SELECTED WORKS 2010 - 2017
SAMMI WING SUM CHENG EDUCATION
winc@design.upenn.edu +1 (925)289-6783 sammi-cheng.com
University of Pennsylvania, School of Design Master of Architecture I Certificate in Time-Based and Interactive Media 2014.8 - 2017.5
University of Hong Kong Bachelor of Arts (Hons) in Architectural Studies 2010.9 - 2013.6
PROFESSIONAL EXPERIENCE
Adrian Smith + Gordon Gill Architecture, Chicago Architectural Intern 2016.5 – 2016.8 Concept design of Burj 2020, Dubai and large-scale skyscraper projects, BIM modelling and documentation, MEP coordination of Akhmat Tower, Russia
Aedas, Hong Kong Architectural Graduate (Year Out) 2013.7 – 2014.7 Research and design studies, Preparation of specifications and technical/safety issues, CAD drawings for schematic and construction stages, Review of structural drawings, Coordination meetings with consultants, construction managers and contractors, Preparation of meeting minutes and agenda
SKEW Collaborative, Shanghai, China Summer Intern 2012.6 - 2012.9 Schematic design, diagrams and preparation of presentation slides, Project research, Organization of the archive of firm
OTHER EXPERIENCE
Rebuilding Together Philadelphia Volunteer Spring 2015 - 2017
Architectural Students’ Association, Hong Kong University Students’ Union Executive Committee (Financial Secretary) [Elected] 2011.1 - 2012.2
Architectural Students’ Association Orientation Organizing Committee (General Secretary) [Elected] 2011.4 – 2011.9
SKILLS
3D Modeling / Visualization Rhinoceros (V-ray rendering, Grasshopper), Maya, 3DsMax, SketchUp
CAD / BIM AutoCAD, Revit
Adobe Creative Suite Photoshop, Illustrator, InDesign, Premiere Pro
Microsoft Office
LANGUAGES
English (Fluent), Mandarin (Fluent), Cantonese (Native)
CONTENTS
01
APERTURE MARCH STUDIO 602 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
02
15 MINUTES AND COUNTING MARCH STUDIO 704 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
03
LATTICE MARCH STUDIO 701 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
04
WORKSHOP OF THE WORLD MARCH STUDIO 601 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
05
POST-COLONIZATION MARCH STUDIO 501 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
06
URBAN WHIRLPOOL MARCH STUDIO 502 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
07
COMMUNITY CLUSTERS YEAR 3 STUDIO [UNDERGRAD FINAL PROJECT] UNIVERSITY OF HONG KONG
08
LIGHT CLOUD MARCH STUDIO 501 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
01 APERTURE MARCH STUDIO 602 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN COLLABORATED WITH ELSA LISTIANI SUPERVISED BY FRANCA TRUBIANO This design of is a high performance office tower located next to the High Line in New York City. It actualize the potential of “responsiveness” as both a process and a set of ideas that can be harnessed for achieving significant gains in sustainability. Buildings are constantly subject to the dynamic forces of the environment in which they are located and as such should be designed to respond to a host of possible future conditions. The environmental forces of light and air help shape our building in design, construction and operations and form the basis of high performance design. The impact of light and air on a building’s skin and on the design of its structural and environmental section are of central interest to the project. We started with a study of generative geometries based on our interest in the dynamic and changing relationship between daylight and aperture. Based on the study of the eye and its pupillary response mechanisms, we’ve adapted the mechanism of dilation and contraction into a responsive system that defines the building’s spatial, structural, material and environmental conditions. The responsive façade pods whose sections are calibrated for optimal daylight and glare reduction, are the controllable design parameters used to achieve comfortable working conditions. The orientation of apertures and the corresponding section of each pod is directly related to the sun paths of the site. Moreover, the responsiveness of the façade pods is aligned with how we have defined the building’s structure, program, material and environmental arrangement.
THERMAL PODS/ CIRCULATION SPACE
APERTURE SIZE
CENTRAL ATRIUM
SUSPENDED FLOOR
10’ 2’
PRIMARY STEEL STRUCTURE SECONDARY STEEL STRUCTURE 13’
4” CONCRETE SLAB METAL DECK
6’
FABRIC STEEL STRUCTURE FABRIC INTERNAL GLAZING
DOUBLE GLAZED UNIT
EXTERNAL GLAZING
DOUBLE GLAZED UNIT 18’
AIR INLET
7’
CHILLED CEILING
UNDER FLOOR AIR DISTRIBUTION SYSTEM
22’ 3’
APERTURE DEPTH
DEGREE OF ROTATION IN Z DIRECTION
0
15
30
45
60
75
90
105
120
135
150
165
PLAN
SECTION AMOUNT OF LIGHT LET IN
DEGREE OF ROTATION IN Z DIRECTION
PLAN
SECTION AMOUNT OF LIGHT LET IN
Aperture Study Adapting the mechanism of dilation and contraction into a responsive system that defines the building’s spatial, structural, material and environmental conditions.
SUSPENDED FLOOR
DOUBLE HEIGHT PODS
OFFICE SPACE AMENITIES SPACE
MEETING ROOMS, PANTRY ETC
AUDITORIUM SPACE
Section The responsive façade pods whose sections are calibrated for optimal daylight and glare reduction, are the controllable design parameters used to achieve comfortable working conditions
Office Plan
Ground Plan
View from High Line
Changing aperture size and aperture for lighting and thermal comfort
02 15 MINUTES AND COUNTING MARCH STUDIO 704 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN SUPERVISED BY HINA JAMELLE
Our proposal for the new Andy Warhol Museum in Tokyo is a site and experience driven proposal that aspires to bridge the current chaos and tranquillity across the site. The site sits between the busy commercial Takashita Street and the quiet Togu Shrine, surrounded by the traditional garden. Our proposal aims to design spaces that controls and disperses the experiential nuances through varying gallery experiences across the site. Using Pop Art techniques of curvature, nesting and density that are derived from Camouflage (1987) by Andy Warhol and Magma spirit explodes, tsunami is dreadful (2004) by Chiho Aoshima the atmosphere of the museum is created with a gradual change from angular edges twisting into softer curves, creating a dynamic mixture of indoor and outdoor exhibition spaces. The different apertures along the façade also indicate the change from private offices to public gallery spaces, while they nest within one another inside the museum.
Level 3 Plan
Ground Plan
Balconies and Courtyards as Outdoor Sculpture Gardens
Indoor Gallery Spaces
03 LATTICE
MARCH STUDIO 701 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN SUPERVISED BY TOM VEREBES
This project challenges the isolation of Urban Megablocks from the subtropical green urbanism which pervades the infrastructural spaces of the city of Shenzhen with a proposition of a densely stratified complex of urban landscapes, topographies and building massing. A layered mat system of porous surfaces and volumes is developed as the stratification of discrete differences at various scales, densities, programs/ uses, material expressions, as a result of shifting, rotating, peeling and extruding the mat system at specific instances, altogether creating extreme urban and architectural heterogeneity. A complex, artificial and highly varied topography articulates different spatial and scalar elements that create a variety of ambiences within the urban field. The mat system develops a meshing of diverse landscapes, sectional routing, and variegated building types. Workspaces and habitation are intricately connected to each other and with public leisure spaces and facilities. As an alternative to conventional typologies of work environments located in isolated high-rise towers, we have shifted the role to a residential use. These challenge the notion of the existing workspaces in Shenzhen and the relationship of the building to the city.
Terraces
Private Residentials linked towers
isolated towers
interlaced towers
Public workspaces Communal Programs
Pedestrian Circulation
Landscape
raised level
Vehicular Circulation
Overall Form
Exploded Axonometric
flatland
The landscapes are programmed with different uses at different scales, while the voids (courtyards, sunken spaces, atria, etc.) create a multitude of differentiated experiences of qualities migrating across interior and exterior spaces. Residential towers peel away from the matte massing but remains highly connected on several levels. As the matte building shifts from high density areas to lower density and spread out, larger scale programs emerge to be configured as discrete masses in the stratified fields.
Overall Roof Plan The densely stratified complex of urban landscapes, topographies and building massing
Detailed Ground Plan Various scales, densities, programs/uses and material expressions
The mat system develops a meshing of diverse landscapes, sectional routing, and variegated building types
Sectional Model Shifting, rotating, peeling and extruding the mat system to create extreme urban and architectural heterogeneity
04 WORKSHOP OF THE WORLD MARCH STUDIO 601 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN SUPERVISED BY BEN KRONE SINGLE-UNIT LIVING RELATIONSHIP
To provide a new solution for the housing problem in Philadelphia, mixed-income living units are further integrated with a working environment to form an IndustrialResidential Mixed-used project. The main concept is to allow both programs to coexist on the same site with a high degree of separation such that the industrial area forms its own social space comparable to the outdoor community on street level. Tension acts as a force that integrates and separates the two programs. With the folding structure, live and work spaces face opposite directions. All workspaces face each other internally to form an internal courtyard. Housing units face outwards for better views. Analog models are first designed to simulate the tension between the two opposite programs of live and work. The tension created by the folding technique acts as a force to integrate and separate the two different programs. The same folding technique is then applied to the living units to aggregate them to form a social living environment.
MULTIPLE UNITS
SINGLE UNIT PART-TO-WHOLE LIVING RELATIONSHIP
PLAN VIEW OF MULTIPLE UNITS
TIMELINE OF THE INDUSTRIAL-RESIDENTIAL MIXED-USE DISTRICT (IRMX) IN PHILADELPHIA
Live/Work Integration Mixed programs are integrated in terms of proximity but are distinctively separated by tension
Workspace Workspaces are linked internally for circulation and visual connection
+138’ Mixed Residential/Industrial
+90’ Typical Industrial
+38’ Typical Residential
Section from Race Street Central atrium space is formed by placing public workspace facing internally from the two sides
Ground Plan Communal Spaces and Level 1 Work Space Accessed from ground level
+ 38’ Live/Live Space
+ 90’ Work/Work Space
+ 138’ Live/Work Space
05 POST-COLONIZATION MARCH STUDIO 501 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN SUPERVISED BY EDUARDO REGA CALVO
When Louis Kahn meets Hitchcock: Transformation of The Birds (1963) by Hitchcock into architecture
“Visibility is a trap.” Michel Foucault, “Discipline and Punish: The Birth of the Prison” With a ‘Cold War’ ongoing between the birds and humans, the Esherick House has become both the battleground and haven for the latter, with the structure of bar elements reminiscent to its original form. Although humans are familiar with the existing structure of the house, the new unfamiliar function of the house gives a sense of insecurity to them. The need to alter the house to stand against the surveillants emerges. Humans are prone to retaining the sense of familiarity and security by preserving the house to keep their grounds. The original poche of the house (human’s territory) is dematerialized into grids for defence and as a weapon. The neutral ground is formed between birds’ territory and human’s poche, balancing out their bargaining power. Thus, humans see the potential to extend their territory towards the neutral ground, which has a denser grid as an instrument to trap the birds and defend themselves. Human can also extend their programs into the new inhabitable space. The plan of the wireframe poche has a curved form to create the moire effect, so that the birds cannot perceive the depth and deceptively treat it as a straight facade.
TIMELINE OF “THE BIRDS” (1963) BY ALFRED HITCHCOCK
SAN BODEGA FRANCISCO BAY
CAR BACKYARD
GARAGE
HOME
POCHE FOR HUMAN POCHE IN FLOOR SLAB
POCHE FOR BIRDS WATCH TOWERS PENETRATING THE HOUSE
POCHE OF BIRDS vs POCHE OF HUMAN
POCHE FOR HUMAN
GROUND MANIPULATION
CIRCULATION IN POCHE
NEW HUMAN SPACE TO AVOID SURVEILLANCE OF BIRDS POTENTIAL ROUTE FOR ESCAPE
ARCHITECTURAL PROPOSAL FOR LOUIS KAHN’S ESHERICK HOUSE IN THE BIRDS II Humans are now prisoners of the birds, confined to certain spatial and social arrangement that will benefit the birds. The architecture of Bodega Bay changes into one that needs to blend in with the background, one that separates people and create an illusion of freedom. The transformation of architecture to rebel against the birds’ invasion render the human to hide in the poche.
WIRE MESH STRUCTURE AS A WEAPON AGAINST BIRDS FACADE: MOIRE EFFECT + SPIKES
POCHE: BIRDS TRAPS
ROOF: BIRD SURVEILLANCE
HUMAN POCHE
HUMAN POCHE
VOIDS IN THE GRID TO TRAP BIRDS
DENSER GRID TO DECEIVE BIRDS SPIKES TO BLOCK BIRDS
CHANGING DENSITY OF GRID TO DECEIVE BIRDS
SUPERIMPOSITION OF GRIDS TO AVOID ENTRY OF BIRDS
WIRE MESH STRUCTURE AS A SAFE HAVEN FOR HUMAN ENCLOSURE BY GRID SYSTEM
CIRCULATION: STAIRS
SUPERIMPOSITION OF GRIDS TO AVOID ENTRY OF BIRDS
PROGRAM: FACILITIES + FURNITURE
LOUNGING SPACE
CEILING GRID OF 1/2’ WIDTH
INHABITABLE GRID OF 1’ WIDTH
PARTITION GRID OF 1/2’ WIDTH
REST COMPARTMENT
SLAB
CARVED-OUT GRID OF 1’ AS STEPS
MOIRE EFFECT ON OUTERMOST LAYER
SPATIAL SYNTAX: POCHE AS WEAPON / HAVEN Structure and effect of the wireframe structure as a weapon against birds, while also acting as a safe haven for humans.
DINING AREA
Proto-plan of Dematerialization of Esherick House
Elevation / Section Elevation showing moire effect; section showing inhabitable space
M
OR
ID VO
E OV
RA
F LL
N
CIR
C
IO AT UL
PROGRAMS OF THE INHABITABLE WIRE MESH
06 URBAN WHIRPOOL MARCH STUDIO 502 UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN SUPERVISED BY ANDREW SAUNDERS With research on refraction of light through mediums of water and glass, the signature patterns of light distribution and density are transposed to develop a new envelope for an aquatic center at the Delaware River, Philadelphia. The geometry of light as it is figured through liquid is examined with an instrument using water, glass and light source that generates figured light patterns. The instrument is made of shot glasses aligned in a circular arrangement on a rotating surface. As a fixed light source is projected to the glasses from the side , the multi-faceted surface of the glasses refracts the light to another surface of all the glasses as they rotates, before projecting to the wall to creating alternating light patterns.
Bridging the City and the Delaware River The vortexes provide transition from the city to the river.
07 COMMUNITY CLUSTERS YEAR 3 STUDIO [UNDERGRAD FINAL PROJECT] UNIVERSITY OF HONG KONG SUPERVISED BY YAN GAO The project aims to challenge Hong Kong’s typical residential tower-podium structure, where the towers sit on the podium that covers the whole site. My concept is to create a vigorous collaboration and a cross-disciplinary dialogue between the internal vehicle, which is the social space, and the four residential neighborhoods. Clustering Communities are made up of clusters of neighborhoods suiting different types of users joining together to form a complete community linked by the internal social space. This collaboration not only influence the residents within the complex, but also add more colour to North Point, an old district that is full of people but lacking public communal space for them to gather.
02
1:500 Building Model
1:200 Sectional Model
Residential complex in the site of North Point, Hong Kong.
Residential clusters and social space reacting vigorously yet harmoniously together
Different users
Void as social space
Fluid continuous space
120 sq.m. Average unit size
Elderly
Shop owners
Families
Private Housing
Shop-house
44 units
80 sq.m. Average unit size
No. of residential units
Sho p
Column-free space
7 units
40 sq.m. Average unit size
Diagrid mesh as structure
Single
Public Housing
No. of residential units
Definition of form
55 units No. of residential units
Capsule Lofts 30 sq.m. Average unit size
81 units No. of residential units
hom
e
Soc ial Spa ce
Sho
pow
ner s
Sho
ps
Fam
ily
FOUR HOUSING TYPOLOGIES ASSOCIATING WITH CENTRAL SOCIAL SPACE For each type of residents, there is a standardized unit plan. The four housing typologies are different yet built on the same modular scale. This allows the formation of the unified social faรงade emphasizing the linear verticality of the neighborhoods, in contrast to the double-curved social space. The flat surfaces of the residential faรงade envelopes the housing units, which is directly interacting with the internal vehicle on the inside.
RESIDENTIAL CLUSTERS VS CENTRAL SOCIAL SPACE A contrasting spatial dialogue is established by defining the form of residential clusters and the social space in a different manner. The two processes occur simultaneously such that they react vigorously yet harmoniously with each other.
08 LIGHT CLOUD MARCH STUDIO 501
UNIVERSITY OF PENNSYLVANIA SCHOOL OF DESIGN
SUPERVISED BY EDUARDO REGA CALVO
The Light Cloud, a light-filtering pavilion situated at the entrance lobby of Meyerson Hall, aspires to manifest the ebullience of the school by redefining the function of the lobby space. The pavilion simultaneously conveys the message of ‘go’ and ‘stay’ to the users. While it continuously reinforces the fluid flow of circulation, the pavilion also fosters interaction through inducing people to occupy the space. The symmetrical light pattern of the hall is rearranged to create a more dynamic play of light and shadow within the entrance, through the aggregation of repurposed translucent paper cups. Different sizes of the basic module, such as cupcake liners, baking holders and coffee filters, allow flexibility for various curvatures, transparency and rigidity in the pavilion. The lightweight material subtly suggests the boundaries of the pavilion, without disrupting the visions in the space. A secondary structural system is established to support the volumes of paper cups. Octahedrons made of thin transparent tubes and connected with customized 3D-printed joints, form the skeleton of the pavilion. The ethereal structural system allows the pavilion to take an unconfined amorphous form, emerging from the ceiling of the entrance of lower gallery, extending up to the railings of the mezzanine, then spanning across the entrance hall and bursting out through the facade. As light penetrates the paper cups onto the structure, ever-changing shadow patterns are generated throughout the day.
DISSECTION OF THE PAVILION Octahedron tubes as structural members, creating a space truss-like structure on which the cupcake liners flow and form a cloud-like environment for the pavilion.
Nighttime
Daytime
LIGHT INTENSITY OF DIFFERENT POINTS OF SITE To manipulate the light, measurement of the light intensity of the Meyerson Hall lobby is taken. Different light conditions between daytime and nighttime is indicated, as varied by sunlight and artificial lighting.
Double Curvature
Spherical
MODULAR LIGHT-FILTERING PAVILION ON SITE The elevation indicates the Light Cloud’s effects on the existing forces on the site. The section reveals possible interactions within and beyond the pavilion.