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Reimagining The George as a cinema/rket/enement scheme where reinterpretation of existing civic grounds and Northern dwelling culture are brought together as a structure of collective living. 3rd Year Project | Edinburgh Instructor: Andrea Fead & Jack Green Research Collaborator: Noah Judge.





Inhabitation of the Northern Ground Instinctive inhabitation of the geological defines Edinburgh City and Portobello together as the Northern territory - a territory that exists between the permanence of the volcanic rocks and the shifting lines of the shore. While unique geological formations in old town Edinburgh have created a vital city of layers, insfrastructure at a high speed navigates us to the infinite sea horizon; to a place of remoteness. It also defines an elevated ground that operates at the scale of a city; where we found ourselves in line with strange gifts from the North such as the steep pitched roofs and the chimneys, and where the sea view came to presence.

Reshaping the Northern Horizon Yet the picturesque planning of Bath Street -the important street that connects the volcanic rocks through infrastructure to the sea - has results in a lack of tension between streets and buildings; between collective and individual. Thus, our design tends to reactivate the public spaces by a series of intervention that flucturates along a new horizon on the infrastructure level. The new horizon eventually meets the city ground at the George - where the temporal volcanic coal formation meets the shifting sand beneath. Top Left: Model Top View; Top Right: View from Infrastructure Intervention (NJ) towards the sea; Above: Long Section Across Bath Street.

The George as a Palimpsest - Development of Civic Grounds Since the George building has evolved many times over the decades and is welcoming more, it is important to define the permanent (an autonomous urban structure, which stands outside of technological and social evolution) vs. the evolving (the reinterpretation and adaptation of building structure and spaces, contextualized by Northern dwelling culture) in both the existing and the new. While the dominate existing structure of permanence is the seating floor plate and the big roof which together define a civic space for gathering; the new structure extends the existing floor plate and the big roof, guiding a

movement from the existing city ground to new horizon; from sea to land. The evolving features reinterpretation of existing nostalgia fragments of facade, stage, lining; and reconfiguration of the 'dark box' into a 'light box' that serves the vital cinema & market & tenement complex under the Northern pursuit of daylight. Above: Diagram Showing Exisitng-Primary Steel Structure and Secondary Timber Structure; Bottom: 1-50 Model Showing Overlook Between Multiple Civic Grounds.

Under the Big Roof "I think about you, in as many ways as rain comes. Sometimes these thoughts are a moistness, hardly falling, than which nothing is more gentle; somtimes, a rattling shower, a bustling Spring-cleaning of the mind: sometimes, a drowning downpour. I am growing, as I get older, to hate metaphors, to love gentleness, to fear downpours." -Norman macCaig, No choice

Tea Room

Shared Kitchen The George's and its Social Currency The Need for Autonomy Aside from its geological properties, the George's historical civic identity is also important in the reading of it. Designed by T Bowhill Gibson, the Art Deco building first opened as the County Cinema in 1939; was later turned into a bingo hall. Upon close down of the bingo in August 2016, it is now zoned for residential use due to financial crisis. The George's seemly conflicting identity can lead to positive responses and new possibilities - an autonomous tectonics of collective living where the residential and the civic come to sustain each other; to give back to the district both culturally and economically. The putting together of such autonomous structure involves material consideration from geological scale to body scale, as well as studies of spatial relations between public, private, and semi public rooms. It also tends to create a second layer of upwards movement. Thus market and residential elements that requires enclosure and stillness are grouped together as the heavy object that anchored down into the soil and stitched together by the stage, while spaces requires openness and movement grow out of the heavy and expressed as the soft and shifting. Right: Isometric showing pool, market+housing, shared kitchen, tearoom as a entity.

Market + Housing


Tectonics Adjacency Market and housing blocks are stiched together by a central stage on the market floor. On upper floors, circulation spaces expand to form meandering Medieval streets for gathering in between residential units.

Markets and Housings Grow From Central Stage, To Become an Extension of Existing Civic Ground; a Refurbishment of Memory;

A Big Roof Stitches Together the Private and the Public, Guiding a Movement Upwards - From Sea to Mountain - at a City Scale.

Upper Ground Plan 0




“A theatre is a world inside the world, which reflected it in pretty much the same way as a drop of water reflected the landscape. And yet ... and yet ...Inside this little world they had taken pains to put all the things you might think they would want to escape from — hatred, fear and so forth. Death was intrigued. They thought they wanted to be taken out of themselves, and every art humans dreamt up took them further in. He was fascinated.” -Terry Pratchett

As the remains of the Baleal Fortress rises from the landscape and the cliff surfaces eroded by the wind, we sense sacredness in this spectacular place. Meanwhile the coastline of Baleal, as a renowned surfing area, carries the memory of surfers who have died in the waves. A memorial theatre is proposed at the end of the peninsula as a cabinet that captures the movement of tides. As the tides move up and down, grief of the deceased surfers is turned into a celebration of nomadic, adventurous souls, which informs a way of performance as a journey that moves along the coastlines, as well as a material and tectonic logic. Thus, the theatre, like a drop of water that reflects the landscape, reflects a cemetery for deceased surfers into the adjacent town and landscape. The parts being reflected are dispersed and transformed as they are projected a lo n g t h e l a n d s ca p e , eve n t u a l ly s e t t l i n g as clusters of small objects that, although enigmatic, open themselves to the vital theatre of everyday life - seating, dressing area, restrooms, cafe, and storage rooms. These interventions define streets and the beach as stages for performances, creating senses of adventurous places in the broader urban context.

Cabinet Plan and Section 1:200

A Timber Cremation Urn on Shelf 1:50

Isometric 1:2000


NOMADIC THEATRE 3rd Year Project | Baleal, Portugal Duration: 8 Weeks Instructor: Mark Dorrian & Ana Bonet Collaborator: Oliver Song

Site Plan 1:2000

Mysterious Tidal Theatre and Invisible Cemetery The theatre is a silent thinker. Located at the very end of the peninsular, a cabinet was carefully proposed as an enclosed, less accessible room - a mysterious character. It is so dark and narrow that one has to pauses his/her motion to sense the movement of the tides. Meanwhile, the chaotic timber masses gives a sense of disorientation to the bodies. The cemetery as a journey towards the cabinet remains a humble position in relation to the sacred landscape. Its character is almost invisible. The architecture of the cemetery as a minimal surgery to the site, seeks for shelter from the spectacle landscape. Top Left: Site Photo, Web. Top Right: Collaboration Drawing with Oliver Song

N Collage Plan of Cemetery 1:500

Vital Theatre of Everyday Life- Beach Scene

N From Cemetery to Tidal Theatre - Collage Plan

Towards the Tidal Theatre as Cabinet - Section

Town Scene

Bay Scene

Vital Theatre of Everyday Life - Town Scene Masses transformed along the townscape, settling down as a visual corridor that runs across the longest span of the island. Stages are non-presence but defined by a series of egnimatic objects. A light tower breaks through the town's skyline, activates the public square and indicates the happening of performances. The finishing of material, as well as the way these multi-functioned buildings minimally hitched to the ground also indicate the theatrical characteristics of the site. Tectonically, the building illustrates the image of a character whose adventurous soul is wrapped around by a thin, fragile layer of timber skin. While the concrete body gives the character a depth, the timber skin exist as the theatrical elements that can be opened up to define spaces within stages; form backdrops and resolve problems such as lighting. Above: Section 1-1000


Library of the Interpretive Memory 2nd Year Project | Rome, Italy Duration: 8 Weeks Instructor: Jack Green Independent Project

The idea of having a library in Rome is all about interpretive memory. Conceptually, the contents of books are as much about the background of the reader as it is about the words of the author; psychologically, surveillance from the watcher could help construct a concentration space for the watched who are essentially the reader. Meanwhile, the history of the Rome city is continuous although the readings of it are evolving; the past is partly being experienced now. The scheme was developed from Piranesi’s interpretive reconstruction plan of the Campo Mania area of the Ancient Rome. The plan ends exactly at where the site is, leaving it another starting point of interpretations. Piranesi completed existing ruins into dogma symmetrical geometries to celebrate the genius loci of Rome city. As the symmetry axis extends and unfolds onto site, they define three volume circulated through courtyards. A n o t h e r l a ye r o f i n t e r p re t a t i o n i s t h e n introduced to explore the structural and spatial quality of the site. Understanding Piranesi’s illustration of ruins, we recognize them as ultimately illustrations of walls that appealed to be inhabitable on plans. The mass of the wall thickness is punctuated by niches, expressing and articulating solidity and weight of structure. Meanwhile, niches as carrels has always been a symbolic element in library architecture, representing a thinking and escaping space. Thus, interior (masses) and the exterior (courtyards) are inverted, so that the watched becomes the watcher, the author became the reader; and the architecture became an inhabitable wall that carries the depth, rhythm, and solidity of Rome. All of these add up together to become the new interpretive layer of the palimpsest, waiting to be further interpreted.

Top: Reinterpretation of Piranesi's Campo Mania Plan; Bottom: Isometric Drawing, 'Stitching an Inhabitable Wall into and Between A Broken Urban Fabric'.


In Between the Walls In between the walls, a common room and two equal sized courtyards are designed to enchance the interior spatial quality. +5500

Top Left: Reading Carrels: A Humble Descending Towards the Church; Top Right: Endless Arches: Rythmn and Depth; Middle: Common Room - Wall - Public Cafe: An Interlace; Bottom: Along the Ruins: A Material Collage.



N 1:1000


Section AA' Ruins - Reading Carreal - Public Space

Section BB' Ruins - Reading Carreal - Courtyard - Reading Carreal - Courtyard - Walkway

Section CC' Interior Courtard - Reading Carreal - Entrance

Section DD' Street - Reading Carreal - Courtyard - Archive - Adjacent Church 1:500


Shadowplay 2nd Year Project | Edinburgh, UK. Duration: 3 Weeks Instructor: Jack Green Independent Project Published on AArchitectural Magazine Issue 32. Silence

Interior Model - A Space that Slows Down the Time

A Space For Concentration As Jeremy Bentham’s purposal of the Panopticon suggested, survilliance and invisibility of the eye could lead to concentration. In this design of a space for concentration, people are staged in a relatively enclosed space where dark corners limits their eyesight and thus reduce distractions. Moreover, all elements, as well as their assemblage, are reduced down to the minimum to create a space of concentration. This can be seen from how the unpolished long, thin timber columns simply touch and extend into the water; and how the timber floor plate breaks through the thick concrete wall.

The shimmering unknown. In the tender shadow, we heard its softest whisper.

The silver lining gap. April wind in our hair, we felt its softest touch.

The Silent Void. Morning light pouring down, we found a slow down of time.

Dynamics in Stillness Even though this is a space for stillness and concentration, the space could still be active from the perspective of building section, shown in the 1:200 drawings below.

Section Scale 1:200


HEART OF THE CITY An Architecture School Design 2nd Year Project | Edinburgh, UK. Duration: 5 Weeks Instructor: Jack Green Collaborator: Rachel Dunne, Rachel Yi

Working Model - A Heart In Embyro

1 8 A chapel that was converted in a synagogue 9 1 at the end of the 1800’s on the corner or Keir street, known then as Graham Street.Synagogue, 8 Graham Street 8 Synagogue, Graham Street

A chapel that was converted in a synagogue at the end of the 1800’s on the corner or Keir street, known then as Graham Street.

9 8

1 9 The old buildings on the north side of Keir street (the proposed site), before the residents1 were 6 evicted and theyOld were demolished make9way Tenements, Keir to Street 9

1 9 historic Close to where the Fire Station and Edinburgh 0 1 map College of Art now stands. West Port and the castle can be seenCastle in theMarket, background Lauriston 7Place 9

Old Tenements, Keir Street

Castle Market, Lauriston Place

Close to where the Fire Station and Edinburgh College of Art now stands. West Port and the castle can be seen in the background

0 7

The old buildings on the north side of Keir street (the proposed site), before the residents were evicted and they were demolished to make way

historic map 1950s

6 9

I lived at 17 Keir Street until the summer of 1969. Our flat, along with all the other buildings on that side of the street, was subject to a compulsory purchase order to enable expansion of Edinburgh Art College

I lived at 17 Keir Street until the summer of 1969. Our flat, along with all the other buildings on that side of the street, was subject to a compulsory purchase order to enable expansion of Edinburgh Art College

in the early 1970s.


ratherwas than renovation, That area of town very scruffy was the order of the day. in the early 1970s. Demolition, rather than renovation, was the The Site as a Palimpsest order of the day.

“That area of town was very scruffy

The site is a palimpsest, with layers overlapped one upon another.Our architecture school as the new layer, should come from the past - organic, delicate; yet it should be explorative and confronting - with landscape being the skin, buildings being the organs, streets being the viens, people being the blood, it is a pump for the movement - the heart of the city.

Information Group Ltd and Crown copyright 2016. FOR EDUCATIONAL USE ONLY.




Scale 1:7500



© Landmark Information Group Ltd and Crown copyright 2016. FOR EDUCATIONAL USE ONLY.




Projection: British National Grid






1000 m


Scale 1:7500




Projection: British National Grid




1000 m

The Program as an Architecture School Based on spatial functions, we divided our architectutre school into two - the 'making' and the 'thinking'. Recalling the initial poetic concept of a heart in the city, the 'making' space exists as right ventricle and the 'thinking' as left ventricle, the spaces in between the two naturally formed the circulations as viens. This created the push and pull between the two and eventually an erosion of negative space into the positive, where negative spaces ended up forming the courtyards and the positive formed the sheltered 'rooms'. Closer to the ground, 'thinking' and 'making' exist as two sepreated volumes. As it moves up, the two volumes, along with its material, start interacting and eventually collide at the top, extending towards the city.

The Space as for Informal Learning Space Within a space where overlooking happens everywhere, we would like to encourage students to exchange their ideas not only with people around, but also with the building itself. Bottom: 1-750 North-South Section Right: Sketch - Overlooking Floor Plates

Watercolour Sketch - A Growing Heart


Vanke Kindergarten Competition Horizon Architectural Design June - July 2016 Intership Projects Contribution: Concept Model, Design (the Roof), Digital Model Detailing

Vanke Kindergarten Competition - the Roof as Playground

We proposed a lego city as a community kindergarten for more than 300 children. The small intersecting volumes were grouped into three, all of which help construct a city of wonder and adventures. My main contribution to the design was the roof as a playground/classroom. Each of the three units are composed of one sheltered roof and an exposed terrace, where the winding handrails created a mini landscape as a extension of the adjacent park.


Yuan Quan Museum Visitor Centre Design Horizon Architectural Design June - September 2016 Intership Projects Contribution: Design, AutoCAD Drawings, Art Installation.

Yuan Quan Museum Visitor Centre - Anti P.M. 2.5 Protest Installation

As this private antique museum expands, the owner decided to build a small visitor centre. The building is a simple, welcoming gesture that embraces an antique timber house from Qing Dynasty and an open stage can be used for temporary exhibitions and events. The vernacular construction of brick and was inspired by how the material carries the narrative of communities in its tiny difference in texture or ways of bonding. Thus, with help from the client, bricks from a recently demolished factory near the site are collected and reused, forming patterns to lead movements of the bodies or talk with certain exhibits.


The Oxford to Cambridge Connection Idea Competition Project X 21 July - August 2017 Intership Projects Contribution: Mapping, Master Plan.

Instead of the contemporary infrastructural urbanism which heavily relies on the land, we consider the C-O Corridor’ as a broader vertical spatial zone and propose a future urbanism which begins from a hybrid of the drones’ scale of the delivery and the human scale of the domestic. Ten settlements are strategically positioned adjacent to, each settlement has its hybrid typologies of drone-infrastructure and 2500 affordable housings. The contingencies of regional growth will be faced and filtered through seeding an infrastructure oriented by drones’ transportation of houses and delivery of products, with minimised infrastructural footprint. The new settlement starts from conceptually proposed ‘Drone-Forests’ and ‘Drone-Trees’: The ‘Drone-Forests’, serving an area with a radius of 4.25 km, acts as a production & delivery system for CLT prefabricated building components; replaces traditional urban facilities including supermarkets, stadiums, etc. Each ‘Drone-Forests’ looks after max 34 neighbourhoods; while each car-free neighbourhood with a perimeter of 500m, has a secondary ‘Drone-Tree’ at its centre. Integrated with community facilities, the ‘Drone-Tree’ has a spiralling structure to ‘house’ drones. This drones-oriented urbanism takes infrastructure as a tool of resilient production instead of the ecological consumption to trigger a new ecology and economy.

The New Drones-oriented Neighborhood: A Place in a Constant State of Making and Self-organizing

A Plug-in House Type: Reinventing traditional English garden living typology in a vertical organization, linking both semi-private space with cantilevered living laboratories and roof-top drones landing.

Delievered Structural Frame

Pre-established Core

Neighborhood Place-making Plan: Open spaces are diverse in use and meaning without the limitation from traditional traffic infrasturcture on spatial appropriations

Elevated Components

Gina Jiang 2015-18 Work Sample  

Selected academic (BA Architecture with Distinction at ESALA) and Internship Work

Gina Jiang 2015-18 Work Sample  

Selected academic (BA Architecture with Distinction at ESALA) and Internship Work