MISFITS ZHENG WANG
PORTFOLIO
1
Zheng Wang NW1 1NJ
61 Oakley Square, London T +447453297432 wangzheng-cafa@hotmail.com
EDUCATION EXPERIENCE University Collage of London, Bartlett, RC2 Got Distinction of GAD URBANUS Architecture and Design Master Degree — 2013-2014 Project: A vision for Dawangjing Workshop is collaboration with China Megacities Lab Architecture assistant(internship) — Jun 2012-Aug 2012
China Central Academy of Fine Arts(CAFA), A9 Bachelor Degree — 2008-2013
Oslo School of Architecture and Design, B3 CAFA Students’ Union Exchange Student — 2012 Chairperson — 2011-2012 CAFA Environment Volunteer Team AWARD Voluntary serve in Inner Mongolia — Jun 2011
BIAD (Beijing Institute of Architectural Design) Kengo Kuma And Associates Scholarship — 2012-2013 Project: Holiday Vallage Hotel (unpublished) Architecture assistant(internship) — Sep 2010-Jan 2011
Second Prize of CAFA Excellent Students’ Works Exhibition — twice in 2011 and 2012
CAFA Architecture College Basketball Team China Young Leaders Foundation Scholarship — 2008-2011 (Zheng Zhigang Scholarship) — 2010-2011
SOFTWARES Beijing Outstanding Student Cadres Award — 2010-2011
Very good: Good: Basic:
3ds Max, Zbrush, Photoshop, Illustrator
China Central Academy of Fine Arts Scholarships — many times 2008-2013
Rhinoceros, SketchUp, InDesign, AutoCAD
Grasshopper, Softimage, V-Ray, SolidThinking LANGUADGE English and Mandarin 2
CONTENTS "[...] Architectural engineering has traditionally been characterized by the sequential development of‘ form, structure and material’. A formal concept is first conceived by the architect and subsequently structured and materialized in collaboration with the engineer. If there is a historical point of departure for the evolution of a new structuralism, Peter Rice, in An Engineer Imagines, locates it in the relationship that developed between Jørn Utzon, Ove Arup and Jack Zunz in the structuring and materialization of the Sydney Opera House(1957–73). In the final solution the problem of the geometry of the covering tiles influenced the design of the rib structure and the overall form of the roof. This effectively reversed the traditional process to become ‘material,structure, form’."
PRINTING SUPPORTER
GANTRY THEATRE P4 - P10
NEW COLLECTIVE ROOF-GARDEN APPARTMENT
P11 - P16
PRODUCT DESIGN P17 - P19
FINE ART P20 - P23
P24 - P25
Our aim is not to design "misfits" per se, but rather to integrate these as characteristic parts of the design and manufacturing process. By following a multifaceted object/material/fabrication approach we we demonstrate that a combination of these can lead to better output results in terms of typology, performance, material and cost efficiency, mass customization and part/material behavior.
3
PRINTING SUPPORTER Tutor: Isaie Bloch Moa Carlsson Partner: Lu Liu
MISFITS
SOLUTION
The 3D print need support structure in fabrication fabrication
The 3D print need to be printed in pieces which should be connected together
Dendritical support structure instead of scafford support structure Plaster combines the 3D print together
Less material waste; more ornament and resolution The shearing force resistance of plaster is weak
structure
The compressive resistance of ABS plastic is not enough strong The internal output by 3d printer is hexagonal network of which interior structural is not strong.
Filling plaster into the ABS channel can make the resistance to shear and stress more suitable for architectural structure.
Consequently, it is able to save the print time and internal filling material.
4
1
2
3
4
1. Traditional support structure 2. Dendritical support structure 3. Structure analysis 4. Printing test by Makerbot, support structure would be generated when the angle of geometory is less than 45째 5. Support structure stair
5
5
1
1. Besides the intricate ornamental effects generated, the plaster is also a means of fusing different 3d printed parts together, reinforcing these to form a complete self supporting structure. Exploring the extremes of the parameters that dictate the need for support material, the 3d printed form is controlled to meet both local and global programmatic, functional and aesthetic constrains. 2. The 3D printing component 3. The channel for plaster inside the componnet 4. The support structure for channel 5. The real flow of plaster outside the 3D printing component
2
3
4
5
6
180째
3D Print 3D PRINT MATERIAL
180째
Plaster
Old Wall
PLASTER MATERIAL
THE OLD WALL
1
3D Print
Plaster Channel
Joint 2
3D Print
Plaster
Plaster Pattern 3
7
8
The resulting architecture is a sequence of high-resolution space, proposed as a redevelopment of, and extension to the Winchester Palace Ruins in London.
9
A
B
1
1. Space voloum 2. Exterior courtyard rendering showing a clear integration of support structure as part of an overall design approach, operating on a structural/ fabrication level as well as being part of the aesthetics of the project.
7 2
10
GANTRY THEATRE Tutor: Yufang Zhou Wenbao Liu
Axle wire Yongdingmen and Tiananmen
URBAN
THEATRE landmark
Metropolis Beijing New development Beijing (La Grande Arche de la DĂŠfense for Paris)
Site redevelopment Yongdingmen gate
gantry construction
Performing Art Center TianQiao, Beijing (West End, London) Opening space for music festival
Large scale square Equipemnt for top musical
Tourist spots
Yudingmen Square landscape
11
0.618
15 : 24
yongdingmen
amphitheater
12
Laster Cutting
Slot Shaping
Bending
Welding
1
1. The process of steel modeling 2. Steel model photograph
2
13
1
1. The section of sequence 2. Function model photograph
2
14
3
15
22.200
±0.000 ±0.000
±0.000 ±0.000
2.500
－3.041 －3.041
25.100
22.200
2.500
25.100
4.800
4.800
4.800
4.800
±0.000 ±0.000
－3.007 －3.007
±0.000 ±0.000
±0.000 ±0.000
0.900
0.900 14.500
－5.000 －5.000
14.500 2.500
2.500
±0.000 ±0.000 ±0.000 ±0.000
±0.000 ±0.000
32.600 28.600
32.600
4.800
44.500
4.800
22.200
22.200
42.600
42.600
44.500
28.600 30.000
32.000
30.000
4.800
32.000
41.000 41.000
28.800
28.800
±0.000 ±0.000
45.300
17.200
4.800
41.000 41.000
45.300
17.200 2.500
2.500 2.500 23.700
2.500
23.700
45.7000 45.7000
0
1. The plane 2. The Gantry Theatre and Yongdingmen Square could hold the most popular music festical of Beijing
4
8
16 1
2
16
NEW COLLECTIVE ROOF-GARDEN APPARTMENT
TUTOR: PER OLAF FJELD ROLF GERSTLAUER KATHRINE NAESS
Original Mate
Common Shake of Space The four columns are original materials. In the vertical, the columns show different nature that influenced by the relationship of them. To see it separately, people can go around it. See two of them in a combination, which divide the space. See three of them in a combination, which support the ceiling as structure. See four of them in a combination, which definite the boundary. There are two types of materials, one is the original material and another is the objective material which constructs the space. Original material waiting for relationship (human discovery and environmental influence), Relationship inspires space and the space asks for objective material. It’s a progress of architecture.
w nning
but “We ze d.”
The three basic elements: column, wall, and colonnade.
When an architecture was destoried , the well organized plane lose its clearly defination. But The relationship shows their nature to dwell. the nature of the material and the power of the ruins totally emerge. It between can be readthem by different ruins in Roma (2012) ways. Try to rebuit it in imagation . Some misread will inspire the new way to dwell.
wall WALL
boundry
surround separate
tube
flowing
colonnade COLONNADE
outing
ghting
During the stay trip in Roma, I see the ruins in hundreds years ago. The well-designed architecture damaged and loses the significant definition into ruins. The nature of the material emerges out and creates new collective with surrounds. column grid
The material and the relationship is the first thing will be achieved when one gets into architecture. The space is the result of them. It means both of material and relationship contain the information, which affect the recognitions of visitor. The relationship implies pillar the content, usage and the meaning of architecture. The uncertainties are generated PILLAR by the complexities of the material such a door on the wall is not only for the people to go through but also for the view extension from a structure in a long distance. For me to dwell is one recognize the notion from reading series of sequence of material. The distortion or disjunction is the nature of material emerges in potential. boundry In another worlds, it is the context I want to challenge, “ artists use lies to tell truth”. flexable
ruins rebuilted material nature space
17
0
1
3
5
8
18 5 10
2
4 3 5.10
5.00
5.70
4.10
5.40
4.80
5.70
4.10
5.40
4.80
5.70
4.10
6.10
3.90
5.40
4.050
+2.700 上
下
+2.700
上
1.50
1.50
3.40
3.78
3.42
1.50
1.50
1.50
上
1.50
下
1.50
上
1.50
下
1.50
1.50
1.30
1.50
2.10
1.50
1.50
1.50
1.50
4.050
1.50
下
1.50
4.050
1.50
1.50
上
下
+2.700
上
下
上
上
下
下
上
下
00.01
3.70 3.65
5.25
1.20
3.70 2.50
2.65
2.60
3.65
3.45
0.30
4.85
5.15
2.60
3.70
3.95
3.45
4.85
5.15
2.60
3.95
3.45
1.00
5.45
2.80
10.00
上
5.70
5.00
4.10
5.40
4.80
5.70
4.10
5.40
4.80
5.70
4.10
下
5.10
6.10
3.90
5.40
A
1. The relationships between cross-shaped pillars inspire the sequence of architectural space. 2. The geometry of a high density appartment is consist of two triangles, which not only let more rooms enjoy the sunshine, but also make the roof a continuous open garden. 3. The plane 4. Each layer of roof is an unique garden and is designed with the three elements: wall, colonnade, and pillar. 5. The section A and B
B
B
上
下
下
上
下 上
上
上 上 上 上
上
上
上
00.01
3.70 3.65
5.25
1.20
3.70 2.50
2.65
2.60
3.65
3.45
0.30
4.85
5.15
2.60
3.70
3.95
3.45
4.85
5.15
2.60
3.95
3.45
1.00
5.45
2.80
10.00 上
A
1
The vertical stair on the roof garden is the only way for residents to reach their appartments. The sequences give residents a public space to comunicate with neighbours and do some exercise.
19
BACON TABLE
The geometry is inspired from the photography and painting of Francis Bacon. Since the relationship between human and coverage of space is quite close, plaster, as the most common material of decoration in room, might have a great potential.
For traditional technology of plaster casting, there is an imperfect plaster gap which is a certain kind of liner geometry on surface after demoulding, because plaster leak into the interface between molds (complex form geometry need muti-mold casting).
Molds
Plaster gap
Force line
Plaster
20
Through the analysis of Milipede, force line of the geometry could be fabricated by precise CNC technology. The thickness of force line is the same as plaster gap. They are designed as one pattern system, a part of surface design.
FLOWING VASE
Traditionally, a successful plaster mold would create an exacting positive or negative form. With mold, the plaster could be widely applied in artwork copying or mass manufactory production as a three-dimensional duplication machine. Using simulation software and digital modeling tools, designers can embrace the potential misfits introduce to the process. During the process of solidify, plaster is not totally controlled by mold but partially flow inside out guided by the mold.
21
SORROWFUL PILLARS
22
BUNNY OF ARCHITECTS
23
FINE ART 1. Lacquer painting <Shinning> 2. Screen silk print painting <Architecture> 3. Lacquer painting <Moon NO.1> 4. Lacquer painting <Moon NO.2>
ART WORKSHOP EXPERIENCE Lacquer Painting Design College, CAFA — May. 2011-Jun 2011 Sculpture Sculpture Studio, CAFA — Apr. 2011-May 2011 Screen Silk Print Printmaking Studio, CAFA — May. 2010-Jun 2010 Relief Mural Painting Studio, CAFA — Apr. 2010-May 2010 1
2
24
3
4
25
Zheng Wang NW1 1NJ 61 Oakley Square, London T +447453297432 wangzheng-cafa@hotmail.com
26