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Portfolio Architecture

ZHANG Tong


2 Architecture Design and Acoustic Analysis Multifunctional Hall, Xintaiyang Student Center, Peking University

15 Architecture Design The Audio and Audience

21 Architecture Design Mount. Colos

26 Architecture Design Tea, Beijing Opera and SIHE Yard

Model Design 30 The House of Robie

Model Design 33 The Cube

Stage Design 35

The Night of Beijing Forum Multimedia Concert

Other Design Works 39 Internship Works Concert Program Booklet Website Design Magazine Cover Illustiation


Multifunctional Hall Acoustic Design Xintaiyang Student Center, Peking University Nov. 2012 - present (under construction) Co-designers: WANG Simin, HU Runjie


Construction site

Celling

Beams

Columns

Walls

Stairs

Floor

B1

The mutifuctional hall locates at B1 level of Xintaiyang student center, which is currently under construction. Surrounded by open-air courtyards and a sunken garden, the site has more enclosure while lacks natural lighting. The main structure is intersecting beams and reinforced concrete columns. The hall is designed for students and student societies in PKU holding extra-curricular activities, especially musical and performance events. As a result, acoustical effect is the most design element to be concerned.


Design Concept Users

Stage Space Division

Type

Space Defects

Movable Partition

Secondary Space

Frequency

Sound Field

0

Adjustable Device

150

75 concert

exhibition

lecture

25%

rehearsal

lecture performance rehearsal

Utilization

5%

8%

3%

Proof 59%

Transmittance

Location

0 performance

exhibition

Reflect

Scatter Materials

20000

concert 225

Occupancy (%)

Absorb

Visual Effect

10000

300

External walls

Multifunction

Occupancy

Function and Usage Reaserch

Frequency

Based on the function and usage survey, our design primarily focused on three concepts: Mutifunction, Acoustics, and Visual Effect. This hall could serve as an auditorium, a concert hall, a lecture hall, a meeting room, or even exihibition hall. This required a more free, flowing and mutiscaled interior space. The micro structure and use of material should refine and reinforce the sound field and visual effect. According to series of analysis, we designed two models for acoustical and visual tests. Model I located the stage on west along the long side of the rectangular site, and openings on backwall; Model II has its stage on the north- the wide side and openings on both sidewall and backwall. Followings are main comparisons of these two models.

Model I: Stage on the west

concert exhibition lecture

performance rehearsal

Model II: Stage on the north

30000

40000


Materials Research

Model I

The 500 Hz RT (reverbration time) of No.9 is the closest to the ideal value for concerts (1.62s). But it changes rapidly with frequency. The acoustic performance of the single-layer glass is better than double glazing. no. celing

Plaster-Insulation-ConcTile

walls

floor

FramedPlasterboard

ConcFlr-Carpeted-Suspended

Doublegrazed-TimberFrame

IN S ID E

Singlegrazed-AlumFrame IN S ID E

ConcFlr-Timber-Suspended

Plaster-Insulation-Suspended

2.59 2.06

1.79 1.65

1.16 1.10

2000Hz

Seating

Seat Materiel

2.73 2.50

1.70 1.66

1.11 1.10

0.70 0.69

350*80% 400*80%

Cloth-Covered Cloth-Covered

2.41

1.22

1.01

0.95

200*80%

Hard-Backed

2.32 1.26

2.23 1.97

2.10 1.93

1.93 1.63

400*80% 400*80%

Cloth-Covered Cloth-Covered

1.26

1.02

0.89

0.84

300*80%

Hard-Backed

1.69

1.62

1.18

0.68

300*80%

Hard-Backed

0.71 0.69

300*80% 400*80%

Cloth-Covered Cloth-Covered

IN S ID E

O U T S ID E

IN S ID E

O U T S ID E

O U T S ID E

TimberFlr-Suspended

125Hz 500Hz 1000Hz

IN S ID E

O U T S ID E

IN S ID E

FramedTimberboard

IN S ID E

5 6 7

Doublegrazed-AlumFrame

O U T S ID E

3 4

windows

IN S ID E

O U T S ID E

O U T S ID E

1 2

O U T S ID E

O U T S ID E

8

IN S ID E

Plaster-Joists-Suspended

TimberFlr-Suspended

O U T S ID E

9

TimberCladMasony

ConcFlr-Carpeted-Suspended

Doublegrazed-AlumFrame

IN S ID E

Model II

The RT of No.2 is better than others. The disadvantage is that the bass RT is slightly shorter than ideal value. Further adjustments may focus on subdividing the floor and set different materials. no. celing 1

Plaster-JoistsSuspended

front-walls

ReverseBrickVeneer_R20

side-walls

back-walls

TimberClad Masonry

FramedTimber Plaster

floor

TimberFlr_Suspended

1.33

125Hz 500Hz 1.05

0.89

1000Hz

0.84

2000Hz Seating 300*80%

Seat Materiel

1.51

1.84

1.74

1.61

400*80%

Cloth_Covered

1.49

1.98

1.81

1.81

400*80%

Cloth_Covered

1.47

1.79

1.70

1.58

400*80%

Cloth_Covered

IN S ID E

Hard_ Backed

TimberClad Masonry

O U T S ID E

IN S ID E

O U T S ID E

IN S ID E

O U T S ID E

ConcSlab_Timber_ OnGround IN S ID E

IN S ID E

4

IN S ID E

O U T S ID E

3

IN S ID E

O U T S ID E

O U T S ID E

2

O U T S ID E


Reverbration Time Analysis Model I

Model II

1

1

2

3

4

5

6

7

8

9

2

3

4


V isibility Analysis A c tua l V is ib le A re a Value R ange: 0 - 200 m2 ?E COT E CT v5

m2

V isibility Analysis

200+

A c tua l V is ib le A re a

180

Value R ange: 0 - 200 m2 ?E COT E CT v5

160

140 120

100

100

80

80

20 0

Value R ange: 0 - 200 m2 ?E COT E CT v5

m2

A c tua l V is ib le A re a Value R ange: 0 - 100 m2 ?E COT E CT v5

40 20 0

V isibility Analysis A c tua l V is ib le A re a

180

Value R ange: 0 - 200 m2 ?E COT E CT v5

160

Value R ange: 0.0 - 60.0 m2 ?E COT E CT v5

140 120 100

80

80

60

60

40

40 20

-2.200

m2

0

V isibility Analysis

100+

A c tua l V is ib le A re a

90

Value R ange: 0 - 100 m2 ?E COT E CT v5

80

A c tua l V is ib le A re a

Value R ange: 0.0 - 60.0 m2 ?E COT E CT v5

m2 100+ 90 80

70

70

60

60

50

50

40

40

30

30

20

20 10

-4.200

m2

0

V isibility Analysis

60.0+

A c tua l V is ib le A re a

54.0

Value R ange: 0.0 - 60.0 m2 ?E COT E CT v5

48.0

m2 60.0+ 54.0 48.0

42.0

42.0

36.0

36.0

30.0

30.0

24.0

24.0

18.0

18.0

12.0

12.0

6.0

6.0

0.0

V isibility Analysis

160

100

0

A c tua l V is ib le A re a

180

120

10

V isibility Analysis

m2 200+

140

0

0.0

-4.800

m2

V isibility Analysis

60.0+

A c tua l V is ib le A re a

54.0

Value R ange: 0.0 - 60.0 m2 ?E COT E CT v5

48.0

m2 60.0+ 54.0 48.0

42.0

42.0

36.0

36.0

30.0

30.0

24.0

24.0

18.0

18.0

12.0

12.0

6.0

6.0

0.0

Model I

Stage Visibility Analysis

60

0.000

200+

20

V isibility Analysis

160

120

40

A c tua l V is ib le A re a

180

140

60

V isibility Analysis

m2 200+

-5.600 (m)

0.0

Model II

According to the reverbration test results, model II has better reverbration time which could provide stronger sound field for musical events.Model I has better visibility for both inside and outside audiences.


Particle Field Analysis

Model I

Level

Level

D ire c t

Level

U s e fu l

U s e fu l

U s e fu l

E c ho

B o rd e r

B o rd e r

E c ho

E c ho

R e v e rb

R e v e rb

Masked

Masked

Level

Level Level

D ire c t

D ire c t

D ire c t

U s e fu l

U s e fu l

B o rd e r

Level

D ire c t

U s e fu l

E c ho

E c ho

B o rd e r

B o rd e r

R e v e rb

Masked

R e v e rb

Masked

Level

D ire c t

U s e fu l

E c ho

B o rd e r

Level

D ire c t

E c ho R e v e rb

R e v e rb

B o rd e r

U s e fu l

E c ho

B o rd e r

R e v e rb

Masked

U s e fu l

Masked

The direct sound takes 50 ms to reach the back wall. In an entire process, the sound field is not even or uniform. Significant difference between locations can be seen, especially between the two sides and the middle. The middle part lacks reflections which can strengthen the direct sound. And the audiences on the two sides may be disturbed by unnecessary echos. Sound absorbing materials should be placed on the side walls and corners.

D ire c t

D ire c t

B o rd e r

R e v e rb Masked

E c ho R e v e rb Masked

Masked

50ms

100ms

150ms

Level

U s e fu l B o rd e r

B o rd e r E c ho

E c ho

Masked

R e v e rb

R e v e rb

Masked

Masked

Level

Level

Level

D ire c t

Level

D ire c t

100ms

U s e fu l B o rd e r E c ho R e v e rb

R e v e rb

Masked

Masked

67ms

D ire c t

E c ho

E c ho

U s e fu l

U s e fu l B o rd e r

B o rd e r

Level

D ire c t

E c ho

U s e fu l

Masked

B o rd e r

E c ho

R e v e rb

B o rd e r

R e v e rb

R e v e rb

Masked

D ire c t

U s e fu l

Masked

Level

E c ho

D ire c t

U s e fu l

B o rd e r

R e v e rb

Masked

The direct sound takes 67 ms to reach the back wall. In an entire process, the uniformty of the sound field is significantly improved. Audiences in the middle can get more reflections from side walls. But the audiences near the back walls may hear unnecessary echos. Sound absorbing materials should be placed on the back wall.

D ire c t

D ire c t U s e fu l

E c ho

Model II

Level

Level

D ire c t U s e fu l B o rd e r

R e v e rb

167ms


Geometrical Acoustics Analysis Model I

Model II


Technical Drawing

N

According to analysis and comparisons of two models, we used model II (stage on the north) as final design. And to reinforce sound effect we also designed micro structure and acoustical equipment on both cellings and walls.

Plan 1:500

Acoustical equipment

Structure

Section 1:500


Acousticall Equipment

Scattering background light

Direct stage light

Plaster panel

Sling and crowfoot Wave shape sound reflecting panel Sound reflecting glass panel

Entire structure Material: plaster panel

Material: glass


Render


The Audio and Audience

ARCH 317 Studio project: Cerulean warbler observation center in Tyson research center Fall 2013 Tutor: Stephen Mueller


The observatory platform is designed for scientists and researchers studying cerulean warbler in Tyson research center. Three possible sites are provided with different conditions of microclimates, flora, fauna, fungi, terra, water and other natural elements. According to an animal habitat and behavior study, this kind of migratory bird lives on several specific species of trees, and communicates mainly by producing and receiving a special sound. On the left is a phenomena mapping of topography, flora and fauna. As the main source of sound, trees are represented in form of sound waves and vary in size, density and strength. The most suitable environment for both warblers and observers should have orientated and stabled sound source as well as dense sound waves. Based on field study and phenomena mapping, site II is selected for the observatory center. This observatory center serves as a warbler data collecting and documenting station, a public education center, and especially an acoustical environment reproducing instrument, which means the building could both receive sound from and produce sound to the environment. Section C Sound producing zone

Section B Sound transforming zone

Section C Sound receiving zone

Sound Source

By using triangular frame and adjustable reflecting panels, the building could collect sound from the source, and then transform the sound by adjusting panels' angle and using technical instrument. The frame channel throughout the building could orientate sound in specific direction. Finally, preserved sound would be produced and spread into the site to change Site plan the acoustical environment.

Sound Producing Sound Transforming Sound Receiving


Section Series Sound transforming channel frame

Section Sound reflecting panels


Tectonic Model 1/4''=1' 0''


Building Model 1/8''=1' 0''


Mount. Colos Architecture Associate London(AA) Visiting school 2011-2012: Beijing Neo-center Digital Workshop Spring 2012 Tutors: XU Feng(WAX.), Daniel GILLEN(MAD.) Team members: CHENG Wingyu, HOU Pohsion, WANG Yang, ZHANG Tong, ZHAO Xinyu, ZHU Jianing My work: project planning and management, scheduling (team leader); Maya operation; Rhino modeling; graphic work; final presentation Details see:

h t t p : / / w w w . a a s c h o o l . a c . u k / PORTFOLIO/MICROSITES/microsite. php?title=Beijing&return=../../STUDY/VISITING/ beijing&url=

Published by: Urban Architecture Sep. 2012


Solid City: Formation and Erosion

Site Information

Like the formation of natural landscape, the formation of a new city is a progress of uplifting, folding, collision and erosion. Human settlements serve as the power of uplifting. Cultural conflicts and integrations lead to the diversity. And most of the time, transportation becomes the main power of erosion.

Tongzhou District, Beijing

Maya Operation

To imitate the formation of natural landscape, we set different emitters in Maya at the places where population gathering. By changing the operation time, we can get different types of "landscape" as the surfaces of architecture in different times. Emitter

Max Fluid Fluid distance Dropoff Density Emission harbor 3.576 2.000 1.000 school 1.000 1.391 1.000 kindergarden 1.000 1.854 0.636 hospital 1.000 2.000 0.914 clinic 1.000 2.000 0.868 supermarket 1.000 2.000 0.967 restaurant 1.000 1.192 0.808 stadium 1.000 2.000 0.781 bus stop 1.000 2.000 0.887 bus stop2 1.000 2.000 0.854 bus stop3 1.000 2.000 0.662 fEmitter6 1.000 0.464 0.126 fEmitter9 1.000 1.523 0.225 fEmitter10 1.000 1.325 0.172 fEmitter11 1.000 1.126 0.205 fEmitter13 1.000 2.000 0.219

Fluid Fluid Fuel Heat Emission Emission 1.000 1.000 0.815 0.722 0.695 0.543 0.887 0.854 0.815 0.775 0.960 0.921 0.808 0.609 0.788 0.821 0.848 0.868 0.821 0.841 0.735 0.762 0.099 0.093 0.126 0.146 0.139 0.159 0.179 0.185 0.205 0.219

Canal Zone

Xinhua

Street

Satellite Image of the High-grade Commercial and Residential Area

No

rth

Ca

na

l

eet

tr Yudaihe S

High-grade Commercial and Residential Area


Maya landscape series


Tea, Beijing Opera and SIHE Yard Historic Building Preservation Studio: Traditional Dwelling Transformation 17th Liuyin Street, Beijing, Spring. 2012 Tutor: XU Yifan


Function

Circulation

The site is a traditional dwelling called Sihe-yard, which is typically rectangular shape and enclosed by rooms with different functions, leaving an open-air courtyard in the center. According to principles and rules of historic preservation, transformation and reconstruction should improve stability and living conditions without destroying original building, and keep its style as a whole. This transformation design keeps the room layout and building structure, but rearranges functions and openings, making the new circulation more free and fluent. Located in tourist attraction area, this tea house and Beijing Opera center would then becoming a new attraction to neighbors and visitors.


Tectonic modeling: Chinese Toukong structure


B

N

A-A

A

A

0 1 2m

B

B-B


The House of Robie

ARCH 339 Concepts and Principles in Architecture: conceptual model design Fall 2013 Tutor: Peter MacKeith Partner: James Tadlock


This conceptual model is an abstraction of Frank Lloyd Wright's Robie House. Inspired by his Prairie School Principles and understanding of nature, our design concepts are horizontality, flowing space, and nature. The model has three levels and a central heath, with magnets on specific position. Levels could be moved horizontally and blocked by magnets at the conners of heath. This makes the model change shapes, suggesting the flowing space of Wright's design. The entire model looks flat in elevation stressing the horizontal visual effect. And the colored trIangular windows are an representation of the tree branch window of the Robie House.


The Cube

Primary Architecture Studio: Model Design Fall. 2012 Tutor: BAI Jing Partner: ZHAN Xiuxian

When architecture is limited to a cube, what designers should focus on is probably interior forms. The studio explored primary architectural forms, including horizontal spaces, circulation, openning and landscape; and how forms could generate a complex architecture.


Stage Design The Night of Beijing Forum Multimedia Concert Peking University Centennial Hall, Nov. 2011


Other Design Work Nanjing CBD

PKUCMI Website

Landscape design (Internship at MAD Architects) May. 2013

http://cmi.pku.edu.cn/EN

Harbin Culture Center

Painting Only

Opera Hall interior representation (Internship at MAD Architects) Mar. 2013

Joy and Music In Chemistry Concert program booklet graphic design May. 2011

Magazine cover illustration Shenzhou Magazine Dec. 2012


Portfolio Toni Zhang  

Architecture student portfolio, M.Arch 3