Alicia Lu Lin Portfolio 2019 - complete

Page 1

architectural designs crafted by


towards a spontaneous, vernacular and humanistic architecture

ALICIA LU LIN /Jan 12th 1993/ / /0064-02102318812/ TOPICS OF INTERESTS IN ARCHITECTURE “architecture without architects”, vernacular architecture/ open form/ human-scale, intimate spaces/ wood, bamboo, earth, clay and other natural materials/ carpentry, craftsmanship, joinery/ intersection between art, architecture, installation and public spaces/ designing situations than objects/ collaborative and multidisciplinary process in design

EDUCATION Bergen Arkitekthøgskole Master of Architecture student librarian and thursday event organiser administration team accessing new master applicants - portfolio + letter review

University of Auckland

Bachelor of Architectural Studies Frederick Ost Scholarship in Architecture

Technische Universität München Bachelor Exchange Studio Freeland by MVRDV

Burnside High School

Bergen, Norway August 2017 - June 2019

Auckland, New Zealand 2012-2015

Munich, Germany 2014-2015

Christchurch, New Zealand 2008-2011

NCEA National Top Scholarship in Design and Photography

WORK EXPERIENCE Sudio Makkink & Bey Multidisciplinary Internship

OPA FORM Arkitekter Part-time Architectural Assisstant

Beca Group Ltd Architectural Designer

Kengo Kuma and Associates Full-time Internship

Trace Architecture Office Full-time Internship

Bull O’Sullivan Architecture Internship

Alicia Lin Photography Self-employed

Rotterdam, Netherland August - October 2019 Bergen, Norway November 2017 - August 2018 Auckland, New Zealand August 2016 - July 2017 Tokyo, Japan May - July 2016 Beijing, China February - April 2016 Auckland, New Zealand October 2015- January 2016 2013 - current


Ljubljana, Slovenia June - November 2019

Team Library Designer/Contributor

Venice Biennale 2018 Turkish Pavilion Vardiya

Venice, Italy July 2018

Student Curatorial Team Week 5 Exhibition - Taking Scarpa for a Walk

Höga Kusten, Sweden June 2018

Arknat - Scandinavian Architecture Festival Design&Build Workshop Participant - Designer and Builder wind shelter on hiking track Gula Leden

Bergen, Norway/Vienna, Austria Summer 2017/2018

Society in Motion Summer Workshop gorup collaboration between 3 european schools on the topic of migration

Venice, Italy/ Auckland, NZ December 2015

Venice Biennale 2016 New Zealand Pavilion Model Making

Milan, Italy May 2015

Milan World Exposition 2015 Volunteer

London, UK March - April 2015

Awaiting Eyes Foundation Architectural Volunteer

Auckland, New Zealand 2016

Art In Structure Competition and Group Exhibition Finalists Virtual Sculpture Exhibition


English Chinese German Norwegian

(A2 learning) (A2 learning)

THE WORLD Countries I’ve been: China, New Zealand, Australia, Germany, Singapore, Malaysia, Saudi Arabia, Switzerland, France, Italy, Czech Republic, Hungary, Spain, Netherland, Austria, Belgium, Luxembourg, Slovakia, Norway, Sweden, Denmark, Iceland, Turkey, Greece, South Korea, Japan, USA, Canada, Finland, Estonia, Liechtenstein. Cities I’ve lived: Bergen, Tianjin, Beijing, Auckland, Munich, Brussels, Tokyo, London, Bregenzerwald, Rotterdam. DESIGN SKILLS













Film Camera



Hand Modelling

REFERENCES Hua Li Architect, Design Principal at Trace Architecture Office Previous Employer

Cecilie Anderson Rector/Principle at Bergen School of Architecture, Tutor

Rianne Makkink Architect Studio Makkink&Bey Previous Employer



Assembling Old and New Wood for Everyday Spaces in Sandviken

/Master Thesis/ /Exhibited at the Norwegian Fisheries Museum/ /Tutor: Marco Casagrande, Espen Folgler, Vibeke Jensen/ /January - June 2019/

What is the value of old wood today? And how do we define the value of old material? The transformation of a neglected log house is the starting point for raising a discussion on how we can give new life to old wood in the historical neighbourhood of Sandviken in Bergen. How can we rethink our relationship to this disappearing resource? Should we put back the logs exactly how and where they were? Or perhaps the parts could be reclaimed to form something more than the historical memory? How can we continue to reuse the old, both the physical and its structural logic? How can we reconnect the lost dynamics between the mountainside and the fjord, between our everyday life, craft and tradition in Sandviken? RECLAIM uses an experimental approach

The Inside

by breaking the log house into different components. In combinations with new wood, they form a series of public spaces that enhance existing situations in Sandviken. The new compositions also act as small acupuncture points to regrow the lost qualities of the area: the tactility of wood, the human interaction and dimensions, and the intimate in-between spaces. What influenced me in this project: project self-management and initiatives throughout half a year; clarifying my own believes, philosophy and field of interests within design and architecture; collaboration and contacts among the neighbourhood, public, organisations and institutions; public responsive strategies, urban acupuncture, wood craftsmanship and techtonics

The Outside

The In-between

Exhibition part 1 4 elements of final design: 1 old corner of log house, 2 pile of logs from abandoned house, 3 site model of the neighbourhood Sandviken, 4 1:1 structure of part of final design interventions

3D scans of the interior walls in Ă…sane before we moved the house Middle: discoveries of traces and stories of the house

Marking and analysis of every log pieces of the abandoned log house with current conditions of different corners

One becomes Many The concept is to break down this one log house and utilise its component system to let it generate many different everyday public spaces.

sketches of old and new joints, compositions and combinations

models of old/new wood combinations at final exhibition in Norwegian Fisheries Museum

three main structural logics of old/new combination

plans of process on old/new combinations

different spaces created by different combinations

Exhibition at the Fisheries Museum: bring old wood to the everyday, main design concept, and a series of experimentations between old/new wood combination

Model of the square of the neighbourhood Sandvikstorget with 3 design interventions

topography of Sandviken between the mountain and ocean

value and effect of the project on a neighbourhood scale

Below: Map of Sandviken showing different typologies of buildings in different colours shaded circles are three chosen sites for design interventions

Exhibition part 1 1:1 part of the structure of final design intervention 1 and 5 - manifesting a structure logic of new vertical support hosting the horizontal old wood

Exhibition at the Fisheries Museum Models and drawings of bus stop intervention



House Vision China by Trace Architecture Office exhibited at Venice Biennale 2016 /Group Exhibition Projet curated by Kenya Hara/ /Exhibition at ‘Across Chinese Cities‘, la Biennale de Venezia 2016/ /Internship at Trace Architecture Office(TAO) - Model Making, Exhibition Design, Publication/ /Internship: Feb - April 2016/ /under direction of Hua Li and Liu Yunhan/

“House of Spontaneity” is a proposal by TAO for House Vision China project (initiated and curated by Japanese Designer Kenya Hara). This project is exhibited in the ‘Across Chinese Cities’ Exhibition at the Venice Biennale 2016 in Italy. I took part in the design development stage, model making, exhibition design and 1:1 test installation of this project. The House of Spontaneity is not a mere shelter. We are instead concerned with the meaning of home and how homeliness can be conveyed. The house is a cosmos of the individual. The individual carries with him his own universe of sentiments and memories as he moves from one place to another. It is human nature to mark territory by leaving traces. Like a showroom in an exposition, each object in the interior displays the life of

its owner. Even when the dweller is absent, we can still construct his identity from these objects. The house defies rigid confinement. There is simply no established rules and conventions that can be imposed on how we dwell. From the witty, unorthodox and playful relationships between the dweller and his habitat, we extract the essence of dwelling. And based on our careful observations, we attempt to design objects and furniture that embodies this very essence. What influenced me in this project: always thinking about the essense when designing, looking at ordinary objects or actions in a new and unusual way, teamwork collaboration with 4 people, hand modelling and crafting skills

Photos of Exhibition on site at Venice Biennale 2016

Layering Door

Conversational Table

Rotating Window

Sit-Lay-Stand Bench

Stepping Door

Working Ring

Co-living Bed

designs of different situations laid out in a house

exhibition design in an old building in Venice proposal VS final exhibition

Co-Living Bed Home is where people can coexist without intruding on each others’ privacy and solitute. We designed a bed that is shared above but divided below, a bed for two that is a shared space above but individual rooms below.

Sit-Lay-Stand Bench The chair and table has no definitive form. The same piece of furniture generates different meanings under different circumstances. The bench is designed as a common ground that is simultaneously a chair, a table or even a bed. The changes in floor height blurs the distinction. The act of dissolving the conventional boundaries of objects also liberates the dweller.

Working Ring Thinking, Learning & Creating : Hemingway wrote while standing; Matisse draws with a long stick in bed... The agile writer finds lying in bed or standing more stimulating than sitting upright. This design is a ring that encloses the human body, but also allows one to take up different postures while working.

Stepping Door Crossing Boundaries : The door allows us to cross boundaries horizontally; the stair allows us to travel diagonally. This is a door that can transform into a staircase. The conventional door opens to the adjacent room; the segmented door transforms into a spiral staircase that leads us up to the space above.

Conversational Table The dining table is a stage for the family. The seating arrangement reveals the relationship between the self and the others. The regular dining table seems a bit too stoic when guests begin to chat and gossip in cliques. A deformed table makes picking seats way more interesting.

LAYERING DOOR The door records meticulously the routines and rituals of “coming home” - knocking on the door, turning on the lights... Each step casts off our weariness and welcome us into a world of intimacy and comfort. The layering door becomes a series of receding planes, into each of which a ritual of “coming home” is embedded.


/Residential - Model Making/ /Internship at Bull O’Sullivan Architecture/ /Site: Auckland/ /Oct-Dec 2015/ /under direction of Michael O’Sullivan/

I was in charge of model making at the conceptual design stage for this residential project in north Auckland. The house sits on top of the hill overlooking the rocky site. The house incorporates a huge roof which is stretched by tension cords down into the ground. A bridge is arranged in the middle of the composition to link the more private (bedrooms) and the more communal (dining, kitchen) part of the house.

The model was made mostly in 3mm plywood, completely by hand without any lasercut. It was then sent to the client on site in order to observe the light and shadows under the sun. What influenced me in this project: handcraftsmanship without using any machinery, conceptual design through model making.


/Interior Renovation, Shopping Mall/ /Internship at Kengo Kuma Associates/ /Site: Mitsukoshi Nihonbashi, Ginza, Tokyo/ /May - July 2016/ /under direction of Genki Yada/

I got into a three-month internship at Kengo Kuma and Associates in Tokyo during May-July 2016. I was involved in the Mitsukoshi Interior Renovation Project. Historically, Mitsukoshi is Japan’s first department store developed from a Kimono textile store established in 1673. It was designed in an ‘Art Deco‘ style and has been designated as a Historical Building. The concept of this renovation by KKAA is based on 道(road) and 樹(tree). Each floor can be navigated along the central ‘main road‘ with columns changed into tree-like shelters. The concept was derived from the famous Ukiyo-e painting “Hundreds Scenic Spots of Edo“ by Hiroshige Ando. As the main road is for people to navigate and pass through and

trees are for people to stop, take a break and gather around. I participated in the following parts of the project: Screen design, Ceiling type design, Cosmetics Area design, plinths design, physical model making, 2D drawing and etc. What influenced me in this project: Kengo Kuma’s theory of “Anti-Object“, breaking architecture down into smaller pieces to become human-scaled; Teamwork ability in foreign environment, overcoming language barriers; typologic design through options and making comparisons; fast model-making techniques

Ceiling Design Options And Model Testing

Screen Design Options And Model Testing

Cosmetics Area Design Options


/Interior Fitout/ /Part-time at OPA FORM Arkitektur/ /Digital Modelling, Visualisation/ /under direction of Marina Bauer and Espen Folgerø/

We Norwegians is an apparel company, based in Voss, Norway. Focusing on the design, distribution, and marketing of premium wool products. I was part of the team to design the interior for their Oslo store. This was one of my first projects involved during my part-time job at OPA Form Arkitektur. My main focus was modelling the interior and providing several options for visualisations for the client. A curved wall was designed to go through the ground floor space, covered with shinglelike wool pieces. The fitting room is designed as an elongated rectangle in plan with a

transparent glass window frame at the end of the room. This space acts like a stage so that friends and families waiting outside the fitting room can see them trying out the clothes and take pictures. The warm and cosy environment is further emphasised with the use of rammed earth flooring on the basement with a timber path going around the space. What influenced me in this project: uses of natural and sustainable materials; how to express identity and branding through interior layout and detail designs

Above: Interior Design Proposals Below: Realised Design at WeNorwegian Oslo Store


/Tourism, Country Architecture/ /Work Project at Beca Group/ /Site: Walter Peak, Queenstown, New Zealand/ /March 2017/ /under direction of Graham Applin/

This project is done at my full-time work Beca Groups. I took part in issuing the construction drawing set at the end of the project. Beca were commissioned in 2016 to undertake a Concept Masterplan Design for Real Journeys Ltd. The overall brief was to design Queenstown’s ‘Premier’ tourist attraction catering for up to 2500 people per day. The amphitheatre is a key part of the Walter Peak farm experience. The new amphitheatre will provide dog show experiences and sheep shearing demonstrations for visitors. Designed to seat 400 with the chance to witness

working dogs herding sheep from the hills and controlling them into pens. The visitor will be able to watch a sheep being shorn and have the process of sheep rearing and farming described in a live show. The amphitheatre is to operate in conjunction with the wool shed which will provide the restroom facilities and sell light refreshments and be the main retain opportunity following the show. What influenced me in this project: Detailing, materials, construction drawings, Revit technical skills

Ground Floor Plan

Slab Plan



Rethinking The Boundry Of Lyttelton Waterfront

/Master planning Project, Landscape Architecture/ /Hand-drawing on A1 papers, hand-crafted models/ /Professor: Michael O’Sullivan/ /Site: Lyttelton, New Zealand/

The design proposal of Lyttelton’s Public Harbour, Dampier Bay envisions the possible future of our coastline. The proposal is a criticism towards reclaimation of land. It also emphasised the importance of water in terms of activating public spaces. During the site visit of this historic port, I found its dramatic and moody character alongside the mountain and the ocean. However, in between the ridgeline and the coastline, Dampier Bay with its reclaimed land exposed a sense of boundary and isolation within those two natural characters. The proposal is to blur this boundary and in-between space, to make Lyttelton’s landscape becomes one entity. A waterway is proposed through the bay by joining the mountain valleys. The declamation of the reclaimed land is a return of land back to its origin, the ocean. At the same time, it activates the surrounding space and encourages different activities along. Public Buildings are designed to run along the old coastline so that people would have the same view as their ancestors.

The Lyttelton journey starts from the other side of the mountain, the existing Gondola stops at Heathcoat Valley. On this side of the mountain, the Gondola would firstly bring people to Lyttelton town centre (small stop at end of Bridle Path which leads to London Street). Then it would end at the transport centre tower, which is also the ferry and cruise terminal from where people can take the ferry through Dampier Bay. Tectonically, all of the public buildings are constructed in a Pacific tradition. Each structure embodies aspects including the centralised system, flexible joinery, impermanent material, open interior spaces and the traditional gable form. Each public building looks different from the outside, but structurally they all follow the same priciple. What influenced me in this project: Conceptual Developments through watercolour and physical model making; Crafting skills; Detail Design.

Top four: Conceptual Watercolours of Ridgeline and Coastline Bottom: Materplan of Lyttelton Harbour Right: 1:10000 Site Model Showing Gondola route






Public Interventions along Lyttelton Coastline

Site Model showing Larger context @ 1:10000

Hand-drawn Detail on A1 for Central Pole Construction

Detail Technical Drawings of Boat Sheds

1:50 Model of Boat Shed Typology This half shows the timber structure of the house

1:50 Model of Boat Shed Typology This half shows the cladding Model made from old fallen tree outside Victoria Park in Auckland


a village living in the city /Course: Urban Rural Homes/ /A Growing co-housing project/ /Co-housing, tiny living, gaining by sharing/ /Professor: Philip Kvalbein Hauge, Joakim Skajaa, Cecilie Andersson/ /Site: Kroken, Bergen/ /Collaborated with Veronika Sløk Tvedt/

The course Urban Rural Homes focused on why and how we should dwell within a community and the different ways we could live together. During the research period we looked into vernacular co-living typologies, literature on spaces for living, contemporary housing projects in Bergen and housing from a political point of view. Me and Veronika worked on the project together investigating what makes a lovely

Study of surrounding Courtyard spaces

and homely communal space that provides a sense of belonging and collective identity.

What influenced me in this project: discussion on the essence of dwelling; the definition of home; how our co-living possibilities are constrained by today’s housing market; how to create space that can generate a community

starting a community from a Sauna

Nollie Map showing site with accessible public spaces

Decomposition of Existing Kroken Rooms: Site plan with final design solutions in relation to old wooden houses typologies in Kroken’s old neighbourhood

Bedroom for One and Shared Toilet

Bedroom for One and Shared Toilet

Connected Extendable Kitchens

Laundry and Kitchen

Bedroom for Couple with two smaller bedrooms for airbnb rent

Design Process and Experiments with the idea of Lemstova (2 boxes with wooden slab on top forming a basic Norwegian farm house typology)



1 Living Room (ground) Kids Roomd (1st) Yoga/Open space (Roof ) 2 Family House (ground+1st) Library (2nd + roof ) 3 Communal Sauna



4 Cafe/Bar connected to Svalgang


5 Open Laundry



6 Bathroom and changing room


7 Extendable Kitchen 13

8 Extendable Kitchen

10 7

9 Toilet 10 Bedroom for one 8

11 Bedroom for couple 12 Common Toilet 13 Bedroom for couple/one (two storey)



14 Bedroom for one 15 Bedroom for couple with two smaller bedrooms attached for airbnb


16 Kitchen 17 Laundry 18 current garage converted into workshop for building the rooms


Bedrooms Section

The Living Rooms a living room to listen to a home concert, a kids playroom where adults can also enjoy, a covered but open rooftop for morning meditation

the intimate in-between spaces within the new neighbourhood


/Residential, Lightweight Architecture/ /Hand+Digital Drawings and Models, Multimedia Application/ /Professor: David Mitchell/ /Site: Freemansbay, Auckland, New Zealand/

‘A House within a House’ reflects the philosophy of domestic architecture via the emphasis on the central vertical bamboo volume which is isolated from the rest of the house. The tall vertical volume at the heart of the house employs a bamboo construction a sustainable, flexible material that smoothly translates verticality into the space. Natural growing bamboos are planted right in the garden on the north, which provides shadings and a link between the interior and the exterior, exaggerating the idea of verticality. The house is orthogonally laid out into three parts – the bamboo volume in the centre; service, private, working space on each side of the house. The central vertical volume has become the spirit of the house, highlighting the most important features inside domestic architecture. On the ground floor of the central ‘bamboo house’, there lays the living room. The height of this space is lower than other parts outside the bamboo structure to create a sense of gathering. It contrasts with

the space above, which is a 4m tea room, small gallery space as well as a circulation area, leading to different places around the whole house from public (ground floor) to private (first and second floor). The top level of this volume holds the master bedroom with an enclosed bed facing towards the garden of growing tall bamboos. This triplehigh volume is enclosed by bamboo columns without touching the roof or wall of other parts of the house. Stairs circulating around the ‘bamboo house’ are translucent, held by tensioned cables for a light and floating effect to separate the central volume from the rest of the house. What influenced me in this project: Lightweight construction, bamboo as a material, reading David Mitchell’s book “The Elegant Shed, NZ Architecture since 1945”, and book “Poetics of Space“.

Study Of Bamboo Joineries

PLANS @ 1:200


Top Row: Atmosphere Second Row: Lighting Studies Bottom Row: Central Bamboo House 1:100

A Chat with a Forgotten Log House

Questioning and responding to observed situations on the half-burnt house in Skuteviksbodene /Course: New Wood/ /new soul for old wood/ /Restoration, conservation, craftsmanship/ /Professor: Marco Casagrande, Jacob Schroll, Charlotte Erckrath/ /Site: Skuteviksbodene 12, Bergen/

The project represents expression of a series of question rather than a definite answer. What are the attitudes we can have to respond to an old wooden structure that has been slowly decaying over history? To restore it as it was by hand? To follow the conservation regulations and have the same facade as the other typologies? To give it a new language, giving a new meaning to it? or to leave it as a ruin, letting nature sketch up the rest of the architecture? or to rather erase it, and having a completely fresh expression‌.? Should we trust the old logs and make it loadbearing again?

We can. Or we can also make a completely new load-bearing structure. If so, would the old logs then become a decorative cladding? Or maybe there is somewhere in-between where you allow the old and new to bear load together? What influenced me in this project: research into craftsmanship and relationship between thinking and making; rethinking attitudes towards tradition and the old; questioning the existing condition and whether or not to trust old wood in a restoration project (if so, how much to trust old wood); attitudes towards the old wood and new wood; construction tectonics with only wood

Site Location Skuteviksbodene 12

1:10 models of all log pieces from the abandoned house

Imagined Old Bolverk underneath concrete

Flooring System 1

Flooring System 2

works linearly - can extend infinitely in one direction primary structure flexible secondary structure - fixed

works expansively - can extend infinitely in both directions, joined by the moving parts primary structure - fixed secondary structure flexible Junction between old log, concrete and new flooring systems

Designing the gap in between materials

metal-less, glue-less construction using machine-made solid wood to respond to the handcrafted old wood

plan overlayed with different interventions



Section Workshop



Section Warm Room and Gallery Pavilion


Framing the traces of ruins, memories and traumas in Yayo Village, Orchid Island

/Reuse of Abandoned Structures or Ruins/ /Art Installation, Masterplan, Adaptive Use, Publication/ /Professor: Marco Casagrande/ /Site: Orchid Island, Taiwan/

This was my first studio course at Bergen School of Architecture, Norway. The course focused on the local knowledge of the Yami People / Tao, inhabiting 7 villages on Orchid Island, Taiwan. The Yami is a Polynesian tribe located solely on Orchid Island, where they moved from the Philippines Batanes Archipelago approx. 800 years ago. The studio engaged with a complex range of issues including colonisation, pollution, nulear waste dump site, history and politics of China, Taiwan and Yamis. At the end of the course the whole class of 18 people have produced a series of suggested masterplans and 18 indivisual peojects. The discussion had been

heavily focused on the role of architects as an outsider and how to have a sensitive, considerate and people-orientated method on design. What influenced me in this project: complexity of different layers of colonised society; beauty and essence of polynesian culture as well as the challenges most of these indegenous cultures are facing today; how to engage locals in design; using Art Installation and architecture as a tool to help deal with local issues;

<Yami Sea Sand House Self Help Declaration>

While Taiwan’s economy is growing at a rapid speed and the whole society of Taiwan is becoming wealthy with all the imported cars and skyscrapers, Lanyu seems to be forgotten as an isolated island outside Taiwan. Yami people still live with strives and traditions.

From 1966 to 1980, under the planned han-localisation policy from Taiwanese government, Lanyu people were forced to demolish all of their traditional architecture due to the “outdated” look of the houses and the fact that they might tarnish the nation’s reputation. In the meantime 566 socalled “modern national houses” were built. In addition, the traditional ceremony of settlement of new houses was also cut down by the government. After the forced demolition of traditional houses, Yami people were then forced to live in this tiny match-box sized ‘national houses’. At the beginning of construction, due to the usage of sea sands and cheap materials, the lack of design as well as the financial profits between officials and business traders, the houses were constructed in extremely cheap and bad methods. In less than a year, Lanyu’s ‘national houses’ already have cracking columns and corroded steel reinforce bars exposed. They have gone as bad as being extremely dangerous for anyone to live in and to be around.

Therefore Yami residents have formed a ‘Sea-sand House Self-help Association’ represented by all the seniors and local representatives in order to gain help from society and to get attention from the government.

The common goal of the association is:

1. Reconstruct Sea-sand Houses, subsidised by the government.

2. There are six villages on the island. New community planning should be updated for each village.

3. Yami people should be part of the replanning and construction of ‘national houses’. The principles should follow the traditional culture and wsays of living of the Yamis.

4. ‘National House’ reconstruction project should include the whole village. The details of expenditure and the quality of construction should be supervised.

Yami Sea Sand House Self-help Association

September 1994

{ Ruin One: The Return of Orchids }

{ Ruin Two: The Invaded Invasion }

A room to bring back what was lost. A room to let history reappear. A room that is almost without a roof. A room with trees growing from inside out, with orchids growing on the trees. A room to start a new beginning.

A room to present what were brought to the island, what were dumped on the island. A room with nature pouring through window, but plastic and nuclear barrels from within. A room that is also semi open from the top.

{ Ruin Three: The Corrosion of Sandy Concrete } A room with a passage attached.

{ Ruin Four: The Immersion of Darkness }

A room that transits from external to internal.

A room that is fully dark with drops of light from the broken parts of ruins and the drilled roof of tiny holes.

A room to invite everyone inside.

A room that exposed the trauma in the dark.

A room for the old to tell the dark memories of the past and sing the lost songs.

A room that unrolls every detail of what had been done to the village in the past.

A room for the young ones to look back and remember.

A room for reflection, contemplation and rethinking why we are here.

A Maze Thing

/Summer Design and Build Workshop in Docksta, Sweden/

Arknat is an architectural festival where students from different Scandinavian schools of architecture create architecture that allows a new experience with nature. In my team of five people, we built a wind shelter on top of the mountain. The site Nola Jola along Gula Leden offers a magnificent and almost overwhelming panorama. There are high and low vegetations as well as different levels of stone surfaces around this area. Our intention is to frame these situations by enhancing specific qualities that allow visitors to stop by and experience.

windshelter “A Maze Thing“ within the landscape along the hiking trail Gula Leden

design drawing - plan, sections and elevations

drawing for construction

joint testing prototypes

wind shelter captured Instagram #amazething


pictures captured from public Instagram #amazething

pictures captured from public Instagram #amazething

completed wind shelter

close-ups of “A maze thing“

building process with team


/Erasmus Summer School Project/ /A three-year summer workshop series to investigate architectural and spatial challenges for new emerging society in motion from various perspectives./ /Collaboration between three universities Bergen Architecture School, Angewandte Wien and the University of Liechtenstein/

The city of Vienna has been defined by the movement of people as they have shaped the city over several centuries. During the workshop, various experts in human rights, law, history, politics, and civil service will discuss current and future challenges in city planning using interactive and interdisciplinary approaches. Furthermore, immigrant networks of belongings and attachments will be explored through discourse with people living in transitory places. We will build on the known to discover the unknown, looking at history, existing projects, organisations and networks – digital and local ones - in Vienna. By enforcing an angle of approach that sees the refugees we develop urban planning strategies to tackle current issues. In this workshop, me and Olga made a booklet about a series of self-build shelters named “come and go (as you wish)“. The booklet is a manual on how to build the shelter and the possibilities to meet people while building it, and how a community/network can be

established through this activity. At the end we distributed the booklets at Wien Mitter Train Station.

What influenced me in this project: seeing a new city from an immigrant’s point of view; different perceiptions from locals and newcomers; how to design a self-build strategy to establish neighbourhood and network




Primitive Huts

/Art Installation Project at Galleri Christinegaard, Bergen, Norway/

I won the proposal of utilising the tree branches in the garden of Galleri Christinegaard for an art project. A group of teepee structures were constructed by myself and some friends. We studies about primitive joineries and stability of the branches. The construction baganin Feburary 2018 and finished in May. It later become a nice public space in spring and summer for picnic and community events for the gallery.

Original tree brunches

Original sketches

Final Installation

“a Wooden Hammer from the Forest”

/a wood craft excercise that I did for myself along with a piece of writing/


made a wooden hammer, starting from picking up woods in the forest of the mounatin Fløyen (Bergen, Norway). Firstly, the tree bark was taken off magically as one single piece. The wood cores were still wet, making the pull strokes slow but steady, leaving tiny yellow dusts on the saw blade. To avoid loose movements, I used two bamboo nails and some wedges. Few days later, the cross side of the fresh wood split further apart while its fibres continued shrinking and compressing. As a respond to this conversation with the wood, I chiseled out a butterfly key joint and insert in a piece of hardwood. The wood is still drying, and I’m still observing.

Cutlery Carving

/personal whittling of spoons, forks and knives/

Having lived next to the mountains in Bergen, Norway, I started a hobby of picking up tree branches in the forests and carve out daily objects. Here are some experimentation of spoon and knife carvings.

Fork and Spread Knife

Spoon and Spread Knife

Bamboo Mat

/Reusing left-over bamboo floor boards for a shower mat/

A quick project for my new flat - I always feel very cold the moment immediately after showering when you have to get from the warm shower outside to the cold floor. Instead of buying a shower mat, I made a bamboo one to test out the durability of bamboo against moisture. The pieces are flexible so that I can carry them after I finish my study in Norway. And every piece is brushed with linseed oil.


/Self-designed and hand-crafted furniture/

After graduating from Architecture school, I started designing and making a few pieces of furniture from materials left at architectural modelling and crit presentations. In particular, I become fascinated with trestle structures. I have made a table, a shoe rack and a shelf from a series of experimentations with

trestle structures. Materials I used include pine wood, metal hinges, screws and nails, ropes, bamboo flooring with the aid of several electrical and traditional hand tools. I am still in the process of exploring ways of incorporating trestle structure into different objects.


/Sketches with Watercolours/ /Left: Lyttelton, New Zealand/ /Right: South Tyrol, Italy/

Watercolour is my main conceptual design medium. The visual subtleness of it is a great tool to express atmosphere and emotion. The variety of colour also allows the expression of different programmes and intensity. The medium of water allows different ideas/ colours to have a softened boundary and and

possibilities to blend together. Following are some of my watercolour drawings. The series of images with texts on the right is a study of Heritage Architecture Reservation in the Castles of South Tyrol, Austria, using the medium of watercolours.

Top: Lyttelton Impression, New Zealand Bottom: Heritage Preservation Studies, South Tyrol, Italy


/Leica R6.2 with varying 35mm films/ /I am also a freelance documentary photographer/









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Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.