Haozhou_Zeng_SCI-Arc_2017-2020_Portfolio by Haozhou Zeng

SCI-Arc 2017-2020

PORTFOLIO -DESIGN STUDIO -APPLIED STUDIES -VISUAL STUDIES -ESSAYS

About

HAOZHOU ZENG

Projects

HAOZHOU ZENG

Statements

STATEMENTS

Haozhou Zeng is an architectural designer and photographer based in Los Angeles and Chengdu, China. He is a master of architecture at SCI-Arc( Southern California Institute of Architecture), who believes open-minded thought is the key to a great design. He also get undergraduate degree of landscape architecture from Sichuan Agricultural University in China. His diversified education background requires him to look at things in multiple perspective. He believes architecture is more like a way of thinking and solving problems based on different concept, method, materialilty and platform. Post-digital Era makes it possible for designers to utilize multi-technologies, workflows and innovative ideas to make a difference in the world.

HAOZHOU ZENG

Contents

CONTENTS

STUDIO DESIGN 6 22

Graduation Thesis/ Summer 2020/ GT2020

Microschoolness /Peter Testa, Devyn Weiser

3GB Vertical Design Studio/ Spring 2020/ DS 5000 In Detail: Strange Connections And Puzzling Forms of Assembly /Dwayne Oyler

3GA Vertical Design Studio/ Fall 2019/ DS 4000 Competition *2 /John Enright

2GA Design Studio/ Fall 2018/ DS 1120 Playing Against Type /Jenny Wu

1GB Design Studio/ Spring 2018/ DS 1101 Diptych Zeina Koreitem

1GA Design Studio/ FALL 2017/ DS 1120 Fundamental Princeples/ Matthew Au

APPLIED STUDIES 94 112

2GB Applied Studies/ Spring 2019/ AS 3122

Design Development/ Herwig Baumgartner, Scott Uriu

3GA Applied Studies/ Fall 2019/ AS 3140 Advanced Project Delivery/ Pavel Getov, Herenza Harris

VISUAL STUDIES 128

3GB Visual Studies/ Spring 2020/ VS 2703 Playroom/ Florencia Pita

146

2GB Visual Studies/ Spring 2019/ VS 2734 Dialogues / Dwayne Oyler

152

2GA Visual Studies/ Fall 2018/ VS 4120 Multiples/ Devyn Weiser, David Eskenazi

162

1GB Visual Studies/ Spring 2018/ VS 4101 Legible Form/ Matthew Au, Anna Neimark

ESSAYS 170

2GB Essays/ Spring 2019/ HT 2121 Multiple Descriptions: From General to Contradictory/ Marrikka Trotter

174

2GA Essays/ Fall 2018/ HT 2120 Organic Architecture Frank Lloyd Wright/ Erik Ghenoiu

178

1GB Essays/ Spring 2018/ HT 2101 Delilcate Architectural Design in YingZao Fashi/ Jia Gu

HAOZHOU ZENG

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

LEFT: Microschoolness Concept Model for Miniature

Graduate Thesis 2020

MICRO SCHOOLNESS Graduation Thesis/ Integrated Comprehensive Studio/ Summer 2020 Thesis Advisors: Peter Testa, Devyn Weiser Theory Consultant: Marrikka Trotter, John Cooper

urrent situation and remote learning experience open a new discussion about school typology. However, Since we cannot go back to school for a long time ,then we put ourselves in a poor situation with collective failure of imagination: apart from the old way we already know, how can we make a breakthrough to our pedagogy space? The typical typology of the classroom, a blackboard and teacher in front of desks and chairs in a single direction, single perspective and single focus reminds me of the perspective system, all the digital interface tools we are usingtoday like Rhino, C4D, are based on the western perspetive system, no matter for the perspective view, or the parallel view, everything is precisely measurable, predictable in single perspective. This thesis trying to find a new model to break the system and remake a world to respond to the condition which we find ourselves. Thus this research turns to eastern perspective system, the Chinese Scroll Painting. Chinese scroll painting becomes a new typology of platform to collect

pedagogy idea, objects, subjects, scales, texture and mix-reality, since itâ&#x20AC;&#x2122;s technique is much more different with perspective system we know. Inspired by the new way of seeing and current situation we meet, a new model of pedagogy and a multi-perspective, multi-experience community comes out. Micro-school, a community based on 2-3 family members at their backyards, where parents can solve the education crisis on their own here. Since we cannot go back to school safely so far, and we are in the post-digital world. I address those opportunities by making a spatial interface proposal, a digital micro-school community based on our backyards. Parents can combine the digital assets and physical objects they scan from their backyards and everyday life to set class. Instead the school is place where you will go, school become the thing you do, the thing you have to do collectively, the thing you have to do in this community.

HAOZHOU ZENG

Thesis Prep Research Statements

Haozhou Zeng

Collection is a game of whole and parts in specific context or interface, which exploits part to part relationships, formal tensions, and character explorations. It begins with two case studies: Victims, the drawing by John Hejduk, depicts a collection of novel tyWhat is a garden? Garden is a platform for pological forms, and in the Still Life by Giorpeople to touch nature. Many precedent gargio Morandi, matter gravitates towards evden projects were populated by multiple cus- eryday objects and explores the mysterious tomized objects like sculptures, stones, pool ambiguity to objects’ arrangement and silent and plants. Thus the garden is a form that quality. Those cases both generate subtle composes of public activity, personal expres- sense, which is unclear but can be felt. Some sion, and imaginary creativity. And many cas- questions arise based on these cases: what es like The Continuous Monument by Superif new digital technique and interface are studio is an exploration of the futurism nature introduced? Does it matter if the interface world. On the base of that, by remixing the creates multiple compositions? How can the physical reality and digital interface, garden material quality influence the representation could be the place where people can specuof collection? How can the invisible system late the potential for new visual regimes to re- work if a collection appears both in a digital veal novel form representation of post-digital and a physical interface? aesthetic. Futurism garden can be redefined in new interface and the novel collection of Out of this fundamental situation, the project personal objects. will develop a new computation simulation of invisible systems to play with the combinaBehind every collection of objects, an invistion of objects in the futurism garden place. ible organization system can develop a way With a focus on mixed reality that combines to play and gather objects in a composition digital simulation, photogrammetry or AR as of new constructions. In the framework of flat medium, the collection game will be presentontology, objects differ amongst one another ed in a novel representation of post-digital by having their own properties and qualities, and physical aesthetic, while still precisely but they are no less objects for this reason. balancing the relationship among objects. It Flat ontology was developed to avoid the mo- will consider the typological, morphological, ment of undermining and over mining objects, and modernist aesthetic elements, and operthat is, respectively, by arguing for a primary ate as a new interface for people to customreality operating beneath the scale of the ized their own combination by this invisible perceived objects, or by arguing for a reality system.

Grad Thesis Prep

The collection of multiple characters

primarily composed of processes and effects operating above the level of specific objects. It not only elevates individual objects to constructions much grander than their own existence, but precisely balances the moment between non-hierarchical arrangement and specific delicate sense.

Statements

Grad Thesis Prep

When physical objects are digitally represented, and realistic representation combines digital abstraction within in a mixed-reality platform, a novel representation of architectural objects collection will redefine the place where we live. This thesis project will develop a potential futurism garden, which is based on the 3D digital environment (like computation silmulation, machine vision) and collection of new objects. It will explore how post-digital interface and new representation of objects will make a difference for the futurism architecture.

SCI-Arc Spring 2020

Haozhou Zeng

Grad Thesis Prep

SCI-Arc Spring 2020 SCI-Arc Spring 2020

ABOVE: Bust Of Medusa By Andrew Kovacs

SCI-Arc Spring 2020

Materials

Haozhou Zeng

Grad Thesis Prep

SCI-Arc Spring 2020

LEFT:Giorgio Morandi: Still Life RIGHT:Ceramic Vases Inspired by Giorgio Morandi Still Life Paintings

Grad Thesis Prep

LEFT: Sderstrm_Iittala_ By Wang & Soderstrom

Still Life

SCI-Arc Spring 2020

Forms ABOVE: 48 Characters By The LADG

Grad Thesis Prep

LEFT: Other Masks Facades & Faces By WOJR

ABOVE: Object By Ken Price

ABOVE: Rocks By Adam Fure

ABOVE:Common Odd Things By Wang & soderstrom

ABOVE:Table Of Contents By Wang & Soderstrom

ABOVE: Rocks By Adam Fure

11 24

Grad Thesis Prep

-ColorsMorandi uses a muted color palette for his still life paintings, often working in a range of whites and greys, occasionally foraying into other equally somber colors. His deliberate use of pale color creates inward-looking paintings that are sensitive to the objects portrayed. Giorgio Morandi’s still life paintings

SCI-Arc Spring 2020

Serious Objects Playful Objects

-ObjectsMorandi’s subject matter gravitated towards everyday objects that could be found in any kitchen - such as jars, ceramic bowls and vases, bottles, pitchers, jugs and boxes. These objects are familiar, yet they are purposely stripped of any identifying marks such as labels. This lends the objects a sense of anonymity and universality - these objects could easily come from anyone’s kitchen. They could even be found on

The objects have a matte (almost dull) surface appearance, lacking reflections or any other shine. Many of them are painted with the absolute minimal amount of shading and highlights. Morandi takes subtle gradations of greys to new levels, at times only hinting of 3-dimensionality while still retaining a monumental presence. Take a look at the painting on the right to see what I mean!

Haozhou Zeng

Playful Objects

-CompositionAlthough the composition of Giorgio Morandi’s still life paintings look deceptively simple, he would spend weeks obsessively shuffling the objects around to get just the right placement. He would experiment with different combinations of objects overlapping and placed next to each other in a variety of ways, looking for the right medley of forms.

Still Life

ABOVE:Giorgio Morandi: Still Life

“Morandi’s subject matter gravitated towards everyday objects that could be found in any kitchen.”

Serious Objects

employ a careful balance of subdued colors and subtle tones. As mentioned earlier in reference to how he builds (or rather, hints) at form, he stylistically works in a limited tonal range. Tone refers to how light or dark a color is. Therefore, a light tone can be used to indicate a highlight, and a dark tone can indicate a shadow. In the above painting, notice how the objects almost appear flat, because of their lack of a wide tonal range. The white vases only carry a slight hint of grey at the sides, demarking 3-dimensionality.

Grad Thesis Prep

-FormMorandi paints his still life objects to have a weighty, chunky appearance. They seem solid and sturdy - at times appearing almost architectural in form. This style resonates with the functionality of these objects - these objects were designed to be used often, rather than admired.

Main features and characteristics of Giorgio Morandi’s still lilfe painting.

SCI-Arc Spring 2020

Haozhou Zeng

the shelves of your own cupboard. The objects are placed on a nondescript tabletop, grouped together in various arrangements. The key factor is that these domestic objects are utterly unremarkable. They are not loud and ostentious. They do not demand our attention. These are not the objects of the rich and famous. Instead, they are silently humble. They represent a reality that is not dressed to impress. By focusing on objects that are commonplace, he shines a light on the functional objects we use everyday that are often overlooked and taken for granted.

Grad Thesis Prep

SCI-Arc Spring 2020

The perspective of his still life paintings is always looking straight on at them, or looking down at them. There is a certain mysterious ambiguity to the location of Morandi’s still life set-ups. Because it’s impossible to pinpoint a specific location or identify the owners of the objects, the paintings enjoy an anonymous, silent quality.

ABOVE: The 5th and final Tech Plan By Clark Thenhaus

From”Art-is-fun.com” 9

ABOVE: Late Entries To The Chicago Public LIbrary Competition By Design With Company

ABOVE: Video Games Urbanism By Luke Pearson

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

Haozhou Zeng

Composition

SCI-Arc Spring 2020

stuff is searched

stuff is chopped

stuff is leveled

stuff is hunted

stuff is clad

stuff is arranged

stuff is discoverd

stuff is subtracted

stuff is gathered

stuff is painted

stuff is added

stuff is anticipated

stuff is stained

stuff is replaced

stuff is negotiated

stuff is patched

stuff is glued

stuff is designed

stuff is overlaid

stuff is adjusted

stuff is accumulated

stuff is sorted

stuff is built

stuff is organized

stuff is sliced

stuff is lifted

staff is categorized

stuff is sized

stuff is tbc...

Haozhou Zeng

Composition

stuff is stacked

Haozhou Zeng

Materials

ABOVE: Sderstrm_Iittala_ By Wang & Soderstrom

Materials

Grad Thesis Prep

This model was produced for an exhibition in Los Angeles called BUST at Jai & Jai Gallery and curated and organized by Liam O’Brien Jr. The model is a speculation for a densely compacted development. The model is made from a range of found objects that were acquired as both wholes and in pieces. Both wholes and pieces of found objects are valued equally as parts in service of the assemblage of the new totality. These parts are compacted and composed in a contiguous manner to produce a vertical conglomerate that speculates on the a new possibility for human habitation.

FOR ALL: Phygital Materialism By Bastiaan de Nennie

ABOVE: Sderstrm_Iittala_ By Wang & Soderstrom

Haozhou Zeng

SCI-Arc Spring 2020

Haozhou Zeng

“Visual concept around the fluidity of current social and technological realities and constructed nature.”

iheartbolb: Amphibious Habitats Augmented Reality Interactive Game

ABOVE: Seven By WOJR

Grad Thesis Prep

Possible Form

Interaction

Forms

LEFT: Cast of Civic Characters By Joseph Altshuler

Grad Thesis Prep

ABOVE: Object By NorellRodhe Erratic Models

ABOVE: Other Masks Facades & Faces By WOJR

Infolve Sphere W300 This trend world represents virtual and social trends. Domestic and nomadic human made fragments are suspended in a spatial grid that network-like connects all spaces at once. The relations between those individual micro-spaces is fluid and dynamic, the materials and elements interpolate a trajectory of current technology into the future.

ABOVE: Object by Ken Price

Interaction ABOVE: Post-Rock By T+E+A+M

ABOVE: Infolve Sphere W300 By Foam Studio

Haozhou Zeng

SCI-Arc Spring 2020

New Cadavre Exquis

Haozhou Zeng

ABOVE: New Cadvre Exquis By Nemestudio LEFT: Our Junk, Their Ruin By Nemestudio DOWN: Manual of Instructions By Nemestudio

architectural materiality within a time span from construction, maintenance, ruination, demolition, and waste. Critically reflecting on our culture’s addiction to accumulation, New Cadavre Exquis re-stages the making of digital images as part of architecture’s materiality. It builds alternative linkages between architecture, digital media, and materiality, and opens up a range of aesthetic and political concerns for architectural and public imagination.

“Everyone can reach for different grades in development of his possibilities, beginning from equare starting points .” 23

Possible Form

SCI-Arc Spring 2020

Composition

Forms ABOVE: Late Entries To The Chicago Public LIbrary Competition By Design With Company

Haozhou Zeng

By Nemestudio

New Cadavre Exquis speculates on architecture’s materiality in the context of digital accumulation. The project consists of four architectural assemblies, which are created via a sampling process of digital readymades ranging from everyday objects, building elements, primitive forms and natural features from the 3D Warehouse—an online open source digital library of more than 2 million 3D models. While depicting the formation of an architectural project from the accumulation of digital excess from the 3D Warehouse to the building material debris, the project positions

ABOVE: Develop Process By Foam Studio

Grad Thesis Prep

LEFT: Études Objects By WOJR

UrbanLab presented the Re-Encampment project in the second Chicago Biennial curated by Sharon Johnston and Mark Lee. The project investigates a seminal project from the ‘70s to find new possibilities for today. In the photo-collage “Fundamental Acts, Life” from Superstudio’s Supersurface – The Encampment project of 1971, mountains frame a grid to produce a valley-scaled ‘interior’ room. Our “Re-Encampment” in the Chicago Biennial in the Room of Plinths re-interprets and re-examines the meaning underlying this canonical image. We deploy Superstudio’s technique of extension and multiplication – of grids across the landscape – to create “a space infinitely reflected.” Looking into and through these cubes, one sees spaces infinitely reflected. For Superstudio, these types of spaces symbolize benign environments: looking up one sees sky, looking down one sees a continuous gridded infrastructure. Emerging from the infrastructure plane, one sees a series of life-supporting atmospheres like air, heat, and water. This endless environment is divested of all but a few essential elements in order to re-examine, as Superstudio did, what is the essence of architecture and the environment. ABOVE: Chicago Biennial ‘17 By UrbanLab

HAOZHOU ZENG

Failure Of Imagination Around Our Schools... This thesis begins from this image, a typical typology of the classroom. blackboard and a teacher in front of desks and chairs in a single direction, single perspective and single focus. Current situation and remote learning experience open a new discussion about school typology. However, since we cannot go back to school for a long time, then we put ourselves in a poor situation with collective failure of imagination: apart from the old way we already know, how can we make a breakthrough to our pedagogy space. In terms of perspective, like a single point of view. It is something literally that ties to pedagogy . The way we are seeing develops the way and architecture space in which we are learning.

Sterotype: Single Focus Single Perspective ... ... â&#x20AC;&#x153;What we can dowhen we cannot make school in the same way?â&#x20AC;?

UP: Classroom layout in single perspective 10

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

UP: Interface of Cinema 4D

Thesis Concept: Ways Of Seeing -Western Perspective Seeing(Cinima 4D, Rhino, Revit, etc.) This reminds me of the perspective system, all the digital interface tools we are using today like Rhino, C4D, are based on the western perspective system, no matter for the perspective view, or the parallel view, everything is precisely measurable, predictable in single perspective. Is there a new model to break the system and remake a world to respond to the condition which we find ourselves in?

HAOZHOU ZENG

Thesis Concept: Ways Of Seeing -Eastern Perspective Seeing(Chinese Scroll Painting)

Day on the Grand Canal With Emperor Of China- David Hockney

1. Chinese Scroll Painting is a form without limitation of width and edge. Edge could be decide by viwers.

2. Perspective view Points intersect in one frame. Viewer can see multiple sides of scenes in same frame.

3. Chinese scroll Painting has individual perspective system. People scale is not affected by depth and distance.

4. Cloud boundary help artist transfer from one scene to the other, from time to time.

5. Complex organization and information make viewerâ&#x20AC;&#x2122;s view can wander around as they want.

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

UP: Technique images of Chinese scroll painting 13

HAOZHOU ZENG

New Model Of School Micro-Schoo-Ness

â&#x20AC;&#x153;A community based on 2-3 family members at their backyards, where parents can solve the education crisis on their own here.â&#x20AC;? 14

UP: Reference and report about microschool pod

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

“Microschoolness is a platform for users to collect everyday objcts and school content to build a pedagogy community from multi-perspective and multi-experience.” UP: Single frame of microschoolness concept model 15

HAOZHOU ZENG

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

Digital Interface Format: 3D Scroll Fragment Scenes, Disruptive Menue

https://vimeo.com/456871407

UP: Pick up stuff interface of Microschoolness App

“Microschoolness is an application and teaching tool to rethink the relationship between multi-objects and multi-subjects.” On the one hand, the spatial interface is created in the familiar, real environment, like our backyard with nature, a swimming pool or backside of our house. On the other hand, abundance of content, curriculum and objects are picked and reset by parents or children in virtual dimension. School ingredients could be manipulated in different scales, different perspectives and composition. Elements fromnature, digital texture, resolution, scale all collapse in this spatial interface, triggering children’s interest in learning, exploring and playing.

Overall, all the micro-school units at different backyards displayed in the 3d digital scroll. Sometimes they are displayed in different ways and perspectives to look at the same thing, sometimes they show content in different scales, different widths like the scroll painting. Each individual scene merges into the other and is blurred by digital landscape like the cloud line of scroll painting.

HAOZHOU ZENG

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

HAOZHOU ZENG

GT2020 GRADUATION THESIS / MICROSCHOOLNESS

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

LEFT: Physical Model of 3D Puzzle Design

3GB DS 5000

In Detail Strange Connections And Puzzling Forms Of Assembly Vertical Design Studio/ Integrated Comprehensive Studio/ Spring 2020 Instructor: Dwayne Oyler Partner: Yiyang Sang

hile it’s been legitimately debated, Mies is commonly credited with having uttered the phrase “god is in the details.” Well, for anyone with a deep concern for the enduring impact of the built environment, and its role in shaping human experience across all scales, you may also want to keep in mind the equally common phrase “the devil is in the details Generally speaking, buildings are designed and developed by thinking about big ideas- context, social and cultural issues, and massing, for example. While all perfectly reasonable places to start, these starting points relegate the details that are often essential to their ultimate outcome to playing a more subservient role in the process (a role that a great number of contemporary architects have supported). The subservient detail position suggests, ﬁ rst, that the same sort of attention being given to deliberate sensibilities about the assembly of parts at a larger scale is somehow off the table at a smaller scale. Secondly, it doesn’t recognize that there may be a productive dialogue between

similar or strategically dissimilar approaches in the same building. I’ve always believed that the process of making- that intimate experience of struggling to create dialogues between parts, materials, and characters of all kinds, offers ways to think about all scales. My intention with the studio is to create a more conscious dialogue between how we think about the assembly of parts in ways that may bring to light their transferability as well as their limitations. One of the more inescapable realities of realizing buildings is the assembly of parts. This is true at numerous scales, from the scale of a handrail to the building massing, and in the types of parts being assembles, programmatic elements, for example. The studio is especially interested in developing well articulated methods of assemble that allow for a transference between scales.

HAOZHOU ZENG

ORIGINAL ASSET Hanayama Square is composed of four highly similar parts, and each of them interlock to each other by the gravity lock inside. The flatten graphic properties make people to solve it horizontally, but the only way to solve this puzzle is to rotate each of them vertically in different direction.

Hanayama began life in the mid-1930s as a manufacturer and retailer of traditional games, indoor pursuits and other toys, and from the very beginning has placed a great emphasis on creative ideas, good quality, and friendly service.

UP: Original puzzle and 3D puzzle instruction 24

3D puzzle design intends to develope this strategy from the square puzzle and transfer it into a new three-dimentional object. The primary objective is to arrive at the â&#x20AC;&#x153;puzzleâ&#x20AC;? object-one that balances a sense of compoleteness with a curiously complex assembly of specific parts, while offering clues about its potential for disaasemble and reconfiguration.This 3D puzzle should fit and work perfectly from inside, so the availble strategy is to stack them and design it from outside. The 3D puzzle consists two materials as the original Hanayama Square Puzzle. And since this puzzle share the same system of Square Puzzle, four pieces have to be open or reassembled simutaneously.

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

UP: Original puzzle and physical models

UP: Original puzzle assemble process 25

HAOZHOU ZENG

<1>

<2>

PARTS LIST

<3>

! 26

COMPLETION

<4>

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

UP: 3D puzzle physical model

3D PUZZLE 3D puzzle design intends to develope this strategy from the square puzzle and transfer it into a new three-dimentional object. The primary objective is to arrive at the â&#x20AC;&#x153;puzzleâ&#x20AC;? object-one that balances a sense of compoleteness with a curiously complex assembly of specific parts, while offering clues about its potential for disaasemble and reconfiguration.This 3D puzzle should fit and work perfectly from inside, so the availble strategy is to stack them and design it from outside. The 3D puzzle consists two materials as the original Hanayama Square Puzzle. And since this puzzle share the same system of Square Puzzle, four pieces have to be open or reassembled simutaneously.

SILVER PART The silver pieces rotate along the central axis which points at the edge of the puzzle.

The pin engaging the silver pieces will move freely in the grooves, while the pin engaging the dark red pieces will be blocked in the grooves and prevented from moving freely.(Back view)

DARK RED PART The dark red pieces rotate along the central axis which points at the center of the puzzle.

UP: 3D puzzle instruction 27

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

UP: Process of playing with the puzzle 29

HAOZHOU ZENG

2D PUZZLE 2D puzzle is transformed and reinterpreted into a new set of elements(that retain the key connective principles found in the original). Instead of devoloping inside of Hanayama Square Puzzle, the 2D puzzle are designed from its graphic property. Like the interior square puzzle structure, the 2D curve language are able to fit to each other as well.The strategy of this 2D puzzle plays the game about the scale and rotation. The strong curve language is repeated by different scale and degree of rotation, and multiple objects create different spatial relationship. Like the original Hanayama Square Puzzle, the 2D 30

puzzle consist of two material, metal and wood, which stand for two strategy of creating objects. Since each objects have similar language, and there is no cerntain order to put those pieces in to wood part, it is playful to take it out and try to put it back. The further development is that it blurs the boundary between 2D and 3D. Thus the geometry could be transfered into multiple possible architectural elements, like architecture, landscape, facade, etc. UP: Top view of 2D puzzle physical model Right: 2D puzzle Instruction

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

PARTS LIST

<1>

4 4 8 7

12 14

15 8

<2>

2 1 12 6

<3>

COMPLETION

HAOZHOU ZENG

TOP: Rendering, process, and finished pieces of 2D puzzle 32

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

TOP: Rendering, process, and finished pieces of 2D puzzle 33

HAOZHOU ZENG

UP: Top view of site model Right: Massing and site instruction

COMBINATION

UP: Massing and landscape physical model 34

Combination of architecture and site is the game of transforming two projects as one. Compared to previous projects, the site and objects should offer something different in some way. It could consider an aspect(conceptually, formally, or both) of the original puzzle thAt was not considered in the first puzzle. Since 2D and 3D puzzle are the same formal language, the site could offer a different intepretation of the original puzzle. As the straight language on the edge of Hanayama Square Puzzle, the site and architecture massing are developed further by introducing straight formal aspect. The architectural massing keeps the balance between open and closed, and the stretch movement transfered the puzzle into a bar typology architecture. The curve part of site follows the movement of the massing visually, which present the movement of eel off. The powerful straight language follows the stretch motion of the building and some parts of objects on site will be transformed to building.

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

<1>

<2>

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

UP: Elevation of massing and landscape physical model 37

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

DETAIL: STAIRCASE

ASSEMBLING

<1>

<3>

Staircase Detail offer a different interpretation of original puzzle. It also creates a misreading of movement by using differnet language of Hanayama puzzle Square. The whole model seems can be fold up but in fact it cannot.

Staircase is framed and supported by steel tubes. All the steel tubes are fixed on the wall. The wall looks like that it has enough space to tolerance steps after they are folded up.

<2>

STEPS DETAIL

Staircase Detail comes from an aspect of the original puzzle that was not considered in the first puzzle. Straight line language of Hanayama Square is introduced into detail design.

<4>

FRAME DETAIL

Handrail flows along the surface of the wall and intersect with the frame of stair steps.

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

UP: Detial of steps LEFT: Front view of staircase detail 41

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

https://vimeo.com/421388285 UP: The process of assemble of site and architecture 45

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

HAOZHOU ZENG

3GB VERTICAL DESIGN STUDIO / IN DETAIL: STRANGE CONNECTIONS AND PUZZLING FORMS OF ASSEMBLY

HAOZHOU ZENG

3GA VERTICAL DESIGN STUDIO / COMPETITION *2

LEFT: Objects of Three Competition Projects

3GA DS 4000

Competition *2 Vertical Design Studio/ Integrated Comprehensive Studio/ Fall 2019 Instructor: John Enright

his studio will take on the topic of the Architectural Competition as a starting point to develop architectural strategies that span scale, location, and program. To accomplish this the studio will partake in two actual competitions, all five weeks each. We will discuss the value of architectural competitions, and various strategies to approach them. Along the way students will be able to bridge their work across the three competitions, and thereby see the two as related, progressive, investigations of their own work. The two-part project breakdown of the semester is seen as an advantage, the ability to re-tool, re-direct, and re-do earlier versions of form, strategy, and approach. The typical 15 week semester of the singular project is thus pedagogically questioned in this studio. The Architectural competition has a long history, at least 2500 years. From the Acropolis, to the Disney Concert Hall, history is replete with examples of significant buildings that were the result of competitions. Of course history is also full of examples of non-winning competition entries as well, some of which became more well known that the winning entries (Loos’ Chicago Tribune

comes to mind). Some would say that the idea of the competition is abusive, counter to thoughtful manners of procuring an architect, one that by its very nature creates abuses of labor and feeds the professions worry of relevance. Whether we see competitions as a useful means to illicit the best architectural work a culture can produce, or an abusive system of exploitation of architects and designers – we can probably agree that the architectural competition is most likely here to stay. If nothing else, the Guggenheim Helsinki competition of a few years ago and its over 1,700 entries shows us the amount of interest that competitions can still produce. On the other hand, what in the creative endeavor is not competition? We complete in all manners of ways, and to pretend that our ideas, concepts, and work is not compared, contrasted, weighted, debated, and ultimately judged to one another’s is not realistic and most likely naive. In that light, the idea that healthy competition is a positive endeavor is the spirit in which we will approach the three projects.

HAOZHOU ZENG

3GA VERTICAL DESIGN STUDIO / COMPETITION *2

Personal Place The Home Competition 2019

The concept explores that home could be customized and built in more personal ways.This project is located near the Painted Ladies in San Francisco, a group of Victorian style residences. By replacing one of the classic building, this house is composed of a variety of playful objects in unusual scales. The precise position of those objects defines that part is collected as one, cre-

ating a vertical composition in a narrow space.In this specific site, the house challenges traditional circulation by lifting objects up in the air. This explores method of access self-expression of the owner as well.

UP: Objects transformation LEFT: Personal Place 53

HAOZHOU ZENG

3GA VERTICAL DESIGN STUDIO / COMPETITION *2

HAOZHOU ZENG

3GA VERTICAL DESIGN STUDIO / COMPETITION *2

UP: Diagrammatic plans Down: Diagrammatic section

HAOZHOU ZENG

3GA VERTICAL DESIGN STUDIO / COMPETITION *2

Living In the Cloud Paris Affordable Housing Challenge

UP: Parti walls in paris and specific site location

Paris ranks in the top 10 most expensive cities to live in, meaning housing prices are naturally higher than other regions in France. One factor that drives up house prices is the massive demand for rental properties, and the growing trend of short-term lets to tourists. Landlords are favoring these short-term rentals in which they can earn twice as much per month as opposed to renting to long-term residents. Reduced supply and a consistently high demand means that finding an affordable place to live is nearly impossible in the city of lights. International cities around the world like Paris are confronting the same problem: how to get more affordable housing for people to live. Even though Paris is compact and a dense urban fabric, there are many unused, blank parti-walls. â&#x20AC;&#x153;Living In the Cloudâ&#x20AC;?, a kind of wall-typology architecture, is combined with inflatable materials and scaffolding systems to solve the affordable

housing problem in technical, economic, and flexible manners. The fundamental scaffolding structure makes it possible to attach to the existed walls. This structure creates a thin and narrow space and makes a super light architecture. The building consists of two scales of rooms, studio and two-bedroom units. Solid places all functional programs efficiently against the back wall, saving more free space for multiple functions. Additionally, the building uses a pneumatic system on the facade. Inflatable material is customized in a multitude of shapes, colors, sizes, and create varying levels of transparency. The language of inflatable facades not only creates extra living space for each room, but also generates a soft wall in contrast to the internal solid wall. This system is adaptable to varies sites, including courtyards and infill sites.

HAOZHOU ZENG

Blank Parti-Wall

Scaffolding Structure

3GA VERTICAL DESIGN STUDIO / COMPETITION *2

Circulation

Floor Layer

Inflatable Facade

LEFT: Diagram of building process

Left: Plan Left Down: Elevation Right Down: Section

HAOZHOU ZENG

edacaF elbatalfnI

Solid Wa

reyaL roolF

noitalucriC

Studio Unit Plan

2 Bedroom Unit Plan Blank Parti-Wall

Scaffolding Structure

Circulation

Right: Layers of 2 Bedroom Unit Down: Interior Space

nalP :tfeL noitavelE :nwoD tfeL noitceS :nwoD thgiR

Solid Wall & Functional Program

2 Bedroom Unit Plan

Floor Layer

Studio Unit Plan

Scaff

Floor and Free Space

Right: Layers of 2 Bedroom Unit Down: Interior Space Beams

Scaffolding Structure System

Inflatable Facade

2 Bedroom Unit Plan

Studio Unit Plan

Floor and Free Space

3GA VERTICAL DESIGN STUDIO / COMPETITION *2 Right: Layers of 2 Bedroom Unit Down: Interior Space Beams

Scaffolding Structure System

LEFT: Exposure drawings to clarify how scaffolding structure work Facade material withInflatable inflatable

HAOZHOU ZENG

2GA DESIGN STUDIO / PLAYING AGINST TYPE

LEFT: Photograph of Midterm Model

2GA DS 1120

Playing Against Type Design Studio/ Integrated Comprehensive Studio/ Fall 2018 Instructor: Jenny Wu Partner: Luke Falcone

he third semester M.Arch I core design studio will critically consider the idea of ‘type’ and ‘model’ in the context of a renewed interest in objecthood — a discourse that posits typological thinking as a problem of collections and catalogues rather than periodization or classification. While no longer concerned with the origin of architecture (Laugier), imitation of nature (Quatremére), or taxonomy of types (Durand), this trans-temporal and non-theistic attitude articulates new ways of engaging the rapidly expanding archive of objects available to the designer. The vitality of this way of thinking and working is evident in contemporary art (Koons, McCarthy) and fashion (Michele/Gucci, Gvasalia/ Balenciaga). Similarly, in architecture a focus on the multiple-object building complex leads to a reassessment of works by Gehry, Rossi, Siza, and Stirling at the cusp of the digital turn. Gaining familiarity with these set pieces shifts the initial focus of design activity in the studio to critically engage disciplinary knowledge.

tectural projects will develop new coherences among parts that are neither dialectical nor differential. While retaining a level of disciplinary specificity and legibility, this contingent model playfully harnesses the discrepancy between digital and physical design processes. Moving from composition to compositing, the studio engages workflows beyond conventional threedimensional modeling in the computer. The technique of ‘volumetric compositing’ brings together fragmentation/explosion and unification/ implosion, to produce geometrically and volumetrically coherent objects. An aspect of this aesthetic stance is to identify specific architectural types, tropes, and devices and remix them in new ways. While it may be assumed that a quasi-autonomous collection of parts exists, the workflow for setting those parts into legible architectural assemblages and ensembles requires intentionality by the architect.

Through a (non)compositional approach, archi65

HAOZHOU ZENG

Massing Source This project consists of two objects: a chapel from Loyola Law School in Los Angeles, and a box from the Guest House by Frank Gehry. The Box is designed for central massing, while the chapels are generated by different composition to populate central box.

UP: Sources of architectural components Down: Composition possibilities of chapel

2GA DESIGN STUDIO / PLAYING AGINST TYPE

UP: Process diagram It explains how hierarchy are designed and how the bunch of objects combine with the central massing Down: Midterm massing model at site

This Project are playing against mat typology. The central box is tilted a slight angle to generate hierarchy. A bunch of chapes are composed in different ways and populate the central box. Some loose fit space are created in this process and hint the geometry of chapel. And some panel gaps are created to follow the program inside of the building.

HAOZHOU ZENG

2GA DESIGN STUDIO / PLAYING AGINST TYPE

HAOZHOU ZENG

UP: First Floor Plan

UP: Longitute section It shows the game of hierarchy and the circulation in this project 70

2GA DESIGN STUDIO / PLAYING AGINST TYPE

UP: Second Floor Plan

UP: Cross section It shows the connection between chapel part and central massing 71

HAOZHOU ZENG

2GA DESIGN STUDIO / PLAYING AGINST TYPE

UP: Massing model Down: Massing model at site

HAOZHOU ZENG

2GA DESIGN STUDIO / PLAYING AGINST TYPE

HAOZHOU ZENG

2GA DESIGN STUDIO / PLAYING AGINST TYPE

LEFT: Section model UP: Details of section model 77

HAOZHOU ZENG

1GB DESIGN STUDIO / DIPTYCH

LEFT: Axon Rendering

1GB DS 1101

Diptych Design Studio/ Intergrated Design Project/ Spring 2018 Instructors: Zeina Koreitem

his course keeps discussing the fundamental problems of architecture after the first studio of the fundamental princeples. The relationship between geometry, form, material and architecture will be concerned more on the base of 1GA studio.The working methodologies introduced in 1GA are expanded and refined to continue developing new ideas for the creation of architecture. This course challenges students to design both site and buildings accommodation. The studio is project is a duplex of two single-family homes in Los Angeles. The Form and program of the duplex is framed through the analog of the diptych painting: a symmetrically arrayed pair of frames that contain calibrated similarities and differences, each image complete in and of itself while simultaneously comprising part of a whole.

project. On base of this folding structure, regular cube and irregular form generate a diptych relationship on form, facade system, circulation, and architectural language. Cube house own stair as main circulation while the opposite part use ramp as its circulation. Stair connect each space efficiently in viertical direction, while ramp goes through more space in opposite house. Depending on different program, different depth and scale of windows are utilized in this project. From basic diagram to three-dimensional model for two families, this project explore how to develop a project from concept to physical setting.

This project base on the most fundamental geometry, cube and irregular form. The frame of this project comes from the folding paper, which generate the wall, floor and core in this 79

HAOZHOU ZENG

1GB DESIGN STUDIO / DIPTYCH

HAOZHOU ZENG

UP: First and second floor plan Ramps and stairs work in different part of this house 82

1GB DESIGN STUDIO / DIPTYCH

UP: Longitute section and cross section 83

HAOZHOU ZENG

1GB DESIGN STUDIO / DIPTYCH

LEFT: Axon view of physical model UP: Short elevation views of physical model 85

HAOZHOU ZENG

1GA DESIGN STUDIO / FUNDAMENTAL PRINCIPLES

LEFT: The beginning of the story-the ‘Smoke’ Sculpture by Tony Smith

1GA DS 1100

Fundamental Princeples Design Studio/ Intergrated Design Project/ Fall 2017 Instructors: Matthew Au

his project introduces students to the central problems of architecture-geometry, form, and space-through the technologies of their description-diagramming, drawing, and model making. Introductory exercises emphasize the role of drawing and analysis as both descriptive and generative. Students pay close attention to the development of ideas that inform an iterative and creative process for working with many different media: From physical models, to two-dimensional drawings, to digital interfaces. The course culminates in the design of a small public library building in Los Angeles.

sions about where the grid should remain continuous and where a face of the cell will be made discontinuous. Begin by studying the alignments and adjacencies of planes in your surface model to determine the appropriate side to thicken each surface. After those, we learn about the relatinship between skin and foam core, understanding how to develope architecture’s skin. This project also requires students to learn how to organize interior space by circulation and poche, and how to arrange program and space.

This studio begins from an introduction to the description of form and space through the disciplined study of a cell in the sculpture Smoke (1967) by Tony Smith. By combining cell unit taken from Smoke sculpture and cube wireframe, we get a new wireframe. Next, study the gift wrapped model for its treatment of extended or offset edges, overwraps,overhangs, graphic seams, geometric gaps, volumetric breaks and tape details. Use this model toinform your deci87

HAOZHOU ZENG

This project begins from combination of the fundamental geometry: a cube and a dodecahedron. By adding or deleting lines of this combination, a new line frame will be generated. On the base of this frame, surface could be built and a basic massing are created in this way. 88

1GA DESIGN STUDIO / FUNDAMENTAL PRINCIPLES

In order to understand the fundamental language of architecture, like volume space, wall, facade, those surfaces will be offset and own their own thickness, and additional facade panels are created on the base of those massing. 89

HAOZHOU ZENG

UP: Axon illustration 90

1GA DESIGN STUDIO / FUNDAMENTAL PRINCIPLES

UP: Elevation illustration 91

HAOZHOU ZENG

UP: Second floor plan DOWN:First floor plan 92

1GA DESIGN STUDIO / FUNDAMENTAL PRINCIPLES

UP: Section to show the relationship between stairs and roof DOWN:Section 2 93

HAOZHOU ZENG

2GA APPLIED STUDIES / DESIGN DEVELOPMENT

LEFT: 3D Structural Axo Secondary Structure

2GB AS 3122

Design Development Applied Studies/ Intergrated Design Project/ Spring 2019 Instructors: Herwig Baumgartner+Scott Uriu Partners: Jiayue He, Yuting Zhu, Wenzhi Zhen, Wangzhuo He, Wangshu Chen

esign development course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, Environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems. The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and Stewardship of the Environment.

tails. Pertinent specific topics for the course will be highlighted in each presentation, with a focus on the evolution of building design from concept to built form. Design development course re-considers drawing and the representation of the building components as one, where things can be hacked apart, peeled away, cut away, sliced, and exploded. Cuts will no longer be flat as in conventional plans and sections, but will be warped and active. Design development course attempts to combine multiple ontologies into the discussion, where things may be represented in terms of thier profile, sihouette, internal organization, energy, action on other things, depletion integration, and dis-integration all the same time.

A series of built case studies will be presented by the instructors along with visiting professionals in the field who are exploring new project delivery methods. These case studies will be shown indepth with construction photographs, 3D renderings, and technical drawings and de95

HAOZHOU ZENG

APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019 INSTRUCRORS: HERWIG BAUMGARTNER SCOTT URIU

OrzDD Primary Steel Structure 12X12 Truss

Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

CONSULTANS:

BURBANK DISNEY STUDIO

JAMEY LYZUN MATHEW MELNYK

Structrual Steel Frame Core

TITLE: PRIMARY STRUCTURE (GRAVITATIONAL FORCE)

Foundation

Reinforced Concrete Mat Foundation Concrete Post and Beam Parking Garage Structure

SCALE: NTS

MODEL BY: Jiayue He Haozhou Zeng Wenzhi Zheng Yuting Zhu DRAWING REVISIONS NAME DATE 03/11/19 04/08/19

Yuting Zhu Jiayue He

PROJECT NO.

SHEET NO.

S.2

APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019 INSTRUCRORS: HERWIG BAUMGARTNER SCOTT URIU

Steel W18 I Beam Roof Structure Primary Steel Structure 12X12 Truss

OrzDD Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

CONSULTANS:

BURBANK DISNEY STUDIO

JAMEY LYZUN MATHEW MELNYK

Structrual Steel Frame Core

Steel Column

Steel W18 I Beam Floor Structure

TITLE: PRIMARY STRUCTURE (SEISMIC AND LATERAL FORCES)

Concrete Column

SCALE: NTS

MODEL BY: Jiayue He Haozhou Zeng Wenzhi Zheng Yuting Zhu DRAWING REVISIONS DATE NAME 03/11/19 04/08/19

Yuting Zhu Jiayue He

PROJECT NO.

SHEET NO.

S.3

UP: Mega structures

2GA APPLIED STUDIES / DESIGN DEVELOPMENT

APPLIE DESIG SPRING

INSTR HERW SCOTT

CONS

JAMEY MATHE

Concrete Roof

Kawneer 1600SSG Mullion

Glazing

Mullion

Perforated Aluminium Panel

Bracket

Primary Steel Structure 12X12 Truss

TITLE:

SECO STRUC

SCALE NTS

MODE

DRAW DATE

03/11/19 04/08/19

UP: Mega structures and detail structures 97

HAOZHOU ZENG

Insulated Aluminum Panel

Perforated Metal Cladding Aluminium U Channel Glazing Kawneer 1600SSG Mullion Concrete Slab W18 I Beam

Bracket

Primary Steel Structure -12”X12” Truss

Base Foundation

2GA APPLIED STUDIES / DESIGN DEVELOPMENT APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019

INSTRUCRORS: HERWIG BAUMGARTNER SCOTT URIU

A03

03 A03

04 A03

LOGO

OrzDD Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

CONSULTANS: JAMEY LYZUN MATHEW MELNYK

BURBANK DISNEY STUDIO

A03

05 A03

06 A03

TITLE: 3D MEGA CHUNK ADA

SCALE: NTS 1”=1’-0”

DRA MODEL BY: Wangshu Chen Jiayue He Haozhou Zeng Wenzhi Zheng Yuting Zhu DRAWING REVISIONS NAME DATE

03/11/19 NO. 04/08/19

Wangshu Chen Yuting Zhu

PROJECT NO.

SHEET NO.

A.1

HAOZHOU ZENG

Perforated Metal Cladding Aluminium U Channel

Glazing Kawneer 1600SSG Mullion

Concrete Slab W18 I Beam Primary Steel Structure -12”X12” Truss Secondary Structure -Aluminum Framing Suspended Ceiling

Base Foundation

UP: Chunk model drawing 100

2GA APPLIED STUDIES / DESIGN DEVELOPMENT

Perforated Metal Cladding Aluminium U Channel

Glazing Kawneer 1600SSG Mullion

Secondary Structure -Aluminum Framing

Concrete Slab

W18 I Beam

Primary Steel Structure -12”X12” Truss

UP: Chunk model drawing 101

HAOZHOU ZENG

01 A15

04 6 A1

OFFICE 300

03 5 A1

01 A16

CLASSROOM 306

OFFICE 301

AUDITORIUM 305

E CONFRENCE 304

OFFICE 102

OFFICE 303

OFFICE 101

OPEN OFFICE 100

CONFRENCE 103

0 A G

OFFICE 302

02 A1 6 I

A16 CONFRENCE 402

CONFRENCE 403

02 A1 5 J

BREAKROOM 401

OPEN OFFICE 400

04 A15

BREAKROOM 201

OPEN OFFICE 200

CONFRENCE 202

0 A

LEFT: Plans of four buildings 102

01 A15

04 A15

2GA APPLIED STUDIES / DESIGN DEVELOPMENT

95’-6” ROOF

70’-0” ROOF

53’-6” FOURTH FLOOR

35’-0” THIRD FLOOR

32’-6” SECOND FLOOR

17’-6”

15’-0“

SECOND FLOOR

FIRST FLOOR

0’-0”

GROUND

SECTION @ BUILDING 3

01 A15

SECTION @ BUILDING 1

80’-0” ROOF

63’-0” FOURTH FLOOR

57’-6”

60’-0”

FOURTH FLOOR

ROOF

37’-6” 40’-6”

THIRD FLOOR

THIRD FLOOR 20‘-0“ SECOND FLOOR

17’-6” SECOND FLOOR

SECTION @ BUILDING 4

0’-0”

GROUND

01 A15

SECTION @ BUILDING 2

LEFT: Sections of four buildings 103

HAOZHOU ZENG

70’-0” ROOF

15’-0“ FIRST LEVEL 0’-0” GROUND LEVEL

01 A16

BUILDING 3 ELEVATION

80’-0” ROOF

39’-0” OUTDOOR TERRACE

20’-0” SECOND LEVEL

0’-0” GROUND LEVEL

04 A16

104

BUILDING 4 ELEVATION

2GA APPLIED STUDIES / DESIGN DEVELOPMENT APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019 14

INSTRUCRORS: HERWIG BAUMGARTNER SCOTT URIU

95’-6” ROOF

62’-6” ROOF

OrzDD 36’-0” OVERHANG CANTILIVER

CONSULTANS: JAMEY LYZUN MATHEW MELNYK

BURBANK DISNEY STUDIO

0’-0” GROUND LEVEL

01 A16

BUILDING 1 ELEVATION

TITLE: BUILDING ELEVATION

60’-0” ROOF

SCALE: 1/16”=1’-0”

DRAWING REVISIONS

17’-6” SECOND LEVEL 0’-0”

DATE 03/11/19

NAME Jiayue He Yuting Zhu

04/08/19

Jiayue He Yuting Zhu

PROJECT NO.

GROUND

01 A16

BUILDING 2 ELEVATION SHEET NO.

LEFT: Elevations of four buildings 105 A.16

HAOZHOU ZENG

01 Insulated Aluminum Panel

95’-6”

A18

Concrete Roof

ROOF

Aluminium U Channel Perforated Metal Cladding Glazing

Insulated Aluminum Panel Concrete Roof Perforated Metal Cladding Aluminium U Channel

02 A18

01 A19 53’-6” FOURTH FLOOR

Glazing Kawneer 1600SSG Mullion

AUDITORIUM

Insulated Aluminum Panel

02 A19

35’-0” THIRD FLOOR

OFFICE

A20

17’-6” SECOND FLOOR

Concrete Slab W18 I Beam Suspended Ceiling Secondary Structure

OFFICE

Bracket Primary Steel Structure -12”X12” Truss

02 A20 0’-0” FIRST FLOOR

OFFICE

Base Foundation

UP: Wall section drawing 106

2GA APPLIED STUDIES / DESIGN DEVELOPMENT

01 A03

02 A03 Insulated Aluminum Panel

Perforated Metal Cladding Aluminium U Channel Glazing Kawneer 1600SSG Mullion

03 A03

04 A03

05 A03

Concrete Slab W18 I Beam Suspended Ceiling

Bracket Primary Steel Structure -12”X12” Truss

Secondary Structure -Aluminum Framing

06 A03 Base Foundation

UP: Wall section model drawing 107

Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

HAOZHOU ZENG

OrzDD

CONSULTANS:

JAMEY LYZUN MATHEW MELNYK

Waterproofing

BURBANK DISNEY STUDIO BURBANK DISNEY STUDIO

Enclosure Sheet Metal

Secondary Structure Aluminium Framing Enclosure Sheet Metal

Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

CONSULTANS:

Metal Deck

JAMEY LYZUN MATHEW MELNYK

Concrete Roof

Primary Steel Structure-12”X12” Truss

Perforated Metal Cladding Enclosure Sheet Metal -Aluminium Panels

Secondary Structure Aluminium Framing

Waterproofing

Enclosure Sheet Metal

Metal Deck

Waterproofing

Kawneer 1600SSG Mullion Rigid Insulation Bracket

Concrete Roof

Primary Steel Structure -12”X12” Truss Concrete Roof

Metal Deck Glazing Primary Steel Structure-12”X12” Truss

Perforated Metal Cladding -Aluminium Panels Waterproofing Metal Deck

Secondary Structure Aluminium T-shape Framing

Kawneer 1600SSG Mullion

TITLE:

High Density Plastic

Glazing

Kawneer 1600SSG Mullion

Secondary Structure Primary Steel Framing Structure Aluminium T-shape -12”X12” Truss Secondary Structure Aluminium Framing

Perforated Metal Cladding Glazing

APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019 INSTRUCRORS: HERWIG BAUMGARTNER SCOTT URIU

2D Details

SCALE:

APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019

OrzDD

1”=1’-0”

Secondary Structure Aluminium T-shape Framing

TITLE:

High Density Plastic

Glazing

Kawneer 1600SSG Mullion

Secondary Structure Aluminium T-shape Framing

Perforated Metal Cladding

Secondary Structure Aluminium Framing

INSTRUCRORS: HERWIG BAUMGARTNER SCOTT URIU

2D Details

Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

DRAWING REVISIONS DATE

NAME

03/11/19 SCALE:

Haozhou Zeng Jiayue He Haozhou Zeng

04/08/19 1”=1’-0”

CONSULTANS:

PROJECT NO.

01 A18

Curtain Wall - Roof Junction

Perforated Metal Cladding -Aluminium Panels

02 A18

OrzDD

JAMEY LYZUN MATHEW MELNYK

DRAWING REVISIONS

Curtain Wall - Roof Junction

DATE

NAME SHEET NO. 03/11/19 Haozhou Zeng Jiayue He 04/08/19 Haozhou Zeng

Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

A.18

Glazing

PROJECT NO.

Kawneer 1600SSG Mullion

01 A18

Curtain Wall - Roof Junction

BURBANK DISNEY BURBANK STUDIO DISNEY STUDIO

Rigid Insulation Bracket

Concrete Roof

CONSULTANS: 02 A18

Curtain Wall - Roof Junction

JAMEY LYZUN MATHEW MELNYK

Finished Floor

SHEET NO.

Perforated Metal Cladding -Aluminium Panels

Concrete Slab

A.18

Primary Steel Structure 12”X12” Truss

Finished Floor Glazing Concrete Slab Kawneer 1600SSGMetal Mullion Deck

Rigid Insulation

Insulated Aluminum Panel Glazing Finished Floor

Metal Finishing

Concrete Slab Bracket Bracket Primary Steel Structure 12”X12” Truss

Finished Floor

Bracket Suspended Ceiling

Concrete Slab

TITLE:

Rigid Insulation

Metal Deck

2D Details Insulated Aluminum Panel Glazing Kawneer 1600SSG Mullion

Metal Finishing

Bracket Bracket

SCALE: 1”=1’-0”

Bracket Suspended Ceiling

APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019 INSTRUCRORS: HERWIG BAUMGARTNER

Kawneer 1600SSG Mullion SCOTT URIU

APPLIED STUDIES TITLE: DESIGN DEVELOPMENT SPRING 2019

2D Details

INSTRUCRORS: DRAWING REVISIONS HERWIG BAUMGARTNER SCOTT URIU

DATE

NAME

04/08/19

Haozhou Zeng

APPLIED STUDIES 03/11/19 Haozhou Zeng DESIGN DEVELOPMENT SPRING 2019 Jiayue He

SCALE: INSTRUCRORS: HERWIG BAUMGARTNER 1”=1’-0” SCOTT URIU

PROJECT NO.

Curtain Wall - Floor Junction

02 A19

APPLIED STUDIES Wangshu Chen DESIGN Jiayue HeDEVELOPMENT SPRING 2019 Wangzhuo He

Curtain Wall - Floor Junction Perforated Metal Cladding -Aluminium Panels

Glazing

01 A19

Curtain Wall - Floor Junction Perforated Metal Cladding -Aluminium Panels Glazing

Perforated Metal Cladding -Aluminium Panels

02 A19

Curtain Wall - Floor Junction

INSTRUCRORS: Wenzhi Zheng HERWIG Yuting ZhuBAUMGARTNER SCOTT URIU CONSULTANS: Glazing Perforated Metal Cladding JAMEY LYZUN -Aluminium Panels MATHEW MELNYK

Bracket

OrzDD Glazing

Secondary Structure Aluminium T-shape Framing

Glazing

Perforated Metal Cladding -Aluminium Panels

Perforated Metal Cladding -Aluminium Panels Bracket

Bracket

Perforated Metal Cladding Haozhou Zeng Panels -Aluminium

BURBANK DISNEYBURBANK STUDIO DISNEY STUDIO

01 A19

Bracket Glazing

Secondary Structure Aluminium T-shape Framing

OrzDD DRAWING REVISIONS Wangshu Chen DATE NAME Jiayue He SHEET NO. Wangzhuo He 03/11/19 Haozhou Zeng Haozhou Zeng Jiayue He Wenzhi Zheng Yuting Zhu 04/08/19 Haozhou Zeng

OrzDD A.19

Wangshu Chen CONSULTANS: Jiayue He PROJECT NO. Wangzhuo He JAMEY LYZUN Haozhou Zeng MATHEW MELNYK Wenzhi Zheng Yuting Zhu

BURBANK DISNEY STUDIO BURBANK DISNEY STUDIO

OrzDD

CONSULTANS:

JAMEY LYZUN SHEET NO. MATHEW MELNYK

A.19

Wangshu Chen Bracket Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Secondary Structure Aluminium Yuting Zhu

T-shape Framing

CONSULTANS: Kawneer 1600SSG Mullion Secondary Structure Aluminium T-shape Framing Kawneer 1600SSG Mullion

Perforated Metal Cladding -Aluminium Panels Glazing Metal Finishing

Kawneer 1600SSG Mullion

Glazing

Secondary Structure Aluminium T-shape Framing Bracket

Kawneer 1600SSG Mullion

Aluminium U Channel

JAMEY LYZUN MATHEW MELNYK

Kawneer 1600SSG Mullion Aluminium U Channel

Bracket

Kawneer 1600SSG Mullion Secondary Structure Aluminium T-shape Framing

Secondary Structure Aluminium T-shape Framing

Kawneer 1600SSG Mullion Aluminium U Channel

Kawneer 1600SSG Mullion Metal Finishing

TITLE:

Bracket Secondary Structure Aluminium Framing

Metal Finishing Kawneer 1600SSG Mullion

Secondary Structure

Aluminium Framing 2D Details

Finished Floor Concrete Rigid Insulation Kawneer 1600SSG Mullion Outside pavement

Secondary Structure Aluminium T-shape Framing

Aluminium U Channel WaterProofing

Kawneer 1600SSG Mullion

Rigid Insulation

TITLE:

2D Details

Finished Floor Concrete Rigid Insulation Outside pavement

TITLE:

Secondary Structure WaterProofing

SCALE: 2D Details

Rigid Insulation

1”=1’-0”

SCALE: Aluminium Framing 1”=1’-0” Finished Floor

Concrete Rigid Insulation Outside pavement

Metal Finishing

Rough Concrete

Secondary Structure Aluminium Framing

Rough Concrete WaterProofing

DRAWING RigidREVISIONS Insulation DATE

NAME

03/11/19 TITLE:

Haozhou Zeng Jiayue He Haozhou Zeng

04/08/19 2D Details Rough Concrete

Finished Floor Concrete Rigid Insulation

PROJECT NO.

SCALE: DRAWING REVISIONS 1”=1’-0” DATE

NAME

03/11/19

Haozhou Zeng Jiayue He Haozhou Zeng

04/08/19

DRAWING REVISIONS NO. DATEPROJECT NAME 03/11/19

Outside pavement

01 A20

108

Curtain Wall - Mullion Junction Curtain Wall - Mullion 01Junction A20

01 A20

Curtain Wall - Mullion Junction

WaterProofing

SCALE:

Rigid Insulation

1”=1’-0”

04/08/19

SHEET NO. 02 A20

Curtain Wall - Ground Junction Curtain Wall - Ground 02 Junction A20

02 A20

Rough Concrete

Curtain Wall - Ground Junction

A.20

DRAWING REVISIONS DATE

NAME

03/11/19

Haozhou Zeng Jiayue He Haozhou Zeng

04/08/19

PROJECT NO.

Haozhou Zeng Jiayue He Haozhou Zeng

SHEET NO.NO. PROJECT

A.20 SHEET NO.

A.20

-Aluminium Panels

Glazing

2GA APPLIED STUDIES / DESIGN DEVELOPMENT Secondary Structure -Aluminium Framing Bracket

Waterproofing

Rigid Insulation Enclosure Sheet Metal

Concrete Roof Concrete Roof

Primary Steel Structure -12”x12” Truss

Waterproofing

Primary Steel Structure -12”x12” Truss

Metal Deck

Secondary Structure -Aluminium T-Shape Framing

W18 I Beam

High Density Plastic

Aluminium U Channel

Kawneer 1600SSG Mullion Perforated Metal Cladding -Aluminium Panels

Glazing

Primary Steel Structure -12”x12” Truss

Secondary Structure -Aluminium Framing

Waterproofing

Perforated Metal Cladding -Aluminium Panels

Rigid Insulation

Glazing

Concrete Roof

Primary Steel Structure -12”x12” Truss

Finished Floor

Secondary Structure -Aluminium T-Shape Framing

Concrete Slab Metal Deck

High Density Plastic

Catwalk Kawneer 1600SSG Mullion

Insulation Rigid Insulation Metal Finishing Bracket Aluminium U Channel Secondary Structure -Aluminum Framing

Primary Steel Structure -12”x12” Truss

Finished Floor

Perforated Metal Cladding -Aluminium Panels

Glazing

Bracket

Secondary Structure -Aluminum Framing Aluminium U Channel Suspended Ceiling

Finished Floor

Concrete Slab

Glazing

Metal Deck Catwalk

Perforated Metal Cladding -Aluminium Panels

Insulation Rigid Insulation Metal Finishing Bracket Aluminium U Channel Secondary Structure -Aluminum Framing

Glazing Aluminium U Channel Finished Floor

Perforated Metal Cladding -Aluminium Panels

Bracket

Secondary Structure -Aluminum Framing Aluminium U Channel

Metal Flashing

Suspended Ceiling

Secondary Structure -Aluminum Framing Bracket

Glazing

Metal Flashing Rigid Insulation Perforated Metal Cladding -Aluminium Panels

Primary Steel Structure -12”x12” Truss

Glazing Aluminium U Channel

Glazing

Bracket

Perforated Metal Cladding -Aluminium Panels

Primary Steel Structure -12”x12” Truss Secondary Structure -Aluminum Framing

Metal Flashing

Perforated Metal Cladding -Aluminium Panels

Secondary Structure -Aluminum Framing Bracket

Metal Flashing

High Density Plastic Secondary Structure -Aluminium T-Shape Framing Kawneer 1600SSG Mullion

Rigid Insulation

Outside Pavement Primary Steel Structure -12”x12” Truss

Finished Floor Concrete

Rigid Insulation

LEFT: 2D detail drawings RIGHT: 3D detail drawings Glazing

Rough Concrete

Waterproofing

Bracket

Primary Steel Structure -12”x12” Truss Secondary Structure -Aluminum Framing

APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019

INSTRUCTORS: HERWIG BAUMGARTNER SCOTT URIU

CONSULTANTS: JAMEY LYZUN MATHEW MELNYK

WANGSHU CHEN JIAYUE HE WANGZHUO HE HAOZHOU ZENG WENZHI ZHENG YUTING ZHU

BURBANK DISNEY STUDIO

TITLE:

SCALE:

DRAWING REVISIONS:

3D DETAILS

NTS

Date: 03/11/19 04/08/19

Name: Yuting Zhu Yuting Zhu

PROJECT NO.

SHEET NO.

109A.3

HAOZHOU ZENG

SLABS S. No. Details

Rate

Quan

Rate

Quantity

Unit

Total

1 Steel Decking

$80. 00

39,54

1 Basement

$250. 00

37,815.00

$9,453,750.00

2 Cast Concrete

$100. 00

39,54

2 Steel Truss

$150. 00

54,760.00

$8,214,000.00

3 Finishing

$50. 00

39,54

TRUSS AND STRUCTURAL CORES S. No. Details

$10,104,750.00

TOTAL

FACADE SYSTEMS S. No. Details STRUCTURAL STEEL

$250. 00

168

Rate

Quantity

Unit

2 Structural Bracket

$350. 00

168

1 W18 I Beams

$150. 00

11,269.00

$1,690,350.00

3 Glazing System

$150. 00

135

2 Steel Columns

$100. 00

620.00

$ 62,000.00

4 Waterproofing

$25. 00

168

S. No. Details

TOTAL

110

Rate

1 Perforated Metal Panel Total

$1,752,350.00

TOTAL

2GA APPLIED STUDIES / DESIGN DEVELOPMENT APPLIED STUDIES DESIGN DEVELOPMENT SPRING 2019 INSTRUCRORS: HERWIG BAUMGARTNER SCOTT URIU

OrzDD Wangshu Chen Jiayue He Wangzhuo He Haozhou Zeng Wenzhi Zheng Yuting Zhu

CONSULTANS:

ntity

Unit

49.00

SFT

$3,163,920. 00

49.00

SFT

$3,954,900. 00

49.00

SFT

$1,977,450. 00

Total

01 A21

BURBANK DISNEY STUDIO

JAMEY LYZUN MATHEW MELNYK

UNROLLED FACADE METAL PANELLING SYSTEMS

$9,096,270. 00

TITLE: SUMMARY OF PROJECT COST

SCALE: NTS 02 A21

UNROLLED FACADE GLAZING SYSTEMS

DRAWING REVISIONS DATE 04/08/19

NAME Jiayue He

SUMMARY OF PROJECT COST S. No. Item

Quantity

Unit

Total

2 Structural Steel

$1,752,350.00

3 Slabs

$9,096,270. 00

4 Facade Systems

$125,732,900.00

uantity

Unit

8,536.00

SFT

$42,134,000.00

8,536.00

SFT

$58,987,600.00

SHELL COST

5,986.00

SFT

$20,397,900.00

Land Cost

8,536.00

SFT

$4,213,400.00

Soft Cost

$125,732,900.00

Rate

$10,104,750.00

5 Mechanical Systems Total

Details

1 Truss and Structural Cores

6 Finishes

TOTAL PROJECT COST

HVAC

$40. 00

39,549.00

SFT

$1,581,960. 00

Fire Supression

$5. 00

39,549.00

SFT

$197,745.00

Interior Envelope

$80. 00

135,986.00

SFT

$10,877,440.00

Floor Finish and Drywall

$50. 00

43,520.00

SFT

$2,176,000.00 $161,519,415.00

$500. 00 @ 18%

92,524.00

SFT

$46,262,000.00 $37,411,454.00

PROJECT NO.

SHEET NO.

A.12

$245,192,870.00

111

HAOZHOU ZENG

FSO1

FSO3

FSO1

FSO2

112

FACADE SYSTEM OVERVIEW

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

LEFT: Cloud Courtyard Axon Rendering Drawing

3GA AS 3140

Advanced Project Delivery Applied Studies/ Intergrated Design Project/ Spring 2019 Instructors: Pavel Getov, Kerenza Harris Partners: Luke Falcone, Vencent Yung, Wendy Guerrero

he course focuses on advanced methods of project delivery and construction documents incorporating digital technologies and investigating new models for linking design and construction processes. It introduces Building Information Modeling as one of the tools for realignment of the traditional relationships between the project stakeholders. Using a single unit residential building located in Los Angles, students will analyze and develop the architecture by creating a detailed 3d digital model and a set of 2d construction documents specifically tailored for the design challenges of a single unit residential project. Lectures and site visits to fabricators and construction sites will further inform students of technical documentation methods for projects that are operating on the forefront of design and construction technologies to date.

documentation and make integrated evaluation based on decision-making design process. Students are required to learn code and regulations, technical document, building envelop system, assemblies, building materials and assembliles, buildilng service systems, and financial consideration. Cloud Courtyard is a courtyard typology architecture, which consist of residence, office, kitchen and restaurant buildings. Different programs are enveloped by different facade systems: concrete, metal mesh, and metal facade. Depending on different requirements of program, wood frame, steel frame are utilized properly in this project.

Advanced Project Delivery requires students to technically document and detail a project of design by developing their ability to respond to codes and regulations, produce clear technical 113

HAOZHOU ZENG

PROJECT NA 39' - 5"

23' - 4"

D 20' - 4 1/2"

27' - 6"

22' - 10 1/2"

MIXED U 1164/117 LOS ANG

10' - 4"

CONCRETE SLAB 24"

1 A4.6

CLIENT

01 1 A4.1

RAMP SLOPE

WA-B

PAVEL G 960 E. 3R LOS ANG

WA-A

21' - 3"

WA-A

MECHANICAL ROOM 005 482 SF

WA-B

TEAM

WA-B

003.1

WENDY LUKE FA VINCENT HAOZHO

R 30' - 1 3/4"

R 20' -

WA-A

002.2

No.

STAIRS 002 235 SF

WA-B

28' - 9"

CONCRETE SLAB 24"

001.1

ELEVATOR 001 100 SF

CONCRETE SLAB 24"

5' - 1 1/2"

8' - 10 1/2"

5' - 8"

8' - 10 1/2"

9' - 0"

CL 19' - 0"

WA-A

STORAGE 004

22' - 6"

1 WA-A A3.1.2

STAMP

488 SF

114

BASEMENT 1/8" = 1'-0"

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

PROJ

I 13' - 10"

9' - 6"

16' - 6"

22' - 11"

20' - 4 1/2"

27' - 6"

A4.2

A4.6

A4.4

A3.3

10' - 4"

MIX 116 LOS

7' - 8 1/2"

WA-B

22' - 10 1/2"

CLIEN

01 1 A4.1

114.1 WA-B

THE CURTAIN

STORAGE 114 225 SF

101.A

WA-B

HALL 102

101.1

HALL 103

WA-B

239 SF

UP 102.1

102.A

WA-B

238 SF

21' - 3"

HALL 101 237 SF

PAV 960 LOS

VEHICLE ENTRANCE

103.1

103.A

WA-B

TEAM

WA-B

02 UP

105.1

OFFICE HALL 105

OFFICE 115 55 SF

DELIVERY ENTRANCE

115.1 104.1

192 SF WA-B

A3.4.1 A3.4.2

BOH 104 454 SF

EXTERIOR COURTYARD

STAIRCASE 113 Not Enclosed

GARBAGE 106 84 SF

WA-B

GARBAGE ROOM

106.1

WA-B

105.1

112.1

107.1

No.

28' - 9"

PEDESTRIAN ENTRANCE

WE LUK VIN HAO

WA-C

COLD STORAGE 107 176 SF

112.2 KITCHEN 109

1 A4.5

WA-B

A3.2

436 SF WA-B

108.1 112.3

DRY STORAGE 108 Redundant Room

03 WA-B

A4.3 WA-B

WA-B

19' - 0"

112.A

DINING ROOM 112 2621 SF 112.B

ADA RESTROOM 111 83 SF

A3.1.1 A3.1.2 111.1

WA-C

RESTROOM 110

22' - 6"

THE CURTAIN

79 SF

110.1

STAM

112.4

WA-C

LEVEL 1 1/8" = 1'-0"

115

HAOZHOU ZENG PROJECT NAME

I 13' - 10"

H 9' - 6"

16' - 6"

22' - 11"

20' - 4 1/2"

1 A3.3

A4.2

27' - 6"

22' - 10 1/2"

A4.6

A4.4

B 10' - 4"

MIXED USE 1164/1170 ROBERTSO LOS ANGELES, CA, 90

7' - 8 1/2"

CLIENT

1 301.C

304.C

307.C

PAVEL GETOV/KEREN 960 E. 3RD STREET LOS ANGELES, CA, 90

21' - 3"

A4.1

Room 202

Room 203

438 SF

437 SF

TEAM

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

02 201.A

301.B

202.A

304.B

203.A

307.B 204.3

Room 210

210.A

175 SF

EXTERIOR COURTYARD

No.

Descriptio

28' - 9"

A3.4.1 A3.4.2

210.B

OFFICE 204 2987 SF

A4.6

A3.2

A4.5

1 19' - 0"

A4.3

204.1

04 UP STAIRS 208

A3.1.1 A3.1.2

CLOSET 205 34 SF

204.2

Not Enclosed ADA RESTROOM 207 98 SF

207.1

22' - 6"

205.1

STAMP

206.1

RESTROOM 206 46 SF

05 0 A7.1

SECOND FLOOR PL

LEVEL2

1/8" = 1'-0"

A1.2

PROJECT NAME

I 13' - 10"

H 9' - 6"

G 16' - 6"

F 22' - 11"

E 20' - 4 1/2"

27' - 6"

10' - 4"

MIXED USE 1164/1170 ROBERT LOS ANGELES, CA,

7' - 8 1/2"

1 A4.2

22' - 10 1/2"

A4.4

A3.3

CLIENT

01 1

PAVEL GETOV/KER 960 E. 3RD STREET LOS ANGELES, CA,

401.H

A4.1

21' - 3"

401.G

TEAM

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

401.F

02 401.E

401.D

401.A

OFFICE 401 1844 SF

1 A4.5

A3.2

Room 404 144 SF

Descrip

28' - 9"

No. A3.4.1 A3.4.2

404.B

401.I

OFFICE 403 85 SF 402.1

19' - 0"

A4.3

403.A

CONFERENCE 402 258 SF

402.A

A3.1.1 A3.1.2 DN

22' - 6"

402.B

STAMP

116

LEVEL 4 1/8" = 1'-0"

FOURT FLOOR P

A1.

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

I 13' - 10"

H 9' - 6"

16' - 6"

22' - 11"

20' - 4 1/2"

27' - 6"

22' - 10 1/2"

B 10' - 4"

MIXED USE 1164/1170 ROBERTSO LOS ANGELES, CA, 90

A 7' - 8 1/2"

CLIENT

A3.3

A4.2

PROJECT NAME

A4.4

RESIDENCE FLOOR3"CONCRETE 1 3" Metal Deck 2

301.C

304.C

PAVEL GETOV/KEREN 960 E. 3RD STREET LOS ANGELES, CA, 90

307.C

1 A4.1

325 SF

RESTROOM 303 57 SF

303.1

304.B

TEAM

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

307.A

No.

307.B

EXTERIOR COURTYARD

Description

28' - 9"

34 SF

RESTROOM 309 57 SF 309.1

304.A

OPEN TO BELOW

301.B

BEDROOM 307 327 SF

STORAGE 308 308.1

RESTROOM 306 57 SF 306.1

301.A

A3.4.1 A3.4.2

BEDROOOM 304 328 SF

21' - 3"

STORAGE 305.1 305 34 SF

BEDROOM 301

STORAGE 302.1 302 34 SF

OPEN TO BELOW 1

A3.2

A4.5

1 19' - 0"

A4.3

PATIO BELOW

04 UP

STAMP

A3.1.1 A3.1.2

A7.1

22' - 6"

4 2

I 13' - 10"

H 9' - 6"

16' - 6"

22' - 11"

20' - 4 1/2"

27' - 6"

22' - 10 1/2"

PROJECT NAME

LEVEL 3

01 20' - 4 1/2" 1.6%

3.5%

27' - 6"

22' - 10 1/2"

A4.6

A3.3

B 10' - 4"

PROJECT NAME CLIENT

7' - 8 1/2"

A4.4 1.5%

2.6%

1 1.8%

1.1%

01 02

1.6 %

2.3%

1.4%

1.5%

1.1%

1.8%

2.6%

EXTERIOR COURTYARD

1.6 %

2.1%

TEAM CLIENT

1.4% 2.5%

1.6%

3.5%

1.0%

1.9% 1.4%

1.0%

A4.5

1.3%

1.6%

1.0%

A4.5

1.7%

1.0%

1.9%

19' - 0" 28' - 9"

1.3%

1.6 %

2 A4.6

LOS ANGELES, CA, 90 No. Descriptio TEAM

A3.2

2.5%

EXTERIOR COURTYARD

A3.2

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

No.

Descriptio

04 03

1.3%

22' 19'- -6" 0"

A3.1.1 A3.1.2 1.3%

1.7%

04 05 STAMP

1 A3.1.1 A3.1.2

22' - 6"

WENDY GUERRERO LUKE FALCONE VINCENT YUNG PAVEL GETOV/KEREN HAOZHOU 960 E. 3RD ZENG STREET 02

1.6%

A4.6

A3.4.1 A3.4.2

PAVEL USE GETOV/KEREN MIXED 960 E. 3RDROBERTSO STREET 1164/1170 LOS ANGELES, CA, 90

2.3%

A3.4.1 A3.4.2

1.4%

2.1%

1 A4.2

A4.1

MIXED USE 1164/1170 ROBERTSO LOS ANGELES, CA, 90

21' - 3"

22' - 11"

21' - 3"

16' - 6"

28' - 9"

9' - 6"

1.6 %

13' - 10"

2.3%

1 A4.1

2.3%

A1.3

1/8" = 1'-0"

A4.4

A4.6

A3.3

THIRD FLOO PLAN

A 7' - 8 1/2"

1 A4.2

B 10' - 4"

05 STAMP

ROOF PLA 1

ROOF

A1.5

1/8" = 1'-0"

117 1

ROOF

ROOF PLA

PROJECT NAME

137' - 8 1/2" 7' - 8 1/2"

10' - 4"

22' - 10 1/2"

HAOZHOU ZENG

27' - 6"

20' - 4 1/2"

22' - 11"

16' - 6"

PAVEL GET 960 E. 3RD LOS ANGE MIXED USE 1164/1170 R TEAM LOS ANGE WENDY GU LUKE FALC CLIENT VINCENT Y HAOZHOU

9' - 6"

ROOF 3 39' - 6"

403.A

404.B

401.A

401.D

401.E

401.F

401.G 401.H 003.C

204.2

307.B

10' - 4"

LIVING ROOM 27' - 6" 203 437 SF

22' - 10 1/2"

20' - 4 1/2"

203.A

003.J

003.L

404.B

401.A

401.D

G 22' - 11"

202.A

LIVING ROOM 202

003.H

401.E

401.F

103.1

401.G

102.1 103.A

401.H 003.C

BEDROOM 307 327 SF 204.2

HALL 101 237 SF

003.A

WENDY GU LUKE FALC VINCENT Y HAOZHOU

ROOF 2 30' - 0" LEVEL 1 LEVEL 4 27' - 0" 0"

114.1

325 SF

301.B

TEAM

225 SF

BEDROOM 301

BEDROOOM 304 328 SF

304.B

LEVEL2 15' - 0"

STORAGE 114

112.1 101.A

HALL 102 239 SF

003.B

307.B

9' - 6"

No. PAVEL GET 960 E. 3RD LOS ANGE

ROOF 1 25' - 0" LEVEL 3 20' - 0"

ROOF 3 39' - 6" LEVEL 2 10' - 0"

101.1 102.A

HALL 103 238 SF

16' - 6"

201.A

LIVING ROOM 201 435 SF

438 SF

403.A

325 SF

301.B

137' - 8 1/2"

115.2

7' - 8 1/2"

LEVEL 4 27' - 0"

BEDROOM 301

BEDROOOM 304 328 SF

304.B

204.1

ROOF 2 30' - 0"

003.A

003.B

BEDROOM 307 327 SF

No.

ROOF 1 25' - 0" LEVEL 3 20' - 0"

204.1

115.2 LIVING ROOM 203 437 SF

203.A

202.A

003.L

003.J

003.H

438 SF

103.1

LIVING ROOM 201 435 SF

102.1 103.A

LEVEL2 15' - 0" BASEMENT -15' - 0" LEVEL 2 10' - 0"

201.A

LIVING ROOM 202

101.1 102.A

HALL 103 238 SF

STORAGE 114

112.1 101.A

HALL 102 239 SF

HALL 101 237 SF

225 SF

114.1

STAMP

LEVEL 1 0"

BASEMENT -15' - 0"

PROJECT STAMP NAME

LON

MIXED USES 1164/1170 R LOS ANGEL

LONGITUDINAL SECTION 1 1/8" = 1'-0"

CLIENT

PAVEL PROJECT NAME

GETO 960 E. 3RD S LON LOS ANGEL

91' - 6" 21' - 3"

28' - 9"

19' - 0"

22' - 6"

ROOF 3 39' - 6"

401.I

402.B

LONGITUDINAL SECTION 1 1/8" = 1'-0"

CLIENT HAOZHOU

LEVEL 4 27' - 0" BEDROOM 301

ROOF 1 25' - 0"

325 SF

0 A4.6

LIVING ROOM 201 435 SF

21' - 3"

03 210.B

91' - 6" 19' - 0"

22' - 6"

ROOF 3 39' - 6"

0 A4.6

105.1

PAVEL GETOV/KE 960 E. 3RD STRE LOS ANGELES, C

LEVEL2 15' - 0"

28' - 9"

HALL 101

204.1

No.

LEVEL 3 20' - 0"

210.A

VINCENT YU Z

ROOF 2 30' - 0"

003.A

TEAM MIXED USE 1164/1170 ROBER WENDY GUE LOS ANGELES, C LUKE FALCO

DINING ROOM 112

112.3

105.1

LEVEL 2 10' - 0"

TEAM

112.G

2621 SF

WENDY GUERRE LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

112.B

237 SF

112.F 401.I

402.B

003.A

ROOF 2 30' - 0"

LEVEL 1 0"

LEVEL 4 27' - 0" BEDROOM 301

ROOF 1 25' - 0"

325 SF 210.A

0 A4.6

LIVING ROOM 201 435 SF

No.

LEVEL 3 20' - 0"

002.2 204.1

Desc

BASEMENT LEVEL2 -15' - 0" 15' - 0"

210.B

LEVEL 2 10' - 0"

HALL 101

0 A4.6

105.1

237 SF

112.3

DINING ROOM 112 2621 SF

112.G 112.B 112.F

STAMP

LEVEL 1 0"

002.2

BASEMENT -15' - 0"

STAMP

CROSS SECTION 1

C SE

1/8" = 1'-0"

CRO SECTI

118

CROSS SECTION 1 1/8" = 1'-0"

PAVEL GET 960 E. 3RD LOS ANGEL

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

TEAM

WENDY GU LUKE FALC VINCENT Y HAOZHOU

ROOF 3 39' - 6"

401.I

301.A

304.A

402.A

402.B

ROOF 2 30' - 0"

401.1

LEVEL 4 27' - 0" ROOF 1 25' - 0"

307.A

301.B

304.B

307.B

210.A 204.1

OFFICE 204 2987 SF

No.

LEVEL 3 20' - 0"

003.J

ROOF 3 39' - 6"

LEVEL2 15' - 0"

401.I

112.2

DINING ROOM 112 2621 SF

301.A

304.A

DINING ROOM 112 2621 SF

402.A

304.B

LEVEL 2 10' - 0"

401.1

ROOF 2 30' - 0"

RESTROOM 110 79 SF

83 SF

307.A

301.B

402.B

ADA RESTROOM 111

112.3

LEVEL 4 27' - 0" ROOF 1 25' - 0"

307.B

LEVEL 1 0"

210.A 204.1

LEVEL 3 20' - 0"

003.J

OFFICE 204 2987 SF

LEVEL2 15' - 0" LEVEL 2 10' - 0"

112.2

DINING ROOM 112 2621 SF

ADA RESTROOM 111

112.3

BASEMENT -15' - 0"

RESTROOM 110 79 SF

83 SF

LEVEL 1 0"

STAMP

BASEMENT -15' - 0"

LON S 1

LONGITUDINAL SECTION 2

PROJECT NAM

1/8" = 1'-0"

MIXED US 1164/1170 LOS ANGE

PROJECT N CLIENT

LONGITUDINAL SECTION 2

1/8" = 1'-0"

PAVEL GE MIXED 960 E. 3RD 1164/11 LOS ANGE LOS AN TEAM CLIENT

ROOF 3 39' - 6"

ROOF 2 30' - 0"

OFFICE 401 1844 SF

204.2

OFFICE 204 2987 SF

204.1

DINING ROOM 112 2621 SF

112.4

204.2

DRY STORAGE 108 Redundant Room

108.1

OFFICE 204 2987 SF

COLD STORAGE 107 176 SF

204.1

301.C

207.C

204.C

201.C

304.C

301.C

2621 SF

DRY STORAGE 108 Redundant Room

108.1

COLD STORAGE 107 176 SF

107.1

204.3

204.C

LEVEL2 15' - 0"

201.C

LEVEL 2 10' - 0"

GARBAGE 106 84 SF

No.

LEVEL 1 LEVEL 3 0" - 0" 20'

207.C

DINING ROOM 112

WENDY LUKE F VINCEN HAOZH

LEVEL 4 27' - 0" ROOF 1 25' - 0"

114.1

001.1

112.4

TEAM

LEVEL2 15' - 0" LEVEL 2 ROOF 2 10' - 30' 0" - 0"

307.C

OFFICE 204 2987 SF

LOS AN No.

LEVEL 3 20' ROOF - 0" 3 39' - 6"

454 SF

OFFICE 204 2987 SF

304.C

OFFICE 401 1844 SF

BOH 104

84 SF

307.C

LEVEL 4 27' - 0" ROOF 1 25' - 0"

204.3

GARBAGE 106

107.1

WENDY G LUKE FAL VINCENT PAVEL HAOZHOU 960 E. 3

BOH 104 454 SF

114.1

BASEMENT -15' - 0"

LEVEL 1 0"

STAMP 001.1

BASEMENT -15' - 0"

STAMP

S CROSS SECTION 2

1/8" = 1'-0"

CROSS SECTION 2 1/8" = 1'-0"

119

HAOZHOU ZENG

FSO1

120

FSO2

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

PROJECT NAME

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035 CLIENT

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003

FSO1

TEAM

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

No.

Description

Date

FSO3

STAMP

FACADE SYSTEM OVERVIEW

A5.0

121

HAOZHOU ZENG

4 A5.1

ROOF 1 25' - 0"

PROJECT NAME

LEVEL 3 20' - 0"

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035 CLIENT

LEVEL2 15' - 0"

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003 TEAM

LEVEL 2 10' - 0"

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

No.

FS01 - ELEVATION

1/2" = 1'-0"

FS01 - ELEVATION NO SKIN 1/2" = 1'-0"

Description

Date

FS01 - SECTION 1/2" = 1'-0"

STAMP

FS01 NOTE: FOR PANEL LAYOUT SEE A5.5

A5.1

FS01

LEVEL2 15' - 0"

PROJECT NAME

LEVEL 2 10' - 0"

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035 CLIENT

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003 TEAM

LEVEL 1 0"

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

No.

FS03 - ELEVATION 1/2" = 1'-0"

Description

FS03 - ELEVATION NO SKIN 1/2" = 1'-0"

STAMP

FS03 NOTE: FOR PANEL LAYOUT SEE A5.5

122

FS03

A5.3

Date

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

A5.2

PROJECT NAME LEVEL2 15' - 0"

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035

LEVEL 2 10' - 0"

CLIENT

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003 TEAM

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

No.

Description

Date

LEVEL 1 0"

FS02 - ELEVATION

1/2" = 1'-0"

FS02 - ELEVATION NO SKIN

FS02 - SECTION

1/2" = 1'-0"

CENTRIA MESH PANELS OUTRIGGER

CONCRETE WALL

STAMP

FS02 NOTE: FOR PANEL LAYOUT SEE A5.5

A5.2

FS02

PROJECT NAME

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035 CLIENT

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003 TEAM

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

No.

Description

Date

FACADE SYSTEM 1

STAMP

FACADE UNROLL 2

FACADE SYSTEM 2

FACADE SYSTEM 3

A5.5 123

HAOZHOU ZENG

SKYLIGHT

WINDOW T

0 A6.3

0 A6.4

FINISHED CEILING

WINDOW T

FINISHED FLOORING

EXTERIOR RESIDENTIAL WALL

FINISHED CEILING

CONCRETE COLUMN

RESIDENTIAL ENTRANCE

CONCRETE SLAB CONCRETE FOUNDATION WALL

124

RESIDENTIAL EXTERIOR WALL 3/8" = 1'-0"

RESIDENTIAL CURTAIN WALL 3/8" = 1'-0"

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

ROOF 2 30' - 0"

PROJECT NAME LEVEL 4 27' - 0"

ROOF 1 25' - 0"

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035 CLIENT

TYPE 304

LEVEL 3 20' - 0"

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003 LEVEL2 15' - 0"

URTAIN WALL

TEAM

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

GLASS RAILING

ROOF PATIO

TYPE 202 CURTAIN WALL

LEVEL 2 10' - 0"

RESTAURANT EXTERIOR WALL

No.

Description

Date

RESTAURANT EXTERIOR WALL

WINDOW TYPE 112

LEVEL 1 0"

SLIDING GLASS DOOR

DRAINAGE SYSTEM

STAMP

BASEMENT -15' - 0"

RESTAURANT GLASS WALL 3/8" = 1'-0"

RESTAURANT WITH CURTAIN 3/8" = 1'-0"

WALL SECTIONS

A4.6 125

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1" INSULATED GLASS

INTERIOR

1" INSULATED GLASS

EXTERIOR

EXTERIOR ALUMINUM WINDOW FRAME ALUMINUM WINDOW FRAME EXTERIOR

BITUTHANE LAYERED UNDER WINDOW

BITUTHANE LAYERED INTERIORUNDER WINDOW

PROJECT NAME

LEANAR DRAINAGE CHANNEL FINISHING FLOOR

WATER FROOFING

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035

INSULATION

5/8" GYPSUM

RIGID INSULATION

CONCRETE FLOOR

CLIENT

6" INSULATION

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003

PLYWOOD

RIGID INSULATION

FLOOR DRAIN FINISH FLOOR

WATER FROOFING

STUD

FINISH FLOOR FINISH FLOOR

TEAM

RESIDENCE WINDOW DETAIL 1 WINDOW DETAIL RESIDENCE 6" = 1'-0"

6" = 1'-0"

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG SLIDING

GLASS WAL 2 SLIDING GLASS WALL DETAIL 6" = 1'-0" 6" =No. 1'-0"

Description

Date

SLIDING GLASS WALL DETAIL 6" = 1'-0"

ALUMINUM CAP AND COVER ALUMINUM CAP AND COVER GLAZING

GLAZING

SKYLIGHT END CAP

CAST IRON ROOF ALUMINUM SKYLIGHT SILL DRAIN DOME ALUMINUM SKYLIGHT SILL

ROOF FINISHING PANEL

EPDM RUBBER MEMBRANE EPDM RUBBER MEMBRANE

FULLY ADHERED 2X8 WOOD FRAME MEMBRANE 1/2" COVER BOARD GYPSUM BOARD

METAL SUMP RECEIVER

DRAIN PIPING

TEPERED POLYISOCYANURATE BATT INSULATION INSULATION 1-1/2" POLYISOCYANURATE RUBBER SEALANT INSULATION

2X8 WOOD FRAME METAL SUMP RECEIVER GYPSUM BOARD STAMP BATT INSULATION

DRAIN PIPING

RUBBER SEALANT

INSULATION

SKYLIGHT DETAIL 3 DETAIL SKYLIGHT 1 1/2" = 1'-0" 1 1/2" = 1'-0"

126

ROOF DRAIN 1 1/2" = 1'-0"

4 4

EXTERIOR ROOF DRAIN 4DETAILS ROOF DRAIN 1 1/2" = 1'-0" 1 1/2" = 1'-0"

A6.4

RESTAURANT ROOF DETAIL 6" = 1'-0"

META

DR PI

3GA APPLIED STUDIES / ADVANCED PROJECT DELIVERY

INTERIOR PROJECT NAME

LEANAR DRAINAGE CHANNEL FLOOR DRAIN FINISHING FLOOR

NDRAIL

PROJEC

MIXED USE 1164/1170 ROBERTSON BLVD LOS ANGELES, CA, 90035

INSULATION

CONCRETE FLOOR

MBRANE FLASHING

HANDRAIL MEMBRANE FLASHING SHEET-METAL CAP

ET-METAL CAP

MIXED 1164/ LOS A

PANEL STAND OFF

CLIENT

1*2" WOOD NAILER

WOOD NAILER

MESH ALUMINUM PANEL PLYWOOD

PAVEL GETOV/KERENZA HARRIS 960 E. 3RD STREET LOS ANGELES, CA, 90003

PLYWOOD

SULATION

No.

Description

PAVE 960 E LOS A

GYPSUM BOARD

MEMBRANE FLASHING

WENDY GUERRERO LUKE FALCONE VINCENT YUNG HAOZHOU ZENG

MBRANE SHING

CLIENT

STRUCTURAL CONCETE WALL BAT INSULATION

RIGID INSULATION

TEAM

D INSULATION

5/8" PLYWOOD

TEAM

2" INSULATION

WEND LUKE VINCE HAOZ

Date

MESH ALUMINUM PANEL TO WALL RESTAURANT ROOF DETAIL

6" == 1'-0" 1'-0" 6"

No.

CONCRETE PLATE CONCRETE PLATE

STEEL DECKING

STEEL DECKING CONCRETE

CAST IRON ROOF DRAIN DOME CONCRETE

MESH ALUMINUM PANEL

ROOF FINISHING PANEL

GYPSUM5/8" BOARD GYPS UM

5/8" FULLY GYPS ADHERED UM MEMBRANE

BAT INSULATION 2" SOLID INSULATION PLYWOOD

1/2" COVER 2" SOLID BOARD INSULATION

STRUCTURAL CONCETE W WALL 10*22 WOOD FLOOR FINISH METAL FLASHING

STAMP

TEPERED HANDRAIL POLYISOCYANURATE W 10*22 INSULATION MEMBRANE FLASHING 1-1/2" SHEET-METAL CAP POLYISOCYANURATE INSULATION

PANEL STA STAMP

LEVEL 1 0" 3/8"

MESH ALU

PLYWOOD

3/8" INSULATION 1*2" WOOD NAILER PLYWOOD

5/8" PLYWOOD

PAVER PEDESTAL

PLYWOOD

WATERPROOF MEMBRANE

STRUCTU CONCETE

BAT INSU

CONCRETE SLAB

GYPSUM

RIGID INSULATION

EXTERIOR DETAILS

MEMBRANE FLASHING 5/8" CEILING

5/8" CEILING

A6.4

2" INSULATION

MESH ALUMINUM PANEL TO WALL 3 6" = 1'-0" RESTAURANT CEILING DETAIL ALUMINUM PANEL TO GROUND 6" =MESH 1'-0" 6" = 1'-0"

CONCRETE PLATE STEEL DECKING

127

HAOZHOU ZENG

128

3GB VISUAL STUDIES / PLAYROOM

LEFT: Photograph of Brush Stroke CNC Model

3GB VS 2703

PLAYRoom Visual Studies/ Painting as form/ Spring 2020 Instructors: Florenciapita Partners: Rish Saito

layroom focuses on ideas of ‘play’ as an entry into architectural language. We will develop a vocabulary of forms and materials that will unravel living spaces and landscapes embedded with color, texture and ornament. For all that is odd and mundane, there is an architecture full of stuff, and an aesthetic of familiarity and cuteness. In Sianne Ngai’s book ‘Our Aesthetic Categories: Zany, Cute, Interesting’ she presents the notion of ‘cuteness’ as one of ‘mute poetics’, were language detaches from experience and propels a ‘deverbalizing effect’, an aesthetic experience as an act of submission, as an access to the enchantment of form and material. ‘We have seen how cuteness cutiﬁes the language of the aesthetic response it compels, a verbal mimesis underscoring the judging subject’s empathetic desire to reduce the distance between herself and the object’. Sianne Ngai The class will design a room (SCI_Arc’s Room 10) in order to create an immersive experience. The design process will be done by a recursive feedback between analog mediums and digital ones. Playroom will begin by creating fresh paint

brushes that will be digitally reproduced by a sequence of steps: paint, photo, scan, mesh & print. The last step will be to print the images on fabric and 3D print the brush strokes. An array of softwares will drive this process, such as Maya, ZBrush & Adobe Substance Painter.The class is organized in varied formats, from conceptual lectures and required readings, to software tutorial, to museum ﬁeld trips and pin ups. The feedback form all those forms of academic research will conclude in the fabrication of a prototype room.

https://vimeo.com/425024593 129

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3GB VISUAL STUDIES / PLAYROOM

UP: Rendering of painted brush panelled room 131

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133

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134

3GB VISUAL STUDIES / PLAYROOM

135

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136

3GB VISUAL STUDIES / PLAYROOM

UP: Physical model of painted brush stroke and vaccuumm models 137

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138

3GB VISUAL STUDIES / PLAYROOM

139

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140

3GB VISUAL STUDIES / PLAYROOM

141

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142

3GB VISUAL STUDIES / PLAYROOM

143

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144

3GB VISUAL STUDIES / PLAYROOM

145

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146

2GB VISUAL STUDIES / DIALOGUES

LEFT: Dialoges Model Details Photograph

2GB VS 2734

Dialogues Visual Studies/ Assembly of Parts/ Spring 2019 Instructors: Dwayne Oyler Partners: Luke Falcone, Erwin Vergara, Jasleen Gujral, William Fraser

ialogues course focuses on the development of spatial and formal dialogues generated by variations, inversions, and mis-registered remnants from a series of (not exactly) found parts. Beginning with an object rich in sectional complexity, students will be asked to developed a more robust language - that includes objects, frames, and fields with which to work from. Each of those parts will then be reassembled to form a cohesive whole.

physical world seemed to be widening - conversations diverged (the digital -vs- the analog), designed processes moved in different directions (deliberate design intentions -vs- automated processes) and materials even seemed to take sides (mechanical fasteners -vs- glue and goo). It required that designers make a clear decision about the way they work- one that either embraced analog processes of the past or that progressed into a realm of new possibilities.

Each student will get a part to be used for work (by calling on some very personal favors)! These castings will be scanned in both 2D and 3D and used to generate a new series of elements. The final work will include these castings, but will consist primarily of additional elements that either simulate the castings materiality (imagine metal plating or graphite coatings), or that use additional metal elements.

What has become especially excited about this moment in time is that the gap no longer exists, and those worlds are now interwoven into a tapestry of various techniques - many of which sit in the ambiguous zones between a so called reality and a simulation, between the physical world and the digital world, and between the automated and the deliberate. This course is aimed at developing â&#x20AC;&#x153;dialoguesâ&#x20AC;? (conceptually, methodologically, and formally) between a wide range of techniques.

Each element will be designed individually, but must be done in relation to the others within the specific group. There was a time when the gap between advanced digital processes and the

147

HAOZHOU ZENG

Description of Process By 2D scanning those metal peices that each team choose, we make digital 3d models. Each of us rebuilds a new part by utlizing the same language as the original part. The final work will include these castings, but will consist primarily of additional elements that either simulate the characteristics. Each team should choose a support system from basic nets, grid, line, dot. My team choose dot as our support system, because dot is free, and it could express line and grid at the same time. By organizing little part from original pieces, we build â&#x20AC;&#x153;bridgesâ&#x20AC;? to connect dot, which is made of aluminum tubes, and make them strong enough to support elements above. By cutting metals and 3D printing new elements, we build dialogues elements between individual works.

LEFT: Process of making model DOWN:Top view of whole models

148

2GB VISUAL STUDIES / DIALOGUES

149

HAOZHOU ZENG

150

2GB VISUAL STUDIES / DIALOGUES

UP: Components line drawing, rendering, and physical model 151

HAOZHOU ZENG

152

2GA VISUAL STUDIES / MULTIPLES

LEFT: Multiples Actioin Digital Photographs

2GA VS 4120

Multiples Visual Studies/Action Model + Physical Rendering/ Spring 2019 Instructors: Devyn Weiser, David Eskenazi, Curime Batliner Partner: Luke Falcone

he ‘artist’s multiple’ was one of the first forms of ‘affordable art.’ At its broadest a ‘Multiple’ is an object, usually in 3D, conceived and created by an artist in an edition. In 1914 Marcel Duchamp produced the first Multiples by including miniature copies of some of his artworks in his ‘Boite en Valise.’ The term ‘Multiple’ was first coined by Paris gallerist Denise Rene in 1966 to describe the works made by her stable of artists. Multiples were seen as a break with traditional artistic categories because they were editions wihic looked like originals. Rpepetion was the result of a conscious choice by the artist; prints, photographs and books are generally excluded from the category because they are pirmarily associated with the process of reproduction. In the 1960’s and 1970’s many artists created multiples as a way of using industrial production techniques and making their art more widely available. Multiples became carries of new ideas, and were often subversion or humorous in intent. org

themultiplestore.

The course develops contemporary techniques of representation in a range of media from drawing and scripting to rendering and imaging in Robot House. Teams will take as a starting point one of Claes Oldenburg’s multiples, the Geometric Mouse from 1971, and animate figures using seminar specific scripts in Rhino Grasshopper Kangaroo. This playful procedure makes possible new arrangements of parts through rigging and dropping in a user-defined environment. Shifting from digital to analog, a ‘soft sculpture’ of Geometric Mouse will be produced and exhibited alongside the graphic prints at Midterm Review. Then two related exercises will focus on animating and rendering three dimensional characters. These exercises work back and forth between digital rendering in Keyshot and physical rendering in SCI-Arc’s Robot House. Composied videos will be generated in the end.

153

HAOZHOU ZENG

Action Digital Model Taking as the starting point one of Claes Oldenburgs multiples, the Geometric Mouse from 1971, we animates 2D and 3D figures using seminar specific scripts in Rhino, Grasshopper, Kangaroo. This playful procedure makes possible new arrangements of parts(body, ears, nose, etc. through rigging and dropping in a user-defined bounding box.Any part of a single composition may be defined as an object these objects are both the shapes in the geometry and the connections or ‘hinges that allow a certain flexibili in the movement. There is a”box”which will be the object with which the connected geometry interacts or collides. The starting position has a great effect on the resting position. It is suggested to begin with the parts parallel to the rigid surface.Three innovative features are built into the script that question the increasingly automated procedures involved in the production of computer graphics. The first is real-time mapping whereby up to three custom vector or bitmap patterns may be projected to any frame, the second is multiple projections built into a single viewport, and the third is rendering an animation sequence from Grasshopper.

154

UP: 2D Micky mouse screenshot and figures. RIGHT: Multiples actioin digital photographs

2GA VISUAL STUDIES / MULTIPLES

155

HAOZHOU ZENG

156

2GA VISUAL STUDIES / MULTIPLES

Action Physical Model We physically model a ‘soft sculpture’ based on one of the Geometric Mouse positions from Exercise 1. The Shift from hard body to soft body creates a different effect—materially and formally. Like Claes Oldenburg did 1970, we want to make a parallel object whose look would be different because of the substitution of industrial procedures. The new model still behave llike the original but also sprawl in a disorderly way.

157

HAOZHOU ZENG

Left: Physical rendering backstage set in Robot House 158

2GA VISUAL STUDIES / MULTIPLES

Physical Rendering in Robot House Exercise 4 offers students the oopportunity to use SCI_Arc’s Robot House for ‘physical rendering’ of models. The setup opperates with all five robots-R1 with camera, R2 with LED spotlight, R3 with Model, R4 with LED color light, and R5with LED color lights. In Rhino Grasshoopper scirpt, select one of the motion path(sweep, bounce, pan, turn,etc.) and simulate with the model designed in Exercise 3. Light control may range from completely white, to any color spectrum. For example, it’s possible to render with monochrome light colors RGB and post-process by ovelaying, multiplying, sub-

tracting, or dividing different color channels in photoshop. Similarly, video may be edited to key out and change background colors. ‘Sleeping Micky’ utilizes sweep motion path in monochrome light and complicated lights to tell a story about dream. Micky will appear in the first and begin to fall a sleep. By running sweep and other motion paths, its motion becomes fast and crazy in dark light to express its imagenative dream. After that it slows down in the end and shake its body to show that it’s awake in the bright light. 159

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160

2GA VISUAL STUDIES / MULTIPLES

LEFT: Screenshoots of Physical Rendering Videos- ‘Sleeping Micky’ 161

HAOZHOU ZENG

162

1GB VISUAL STUDIES / LEGIBLE FORM

LEFT: â&#x20AC;&#x153;Sweaterâ&#x20AC;? Letter Model Photograph

1GB VS 4101

Legible Form Visual Studies/ Techniques of Representation/ Spring 2018 Instructors: Matthew Au, Anna Neimark

his course forms the continuation of Strategies of Representation I. It expands on the use of representational tools to emphasize formal legibility through systems of regulation, annotation and scripting. The assignments focus on building precision and internatinal toward architectural drawing and developing a critical sensibility to the inherent bias in each medium of representation. Students will analyze a letter from, through exercises in constructing, regulating, transforming, projecting, and rendering. The characters of Le Romain du Roi, developed in late 17th and early 18th century France by the decree of Louis XIV will offer the starting point for drawing and modeling exercise.

dering is required. A sweater coat is designed to envelop this letter, and bitmap in photoshop is a trainting of representation for this letter. By making the phyisical model of this letter, students learn how to develop this letter form from construction, transformation to build it physically. My letter comes from letter Z and J. By folding them and boolean them together, a new letter that inform people of Z and J are generated. Slight bitmap are utilized in my project, and 3D print is my method to express the sweater texture. It shows how sweater texture form and it also create different thickness and density because of the gravity.

This project begins from constructing letters. By folding letters, a new form of letter is generated. According to a series of transformation like folding, sweeping, and boolean, a new letter that have all the information from previous letters are created. On base of this new letter, a basic ren163

HAOZHOU ZENG a

9 a

UP: Construction of letter Z

UP: Reconstruction of letter Z a b

h g

f e

c a

1 3

2 3

4 5

5 4

6 6 5

7 7

8 8

10 8

11 9

UP: Corner drawing Boolean letter from letter Z and J 164

1GB VISUAL STUDIES / LEGIBLE FORM

2 1 3

2 4

5 4

4 6

5 7

8 9

10 7

11 8

12 9

12 a

UP: Elevation drawing Boolean letter from letter Z and J 165

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1GB VISUAL STUDIES / LEGIBLE FORM

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1GB VISUAL STUDIES / LEGIBLE FORM

UP: Model of sweater letter It shows detail of sweater textures 169

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2GA HT 2120

Multiple Descriptions: From General to Contradictory History of Architecture and Urbanism/ Writing Workshop: Ekphrasis/ Fall 2018 Instructor: Marrikka Trotter

UP: Ekphrasis image

The first sight of this drawings creates a compressive and oppressive feeling by its huge, dark objects in the center. This feeling is caused by a well-designed composition and drawing structure. This drawing consists two main part, horizontal and vertical objects, and the boundaries of image exactly cut on the edge of those objects, creating a frame full of dark, sharpen geometry inside. Horizontal part totally controlled the bottom part while vertical part occupied the rest of image. Their proportion in vertical direction in this drawing high light its existence and importance. Whatâ&#x20AC;&#x2122;s more, this drawing is almost a symmetrical structure. The central objects and its huge base have an obvious symmetric line in the center of the image, which evenly divides object into tow parts. However, some radical lines on the right breaks this perfect symmetrical composition, even two little similar rectangular on the horizontal lines has difference in color and length. But it also keeps a good balance because of the existence of black objects in the left bottom corner. As for this object in the center, the angular, wide base on the ground, circular cone body, and round circle surrounding on the top all remind me of a huge cup of trophy on the ground. Its wide head and two open, triangle-shaped wings usually stand for a sense of victory and honor. But

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2GA HT ESSAY / MULTIPLE DESCRIPTION: FROM GENERAL TO CONTRADICTORY

these wings’ dark, sharpen corner on two sides make me feel afraid to touch. Its body proportion in this image as mentioned before, and its opening wings towards up, create a monumental moment. And it makes me feel like a little child standing by tiptoe near a table, who is coveting this big prize and honor on the center of table. This drawing, which remains some sketch perspective lines, has creates some misreading. Perspective lines and points indicate observation location. The radical one-point perspective lines on the ground base has occupied almost whole bottom part, which provides an evidence that we are observing those objects in a lower view on the ground. And the perspective lines above the horizontal ground from right side prove that as well. However, a set of slight radical lines, which goes down on the top right sides, bring a contradictory view. A dark object lays on these lines looks like an airplane that ready to take off, or like an artificial satellite in the air. This view instantly brings us on a higher view point to look down towards the ground. Those two view points confused people and question: where am I standing? A comparison of view point between human and god has appeared in the same drawing. Another misreading comes from some one-point perspective projects and their outlines. For example, radical lines from center points in the bottom base is obvious, while the outline of this base is made of one set of two-perspective lines. Also, lines behind the body of trophy looks like two-perspective lines from two symmetrical points near the both sides of horizontal ground line. But in fact, all those lines are one-point perspective lines coming from right side of image. Because of position and proportion in the image, those two sets of tow-perspective misreading successfully create an infinitive space on the ground and sky. Furthermore, there are some radical lines in the right wings of trophy. It’s clear outline and thicker radical lines insides curious me that if those lines are a set of rotated one-perspective lines. And the whole objects will totally change if those one-per-

spective lines are treated as horizontal perspective. Apart from perspective lines and misreading, the black and white of this image brings some relationship about depth relationship. Firstly, this image creates a big contrast between object and background. The trophy jumps out of the flat, white background by its dark edge and attract more attention from us. Then also, black white brings clear relationship between front and behind, but brings confusion at the same time. There is a thin, white belt between square base and trophy, which clarify the position of ground and depth relationship of those two projects. But some black horizontal lines behind trophy appears like a second ground line, which brings a doubt that which line is the right ground line. Another example is the trophy component. Its dark head with little white inside creates a vivid, 3D trophy to us, and the dark, wide based also has a clear figure. However, the relationship between wings and trophy body looks unclear by their color black and white. On the left of the image, the giant, sharpen, triangular wing covered trophy’s head ring by its black color, while the rest part of wings looks rely behind the trophy body. It’s easier to notice the spiral lines around the trophy body rather than bottom wings, which creates a translucent body. On the right side, the right wings look totally in front of trophy because of its black head and white body all cover trophy, hinting its position clearly. Also, this part has triggered a question: what’s the role of white color? The white color in right wings plays as two material: solid and translucent materials. It’s obvious to see trophy body through the white wing, and it’s clear to notice that white wing edge has covered parts of spiral lines of trophy body as well. Meanwhile, even though we know there is spiral line on trophy body, we still cannot see how it goes behind the front body. As its white body is drawn as solid. But we can see how the sharpen, dark part of trophy head inserts into the body because the white body explored it, playing as a translucent material at the same time. Thus, contradictory of solid and 171

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translucent, front and behind relationship has made by black and white. Meanwhile, black and white also shows how sunlight comes from. As the center of the trophy is white while two sides gradually become dark, it hints that there is sunlight comes from the front direction. And as the two small cubes on the ground line has a bright left façade and dark right façade, light might come from left and front, which is the direction that W towards. If letter W and S cold be read as direction, then this image might record an object exposure towards sunset. However, left wings and left depth of under square is obviously darker than right side, which means that light might comes from direction of S. And the left little cube also has a little bright façade on its right side. Therefore, it might have two or multiple light sources. When we observe the palm tree, the obvious figurative thing in this image, at the bottom corner, a specific comparison of dimension has been brought into the drawing. Comparing to human scale, a huge palm tree in real life suddenly looks pretty small in front of the trophy, and the height of trophy has been exaggerated a lot by comparison with this small tree. And the two cubes behind trophy could be read as two building, and trophy suddenly becomes a tower or other giant project. And its height could be estimated by this comparison. There are other moments, such as the airplane or artificial satellite I mentioned before, can trigger some imaginations. There is a little ellipse with black and white color under the artificial satellite. At the first sight, this reminds me of a flying airship above the ground line, and the set of parallel, black lines could be read as cloud in the air. However, at same view point, it also could be read as a submarine under sea, those parallel lines suddenly become shinning sunlight fragment, which goes through the surface of sea. And these whole projects bring a dynamic picture. Also, because of 172

its half black and half white body, it looks like a hole in the air, creating a strange possibility in this drawing. On the left, up corner, there is a series of continuous curves in the air. It could be read as a wrinkle from scanned paper, or it could be a soft cloud, or end of a lighting in the air. Near the palm tree, there is a trapezoidal black part in the radical lines, its position and surroundings make it looks like a lane underground. And it builds a relationship between on and under the ground. At the same time, the little dark point between little cube and the big square on the left, could be read as a running horse on the road by the comparison with surroundings’ dimension. In general, this image is full of general information, misreading, and contradictory. First and foremost, this drawing’s composition and structure are absolutely well-designed. The position of components, geometry figure, proportion of each part perfectly match each other and describe a specific object: a trophy-liked object on the ground. Because some of those techniques of expression could present different things at the same time, then some misreading and contradictory appears, triggering our imagination. For instance, as black and white color could present solid and translucent, dark and bright, so there are some discussions about relationship of front and behind. What’s more, combination of some general factors can create misreading. Like multiple perspective lines from different view points in one image confused people and trigger their discussion. Even the palm tree, the most ordinary plant could bring discussion about dimension. All the combination of basic information could bring multiple possibilities. Therefore, description of one project doesn’t depends on what it is, but on what it could be in different perspectives.

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Organic Architecture Frank Lloyd Wright History of Architecture and Urbanism/ Writing Workshop/ Spring 2019 Instructor: Erik Ghenoiu

“In Organic Architecture, it is quite impossible to consider the building as one thing, its furnishings another and its setting and environment still another. The Spirit in which these buildings are conceived sees all these together at work as one thing.” (1) Frank Lloyd Wright insisted that the nature of architecture is not just building itself, but everything related to culture and daily life. A completed house should provide modern life as a harmonious entity, making it fit in color, furniture, and natural environment. To treat architecture as combination of culture and life, architects should realize the nature of architectures and the power of environment. Or architects are easily to read architecture as components like columns, windows and walls, and they will never expand their views to a higher level. When he stepped into architecture career, he worked in Louis Sullivan office for six years. With the influence of transcendentalism at that age, Louis Sullivan emphasized the nature of architecture, which is the function inside. The appearance and decoration of the building, which were extremely important before, are formed following the internal function of the building. Even though Wright broke up with Louis Sullivan in the end, this theory still made a huge influence during his career. 174

Before Wright created organic architecture theory, he struggled to create his own architectural style. Louis Sullivan and Wright both struggled to pick classic order or unsymmetrical form. In the beginning, they compared commemorative classic style in city with the use of unsymmetrical form in villages. But when Wright deal with Winslow House, he combined symmetrical front façade with unsymmetrical and dynamic interior space to find the balance between those two issues, which result in making a foundation of his own Prairie Style in the future. Another influence from his early career cames from the tokonama, a Japanese interior factor, the concept of family. By combining tokonama and western house, Frank Wright gradually began to design stove and chimney as center of family, which was regard as the only solid stuff in the flow interior room. Furthermore, his window system gradually transferred from dot style to horizontal window, which could bring more nature outside into interior space. Instead of using decoration and solid partition wall inside, Frank Wright chose to pick wood and screen to create clean, flow spatial spaces inside. Those work became the turning point of his architectural style. As he developed those strategy, he began not only to focus on basic function of architecture, but infiltrate space and function into people’s daily life carefully.

2GB HT ESSAY / ORGANIC ARCHITECTURE FRANK LLOYD WRIGHT

Prairie Style, a unique architectural style in Wright’s early career, hinted that Frank Wright begin to emphasize that architecture, interior space, furniture and environment should work as one thing. Robie House was designed in Prairie Style. “In breadth, length, height and weight, these buildings belong to the prairie just as the human being himself belonged to it with his figt of speed. As result, the new buildings were rational: low, swift and clean, and were studiously adapted to machine methods.” (2) The long horizontal roof demonstrated the horizontal line in American Prairie. The extended horizontal roof could control light and wind from outside. Free plan was divided into public and private space, which were centralized to its stove and chimney. At this period, he began to design not only architecture itself, but also to its floor finishing, furniture, stove, etc. And as for the important spaces, like game room, and bedroom on the second floor, all connect to outside space to some degree. In his mind, the core of architecture is not just roof and wall, but the space where people live in. Prairie Style develop architecture to a higher level. Instead of making every components of architecture perfect, like window, door or roof, Frank Wright focus on entire system among form, space, residential culture and connection between interior and outside. Apart from the perfect interior system, architectures could also build connection to its local environment. Frank Wright realized the power of nature and landscape when lived in the Madison of the state of Wisconsin State with his families. In his autobiography(3), he has mentioned that his daily life was surrounded by nature, and all his textbooks are the flying insects, the lawn he had passed barefoot, the smell of grass, and fresh plants and rotten leaves. Any artificial work means nothing compared with nature. In the late period of Frank Wright’s career, he proposed “organic architecture”. From his perspective, architecture should be natural and real. It was crucial for him to highlight the nature of material, and the connection between architecture and surrounding

environment. In short, the structure, materials, construction and natural environment should be integrated as one. To achieve this goal, he pointed out six key principles, such as “Simplicity and Repose are qualities that measure the true value of any work of art”, “Houses should be diversified as different individuals”, and “Abuilding should appear to grow easily from its site and be shaped harmonize with its surroundings if nature is manifest there, etc.” (4) “Environment and building are one: Planting the grounds around the building on the site as well as adorning the building take on new importance as they become features harmonious with the space within to be lived in. (5)”. This means that architect should learn to adapt each unique environment and own local features. Architectural form, material, color and function might be designed different depends on where architectures are placed. For example, Taliesin West, a project for residence, business and education place in desert, indicated the power of combination of building and local environment. Local materials were always chosen first by Wright. For example, all the materials of structural all came from local rocks, and the flat surface of rock could be utilized as the natural texture and decoration of interior space. Local redwood was used in the roof structure system. The low and horizontal planes, which related to his Prairie Style projects, created an effective space for good ventilation and shade situation. This case explored the strong relationship between architecture and environment. It will be wired if Taliesin West was built at any other places. If architectures are designed without considering their relationships with surroundings, then there is no difference no matter where they are built. They could be placed anywhere because architectures and environment are separated. At the same period, some other architect, like Le Corbusier, focus on different perspective. There is no doubt that for modernism architects, they all emphasized the importance of function and 175

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convenience of architecture, and the utilization of new architecture materials and structure. However, they have their own different, even opposite way to explore modern architecture. “A house is a machine for living in” comes from Le Corbusier, who proposed his own system like famous five points of architecture to identify his ideal architecture. He insisted houses should be functional as industrial machines to service people, not an organic space to fit nature. His famous project Villa Savoye precisely make his theory come true. But even it rises up and leave some empty space on the ground for nature, and even it could contain garden on the roof to bring nature into the house, it is still an artificially natural environment. There is no relationship between Villa Savoye and its local ground, which means that it could be built anywhere. Le Corbusier’s house services for people, but people need to live with real nature. There is no doubt that Falling Water is the best example of his organic architecture theory. “Falling Water embodied Wright’s idea of the place of living fused into nature.”(6) “Apart from the previous prairie style, his design has developed a lot and achieved a great success in the treatment of space and the combination of volumes and with the environment. Although Falling Water has been famous for its harmony relationship between architecture and surrounding environment, it was not designed by the most normal way to communicate with nature, but in a dangerous and opposite balance. As its terrace appeared as a huge plate overhung above the falling and wood valley, its confrontation towards gravity created strong sense of intense. At the same time, the surrounding natural environment relieved it from this nervous atmosphere. Even though huge volume and material made building itself look heavy, suspended terrace and natural environment made it more like a floating boat in space. The interior space extended freely because of the free plan which provides the continuous spatial flow between different areas. “Frank Lloyd Writes’ 176

furniture set the tone of Falling Water’s interior space.” (7) It was decorated by local materials, such as black American walnut, sapwoods, and local stones to keep the original appearance. The system of wood work in Falling Water extended into every furniture, which responded to his principles for organic architectural theory. Horizontal glass window systems broke the boundary between inside and outside, allowing nature and light comes into the building. From the structural components to interior space and furniture, all the systems corresponded well to each other and expressed as one perfect project. Architecture is collection of architectural design, such as structure, material, daily-life culture, like interior decoration, and environmental system. Frank Wright had the opportunity to experience the power of nature in his childhood, and lived in the golden age when people, like Thoreau and Louis Sullivan, discussed the nature of environment and of architecture “Architecture now becomes integral, the expression of a newold reality: the livable interior space of the room itself.”(8) Thus, the interior room and the outside space should be treated as one whole object. We cannot claim that buildings like machines, such as Le Corbusier’s projects, are wrong or not suitable for people, because they do satisfy people’s basic requirements and improve people’s living quality. However, if we could emphasize more connection between architecture itself and its interior system, such as space, decoration, and furniture, and connection between architecture and its local environmental, we can rise architecture to a higher level and create a harmonious entity.

2GB HT ESSAY / ORGANIC ARCHITECTURE FRANK LLOYD WRIGHT

BIBLIOGRAPHY (1) Ulrich Conrads, “Programs and Manifestioes on 20th-century archiecture, “Frank Lloyd Wright: Organic architecture(excerpt), P 25, First Mit Press paperback edition, 1971 (2) Excerpt from “The New Architecture: Principles”, in Writtings and buildings, New York: Horizon Press 1960 (3) Frank Lloyd Wright, “Frank Lloyd Wright, An Autobiography”, published by Pomegranate Communications, Inc, 1867-1959 (4) Frank Lloyd Wright, “In the Cause of Architecture,” New York: Rizzoli International Publications, 1992 (5) Excerpt from “The New Architecture: Principles”, in Writtings and buildings, New York: Horizon Press 1960 (6) Kenneth Frampton, “Modern Architecture: A Critical History”, P189, third edition first published in New York: Thames and Hudson Inc, 1992 (7) Kaufmann Edgar, “Fallingwater: A Frank Llovd Wright Country House”, P127, New York: Abbeville Press, c1986 (8) Ockman Joan, “Architecture Culture 1943-1968: A Documentary Anthology” P32, Rizzoli International Publications, Inc 1993

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Delicate Architectural Design in YingZao Fashi History of Architecture and Urbanism/ Writing Workshop: Ekphrasis/ Fall 2018 Instructor: Jia Gu

China has a long history full of diversified dynasties and architecture styles. And architecture in Song dynasty (960-1279) is well-known for its delicate beauty and the classic masterpiece, Yingzao Fashi.. Yingzao Fashi, written by Chinese architect Li Jie, an experienced directorate on architecture and construction in Song Dynasty, is the first official and technical book in China to describe standards and details about architecture and construction. It is the most integrated architectural technique book in ancient China, symbolizing that Chinese buildings’ construction has developed into a higher level. According to Yingzao Fashi and other relative materials, I am interested in how people design architecture in Song Dynasty in a delicate way, and how they can combine construction, art aesthetic and culture together. In this article, I will introduce Song’s architecture from large scale, like layout, to detail of buildings like paintings and tiles. Yingzao Fashi is valuable in Chinese architecture history. Although the record of Chinese history spans more than two millennia, the historiography of the nation’s architecture is less than a century old . It is edited on the base of the first version Yuanyou Fashi , which is written in Yuanyou period of Song Dynasty to reduce corruption 178

by clarifying standards of buildings, materials and constructions. Li Jie’s edition refills Yuanyou Fashi and introduces architectures and constructions in five parts: Explanation, norm, labor limitation, material and drawing samples. And it ranges from big scales like palace plans to details like composition of brick and glass. Thus Li Jie’s Yingzao Fashi efficiently provides more strict standards in buildings’ construction and reduces much more corruption in architectural field of Song Dynasty . Moreover, it leaves an indispensable record about Song Dynasty’s buildings to descendants. Delicacy in Chinese is used to express a masterpiece, which not only has an artful look, comprehensive design, and subtle utilization of materials, but also has strong cultural background. Delicacy of Song’s building ranges from layout to detail. It is efficient to compare architecture in Song dynasty with that in previous dynasty, like Tang Dynasty. Tang Dynasty (618-907) is another important time period in China. It was a period of great prosperity in economic, policy, and culture. Firstly, those two styles of buildings could be distinguished by the overall layout. The overall layout of Song Dynasty is more open and less strict than Tang Dynasty. As you can see from Chinese ancient painting like, Minghuang pishugong (Fig 1).

1GB HT ESSAY / DELICATE ARCHITECTURAL DESIGN IN YINGZAO FASHI

Instead of putting the main buildings in the center axis, they tend to use ambient lower buildings to show higher, main buildings in the center. And each relationship of scale, position, height, profile of buildings, roof are all designed carefully. The way the utilize topology is more like landscape design.

UP: Fig 1 Minghuang pishugong, the flexible layout of architecture in Song Dynasty

UP: Fig 2 Diagrams of Dougong, Translation of Yingzao Fashi, P378 and Cornice roof

UP: Fig 3 Nanchan temple, existed building in China, built in Tang Dynasty, 782,

One of delicate designs from architecture in Song dynasty is their roof. Roof has occupied half of height of a whole building. Instead of use the flat roof like Tang dynasty, they change the construction, like the organization of Dougong (Fig 2), or the bracket structure, to make a Cornice roof. The main characteristic of the bracket during this period is that the beams supported by the brackets are inserted into the brackets, which means that they are connected to each other. The brackets are no longer an individual support like before, but an inseparable part of the horizontal framework. Because of intersection of dougong, some small part of dougong, we call it Fuzuo, could extend to support hanging eaves. On the base of this structure, roofs of Songâ&#x20AC;&#x2122;s buildings have their own curvature, and their own style, the cornice. The cornice is a key to change the feeling of architecture. Because of its hanging curve, the building looks like a bird ready to fly , and this from make the building looks more light than before. Cornice then be used not only palace, but more small buildings, like all kinds of pavilions. Apart from layout and structure, another unique and delicate characteristic is decoration. In the previous comparison, architectures in Tang Dynasty look more powerful and vigorous, strict but open. And it also has undecorated style on all details of architecture, like the simple color, stretch flat roof and undecorated door and window (Fig 3). If less is more could be used in Tangâ&#x20AC;&#x2122;s architecture, architecture in Song Dynasty could be understand as ornamentalism. This is because that in North Song Dynasty, following suggestion of frugality from Wang Anshi, a famous politician and litterateur in North Song Dynasty, Chinese 179

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people choose not to build more new buildings but turn to redesign existed buildings. They try to create more layers in architecture, and develop decoration and color. It’s not difficult to find more details about little wood work, like design of little wood components, carve patterns in YIngzao Fashi, and the style of buildings gradually becomes more delicately beautiful. In Song dynasty, decoration must be used in every detail of architecture, like from Roof to pillar, from door to window. Decoration is not only used for beauty, but also for propitious things in Chinese ancient culture. For example, Douba caisson(Fig 4), a well-shaped decoration with aquatic plants patterns on the top of interior building, is one of important characteristic in Song’s building. The round mouth of spring, quadrate well and aquatic plant pattern in caisson stands for no fire hazard in the building . Chiwei, a mythical creature in Chinese traditional culture, who stands for rain and water , is made by wood, and put on the two sides of main ridge of roof to prey for no fire hazards as well. Additionally, some symbolic pattern also can be used. For instance, Chinese loong and phoenix are common pattern to be carved on pillar or door because they stand for royalty and power. Clouds pattern , which represent noble, are also used on the pillars of Wutou Door, which only can be used by officers in ancient China . Apart from wood-decoration, the paintings in architecture of Song dynasty are also important to form Song style. Song’ building has a strict rule for color. The part hidden by shadow of roof is usually covered by cold-tone color, like cyanine or dark green. And red is used for wall, door and pillars, which made a contrast feeling to the cold –tone color under roof, and it also matches the white stone base under the building. In addition, the pattern of painting also has special catalog. There are six kinds of color usage, and each type includes special pattern (Fig 5) and color. Take multicolored painting as an example. Multicolored painting is most famous and complex paint180

UP: Fig 4 Douba Caisson, Translation of Yingzao Fashi, P370 Douba Cassion in Qianqiu pavilion in Beijing

UP:Fig 5 Patterns of multicolored painting, translation of Yingzao Fashi, P434

UP: Fig 6 Patterns of tiles; Nine tile categories of mythical animals on Chinese architectural roof

1GB HT ESSAY / DELICATE ARCHITECTURAL DESIGN IN YINGZAO FASHI

ing in Song Dynasty, because it contains most colors like green, cyan, gold, etc, and patterns, like mythical creatures, various flowers, birds, animals, immortal people. Cold-tone color and green becomes the main style of multicolored painting, and it covered all the painting component without any empty space, creating a gorgeous atmosphere. The components of buildings mentioned before, like Dougong, beams, Douba caisson are all painted in multicolored painting. In addition to painting, sculpture in architecture is another straightforward factor to show Song’s culture in a delicate way. Chinese sculpture has a clear and strict category level and rules, and all those sculptures are not only used for beauty or function, but also have religious symbolization, standing for people’s desire for propitious things from supernatural power. For example, Sculpture Hunzuo is one of categories in Yingzaofashi and it consists of eight branches of categories, like supernatural being in Chinese myth, phoenix, musical instrument, plants, pillar loong, etc. And each category consists more sub-branches. Those sculptures have their own specific position in architecture. For instance, supernatural beings, phoenix are usually used on chapiters while pillar loongs can only used on the body of pillar or douba caisson. For emperor, those religious sculptures stand for best wishes for peaceful country and good management, and for civilians, they represent food, safety and procreation. As the development of tile techniques, architectures in Song dynasty has highly control usage of tiles work system. Tiles have both fundamental function and religious or class symbolization. In order to throw rainwater off the roof, the starter-over-tile had a round flat end while the eavesunder-tile had a deltoid leaf-shaped drip. And those end plates has various of decoration pattern, which has different motifs and details(Fig 6). Apart from normal tile, another delicate tile category is mythical tile animals on the edge of roof. Being different from Chiwei mentioned before, those tile animals are not just decoration but uti-

lized to fix the rain-proof imbrex tile. Affected by Chinese myth and people’s religious belief, those animals consist of nine categories, like loong, lion, jia fish, xiezhi, etc. And each animal stands for specific meaning, like jia fish, a mythical animal living in the sea, stands for fire-proof, and xiezhi, an animal that can distinguish right and wrong, stands for justice. (Fig 6) Additionally, those animals also stands for Chinese hierarchy culture, hinting that only the royalty’s roof can build all nine animals while lower class could only build a few of them. From my perspective, the reason why people think delicacy could stand for style of Song Buildings, is based on several factors: politics, technology and culture. Firstly, China has a long history full of replacement of dynasties. Therefore, when every new dynasty has been built, people, especially the royalty want to create a new style of country. The previous dynasty, Tang, has a strict rule about layout of buildings and plan. That’s why it is easy for us to find center axis and two or three depth of Tang’s building. Yet Song’s building is trying to abandon this layout and chase more flexible and literally casual way as I mentioned before. Secondly, it’s familiar to hear that function decides form. However, it’s structure decides form when it comes to Song’s building. In comparison with Tang’s building, Song’s building utilized higher pillars and longer proportion of space. As they change the way of organizing Dougong structure, the higher curvature of roof becomes possible, and that’s’ why cornice appeared and becomes the sign of Song’s building. Furthermore, since people chase more cultural factors like art, nature, and literature in their life, more painting and decoration, which stands for lucky and peace, like multicolored painting, architectural sculptures and tiles animals appeared. In conclusion, all the development is born by improvement of spiritual desire and technique skills. As people lives in a period of prosperity, they will require more spiritual and cultural enjoyment in life. That’s why people in Song dynasty want to com181

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artful design into architecture. Although Yingzao Fashi is a technical book, it contains many details about delicacy of architecture. It consists of three categories technique: structure, traditional culture and aesthetic value. Only by utilizing those techniques can we build such a delicate architecture. Delicacy, which means fantastic form, thoughtful design, and deep cultural background in Chinese words, may be a little bit abstract, but it really stands for all the improvement of architecture in Song dynasty.

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ENDNOTES

BIBLIOGRAPHY

1. Else Glahn, China House Gallery, Metropolitan Printing Company, 1984.4.6-6.10, P48

Liang Sicheng, Comments of Yingzao Fashi, SDX Joint Publishing Company, 2013-1

2. Yuanyou Fashi: the first version of Yingzao Fashi, combing knowledge from books like Kaogongji with reality about construction.

Else Glahn, China House Gallery, Metropolitan Printing Company, 1984.4.6-6.10

3. Liang Sicheng, Comments of Yingzao Fashi, SDX Joint Publishing Company, 2013-1 4. Minghuang Pishugong: Chinese ancient painting by Song Zhongshu, artist in North Song Dynasty. 5. Wang Haiyan, Translation of Yingzao Fashi, Huazhong University of Science & Technology Press, 2011-8

Wang Haiyan, Translation of Yingzao Fashi, Huazhong University of Science & Technology Press, 2011-8 Kongqiu, Shijing: The book of songs, Beijing Publish ing House press. 2006-7 Shenyue, Songshu, Zhonghua Shuju Press, 1997-09 Hu Qu, Tanbin Record, Tang Dynasty (618-907)

6. Wang Haiyan, Translation of Yingzao Fashi, Huazhong University of Science & Technology Press, 2011-8, P21

Li Longji, Six standards in Tang Dynasty, Li Linpu note, Sanqin Press,1991

7. Kongqiu, Shijing: The book of songs, Beijing Publishing House press. 2006-7

Li Baijin, Construction of Tang style architecture, Chinese architecture and building press. 2005

8. Li Baijin, Construction of Tang style architecture, Chinese architecture and building press. 2005

Wangheng Chen, Sijie Liu, Discussion about color-tone transformation of architecture in Song Dynasty, Hundred Schools in Arts Press, P 145

9. Shenyue, Songshu, Zhonghua Shuju Press, 1997-09 10. Hu Qu, Tanbin Record, Tang Dynasty(618-907) 11. Li Longji, Six standards in Tang Dynasty, Li Linpu note, Sanqin Press,1991 12. Wangheng Chen, Sijie Liu, Discussion about color-tone transformation of architecture in Song Dynasty, Hundred Schools in Arts Press, P 145

Qinghua Guo, Tile and Brick Making in China: a Study of the “Yingzao Fashi”, The Construction History Society Press, Vol.16(2000), Page 5 Wangheng Chen, Architectural aesthetics from Yingzao Fashi, Social Science Front Press, 2007.6, Page 5

13. Qinghua Guo, Tile and Brick Making in China: a Study of the “Yingzao Fashi”, The Construction History Society Press, Page 5 14. Wangheng Chen, Architectural aesthetics from Yingzao Fashi, Social Science Front Press, 2007.6, Page 5

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