PORTFOLIO | CHENGCHENG HUANG

M.ARCH, CED, UC BERKELEYARCHITECTURE WORK SAMPLE 2010-2016

CONTENT

1. TRINITY HOUSE 2. CYCLE ³ 3. MOUNTAIN LAB 4. 3D MARKET 5. SENSE THE WALL6. MOVING & RESTING7. PATHS & PLACES 8. COMPRESSION & DECOMPRESSION9. DESIGNED BY NATURE10. EMBEDDED VILLA11. FLOATING VILLA 12. OTHER WORK

[“Form, Site, Type“ Housing Design] [Community Center design for Zhang-Village]

[Educational Architecture Design] [Commercial Space Renovation]

[River Dam Regeneration] [Kayak Club Design]

[‘Space Between’ Searching Project] [Figured Space Practice]

[Hostel In Mountain Design][Villa NM Abstracted Representation]

[Fisher House Recreation]

ABOUT ME

PROFICIENCY

EXPERIENCE

HONORS

RhinocerosGoogle SketchUpAutoCADRevitGrasshopperVrayKeyshot Depthmap

Adobe PhotoshopAdobe IllustratorAdobe InDesignMicrosoft Office3d PrintingLaser CutterHand ModelingEcotect

08/2015 - 12/2015 Architectural Studio(Andrew Atwood)UC Berkeley, Department of Architecture | Berkeley, CAFinished three projects with Atwood as instructor, explored architectural projections of composition, form and space. The Trinity House project has been selected to represent the studio section at the 2016 Berkeley Circus.

12/2014 - 02/2015 Architectural InternCentral-South Architectural Design Institute Co. | Wuhan, ChinaFramed concept and built model for a High-Rise Office Building project. Drafted plans with autoCAD for a Residential Building project.

10/2014 Intensive Studio Participant“Space Between” MIT Joint Studio | HUST, Wuhan, ChinaWorked closely with professor Jan Wampler(MIT) on designing a public activity center between two build-ings in Boston, used plexiglass to study the space, made a successful presentation.

09/2013 - 07/2014 Research AssistantDesign Innovative System Research Center | HUST, Wuhan, China03/2014 - 07/2014 Researched for professor Jun Wu(HUST) on 4 innovative strategies towards etopian age, researched and finished essays on characteristics and weaknesses of etopian age.11/2013 - 01/2014 Collaborated with professor Daniel Anderson(MIT) on threats and opportunities of urban edge, studied cases in Boston and Wuhan, developed innovative strategies.09/2013 - 11/2013 Worked for professor Jun Wu(HUST) on studying lingering garden with European methodology, analyzed with Depthmap software.

2016 NominatedThe Fifth Annual Berkeley Circus (A Celebration of the Accomplishments of the CED Community)

2013 Excellent PrizeAutodesk REVIT CUP 2013 National Student Competition in Sustainable Architectural Design

2011 1st PrizeHUST Scholarship for Academic Excellence

Chengcheng Huang | cc.huang@berkeley.edu | 510-708-8930 | Berkeley, CA 94704 My drive is to meaningfully affect the human experience by playing a part in the formation of perception, feelings and memories through the design of their surroundings.

TRINITY HOUSE [“Form, Site, Type“ Housing Design] COURSE & DATE ARCH 200A, UC Berkeley, 10/2015INSTRUCTOR Andrew AtwoodINDIVIDUAL WORK KEY WORDS form; space; compositional logic; staircase; intersecting

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Start from a foam model, I cut and manipulate the foam into a form(I) with a center volume and two branches spread-ing out, which responds to my initial interests.

Then I simplified the foam form with sim-ple geometry and blurred the boundry with curve surface(II).

In order to create ambiguity with the form, I applied color image to it. The col-or image (III) involves the gradient of two colors and a blank rectangle suggesting potential windows.

According to my compositional logic, I di-vided the form to two parts, and mapped the color image to each individually.(IV)

FORM

This is a residential housing design for single person. In this design, form has been used as spatial driver. Stairs were used not only for dividing space, but also creating connection between spaces horizontally and vertically.

In order to turn it into a house with physical limiting boundaries, I scaled and orienated my form to fit into a 20`x20`x44` bounding box(available site), and crop out the parts outside(V). Then I get (VI).

After designing the interior space, the final model was created. (VII)

FITNESS & ORGANIZATION

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My interior space was driven by the compositional logic of the form. Basi-cally, there are two volumes from two directions extruding and intersecting to create the 3rd volume.

This internal spatial logic was achieved by the placement of the stairs. You enter the house from the one volume to the 2nd floor(place to prepare and con-sume food). Then you will experience the transitional space to the 3rd floor(a place to relax and socialize) by going through a long straight stairs. The 2nd and 3rd floor are split floors, they can communicate with each other and share the space. In order to strengthen my concept, the handrails and interior walls are made inclined to correspond to the three-volume logic

SPATIAL LOGIC

1st Floor & site plan 2nd Floor 3rd Floor 4th Floor

section-1 section-2 south elevationwest elevation

CYCLE ³ [Community Center design for Zhang-Village] COURSE & DATE Graduation project, HUST, 6/2015INSTRUCTOR Hui LiuINDIVIDUAL WORK KEY WORDS problem solving; sustainable design; cycle; ecology; civic engagement

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- Circulated Cycle - Ecological Cycle - Behavioral CycleOverall Center:-Greenhouse production field-Center service area-Free market area

Site Visit Problem Finding Concept Conceptual Method Architectural Method Problem Solved

Lack of communication of two villagesterrible environmental conditionlack of the employment chances

Self-Sufficient Eco-Village-Circulated Cycle; -Ecological Cycle; -Behavioral Cycle.

-Form-Technique(Eco)-Program

CYCLE ³

Producer

Production Market Sale/Restaurant Recycling/Decomposition

ProducerConsumer ConsumerDecomposer Decomposer

Site Plan

This is a community center design project for two villages. In this design, I focused on solving problems and sustainable design strategies. My concept is self-sufficient eco-village. Circulated cycle has determined the location and form; Ecological cycle has determined the materials and tectonic; Behavior cycle has deter-mined the program.

1st Floor Plan 2nd Floor Plan

South elevation

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MOUNTAIN LAB [Educational Architecture Design] COURSE & DATE Integrated Studio, HUST, 03/2014INSTRUCTORS Mei JiangTEAM WORK Cooporator: Zixuan Huang (Participated in conceptual design, rendering, plan drafting and diagram drawing)KEY WORDS nature; civic engagement; built environment

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3D MARKET [Commercial Space Renovation] COURSE & DATE Autodesk REVIT CUP 2013 National Student Competition, 08/2013 INSTRUCTORS Zukang LeiTEAM WORK Cooporator: Wei Xiao, Dongjie Ma (Participated in conceptual design, rendering and plan drafting)KEY WORDS renovation; commercial space; place for gathering; civic engagement

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In order to regenerate the conventional linear commercial space, we expand it three demensionally. By operating the linear space horizontally and vertically, we not only maintain the street-type space which is most suitable for small market business, but also create places for gathering and resting. Both the space and activities of the market are enriched as a result.

HANKOW

HANYANG

Yangtze River

Han River River Dam

This is a conceptual urban design project. In this project of the regeneration of river dam, we introduced experiential void to solve this problems in urban scale and to further stimuli civic engagement.

The river dam in Wuhan is about 4-meters high, 3-meters thick solid concrete wall. In summer, The River Dam has defensed the flood effectively, which is a positive effect. But however, through the whole year, it blocks the nice riverside view. Walk-ing along the riverside street, one can barely sense the river.

Thus, we are going to generate the positive engagement be-tween city, people and nature while keeping its function of resisting the flood.

THE RIVER DAM

POSITIVE POSITIVE

POSITIVENEGATIVE

Xiao Ming: “I don`t know where to play with my friends, the riverside is always very boring.”

Mr. Zhang: “I was born and grew up in the City of River, but I can hardly feel it.”

Old Li and his wife: “We used to see the river just through the window and spend time walk-ing alongside the river. But now we can never do that again.”

SENSE THE WALL [RIVER DAM REGENERATION] COURSE & DATE UA Creation Award & International Concept Design Competition, 11/2013INSTRUCTORS Baofeng LiTEAM WORK Cooporator: Wei Xiao, Jeremie Lichtfus (Participated in all process, all the drawings in this portfolio are made individually)KEY WORDS problem solving; experiential space; civic engagement; urban design

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Change a straight solid wall into a flexible curving shape, which allows for more spatial possibilities.

Find the 1st potential VOID in the SOLID wall. Creating VOID inside the wall, enables the wall to have experiential quality.

Taking the Water Wave as design Precedence. Making the lower levels “spread” into the city area like wave, inviting people to come and enjoy the new wall.

Creating the 2nd VOID in the wall. The river scenery and scenery on the other bank would invite people walking along the wall to enjoy them. And people may even enter the wall by the VOID.

You can walk inside the wall, on the wall, besides the wall. The wall becomes a positive engagement between city, people and nature.

CONCEPT - EXPERIENTIAL VOID

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By adding the experiential VOID into the wall, people can experience the wall either inside or outside. The River Dam is no longer the killer of the beautiful scenery of the riverside or the joyful memory of people`s life.

MOVING & RESTING [KAYAK CLUB DESIGN] COURSE & DATE ARCH 200B, UC Berkeley, 03/2016 (in progress)INSTRUCTORS Jay AthertonINDIVIDUAL WORK KEY WORDS sensory perception; people`s experience; framing; day lighting; sound; moving and resting

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There are basically two experiences inside the architec-ture - the moving experience and resting experience. What I am interested in is using architec-tural elements to meaningfully affect both human`s moving experience and resting experience. I look into three spatial qualities here - view; light and sound. My goal is to enhance human experience in terms of visual sense and auditory sense.

PATHS & PLACES [‘SPACE BETWEEN’ SEARCHING PROJECT] COURSE & DATE “Space Between” MIT Joint Studio, 10/2014INSTRUCTORS Jan WamplerINDIVIDUAL WORK KEY WORDS social responsibility; paths and places; experiential quality; space model; traditional Chinese garden image; civic engagement

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The starting point of the project is the design of the major PATHS of the space.

There are two categories of paths: Horizontal paths and Vertical paths. The Horizon-tal paths include a courtyard in the center and are mainly for people to go across the space. The Vertical paths are two paths intertwining with each other and gradually going up. They share the courtyard space in the air. And every landing of the paths will lead to a terrace which is a public space for people to enjoy outdoor coffee or ex-hibition. And the terraces are on different elevations, people can appreciate different street views when relaxing on the terraces.

PATHS

SOCIAL PROBLEMS

Our neighborhoods have become unhealthy places to live and work, islands of life isolated in wastelands of space. They need squares, parks, walkways that encourage human interaction, communication, and the happy sharing of pleasant experiences - places integral to community life. The city need PATHS AND PLACES to enable positive and delightfulwalking, viewing and soul-enriching experiences.

A site is given and is in Boston between buildings and we are going to design a small building with public places in this space. There are two steps to this project. The first will be to design the space without thinking of the form using Plexi-glass to convey the space that will become a place. The second is using wood blocks to design the building around the first model.

Using plexiglass to show the space.

Major spaces - translucentSecondary spaces - whiteIndoor public spaces - blackSpecial spaces - red

The Major spaces include Outdoor public spaces, Café space, and an exhibition space. The Secondary spaces represent the paths. And the Indoor public spaces include Café space and a small theater space which owns certain functions to serve people. And Special spaces are somewhere enjoying special atmosphere created by all the other spaces together.

The 3rd iteration breaks the geometrical logic and makes the space spread to the outside vertically and horizontally, which could effec-tively invite people to come over. The paths are elegantly intertwining with each other and going up gradually creating a special courtyard place. The public spaces scatter on different elevations. While climbing on the paths, people can always have a rest going into the indoor/outdoor Café. The Courtyard surrounded by places and paths is the center of the space.

PLACES1st ITERATION

2nd ITERATION

3rd ITERATION

Using Bass or Balsa wood to show the buildings.

According to the instructions of different qualities of public spaces as well as private spaces (which are not shown in space model), I transform the space model of plexiglass to the building model made of wood.

Courtyard

TRADITIONAL CHINESE GARDEN IMAGE

Narrow Entrance Different Elevation Layering Winding Path

In Traditional Chinese Garden, the Courtyard is the most exciting & important part of the whole gar-den. Surrounded by buildings, it`s a perfect place to encourage hu-man interaction, communication, and the happy sharing of pleasant experiences.

The ancient Chinese people enjoy the experiential change from narrow path towards an open central space. And also, a narrow entrance can make the most exciting open space after-wards less visible, which will provide people with a sense of mystery.

In Traditional Chinese Garden, spaces are placed on different levels and are always strewed at random, which will enable people on different sites to appreciate different sceneries.

Chinese people thought lay-ering is very important in Gar-den Design since it will give people the sense of depths. As people walk along the road, they will feel the scen-ery they see is more like a scenario in a painting or a film which is waiting for them to explore.

The winding path is also a signif-icant art in Traditional Chinese Garden design since it is less direct and more graceful, it will nurture and enrich the engage-ment between people and the building/environment. People will have rich experience while enjoying the place.

“According to Hegel, negation can only be properly conceived when it is grasped as double negation... Double negation, in turn, is the structure that underlies all reality. As such the double negative is nothing less than the Absolute. When negation is doubled, it is no longer merely negative but becomes positive.”

Mark C. Taylor, 1991

COMPRESSION & DECOMPRESSION [FIGURED SPACE PRACTICE] COURSE & DATE ED 11B, UC Berkeley, 07/2014INSTRUCTORS Raveevarn Choksombatchai, Alex Spatzier, Maggie LeeINDIVIDUAL WORK KEY WORDS experiential quality; solid and void; double negation; figured ground analysis

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MOMENTS

MENTAL INTERPRETATIONStarting from four interesting moments I observe from the previ-ous model I made, I am going to translate the drawing to building with designing the space of a 8*8*12 volume. The aim is to envision experiential qualities.

I feel what attracts me most is the gradual change from larger space into a narrower and narrower space which arouses the sense of COMPRESSION. Then I extract the geometry of the photography as well as the changing experience in the space as my concept of the design.

Using the geometry as well as their experiential quality (showing by depth)as the four surfaces of the model, the translation from 2D drawing to 3D model has been made.

DESIGN BY VOIDThe Exploded Axonometric Drawing shows clearly how the four major VOIDS are organized together. All of the four voids share the similar logic of spatial experience.

FIGURED SPACE

1st SUBTRACTIVE VOIDS (NEGATION)

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2nd NEGATION 1st NEGATION

DOUBLE NEGATION 1

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2nd SUBTRACTIVE VOIDS (NEGATION)

The 1st subtractive voids create the logic of the space; while the 2nd create the movement.

SOLID

VOID (NEGATION)

VOID (DOUBLE NEGATION)

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The figured ground analysis shows the nine scenes you will experience when you go through the space from one side to the other. There are eight major experiential changes happening during the process, which will give you the feeling of compression and decompression alternately. Also, sometimes one space separates to two or two merge to one. And the space have no direction, you can enter from all six sides of the box while still having this profound experience.

The sencond negation is a practice to “destroy” the seemingly perfect system to explore the double negative space. The voids created by the two columes start moving from two sides and rising to meet together at the center then getting away from each other to the two sides again.

The white space represents the double negative space.

DESIGNED BY NATURE [HOSTEL IN MOUNTAIN DESIGN] COURSE & DATE Architectural Studio, 03/2012INSTRUCTORS Shaobo HaoINDIVIDUAL WORK KEY WORDS wooden constraction; sustainability; nature

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SUSTAINABILITY:Use the woods which is the main resource on mountain to build almost everything. The form of Dislocation overlap will effectively reduce its interruption to the hill. And the location or the shape of every house and the slope of the stairs is all determined by the natural environment. Thus, this is a project designed by nature.

COMMUNITY & FREEDOM:The Hostel is mainly built for teenage travelers, we have a center hall in the middle of the community to provide place for travelers to gather together and share experiences. And all the single hostels are linked together by stairs according to the slope of the mountain, every house is accessible.

Despite of the community I create, people can still enjoy their freedom. Since every house is independent, people living there will not be disturbed by others.

DESIGNED BY NATURE

EMBEDDED VILLA [VILLA NM ABSTRACTED REPRESENTATION] COURSE & DATE ED 11B, UC Berkeley, 06/2014INSTRUCTORS Raveevarn Choksombatchai, Alex Spatzier, Maggie LeeTEAM WORK Cooporator: Sebastian Cardoza (Participated in all process, all the drawings in this portfolio are made individually)KEY WORDS mass observation; surface observation; solid and void; relationship with environment;materiality, weaving tectonic, innovative design

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VILLA NMNEW YORK, USA, 2000-2007, BY UN STUDIO;

The house responds to the site of its rolling landscape of the countryside of Upstate New York.

We are going to do an Abstracted Representation on Villa NM`s Relationship to the Earth through MASS OBSERVATION & SURFACE OBSERVATION.

A box-like volume bifurcates into two separate volumes; one seamlessly following the north-ern slope; the other lifted above the hill creating a covered parking space and generating a split-level internal organization.

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SOLID vs VOID VOID - BUILDING; SOLID - EARTH & SKY

BOOK CONCEPT

With my ‘Mass Observation Project’, we explore how solid and void are conceptually reversible, thus their roles are interdependent. We express our design concept by transform-ing the whole villa into a void that embraces sky and earth which are solid. By extruding with different depths, we create different voids to represent the relationship between the building and the earth in our book concept.

Since the volume bifurcates to two legs, and the two legs are telling different stories of how they interact with the hills, we are making the model as two parts. The Book Concept is from the interesting different two sides of the building.

When the “Book” is closed, you can see how the two legs bifurcate from the VOID.

But once you open the “Book“, it tells you everything about its relationship with the earth, not by the means of words but the model itself. You can see clearly how one side is embedded in the earth, and how the other is lifted up to create a parking space.

MASS OBSERVATION

SURFACE OBSERVATIONSTRIATIONThe villa appears as an abstraction of the site`s geography. In order to express the continuity of the landscape and the building, we view the landscape and the building as a whole. By using the tectonic of striation, we emphasize the flow from the landscape to the building then to the landscape again.

MATERIALSAfter a failed trial with steel wire, we decide on using thin white Museum Board as the materi-als. We cut the Museum Board as stripes, but with different widths. From Sparse to Dense then to Sparse again, we are creating the rhyme which can discriminate the villa from the landscape while still keeping the continuity. For a single stripe, the width satys all the same to express the continuity. The length of the stripes could be infinite, representing the infinite landscape.

TECTONIC - WEAVINGBy using the TECTONIC of WEAVING, we join two directions of stripes together in crossing each other. The weaknesses of paper stripes are their fragility and bendability. But, with the TECTONIC of WEAVING, we make fragile, bendable strips become a strong and flat surface without losing its continuity.

The two clusters of stripes both represent the abstraction of the landscape in two directions.

WEAVING

FRAGILE BENDABLE STRONG

FLOATING VILLA [FISHER HOUSE RECREATION] COURSE & DATE ARCH 200A, UC Berkeley, 10/2015INSTRUCTORS Andrew AtwoodTEAM WORK Cooperator: Yike Qin (Participated in all process, all the drawings in this portfolio are made individually)KEY WORDS light; transitional space; case study; geometry; floating: windows, innovative design

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Starting with our case study on Fisher House by Louis Kahn, what interests us most is the light created by his design on windows. There are two types of win-dows in Fisher House Design - slender, vertical windows and large, rectangle windows. And they each define different spaces - transitional space and living space. Our study is based on using light to claim space. We extrude windows and stop when encountering walls. There are two distinctive spaces that we cre-ate, one is large living space created by large windows, the other is slender transitional space created by narrow windows. Since the whole space is created by light, we make the whole villa floating with only one stair connecting ground and first floor. Also to break the original geometrical logic of two intersecting boxes, we introduce another geometry with different direction into this system.

1st Floor Plan

Section-1 Section-2

2nd Floor Plan

OTHER WORKS [ARCHITECTURAL DESIGN]

URBAN DESIGN PROJECT COURSE & DATE: Urban Design studio, HUST, 12/2013INSTRUCTOR: Jun WuTEAM WORK: Cooperator:Yuefei Wu

ARCHITECTURAL INTERN DATE: 12/2014INSTRUCTOR: GAO

RETAIL STORE RENDERING DATE: 06/2014

SLICING CHAIR [Chair Design] COURSE & DATE Body Conscious Design, UC Berkeley, 03/2016INSTRUCTORS Galen CranzINDIVIDUAL WORK MATERIALS cardboard; wooden stick

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OTHER WORKS [SKETCHES] Sketches in ‘Fenghuang’ Town, China.

OTHER WORKS [WATERCOLOR DRAWING AND OIL PAINTING] Watercolor Practice in Yaoli Town, China

I enjoy using color to express my perception over the things surrounding me.

MY EXPLORATION 2010 - ?

SPATIAL FORMATION PROJECT

WATERCOLOR PRACTICEDRAWINGS DRAWINGS

ARCHITECTURAL INTERNHOSTEL IN MOUNTAIN PROJECT

Watercolor Practice in Yaoli Town, Jiangxi, ChinaDrawing in Wuyuan, Jiangxi, China.

2010 2011 2012

RESEARCH MIT WORKSHOP - URBAN EDGE

COMPETITION - 3D MARKET COMPETITION - RIVER DAM REGENERATION

Drawing in ‘Fenghuang’ Town, Hunan, China. Research on Spatial Order of Lingering Garden & its MOP analysis.

Making innovations to Urban Edge areas : the aban-dened train station, the nighttime vendors on sidewalk, the crumbling food square, the wall besides the road on campus.

2013

LAB DESIGN PROJECT

BELLASTOCK - WATERWORLD TRAVEL & PHOTOGRAPHY & DRAWINGWORKSHOP - STRING CONSTRUCTION

UC BERKELEY ED 11B

Building a Floating City with bamboo, water fountain tanks with European students.

de Young Museum, CA, USA

Project 1 - Embedded Villa Project 2 - Compression & Decompression Project 3 - Through the Petal

2014Produced by 3D Printer.

Wu Town, Suzhou, China

MIT WORKSHOP - SPACE BETWEEN

Project 1 - A Structure on A Deserted IslandProject 2 - Fisher House RecreationProject 3 - Trinity House Design

2015

COMMUNITY CENTER DESIGN

UC BERKELEY ARCH 200A

PORTFOLIO CHENGCHENG HUANG

PORTFOLIO | CHENGCHENG HUANG