Studio Folio 2020 Spring

THE UNIVERSITY OF HONG KONG DEPARTMENT OF ARCHITECTURE

YEAR 2 ARCHITECTURE DESIGN STUDIO A HOUSE, A HOME STUDIO SU CHANG

STUDIO FOLIO SPRING 2020

Following the fall semester analyzing canonical modernist houses, this spring the studio revisits the toolbox of modern living and see if we can make use of our collective history. By critically re-examining and borrowing ideas about modernity, details of construction or strategies for organizing spaces, the studio formulates responses to an urgent and contemporary problem: how to re-inhabit the abandoned traditional houses of rural China?

Taking inspiration from the “spontaneous builder�, the studio also considers the role of the architect in relationship to the natural evolution of vernacular architecture. By bringing together two traditions: modernism and the vernacular, it is a process that looks backwards and forwards while questioning the role of the architect. We consider this the beginning of a new design program for rural households, combining industrial and craft techniques in a new functional dynamic, neither rural nor urban, traditional nor modern – but capturing the best of both worlds, signifying a novel approach to sustainable living.

Studio Instructors: John Lin, Roberto Requejo, Su Chang, Lidia Ratoi, Haotian Zhang Assistant: Yi Sun

TRADITIONAL MODERN

Exercise 1 - Design by Collage In this project, collage is not only considered as a means of representation but also as an integral part of the design process.

Each student will collage aspects of modernist house plans or sections into their traditional house drawings. The goal will be to explore potential renovation strategies that arise out of productive “collisions�.

- Make collages of the traditional house and modern houses.

- Each student produces 3 collages in plan, 3 collages in elevation and 2 collages in section.

Deliverables -3 GIFs, each GIF should include one design idea for one house.

-1 PDF of all collages in plan, section and elevation.

Prepared by John Lin and Yi Sun

Exercise 2 - Design by Massing In developing design ideas via sketching one can begin to construct spatial relationship in a short period of time. This project is an attempt to establish a set of tools to use during design process. Students will start designing by sketching ideas by hand, preparing a set of architectural drawings and constructing space three-dimensionally.

- Each student should translate your collages into a set of drawings including plans, sections and elevations.

- Develop massings from drawings. Each student should have a sketchbook and sketch out your design ideas.

Deliverables -Pages from sketchbooks: drawings and sketches of massings.

-A set of drawings including plans, sections and elevations. -1 PDF of all collages in plan, section and elevation.

Exercise 3: Design by Structure The objective of the drawing project will be to produce a large scale line drawing representative of a selected area of the house able to convey the tectonic relationship of its parts.

The following topics will be covered: (1) scope of drawing, (2) modelling preparation, (3) view selection, (4) line weight, (5) line type, (6) annotation, (7) texture / hatching, etc. Drawings are intended to be layered and develop complexity in a cumulatively manner.

Deliverables - Overall worm’s eye view isometric sliced by a vertical cutting plane - Close-up isometric of a selected fragment Prepared by Roberto Requejo and Su Chang

Exercise 4: Design by Narrative In this project you are asked to reconceptualise your design, critically analysing and representing your concept through models, drawings, collages, etc., which shall then be orchestrated into a short film. The film should be treated as the conclusory exercise, comprising all your previous research, from photos of traditional houses, concept of the modernist insertion, collage and all elements that were included in your transformation and adaptation of the traditional house.

Deliverables - A film that narrates your project and design process, using physical models, in combination with multiple representational techniques, including collage, technical drawing, sketch and photo montage.

Prepared by Lidia Ratoi and Haotian Zhang

STUDENT WORK

TAI HIU CHING HAYLEE

ZEBRA-CROSSING HOUSE “CAN WE EXPERIENCE A JOURNEY OF MULTIPLE INTERIORS AND EXTERIORS INSIDE A HOUSE?“

Peripheral House

Core House

Collage Ji Mei Tang + Morris House / Louis Kahn

0

Plan

1

2

4

8

10 m

0

Section

1

2

4

8

10 m

rojection of Plan and Sections

Plan-Section Isometric

isometric drawing

Sectional Isometric

models of the program cores

Study Model

SUEN TAK HEI IVAN

DOUBLE-WALL HOUSE “CAN THE PERIPHERAL WALLS BECOME SPACE FOR LIVING IN?”

Existing House

Collage

TRADITIONAL

THIS PROJECT STARTS BY EXAMINING AND DISSECTING A TRADITIONAL HOSUE TO UNDERSTAND ITS SPATIAL QUALITIES AND DESIGN PRINCIPLES

Collage

Ji Mei Tang + Casa Pireli / Caccia Dominioni

Existing House

Collage

Ground floor Plan

Plan

Massing Studies

Sectional Isometric

Conceptual Sketches

Diagrams

Design Sketches

Re n ov a t i o n (Double-Wall System)

Study Model

Existing House (Single-Wall System)

00

01

02

06

07

08

03

04

05

09

10

11

Scenarios (00-11)

79218 NIVERSITY OF HONG KONG TMENT OF ARCHITECTURE

LAU YIK WAN

ARCH2075 D SU SEMESTER 2,

LAU YIK WAN DAEMON

CROSS HOUSE “CAN A HOUSE EXPAND WITHOUT SACRIFICING CONNECTIVITY AND FLEXIBILITY?”

Alvar Aalto

Plan 1:100

Ji Mei Tang + Villa Mairea / Alvar Aalto

FINAL COLLAGE THE CONNECTED COMMON SPACE OF VILLA MAIREA IS A SPATIAL QUALITY THAT I TRIED TO BRING INTO JI-MEI TANG

15

THIS COLLAGE FOCUSES ON FURTHER EXPANDING THIS HOUSE & IMPROVING CONNECTION BETWEEN COURTYARDS Ji-Mei Tang Fujian

Collage

Floor Plan

S

EACH UNIT INCLUDES A SMALL COURTYARD AND ROOMS TO MIMIC TRADITIONAL DESIGN PRINICIPLES

29

M

ALL UNITS ARE CONNECTED BY LARGE CORRIDORS INSTEAD OF NARROW DOORWAYS TO ENHANCE CONTINUITY

31

L

XL

THE CENTRAL COURTYARD IS MERGED INTO ONE UNIT AS LARGE FAMILES DEMAND MORE PRIVATE SPACES

35

Ownership Scenarios

Individual vs. Collective

Worm-eye View

Design Sketches

Study Model

OUTWARD EXPANSION

EXPANSION

COURTYARD EXPANSION

LINEAR EXPANSION

EXTRUSION

CORNER EXPANSION

FILL

INTRUSION

ELEVATION

VERTICAL GROWTH

INWARD EXPANSION

ORIGINAL MASSING

VERTICAL EXPANSION

Design Sketches

3/F

LAM YAN KIU JOYCE

BOTANICAL HOUSE “CAN A HOUSE GROW WITH NATURE?”

House for Ashley De Silva Geoffrey Bowa

Yong-an Lou Fujian

Plan 1:100

Image of Yong An Lou and its neighbourhood.

Front elevation drawing, 1:100.

Collage Yong An Lou + House for Ashley De Silva / Geoffrey Bawa

Sketches

Sequence of Experience

Plan diagrams - Solid and void relationship.

Plan diagrams - Public and private spaces.

Diagrams

gn - Enclosing nature and Opening up rooms

collective thinking while fully incorporating nature into rooms

Ground floor plan, 1:100.

Open-air public space accessible to the walled backyard.

Ground Floor Plan

Third floor plan, 1:100.

Connecting house with peripheral wall with bridging platforms floating above the enclosed nature.

Second floor plan, 1:100.

Opening up bathrooms and connecting them to nature.

First floor plan, 1:100.

Botanical rooms and public facilities at corners; Living area and bedrooms opened and connected to nature.

Floor Plan 2-4F

Axonometric collage of plan and sections.

Plan-Section Isometric

Section AA’, 1:100.

Section AA’, 1:100.

Section BB’, 1:100.

Section BB’, 1:100.

Section CC’, 1:100.

Section CC’, 1:100.

Section DD’, 1:100.

Section DD’, 1:100.

Sections

Fragment Isometric

02

02

04

04

W a ll an d bo ta W nic all aalnd r oo bo ms tani cal r ooms

Roo fs re movRoo ed fs re mov ed

02

04

02

W a ll an d bo ta W nic all aalnd r oo bo ms tani cal r ooms

05

05

04

Roo fs re movRoo ed fs re mov ed

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08

B alc onies a tBbac alc onies k yar d at backyard

W alkwa y on W wall alkwa y on wall

05

08

05

B alc onies a tBbac alc onies k yar d at backyard

08

W alkwa y on W wall alkwa y on wall

Design Iterations

YIP KWAN CHI CASEY

OPEN HOUSE “CAN A COURTYARD HOUSE EMBRACE THE LANDSCAPE?”

ollage Plan :100

Collage Yong An Lou + Villa Wehtje / Josef Frank

Collage Plan 1:100

Open House Fujian

Collage Plan 1:100

Open House Fujian

Collage Plan 1:100

Open House Fujian

Plan 1:100

Villa Wehtje Sweden

Digital Modelling Final Design

Open House Fujian

Worm-eye View

c Models

Open

Design Iterations

King Chin Hang Christie

FLOATING CORRIDORS “CAN THE CORRIDOR BECOME A SPACE FOR GATHERING?”

Image.

Corridor as a space to connect with the outside.

Image.

T i m b e r a s t h e m a j o r m a t e r i a l i t y; O p e n i n g s f a c i n g the courtyard.

Collage Yong An Lou + Diamond House / John Hejduk

Fa m ily 03

Fa mily 04 Family 02

Fa m ily 01

7

Ownership Division

Individual - Collective

Design Iterations

Section

FLoor Plans

Isometric

Configuring the Corridor Space

ces f or g athering

ces f or g atheri ng

O r igi na l s pa c e f or ga t her i ng Or i gi n a l s pa c e f or ga t h e r i n g

1/ F New s pa c es f or ga t her i ng

G/F new sp ace s fo r g at h e r in g

1/F New spaces

G /F new s pa c es f or ga t her i ng

2/F New sp ace s fo r g at h e r in g

3/ F New s pa c es f or ga t her i ng 2 /F New s pa c es f or ga t her i ng

3/F New spaces

Orig inal sp ace fo r g a t h e r in g

1 /F Ne w s pa c e s f or ga t h e r i n g

3 /F Ne w s pa c e s f or ga t h e r i n g

18

18

LILY LU

HOUSE WITH UNDERGROUND BEDROOMS “CAN A HOUSE BECOME A PART OF THE AGRICULTURAL LANDSCAPE?”

Tugendhat House Ludwig Mies van der Rohe

An-Zhen Bao Fujian

Plan 1:75

Collage An Zhen Bao + VIlla Tugendhat / Mies van der Rohe

Tugendhat House Ludwig Mies van der Rohe

An-Zhen Bao Fujian

Plan 1:75

N

0

2

5

10 M

SIte Plan

0

1

2

5M

Anzhen Bao (1885)

Villa

Upper Ground Floor

Open Living Area and Terraces

Section

Lower Ground Floor Bedrooms

Massing Studies

Traditional + Modern House

00 Original House

01 Split Levels

02 Open Ground

03 Elevated Extension

04 Semi-Enclosed

8QL˨HG 5RRIWRS

2YHUORRNLQJ 5RRIWRS

07 Sunken Courtyard

08 Continuous Courtyard

09 Portal House

Massing Study

Sectional Isometric

Model Photos

The House with Underground Rooms

28

Study Model

HYEWON JUNG

HOUSE OF MEMORY “CAN A HOUSE CHOREOGRAPH THE COLLOQUIAL ACTIVITIES WITHIN THE COMMUNITY”

Section A

Collage An Zhen Bao + Glass House / Lina Bo Bardi

Section A

Section B

Section B

Section C

Section A

Section B

Section C

Front Yard

Public, com

AN-ZHEN BAO Fujian Learning from traditional precedents Community scale house

Front Court

Connection in the hous meeting pla

Front Front Yard Yard Public, community-wide events Court Public, Front community-wide events

Main Cour

Courtyard of the hous main space

Side Court

Occasiona residents, leading to o

Front Front Courtyard Courtyard

Connection Connection to to other other courtya courtya in the house, kinetic, occasio Front kinetic, Yard occasio in the house, meeting meeting places places for for residents residents

Main Main Courtyard Courtyard Courtyard in front of the he Courtyard in front of the he of the house, extension of Main an Yard of the house, an extension of main space main space

Side Side Courtyards Courtyards Occasional Occasional meeting meeting places places Sideopen-air Yard residents, residents, open-air corrid corrid leading to other parts of the leading to other parts of the hou hou

Photo Analysis

Open Space and Communal Activities

Ground Floor Plan

Ground Floor Plan

2F Floor Plan

Upper Floor Plan

Fragment Isometric

Design Sketches

SHAO YIHAN HANNAH

PERISCOPE HOUSE “CAN A HOUSE BECOME A DEVICE TO EXPERIENCE THE LANDSCAPE?”

Collage An Zhen Bao + VIlla Tugendhat / Mies van der Rohe

View Collage

Mies Collage & Image from An-zhen Bao

Interior Collage

Mies Columns & Image from An-zhen Bao

Perspectival Collage

Expansion vs. Depth

Oblique Slicing

From bottom to top

Section Drawing 1:100

Section

Upper Floor

Floor Plan 1:100 Second Floor

Floor Plan 1:100 First Floor

Floor Plans Floor Plan 1:100 Ground Floor

Mezzanine

Gournd Floor

Fragment Isometric

Design Iterations

Section Model

Study Model

Process Model

Construction Process

LI WANZE AVERY

HOUSE WITH SLOPED ROOFS “CAN THE SERVICE SPACE BECOME DEVICES FOR SUN, WIND AND RAIN?“

Collage An Zhen Bao + Goldenberg House / Louis Kahn

Detail Section

Restroom and Kitchen

Fragment Isometric

Plan

Sections

Study Model

Design Sketches

BAO YUCHEN JENNIE

HOUSE FOR WANDERING “CAN A HOUSE BECOME A GARDEN FOR WANDERING?”

Collage Baohe Taihe Zhai + Glass House / Lina Bo Bardi

Section

Plans

Plan-Section Isometric

Design Iterations

Study Model

Sectional Isometric

JESY LAU

TRANSVERSE HOUSE “CAN WE CREATE AN EXPERIENTIAL WAY TO TRAVEL IN A COURTYARD HOUSE?”

Site photo

Louxiacun Fu’an, Fujian

Collage Baohe Taihe Zhai + Glass House / Lina Bo Bardi

Plan-Section Isometric

Sections

Sectional Isometric

Study Model

Design model

Visual representation of people

CHAN SUM YU CHRISTY

HOUSE WITH A PLATFORM “CAN WE EXPERIENCE A TRADITIONAL COURTYARD HOUSE UPSIDE-DOWN?”

Collage Baohe Taihe Zhai + Atelier Ozenfant

Sectional Isometric

Structural Analysis

Section

Upper Floor Plan

This lecture interrogates the potential of worm-eye-view axonometric as a tool for assembling structures and rethinking the design questions encountered in the design exercise. The goal is to synthesize our understanding of structure, the procedures of representation, and the process of design.

The presentation consists of three parts: - Setting out Columns: the Question of Symmetries - Assembling Roof Undersides: the Question of Order - Defining Covering and Expanses: the Question of Boundary

SUPPLEMENT: STUDIO LECTURE

Three Structural Settings and Their Architectural Questions

DESIGN BY STRUCTURE II: three structural settings and their architectural questions

Drawing of Chinese Wooden Construction, Auguste Choisy, 1899

Plan of a Beijing courtyard house

Plan of the Schindler House by R.M. Schindler

The timber construction of a courtyard house

Tilt-up Structural Panel of the Schindler House

In the previous lecture, we discussed the protocols for creating an upward axonometric drawing (worm-eye-view). In the following presentation, we will interrogate the potential of this representation format as a tool for assembling structures and rethinking the design questions we encountered in the previous collage exercise. The goal is to synthesize our understanding of structure, the procedures of representation, and the process of design.

Our discussion consists of three parts: -

Setting out Columns: the Question of Symmetries

-

Assembling Roof Undersides: the Question of Order

-

Defining Covering and Expanses: the Question of Boundary

Plan of House on Jianguo Road South, Wang Da-hong

Setting Out Columns: The Question of Symmetries

Plan of a Beijing courtyard house

Most of the traditional houses in China (and East Asia) are governed by a set of orthogonal axes, creating a strong sense of symmetricality and ordered directionality in terms of spatial layout. In most of the modernist houses we studied, however, spaces are usually asymmetrical - the layout reveals the spatial logics of the programs (functions, public/private divides, etc), often influenced by the then latest technologies (cars, glasses, etc), highlighting the multidirectionality of movement in space.

Plan of Three Courts House by Mies Van der Rohe

Note the two columns are symmetrically placed with the roof slightly cantilevered out, creating a similar sensation to that of a Chinese courtyard house; while the choreography movement inherited the Miesian tradition.

Can the layout of your axonometric drawing relate to that of the structural set out of your project? Can the organization of drawing in paper space integrates the orientation, direction and symmetries of the the two seemly incompatible systems (the traditional house vs. the modernist intervention)?

Plan of House on Jianguo Road South, Wang Da-hong

The problem of the roof is often regarded as one of the key design issue in modern movement. However, most of the debates were centered around the surface above - what happened to the undersides? In traditional Chinese architecture, the beam-purlin-rafter hierarchy creates a three-dimensional assembly, suggesting a modulation of depth in space.

The worm-eye-view drawing presents an opportunity to take a close look at the roof assembly from below, and to study the potential hybrid of these two different notions of space in its vertical dimension.

Plan of House on Jianguo Road South, Wang Da-hong

The diagonal pathway in the middle of the courtyard is oriented upward in the paper space as a spatial indicator for the drawing, highlighting the spatial tension between the orthogonally built structure and its diagonal circulation.

Axonometric drawing of the courtyard garden, Katsura Imperial Villa

Ronald G Knapp, China’s Old Dwellings

Dou-gong drawing, Liang Si-Cheng, A Pictorial History of Chinese Architecture

Contemporary architecture design guidelines always biased towards the

covered ceiling (aka. the vented attic), renouncing the spatial quality of the pitched roofs: whatever happened in the attic, stay in the attic!

Note how drawing lays out the two spatial indexes: the formal symmetry of the plan (oriented 45 degrees following the axonometric format) and the asymmetrical location of the access and the chimneys (oriented vertically in the paper space).

Axonometric drawing of the Florey Building, Oxford (1966-71), James Stirling and Michael Wilford

Sometimes, modern architecture have very ordered reflective ceiling plans (obliged to the construction techniques they used)...

Assembling Roof Undersides The Question of Order

RCP of Mies’s National Gallery in Berlin

RCP of Louis Kahn’s Yale Art Gallery

… while in traditional architecture (especially in vernacular dwellings), the roof undersides present an unruly sensation, indicating the building’s adaptation and expansion overtime.

Defining Covering and Expanses The Question of Boundary

Axonometric drawing of Katsura Imperial Villa

The orientation of the purlins suggests the different pitches of the roof assemblies and indicates the changes of the vertical depth.

Note the orthogonal under-ceiling of the “attic” space and the pocketed walls around it, creating a spatial sensation that is very close a modern one.

Jørn Utzon’s 1962 sketch describes the spaces in traditional Chinese (and East Asian) as both covered and expansive, different from the absolute notion of boundary in modern architecture. If enclosure is inevitable (for any forms of shelter), how could the axonometric drawing describe the different modes of opening in your project?

Axonometric drawing of the Geppo-ro Pavilion, Katsura Imperial Villa

The concrete slab becomes the upsidedown new “ground” for the metabolist living module and stairs.

Sky House by Kiyonori Kikutake

Sky House by Kiyonori Kikutake

The central column of Kazuo Shinohara’s House in White is masked by a “modern” white ceiling. The concealing of the structural assemblies of the roof eliminates the column’ structural significance while intensifying the spatial order that the column implies.

Note how the four corners each assemble a different sense of opening and enclosure: the open corner / the half-open corner / the solid corner / the pocketed corner (with openings on both sides).

Axonometric drawing of the Shoka-tei, Katsura Imperial Villa

The corner that is pocketed in the plan has permeable walls on both sides, inverting the deep interior corner into an extension into the nature.

The low walls physically contain the space of the pavilion while allowing the inside-outside continuity. The asymmetrical design also corresponds to the pinwheel layout of the benches.

Axonometric drawing of the Four-bench Pavilion, Katsura Imperial Villa

Axonometric drawing of the Shokin-tei, Katsura Imperial Villa

Helou Pavilion 何陋軒 by Feng Jizhong 馮紀忠 The abstracted details diminished their structural

implications while signifying the spatial sensation of

Helou Pavilion 何陋軒 by Feng Jizhong 馮紀忠

both covering and expanses from within.

Gridded columns

rotating ground planes curvy low walls and topography

Helou Pavilion 何陋軒

by Feng Jizhong 馮紀忠 Multiple directionality in plan

different modulation of depth in section

spatial covering and expanses and a strong perspectival sensation

Entrance of Helou Pavilion 何陋軒

by Feng Jizhong 馮紀忠

The masked details become a set of abstracted

notation hinting the modulation of space from above

REFERENCE - TEXT Fei, Xiaotong, Gary G. Hamilton, and Wang Zheng. From the soil: The foundations of Chinese society. 鄉土中國 University of California Press, 1992.

Dai, Jinhua, and Judy TH Chen. “Imagined nostalgia.” Boundary 2 (1997): 143-161.

Knapp, Ronald G. China’s old dwellings. University of Hawaii Press, 2000. https://books.google.com.hk/books/about/China_s_Old_ Dwellings. html?id=W1rGDwAAQBAJ&printsec=frontcover&source=kp_read_button&redir_esc=y#v=onepage&q&f=false REFERENCE - DOCUMENTARY Long Ji 龙脊(1994)- in Chinese only Chen Xiaoqing 陈晓卿 https://www.youtube.com/watch?v=nLIVTZE6rOY Dong 东 (2006) Jia Zhangke 贾樟柯 https://www.youtube.com/watch?v=WpIhuY65rc0&t=211s Last Train Home 归途列车 (2009) Fan Lixin 范立欣 https://v.youku.com/v_show/id_XMTc3MjY5Nzk1Mg==.html?spm=a2h1n.8261147.0.0 Three Sisters 三姊妹 (2012) Wang Bing 王兵 https://www.youtube.com/watch?v=x4L4WULm2QY&t=3162s

Village Diary 乡村里的中国 (2013) Jiao Bo 焦波 https://www.youtube.com/watch?v=BaG6QpMF-ag https://www.bilibili.com/video/av30706482/ Taobao Village 淘宝村 (2019)- in Chinese only Jiao Bo 焦波 / Li Menglong 李梦龙 https://www.bilibili.com/video/av63759867/ REFERENCE - MOVIE A Grandson from America 孙子从美国来 (1992) Qu Jiangtao 曲江涛 https://www.youtube.com/watch?v=_x_OkaVQdyg&t=4317s

STUDIO GUESTS Sony Devabhaktuni / HKU Eunice Seng / HKU Ying Zhou / HKU Fu Yun / Harvard GSD Tamotsu Ito / ETH Zurich Studio Momoyo Kaijima Lauren Kogod / Cooper Union Meng Li / ETH Zurich Studio Christ Gantenbein Stephanie Lin / Cooper Union Li Tianying / Cooper Union