| ACADAMIC PROJECTS |
Memmory of The Site “ The pool center evoking the past memory through music. ’’
With-IN | With-OUT “ Collective Housing at Sai Ying Pun ’’
Primary School In Pinagdilawan
| CONTEST |
“ A primary school for the community of the village’’
Dragon Spine Pavilion “ Fabfest London Entry, 2016’’
Ta i k o o L i S a n l i t u n
| EXTRA PROJECTS |
“ Facade Renovation of S10, Taikoo Li, Beijing, 2018 ”
T h e D o u b l e -Wa l l Pa v i l i o n 雙牆宅 “ UABB 8th 2019-20 Shenzhen site at Dai Peng Fortress Sub-Venue, 2019 ’’
Play of Colors “ Renovation of the Playgroung in Baseco, Philippines ’’
P a s s i o n To w a r d s C h i n e s e M u s i c “ Student Composer & Conductor, Music Department, CUHK ’’
Memmory of The Site “ The pool center evoking the past memory through music. ’’
By the rapid demolition and renovation in Shau Kei
project encourages people to re-engage in this once
Wan after postwar, the old community, culture, in-
thrived site. It is driven by three aspects: context(ra-
dustries, life style have decayed or barely exist. On
tional), to take A Kung Ngam and context into ar-
the proposed site, an old abandoned quarry, A Kung
chitectural gesture to force the government to give
Ngam, is a significant character behind it. From
up their moves; communal programs(emotional), to
the site analysis, the Eastern council of Hong Kong
make the activities of the past and present coexist to
is fighting against Hong Kong electronic company
let any class of people spontaneously involve in the
from developing a power plant in A Kung Ngam. The
building by bonding the neighboring community to
Eastern council is an advocate of preserving this old
the historical quarry; and music(subjective), to in-
quarry as the last piece of memory of Shau Kei Wan,
tegrate with the extraction of musical elements from
a place being developed hastily since 1960s, for na-
“Memory” written by Tyzen Hsiao regarding the nos-
tives to reminisce. The conflict arouses the question
talgia of hometown, and create unique ambiance of
of retention and development of social culture. The
spaces through the quality of water and light.
project therefore intents to counterbalance this condition and awake the memory of the site.
It is hoped that the proposed project could behave as a new role of architecture recollecting the past affec-
Instead of merely appreciating or archiving the his-
tions, incorporate with the present, and in the future,
tory, revitalization is the core of design concept. The
evoking good memory of people.
Instructor | Simon Hsu, Hong Kong
| S IT E P R O G RA M MA P P I N G |
After understanding the decay of the culture of Shau Kei Wan, it reminded me about the piano music, “Memory� , written by Tyzen Hsiao, a Taiwanese composer, regarding the nostalgia of his hometown, Taiwan. The affection of the music moved me and to some degree subjectively reflected the circumstance of the proposed site. This project, hence, aimed to experimentally integrate the musical elements with the community swimming pool, and create distinctive ambiance of spaces through the quality of water and light. The music was analyzed in the aspects of impression, tempo, rhythm, and harmony. They were translated into tangible architectural languages respectively and then blended in with the massing generated from site response.
| S IT E HI STOR I CA L A N A LY SI S |
S I T E A N A LY S I S Tyzen Hsiao
“MEMORIE S” Memories of Home, Op.49: No.2 (subjective)
inspire
PA S T M EM O RI ES V. S . R E S E N T / F U T U R E A C T I VI T I ES (emtional)
S I T E S T RA TEG Y (objective)
IMPRESSION Light notes yet with heavy affection. Feeling nostalgia from my hometown.
RHYTHM Cross rhythmic beats result in interlaced elements
TEMPO Sloped elements make the progression of walk seem Andante
HARMONY Post romantic harmonic writing makes the piece more chromatic
translate to tangible spaces ARCHITECTURAL LANGUAGE (operation)
To revitalize and help people re-engage in the nearly abamdoned site
PAST ACTIVITIES
PRESENT / FUTURE ACTIVITIES
chessing under a tree or pavilion
music studio
celebration of Godness
sports center
chatting in front of walls
electronic devices
publicc spaces for watching shows, movie, or lectures
leisure spces
INITIAL MASSING
CO-EXIST ?
PROGRAMS / LANDSCAPE
Recall the “memory” back to people
| DE SI G N RATI O N A L E |
Evoke the good memory of the past
IMPRE S SI O N The piece is flowing with the weightless notes; yet, with the profound meaning. The simple melody was deeply imprinted in my mind. I imagined myself solely walking or dancing amongst parallel high-rise walls and transparent glazings as if I was peacefully indulged in my pure memory. Every wall carries over the memories of “past”, “present”, or “future.
TEMPO The given tempo was marked as “Andante cantabile” as in at the walking pace and play song-likely. Considering the walking pace of Hong Kong people, a sequence of sloped elements aim to decelerate people’s speed in order to help the visitors appreciate the surrounding in a decent “tempo’’.
RHYTHM The rhythm was designated as 3:2 cross rhythmic beat to help the music drift forwards. The primary melody was written on soprano and the triplets were written as accompaniment in the texture of arpeggiando. This language was translated into mazed and interlaced columns trimmed in accordance with the trends of either melody or broken chord.
HARM O NY This piece of music was composed with post-romantic style. From the harmonic analysis, classic writing method was applied and enriched with well-designed secondary dominants. With fusion with water and light these tender and soft elements, “harmony” was treated as a romantic architectural gesture with the water effect of caustics. Various unique spatial qualities were then created.
| MUSICAL ELEMENTS |
The building is simply splited into two programs by the central axis of circulation towards the quarry and it is located in the corner of the site in order to gain the winter sunlight.
The volume of the pool center breaks into two to open to the main road in front and embrace the old mining site behaind. The other half of the volume dessolves to become the landscape.
A large sheltered open space is created by elevating the naib pool space and make it tilt along with the massing below which offer a nice A Kung Ngam view to appreciate.
I.
II.
III.
| STRATEGY |
C OMPOSITION
The project was driven by three aspects: context(rational), to take A Kung Ngam and context into architectural gesture to force the government to give up their moves; communal programs(emotional), to make the activities of the past and present coexist to let any class of people spontaneously involve in the building by bonding the neighboring community to the historical quarry; and music(subjective), to integrate with the extraction of musical elements from “Memory� written by Tyzen Hsiao regarding the nostalgia of hometown, and create unique ambiance of spaces through the quality of water and light. The music was analyzed in the aspects of impression, tempo, rhythm, and harmony. They were then translated into the tangible architectural languages. Fusing with the site response, the prototype of the massing was created.
1.
13.
12.
+11.0
A KUNG NGAM 2.
11.
+12.0 10.
+9.0
3.
OPEN SPACE 01. communal park
5.
5.
6. 9.
02. preserved A KUNG N
+11.0
COMMUNITY CENTER
8.
03. gallery corridor 4.
5.
04. music studio
7.
05. classrooms 06. computer lab 07. study room
08. reception / administra 09. lounge POOL CENTER 10. lobby 11. reception 12. staff office 13. lounge
| 1/F FLOOR PLAN |
16.
4.
5. 3. 15. 6. 7.
10.
14.
8.
+15.0
9.
OPEN SPACE
01. communal rooftop ga COMMUNITY CENTER 11.
12.
02. cafe POOL CENTER
15.
03. universal hallway
13.
04. crush hall +14.0 2.
05. life guards’ changing r 06. first aid room
1.
07. male’s changing room
08. female’s changing roo
09. universal changing ro 10. diving pool 11. children’s pool 12. teaching pool 13. thermal spa 14. lap pool 15. resting area 16. spectator stand
| UPPER GROUND FLOOR PLAN |
NGAM
ative office
arden
room
m
om
oom
| FRONT PLAZA VIEW |
| OV E RV I E W |
| CONCURSE |
| S H E LT E R E D P L A Z A |
`| CHANGING ROOM |
Regrading the sections, we can observe the proposed project laying along the topography as well as the layering of complex programs. The project is also surrounded by different types of open spaces, for instance, a communal park for future visitors coming from the hospital sitting in front of the site, the huge sheltered plaza connecting towards the A Kung Ngam with the transparent lap pool above, and the other small rooftop garden. It is hoped that the proposed project could behave as a new role of architecture recollecting the past affections, incorporate with the present, and in the future, evoking good memory of people.
With-IN | With-OUT “ Collective Housing at Sai Ying Pun ’’
The concept for the project derives from a close
open spaces with implicit leisure programmes con-
reading of the context. Due to the site’s isolation
nected to the pedestrian circulation. The result of
from its surrounding and Kennedy Town’s narrow
this bending also helps to generate a “frontispiece”
sidewalks, there is a lack of connectivity between
towards the Belcher Bay Park forming a dialecti-
the different street blocks which undermines op-
cal relationship between the project and the lung
portunity for neighborhood activities. Based upon
of the district. Within the housing project, there lies
this observation, the project aim to elevate the
communal courtyard with topographic landscape
sense of communal experience through the strate-
for both the residents and the community. Tall veg-
gy of “WITHOUT’’ and “WITHIN’’. As a way to
etation is planted along the edge of the site, not only
translate this observation to architectural response,
does it create the acoustic buffer zone but dramat-
the architecture massing is shaped through maxi-
ically improve the street atmosphere and quality.
mizing the site’s entire triangular geometry. To fur-
The project seeks to create a place where countless
ther articulate the massing, it is gently bent inward
events, stories, and activities will culminate.
to create a series of intimate moments and unique
Instructor | Sebastian LAW, Hong Kong
眀
猀攀愀 瘀椀攀 瀀愀
爀欀
䈀䔀䰀䌀䠀䔀刀 䈀䄀夀
戀甀
猀 琀
攀爀洀
椀渀
愀氀
䈀
瀀爀愀礀愀 䌀
䄀
匀䤀吀䔀 䈀
瀀愀爀欀
琀爀愀
洀
猀琀
愀琀
椀漀 渀
䐀
䴀吀 刀
匀䤀吀䔀 䌀
| SI TE A N A LY SI S |
| S T U DY O F B U I L D I N G T Y P O L O GY |
maximum inner courtyard area Extruding volumes along the edge of the site generates space for an inner courtyard and recreational areas.
commercial programs help lift up the building (the tenement style)
creating buffer zone
slightly “poking� the volume inwards
inserting cores and introduce accesses
By setting back to create buffer zones for preventing from the crowdedness and traffic noise.
Buildings area poked into the site to create a series of public areas and interesting and unique spaces.
Inserting cores in the nodes of the strip volumes provides convenience for residences.
sky garden platforms & greening
ventilation west prevailing wind
| MAS SING STRATEGY |
distribution of units
FAR | 2. 24 CO V | 0. 4 HEI | 5. 6
|UNITS DISTRIBUTION | | UNITS DISTRIBUTION |
A
A’
||G G//FF PPLLAANN|| 0 1
2
5
10m
| 1P/L F APNL A |1/F |N | 0 1
2
5
10m
| UNITS DIAGRAM |
| D E TA I L S E C T I O N O F U N I T S |
| OV E RV I E W |
| 2-BEDROOM FLAT INTERIOR
|
| CORRIDOR OF STUDIO FLATS
| FA CA D E |
|
Primary School In Pinagdilawan “ A primary school for the community of the village’’
Pinagdilawan is at western coast of Talim island
central plaza covered with a huge funicular shel-
in Philippines surrounded by Laguna lake. Pinag-
ter so as to maximize the natural ventilation. The
dilawan is hilly and rich in bamboo, which the is-
main structure is designed in butterfly truss made
landers make into different types of furniture such
of bamboos in order to achieve the reclamation of
as bamboo sofas, cabinets, tables, and so on. This
the rainwater and respect the local material. Ad-
is their main source of living. However, due to the
ditionally, the cladding of the structure is careful-
monsoon and typhoon season, the village along the
ly designed to avoid the direct sunlight preventing
coast will be flooded regularly. Hence, I chose the
from heating up the temperature light in the class-
site for the primary school sitting on the hill to pre-
room. What I want to achieve is an integrated pri-
vent it from the flooding so that the school could
mary school which is not only a place to receive
also offer to be a tentative refugee camp. The de-
education, but a place to explore and develop both
sign concept is to organize the programs into four
for children and the residents through the inspired
linear clusters and place them radially to enclose a
spaces and well-carried design.
Instructor | Chris BENE, U.S.A
| TOPVIEW PLAN |
| STRUCTURAL DIAGRAM |
enclosing the central plaza and making the classrooms facing towards the sea
preventing the hall from blocking the prevailing wind by rotating the hall and a part of the classrooms 20o
internalizing the corridors and extending the central plaza to blend in the landscape
| FLOOR PLAN |
| AERIAL VIEW |
| PLAZA VIEW |
A C TIVITIE S
To attain the visitor’s control, administrative offices are placed alongside the entrance. Thouugh there is no practical gate for the school, it helps that the plaza can extend flexibly to the road while the religious festival or school event are held. The classrooms are split into lower-grade cluster and higher-grade cluster. With this method, the playground can be designed exclusively for children in different age level. With this configuration of the programs, the hierarchy of the open spaces and circulation can be clearly defined. With the the central plaza, it provide not only a central space for student to gather, but a multi-functional community center for the residents.
| CORRIDOR |
| MEZZANINE VIEW |
| C L A S S R O O M PA R T I A L P L A N |
| V 2 C L A S S R O O M PA R T I A L E L E VA T I O N |
| V 1 C L A S S R O O M PA R T I A L
搀椀愀最爀愀洀 爀攀昀攀爀攀渀挀攀㨀 䐀吀䄀䤀䰀 ㈀ 㐀⸀㈀ ⴀ 匀琀甀搀攀渀琀攀渀 戀愀甀攀渀 椀渀 䄀昀爀椀欀愀
SECTION |
| V 3 T O I L E T PA R T I A L S E C T I O N |
Dragon Spine Pavilion “ Fabfest London Entry, 2016’’
The Dragon Spine Pavilion is a highly expressive corrugated cardboard pavilion that shows dynamic variations through logical steps of actions: move, scale and rotate. The basic units are two three-segment polylines. While similar in
with the imagination of a dragon’s spine. Each segment of the polyline units comprises several smaller pieces interlocking into each other, not only strengthening the structure, but adding expressive character to the pavilion as well. When
folding angles and length proportions, the rotation center of the two units varies, thus creating the up and down whirlwind-like kinetic distortions. The highest spline of the pavilion, consisting of all the 50 degree angle junctions, is highlighted by triangular connectors and coincides
touching the ground, interlocking connectors of semicircle shape are applied. Formed with the similar logic, a bench is added along one side of the landing component, further stabilizing the structure and inviting interface between the pavilion and the visitors.
Teammates | Poby ZHU / Sherry MA / Kate DENG / Erin JIANG / Tony LIANG Instructor | Adam FINGRUT, U.K
| SYSTEM |
duplicate
| ALGORITHM |
| MODEL STUDIES |
| FINAL FORM |
scale
rotate
locate slots
interlock
SY STE M The basic form of the Dragon Spine Pavilion was generated through logical steps of operations: duplicate, scale and rotate. Iter ation of these operations creates dynamic expressive forms. With the help of grasshopper and physical model making, we could conveniently test how different basic geometries and rotation centers could change the expression of the outcomes.
connecting angle
RE A LIZ ATION & FA BRICATION
basic strip segment
To maintain the stiffness of each strip considering its great length, we interlocked it with a tube of triangular profile and applied triangular connectors at each connecting point. Additionally, bench pieces and shoes of also triangular profiles promise the stable landing of the whole structure.
triangluar reinforcement
connecting with cable tie
connecting angle
Ta i k o o L i S a n l i t u n “ Facade Renovation of S10, Taikoo Li, Beijing, 2018 ”
Taikoo Li Sanlitun, is undeniable an influential shopping village in the Sanlitun Beijing, China. S10 is the most iconic landmark of the district, designed by Kengo Kuma. With the thought of destructing people’s existing impression of S10, the façade is ”broken down” to bring the new vibe to the area. To achieve the broken façade, we applied “Delauncy
Randomize points along the entire surface
Destruct the volume
Calculation” to create continuous triangular modules. In addition, the façade must carry the structure to minimize the consumption of budget. I design a grasshopper script to control the folding intensity according to the height of triangles. With this idea, a patch of nodes of triangles can locate along the original surface in order to solve the structural issue.
Create the folding
points along the borders
borders
end points of the surface
surfaces
points within the surface
volume
all points
Assign colors Delauncy calculation
assign Palette
“to create points randomly shifting off the surface”
dispatch points
θ°
h • tanθ
h
normal of the surface
Cooperation | Leigh & Orange Ltd. Period | 2018. Aug-Sep
dispatch surfaces
shift the point outwards as per normal direction
T h e D o u b l e -Wa l l Pa v i l i o n 雙牆宅 “ UABB 8th 2019-20 Shenzhen site at Dai Peng Fortress Sub-Venue, 2019 ’’
The site is an important buffer space within the gardens of the Dai Peng ancient city where the visitors can tentatively gather and break off. The concept of the pavilion aims to reinforce the program of the space and enrich the action of “break off” through evoking incidences and activities. To respect the context, the language of arch is extracted from the
墙体A
context, the granary and the ancient relics. As the granary was mainly constructed by parallel load-bearing brick walls with continuous arches sitting on top, the pavilion absorbs the essence of the structure and embody a unique formal symptom of the granary. The project is hoped to give vibrance to the plaza but not to interrupt the function of circulation.
墙体B
坐具制作
见细部构造
构件之间焊接，表面白色喷涂
1.125
0.75 墙体A
墙体B
4.5
0.75 3.375 0.75
侧立面
0.75 立面
立面
4.5 平面 0.5 0.75
0.5 1.5
2.25
0.5 2.25
1.5
0.75
4.5
4.5
墙体A
平面 0.5
墙体B 0.12
钢底板 0.6*0.15m，材
钢管，中空截面 5*5c
细部构造（柱顶固定倒挂铝拉伸网） 平面（单位：米） 0.5
款式A
铝拉伸网
0.5
6"## UI@㣐뚱ⴔ㾝㖞@㾝錢嚋䙁倰呩
⼸〵遶꡶麰㖧
W @䫣⟟俒⟝@
䖛❮
6"## UI@㣐뚱ⴔ㾝㖞@㾝錢嚋䙁倰呩
⼸〵遶꡶麰㖧
W @䫣⟟俒⟝@
Cooperator | Dr. Xu Liang, Leon Period | 2019. Nov-Dec
款式B
Play of Colors “ Renovation of the Playgroung in Baseco, Philippines ’’
Baseco compound largely comprises low-income family where residences have inadequate living quality including open spaces. We found children in Baseco is fond of playing various ball-relevant activities, especially basketball. While there is merely one decent sport field or open space that can offer children to play around. Thus, the major concept is to insert vari-
| LINEDRAWING PLAN |
ous programs including sport fields, running track, performing stage while preserving the existing equipment and lamps. Placing those programs graphically with additional geometries, we design to paint them with vibrant colours. Hence, it creates sharp and bright vibe to the site and encourage not only children but other residents to celebrate the playground.
| PA I N T E D P L A N |
Cooperator | Pro. Francesco Rossini, CUHK Period | 2019. Nov-Dec
P a s s i o n To w a r d s C h i n e s e M u s i c “ Student Composer & Conductor, Music Department, CUHK ’’
I have been playing erhu, a Chinese traditional string instrument, for over 17 years, and it has been always I want to major in music and consider music as my future career. Though I did not choose this career path, in university, I minored in music, studied music theory, and joined the ensemble of music department anyway to maintain my passion towards mu-
《 ⼭城印記 》
《 ⼭城印記 》環保⼆胡與中樂隊
17
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˙
∑
˙
3
œ
∑
∑
˙
wo
wo
wo
w≤
wo
p
wo
wo
wo
p
Vibraphone
w≤ Ó
≥ ˙o
≤ ˙o
wo
œo
p
Cajon
# &#
Cymbals
/
/
Bass Drum
¢/
## ⼆胡獨奏 &
˙ ⾼胡
⼆胡 I
⼆胡 II
wo ∑
∑
3
4
5
6
7
中胡
3
8
9
3
˙
˙
p
Œ
∑
mf
œ œ œ
mf
˙
3
Œ
3
j j j ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œ œœ œ œœ œ œœ œœ > > > >
>œ œ œ >œ œ œ >œ œ œ œ >œ œ œ >œ œ >œ œ tutti > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œœ œ œ œœ œ œ œ œœ œœ œ œœ œ œœ œ œœ œœ
Ϫ
˙
œ nœ œ œ œ
3
Œ
˙
˙
10
° ## & # &# # &# # &# ? ##
⾰胡
j œ œ
œ
œ œ™ J
?# 低⾰胡 ¢ ‹ #
˙
‰ j œ œ ‰ j œ œ œ œ œ™
p
∑
∑
∑ Œ
œ
Œ
œ
œ œ J
œ
Ϫ
j œ œ
œ œ™ J æ wæ
∑ Œ
œ
œ
f
œ œ
3
3
3
3
3
f
w
w≥
mf
w
subito p
mf
w≥
w
subito p
p
œ
j œ œ™
∑
3
mf
6
œ œœ œ œ œœ
w≤
˙≥
˙≤
w≤
˙≥
≤ ˙
˙
≤ œ œ ˙
˙
œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ
3
3
w
˙
˙
subito p
138
˙
3
mf
>¿ ¿ J
>j œ œ
œ
˙
w ˙
139
j œ.
œ.
œ. j œ. ‰ œj œ. ‰ œ œ œ œ œ . . . . œœ œœ œ œ œ œœ œ œ œ œ™ J œ œ œ œ œ
‰ Œ
Œ
Œ ‰ œ œ
j ‰ œœ œœ J ‰ œj œ-
œ œ
˙™ ˙™
Œ
œ
˙™
œœ
œ. œ. j ‰ œ. ‰ j œ œ J œ. œ. œ. ‰ œ. J ‰ œ. . œ. œ. . œ. œ. œ. ∑
j œ.
œ.
j œ. ‰ œj œ. ‰ œ œ . . . > > œœ ™™ œœ œœ œœ œœ œœ œœ œ ™ œœ œœ œœ œœ œœ œœ œ™ > > œœ ™™ œœ œœ œœ œœ œœ œœ œ ™™ œ œ œ œ œ œ >œ >œ œ
> œ œ œ œ œ œœ œœ œœ œœ œœ œ œ œ œ œ > œœ œ œ œœ œ œ œ œ œœ œ œ >œœ œ
œ œ J
Ϫ
œ œ œ œœ œœ
j œ œ
œ œ œ™ œ œ œ œœ
曲笛 I, II
œ.
œ. œ.
œ. Œ
> > œœ œœ œœ ™™ œœ œœ œœ™™ > > œœ œœ œœ ™™ œ œ œ ™™ >œ >œ
œ. œ. œ. ‰ J
> > œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ > > œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œ œ >œ œ >œ
¿j
>¿ ¿ J
œ œ
œ
˙
¿j
∑
>¿ ¿ ¿ ¿ >¿ > œ J œ™
次中⾳笙
⾼⾳嗩吶 I, II
中⾳嗩吶
揚琴
柳琴
中阮
œ
w
˙
œ œ œ
Ϫ f
œ œ J
140
œ
œ œ™ J
œ
œ
œ 3+2 4 b˙ ™
œ œ œ 44 ˙™
tutti ‹ b ˙™ & b 3+2 4
œ œ œ
4 4w
˙
œ
œ
˙™
œ
˙
œ
œ
œ
3+2 4 ˙™
3 4 œ œ œ 4 ˙™
˙™ b & b 3+2 4
nœ œ œ
4w 4
˙
œ
œ n˙ ™
œ
˙
œ
œ
œ 3+2 4 b˙ ™
b & b 3+2 4 ˙˙ ™™ ˙˙ ™
˙˙ ˙˙
4 4 œœ ™™™™ œœ ™™
˙˙ ˙
4 œœ ™™™™ 4 œ ™™
Ó
4 Œ ‰™ 4
˙ f
˙
œ
œ œ
œ
œ œ
œ
˙
œ
œ œ
œ
˙
œ
œ œ
œ
˙
œ
˙
œ
˙
œ œ œ
w
˙
œ œ œ
w
˙
œ œ œ
w
œ œ œœ œœ œ
w
3
œ
3
˙™ b & b 3+2 4 ˙˙ ™™ ‹ ff œj b & b 3+2 4 nœJ ‰ Œ b 3+2 j ¢& b 4 œ ‰ Œ ˙™ b & b 3+2 4 ˙™ ææ
{
? bb 3+2 4
Œ Œ
∑
˙™ ° b 3+2 æ &b 4
æ 3 nœæ œææ ææ nœ œ œ œ
æ ˙™æ b & b 3+2 4 æ˙™ æ ‹ f
˙
œ
œ œ
œ
˙
œ
3
œ
w
w
œ
œ™ œ œ œ œJ œœ œ
w
œ œ œœ
w
143
144
4 Ó 4
˙™ r œ œ™ œ œ™ œ
œ
˙™
œ
w
3+2 4
∑
4 Π4
æ ˙æ ˙ ∑
œ r n œœ ™™ œœ œœ ™™ œœ ™ ™ >œ >œ œ >œ œ >œ ™ œ r > œ nœœœ ™™™ œœœ œœ™™ œœ >œ œ™ œ nœ™ œ™ œœ œ™ œ f
‰™
r œ œ™ œ nœ ™ œ f
æ œæ œ ∑
œ n˙ ™ œ æ˙ ™ ææ æ
ff
œ n˙ ™ ææ ææ
w 4w 4 æ æ
w wæ æ
æ œæ œ ææ
˙ ææ
4 wææ 4
w ææ
æ ˙™æ
4 wææ 4
æ wæ
ææ ˙™™
œ ææ
>œ >œ >œ >œ > >œ œ ˙™ >
Ó™
æ wæ w
æ ˙æ ˙
Œ
œ ææ
æ œæ œ
æ œæ œ
æ æ œæ 3+2 4 b˙æ™ œ b˙™
Π3+2 4
˙ ææ
œ ææ
œ ææ
œ b˙™ ææ 3+2 4 æ
æ nœæ œ ææ
æ wæ w ææ
>œ > œ > > > > ˙™ œ œ œ œ ææ ff
3+2 ææ Œ 4 œ
3
œ œ ææ > >œ > w f
mf
3
æ œæ œ
b ææ
œ 3+2 ˙™ ææ 4 æ
f
6
œ ææ
œ œ ˙™ æ ææ ææœ 44 æ
ææ 3+2 ˙™ 4 æ˙™ æ ææ ææ bœ 3+2 œœ œ 4 æ æ æ æ
æ wæ w æ œæ œ ææ
æ œæ œ ∑
6
æ wæ w æ œæ nœ ææ
∑
æ3 æ œæ œæ œææ 44 ˙æ™ œ œ œ ˙™ 4 4
Œ
ææ ˙˙ ææ æ ˙æ ˙ æ
æ 4 ˙æ 4 ˙ ææ
˙ ææ
4 æ˙™ 4æ
Ó
4 4
∑
æ ˙™æ 4 ˙™ 4æ æ
æ ˙æ n˙ ææ
p
mf
∑
4 4
∑
∑
∑
∑
3+2 4
∑
4 4
∑
? b 3+2 b 4
∑
4 4
∑
∑
∑
∑
3+2 4
∑
4 4
∑
Œ
4 4
To Rain Stick
∑
∑
∑
Œ
4Ó 4
b & b 3+2 4 nw >˙ b & b 3+2 4 ˙
Ó
∑
œ >
3+2 w 4
Œ
4 4
∑
/
3+2 w 4
Œ
4 4
∑
¢/
> 3+2 wææ 4
æ œæ
4 wææ 4
Cymbals f
f
>j œ
f
M ° b 3+2 &b 4 b & b 3+2 4
ϳ
˙™
˙≤
œ J ‰ Œ
4 4
ff
3
˙™
œ œ œ 3
ff
˙™ b & b 3+2 4
œ œ œ
> w
∑ ∑
7
Œ
Ó
p
∑
4 4
∑
œ
œ
œ
™ œ œ n œ #œ 3 3+2 b œ 4 œbœ 4 œœnœ œœ œ œ 4 ˙™
f
∑
4 4
œ
œ
œ n˙ ™
œ
˙
œ
œ
œ
™ 3+2 b ˙ 4
œ œ œ ˙™ 4 4
œ
4˙ 4
œ
œ
˙
œ
œ
˙™
œ
˙
œ
œ
œ 3+2 ˙™ 4
œ œ œ 4 ˙™ 4
nœ
œ
˙
œ
œ
œ
œ
˙
œ
œ œ
? bb 3+2 ˙™ 4 ˙™
˙ ˙
4 ˙˙ 4
œœ
œœ
? b 3+2 ˙™ 低⾰胡 ¢ b 4 ‹
˙
4w 4
145
∑
3+2 œææ Œ 4
˙
œ
ff
∑
3+2 4
w w
>œ-
n>-œ
>-œ
>-œ
> œ œ > œ ˙™
> œ nœ >
nœ
> œ œ > œ
> nœ œ >
nœ
œ
œ ˙™
w
˙
œ
˙™ ˙™
≥ 6 œ > >œ œ œ œ > > > œ ˙™ > >œ≥ >œ >œ >œ > >œ ˙™ œ
œ
3
3
>- >œ 3+2 4 œ œ
b>-œ
> > œ 3+2 4 œ bœœ œ œ > > > > œ bœ œ 3+2 4 ˙™ œ
> œ bœ >
bœ œ œ 44 ˙™
œ
3
> œ
œ 3+2 4 ˙™
˙ ˙
4˙ 4˙
˙ ˙
4 ˙™ 4 ˙™
˙
4 ˙™ 4
˙ n˙ nœ œ œ
6
221
>œ
œ
4 4˙
3
4 4
3+2 4
Œ œ >
œ
4˙ 4
3
˙
4 Ó 4
˙
4 4
œ œ œ
ff
b & b 3+2 4 ˙™
≤ œœ œ ≈ œ œœ
∑
∑
f
Œ
4 ˙™ 4
f
∑ >æ wæ
Ó
∑
3+2 Πw 4 3+2 4
∑ æ wæ
mp
Rain Stick
/
w >
∑
∑ æ wæ
∑
Largamente q=72 壯闊的中板
nœ œ œ
œ >
æ œæ œ ææ œ ææ
° ‹ b 3+2 &b 4
Cooperator | Chinese Orchestra of Music Department, CUHK Period | 2017. Sep -
∑
/
⾰胡
œ ™™™™ 4 œœ™™ 4
3+2 4
Cymbals
⼆胡 I
˙˙˙˙
˙™ œœ 3+2 b ˙˙˙ ™™™ œ 4
Suspended Cymbal
⾼胡
œ ™™™™ 4 œœ™™ 4
w w
ff
Bass Drum
3
˙ ™™ ˙˙ ™
f
nœ
œ œ œ 44 ˙™ ˙˙˙˙
œœ
nw w w
˙ ææ
æ œæ
œœ 3+2 ˙˙˙ ™™™ œ 4 b ˙™
œœ n˙™ ˙™
w 4w 4 æ æ
°? 3+2 æ 4 wæ ¢ >
˙˙ ™™™ ˙˙™
œ
3
œ™ œœ ˙˙™™ r œ™ œ œ™ œ œ™ œ R
w 4 æ 4
ff
142
>œ ™ œ > w œr œ ™ œ œ™ œ ww w œ œ™ œ
f
æ 4 wæ 4w
4 4
nw w w
æ ˙˙æ ææ ææ ˙˙ ææ
ff
arco
>™ > r w œ œ ™œ œœ ™ œœ w œœ >œœ ™™>œœ œ ™ œ ww
nœ œ ææ æ æœ 3
æ b ˙™æ & b 3+2 4 æ˙™ æ
Tubular Bells
中胡
˙≤
4 Œ ‰™ 4
Ó
Tam-tam
Tam-tam
⼆胡 II
f
3
f
Glockenspiel
3
œ
3
f
3
œ
3
ff
b 3+2
≤ œ œ ˙
141
˙
3
f
œ
œ
? b 3+2 ˙™ ⼤阮 ¢ b 4 ææ
Tubular Bells
>j > œ œ œœœ œ
œ n˙ ™
f
>¿ ¿ ¿ ¿ >¿ œ J
∑
>j > > œ œ œœœ œ œ™
œ
f
琵琶
∑
∑ > > œœœ œ œ™
¿j
˙
ff
œœ
œ œ œ œœ œœ œ œ œ
4w 4
ff
⾼⾳笙
Marimba
∑
∑ >j œ œ
j œ œ
Ϫ
∑ ¿ ¿ >¿ œ > œ™
∑ > > œœœ œ œ™
œ
nœ œ œ
ff
新笛 I, II
∑
œ œ œ œœ œœ œ œ œ œœ
∑ ¿ ¿ >¿ œ > œ™
œ
mf
mf
œ
œ œ œ œœ
f 3
œ œ œ
œ œ œ
3
œ. œ. j ‰ œ. ‰ j J‰ œ œ J œ. œ. œ. ‰ œ. œ . œ. œ. . œ. œ. œ. . . . œ. . . . . œ. ‰ œJ œ ‰ œ. ‰ œ. œ œ ‰ Jœ œ. œ. œ œ. j ‰ J J œ.
° ‹ b 3+2 ˙™ &b 4
tutti
梆笛 I, II
⼆胡獨奏 & b 4
˙≤
œ œ œ
w
¿j
f
˙≥
nœ œ œ nœ nœ œ
subito p
œ. ‰ œ. œ. J
Timpani
∑ > œ™
w≤
œ œ œ nœ nœ œ
mf
> > œ ™œ œ œ œœ ™™ œœ œœ œœ œ™ œ œ œ > > œœ ™™ œ œ œœ œ œ œ>œ ™™ œ œ >œœ
∑ f
> > > œ œ œ œ
mf 3
3
œ. œ. J J ‰ œj ‰ ‰ . œ. ‰
œ. œ. j œ. ‰ œj œ. ‰ œ œ œ œ. Œ . . . .
h = q.（qq=114）歌唱的⾏板
G
subito p
∑
∑
可即興演奏 >¿ ¿j>¿ > > œ œ œ™
3
3
‰ œj -œj
. ‰ œ. œ œ. œ œ. œ . œ. .
j œ œ
Ϫ
mf
nœn œ œ n œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
w≥
j -j ‰ œœ œœ J J-
œ.
>œ ™™ œ œ >œ œ œ œ >œ œ >œ ™ œ œ >œ œ œ œ >œ œ >œ ™™ œ œ >œ œ œ œ >œ œ >œ ™™ œ œ >œ œ œ œ >œ œ œœ ™ œœ œœ œœ œœ œœ œœ œœ œœ œ ™™ œ œ œ œ œ œ œ œ œœ ™ œœ œœ œœ œœ œœ œœ œœ œœ œœ ™ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œ œ œœ œ œ™ œ™ œ œ œ œ œ œ œ™ œ œ œ œ™
∑
mf
∑
∑ Œ
œ
subito p
? ##
œ œ œ
˙
Œ ‰ œ œ
> > > ™ œœœ ™™ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ™ œ œ œ œ œ œ œ œ > > > œœ ™™ œœ œœ œœ œœ œœ œœ œœ œœ œ ™ œ œ œœ œœ œ œ œœ œ >œ ™ > >
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ > œ œ >œ œ œ œ œ œœ œœœ œ œ œœ œ œœ >œ œ >œ œ œ >œ œ >œ œ > 3
œ œ
Œ
j œ.
mf
∑
3
w w ‰ Œ
∑
. œœ œ >œ œ >œ œ œ >œ œœ >œœ œœ >œ œ J ‰ ‰ œ. œ J .
∑
>œ œ œ >œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ 3
‰ œj -œj
∑
œ >œ œ œ >œ œ >œ œ >œ œ œ œ œ œ œ œ œ œ œœ œœœ œ œ œœ œ > >œ > 3
œ œ
f
f
mf
3
Œ
j -j ‰ œœ œœ J -J
. œ œ œœ œœ œ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ. œ ‰ œJ œ. J . >œ œ > > >œ mf mp
mf
∑
subito p
ff
mp
2
3
>œ œ œ >œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ
/
Suspended Cymbal
p
Œ
f
tutti
3
nœ nœ œ œ œ
subito p
mf
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & C . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . œ. œ œ. . . . . . . . . . . . . . . . . . . . . p ⾰胡 ≤o altri div. ≥o o Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &C ˙˙ ˙˙ œœ Œ div. a3 o o ≥o o ≤ p # ˙˙˙o #w ff w w ? Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ C 低⾰胡 ¢ ‹ 1 solo
œ. œ. J J ‰ œj ‰ ‰ . œ. ‰
mf
∑
. ‰ œ. œ œ. œ œ. œ . œ. .
. . . œ. Jœ ‰ ‰ œJ ‰ œ. œ J
f
∑
w
∑
∑ w ææ
° ## &
∑
w≤
f
∑
œ
∑
œ. œ. ‰ J J ‰ œ.j ‰ ‰
œ. . ‰ Jœ œ. ‰ J mf
f
œ.
œ. ‰ ‰ œ. œ J J .
Œ
∑
subito p
˙
mf
≥ wo
pp
˙
˙
f
w w
w ææ
3
追逐的旅途上
f
œ
a2
‰ œ.j œ
∑
subito p
Œ
œ. . œ. ‰ J œJ
∑
∑
p
Marimba
œ.
∑
∑
? ##
mf
∑
? ##
# &# ‹
f
œ
∑
∑
{
中阮
w w w
a2
œ. œ. œ
∑
∑
# &#
œ. œ.
œ. œ. J ‰ ‰ J œ.
œ
œ
∑
∑
° ## &
. œ. œ. œ. j ‰ ‰ J œ. œ œ. w w w
28
Full Score
a2
∑
# &#
琵琶
⼤阮
∑
#˙˙˙
mp
Œ
∑
∑
∑
Ó
∑
2. Bass弓拉奏
##
柳琴
. œ. œ. œ. œ œj ‰ .
Œ
mf
# &# ‹
次中⾳笙
⾼⾳嗩吶 I, II
œ œ. . mp
mp
w ww
subito p
1 solo
揚琴
∑
w # n ww &#
1.
. œ. ‰ Jœ œ.j ‰ œ. mp
Largamente q=72 壯闊的中板
M
h = q.（qq=114）歌唱的⾏板
G
° ‹ ## &
曲笛 I, II
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《 ⼭城印記 》環保⼆胡與中樂隊
Full Score
The Wayfarer of Mountain and City
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sic. While I was in the ensemble, I already have the capability of being a conductor and re-arranging music for the ensemble. After graduation, the ensemble become a larger formal student orchestra. Besides conducting a larger orchestration, I was commissioned to write a concerto for erhu and our orchestra and will be premiered at our first public concert.
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