DESIGN ZHOU WENTAO
PORTFOLIO
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Zhou Wentao Master of Architecture National University of Singapore Email: wentaoathci@gmail.com
P R O J EC T
II i n t e r f a c e 12
III a x o n 20
IV c r u c i f o r m 28
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I w i t h / o u t w a t e r 05
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VI u r b a n r e t r e a t 38
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V s h a r e d d w e l l i n g 32
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VII o t h e r a r t w o r k s 46
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with/out water SEDIMENTS HARVESTING PARK
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PROJECT TYPE: Industrial Park STUDIO: Mr Aurel Von Richthofen YEAR: 2018 LOCATION: Liu Gui District, Taiwan, PRC
Liu Gui District is a piece of land in the valley between Mount Jade and Mount Ali of Taiwan. River Launung flows through this valley. The marine tropical climate here gives a clear distinction between the dry and wet season. Launung river floods with turbulent flow every year from May to October. The average sediment transport rate of Launung River for the Liu Gui District is 70,726 T/day. The river makes a drastic turn in front of the site of interest. The meandering effect of river is significant at this bend. Deposition takes place on the inner convex bank which forms the plain for the village while erosion on outer concave bank poses a constant threat to the famed Buddhist temple "Di Yuan" that sits on the adjacent hill.
In response to the imminent danger of the destruction of the river bank and to protect the Buddhist temple, a sediment harvesting system is designed to slow down river velocity approaching the river bank and collect the sediment deposited. It not only achieves the objective of protecting river bank, but also generates incomes for the temple from selling construction aggregates. The CFD simulation of the river interacting with the implemented obstructions demonstrates an interesting spectrum of velocities from one spot to another. Sediments of a variety of sizes can be collected since the size of which is known to be directly influenced by the velocity of the river based on the Hjulstrรถm-Sundborg Diagram. The production system consists of sediment deposition, collection, crushing, screening and storage. During the wet seasons, a special route is opened up for the public to see the submerged world and study how the sediment deposition process forms. The production system is under the supervision from the research and administration building located at the corner, which also links to the visitor centre across the highway.
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BOTTOM Physical model demonstrating the sediment collection
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RIGHT Sendiment formation studies
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BOTTOM Maps with visible and invisible features
Liugui District, Kaohsiung, Taiwan, PRC SCALE: 1:10000 23°00’00 N, 120°39’00 E 0 km
6 Humidity Level 1 2 3
Di Yuan Temple Launung River Liugui Elementary School
0.5 km
1.5 km
1 km
Temperature 4 5 6
Kaohsiung City Police Bureau Liugui High School Longxiong Elementary School
2 km
Wind Direction 7 8 9
Mount Ali Mount Yu Fajie Temple
River Velocity 10 11 12
Miaochong Temple Camping Ground Buddhist Temple
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EXPLODED AXONOMETRIC The sediment collection system integrated with education program and temple visit
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interface MIXED-USE DEVELOPMENT THAT UNITES THE LOOSELY CONNECTED ONE-NORTH COMMUNITY
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PROJECT TYPE: Mixed-Use Development STUDIO: Dr Rudi Stouffs YEAR: 2017 LOCATION: One-north, Singapore
The masterplan we designed in the first stage set out three key design guidelines for this project. We proposed one ecological loop around the Greater One North, one commercial belt from One@Kent Ridge through One North to Star Vista and to revamp the junction of AYE and Buona Vista Road in respond to the low pedestrian permeability issue. Tackling this juntion, my project “INTERFACE“ not only explores a unique corner typology but also seeks to facilitate the complex traffic flow from different directions and altitudes. It improves the exchange of pedestrian flows from one north through the underground tunnel, from NUS through the airrights development and from the new development through pedestrian walkways. This project integrates the untouched forest (without maintenance) in the middle of the ecological loop into part of the exchange experience. The forest will become the ecological stepping stone for the region, act as a buffer from the noise and air pollution resulted from the busy traffic and offer a patch of wild greenary in the jungle of concrete buildings.
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Continuous experience of descending or ascending are emphasized in the design for people to circulate around the space. Different options catering to leisure or transient mode are integrated, including both indoor and outdoor circulation path.
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TOP SPREAD Regional Studies
LEFT Masterplan Analysis
RIGHT Site Conditions
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TOP Exploded Axonometric
LEFT Analysis Diagrams
SERVICE
LEISURE CIRCULATION
The goods are unloaded on the first floor
Both indoor and outdoor circulation options have
and delivered to B1, where a main service
backtracking.
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circulation connects to all service lifts.
been designed to reach most of the space without
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PROGRAMME
DIRECT SHORTCUTS
As the new centre of the vibrant One-North Area, it
An efficient exchange for pedestrians from air-rights
has a good mixture of F&B, retail, arts, leisure, office and hotel space.
development on the 2nd floor, the new development on the 1st floor and the tunnel at B2.
CARPARK
LEVEL B2
F&B TUNNEL
B2 connects people to the underground tunnel. Both gallery and cafe enjoy contrasting views of the civic activities from
PLAZA
GALLERY
the plaza and of the natural views from the
POOL
CAFE
forest. The pool is not only for leisure but also a soft barrier to the forest.
CARPARK
SERVICE
LEVEL B1 F&B
F&B
Coming up from the cafe, it connets to the forest via the wood decking. B1 also houses the main service circulation which connects to all service lifts. The carpark is accessed
TO FOREST
through B2 carpark so the customers will not run into service circulation.
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GALLERY
RETAIL
LEVEL 2 An inward-looking retail space continues from level 1. A viewing deck overlooking the pool and plaza is introduced before
TO FOREST
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entering the forest via the wood decking.
OFFICE
HOTEL
TYPICAL HIGHRISE FLOOR 18
Housed in the curvy tower with slim fins, the office comprises front desk, open working space, washrooms, meeting rooms, private cubicles overlooking the plaza while the hotel has single and standard room.
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axon MIXED-USE DEVELOPMENT AS AN INTEGRATED PART OF THE PEDESTRIAN HIGHWAY
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PROJECT TYPE: Mixed-Use Development STUDIO: Dr Jeffrey Chan YEAR: 2016 LOCATION: Buona Vista, Singapore
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Lighting Masterplan
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PROJECT TYPE: Masterplan STUDIO: Dr Jeffrey Chan DATE: 2016 LOCATION: Buona Vista, Singapore COLLABORATORS: Gam Jhia Hao, Kisha Bruce, Koh Ting
Located at the intersection of Commonwealth Avenue West and North Buona Vista road, COMMUNE is about building a community that is built upon the relationships of the people, for the people to live, work and play in. In anticipation of the future shifts in global economy, COMMUNE aims to create an environment that spurs creativity, collaboration and entrepreneurship which are vital keys to Singapore’s future. Using the points of intersection of different groups on site, it breaks out of the conventional grid into a web of dots and lines that promotes encounters and interactions. This eventually leads to a production of not just material goods but production of communications, relationships and inter-linkages within the community. COMMUNE embraces the nuances of the site and shares the Commons, creating an inclusive and open community.
Our Masterplan introduces the Ring as a unique solution to enhance urban mobility. It carries out the function of defining the site, without setting up a physical barrier. Instead, the Ring is a pedestrian highway connecting people from surrounding neighborhoods. In addition, it exerts itself as an activity generator. Thus, the Ring becomes equally rich and meaningful compared to the site it defines in the centre. As a node on the Ring, the architectural project "AXON" I am doing further explores the potential of the ring as an urban corridor and as an integrated feature of the architecture. The design strategizes on one simple and unified language to integrate functional, structural and spatial ideas while conserving the essence of the masterplan. In the name of "AXON", it acts as a conduit for effective urban mobility that revitalises the city dynamics.
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TOP Mezzanine Floor Plan with urban Access
RIGHT Floor Plans
GRAND STAIRCASE
COMMUNITY SPACE
SERVICES/AMENITY FOOD HALL
CLINIC FLORISTS
LEVEL 2
Spaces for service, amenity and healthcare are allocated on the first
The northern end of the building welcomes people approaching from
floor to serve the community. The food hall is also nearby.
the Holland Village with a grand auditorium-style staircase, which then leads to the main public space.
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LEVEL 1
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HOTDESKING
HOUSING UNITS
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HOUSING UNITS
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LEVEL 3
LEVEL 4
People entering the building from the ring at the third floor, descends
Housing units are allocated on the fourth floor and southern part of the
through the bridge to the second floor, where the view of Metropolis
third floor, where the spaces are not intersected by public pedestrian
stands in front of them as they walk towards the other exit on the ring.
flows.
LEFT Section and Circulation Analysis FAR LEFT Interior Rendering BOTTOM LEFT Elevation
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BOTTOM RIGHT Architectural Section
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Continued to next page
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Continued from last page
LEFT Constructional Section and Material List
RIGHT Process and Final Models
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cruciform COLLECTIVE LIVING IN A TRADITIONAL CITY-CENTRE SETTING
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PROJECT TYPE: Housing STUDIO: Krucker Bates YEAR: 2016 LOCATION: Munich, Germany COLLABORATORS: Alvan Ng, Anthony Wong, Iana Shcherbakova, Yang Weichuan
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TOP Facade Studies RIGHT Analysis of the Shared Living Space of Indonesian Long House RIGHT TOP Photoshopped Physical Model on the Site
By studying carefully the Indonesian Long House as a case study of historic form of shared living, we apply and adapt the principles into the design of a shared-living block, situated in the historic city centre of Munich, near Rosenheimer Platz. While there is a clear division in terms of plan between the public and private space in Long House, we apply the principle in section. The public spaces are situated inside the courtyard and integrated with the staircase as veritcal circulation, while the privately-shared spaces are organized to face the street. The privately-shared space is comprised of 4 private units which surround the central living space. On the ground floor, various spaces are designed to be used for community events not only for the residents, but for the nearby neighbors as well. While we honour the generally solemn and ordered urban atmosphere for the Munich streeetscape, we have tried to incorporate a note of liveliness and hint for the spirit of collectiveness by designing a moveable double facade, which presents different forms at different times of the day as a result of the residents' actions.
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LEFT TOP Model Interior View
LEFT BOTTOM Massing Mophology
RIGHT TOP Plans: Ground Floor, Typical Floor, Top Floor
RIGHT BOTTOM Typical Section
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intertwine MUSIC PAVILION INSPIRED BY CARLOS CHAVEZ'S AZTEC MUSIC XOCHIPILLI
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PROJECT TYPE: Music Pavillion STUDIO: Mr Looi Chee Kin YEAR: 2016 LOCATION: Fort Canning Park, Singapore
This project is an opportunity to define space, form and structure in architecture through a comparative analysis of music. The analysis of Xochipilli, an Imaginary Aztec Music composed by Carlos Chaves serves as the basis for formally engaging with a cubic form. Based on the intertwining characteristics interpreted from the musical piece, the design develops the idea of intertwining with a three-folded meaning: the intertwining of physical spaces, the intertwining of circulation and the intertwining of atmospheres. Taken into considerations of the site of historical Fort Canning Park and the function as a musical pavillion, the generic spaces and volumes are then resolved into 3 main spaces as required in the brief: an open large performing space, naturally ventilated, a semi-open space for in-door performance and a small practice room. 2019 ARCHITECTURE PORTFOLIO ZHOU WENTAO 33
LEFT Contrasting views
FAR TOP Music Sheet of “Xochipilli"
TOP Final Model
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LEFT Translating the music sheet into architectural language 34
RIGHT Process Model exploring the spatial representation of music
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CIRCULATION ANALYSIS
TREES SHADING
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VISUAL CONNECTION
OPTION 1
OPTION 2
PLAYGROUND
1. INNER PLAZA 2. PATH LEADING TO INNER PLAZA 3. GARDEN 4. PLAYGROUND
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OPTION 3
OPTION 4 (SELECTED)
1. PLAZA 2. LABYRINTH 3. SECRET GARDEN 4. BACK GARDEN
1. FORT GATE (HISTORICAL) 2. FORT CANNING ARTS CENTRE (MODERN) 3. GARDEN (COZY & TRANQUIL) 4. PLAYGROUND (VAST, LIVELY)
1 3 2
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LEFT TOP Site Analysis
LEFT BOTTOM Site Selection
TOP Site Plan
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BOTTOM Views
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INTERTWINE After walking up the staircase, the visitor appoaches the pavilion from this direction(1). Looking through the pavilion, one sees the Fort Gate at the end of the path (2). He reaches the semi-open performance and turned around to ascend along the side of the stage (3). The view suddenly opens up and one sees the Fort Canning Arts centre over the balcony of the open performance space (4). Climbing up the staircase from either side leads to a side balcony overlooking the garden or playgroun (5). Then one reaches the top level where he
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can visit the in-door performance space (6) or go to the sound proof practice room(7).
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PLAN (1ST FLOOR)
PLAN (2ND FLOOR)
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PLAN (ROOF)
PLAN (3RD FLOOR)
3 2
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urban retreat A MINI-HOUSE DESIGNED THROUGH THE PRINCIPLES OF TRADITIONAL CHINESE GARDEN
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PROJECT TYPE: Mini-house STUDIO: Dr Junko Tamura YEAR: 2015 LOCATION: University Cultural Centre, NUS, Singapore
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This project requires the student to study one precedent and capture the essence and nuances of the architectural language to make a room for one person as a temporary dwelling. I studied Wang Shi Yuan, a Chinese Classical Garden of Suzhou as a precedent. This mini house is an epitome of the principles employed by the Chinese Classical Garden. This includes the principle of conceal, delay and contrast, asymmetrical balance (as opposed to the western symmetrical balance), dispersed hierachy, deployment of visual illusion etc. The mini house does not visually assemble the Chinese Classical Garden at all, but it develops as a modern adaption of the principles behind. A highlight is the combination of circle window paired with the vertical brise soleil.
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OPPOSITE TOP Model of Wang Shi Yuan
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THIS PAGE Models of MiniHouse
OPPOSITE BOTTOM Detail of Model (Wang Shi Yuan)
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Form follows function The layout of the garden has been designed in a practical way, in response to seasonal climate change, separation of circulation and private and public
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functions.
Dian Chun Yi A small courtyard “Dian Chun Yi" is allocated at the corner of the garden. A glimpse into the gate creates the illusion of another garden hidden behind. Constrasts between the size of water body, pavilion and the garden
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create interesting
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spatial experience.
PANEL Case Study and Analysis of Wang Shi Yuan
Contrast, Conceal and Delayed Satisfaction The entrance into the back garden is through a small gate (1), followed by a long, narrow and meandering path. The views are very restrained by the rockery, plants, pavilions and windows (2, 3,
1.
4). Only glimpse of the lake can be seen. The view and
2.
spatial experience underwent a final contraction through the aisle (5) before the entire lake appears at sudden and one enters into an open and large space.
5.
4.
3.
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Bridges are introduced at the
5
end of the diagonal corners
3
of the lake, registering the impression of lake extending endlessly to the other side of
2
the bridge.
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Centripetal water body While big water body is usually
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divided into several segments, small water body often aims to create centripetal force by arranging architecture around it in an asymmetrical
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balanced manner.
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Kitchen
Toilet
lobby
SECTION C-C'
living space
study
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SECTION A-A'
SECTION B-B'
FRONT ELEVATION
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BACK ELEVATION
FORM FOLLOWS FUNCTION The layout of the house follows the logical arrangement of the respective functions. Wet areas and dry areas are separated by the living space in the centre. The wet areas are stepping towards the low ground while the dry functions are stepping higher into the loft space.
CENTREPIECE & DIAGONAL VISION The living space is the central organizing device that connects to the rest functions, which are enhanced via visual connection. The principle borrows from Wang Shi Yuan where the lake is the central pivoting object organizes the other pavilions around it, creating a clear hierarchy. The diagonal movement across the living space prolongs the visual depth, creating the illusion of being larger. Another principle from the Chinese
The space plays with delayed satisfaction, where the visitors are allowed to have a glimpse of what will be experienced, but denied access immediately, and have to go through other spaces first before such desire of acess is satisfied
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PERMEABILITY & DELAYED SATISFACTION
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Garden.
later. Such technique is inspired by Wang Shi Yuan. It is a effective device of creating interesting space where the physical dimension is very limited.
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CONTRAST & ASYMMETRICAL BALANCE Asymmetrical balance is explored in this house through carefully placing contrasting spatial experience around the house. Several layers of contrast are superimposed. The dark, narrow lobby corridor is in contrast with the bright, open living space. The "solid" function of kitchen and study are nudging into the central space while the "void" circulation corners are back down.
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artworks CHINESE INK PAINTINGS
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It has been two decades since I started doing Chinese Ink Painting. I wasn't sure what it would lead me into when I first learnt it at the age of 5. Over the years, when I studied Chinese painting deeper, I started to understand that Chinese painting is not just simply drawing, it is the embodiment of Chinese culture. It leads me to explore calligraphy, poetry, seal engraving, Chinese history and philosphy. It is those efforts seemingly outside the field of painting that allows me to reach a higher level of artistic sophistication. Today society's increasing apathy towards traditional culture makes me worry about its disapperance, and prompt me to follow closely the issue of contemporary compatibility of tradition. This is also an important issue I'd like to explore with architecture. As an artist, I value the practice of sketching. No matter how artistic a painting can be, it has to go back to the truth of life. I enjoy the process when I "battle" with nature face to face, and successfully capture the essence of the object with my own expression. Such happiness is similar when I turn an interesting concept into an architectural project. They both deal with artistic translation.
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I was honoured to be invited and drew five paintings to be held in Hwa Chong Institution, my alma mater. It's both a recognition for my works as well as my way of contributing back to the school. (RIGHT & BOTTOM)
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COCKSCOMB
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138CM X 69CM
LANDSCAPE 1
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69CM X 46CM
VIPER'S BOWSTRING HEMP
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69CM X 46CM
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WISTERIA IN THE WIND 138CM X 57CM
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PINES AND CRANES
138CM X 69CM
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LANDSCAPE 2
69CM X 46CM
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