The UK generates the second-highest amount of e-waste per capita in the world, with 23.9 kg. The Tilbury E-waste Exchange Market shapes the future of the E-waste Circular Management System, valuing e-devices as information carriers, and in turn, as media for people to exchange knowledge and life skills
Given Tilbury’s history of mining, excavating, and rubbish dumping, the project considers sustainability a key focus. The use of recycled materials with varying roughness and transparency allows the architecture to balance hi-tech and craftsmanship, industry and elegance, and people and machines.
The hybrid complex provides laboratory spaces for e-waste repair and disassembly, retail areas for e-waste exchange, workshop spaces for life skills training, exhibition spaces for e-waste artworks, and café areas for social interaction. The architecture distinguishes itself from the bleak and monotonous townscape, offering Tilbury residents a distinctive and joyful journey from Tilbury’s main street to the industrial port. It bridges divided areas and celebrates the town’s industrial culture.
Please click the link to see the manifesto film
https://youtu.be/66m0NTfooKI?si=-PbZToaEioCXyJSt
Long section station Gallery Walkway Balcony
Building mass
- Accessible route
- Visual connection from the residential side to the port
Volume division
Avoiding long and continuous facade seen by passengers arriving by train and car
Volume division
- Building edges are parallel to the railway
- The block near the residential houses is lower to blend into the context.
Volume division
- Combination of indoor and outdoor circulation
- Flipped circulation on both sides reduce the rigid volume.
Volume division
- The exposed walkway guides people to enjoy the architectural journey - Perception of various movement and activities.
North facade
Street View
View to the port
Landscape terrace stairs Platform
1. Collection: E-waste could be delivered to the market by train, cars and cargo.
2. Store and classification: All E-waste would be temporarily stored in the storage room, waiting for being assessed, classified and categorised.
3. Disassemble: Categorised E-waste would be transferred to two different laboratories. One is for simply repair . The other one is for more sophisticated treatment.
4. Exchange: Repaired E-waste will be moved into different retails based on their size and functions, labelled with original owner. Ready for exchange.
5. Skill Learning: Customers who complete an exchange of E-waste could use the small equipment and tools in open workshop area to exchange the stories behind and skills required of a particular object.
6. Exhibition: E-waste based artworks exhibition offers more innovative and creative insight on E-waste recycling.
7. Reuse: Electronic and electrical equipment have a longer life span. A more sustainable circular usage of electrical equipment.
The façade comprises a combination of three types of modular cells, each designed to create different architectural atmospheres, enhance visibility, and employ various ventilation methods.
The rainscreen is affixed to the H column using a composite vertical rail. The design of this rail aims to achieve a higher weight-to-strength ratio while also celebrating the industrial atmosphere through its delicate visual effect.
The lower floor adopts corrugated rubberised concrete which creates a sharp contrast to the smooth and translucent polycarbonate rainscreen above, implying Tilbury’s wound from extraction and rubbsihscapes.
5. 7.
5. Recycled I-beam
6. Self-supported rammed earth wall
7.Corrugated concrete floor, supported by frame structure
Museum of Movement and Energy Body, Movement and Energy: A Figurative Representation of Excitement and Sustainability
Location:
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Area:
Tutor: Time:
Sarajevo Research - led design
640 m2
Lucy Dinnen Sep 2022- Jun 2023
In 1984, Sarajevo hosted the Winter Olympics, leaving a lasting impact on its history. However, the ski jump site on Mountain Igman, once vibrant, fell into neglect after the Siege of Sarajevo in the 1990s.
Today, Sarajevo grapples with the looming threat of the climate crisis. By 2050, projections suggest the city’s climate may render it too warm to host the Winter Olympics.
The revitalization of Mountain Igman symbolizes sports, movements, and energy. Drawing inspiration from resilient devices in Sarajevo, the project translates various sports using Laban’s dancing notation and Bernard Tschumi’s theory of movements and events.
Crucial concept is to convert kinetic energy for sustainable, green energy sources. Figurative installations spreads around Mountain Igman, blending seamlessly with the natural landscape. Here, individuals actively engage with the architecture, not merely as spectators but as contributors to energy generation. The project transforms a once-neglected site into a dynamic space that harmonizes with nature and addresses contemporary challenges.
The Green Runner
The Green Runner is an outdoor fitness facility where individuals can run on the bin wheel, which is a legacy from the Olympic Stadium. The axle connects to the motor, which is fixed in the bearings. The motor generates electricity through the continuous rotation of the bin wheel.
Bin from Olympic Stadium
b. Playground
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Impression of freestyle and skateboarding
Impression of cycling and ice-skating
Impression of Sport Climbing
a. Olympic Podium
Energy Collection Stairs
Funicular Trolley
Museum of Movement and Energy
Open Terrace
The notation of movement in ski jump
Ski jump needs the athlete to remain steady as much as possible. The movement could be separated to four phases, including the preparation, take off, glide and landing. The impression drawing emphasizes the linearity and steady of the movement. The spatial experience therefore is a minimal representation of the sport seeking for clear and direct circulation.
[Motif ]
A motif is the graphical pattern of an abstract movement, describing the relative spatial position between the limbs and the spine.
[Shadow ]
[Frame ]
A movement is the shadow of a series of action. The frame articulates the purpose of each action.
[Rhythm ]
A rhythm reconstructs the motif patterns to define the movement as an linear, curvilinear, repetitive, and pausal experience.
[Impression ]
An impression visually describes the sensory and dynamic image of a sport movement.
[Experience ]
A experience is a spatial representation of an abstract sport movement.
Famadihana Community Space
Informal Publicity: Movable and Adaptable Architecture
Location:
Type: Area:
Time: Arivonimamo, Madagascar
Public Space
288 m2 Dec 2021 - Mar 2022
Madagascar faces a considerable challenge, with over half its population contending with low incomes. The Merina people, within this context, must save resources over years to host their cherished Famadihana celebration, bridging the gap between the living and departed. For them, draping a new Lamba on the deceased is a joyful reunion rather than a somber affair, as those who have passed continue to offer guidance.
To address economic constraints and uplift the community, the design envisions public spaces as versatile workshops for weaving activities. By promoting low-tech construction techniques and using locally available materials, the project reduces costs and strengthens community bonds.
Additionally, a demountable structure system provides practicality during the Famadihana period, enabling villagers to transport structures to the graveyard for use as dressing rooms or meditation spaces. The fluid movement and transformation of these elements create profound communication between the living and the deceased, transcending sorrow and fostering a nuanced connection.
Construction of communal
Traditional weaving craft
The raffia palm, bamboo and mulberry trees offer natural raw materials for weaving.Lamba is a traditional garment, which is used as a ritual costume to wrap the remains of the dead. The pattern has a distinct native feature of the thinking about life, trees and death.
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Transformative public space
Traditional route of Famadihana
heedle loom
Cocoon
Cooking
Drying
Spinning
Weaving
Dressing
Daily workshop space
Famadihana ritual space
Complexism Community Centre
Self and Belief:
The Complexism of the Religious Space
Location:
Type:
Area:
Time: Singapore Community Centre
784 m2 Sep 2020 - Feb2021
Research into the Fo Guang Temple, St. Peter’s Basilica, and the Great Mosque of Mecca yields a fascinating spatial principle that encourages circumambulation within religious spaces. The discreet utilization of a column matrix, along with a pronounced emphasis on corner spaces, effectively conveys a sense of rotation and circular movement. Rational scale between circular space and roof space enhances the sense of sacredness to bridge the gap between reality and spirit. This continuous and unending spatial experience reflects a spiritual realm where believers can embark on a profound journey of self-discovery and reaffirmation of their faith.
The design consciously establishes a neutral stage for the concept of ‘Complexism’ to flourish. This concept transcends the confines of representing a specific deity; rather, it emerges as a poignant social metaphor. The power of communication between individuals and their deeply held beliefs resonates outward, permeating the surrounding environment.
These pivotal moments of movement, prayer, and meditation become cherished memories, akin to precious treasures etched onto the very surface of the architecture itself. In this spiritual journey, individuals find themselves on a path of self-discovery and enlightenment, where the act of seeking is as profound as the destination itself.
The figures extracted from universe and nature points out the starting point of the project. First, there is a statical common centre in 2-dimension plan. When it shifts to a 3-dimension spacial experience, it presents a dynamic rotatory, along with the forth dimension - time.
Circumambulation corridor
Communal space
The
Carnatic Village Reconnecting the Neighbourhood by Adapting Ancient Residential Typology
Location:
Type: Area:
Lead Tutor: Time: Liverpool, the United Kingdom
Residential estate
1.45 ha Marco Iuliano Sep 2019- Jun 2020
The evolution of urban development has taken us on a journey, progressing from modest dwellings and villages to imposing castles and eventually burgeoning cities, often with little consideration for the natural landscape and our immediate neighbours. The site is among the 36 designated conservation areas in Liverpool, marked by its historical boundary wall.
The objective of this innovative project is to embrace a sustainable and harmonious urban plan, drawing inspiration from the precedent prototype of Skara Brae, an ancient village in Scotland dating back to approximately 2500 B.C. Furthermore, the visionary ideas put forth by Frei Otto regarding how humans interact with their surrounding environment and cultivate social connections provide the foundational framework for the design of a dynamic and interconnected community space.
The Carnatic Village project serves as a catalyst for fostering a sense of community engagement and environmental consciousness among its residents. It actively encourages participation in a range of plant-based activities, thereby reigniting our appreciation for the intrinsic value of nature and agriculture. In doing so, it not only pays homage to the historical evolution of urban spaces but also propels us toward a future where the coexistence of humans and their natural surroundings is at the forefront of our collective consciousness.
Central Permeability
The generation of the masterplan is a combination of natural development and artificial regulation. Using the similar size of bubbles as the trees to fulfil the plan in order to achieve a homogeneous permeability. Then, according to the analysis of the circulation, the intersection points are defined as the open green space. It offers the social area for the neighbours. The building bubbles therefore interact with the green land, forming a series of larger circles.
Homogeneous filling
Interact with the common greenland
Forming new circle chain
Nature gets into the house through the inclined windows and the atrium. The centre of the house is a three-dimensional space, which is lighted by the atrium. It gathers the living room, kitchen and bedrooms together. The material identifies the functional bubbles of the room. There is a direct visual link from the kitchen to the living room to the outside forest. The inclined window visually brings the scene into the eyes from a perspective angle. The atrium brings in abundant sunlight will further blur the boundary between inside and outside.
The garden occupies the void between the side walls. The central greenland can be used for farming and horticulture. The channel between zones are cored by the mesh. The tree trunks are responding to the abundant forest on the site.
The Drying Green
Location:
Type:
Area:
Time:
Wentworth Woodhouse, Rotherham
Live Project
1500 m2
Sep 2023 - Nov 2023
Based in Rotherham, the Wentworth Woodhouse Preservation Trust has the goal of transforming a dilapidated old country mansion into the most accessible stately home in the country.
The drying green, a misshapen servant space used by the poor to dry the linens of the rich, remained tucked conveniently out of sight behind the garden wall for centuries. Left behind by the dramatic rise and fall of the house and its owners, it was eventually forgotten and reclaimed by nature. It became the ideal location to turn Wentworth’s social dynamics upside down.
The Live Project team collaborated with the Trust to envision the future of ‘The Drying Green,’ expanding the original ‘community garden’ brief to create a community hub capable of evolving for generations Ninety poles were installed to establish an innovative outdoor art space, providing local communities with a sense of ownership and inclusion.
Within six weeks, we visited ten local community centres to conduct block printing workshops, engaging over 100 people from disadvantaged backgrounds to create collaborative pattern artworks. These artworks were paraded and hung by community members, symbolizing their claim on the Drying Green.
Please click the link to see the output film https://youtu.be/OBBArXhrQ9o
Final Engagement Day: The member from Rotherham Therapy group are participating in Pattern Art.
Final Engagement Day: 12 community groups gather at Wentworth Woodhouse.
Final Engagement Day
Collaboration with diverse community groups
BAME Womens Menopause Group
BAME Womens Group
Rotherham United Youth Session
Rotherham Rainbows
Rotherham Brownies
Rotherham Guides
Wah Hong Chinese Association
Roma Boys Youth session in Eastwood United Disability Supporters group
Nanjing Xianlin Art Centre
Practice:
Principle Architect & Partner:
Location:
Type:
Senior Architect:
Kengo Kuma and Association in Shanghai
Kengo Kuam, Teccasalei Yutalca
Nanjing, China
Art Centre
LEE Suhye
Yunjie Lu
In the design process of the Nanjing Xianlin Art Centre, I was in charge of the concept for the sunken entrance and the theatre lobby, located at the end of the site. The site is blessed with a beautiful natural setting, surrounded by trees and mountains. To minimize the impact on the mountain, parts of the theatre are sunken into the ground. Consequently, the square in front of the entrance has the potential to welcome people into a space with a cave-like ambiance.
I utilized Grasshopper to create several linear stepped platforms, allowing people to enjoy the open space under the tensioned roof. An interactive and lively square encourages people to communicate before, during, and after the show. Simultaneously, they appreciate the visual continuity with the contours of the mountains, where nature and man-made creation blend seamlessly. Additionally, I designed several landscape strategies. Through this practice, I became more aware of the subtleties of form, guiding the perception of the landscape when the context of an architecture holds significant value.
Terrace Landscape Design Development
Water Landscape Design Development
Hill Landscape Design Development
Concert Hall in Wuxi
Practice:
Principle Architect & Partner:
Location:
Type:
Senior Architect:
Kengo Kuma and Association in Shanghai
Kengo Kuam, Teccasalei Yutalca Wuxi, China
Art Centre
Yu Wen
During the design process of the Wuxi Concert Hall, I contributed to multiple configurations of the transformative stage floor design and consulted on the lighting design with lighting and acoustic specialists.
Continuation Studio FAN Jiujiang continuation_stu@126.com Quzhou, China Restaurant FAN Jiujiang
In designing the Central Restaurant in Jiangshan, I demonstrated eight design schemes, all incorporating the architectural humbleness and cultural significance. The primary concept is to project the architectural atmosphere of a barn in the farmland onto the visitors. We believe that the perception of such a kind of space could remind the visitors imagination of wheat and harvest, bridging the communication between clients, architecture and earth.
I mainly participated in the presentation of the completed project, which includes plan drawing, model making and translation of the presentation draft used for the lecture that FAN Jiujiang presented in University of Shanghai, and Xi’an Jiaotong-liverpool University.
Through the investigation of the project, I had a deeper understanding of how the three interlocked boxes recreate the spatial experienceoverlapped perspective, resembling CuiLinglong in Suzhou’s Pavilion
Continuation Studio FAN Jiujiang continuation_stu@126.com
Zhoushan, China
Visitor Centre FAN Jiujiang
CangLang. The diversification of the height of terrain and roof enhances the geographical feature. It reveals structures and service facilities in a particular manner, forming a continuously ascending space
A series of wooden butterfly roof is designed as asymmetrical with different eave heights, in response to the topography. Viewing from the interior, it resembles the frame of ships, as a memorial of the local shipbuilding tradition.
