Architecture and Photography Portfolio by He Liang

NG A I L HE io l o f Port

H

ARC PHY

PHO

RA TOG

RE

TU ITEC

PROFILE 24 | 07 | 1996 Born in Beijing, China Lives in Edinburgh, United Kingdom

ARCHITECTURAL EXPERIENCE Rennovation of Shanxi South Road Residence

08 | 2016 | Shanghai, China | Main Designer of an old 3rd-floor-flat

CITIC Shanghai Institute of Architectural Design and Research Co.,LTd 07 | 2015 | Shanghai, China | Summer Intern wiyss@163.com

AAVS, Architectural Association School of Architecture 07 | 2016 | Shanghai, China | Summer program

HE LIANG

heliang-art.com

CONTACT heliang1996@gmail.com +44 (0) 7759314169 / +86 13910320188 4/1 Davie Street, Edinburgh,EH8 9EB, UK

EDUCATION MA(Hons) Architecture

University of Edinburgh Edinburgh, United Kingdom | 2014 - present

High School Diploma

The Bishop Strachan School (BSS) Toronto, Canada | 2011- 2014

OTHER EXPERIENCE Studio 5+5 Photography Studio Founder

03 | 2017 | Edinburgh & Beijing | Photography Studio

Freelance, Backpacking, Portrait and Event Photographer 2013 - present | Canada, China, United Kingdom

Orangizer of The Refusés, The Bishop Strachan School

05 | 2014 | Toronto, Canada | First student initiated art exhibition at the school

Architecture and Studio Art program, Oxbridge Academic Programs 07 | 2013 | Cambridge, United Kingdom | Summer Program

Me to We Volunteering

03 | 2013 | Ecuador | English teaching and school building

PROFESSIONAL SKILLS Rhino Grasshopper Sketchup AutoCAD Keyshot Artlantis Lumion Photoshop Lightroom Illustrator InDesign Premiere

AWARDS Delamere Plate Winner

06 | 2014 | BSS | Award given to a graduating student with leading enthusiasm

Graduating Class Arts Contribution Award 06 | 2014 | BSS

Outstanding Student Prize For Archievement in Studio Art 07 | 2013 | The Cambridge Tradition | Oxbridge Academic Programs

The Heather HUTCHINSON Simard’80 Award

05 | 2013 | BSS | Schoollarship given to a boarding student in senior school who has shown the best year-over-year increase in her overall average grade

The Erin Gilmour’79 Memorial Award

05 | 2013 | BSS | Schoolarship given to a Senior School Art student in recongnition of her interest and involvement in Art, and her contribution to the life of the school.

1st Place of Youth and Philanthropy Initiative

03 | 2012 | Toronto, Canada | Winner of the YPI speech competition, winning $5000 for Cathy House, a charity in Toronto.

PHOTOGRAPHY Architectural 42-51 52-107

CO

NT

EN

T

Portrait 108-113

ARCHITECTURE Collective Performance, Edinburgh Year 3 GroupWork 2016

Academic Project 6-19

Rome Children Library, Rome, Italy Year 2 Individual Work 2016

20-27

Carleton Castle Restoration, East Lothian Year 2 Group Work 2016

28-33

Shanxi South Road Flat Renovation, Shanghai Summer 2016

Work 34-39

GRAPHIC AND PULICATION DESIGN 114-127

Industrial Beijing Encounter with China 50mm Lense Film

Studio 5+5 Advertisement

ARCHITECTURE Academic Project

1

hotspots for street performance

Collective Performance Year 3 Group Work 2016

Every year, hundreds of thousands of tourists flock to Edinburgh to witness the largest arts festival in the world, a comparable number of artists, musicians and other performers, at the same time, are also attracted to this historic city, looking for opport nities.

Within the festival period, street performers must apply to the city council in order to be assigned a location to pe form. Outside that particular period, the culture of street performance remains in the city and no application is required for busking. While the location or pitch for street performance can be anywhere as long as the owners of the nearby properties do not complain, there are some busking hotspots in central Edinburgh where street performers prefer.

As the network of streets to be investigated had been generated, the next step was to construct a sensory device which informs us the movement of the performers.

A performer’s trolley which carries his instrument should experience the similar street conditions. Thus connecting a series of sensors to an Arduino Uno board which is then tied onto a physical trolley would capture the corresponding data throughout the diff erent routes.

We first decided to use three sensors: light sensor, shock sensor and tilt sensor to read the surrouding light intensity, roadroughness and inclination respectively. The picture below shows how the sensors were connected in a circuit from which readings were collected and manipulated in Grasshopper.

The obvious reason is economy these most picked spots are where street performers earn the most.

But this does not answer the fundamental question: what characteristics of the surrounding urban landscape resulted in the propensity to stay at these particular locations.

To answer this question, a representative network of streets must be extracted from the existing map of Edinburgh, such that we can carry out a survey to collect both quantitative and qualitative data which would entail the relationship between the city-scape and the performers’ choice.

Collective Performance Year 3 Group Work 2016 Stage 1. Data & Device

Device No. 1

Device No. 2

The first device however, due to the nature of plywood and the thickness of the material, performed poorly on Edi burgh’s stone pavements. The same reason also caused the laptop powering the sensors to take damage from tre bling.

Hence we designed the second device to be made of wooden blocks and a transparent case shielding the sensors from the rainy weather.

In this version, we developed a new mechanism using the same tilt and shock sensors with a newly added piezo sensor to collect translated street data of the angular, horizontal and vertical movements of the sensors.

With the new design, the second device recorded more reliable data from tra elling over the network of routes.

9

Tilt = Rotation angle

Collective Performance Year 3 Group Work 2016

Shock: height of cone

Shock

Stage 2.

Data Representation

Light Light: size of base

Shock: size of sphere

Shock = Length of geometric k

oc

Sh

Tilt

Shock

Tilt: height of sphere Tilt = Rotation angle

Shock

Shock: height of cone

Light Light: size of base

Shock: size of sphere

Shock = Length of geometric k

oc

Sh

Shock

Tilt

After collecting the street data using the sensory device we built, we attempted to represent the set of data with a common three-dimensional geometry which is arrayed throughout the routes.

Tilt: height of sphere Tilt = Rotation angle RGB 128,0,0

Shock: height of cone

Light Data

RGB 178,34,34

RGB 128,0,0

RGB 178,34,34

Shock

RGB 255,0,0 Light Data

RGB 255,0,0

RGB 255,69,0

RGB 255,165,0

RGB 255,255,0

Inspired by Charles Minard’s famous map, Napoleon’s March, we decided to link the physical attributes of the geometry in a virtual space to the actual meaning of the data in real world.

RGB 128,0,0

RGB 255,69,0

Light Light Data

Shock Data

RGB 178,34,34

RGB 255,165,0 RGB 255,0,0 Light Data

RGB 255,255,0

Radius 5

RGB 128,0,0

Radius 7

RGB 178,34,34

RGB RGB 255,0,0 255,69,0 Shock: size of sphere

Radius 11

Radius 9

RGB 255,165,0

Radius 13

RGB 255,255,0

Radius 15

Shock Data

100 Shock

RGB 255,69,0

50°

Light: size of base

Shock Data

Tilt Data

RGB 255,165,0

Shock Radius 5

100

Shock Data

Tilt Data 50°

Radius 9

Radius 11

Radius 13

Radius 15

Tilt

RGB 255,255,0

Radius 7

Tilt Data

Tilt: height of sphere 50°

20°

80°

Tilt Data 50°

20°

80°

Tilt

RGB 128,0,0

Light Data

RGB 178,34,34

RGB 255,0,0 Light Data

RGB 128,0,0

RGB 178,34,34

RGB 255,0,0

RGB 255,69,0

RGB 255,165,0

RGB 255,255,0

For example, the data retrieved from angular movements of the sensors can be represented by a symmetrical object whose axis rotated according to the magnitude of the movement. Thus we assigned data from each sensor to one physical attribute of the geometry which can be displayed in a axonometric drawing.

The performers need to create a zone in which he can showcase his talent with the intrument without interuption. The locations that are favoured by the street performers in Edinburgh are those offer a sufficiently large area of fl at ground. As indicated on the map on the opposite page, a performer who was travelling among these streets will tend to choose the marked locations because the surrounding streets are less rough and made of larger stone tiles which resulted in the less vertical and angular movements respectively. With these findings, we can deduce that there exists a co-relation between the street conditions and performers’ choice.

These geometries although simplistic at this stage, provided useful insights into the eff ectiveness of the graphic representations and contributed to the formation of our fi nal mapping.

Light

RGB 255,69,0 Shock Data RGB 255,165,0 Radius 5 RGB 255,255,0

100

Radius 7

Radius 9

Radius 11

Radius 13

Radius 15

Shock Data

Tilt Data

11

Collective Performance Year 3 Group Work 2016

Stage 3.

Data Representation And Game Design

Vibration

0-4

From the previous chapter, we found that the physical qualities of the streets can determine where street performers would like to set up a pitch.

Such hypothesis needs more than a survey to reckon its eff ectiveness.

Our findings have to be tested by human participants such that the incentive behind the performers’ choice can be confi rmed by the response from the participants. With this intent, we built a two-dimensional virtual space with the vertical dimension being translated into a grid of values taken from the vertical movements in the survey. By occupying random tiles on the virtual space with pedestrians, a game board is set for human players to control the movement of one performer and decide when and where he wants to perform. As the result from the survey indicates that the values of the vertical dimension are the primary cause of performers’ decisions, we expect to see the game being played around the eff ect of street conditions, and the street conditions eventually dictates how the urban environment is altered by the performance zones.

As we implemented the factor of ‘Rage’

4 - 10

10 - 30

30 - 50

in the attributes of the performers whose value increases according to the values of tiles a player travels through, we expected the performers to react to the existing landscape by avoiding the steeper tiles which is the result from our street survey. The player’s ‘Energy’ will drop by 10 once the ‘Rage’ bar hits 100. After the decrease in ‘Energy’, ‘Rage’ will return to 0. Not surprisingly, most rational players would move across the tiles with lower values. However, we still had to implement the act of performing in order to see how the urban landscape is aff ected by the street performers. how the urban landscape is aff ected by the street performers. The eventual game rules are shown here. The act of pe forming is translated into the formation of a performing zone which attracts nearby pedestrians. Time was also taken into account as a player moves or performs, This serves as an entertaining element which allows players to compete their refl ex and thinking time. A fi nite number of turns among all players is also set to limit the game span.

50 - 70

70 - 100

100 - 120

120 - 200

200 - 300

300 - +∞

When a player starts to perform, a performance zone will be created in which the performer is at centre.

This performance zone prevents other performers to enter and perform at the same place. While the performance continues, surrounding pedestrians will be attracted toward the performer, and will give tips for his endeavour. It is at this point, after a number of trials with the game, we realised that the eff ect of human interactions greatly outweigh that of the street conditions. The interactions between the audience and the performers are the main driving force behind the performers’ choice of pitches.

We proceeded to translate the audience-performer relationship which we saw in the game into an interactive device. This device is designed to respond to its environment by re-

peatedly moving in straight lines and hitting the contextual boundaries or inner obstacles after which turns to another direction moving forth again.

This device traces the journey through which it detects the boundaries of the space and draws the possibilities of movements within. in order to feed back to the environment. However, the critic is that the contextual settings and the device itself formed a rather one-way response which hardly represents the full image of the audience- performer relationship. This form of inte action to an extent, does immitate the event that a performer approaches his audience yet sets back to create an intermediate space to perform, and the event that a pedestrian gets attracted to the performance yet moves back to avoid being pressured to give tips.

Through implementing the mechanism of this drawing car, we gained knowledge about interactive and responsive devices. This experience enabled us to tackle with the social problem which we found during the process.

Although we did not successfully built a device which represents the audience- performer relationship, the prototype entails a long-exisiting problem within this relationship.

During the performance, the performer is the only participant inside the activity, the audience is either detached from the process or acting as instructed by the performer. This phenomenon reduces the interactions between the audience and the performer to one-way action which is disconnected with the urban environment.·

13

Collective Performance Year 3 Group Work 2016

Final Stage Social Issue And Product’s Storytelling To solve the problem with the relationship between the audience and the performer, we proposed a new form of performance that requires the participation of both the traditional audience and the performers. As an example of the collective performance, we decided to re-situate the classic horror of Edinburgh, Burke and Hare.

Separated into three scenes, the story of Burke and Hare will be played at the Grassmarket, the Old College and the St. Giles Cathedral. In each scene, a pair of installations will be situated in the local context, serving both as a part of the play and a place for the public to use

Scene I: Murder of a lodger After selling the corpse of a dead lodger to Doctor Robert Knox and seeing a lucrative business in body snatching, Burke and Hare could not wait for the next lodger dying of natural causes, they decided to murder the lodgers.

detail section

Site Plan, Grassmarket

Site section without the performance

section of movement

Site section with the performance

Site Plan

15

Collective Performance Year 3 Group Work 2016

Final Stage Social Issue And Product’s Storytelling Scene II: Lecture of Dr Knox Dissecting the corpses sold by Burke and Hare and implicitly acknowledging the murderers, Doctor Knox remained as a lecturer of anatomy, but deep inside he is the same as the murderers.

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

site plan, old college

61'-51 8"

61'-51 8"

61'-51 8"

61'-51 8"

88'-35 16" 88'-35 16"

88'-35 16" 88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16"

88'-35 16" 88'-35 16"

88'-35 16" 88'-35 16"

site section, old college

People walk onto the 'podium'

People walk away from the 'podium'

People walk onto the 'podium'

People walk onto the ‘podium’

People walk away from the ‘podium’

0

1.0

2.0

3.0

4.0

0

1.0

2.0

3.0

4.0

People walk away from the 'podium'

Base

Frame

Frame with attractors

Frame set with base

all

Structural frame set

Stair leading to the podium

Structurally supported podium

Secondary strctural wooden slabs

all

17

Collective Performance Year 3 Group Work 2016

e Courts

Suprem

Final Stage Social Issue And Product’s Storytelling Scene III: Excution

ambers

Lothian Ch

Burke and Hare’s actions were uncovered after other lodgers discovered their last victim, Margaret Docherty, and called the police. Burke was hanged shortly after the trial, and his body went to the same place as his victims, the medical school.

thedral

Section B-B before 'execution'

St Giles' Ca

e

l Mil

Roya

ourt

High C

20m

10m

5m

0

Site Plan

Section B-B 'executed'

10m 10m

10m

5m 5m

5m

1m

1m 0 1m

10m

0

10m

0

Plan before 'execution'

Base with wheels and motors Section A-A

Structural frame

10m 10m

5m 5m

5m 5m

1m 1m

0 1m 0 1m

0 0

Plan before 'execution'

'Execution' triggered movement

Frame and base

Glazing

Glazing fitted

19

ARCHITECTURE Academic Project

2

Roma Children Library

Year 2 Individual Work 2016

In childhood, there are no boundaries, no limits and no fear, but exploration, adventure and learning. Within a ‘protected’ elevated environment, parents can leave their children to break the grids.

Non-uniform shadows climb slowly from sunrise to sunset.

In children’s vision, walls are not solid, but transparent and full of colours. The joy of reading can take place anywhere in the library - loudly reading rhymes, carefully listening to a tale, or writing down thoughts alone

Roma Children Library

Year 2 Individual Work 2016

Design Concepts Voids, Grid and ‘off-grid’ Voids Voids were inspired by the plan view of the surrounding. One dominant square is completely outdoor, seen from the ground level. tion

Grid and ‘off-grid’ The Plan was designed to focus on the grid and the ‘off-grid’ system by using 35 squares. Entire building is supported by 42 columns and elevated from the ground level - physically leaving space for market space and aiming to create a ‘protected’ atmosphere for children.

i ond c e t

a si

vi ids

Vo

West Elevation

Grid and ‘off-grid

East Elevation

’

North Eleva

South Elevation

23

Roma Children Library

Year 2 Individual Work 2016

Design Concepts Voids, Grid and ‘off-grid’

A

Exterior of the building is part of the “off-grid” design, allowing natural light enters the building in an unexpected way.

B

D

D

C

C

-B

nB

io ect

S

The internal double-height spaces can be identified by its external long-strip glazing。

1st Floor Plan A

A

Instead of only using the ‘mandatory way’ – staircases - to link two floors, reading steps are introduced to create smooth transition.

B

B

D

D

C

C

-D

nD

io ect

S

2nd Floor Plan A

B

25

Roma Children Library

Year 2 Individual Work 2016

Design Concepts Voids, Grid and ‘off-grid’

A

B

D

D

Section A-A C

C

1st Floor Plan A

A

B

B

Section B-B

D

D

C

C

Section C-C 2nd Floor Plan A

B

27

ARCHITECTURE Academic Project

3

Bowling Green

Carleton Castle Restoration Year 2 Group Work 2016

Dirleton Castle

Club

Dirleton Castle is the epitomy of strength and grandeur of Scottish medieval castle. For 400 years, the castle stood as a residence for three successive noble families - the de Vauxs, the Halyburtons and the Ruthvens - the buildings matching their needs and reflecting their status.

Carleton Castle Restoration Year 2 Group Work 2016

CHOICE OF MATERIAL

Phase 1 Stairway

Our choice of timber for our structure is Scottish Oak , a D30- D40, strength grade timber. The Scottish Oak is a strong and extremly durable outdoor material that will adapt well to the site’s challenging weather environment. The Scottish Oak does not require any perservative treatment.

Approach The intervention should consider the monument no less as works of art than as historical evidence. It should be based on a respect for the existing fabric, use, association cultural significance, and meanings. The proposal should protect both the tangible aspects of the building (artefacts, artwork, buildings) and the intagible aspects (stories). In physically treating a heritage resource, the proposal will focus on Adaptive-Use Rehabilitation, which will enhance the visitors’ understanding of the castle.

Walkway Plan

Scottish Oak has already been used on the walkway and the site of Dirleton Castle, on both the stairs created to make the castle more tourist friendly and the bridge leading tot eh former castle entrance, by using Scottish oak our structure will fit into the context of the site both culturally and aesthecially.

Walkway Section

As a local material, the wood is readily available and fits into the context of the site as an ancient castle, it is a structure made out of local materials and keeping the link to local industries is an important part of the castles cultural heritage. It is also a every sustainable material thus resulting in a low embodied energy.

As the site is right on the coast of the north sea, heavy rain and strong winds could easily erode a soft wood, thus making the use of a durable, hard wood such as Scottish Oak very important in the construction of an exposed timber structure.

Due to it’s durable nature it means that Scottish oak will not need much if any maintenance.

Walkway Construction Details

Walkway Isometric

31

Carleton Castle Restoration Year 2 Group Work 2016

DURABILITY/ENVELOPE In addition to the preventive measures against weathering, the choice of material, Scottish Oak, (D30- D40) a strength grade timber, also contribute to the durability of the envelope.

Phase 2 Pavilion Brief Building on the first project that started recreating the visitors’ experience (walkway), the second project is to propose a sensitive insertion of a pavilion which enhance visitors’ understanding of the castle through an architectural experience. Quoting from the brief, The new pavilion is to become an educational area, hosting temporary exhibitions, shows, and projections. It should accomodate flexible seating for 30 people and provide a comfortable environment for such events.’

TECTONIC/ENVELOPE The proposal adopted the timber frame method of construction, which uses timber studs and rails which are then secured with timber based sheathing to form a strong, structural frame.

This frame is then clad with non load bearing timber to weatherproof the building and provide the desired external appearance. Vertical studs are nailed to top and bottom rails.

A strip foundation with light weight cladding, concrete slab floor is selected for the proposal. Note the damp proof membrane laps iwth the damp proof course and vapour control layer. Concrete fill to cavity provides strength to the cavity against the forces of the surrounding earth. Note perimeter insulation to concrete slab to prevent thermal bridge.

Pavilion Exloded Isometric

Roof top: Galvanized Stainles Steel Plate Gum Asphalt Roofing Breather Membrane Insulation between rafters Plastic film DPC Ceiling: cemend board with Vinyl Paint Plywood for strcutural use Post 150*150mm Brace 200*150mm Fastened Post, Brace and Beam by drift pins Gusset and Bracket each side 10mm Wood Rafter 200*250mm

Site Section SEAL FLOOR DECK

FLO O R J O ISTS SIZE S A C C O R D IN G TO LOADING AND SPAN REQUIREMENTS HEADER JOISTS

IN SULA TIO N A S R E Q UIR E D FO R A C O USTIC P E R FO R M A N C E

CEILING LINING NAGGING TO SUPPORT CEILING LINING

Elevation a

Elevation b

CLADDING SYSTEM ( SE E SP E C IFIC D E TA ILS FO R MORE INFORMATION)

CLADDING SYSTEM GAPS IN CONSTRUCTION SHOWN TO ILLSTRATE MEMBRANE LAPS

Elevation c

12.5 MM PLASTER TW O LA Y E R S IF N E C E SSA R Y

SEAL

VAPOUR CONTROL LAYER

FLOOR DECK

BREATHER MEMBRANE

D P M LA P P E D W ITH D P C / V C L DPC

BREATHER MEMBRANE STEEL SUPPORT TIMBER FRAME WALL OF 150MM OR 200MM CONCRETE BLOCKWORK

FLO O R J O ISTS SIZE S A C C O R D IN G TO LOADING AND SPAN REQUIREMENTS

SK IR TIN G

HEADER JOISTS

IN SULA TIO N A S R E Q UIR E D FO R A C O USTIC P E R FO R M A N C E

M IN 1 5 0 M M TO LO W E ST STR UC TUR A L TIM B E R

WALL OF 150MM OR 200MM C O N C R E TE B LO C K W O R K O R 2 2 5 M M B R IC K W O R K

CEILING LINING NAGGING TO SUPPORT CEILING LINING

Upper Level Plan

BREATHER MEMBRANE 12.5MM PLASTER VAPOUR CONTROL LAYER DPM LAPPED WITH DPC/VCL SKIRTING

WALL OF 150MM OR 200MM CONTRETE BLOCKWWORK

Lower Level Plan

GALVANISED STAINLESS STEEL BRACKET

12mm STRUCTURAL PLYWOOD 5mm GALVANIZED STAINLESS STEEL PLATE

TWO 150mm x 50 MM BEAM GALVANISED STAINLESS 150mm INSULATION STEEL BRACKET

12mm STRUCTURAL BATTEN COVER PLYWOOD

5mm GALVANIZED 5mm GALVANIZED STAINLESS STAINLESS STEEL PLATESTEEL PLATE

TWO 150mm x 50 MM BEAM VERTICAL BATTENS

200mm x100mm x

8mm x12mm BATTEN COVER ROOF EDGE METAL CUT-T SECTION STEEL 5mm GALVANIZED STAINLESS STEEL PLATE 60mm x90 mm BEAM 200mm x100mm x

150mm INSULATION

TIMBER CHANNEL CLADDING

VERTICAL BATTENS

15mm PLASTERBOARD

TIMBER CHANNEL CLADDING

8mm x12mm 150mm INSULATION ROOF EDGE METAL CUT-T SECTION STEEL 12mm CEMENT BOARD 60mm x90 mm WITH VINYL PAINT BEAM

15mm PLASTERBOARD

150mm INSULATION LAMINATED TIMBER

12mm CEMENT BOARD WITH VINYL PAINT LAMINATED TIMBER

CLADDING SYSTEM ( SE E SP E C IFIC D E TA ILS FO R MORE INFORMATION)

12.5 MM PLASTER TW O LA Y E R S IF N E C E SSA R Y VAPOUR CONTROL LAYER

BREATHER MEMBRANE

D P M LA P P E D W ITH D P C / V C L

33

ARCHITECTURE Real Project As a Designer

0

Renovation of No.188 Shanxi South Road, Shanghai, China June-August, 2016

Site It is located centrally in a foreigner popular area with commercial buildings, shopping malls, tasty local restaurants, and convenient transportation, just two mins walk from a main underground hub.

Orginal Apartment Arrangement

Intial Design by Ling Ding

Intial Design by He Liang

Final Design by He Liang

Orginal Apartment Arrangement

Intial Design by Ling Ding

Intial Design by He Liang

Final Design by He Liang

Client’s needs and expectation

Orginal Plan of the Apartment

My clients, the owner of this department, are over sixty year old Shanghainese couple and wanted to renovated this apartment to rent to foreigners who live or work in Shanghai.

There is a possiblity of future use: for Ling, client's son and Ling's son. Clients expected an emergence of a tradition way of thinking in terms of residential design, especially for Chinese, with western residential design.

Ling’s parents stated that home is clearly a shelter to rest. And sleeping needs to be completely private and separated from other part of the building.

The Proposal The design for the clients is not only an interactive living environment and living style for foreigners in Shanghai, but also a comfortable arrangement for future possible use for Ling Ding and his 5 year-old son. To maximize the use of space as much as possible, the design celebrates a fluent and progressive rhythm guiding people from living and dining zone to sleeping zone.

New Plan by Me

Orginal Plan of the Apartment

1st Design done by Ling Ding

1st Design by me

Final Design by me

Reuse of old parts: Entire north side of the apartment except the dressroom are covered by five sliding door. To satisfied Ling’s desire of reusing historic wooden doors, we decided to personalize with rails, paint and mirrors for these doors.

Reuse of the drawers from the original cabinet.

Reuse of the steel frame door for washroom.

The dressing room is on the right for storage of coats and shoes. The kid’s bed is hidden at the back of this dressing room.

37

Bedroom was rearranged to the southeast corner, having direct natural light from the south window. It fulfils the requirement of privacy sleep space for the clients.

The original chimney walls are removed from the west wall to create a caved in fireplace atmosphere.

Family and friends can sit around sofa watching television.

Key construction elements and engineered system: Steel frame: As an over 100 year old building, construction drawings were not available. Main structure of the building has been analyzed by the team, but some details were missing. This resulted in an accident happened. The team took immediate and careful action afterwards. We realized the entire south wall were load bearing and extending to upper floor apartment as their external wall, which supports their roof. There were possibility that the other rest of south wall and north wall ceiling would collapse too. We called in the con-

struction manager for u-shape steel beams right away. The construction workers installed three pieces on the west wall, one each for the chimney wall and the north wall at the entrance.

Kitchen was rearranged from the southeast corner to the southwest corner and takes approximately a third of the south (window) side of the flat for ventilation and the rest of the south light coming directly into the livingroom and bedroom. Bar-style kitchen opens towards living room emphasis greater interactive living environment.

As we analyzed and calculated, these load bearing beams ran through the entire floor area even to the public staircase in between each floor. The hidden potential of increase the floor height could be done for the ceiling.

Natural light from the bedroom comes through translucent brickwork.

Bar behind the sofa divides the living room spacially but retains visual continuity.

In order to guarantee smooth traffic of the sewage pipe, which located in the bedroom, we had to raise up the bedroom and toilet level to create a slope from the toilet to the sewage pipe hole. For the sake of making use of these wasted space created by height difference, we designed it to be another storage space that can be opened up.

39

PHOTOGRAPHY Architectural

Summer '14, I graduated from high school, leaving Canada, then coming back to Beijing, my hometown. It's been three years since I left Beijing, and I had never thought about capturing such a thrilling place, Shougang, after three years.

Standing right beside the steel refining furnace, looking up at it, it shocked, even scared me. I can still feel my heart beating so fast. The toil of the old generation is still reflected in this image. Their wisdom can never be described by a word.

Shougang was founded in 1919 and shut down before 2008 Beijing Olympics for environmentally friendly purposes.

Now, it has become an abandoned industry. Years ago, when Beijing wasn't full of skyscrapers, when China was just about to rise in its economy, Shougang was the main booster. Its manufacturing industry was often the only starting point for many countries to form and grow. Steel involves itself as the essential element to constructing a country, for example weapons, building materials, etc.

Such a place, filled with the shine of Beijing and the memories of the vibrant, forgone people, has also contributed to pollution. How tragic and miserable.

The cost of prosperity and development is too often irreparable environmental damage. Humans sacrifice Mother Nature to satisfy their desire for money, reputation, and material-needs.

PHOTOGRAPHY Architectural

It's hard to tell whether this is right or wrong. Looking around, is there anything we can get rid of? Technology?

HELL NO.

1

Abandoned Shougang Industrial Beijing June, 2014

If you say the word 'country' or 'nature' is too serious, let's talk about things more personal. Extravagance and waste.

Chasing trends. We rush to the newest phones and laptops, like ants instinctively running to procure abandoned candy thrust to the ground. Once upon a time, we shared our funny stories of the day with friends and families while having dinner. These days, everyone holds and stares at their phones.

Sometimes, pureness and simplicity are the keys. The abandoned industry is presented in monochrome, the original appearance of it's story. It was built for the rise of a country, carrying forward the culture of Beijing and the history of manufacture, and earned by the people's sweat and toil of generations.

Problems and issues can't be fully solved by a law, a new policy, or a powerful propaganda. If nobody takes action, nothing will change. Why not start with the small things? Starting from the core, ourself, our thoughts and our understandings. It can be simple to change sometimes, if we do it from the bottom, from a small thing.

We should all reflect on ourselves.

Abandoned Shougang, industrial Beijing.

一四年六月我高中毕业从加拿大返回到北京，我的故 乡。三年前一别，从没想过第一次回北京能找到这样 令我激动的拍摄地点。 首钢多年前为08奥运关闭，现在也已经成为废弃的工 厂。早些年，北京还没有高楼大厦的时候，中国还在 起步的时候，是工业撑起了这片天，为中国以后成为 强国打下的坚固基础。工业，属于一个国家的必经之 路。钢铁涉及到太多必需品，从战争武器到管道建筑 用材。 站在巨大的炉子下面，震撼。老一辈人的辛劳我们还 能看到，他们的智慧也是无法用文字来形容的。 就是这样一片充满北京色彩和回忆的地方，也为污染 做了可悲的贡献。最终的搬迁也是无可避免的。

He Liang July 26th, 2014 Toronto

一个国家的兴起和发展，带来了对地球的伤害。更应 该说，人类总是以压榨和牺牲大自然的方式，满足他 们对金钱名利和物质的欲望。 该说那是对的还是错的？看看身边，用的吃的先进的 科技，哪一个我们能离开？ 说国家说的太大，说说个人。铺张浪费，追求潮流， 一更新电子产品我们就像蚂蚁看到地上掉的糖一样扑 过去。以前一家人坐一起吃饭能唠家常唠感情。现在 餐桌上哪个人不拿出手机？ 很多问题不是一条法律一个新的政策一个强有力的号 召，就能好转或是改善的。光说不做是谁都会，为什 么不从小事做起？从慢慢转变根深蒂固的想法思想开 始？其实改变现状很简单，就从小事儿做起。 最淳朴最简单的应该才是最好的。废弃的首钢，我用 黑白的方式呈现给大家。那是它最初的模样，为了一 个国家的兴起而建成，继承着北京文化和工业历史， 上几代人的血汗铸成。

废弃首钢 工业北京

废弃首钢，工业北京。 我们都该反省自己。

梁荷 二零一四年 七月二十六日 晨 于多伦多

43

45

47

49

51

PHOTOGRAPHY Architectural

2

Encounter with China Summer, 2015

如果說去年高中三年才歸國的感覺是 回家， 那這次，應該說是，在旅行 的路上，走過了這裡，邂逅了中國。

If I were to call my last trip to China a 'home coming, then this time it would be ‘an encounter'

也不能讲是和国内完全的脱节， 雖 然三年在多倫多完全没回来过。毕业 後回来一个月了解了首鋼的故事，也 是那時我開始了黑白攝影。

It would be a lie to say that the connection between me and China is lost completely, even though I left China and spent my high school years in Toronto without going back even for vacation.

Three years later, I was back for a month, and surprisingly found a place called Shougang in my home town, Beijing.

That’s how I started my first black and white photography series.

攝影能夠投影當時的時期，地點，文 化，那裡的人，在這二維的照片上。 攝影師紀錄那一刻的方式有很多種， 他可以選擇手持相機奔走在拍攝地， 使用較快的曝光时间捕捉某一瞬间； 他可以選擇单色，過濾掉當時所有的 色彩，突出剪影和图形，给人强烈的 视觉体验；他也可以支出三脚架，在 夜晚纪录车流的轨迹。 然而照片最终呈现的模样决定于攝影 師的心理的變化，或是说，攝影能揭 露拍照的人。没错，我讲的就是我自 己。

Photography reveals the psychological changes of the photographer. It projects the time period, the places, the culture and the people onto images. The way one documents all of these exposes one's own personality and story. And yes, I am talking about myself.

"Art Mirrors"

“Art mirrors” 艺术，可以像镜 子一样反射。 可能拍照当时没有意识到，但是整理 完一年多内的照片之后，发现了这个 规律。当有一定摄影知识基础以后， 相机上任何设置，都是摄影师的第一 反应，像是凭着感觉走。 废弃首钢工业北京，是我高中三年没 归国，回京拍的，像上面说过那是我 第一个黑白的系列。选择黑白，成像 意义上来讲是突出首钢的雄伟和它与 此同时的可悲。从归国的我来说，黑 白可能是意味着陌生。 这次归国，我没有待在北京，而是选 择了上海。陆家嘴的高楼大厦很壮 观，但钢铁的质感并没有人情味，我 选择黑白。外滩街道上石做的建筑同 样冰冷，我还是选择黑白。 直到突然发现上海人把竹竿支出窗外 晾衣服的文化，我竟然破天荒的开始 拍有色照片。再到那些还没有被拆掉 的小街道小巷弄和居民区，这才是上 海，带着上海自己文化的上海，没有 西方色彩的上海。这是我对上海的印 象。

Abandoned Shougang Steel Factory - Industrial Beijing was my first monochrome series after leaving China for three years. Monochrome could highlight the magnificence of the architecture and the tragedy of its story. Monochrome also symbolizes the strangeness that Beijing gave me.

The black and white style continued to my series in Shanghai. Skyscrapers in Lujiazui are impressive, but steel seems too cold-blooded. The western-style stone buildings on The Bond are also icy, so I choose to use monochrome.

Surprisingly, the phenomenon and the culture of drying varicoloured clothes, underwear, bras and shoes on 3 meter long bamboo poles sticking out from the windows brought me into colour photos.

Then, it was the small residential houses squeezed together, filling the narrow old streets, that defined the true culture of Shanghai for me. The culture of Shanghai is its own, without any western influences. I see that as the Image of Shanghai.

To be continued.

未完待续

55

PHOTOGRAPHY Architectural

一直想多了解这个我出生，生活過十二年的地方。 小的时候可能，只能看到这个地方最正面的样子。 誰讓我當時是個孩子呢？

2

Encounter with China Summer, 2015

A

SHANGHAI Image

大了，回来了。这次是在上海，一个完全与北京不 同的地方。 位于中国东侧，坐落与三角洲南口，他的地理优势 决定了他的国际金融地位，有着世界最繁忙的集装 箱港口。 魔都一开始就被国外的文化影响而发展着。 小洋楼随处可见，浦东的高楼大厦。 上海的老巷弄，木条全歪掉的墙体。 木梯为了省地方，每步300毫米高，占地才不到3平 方。 一家几口，从老到小，挤在这样的房里，单人上下 床。 上海有个特点。 一旦不下雨，不管城市还是巷弄里，五颜六色的衣 服，裤衩袜子内衣鞋，都被夹在二三米的竹竿儿 上，支出窗外。 走在下面，滴滴答答，还能被洗衣粉味道的水砸 到。 上海的人也很有趣。 不管走在哪儿不认识路了，向阿姨大妈问路， 叫姐 姐她们肯定笑著答，特好用。 桌上敬酒接酒打太极，原来是全国的传统。 老外会讲中文，有的講的比我還好。 水烟店中國老板娘和阿拉伯大哥是夫妻。 住远在青浦的奋斗青年每天六点就要坐车进城上 班。

Only the positive impression of China has remained in my memory, as I was seeing it from a child's perspective. After knowing and understanding the story of Shougang, I was even more curious about this place in which I was born and raised.

This year, I was back again - this time as a grown-up.

I decided to choose Shanghai as another starting point to dig a little deeper into my homeland. Shanghai is a wholly different place to Beijing. Sitting at the south edge of the mouth of the Yangtze River, eastern China, its location has determined its status as a global financial center and a transport hub of the world's busiest container port.

The 'magic capital', Shanghai, has been influenced by western culture since the 19th century European recognition of its favorable port location and economic potential. Western-style buildings can easily be found here. Skyscrapers in Lujiazui can be identified as landmarks.

Narrow old street are filled with small residential houses squeezed together. Façades are pieced with timber batten, some falling apart. Stairs were designed to be narrow in then plan to save space. In order to reach the next floor, each step is at least 300mm high, compared to the usual 120mm. The stairwell takes about 2-3 square meters only. All family members from grandparents to 3-year-old children live in this same house with bunk beds.

There's one thing that's incredibly eye catching.

If it's not raining, no matter whether you're in the newer city part or the old residential community, you'll see varicolored clothes, underwear, bras and shoes clamped onto 3 meter long bamboo poles. Walking beneath the poles stuck out from windows, you can be hit by washing powder smelling water-droplets.

对于年轻人，上海是个充满机会的城。 People in Shanghai are also interesting. 上海印象 I got lost a lot in Shanghai and found another amusing thing.

If I asked a middle-aged woman a question beginning by calling her sister, no matter how much older than me she was, she would definitely answer me with specific directions and smiles! Also, the toasting manner at a table in Shanghai is not different from Beijing. Exaggeratedly complimenting your business partners and boss is the key. And you need to get drunk to satisfy them to get the contract signed. These are so-called Chinese table manners.

It's interesting. Foreigners in Shanghai are better at Chinese than me. The Arab guy and the Chinese landlady in the shisha bar cooked great middle-eastern food. Living miles away from the city center, a girl from Qingpu wakes up at 6am every morning to catch several buses to work.

For young adults, Shanghai is a city with opportunities.

07/2015 SHANGHAI IMAGE July 19, 2015

57

MONO Shanghai Image

CHROME Shanghai Image

59

61

63

MONO Shanghai Image

65

67

CHROME Shanghai Image 69

71

73

75

PHOTOGRAPHY Architectural

2

Encounter with China Summer, 2015

B

Colour Tracker

上海实习的闲暇之时，我跑到上海和苏州中间的周 庄。旅游旺季，只有跟着太阳起早才能看到人烟稀 少最初模样的水镇。谁知从我踏出门那一刻就在下 雨，一直下到旅游团从古镇每个角落涌进，我的镜 头里全是一个个人头。来周庄前买到了减光镜，但 从没试验过白天长曝光，用减光镜强制性的减弱光 线。万万没想到，当我支出三脚架，按上减光镜， 连上快门线，开始曝光，那些我厌恶却无可奈何的 游客顺着街道的方向变成一抹一抹的色条。偶尔小 雨的天气，他们有的还穿着五颜六色塑料雨衣，有 的还举着五颜六色的伞，这都变成了一缕一缕带颜 色青烟，定格在相片里。这次我选择等待，站在街 角，按下快门，笑着看我镜头前不到1米的人潮。 走过的人有的很友好，会停下等我拍照，然后再纳 闷我为什么会笑着对他说“没事儿你继续走！你衣 服颜色好棒！” 等待原来有的时候没那么难受，曝光是屏幕黑的十 几秒，脑袋里也是放空的。以前拍照，拍完立马看 成果，不合适继续拍。有了这样的等待，就有了令 人意外的惊喜。没有期望，也就没有失望。没有安 排的反而是最美好的。用着同样的方法，河道里被 船夫滑进拱洞的船只连带着柔和的水波都被我纪录 在相机里。 07/04 晨 周庄

77

79

“师傅 同里走么” “走！” 跨上邱师傅的车 跟桃子说了声再见 车动了 別周莊 向同里 坑坑洼洼 颠来颠去 平坦的高速 货车呼啸来去 风吹的 膝盖有点冷 四十来分钟 出现了同里的路牌 不知道這裏会是什么样子 抵 比起周庄 这里更大气更有底蕴 走在街巷里 看着没被开发的老房 整个人简直都沉醉了 这里当地的乡里人多 到晚上九十点钟 就安静了 没有周庄西塘的喧闹 同里人洗衣服 在河里 同里人洗锅碗儿瓢盆儿 在河里 同里人刷牙洗脸 在河里 同里人桌上的螺蛳 从河里抓的 这是文化 是生活 是习性 是我们看来的 不理解 怎樣的中國 都是那麼迷人 07/04 午 同里

B

Colour Tracker

81

83

85

87

89

91

PHOTOGRAPHY Architectural

2

Encounter with China Summer, 2015

C

Southern Arch 黄山

4:28 开灯 墙上的各种蜘蛛好有亲切感 全是03年小时候跟姐姐爸爸住山里的回忆 也是那时候我开始迷恋我伦 拿着铁棍子甩哟 去等日出了 又是新的一天 爱上了山里和古镇的生活 人本归自然 静而自由 村里大雾 静得出奇 整个镇子的除了鸟声蝉鸣 老居民洗漱和聊天的声音 就是脚步声 静的我都不想按快门 打乱这沉静 本身就在景里 跟镇子像是融在一起 一直认为舒服的角度 到位的光线 合适的时机 才能拍出好片子 要走上最高 能看到全景的观景台 才能赏到美景 一路赶着 没有办法静止下来 去发现 空气中能清楚看到的水雾 发现 麻雀飞起再落到祀堂房檐那么美好 开始纪录这里的声音 姐姐给的想法 于是开始静静的录影 7月20日

晨 西遞

Lights up at 4:28 am.

Spiders on the wall remind me of the year of 2003, the year of SARS. My father, sister, and I moved in to a hill country area to isolate ourselves from city center for safety. During that time, Jay Chou became my idol. Well, my sister was playing a song called Nun Chucks and I was waving an iron bar like a ninja pretending I was Jay. The sun will rise soon. A brand new day is coming. It’s on on its way.

I fall in love with the atmosphere in this rural mountain and also in this ancient town.

We belong to nature, calm and free.

The town is shrouded in the fog and extremely quiet.

There is no other sound except the chirping of cicadas and sparrows, the sound of locals washing and chatting, and footsteps.

It is too peaceful. I couldn’t press the shutter to disturb the silent.

Blend into the scenery. You are just in there.

I have always thought that a ‘good’ photo is dependent on the angle, the lighting, and the perfect timing; that to enjoy the best view, I have to reach the viewing deck up on the hill.

93

95

97

99

101

PHOTOGRAPHY Architectural

2

Encounter with China Summer, 2015

D

Reformed WaterTown 古北水镇，北京

103

105

107

PHOTOGRAPHY Portriat

0

All taken by film cameras 2015-2017

More Portraits Please go to http://studio55.photograhy

109

111

PHOTOGRAPHY Portriat All taken by film cameras 2015-2017

More Portraits Please go to http://studio55.photograhy

113

GRAPHIC AND PULICATION DESIGN

0

Rhino+Keyshot+Photoshop +Illustrator+Indesign 2017

Studio 5+5 http://studio55.photograhy

117

119

121

123

125

127

HE LIANG

∞

Architecture + Photography + MORE

积极面对新事物和挑战 持续性不间断在建筑、摄影、 还有各类设计领域中学习

Infinite Learning Potential ‘Off-Grid’ Thinking

跳出来”设计

“

Thank you for your time and considertion.

Hope you can be my mentor and I can work for you. 谢谢您宝贵的时间和考虑. 希望能向您学习，并为您工作！