just murderers.

Site Map

Memorial as BOUNDARY: Responding to government’s policy, this project keeps the inaccessibility and make the memorial itself the fence. Meanwhile by doing this, it is highlighting that this place is different from our time. It belongs to a time of mystery, in distance and in memory.

Memorial as EXHIBITION: Though inaccessible during most of the year, this project is still trying to include the tombs in the exhibition part by expanding the memorial to the cemetery part. Visitors both inside and outside the memorial can access it in different ways.

Memorial as LANDSCAPE: The memorial is legibal and simple from the outside, with mountainous terrain and tombstones in the background, it creates a quiet while deeply passionate view of landscape.

Site Plan

Chapter Cemetery Categorized tombstones

Chapter Reversion Exits to the cemetery can cause reverse selection of tombs to visit.

Chapter Recall Exhibition of namewall including both Red Guards and victims’ names

Chapter Meditation Activity happens here is paper burning, a Chinese tradition to memorize the deceased.

Chapter Revolution This part is an epitome or reduced version of the Cultural Revolution which aims to immerse visitors in the history and memory. Chapter Choice Different choices of circulation based on the emotions after visiting the exhibition.

Chapter Exhibition Exhibition hall that opens to public during the year. It contains multiple sets of exhibitions of different narratives and conflicts.

Emplotments in the memorial:

Plan

Exhibition 3 - Aug. 6th & Aug. 15th Content: Projection wall. In the year of 1966, Bian Zhongyun, the first publicly executed intelligentsia was beaten to death by her students on Aug. 6th; while on Aug. 15th, 9 days after, the leader of the murders, Song Binbin was being honored by president Mao and showed him her Red Guard badge.

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Exhibition 4 - Communist violence Content: Film. In strong contrast to the Utopian Relics, holocaust was actually the main trend in southen China. This wall shows the documentary film of eating people in local Yunnan area. Exhibition 5 - Intelligentsia tombs. Content: The tomb itself. There are some chalk characters carved on the tombs translated as “History reflects here” and “Blind devotion and trauma”. Exhibition 6 - Victims tombs. Content: The tomb itself.

Exhibition map - narrative conflicts

From entrance to exhibition hall

Strong conflicts both in narratives and colors. First projections and colors on smoke wall matches the expectations of utopian ideal, while the second sight through the smoke wall seeing the victim’s tombs will make vistors rethink the loss in that history; also the confession diaries on the right construct a different narratives from the smoke wall projection, it underlines the other side of the utopian revolution.

Confession diaries

Victim tomb

Smoke wall projection

Exhibition 1 - Utopian Relics Content: Projection wall. Visual propaganda works from 1960s to 70s, including opera documentary film, posters, photos and literature. Exhibition 2 - Intelligentsia Confession Writing Archives Content: Archive exhibition. Arrested intelligentsia were forced to write confession diaries, this reveals strong conflict between the communitst ideal and the social context. Exhibition 4 - Communist violence Content: Film. In strong contrast to the Utopian Relics, holocaust was actually the main trend in southen China. This wall shows the documentary film of eating people in local Yunnan area. Exhibition 5 - Intelligentsias tombs. Content: The tomb itself. Exhibition 6 - Victims tombs. Content: The tomb itself.

From tombs to exhibition wall

Scrolling pictures of the murdered and the murderer’s being honored, overlapping on interval, constructs a question and a conflict clearly. Then vistors can see the victims’ tombs and inscriptions with the utopian ideal projection being background - conflict again.

Faded color

Collage - conflict

Saturated

Red Guard badge

Chairman Mao Quotations

Weapon 1 - stick

The displayed artifacts are a mixure of: 1. Honored Red Guards badge; 2. Chairman Mao’s Quotations book; 3. Weapon 1 - nailed stick; 4. Weapon 2 - rope. This is an epitome of the Revolution - ideal, passion, murder, death. Exhibition 1 - Utopian Relics Content: Projection wall. Visual propaganda works from 1960s to 70s, including opera documentary film, posters, photos and literature. Exhibition 3 - Aug. 6th & Aug. 15th Content: Projection wall. In the year of 1966, Bian Zhongyun, the first publicly executed intelligentsia was beaten to death by her students on Aug. 6th; while on Aug. 15th, 9 days after, the leader of the murders, Song Binbin was being honored by president Mao and show him her Red Guard badge. Exhibition 5 - Intelligentsia tombs. Content: The tomb itself. There are some chalk characters carved on the tombs translated as “History reflects here” and “Blind devotion and trauma”. Exhibition 6 - Victims tombs. Content: The tomb itself.

Weapon 2 - rope

Violence in the Revolution

Exhibition 4 - Communist violence Content: Film. In strong contrast to the Utopian Relics, holocaust was actually the main trend in southen China. This wall shows the documentary film of eating people in local Yunnan area. This is a backside/hidden exhibition from the main exhibition room. It brings shocks to whichever group. This part is essential to the choice of circulation.

Choice of Circulation - Categorization

After the exhibition of violence, in conflict with the utopian relics, which way will the Red Guards(involved group) choose? To go below the intelligentsia and victims’ way or above them to face the people already on the roof? Meanwhile, the intelligentsia and the victims have to bend their waist so they can pass this pathway. Here is an epitome of the choices and suffering during the Revolution.

Immersive revolution discussion

Paper buring

Epitome of the Revolution. The program here is discussiong room. Due to the choice of circulations, visitors would be placed at specific position and face other groups.

Pattern of emotions and relations. This activity, paper burning memorizing the deceased/past, is the clearest way to show emotional patterns among crowds:

Material of each pavilion is glass with LED screens which would display the words each people say, trying to generate a reflection on their own words. Larger spaces are for the Red Guards - same in history and smaller end is for the Intelligentsia. Innocent victims are located in the middle in the pavilions as narratage or observers.

-Red Guards. Collectivity and uniform direction. -Intelligentsia. Collectivity while having each own’s way of suffering. -Innocent victims. Dispersion in each location.

Victims namewall and Murderer’s Confession

Blue colorized names are of those fragmentary collection of intelligentsia and victims in alphabetical sequence. Victims namewall is located face-to-face to a projection wall. The content of the projection is a recent-year documentary film, Murderer’s Confession or another name, A Red Guard’s Regret. History and memories could have reached a compromise.

Using a Mobius ring model to construct the exit to the cemetery, the staircase is connecting visitors and tombs reversely.

Same for the red colorized names of the Red Guards. Red Guards namewall is located right before Red Guard (involed) vistors can see the victims’ tombs. It is the same situation on the other side of this mobius exit, the victims (involved) visitors would see the Red Guards tombs at the first sight out of the memorial. The conclusion or the attitude of the memorial: By setting the delineated conflicts above, the memorial at this point is trying to express that after considering all the narratives and memories and following regrets or compromises, one can say that no one winned or succeeded in the Cultural Revolution.

Lake Shaping Main Circulation in the park

SITE PLAN DOWN

DOWN

Hard Fence

Outside of Cemetery

Circulations can be controlled in this way, which may strength the intentions of the exits. Also, the changing level of water also indicates that the memories within this memorial is floating and changing all the time.

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50m

75m

For the landscpae design, this project tries to combine the atmosphere on that Tomb-Sweeping Day that being rainy, cloudy, depressed... The water puddles on the roof which visitors can see right after exiting to the cemetery provides reflections in eyes and in minds.

Water starts to accumulate...

Water accumulates more...

Accumulating enough to control the circulations on the roof The circulations within the landscape become rough and hard, while this is the feeling one should have wandering in this memory mixed and narrative conflicting cemetery. Lawn spreads from cemetery to the roof, water puddle reflections double the thoughts and memories, tombstones strongly strike hearts and rainy Tomb-Sweeping Day is the entrance to that piece of history....

Looking back at the memorial

Hopefully visitors will have a different knowledge about the history after they come out of and look back at the memorial. Instead of sticking to their own perspective, they may have those conflicts of narratives, compromises of memories all in mind and know that we should always rethink history and at the end of the day no one could win a revolution like this.

HOMO BATHROOM ON CHURCH STREET COMMUNAL STUDY, ARCHITECTURAL DESIGN, TORONTO University of California, Integrated Design Studio Instructor Tom Brush Spring 2019

This project takes the most integrated LGBTq community - Church street in downtown Toronto as its site, offering a qualified public space for bathing and communal affairs. Together with the 519 Homosexual centre next to it, the site is endowed with more publicity for the group.

Architecurally, the bath house is trying to define an oriental atmosphere for the LGBTq group in the city - introverted, quiet while substantial - which is quite different from the locally well-defined, sounding and brighten atmosphere. No judgement on which side is better or not, the project is inserting an oriental possibility which may lead to a more comfortable identity for some users.

“On the rainbow safely.”

Toronto downtown context, Church street and others.

Church street, Toronto

This project takes the most integrated LGBTq community - Church street in downtown Toronto as its site, offering a qualified public

space for bathing and communal affairs. Together with the 519 Homosexual centre next to it, the site is endowed with more publicity for the group.

Nested with other heated streets, the Church street has its own attraction as the LGBTq street. Churches, bars, hospitals and communities on the street also see a expanding trend of the homosexual group. The site is located right off the core of Toronto downtown which endows it the accessibility as well as some privacy.

Church Street

Integrated Homo Community

The existing 519 homosexual cen-

Gloucester Street

tre is located right at the core of

the Church street. It contains mostly admin tasks, such as consulting,

communal care, LGBTq rights and

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medical care etc. Basically it is a

functional spot on Church street.

Monteith Street

While what is newly constructed here in the project is to insert a recreational complex. Mainly contains

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spa, shower, bath, homo shows and

cafe etc. Nothing serious but adding

The 519

on a relaxing and private/public

Homo Centre

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vibe to the site.

The 519(admin) and the Bath(rec-

Church Street

reational) working together, construct an integrated communal core

for the LGBTq group to seek no mat-

ter serious or relaxing goals, which will effectively help the interaction

Wellesley Street E

in this area.

1. Bathing pool 2. Event space/Show theatre 3. Collaboration 4. Consulting/Reception 5. Cafe 6. Changing area 7. Individual bathing room 8. Collaboration with less clothes on 9. To balcony 10. Shading/Facade 11. Balcony 12. Backside corridors 13. Elevation facing Church street 14. Shading/Canopy 15. Skylight

Concrete

Wood

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Brown

Concrete

Wood

Light grey

Concrete

Light grey

Concrete

Light grey

Glass

Brown

Wood

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Wood

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Trans.

Glass

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Glass

Trans.

Chrome

Dark grey

Chrome

Dark grey

Vibe Transition

Materiality Transition

As mentioned, there is an oriental soul hidden inside the western architectural linguistics. As people heading on from Church street the lawn, to the first floor and upper floors, a vibe transition is brought to them, guiding them from the metropolis of Toronto into an oriented wooden space. Linguistically, from arches to wooden beams and roofs.

The vibe transition is mainly realized by a transition of material. According to the diagram on the left, the portion using concrete goes down while the wood part goes up. Glasses appears only when you try to know more about the building - you can see inside of it. The steel portion is only for the details and joints, not meant to be considered into composition.

1st floor plan Structural Intervention One challenge here is how to pen-

etrate the rigid wood structure. As illustrated in the zoomed in plan,

some variant columns is produced to accommodates the penetration portion.

The inside wooden structure and

the outside concrete facade can be

cast together through these variants.

Variant columns

2nd floor plan

3rd floor plan

A-A section

Outer layer: 3/4’’ thick glass; inner layer: 3/8’’ thick glass

Metal window frame Metal structure holding lateral force

Connector between skylight window frame and beam

Primary beam structure holding roof panels

Roof finish Water barrier for snow Rigid insulation & structure Water barrier for bathing Ceiling finish Variant wooden column connected to beam

Facade finish

Prefabricated window frame fitting into the precast columns

Wooden gasket

Double glazed glass

Metal gasket between wooden and concrete column

One-piece wooden column at grid corner

Prefabricated shaped concrete column piece for assemble Prefabricated shaped concrete column Prefabricated wall panels Metal gasket between column and base

Base connnected to concrete column

Assembly details

Fictional Design - The Babel Tower Digital Design, Tech-history Study

Tsinghua University, Digital Design Studio Instructor Hui Wang Spring 2018

Brought up by Marshall McLuhan that “...media (interface) is the extension of human body...”, the post-human opinion still functions today as the rapid evolutions and revolutions in technology realm have dominated the topology of our modes of behaviors so much.

In this context, such as Herbert Marcuse - One-Dimensional Man had foretold the dilemma where communal/horizontal connections would be cut off by the exclusive technological interfaces/ terminals. And in a more fictional way, Aldous Leonard Huxley rendered a ‘future world‘ where technologies would dominantly shape our modes of physical body, mental logic or even religions.

Based on McLuhan, Marcuse and Huxley, this project is trying to figure out what and where technological revolution will bring us and lead us to.

Marshall McLuhan

Herbert Marcuse

Aldous Huxley

‘Understanding the Media’

‘One-Dimensional Man’

‘Brave New World’

Criticism on technologies

Diagnosis on post-human

Foretell a future world

Technological Interfaces

Modes of communities New entertainments

Orientation of interfaces

Cut off horizontal connection

Site: Times Square, New York, United States

Entertainment terminals

Technological Babel Tower: humans become terminals individually

As a most mediumized square around the world, Times Square shows its power in technological interfaces and entertainments. Though with thousands of people standing side by side, the screens effectively seperate them into individuals. One-axis expressions through terminal interfaces lead them to a new Babel Tower in modern city where no general or grand narratives are constructed, only left the individual cyborgs using different ‘entertaining linguistics’.

Tech. milestones (McLuhan)

Society transition (Marcuse)

Fiction (Huxley)

the Babel Tower

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Multiple linguistics

Collections of thoughts

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Generations of Post-human

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Cyborgs wit different words

No orientation in narration

Seperately linked Top - down one - axis delivery Decentralization

Selfness

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Genenic Engineering

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Tech. oriented

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BNW: Brave New World BNW: Oosperm classification

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"There's no God in my body"

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Biomedicine Control

Revolutionary Gap

Bio - tech.

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Ideology transitions

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Internet

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Excitement 1: Helicopter

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New God: the Fordism (Assembly Line)

the Fordisn and Bank

Medicine - politics

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BNW: Trans-breeding

Assembly line

"OH MY FORD"/"OMG"

Value oriented

Exploded working procedures

the Age of Electricity

Technology of Image

Excitement 2: Drugs and Intercourse

Serious Issue 1: Debate

Isolation Belt1: Cultured Soldier

Isolation Belt2: Paper Making

Community Church

Serious Issue2: Logic and Rhetoric

Ideology Control

Media of Image

Repetition BNW: Entertaining death

One-Dimensional

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Nation Ideology or Religion?

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Time: number discipline Propoganda

BNW: Nested intercouse

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State power

Centralization State power

Nation Ideology or Religion?

Private Talk from Priests

Paper media

Paper: deliverable Church in power

Religious society

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the Reformation

Universalness of Bible

New Interpretations of Bible

Information Monitor

Serious Issue3: Printing

Serious Issue4: Expressing

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Isolated Prison for the Enlightened