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Yihong Chen

DoB 02 June 1992

1407/25 Therry Street Melbourne, VIC 3000, Australia +61 41 1027 358 yhchen9262@gmail.com English, Madarin Education

Skills

Presbyterian Ladies’ College, Melbourne, Australia Year 10 - Year 12

Febuary 2008 - November 2010

University of Melbourne, Australia Bachelor of Environments, major in Architecture

Febuary 2011 - December 2013

AA Shanghai Visting School, China Intensive paramatric studio

June 2013

Delft University of Technology, The Netherlands Master of Architecture, exchange program

Febuary 2015 - July 2015

University of Melbourne, Australia Master of Architeture

Febuary 2014 - December 2015

aac Summer Workshop: From Modules to Urban Quarter, Germany Case Study Houses for 21st Century Berlin

May 2016

AutoCAD Photoshop Illustrator InDesign Rhinoceros SketchUp Revit Grasshopper for Rhino Vray for Rhino Physical model making Hand sketching


Work Experiences

AS Architecture Studio, Beijing, China

December 2013 - Febuary 2014

Architectural Intern (3 months) Architecture-Studio is a French architecture practise created in 1973 in Paris. During the internship, I was able to participate in two museum competition projects in Guangzhou, and liaise architects to design, develop and produce architectural drawings, models, and etc. Coop Himmelb(l)au, Vienna, Austria Architectural Intern (3 months) The internship allowed me to gain an insight of world’s famous architecture practise and further broaden

December 2015 - Febuary 2016

my architectural thinking and skills. I participated in two competition projects: a convention centre in Shenzhen and a museum project in Budapest. During the first competition project, I was not only able to liaise architects from concept development to documentation, and produce small to large scale physical models, but was also given the responsibility to delivery the final documents and the model to China and meet the partner office there, in which allowed me to get an insight of the broader profession and gain more practical experiences. gmp Architekten von Gerkan, Marg und Partner, Berlin, Germany

May 2016 - September 2016

Architectural Intern (4 months) Working in a leading German architectural practise allowed me to further improve myself as a professional architecture graduate. I was not only constantly impressed by how much details the projects always went into - from the thoroughly considered material for each small building elemnt, to the careful aligning of seams on the vertical and horizontal surfaces; but have also learned to work in a more organised and precise manner to ensure every detail reaches to its perfection. During the last month of my internship, I was very lucky to participate in the competition project for the Museum of 20th Century in Berlin, in which locates right next to Mies’ New National Gallery. It was a challenging project as it needed to call for its own identity while carefully respecting the precious gift from the architect next door. This great opportunity has also helped me to improve more skills including team working, conceptual and programatic thinking, drawing production techniques and etc. Achivement/ Other experiences

Melbourne University Global Mobility Scholarship

December 2015

External reviewer for Monash University 4th year Interior Architecture Studio

April 2016

aac summer workshop result published in German magazine “Bauwelt - Modular Building 28 - 29.16”

July 2016


referees

Mr. Scott Woods Graduate studio leader at the University of Melbourne Ms. Karin Miesenberger Design Architect at Coop Himmelb(l)au Mr. Stephan SchĂźtz Partner at gmp Architekten von Gerkan, Marg und Partner


contents recent works

undergraduate works

other works

professional works

The W Towers Modular social housing in Berlin.

1

- present Conceptual study and bath house design.

11

The Blend Lab Innovative maker lab / workshop.

25

Gift to the City Gallery and museum design for 5 artworks.

32

In Another Scale Vacant office building renovation for bike friendly dwellings.

41

Conan Doyle Mystery Theatre Theatre design for Sherlock Holmes plays.

47

City without Ground Paramatric urban conceptual design.

49

The Neudaflat Renovation Timber construction and facade design for a high rise building.

51

Construction Design Drawing Set AutoCAD drawing set selection.

53

Guangzhou Art Museum AS Architecture Studio, Beijing, 2013

57

Shenzhen International Convention Centre Museum of Ethnography and Visitor Centre, Budapest Coop Himmelb(l)au, Vienna, 2015

59

China South Unicorm Office Towers JCP Beijing Office Towers The Museum of 20th Century, Berlin gmp Architekten, Berlin, 2016

63


01 The W Towers [Social Housing] Group Work (2) Berlin, 2016 1

The recent waves of migration has directly lead to a rapidly growing population and a severe housing shortage in Berlin. A new, digital turning point in building would have to become an incubator of rational urban development – producing modular buildings without monotony, with social integration as potential, with flexibility and a subsequent increase in density as prerequisites for an urban future. The project focuses on this theme based on a real scenario in Berlin. The design approach adopts the tower typology with prefabricated construction method and low construction area to consolidate the area sustainably, and minimise the impact on existing green spaces. The final outcome is four twenty-one level towers each with 22 different apartment layouts, ranging from 1 bedroom studios to 3 bedroom apartments, in which can be arranged and combined differently according to specific needs. The apartment layouts differentiate from the conventional social housing plans with relatively long depth and inflexible rooms squeezed in rectangular plans, but offers modern and unique life styles, with its more open and efficient living spaces. Together with the use of advanced engineering, it offers a changeable prototype in the sense of a case study for a house of the 21st century.


Typical Floorplan 2


The prototypical building articulates itself in shape of a highrise typology. In this way it’s impact to it’s surrounding is as little as possible. At the sametime it can inhabit a big amount of people which are necessary to densify this area. According to the German Building Law, the planning of building should always consider the setback area to prevent overshade (setback distance from building edge = building height x 0.4). The setback distance of each building must be respected and cannot be overlapped. This is also one of the critical factors that determine the shifting outline of the architecture.

Opening up the basement and creat a sunken plaza

Setback Plan

Opening up the basement and creat a sunken plaza

3

Applying the modular grid

Cutting the volume to allow for natural light

Mirroring the volume / satisfying the setback law

Adjusting the outline to reinforce the green gardens

Applying the modular grid

C


5F

5F

2F

2F

2F

2F

1F

7F 6F

5F

5F

5F

5F

1F 6F

5F

20F

20F

1F

20F

9F 11F 11F 11F

11F

Cutting the volume to allow for natural light

The site already has a quite dense population and the majority of the residents tend to be olderly people who have been living there for more than 10 years. The proposal tries to minimise the impact on the local residents and improve the urban condition, by articulating the buildings in high rise typology and maintaining 90% of the vegetation on site. The landscape design differentiates from the rigid form of the building and forms a dynamic pattern that is developed as free as possible. This provides a light yet energetic background for the high rise towers, and marks out two gardens between the building with distinct atmospher: a ‘paradise’ and a ‘secret backyard’. More importantly, the proposal requires minimum maintainence and allows the current residents to appreciate the existing condition.

4


1. Living Room 2. Kitchen 3. Bathroom 4. Bedroom 1 - 10th Floor Plan

11 - 14th Floor Plan

15 - 16th Floor Plan

17 - 18th Floor Plan

1. Entrance hall 2.Commercial Function 3. Bike Room 4. Garbage Room

The whole scheme allows a big variety of flat sizes and configuations, which are all thought in a modular system. By shifting and intersecting the walls, the scheme avoids rectangular plans with relatively long depths, but rather creates unconventional social housing types with more luxury and flexible options. Every single sqaure metre has been adapted to its maximum use, meanwhile, the majority of the flats will receive South light.

5

The ground floor keeps it’s space open to the public. It offers services like small shops, some bike storages and garbage storages. As the building gets taller some public programs are offered including a kindergarten and a meeting space. 15th Alternative Floor Plan- Kindergarten

19th Alternative Floor Plan - Meeting Space

19 - 20th Floor Plan


Exploded Floorplan

Interior Renders

6


Facade Diagram

By choosing industrial standardised materials the building cost can be reduced and at the same time it allows for a light and contemporary modular appearance. The facade elements can be prefabricated and transported on site by trucks. The three main materials are concrete shear walls, glasses, and metal meshes.

7

Building Construction

Facade Section


Exploded Structural Diagram

Physical Model

In response to the unique configuration of the plans, the building structure adopts a shear wall and beam system. The length of the shear walls are calculated based on the maximum span of the beams. Each component is also standardised based on the construction grid.

8


9

North Elavtion

Section AA

East Elevation


10


02 Present [Bathhouse] Individual Work (Design Thesis) Melbourne, 2015

-presentArchitecture is the registration of human presence through built form. The restriction unifies our bodies to the land, and the freedom in the constraint allows architecture to become the mediator between the two. It is about one’s subjectivity and landscape, and architecture is the media/platform/surface to record/observe our daily lives. The presence of architecture provides a way of indicating something that might otherwise remain unknown, it is a clarification but also a metaphor. It provides the visualisation of landscape – how landscapes are seen, imagined, and drawn. The ambition of the project is to investigate a spatial dialogue between the man made and nature, through the interplay between constraints and freedom in architecture.

11

Inside/Outside Appear/Disappear Registration/Penetration Define/Dissolve


We have an interest in landscape when we feel the need to stretch our eyes. Along with this common understanding - and probably because of it - the term landscape enjoys a comprehensive career as a metaphor... Augmented Landscapes, 6, Smout Allen Architecture as a way of indicating something that might otherwise remain unknown, a registration but also a threshold. To create a ‘wall’, but not a boundary. The architecture controls, but also gives a different reading to the landscape. The architecture is not an end to it self. The meaning is found when it frames, prohibits, and articulate. 12


13


14


The Architecture Located at the Daylesford Lake, Melbourne, the project intends to become a stretch of the eye to the landscape, a continuity that defines a journey. or a shifting from the outer world to inner world. The architectura awaits fulfilment and reception, complete only when the observer enters. It begins with a collaboration with the natural world to set the stage. A hiding place that gives the impression of privacy and intimacy and a moment of pause. An anonymous space allowing you to detach yourself from your own life. At the same time, it creates an ideal space to fuse the outside world, removing the boundary between your ‘hiding place’ and nature.

15


Cells

Rooftop Bar

SUN PATH

Sauna & Massage rooms Men’s changing room/bathroom

Indoor bath Women’s changing room/bathroom

Entry to bath Outdoor bath

The program is inspired by the concept of monastery, which were not built for contemplation alone, but also as apparatures aiming to regulate life in all its physical and mental aspects. “Every order defined a form of life clearly prescribed according to a rule, that is to say a precise program. The goal was not to replace life with abstract standards or schedules (such as our daily routines) but rather, to make the rules so consistant to life that the rule would almost disappear.” Dogma 16


Underground floor plan

17

Level 1 floor plan

Level 2 floor plan


18


East Elevation

West Elevation

Section AA

19

Section BB


A place to take a pause and build up your respect for nature, and to connect with the tiny part of the infinity that surrounds the earth, through the interplay between frames, walls, people and the context.

20


21


22


23


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03 The Blend Lab [Maker Lab] Individual Work Melbourne, 2014

mAKER TYPOLOGY

THE

BLEND LAB

A comtemporary maker lab that accomodates diverse makers/communities in collingwood (Melbourne)and integrate different elements that exist in the surburb.

Makers seperated from public Making process exhibited for public Public part of making Spacial relationship

By introducing a diverse range of programs and blend them through the visitor’s journey, it re-activates the community and encourage social interaction. Spaces are defined in multiple ways to allow for both private, semi-private, and public activities. Indepedent

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Intersecting

Blending

To introcude diverse elements that exist in the community and integreate them in the project in order to encourage not only connections between makers and public but also among different communities in the neighbourhood.


concentrate

form DEVELOPMENT disperse ENVELOPE

PROGRAMS

The concept of the blend lab is to provide a space for people with creative minds to share their knowledge and allow different activities in the community to happen at the same time while still allowing for private, semi - private, and public preferences. It enrouage people to interact with each other and participate in the making through a series of ‘distractions’ within the circulation. The spatial relationships between the makers and public are constantly challenged to reinforce the concept and injecting playfulness to the project.

PROGRAMS

disperse ENVELOPE

PROGRAMS

ENVELOPE

concentrate concentrate

disperse

PROGRAMS

disperse ENVELOPE

concentrate concentrate

disperse PROGRAMS

circulation disperse intersect programs disperse

ENVELOPE

disperse

concentrate concentrate

disperse

concentrate concentrate

concentrate

concentrate

concentrate

concentrate

concentrate

concentrate

disperse circulation intersect programs disperse circulation disperse intersect programs

circulation wrap programs circulation wrap programs

Internal spaces serving different programs are integrated and intersected, And connected by bridges. the envolope then circulation circulation wraps the programs programs and creates circulation that encounter wrap a programs intersect disperse each activity. Each time the user tries to proceed to a certain circulation circulation disperse destination, he will be distracted by other programs along his wrap programs intersect programs circulation circulation path, in which encourages every visitor to interact with other wrap programs intersect programs people and activities. collingwood in old days

circulation intersect programs

circulation wrap programs

circulation intersect programs

circulation wrap programs collingwood today

Collingwood used to be an industrail site and today lots of industrial elements still remain. The form inspred by these industrial elements and try to give them new identities and functions.

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teaching space 4

teaching space 4

teaching space 4 teaching space 7 4

teaching space 4

teaching space 4

teaching space 4

exhibition workshop 6 teaching space 3

workshop 5 workshop 4

teaching space 4 exhibition

workshop 3

restaurant/cafe

bathrooms exhibition teaching space 2

workshop 2 workshop 6 exhibition workshop 5

teaching space 3 exhibition footpath to townhall footpath to railway station

Section aa

workshop 4

exhibition

workshop 3 bathrooms

teaching space 3 restaurant/cafe machine&storage

bathrooms

workshop 2

teaching space 2

workshop 1 exhibition

exhibition exhibition footpath to townhall footpath to railway station

rock climbing centre

footpath to townhall

4

teaching space 2

teaching space 3

machine&storage

machine&storage

1

bathrooms

2

1 workshop 1

exhibition footpath to townhall

3 foldable curtain (for public event) teaching space 1 rock climbing centre public lecture teaching space 2

machine&storage

foldable curtain (for public event) teaching space 1

basement plan

27

exploded diagram public lecture

0 1 2

5

ground floorplan 10

m


1. Open Theatre 2. Rock Climbing Centre 3. Learning Rooms 4. Storage 5. Maker Workshops 6. Open Lecture / Exhibition Space 7. Exhibition

Section bb

5

7

8

6

1st floorplan 0 1 2

5

2nd floorplan 10

m

3rd floorplan

4th floorplan

28


29


30


31


04 Gift to the City [Galleries and Museum] Individual Work Melbourne, 2014

Gift to the City [it’s possible for museums to relax a little bit, and actullay move out into the community, maybe make strategic interventions, beyond the traditional pail of the art museums...] Raymond Ryan

If we see a city from the sky, we do not see an entrance or a starting point of it. Buildings slowly vanish into wildness, which might also be part of another city. There is no physical boundary, and if we approach it from afar, it is a progression of experience, rather than a static image. This proposal considers architecture as a self-reflexive environment that does not occupies, but the significance is found when it frames, articulates, facilitates, and prohibits. It recognises spaces and actions as inseparable aspects, so that the architecture itself can be encountered as a threshold. Accomodating five dindividual galleries, the musuem is no longer defined by any architectural envolope, and is integrated into the environment as a pavillion. The art and the public are no longer seperated, but becomes complementary to each other and form the museum. 32


Gallery 1

Gillick Liam Gallery “Often you won’t need to heavily direct people towards the appropriate space, because there is no appropriate space.” Artwork Type: Video a

CONCEPT DEVELOPMENT

split into vertical/horizontal stripes to intersect wih each other

videos projected on each of the intersecting planes

plan

a

a

the industrial city profile was taken and abstracted to be the steel frames that hang the screens and the artworks become the movable structure in this space to delivery messages. top view

elevation

SECTION aa

0

33

1

2

5

m

When people arrive at an art gallery, they often tend to look for the artwork and will stop the journey when they think they have found it. However, as Gillick believes, there is not necessarily a direction or a designated place for the artwork, and maybe the artwork and the architecture does not need to be two seperate things.


Gallery 2

Mark Titchner Gallery “Introducing this sense of doubt into things...when somestimes you see something, you kind of step back a little bit and think about what it is before� Artwork Type: Video

a

a

The installtion appears simple and plain from the outside but are actually hiding full of information inside. The use of double skin creates a distance between the viewer and the artwork, in which the viewers stand inside the inner skin and look to the videos projected onto the external box. While the viewers see the actural videos behind the glass skin, they can also see the reflections of the videos and themselves, making them perhaps questing where the information are from and creating an illusion that they are part of the videos.

ground floor

1

a

a 2

3

4

first floor

structural diagram 1.glass 3.glass sliding 4.steel truss 2.plasterboard

section bb 0

1

2

5

m

34


Gallery 3

Shawn Gladwell Gallery “I would always start off in this world or in this map in the stationary position and then i move with it... it’s really just two people trying to find a way and keeping minimum safe distance from each other.” Artwork Type: Video The idea of the space is the switch of role between being the third person and the first person. the viewers would always see other people seeing the artwork before they stand directly in front of the artwork, and there is always a distance between the two figures. B 1

A

A 2

3

2

1

3

floor plan / visitor views at different points

0

1

2

5

B

m

LLAW ETERCNOC LLAW SSALG NMULOC LEETS NEERCS section aa 0

35

1

2

section bb 5

m


Gallery 4

avaf Gallery “..sensorial, experience based installation, in which the viewer is always the centre piece; installtion will actually become alive whenever viewer was inside an experience seeing the installtion, ...transgender as a symbol of resistance, transformation fader finding the status quo ...two identities into one body of work.” Artwork Type: Paintings and installations

1. Opposition

2. Transformation

5. Opposition

6. Transformation

6. Combination

Panels all aligned perpendicular to the

7. Refomration

8. Merging

4. Reformation

9. Wraping

The gallery present itself as a blank wall with two ordinary doors at the starting point. The viewer hence need to choose one door to walk in, despite that they will exit the space at the same point.

Panels randomly rotated

section aa

1

3. Combination

The concept of the space is about opposition and merging of the two identities into one by blurring the division line. The perfect triangle is divided into two and the viewers will only enter from one side. However, although the two spaces contain slightly different artworks, they can be merged into one space and viewers are able to walk accross. The space will be activated whenever the viewers are inside and its composition will be changed by the viewers all the time.

Panels parallel to the entry wall

section aa

section aa

2

ROOM R 1+2

pixac¦ºa¦âo (wall art) + transgeometrics

ROOM R

ROOM R

a

a

a

3

mesas calc¦ºada (sidewalk tables)

3

4

4

abusadas (sao paulo nauty girls)

5

1

big ben 2

1+2

pixac¦ºa¦âo (wall art)+transgeometrics 5

floor plan

b

floor plan

ROOM L

rotatable panels

section bb

0

1

2

5

m

b

floor plan

ROOM L

section bb

b

ROOM L

section bb

The intermediate wall made with square panels referenced the pavements made with square tiles in Sao Paulo. As avaf believes, the geometric pattern of these pavement is an identity of the san paulo city, however as the city expands and grows, the idendity is being lost and people don’t know how to place the tiles. The people are responsible for maintaining this identity amd geometric beauty of the city. 36


Gallery 5

Daniel Arsham Gallery “They are meant to give the audience an invitation to experi- ence something in a different way ...it’s really about re-invention of everyday” Artwork Type: Sculpture

The gallary space is created to challenge view- er’s usual perception with space and everyday objects. The inside and outside of the space are inverted and internal space is designed like an exterior wall with a fire escape staircase of a concrete building. Once they walk into the space it almost feels like they are at middle of a building facade and they are falling into the void.

The Museum

floor plan floor plan

Accomodating five dindividual galleries, the musuem is no longer defined by any architectural envolope, and is integrated into the environment as a pavillion. The art and the public are no longer seperated, but becomes complementary to each other and form the museum. The independent galleries are clustered together with the simplest and most obvious methods; there is no interruption of the overall impression by secondary elements, which have nothing to do with the artists’ statements. No visual boundaries or threshold were added to the structure - the act of approaching and participating it through the forest of columns on the concrete podiums complete the architecture and transform the architecture to a progression of experience. The museum is here to serve the exhibition of artworks while adding layers of information onto them and providing overlapping perspectives that allow the users to form their distinct ‘whole’. section aa 0

37

1

2

5

m


Exploded Diagram

38


Section B

Section B

Section A

Section A

Ground Floor Plan

Section B

Section B

Section A

Section A

First Floor Plan

0 2

5

10

m

B1 Floor Plan

B2 Floor Plan

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Section AA


By entering this environment, or going down through the cut, the action violates the balance of the precisely ordered geometry and breaks the perception of the collection, and unexpected spaces are carved by human bodies through their erratic movements. While the volumes embrace the infinity that surrounds them, the users embrace the mysterious void and make it vibrate. The architecture, then, is an organism passively engaged in constant intercourse with users.

Utilities and other programs are located underground with a linear wall that cuts through and extrudes from ground. While the cut provides natural lights for the underground spaces, it is a signal of the main structure and extends it to the surrounding infinity. The liner wall provokes a powerful statement that conveys the intense feeling of the museum’s spatial quality, and still remain the consistent geometric language.

Underground Exploded Diagram

Underground Section

Physical Model @ 1:200

Section BB

40


05 Vacant Office Building Renovation

In Another Scale

In Another Scale [Dwelling - vacant building renovation] Individual Work Amsterdam, 2015

Site Analysis Target Group

investors

den

gar

Masterplan

By subtracting volumes based on the existing grid and transforming them into circulation elements, and introducing additional volumes, it divides the building mass into small scale volumes and creates a series of buffer zones between the public, semi-public, and private spaces. Hence the corridors serves the double use of circulation space and opening up the mass. In order to reinforce this volumetric concept, this circulation spaces are closed with meshes with plants grown on it, also to benefit the temperature inside. In order to open up the public programs on the ground floor while maintaining a notion of intimacy for the occupancies, a café space is created to close the central courtyard while two entrance pathways, one for the pedestrians and one for the cyclists are created between the volumes. Bike parking is located on the ground floor accessible with ramps next to stairs, to promote convenience for the cyclists but also to slow down their speed as they enter the complex. A gallery space is created on the west corner, which could also accommodate some temporary events, and a bike workshop on the east corner, which can be accessed both from the main street and the courtyard. As the level rises, the intimacy of the public space also increases as they become more exclusive just for the occupancies. A collective working space is created on the second level, which will have a view to the canal, and a roof garden is created on the additional third level where people can overlook the whole complex without disturbing the users in the working space. Dwellings can be accessed with two sets of lifts, which are located on the east and west wings of the complex, and since the galleries are created as several fragments, this discontinuity promotes more privacy for individual dwellings (maximum 5 dwellings will share the same gallery). The most typical dwelling type is designed with a winter garden with public gallery next to it. The winter garden is flexible on three sides so it can be completely integrated to indoor floor area when fully opened. E

Dark rough concrete will be used for façade, prefabricated and transported to site. This choice is made in order to make the connections less obvious, and since these panels will be placed in between the existing columns, the columns will be painted to match the overall appearance.

ING

RK WO

The cuts on the volumes allow natural light to penetrate through the complex and serve as threshold to the programs and dwellings. The existing building mass is fragmented allowing for both a contrast of solid and light volumes and privacy for the occupancies.

$

buyer first time buyer

f roo

SPAC

ing

bike

k par

bike rkshop wo

occupancy

Family with children

young couple

SINGLEs

college STUDENTS

knowledge workers

E

CAF existing programs

LERY

GAL Bussiness Greeness One of the world’s top economic Several greenland, parks locations. Lots of financial and and recreational amenities legal service firms including in the area. WTC Amsterdam, the Royal Bank of Scotland.

41

Education Several universities and institutions located including Duisenberg School of Finance, EMGO Institute and Vrije University Amsterdam.

Communal Service Communal services including church (Stichting Zingeving Zuidas), dental care, fitness centres and sport courts.

Childcare Childcare (eg. Smallsteps Veldert) that offers early education for children up to 13 years old.

Shopping/Catering A few fashion brands, cafes, and groceries are dispersed in the neighbourhood.

Existing Building (Exterior Facade)

Existing Building (Courtyard)

Exploded Diagram


Opening up to public on the corners while maintaining private courtyard

Lifting up ground floor for bike parking and subtracting volumes to emphasis entrance

Open air corridoors for natural light penetration

Additional floor that overlooks the canal

Apartments and vertical circulation points

42


B

Collective Working Space

A

A

existing site plan

First FloorPlan 0

5

10

m

B

Cafe Gallery Bike Workshop

Bike parking

Roof Garden

New site plan

43

Second FloorPlan

Third FloorPlan


Despite a range of residential housings, the site has numberous offices and educational institutions, it is very likely to attract family with young children, young couples, single workers, and students. However, they are more likely to stay for a limited period instead of making long term investment. Hence, the apartments are designed as small scaled one bedroom units, integrated with communal services: public services on the ground level including gallery, cafe and a bike workshop, a semi public working space for meetings/study for the residents, and a roof garden exclusive for the residents.

Typical Dwelling Plan

Climate Concept

44


A

+15.30

Roof Garden

1

DETAIL 1

2

3

+11.85

Detail 1 Winter Garden

Gallery

+8.35

+8.33

Detail 2 Gallery

Winter Garden

+4.85

6

+4.83

4

Detail 3

ELEVATION

5

7

8

9

10

Ground Floor +1.40

DETAIL 2 SECTION AA

DETAIL 3 11

+0.00

12

13

13

A

14 7

14

LEGENDS 1. Roof layers (top to low): Cap sheet Refurbidrain outlet flange Underlayer Vapour control layer 2. Outlet inspection chamber 3. Roof garden Langley green 4. Paraform thermal insulation 5. Balast margin 6. Aluminium sliding door structure with 8mm lam. safety glass single glazing sliding doors 7. Roof rain water collect channel and vertical drainage pipe 8. Suspended ceiling construction:

A 4mm plastic board 30mm steel framework 100mm cavity for air flow and services installation 9. Angle fillet 10. Existing reinforced concrete structure 11. 15mm polished concrete tile 12. gallery water drainage channel 13. 15mm timber plank with 45mm metal framework 14. 3mm steel mesh frame for vertical green 15. Plant box fixed on steel angle 16. External wall construction: Cement finishing Thermal insulation

A 15

16

6 7 0

PLAN FRAGMENT

1

0

2

0.25

0.5

10

8

10

15

1

m

46


06

Ground Floor Plan

First Floor Plan

Second Floor Plan

Third Floor Plan

Conan Doyle Mystery Theatre Individual Work Melbourne, 2013

The brief is to design ” The Conan Doyle Mystery Theatre”, which will be dedicated to the staging of murder mystery plays. The body of the theatre will consist of: 1. The William Desmond Theatre (a proscenium theatre) 2. The Cuyler Hastings Studio (a “black box” or experimental theatre) 3. Back of house, i.e. the support area for the performance spaces 4. The Harry Plimmer Cinema (which doubles as a lecture hall) 5. Front of house, i.e. the main public interface with the venue.

Sherlock Holmes is an extraordinary observer. He has a pair of eyes that can catch every detail that help him to find clues to the cases. Even a small action could not escape from his eyes as he is always carefully watching while thinking. The concept of this building is drawn from the eyes of Sherlock Holmes. Visitors in the building are surrounded by the eyeballs looking like they are observing you, however, meanwhile, you are watching others unintendedly as you travel through the building. This creates a feeling that you are in part of an interrogation process, and strongly engaged with the building and Sherlock Holmes’s world.

5m

North Elevation

47

10m

15m

Legend 1. Foyer 2. Box office 3. The william desmond theatre stage 4. Dressing room 5. Storeroom &workshop 6. Techinician’s office 7. Warm up room 8. Wardrobe 9. Toilet & shower for staff & actors 10. Gift shop 11. The cuyler hasting studio (black box) 12. Balcony theatre hall 13. Director’s office

Section AA

14. Visitor’s office 15. Control room for theatre 16. Control room for black box 17. The harry plimmer cinema 18. Bio-box 19. Restaurant 20. Kitchen 21. Toilet (public) 22. Cafe 23. Theatre management office


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STUDY CASE / PRECEDENT

City without Ground [Urban Design] Group Work (9) Shanghai, 2013

CROSS REFERENCE POINTS WITH STRAIGHT LINES

1. Cross reference points withWITH straight linesLINES CROSS REFERENCE POINTS STRAIGHT

PROBLEM

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Frei Otto, Apparatus for computing minimal path systems, Institute for Lightweight Structures (ILEK), Stuttgart, 1988

USING THE LINES AS WANTED PATH TO DIRECT THE

2. Using the linesPATHS asLINES wanted path direct the POINTS shortest SHORTEST BASED THEtoPOPULATED USING THE AS ON WANTED PATH TO DIRECT THE SHORTEST PATHS BASED ON THE POPULATED POINTS paths based on populated points

SOLUTION

Walkways in between buildings, Hong Kong

2D process to create shortest walk

An Urban Intervention in Lujiazui, Shanghai This project mainly focuses on the urban scale of Shanghai CBD. Shanghai is under fast development and the newly-built highway creates the disconnection among the city area. How to connect and enhance the social life of street level, underground and even overground is the major concern of our project. Also, another problem brought up by the highway is the long footway from one location to another. This project attempted to calculate the minimal walk path by the use of the definition of “Shortest path” in grasshopper to find out the optimal scheme of the urban network, and bring back Shanghai to its old days where there were sufficient public space, active social life and perdestrian interaction.


Some platforms were generated at intersections of some prominent areas as there will be a higher density of people and hence a need of space for social interation. As the pathways get away from the centre, they become lighter, this is relevant with population density as well as there will be more people at the intersection. In order to make a connection between the inside and the outside and blur the solid boundary, the structure penetrates to the buildings at certain points so that people can easily travel through buildings allowing the architecture to invade the city. Platforms at intersections of prominent areas |PLATFORMS AT INTERSECTIONS OF PROMINENT AREAS

3D process to create shortest walk

Thickness changes with pedestrian density

Invade existing buildings to connect inside&outside

50


08

N

SSS

W

E

20840 60

120 00

00

S

The Neudaflat

N

[High Rise Timber Construction]

Individual Work Utrecht, 2015

W

E

FLOOR FINISH S

Load Bearing Structure

A

Building Orientation

PREFABRICATED FLOOR ELEMENT

500mm MAINTAINENCE CATWALK FIXED ONTO EDGE BEAM

68°

EDGE BEAM AND MAINTAINENCE CATWALK

TYPE OF JOINTS

The 15 storey office building in Utrecht will be renovated using the structure of wood, incoorperated with a sustainable facade, that minimizes energy use and requires the minimal structural support. The vertical load bearing elements will use the diagrid system as they are structurally efficient as well as architecturally significant assmblies for tall buildings.

VERTICAL LOAD BEARING ELEMENTS

300mm

BUILDING STRUCTURE

TIMBER FRAME FIXED ONTO METAL JOINT

CURTAIN WALL SYSTEM

SECONDARY STRUCTURE FRAME WITH METAL GRILLE

FLOOR FINISH

TIMBER TUBULAR TERTIARY SUPPORT FRAME

ETFE Cushion CLAMPING PROFILES

PREFABRICATED FLOOR ELEMENT

ETFE CUSHIONS

OUTER LAYER (TRANSLUCENT FRITTED PATTERN)

ROTATEBLE EFTE CUSHION TO ALLOW FRESH AIR IN

ETFE is a material that can balance the need for visibility, natural daylight, whilst at the same time regulate for optimal thermal comfort. Finally, due to its light weightiness, this significantly reduces the structural requirement for the support frame, allowing it to be made with wood.

Outer air chamber

VERTICAL LOAD BEARING ELEMENTS

Inner air chamber

EQUINOX

SUMMER SOLSTICE

WINTER SOLSTICE

Research shows that the optimal angle for a diagrid structure (minimal horizontal displacement) is bebwteen 63° to 69°.

A key parameter influencing the performance of ETFE cushions is the possible presence of a fritted intermediate layer. The main purpose of the frit is to introduce shading and reduce the transmitted solar energy into the occupied space. By printing overlap- ping gestalt graphics on multiple layers and integrating the cushions with sophisticated pneumatics, the different graphics can be moved together and apart from each other. This enables us to vary the amount of light and solar energy penetrating the building and the visual appearance of the envelope during different seasons.

In winter, the intermediate layer of the ETFE cushion will be pushed inwards to allow heat to come in. The middle cushion on the South facade will be opened, and air will be pre-heated/sent to the AHU system to heat the internal space. N

EDGE BEAM AND MAINTAINENCE CATWALK

INNER LAYER (NO FRITTING)

EFTE Facade Diagram

Climate Facade In summer, the intermediate layer of the ETFE cushion will be pushed outwards to block heat. The middle cushion on the North facade will be opened to allow the Nothern breeze to come in, and heat will be exhausted through the chimney on the South facade.

51

INTERMEDIATE LAYER (TRANSLUCENT FRITTED PATTERN)

N

S SUMMER

SUMMER

SN

N

S WINTER

WINTER

With the help of sensor, the air pressurization system that controls the air pressure within the ETFE cush- ion will increase pressure in the inner air chamber, thereby causing the intermediate layer to push towards the outer layer and reducing the level of light and solar gain penetrating the space. In winter, the outer air chamber will have high pres- sure. This causes the intermediate layer to be pushed towards the innermost layer, thereby increasing internal S temperatures and solar gains.

50mm MAINTAINENCE CATWALK CURTAIN WALL SUPPORT FRAME FOR ETFE CUSHION

ETFE CUSHION

Exploded Structure


3000

3000 TIMBER FLOOR FINISH 25 mm FERMACELL DRY SCREED 20mm IMPACT SOUND INSULATION 60mm FERMACELL HONEYCOMB SYSTEM 25mm TIMBER BOARD

AIR INLET

Detail 01

B

B

Detail 02 0

1

m

Section BB

Facade Elevation

Section AA

EFTE Frame Detail

52


53

09

Construction Drawings [Residential] Individual Work Melbourne, 2013


54


55


56


Guangzhou Museum, Professional Work: AS Architecture Studio, Competition, Beijing, 2013

57


Guangzhou Art Museum, Professional Work: AS Architecture Studio, Competition, Beijing, 2013

58


Shenzhen Convention Centre, Professional Work: Coop Himmelb(l)au, Competition, Vienna, 2015

59


Shenzhen Convention Centre, Professional Work: Coop Himmelb(l)au, Competition, Vienna, 2015

60


Budapest Museum of Ethnography, Professional Work: Coop Himmelb(l)au, Competition, Vienna, 2016

61


Budapest Museum of Ethnography, Professional Work: Coop Himmelb(l)au, Competition, Vienna, 2016

62


China South Unicom Building (Guangzhou), Professional Work: gmp Architekten, Schematic Design, Berlin, 2016

63


JCP Beijing Office Towers, Professional Work: gmp Architekten, Documentation Production, Berlin, 2016

64


Museum of 20th Century (Berlin), Professional Work: gmp Architekten, Competition, Berlin, 2016

East Elevation 65

North Elevation


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Museum of 20th Century (Berlin), Professional Work: gmp Architekten, Competition, Berlin, 2016

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Shop

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Site Plan

Ground Floorplan

Facade Section

Section 1-1 66


Photography

67


68


69


Thank you.

70

Portfolio 2016 YC  
Portfolio 2016 YC  
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