ZHENG FEI'S PORTFOLIO

ZHENG FEI’S PORTFOLIO selected works | 2010 - 2018

FEI ZHENG | CV +44 756 5095322 fatecheng@gmail.com

Fei Zheng is an architect from China. He previously worked for Playze Architects where he was involved in projects of various scales from urban planning to interior design. He currently graduated from Architectural Association School of Architecture with masters in Architecture and Urbanism (AADRL).

SKILLS 3D Modeling

Maya, Rhinoceros, Grasshopper, SketchUp, Revit

Drafting & Graphics

AutoCAD, Photoshop, Illustrator, Indesign

Rendering

Vray, Arnold, Keyshot

Visualisation

After Effects, Premiere, UE4, Nuke, Cinema 4D

Programming

C++, Processing

Fabrication

3D Printing, CNC Milling, Laser Cutting, Robotic Arm

Languages

English (Fluent), Chinese (Native)

WORK EXPERIENCE May 2015 - January 2016

ZY Studio, Guangzhou, China Director

Designed a restaurant (from concept to construction), Experimented in low-tech digital fabrication under extremely limited budget and supervised the entire construction process of this project, in Yunfu, China November 2011 - April 2014

Playze Architects, Shanghai, China Project Architect Led team of four in designing a container office complex in Chengdu, China.

Creatively developed numerous details to maintain the stringent appearance of containers and to meet requirements of the climatic exigence. Also responsible for communicating with clients and collaborating with local design institute.

Junior Architect - Participated in a museum project (from concept to construction design) located in Ningbo, China. Responsible for physical models, 3D modeling using Rhino and 2D floor plan drawings using AutoCAD in schematic design phase.

In design development phase, responsible for façade material research and coordinating with LDI and façade consultants.

- Designed a residential and commercial complex in Changzhou, China. Responsible for concept modeling and technical drawings.

- Renovated a club building in Shanghai, China. Responsible for technical drawings, furniture selection, construction site supervision and coordinating with façade consultants.

EDUCATION September 2016 - January 2018

Architectural Association School of Architecture Architecture & Urbanism (DRL) M.Arch, London, UK Expected to receive Master of Architecture (M.Arch) in April 2018.

September 2006 - July 2011

Liaoning Technical University

Architecture, Liaoning, China | Bachelor degree of Engineering

REFERENCES Theodore Spyropoulos | Director - AA School of Architecture AADRL Director Minimaforms, London, UK theo@minimaform.com

Shajay Bhooshan | Course master AADRL Associate – ZHA CODE, Zaha Hadid Architects | London, UK Shajay.Bhooshan@zaha-hadid.com

Pascal Berger | Partner - Playze Architects Berlin, Shanghai, Zurich pascal@playze.com

CONTENT Professional Projects Ningbo Urban Planning Exhibition Centre

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Lujiazui Organic House

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Karst Cave

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Organic Container

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Swiss Green Tower

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Academic Projects Soul of Pyramids

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Volumetric Complexity

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Explosion

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Spontaneous Farm

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PROFESSIONAL PROJECTS

NINGBO URBAN PLANNING EXHIBITION CENTRE Responsibility: Façade Research; Physical Models; Schematic Design; Coordination with LDI and façade consultant Location: Ningbo, China Façade Consultant: RFR Group, Shanghai Built Area: 25000 m² Status: Under Construction Date: November 2011 - April 2014

Prompted by surging urban growth in many of the nation’s larger cities, the Chinese “Urban Planning Museums” are generally intended to communicate important city planning and development issues to the public. The Ningbo Urban Planning Exhibition Centre interprets this concept by way of a forum-like design in which discussions between politicians, professionals and the public may take place. In the new centre, the lines between citizens and decision-makers are blurred; visitors are given rare access to the inner-workings of their city. Our goal has foremost been to create an engaging, accessible public space in the new district, and thereby strengthen both physical and social ties between the local government and community.

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The exhibition centre anchors the urban district of Ningbo Eastern New City: a fresh suburban swath of equal parts high-rise and high-way, still searching for its own identity. This new Planning Exhibition Centre aims to bring intimacy to these wild new spaces. The building’s faceted perimeter blends horizontally into its context, reacting and sometimes mirroring existing site conditions. The four large entrances lead to a lobby space and multi-story atrium. A circular loop passage brings visitors to and from a public roof-terrace, where they bear first witness to the very issues being debated and exhibited below. The loop’s different coves and mounds invite visitors to interact with the building both during the day and at night.

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Spatial Concept The Chinese ribbon dance (Cai Dai Wu Dao) dates back to the Han Dynasty. A professional ribbon dancer can animate complex figures like wandering dragons in a single movement. Originally performed only for royalty, it emerged as an important medium for communication between different social classes. Inspired by this ancient art form, the building program, structure and envelope are woven together as a ribbon. Beginning at ground level, the ribbon wraps around the program; it defines volume and circulation-space. It guides visitors through the building, controls light, opens to views of the surroundings. The ribbon links program elements into a fluid sequence of space—a deliberate break from more conventional, static, “white box” museums. Instead, the spaces present no clear physical boundaries—they are blended together. This blending merges the visitor’s awareness of the architecture, the exhibitions, the different people and social classes into a contiguous, flowing experience.

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escalator or .

st entrance, 4F galleries.

Circulation The shape of the Ningbo urban planning museum is designed around the core concept of the ribbon dance. Standing on a pedestal, a hilly landscape that attracts the passers-by to a central reference space, the building is defined by a single ribbon.

Starting from the ground, this ribbon wraps around the central core in an elegant way, defining the outlines of the exhibition spaces, as well as guiding the visitor, like an Ariadne’s thread, through the exhibitions. This ribbon extends into a glass facade at the bottom, allowing for some light and view to the more public areas of the museum.

The circulation, according to the concept of the ribbon dace, is a Normal Exhibitpath, Circulation: travel tosuc4F via escacontinuous providing Primary Primary Circulation: travel travel toto4F4F via viaescalator escalator oror lator orCirculation: elevator, spiral down through galleries. cessive access all the exhibielevator, elevator,spiral spiral down downto through through atrium. atrium. tion areas. The exhibition starts at the top of the building, and goes descending. This circulation turns around the central patio, and makes almost every part of the exhibition visible from each point on this continuous ramp.

Roof Circulation: access from elevator or exterior VIP VIP Circulation: Circulation: access access from from1F1Fwest westentrance, entrance, stairs up from the landscape. elevator elevatorupuptoto2F2F++3F3FVIP VIPareas areasand and4F4Fgalleries. galleries.

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Primary Circulation: travel to 4F via escalator or elevator, spiral down through atrium.

Primary travel totravel 4F viatoescalator or NormalCirculation: Exhibit Circulation: 4F via escaelevator, spiral down through lator or elevator, spiral down atrium. through galleries.

Normal Exhibit Temporary ExhC lator or or elevator trance ramp

access from entrance, 1F westenVIPTemporary Circulation:Exhibition: access from 1F west Normal Normal Exhibit Exhibit travel travel toto4F 4F4F via viaescaescatranceup or ramp down from 2F atrium. elevator to 2FCirculation: +Circulation: 3F VIP areas and galleries. lator latorororelevator, elevator,spiral spiraldown downthrough throughgalleries. galleries.

VIP west or entrance, RoofCirculation: Circulation:access accessfrom from 1F elevator exterior Temporary Temporary Exhibition: access from from 1Fwestenwestenelevator toExhibition: 2F 3F VIPaccess areas and 4F1Fgalleries. stairs upupfrom the+landscape. trance tranceororramp rampdown downfrom from2F2Fatrium. atrium.

Roof Circulation Restaurant: 1F stairs up from th or temp exhib elevator.

Restaurant: 1F restaurant access from exhibit, landscape Lecture Hall: main access from 1F temp Roof Circulation: access Rooftemp Circulation: accessfrom fromelevator elevator orexterior exterior cafe access or from 4F or alsoorfrom 2F exhibit, atrium orroof exterior landscape. stairs upupfrom stairs fromthe thelandscape. landscape. elevator.

Lecture mainentrance access from 1F west temp drop-off, exhibit, DeliveryHall: Access: at 1F Restaurant: Restaurant: 1F1Frestaurant restaurant access access from fromlandscape landscape also from 2F atrium or exterior landscape. direct access to storage and service elevator. orortemp tempexhibit, exhibit,roof roofcafe cafeaccess accessfrom from4F4Foror elevator. elevator.

Delivery Access: Staff Circulatio direct to accessaccess to office

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1 FLOOR

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Façade Concept From a distance, the building is like a beacon, an attractor. With its form and reflective qualities, the façade modulates visually with its context. Up close, this modulation is also applied in the deployment of the façade system and details. The ceramic screen gradually shifts between being nearly transparent to fully opaque, according to program needs and views to the surroundings; while around exhibition areas the tiles overlap tightly, they open up in gathering areas to allow ample daylight and scenic views. At night, the pattern glows as shadows populate the façade’s curved apertures.

The façade system allows light to pass between tiles, bringing light in during the day.

At night, the façade is enlightened from behind, creating the opposite effect to an outer observer.

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Façade Material The City of Ningbo has a rich history in ceramic production. It was here that the so-called Ceramic Road began, and the city played an important role in the national and international trade of ceramics throughout the civilisation history. That said, the use of ceramics is not simply an homage to the local traditions of Ningbo; the building’s textured glazed-ceramics also create ephemeral reflections of surrounding cityscape. These reflections animate the façade with varying intensity depending on time of day, season, weather, etc.

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Public Roof

Ceramic Ribbon Substructure Glass Curtain

Exhibition

Entrance

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LUJIAZUI ORGANIC HOUSE Renovation of Exhibition Centre Responsibility: Façade Research; Schematic Design; Construction Drawing; Site Architect Location: Shanghai, China Built Area: 1230 m² Status: Built Date: December 2011 - January 2013

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Following a successful collaboration for a multi-functional building complex at Tony’s Farm, we have been approached with the idea of developing a building in the city center of Shanghai for the promotion of an organic lifestyle. The main purpose of the building is to showcase the products of Tony’s Farm by introducing a more natural way of living to city dwellers, who may often have an obscured understanding of the origins of their food products.

The project is located on the waterfront in Lujiazui, with the iconic Pudong skyline as its backdrop. It is a conversion project for an existing building that was initially constructed as a part of the Pudong landscape master plan. This original pavilion-like structure was built without any intended purpose or function; it had therefore never actually been used and had fallen into rather poor condition. Substantial structural changes, namely the addition of an entire floor as well as the introduction of an additional split-level, were necessary to generate an attractive spatial sequence matching the aspirations of the client.

1 Kitchen 2 Bar 3 Restaurant 4 Organic shop 5 Terrace

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GROUND FLOOR

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1 Reception 2 Event Stair 3 Private Dining Room 4 Private Dining Room 5 Library

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SUNKEN PLAZA

FIRST FLOOR

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1 Event Stair 2 Private Dining Room 3 Private Dining Room

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SECOND FLOOR

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1 VIP Room 2 Bar 3 Show Kitchen 4 Terrace

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THIRD FLOOR

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1 Restaurant 2 Event Stair 3 Private Dining Room 4 VIP

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2 private kitchen 厨房 dining room 宴会包房 private dining room 宴会包房 3 private dining room 宴会包房 private dining room 多功能台阶 宴会包房 4 event stair event5stair vip 多功能台阶 floor vip 包房 vip floor vip 包房

restaurant 简餐 event stair 多功 private dining vip floor vip 包

Much attention has been paid to the material integrity of the space. By maintaining the natural appearance of the building materials, a contrast is struck against the artificiality of the surrounding urban environment. The dominant material in the interior is locally sourced oak wood, which creates a warm and tactile experience throughout the interior.

A pix-elated assemblage of oaken boxes seems to grow through the three lower floors of the building, generating a spatial continuum throughout the different levels. The central stair has been designed as a flexible playground for different events. Modular cubes can be arranged in specific layouts to cater to various programs like presentations, exhibitions, public receptions and informal meetings. A public restaurant, private dining rooms, and an organic food store are connected both visually and physically to this central space.

stair layout 原始布局

1 Stair Layout

2 Presentation Layout

presentation layout 报告布局

3 Exhibition Layout

exhibition layout 展览布局

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Façade Concept The resulting shading system is made of two layers of differently colored strings. The overlap of the two layers creates a moiré effect that reinforces the textile-like aesthetic of the skin.

The façade is comprised of a series of panels, each consisting of 46 strings.

The use of single strings instead of a continuous fabric allows the panels to twist in a controlled and specific way.

The shape of the twisted panel allows for ideal sun shading conditions while simultaneously opening up views towards the river. Groups of panels can be individually controlled in order to adapt to specific functions in different areas of the building.

A layer of LED lights behind the panels enhances the three-dimensional effect of the façade during the night. The illuminated panels act to increase the level of privacy by obscuring views from the outside in, while preserving the compelling vistas from the interior to the surrounding urban environment.

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KARST CAVE Restaurant Design Role: Project Director Location: Yunfu, China Built Area: 178 m² Status: Built Date: August 2015 - February 2016

This project is a restaurant renovation with relatively low budget. The biggest challenge is to features the renovation with the local context of Yunfu, a less developed city in the west of Guangdong, China. As a result, series of low-tech process in construction must be taken into consideration. Since this is my first project as an independent freelance architect with my partner, we consider to create something unusual in the common context of Yunfu city on the premise of the project feasibility.

Karst topography is a landscape formed from the dissolution of soluble rocks such as limestone, dolomite, and gypsum. It is characterized by underground drainage systems with sinkholes, do-lines, and caves.

Yunfu, a typical city with karst topography, holds many magnificent karst caves. This must be the most attractive feature that can fully represent the city’s context. In order to create an iconic restaurant, the karst cave could be a good concept.

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Karst Morphology

Cutting Into Pieces For Installing

Shopfront façade material test – stainless steel sheet with coppery colour 29

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Axonometric Diagram

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Low-tech Digital Fabrication Considering of the limited budget and the feasibility of this project, an efficient and low-tech installation should be the priority. After a long time selection of materials and the method of processing the ideal curvilinear pieces, we finally decide to choose the coppery stainless steel which can be precut in the factory at a relatively low price. Meanwhile, this material greatly emphasises atmosphere of the entire spaces.

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ORGANIC CONTAINER Office and Exhibition Complex Role: Project Architect Location: Chengdu, China Built Area: 908 m² Status: Built Date: August 2013 - April 2014

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Context This project is designed for a company which produces organic vegetables and fruits. It is required to be a building complex, which combines the reception and lecture hall for big events. At the same time, the building design is driven by the concept of sustainability. The vision is to integrate the consumer and therefore promote a natural lifestyle. During my onthe-spot survey, I saw there were many containers discarded around their vegetables production base. An idea quickly came to my mind, why not recycling these containers and making the best use of them.

Characteristic of Containers Each of the eight corners has an essential twistlock fitting for hoisting, stacking, and securing. Forty foot or longer containers typically have a gooseneck tunnel, an indentation in the floor structure, that meshes with the gooseneck on dedicated container semi-trailers. The gooseneck tunnel is clearly visible in the underside of a toppled-over container, as well as in a container’s interior, where it takes the space otherwise covered by wood flooring. Gooseneck container trailer showing twistlock couplings for forty-foot boxes at its four corners. Twenty foot containers on the other hand, frequently have forklift pockets, accessible from the sides.

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The building locates in a vast field. The container structure itself becomes an unique scenery which attracts visitors. This suits the requirements of the project. As a result, there is no need to consider too much about integrating it with context around the building. In contrast, the road hardening and the link to nearby vegetable greenhouse becomes the main issue.

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Construction Details

The structural logic of the container is the framed box, which can be opened or left closed towards the 6 orientations.

These characteristics were amplified in different spatial situations, integrated within the whole structure.

At the entrance situation for instance, the additional supporting structure is reduced to a minimum to underline the „floating“ moment of the containers. The 3 stories high vertical space is opened to 3 sides to dissolve the box. In the courtyard, the terraces form a roof to the underneath and quote the Chinese courtyard typology, whereas the office part is developed in the style of a slab and pillar constellation.

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Since the climatic exigence asked for impermeability and insulation, numerous specific details had to be developed to maintain the stringent appearance of theSteel containers.

The elaborate details, Profile (square 60x120x8) for example the still visible steel beams of the containers in the interior, stand in contrast the rather rough and crude Steel to Profile tectonic details of the freight container. (square 60x120x8) Further, the modular system was challenged GL2 by the individual joints, resulting from the irregular distribution of the con(H 300x250x10x6) tainers.

Steel Profile (Square 150x180x12) Wood Floor Light Concrete XPS PVC RC(concrete) Ceiling

Steel Profile (square 150x180x12) Wood Floor Sound Insulation RC(concrete) Ceiling

surface to be painted black

bracing wood shading

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SWISS GREEN TOWER Responsibility: Physical Models; Schematic Design; Technical Drawings Location: Ningbo, China Local Design Institute: ICDA Engineering: Gruner Ltd., International / Gruner Kiwi AG Project Management (EPCM): BMP Construction Consulting (Shanghai) Co., Ltd. Built Area: 60000 m² Status: On Going Date: November 2013 - April 2014

The Swiss Green Tower is conceived as a mixed-use, sustainable technology hub – bringing together companies in construction, energy, transportation, healthcare and agriculture . The towers are a venue for trading green ideas between the disciplines, as well as for showcasing state-of-the-art sustainable technology in China.

The mixed program makes the towers a good live-work option, and encourages a smaller Eco-footprint through the use of zero-energy design principles.

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ACADEMIC PROJECTS

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SOUL OF PYRAMIDS Master Thesis Project | Constructed Agency AA School of Architecture, London, UK February 2017 - January 2018 Team Member: 3 Instructor: Theodore Spyropoulos, Mostafa El-Sayed, Apostolos Despotidis Responsibility: Modeling, Prototype Design, Animation, Film

This project is a response to the design brief entitled ‘Rethinking Centre Pompidou’, which explores how behaviour-based design methods can be used to reconsider cultural projects for today through the development of self-aware and self-structuring practices that see architecture as an infrastructure to address latency and change.

The project attempts to synthesise more traditional means of exhibition while envisioning new forms of contemporary curation with an aim to bring together a variety of actors such as curators, artists and visitors within adaptable spaces. Inspired by sci-fi movies that illustrate futuristic scenarios alongside the developments in cybernetics, artificial intelligence and information technologies. We believe that the future of exhibition will no longer be constrained to a rigid process of curating and arrangements, but rather will transform into amorphous and dematerialised conditions. With this in mind the project implements a hologram-based system as media that replaces traditional physical collections with virtual exhibitions.

The research began with eleven different possibilities of unfolding a cube into six pyramids that followed simple rule sets resulting in a system that can transform into multiple variants through aggregation both horizontally and vertically in order to increase the combinatorial multiplicity of space. Acting as self-organised entities, the units are designed to be distributed throughout the city, embedded within its infrastructure and adapt to different scenarios by multiplying or decreasing in numbers and creating the required patterns needed for specific exhibitions or events. These units are seen as containers of a virtual exhibition where a stable hologram as art object provides a new technological and social means of curation in which user input is considered through a interactive interface.

The aim of this decentralised curating network is to eliminate the stereotypical meritocratic aesthetic and bring exhibitions into every possible corner of the city.

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In AADRL, the topic of “Constructed Agency” has been explored since last year. The main idea of “Constructed Agency” is to explore expanded relationships of architecture by considering the future of living, work and culture. Theodore Spyropoulos Studio, Rethinking Centre Pompidou, is exploring behavior-based design methods towards reconsidering cultural projects for today through the development of self-aware and self-structuring practices that see architecture as an infrastructure as an infrastructure that can address latency and change.

Following this topic, the project integrates various designing process physically and computationally to demonstrate the research. Physically, the project researches on geometrical features and prototype design. Computationally, the project researches on geometrical configurations and features with their mobility and choreography strategies, as well as interaction systems. The purpose of these approaches are to present the proposal of a new thought of cultural building which is dematerialized and decentralized.

The project investigates a macro sense of cultural building or cultural installation which has reconfigurability, adaptability and reaction ability with

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on the premise of negotiation with people and city’s infrastructure.

Soul in Pyramids is a research and design project investigating a macro sense of cultural building or cultural installation which has reconfigurability, adaptability and reaction ability with on the premise of negotiation with people and city’s infrastructure.

By regarding the units as part of city’s infrastructure system, this project explores arguments and strategies of how these units’ features are able to provide people with an equal relationship with culture and others.

Combination and transformation are keys to mobility and variations. This project addresses decentralization and dematerialization of conventional museums/ galleries give equal chance to all to get access to art collections without curators. Thus, art is delivered to, but not superior to people via our mutual selection workflow.

This project focuses on two parallel paradigms of researches and design. The foundational part of the research is to search for deformed cubes’ and pyramids’ geometrical configurations and features with their mobility and choreography strategies. We choose a solid cube as the basic geometry. By dividing it into 6

pyramids, we are able to categorize all 11 ways of hinge distribution to add a higher layer of mobility and combination opportunity.

By rotation all hinges following a certain orientation, 6 pyramids can be formed as a perfect cube or dodecahedron. In-between these two shapes, we have uncountable possibilities of shapes. To describe and categorize them, we sequence their hinges, use orientation and degree code to describe how a certain shape is achieved; we also give them projection, intervention and absorption values to describe each shape’s characteristics in terms of extension and connection ability. A further study is about horizontal and vertical mobility. A cube has its local horizontal mobility by folding and unfolding itself following different hinge sequences and orientations. Its horizontal mobility can also be extended by an adjacent cube’s folding and unfolding. Its vertical mobility is achieved by its climbing behavior or being picked up by another cube. Studies of this part, which supports our idea of decentralization of museums/galleries, enables a new way of exhibition space creation and reconfiguration.

11 unfolded patterns

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Dematerialisation - Hologram Decentralization and dematerialization allows art works to be duplicated and spread, thereby preventing only the museums and galleries with qualification having the opportunity to exhibit them. The meaning of the word dematerialization here is dematerializing physical art collections so that they can be duplicated without limitations of contents by digital techniques and methods. For dematerialization, our method is using hologram instead of physical collections.

Even though it was invented over 70 years ago, holography remains the best candidate for achieving true 3D displays. The beauty of this technique is that it is still the only way to truly reconstruct 3D information and achieve real 3D displays. Yet, this technique was originally done nearly 70 years ago to form static holograms.

However a 3D dynamic holographic are still decades off. The problem with creating 3D holographic displays is that the amount of information a typical hologram contains is vast; light contains a lot of information. As an example, it is thought that the order of a million-trillion pixels are required in order to achieve a pure 3D holographic display and with a typical refresh rate of, 30 fps, this is a staggering amount of data. Not only this, we also need technology that can record (in real-time) all of the complex information of the light field, communications technology capable of transmitting this huge amount of data, and then a computer in order to process this data.

The strategy that we used to design this prototype was invented in the 1800s

by John Pepper to astonish unsuspecting audience members that a ghost had appeared next to the actors on stage. In reality, a clever illusion was employed, whereby a piece of glass at an angle placed between the audience. The stage was used to reflect the light from an actor below the stage toward the audience, but still allowing them to see through to the stage ahead.

Unlike the traditional hologram effect installation, the screens are set inside the pyramid and project content up before the first reflection by the pyramid transparent surface. Then lights travel toward the reflectve material and bounce back to the viewers. Viewer will see the illusion of the imag just at the centre of the pyramid from 4 different surfaces.ram effect installation, the screens are set inside the pyramid and project content up before the first reflection by the pyramid transparent surface. Then lights travel toward the reflectve material and bounce back to the viewers. Viewer will see the illusion of the imag just at the centre of the pyramid from 4 different surfaces.

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CLEAR ACRYLIC REFLECTIVE MATERIAL With holography, it is possible to reconstruct 3D images using holograms, and the process is unlike anything found in traditional display technology. Even though it was invented over 70 years ago, holography remains the best candidate for achieving true 3D displays. The beauty of this technique is that it is still the only way to truly reconstruct 3D information and achieve real 3D displays. Yet, this technique was originally done nearly 70 years ago to form static holograms.

SCREEN However a 3D dynamic holographic are still decades off. The problem with creating 3D holographic displays is that the amount of information a typical hologram contains is vast; light contains a lot of information. As an example, it is thought that the order of a million-trillion pixels are required in order to achieve a pure 3D holographic display and with a typical refresh rate of, 30 fps, this is a staggering amount of data. Not only this, we also need technology that can record (in real-time) all of the complex information of the light field, communications technology capable of transmitting this huge amount of data, and then a computer in order to process this data.

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The strategy that we used to design this prototype was invented in the 1800s by John Pepper to astonish unsuspecting audience members that a ghost had appeared next to the actors on stage. In reality, a clever illusion was employed, whereby a piece of glass at an angle placed between the audience. The stage was used to reflect the light from an actor below the stage toward the audience, but still allowing them to see through to the stage ahead.

JOINT

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1. Electromagnet 2. Disassemblable Screws

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Inner Circuit System 1. Arduino Uno Board 2. BLE Module 3. Wires 4. 9-Voltage Power Supply

Wireless Controlling

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Local Mobility

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Mobility in City-Scale The previous section explored how we can use these cubes and their local motilities to provide people with various exhibition possibilities in a certain site. Nevertheless, we have not solved the problem of decentralization and use them as city infrastructure. Living in a city, it is unarguable that roads, which transports matters to everywhere, are blood vessels of a city. The road system’s incomparable accessibility is what city infrastructure relies on. Another infrastructure meaningful to city life is public spaces where people gather together for reasons (public events, leisure, etc.). Both roads and public squares support our argument of making the cubes operate as part of city life and providing as much accessibility as possible. To achieve this goal, it is inevitable to link our cubes to city, more specifically, roads and public squares. Therefore, the cubes are meant to be transported among squares via roads. Like self-driving cars, they drive themselves to the distributed squares which are determined by center console according to people’s demands collected.

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Transportation proposal

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“ No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls. �

Ingmar Bergman

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VOLUMETRIC COMPLEXITY Workshop 1 AA School of Architecture, London, UK October 2016 - November 2016 Team Member: 3 Instructor: Mostafa El-Sayed, Apostolos Despotidis Responsibility: Modeling, Pattern Design, Sewing

unstitched fabric

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This workshop is a material-based, four-week workshop where students get acquainted with the foundational basics of design research through physical experimentation. This particular workshop limited itself to working with plaster and lycra (also known as spandex).

The logic behind our design was to utilise pattern, as well as modeled fabric form, to achieve more complex, volumetric forms. Each experiment was designed to gain a more fine-grained understanding of how the patterning works in conjunction with the fabric to retain defined, complex forms and asymmetrical/symmetrical curvature that would not deform into formless sacks, as is the general tendency of this particular medium.

stitched fabric

II. STRATEGY structural column

structural column

structural column

pouring

pouring

pouring hollow hollow

hollow

cell: 350 offset: 20

cell: 320 offset: 30

cell: 300 offset: 50

cell: 280 offset: 80 cell: 260 offset: 100 closed off cells to control expansion

cell: 240 offset: 50

cell: 220 offset: 50

_cells decrease in size going downwards to account for expansion.

_bottom two rows completely closed off to avoid excessive deformation.

_three solid columns going upwards to provide structure.

The rest is hollow to save weight.

_large ribs in the center to achieve deformation.

79

EXPLOSION Workshop 2 AA School of Architecture, London, UK November 2016 - December 2016 Team Member: 4 Instructor: Shajay Bhooshan, Alicia Nahmad Responsibility: Modeling, Script Simulation

80

This is a workshop which aimed to develop coding skills through a clay printing process by robotic arm. We formed concepts from a natural phenomenon and start with a simple initial condition. By setting a repetitive rule, the final result which represented by the pattern for printing can be various.

NACHI M207, used for clay printing process with manual pressure control and a nozzle attached to the TCP of the robot for uniform clay extrusion. The robot takes the codes and it follows point paths and therefore control of number of points could be considered as an important factor in clay 3D printing. Also, the process of robotic arm 3D printing depends on many properties such as the subdivision of curves, the different recipe of mixture ingredients for clay or even the heating process.

PRINT

QUALIT

Layer He

SHELL

Wall thick Top/Bott

INFILL

Infill Dens

SPEED

Print Spe Travel Sp

CLAY RECEPIE 1 (250ML CUP)

RECEPIE 2 (250ML CUP)

SILICA SAND

1

1

CHINA CLAY

4

3

GROG DUST

-

2

BALL CLAY

3

2

POTASH FELDSPAR

-

2

WATER

1.2-1.5

1.7

SODIUM DISPEX

60 DROPS

90 DROPS

INGREDIENTS

SUPPOR

Enable Su Placemen

PLATFO

Type- Bri Brim Wid

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SPONTANEOUS FARM Chengzhongcun(Urban Village) Research Liaoning Technical University, China May 2010 - July 2010 Individual Work Instructor: Yongqiang Hou

“Spontaneous order is the vital force to resist totalitarianism”, an important theory of Friedrich August von Hayek, was first proposed in his book The Road to Serfdom in 1944. Interestingly, Chengzhongcun is a very rare spontaneous type of community that survives from the siege of authorities and capital operations in China.

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The formation of Chengzhongcun The formation of Chengzhongcun

The dilemma of

Rural Society

Urban Planning

Less Farmland

Farmers have the ownships of their residential land. Shenzhen used to be consisted of many villages relied on fishing and cultivating

The urbanisation started from the Economic Reform in late 70s and road grids gradually added to rural villages.

The rapid urbanisation swallowed farmers’ cultivated land around their village.

To combine the m

Mode 1: Moving to city During the process of urbanisation, government and developers take over farmland of original villagers. Farmers are compensated with new apartments and money. They enter to city and begin new lifes. However, they gradually lost their land and their cultivating skills.

As the dividen migrant the ren cun.The lower th villager of subsi under t and farm

Could there be any co villagers regain their ag types of community?

Original villagers

Enter to the city

Government and developers

Mode 2: From farmer to landlord Because of the rapid development of cities, many workers from other places come to Shenzhen in order to seek better opportunities, more residential buildings are required. Many villagers consider it a good chance to earn money instead of making a living by cultivating. Therefore, they change houses into framed multiple-floor residential buildings. After years, these buildings cannot meet the increasing demand of migrant workers. Villagers extend their buildings either by adding more floors or directly building new ones nearby. They make more money.

However, the density of the community rises quickly, which leads to series of problems such as poor sunlight, unsanitary conditions and bad security.

Extend into multiple dwellings

Original villagers

Become landlord

Migrant workers

Higher density for more profits

More migrant workers enter to the city

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Shenzhen Gangxia

Urban Village Popularity

0

Hong Kong

470000

10 5

10km

Gangxia, a typical Chengzhongcun site in Shenzhen, China, is completely encircled by high-rise residential and office buildings. As the pictures showing, in order to pursue maximized profits, the distance between two houses are from only 0.5 to 2 meters and main roads are reserved only about 5 to 6 meters.

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Strategies From perspective of the masterplan scale, reducing the building density becomes first priority. However, this will definitely cause the decrease of floor areas. From villagers’ point of view, compensating their floor areas will be the premise of the next step. The original floor plans are divided into crops planting areas and SOHO offices or apartments, creating a complex including commercial spaces in lower floors and residential spaces in higher floors. The floor areas that changed into planting areas will be compensated by upper additional apartments. As a result, the total GFA stays unchanged. Newly built upper apartments can retain the original structures, which can be economical and sustainable. This renovation will attract the public attention of surrounding communities because of the organic food provided in the new agricultural projects. Additionally, commercial and residential programmes can also improve the vigour of the community. The original villages can benefit both from the increase of house rent and the profits of agricultural products.

Original Site

Reduce Density

Transform Into Planting Area

RES

CE IDEN

TEL /HO

FARM

O SOH RES

ICE /OFF

CE IDEN

CIA MER COM

Original Residence

Original Residence

PUBLI C SPA CE

L

Removal Of Walls

Removal Of Walls

Retain of Original Structure

Retain of Original Structure

CIA MER COM

L

Creation of New Programmes

Creation of New Programmes

Concept Sketch

Concept Sketch

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Original GFA = New GFA Using parametric research and design tools such as Grasshopper can efficiently create and edit each building’s volume. Taking the percentage of original areas and sunlight requirements for crops as the parametric data, this method can generate rational outlines according to the various shapes and heights of original buildings.

D

L

30%

b· D

a·L

Ratio of New Floor Area to Original Floor Area

a0.3 b0.4

a0.3 b0.5

a0.3 b0.6

a0.3 b0.7

a0.3 b0.8

a0.3 b0.6

a0.3 b0.7

a0.4 b0.3

a0.4 b0.4

a0.4 b0.5

a0.4 b0.6

a0.4 b0.7

a0.4 b0.5

a0.4 b0.6

a0.5 b0.3

a0.5 b0.4

a0.5 b0.5

a0.5 b0.6

a0.5 b0.7

a0.5 b0.4

a0.5 b0.5

a0.6 b0.3

a0.6 b0.4

a0.6 b0.5

a0.6 b0.6

a0.6 b0.7

a0.6 b0.3

a0.6 b0.4

a0.7 b0.3

a0.7 b0.4

a0.7 b0.5

a0.7 b0.6

a0.7 b0.7

a0.7 b0.3

a0.7 b0.4

a0.3 b0.8

a0.3 b0.9

a0.4 b0.7

a0.4 b0.8

a0.5 b0.6

a0.5 b0.7

a0.6 b0.5

a0.6 b0.6

a0.7 b0.4

a0.7 b0.5

40%

Original Floor Area

D

L

Original GFA

a0.3 b1.0

New Floor Area

b· D

a·L

a0.4 b0.9

a0.4 b1.0

a0.5 b0.8

a0.5 b0.9

a0.5 b1.0

a0.6 b0.7

a0.6 b0.8

a0.6 b0.9

a0.6 b1.0

a0.7 b0.6

a0.7 b0.7

a0.7 b0.8

a0.7 b0.9

New GFA a0.5 b1.0

70%

86

60%

a0.6 b0.9

a0.6 b1.0

a0.7 b0.8

a0.7 b0.9

a0.7 b1.0

50%

a0.7 b1.0

a0.3 b0.8

a0.3 b0.9

a0.3 b1.0

a0.4 b0.7

a0.4 b0.8

a0.4 b0.9

a0.5 b0.6

a0.5 b0.7

a0.5 b0.8

a0.6 b0.5

a0.6 b0.6

a0.6 b0.7

a0.7 b0.5

a0.7 b0.6

a0.7 b0.7

a0.3 b1.0

a0.4 b0.9

a0.4 b1.0

a0.5 b0.8

a0.5 b0.9

a0.5 b1.0

a0.6 b0.7

a0.6 b0.8

a0.6 b0.9

a0.7 b0.6

a0.7 b0.7

a0.7 b0.8

87

In accordance with the unchanged GFA principle, volumes will vary with the different transforming ratios. Specific to each building, the additional height also varies due to the original disparity.

Transforming from 70% to 40% of original areas into new volumes

70%

60%

50%

40%

88

Spontaneous Order Chengzhongcun is probably the last spontaneous type of community that survives from the siege of authorities and capital operations in China. Under the guidance of government or developers from the strategies above, villagers can decide freely whether to renovate their existing houses or not. This also represents the “spontaneous order�, the community spirits of Chengzhongcun.

Spontaneous Vitality Villagers regain their cultivating skills after transforming their own houses into a urban farm complex. The products can be 100% organic under the guidance of agricultural instructors. Since the problem of environmental pollution and food pollution caused by industrial development and urbanisation is more aware of by public. People tend to choose organic food even though they are much more expensive. The profit of this organic product can remarkably increase income of villagers.

At the same time, standardised management system can improve the influence of community and strengthen villages’ sense of belongings. People living in downtown would like to go to Chengzhongcun farm to experience the process of producing organic food. As a consequence, Chengzhongcun becomes a mixed use of spaces with people from different background. This spontaneous vitality completely improves the living condition in Chengzhongcun.

RESIDENCE

HOTEL

FARM

SOHO

SOHO RESIDENCE RESIDENCE

COMMERCIAL

FARM

MUSEUM

FARM

COMMERCIAL

89

90

91

FEI ZHENG +44 (0) 7565095322 fatecheng@gmail.com