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倀伀刀吀䘀伀䰀䤀伀 夀䤀 匀䠀唀

匀吀䄀䜀䔀 ㈀  ㈀ ㄀㔀ⴀ㄀㘀 


CONTENTS

CHARRETTE

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AP2 SEMESTER 1 DESIGN SUBMISSIONS P2.3 AT HOME IN THE CITY 1. study type 2. Leith 2025 3. Dwelling plus 4. Inhabit

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AP3 SEMESTER 2 DESIGN SUBMISSIONS P2.4 ENGINEERING EXPERIENCE

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P2.5 EXPORING EXPERIENCE

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CRAFTING ARCHITECTURE AP4 Non-design module coursework 2009 Architectural technology 2010 Envionmental design and services 2011 20th century architecture 2023 the place of houses 2020 dissertation studyis and research methods

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Feedbacks

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CHARRETTE

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CHARRETTE NEWBRIDGE PROJECT 05-09.10.2015

DAY 1 IMMERSION Firstly, the group was introduced to the Charrette, building and organisation that would be working throughout the week; the NEWBRIDGE PROJECT studios in the city centre of Newcastle. This included a visit of the five stories building, which had been appropriated by artist in a variety of ways, to enable them to work in their idiosyncratic ways. As a group of ‘Shadow studio members’. We embarked on an initial visit of five different artists. The intention of this ‘immersion’ was to observe their divers working processes and choose one to base our installation on. At the end of the long day, the groups had a conversation about the different working methodologies of the artists. This open debate allowed for interesting opinions about our ‘VISION’ of the New Bridge Project site. DAY 2 OBSERVATION On the second day we attended a workshop with our preferred artist: Ben Houghton. This workshop included fabricating contact mics in order to listen to the sounds buildings and material make on contact. Furthermore, we recorded the sound of the iron fire-escape, and added creative writing alongside it to create a metaphor. His artistic interests were varied, but vaguely involved trying out novel ways of seeing the world, through sounds, film and collections. We liked this variety of processes as a distilled version of the collective of 80 artists of the New Bridge Project. His methodology of working and looking at the world influenced our conversation about the brief and how to respond to it. In essence, we developed an idea to represent the collective as interative installation,

DAY 3 COLLECTION The highlight of the third day was the collection of artefacts and fragments from the New Bridge project building to transport and translate them into our installation back in the architecture school. The object of our installation had been to create an interface that reflects the artists’ chaos and translates this into order. Room individuals they soon become a collection. DAY 4 COLLATION Thursday included the preparation and further definition of the strategy we wanted to employ for our installation. As a group we discussed our strategy further, clarified it and divided specific tastes between ourselves. This resulted in a decision to rationalise our initial idea and create a selection of fragments found within the building. This would serve as a sort of collection of meaningless objects. Meaning would be brought to the selection through spraying the objects in a consistent manner – blue, yellow, pink. ‘Colourless’ the objects lose part of their meaning and take on a comparative relationship with each other. The recycled carpet tiles found on site serve as display platforms, work platforms. These contain the physical embodied memory and traces of what once existed in the process of making. DAY 5 EXHIBITION On final exhibition our group further curated the installation: we choose to display the selection of miscellaneous fragments in a 3x3 format on the ground with the traces pinned to the wall. The objects reflect rigour and organisation required in the exhibition or curation process, while the traces on the wall seem to be randomly organised demonstrating a chaotic past. Perhaps this exhibition piece reflects the inner working of the New Bridge Project; it is after all a collection of artists, seemingly all different, but working towards similar goals.

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AT HOME IN THE CITY

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STUDY TYPE “The mass of domestic buildings... Home to everyone elese and which together constituted housing.” ----GRAHAM TOWERS

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SITE AND CONTEXT The borough of Lewisham is one of the largest boroughs of London, with over 96,000 residents. Roger Godsiff was the mayor from 1974 to 1978, meaning the project was one year into its construction, when Godsiff finished his mayoral time. In the 1970s there was a need for more housing in Lewisham however the majority of the sites left free of development were troublesome for a normal construction. They were sloping, soft soiled sites with a large number of mature trees which the council were reluctant to remove. One council member, Colin ward, had read and studied Walter Segal’s timber house method, and approached him with the idea of offering families and individuals on the council’s housing waiting list the chance to build their own houses.

those there are belonged to the council although a number of them are now privately owned.

The centre of the borough is only six miles from the centre of London, but with even this small distance there is a massive increase in the amount of green spaces. A small river and lake within the land, but also the spaces around the Saint Augustine Church across the Honor oak park,. The area around our site, is almost 50% Christian. The next largest religion in SE23 is Islam, but with only 5.1% of the people stating themselves as Muslim in the 2011 census is it still a minority in comparison to Christianity, and the none-religious (31.7%). This is significant to the local area as there are a lot of Christian organisations within a very short distance, Also in the late nineteenth century part of the land of Walter’s Way belonged to a vicarage, before it became a normal house.

This is when the majority of the terraced houses were built on their controlled lines in the right of this image. Lewisham continued to grow and a lot of the semi-detached houses we see were built or later converted from being detached houses, to show the economic success of some of the town’s residents. It was also in the 1960s that the flats to the west and west east of the site were built.

As can be seen in the maps of the area from the 1890s, the semi-detached houses close by were originally built as detached buildings, but from the 1950s to 1960s the buildings were converted. However the largest change to this area was around the start of the WWtwentieth century. The industrial revolution was underway, and the increased industry needed and increased work force around the large cities, such as London. In Lewisham there was a great effort to build many houses to draw people from the fields of the country to the furnaces of the city.

Close to Walter’s way there is a strong mix of housing types, but most notably an increased number of large detached houses. However where Segal’s detached houses were built reservedly, the other detached houses are the same size as a lot of the semi detached housing pairs, so in this way, and in their relative closeness to one another in comparison to the Within Forest hill, the division of Lewisham in which Walter’s Way is large gardens of the other houses, Segal’s buildings were almost more found the majority of the buildings are either terraced housing, in red, or similar to the semi- detached and terraced houses. semi-detached housing, in blue. There are not many areas of flats and

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The area around the north of the SE23(postcode). Although originally it being a smaller sttlement. This part of Lewiham is now a bustling town.

The housing makeup from the edge of the old camberywell cemetery to just over the railway tracks.

This shoes the irregularity of the space that the architects had to house thirteen dwellings, which would feel the community but remain private respite that close quarters.

This diagram shows the sun path on the site through the years, as expected the majority of the sunlight, therefore, solar gain, comes from th south of the plan.

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TANALYICAL DIGRAMS SPATIAL CONFIGURATION OF PUBLIC AND PRIVATE SPACE

The two initial aims of this small scale housing development were to create affordable community housing and use a plot of land that had been classed as “unusable�. The Segal Method completes theses aims through arrangement and construction. Simple, repeated design can easily look repetitive and boring. Segal created the basic house and offered 19 options for people to pick and choose from. These extra options included conservatories, patios, porches and larger kitchens. These gave individuality to the houses and created a space that was more suited to the needs of the inhabitant. While this worked practically it also looks aesthetically pleasing when looking at the street as a whole. It gave the street variety and contrasted against the typical modern housing scheme of repetition and large scale. One to highlight the variety internally and the other externally.

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STRUCTURE STUDY WALTER SEGAL SELF-BUILD CONSTRUCTION METHOD

KEY ATTRIBUTES: Designed so that anymore with basic skill and knowledge of using tools such as saws, hammers and drills can build a house. The method includs no use of wet construction trads, such as brick laying and plastering. It relies on standard sizes of materials and components. Almost like a jig saw. Each coponent slots into place.

This timber frame construction form is the cheapst and easiest to build. The roof perimeter simpliy follows the plan shape, and posts are diposed along the frames to suit structures and planning requirements.

THE METHOD: Foundations are point blocks of concrete. 600m x 600m. The depth is dependent on soil conditions. These point blocks use less material than strip foundations and there is no oversite used. The next stage is the walls. These are simple. Timber uprights that are all cut to size before reaching site. A basic timber grame. The roof is usually a flat roof with mainly layers of felt, which of their allows for gaerden roofs. Pre-made flooring is then laid. As with all components they are made to size and slot in place. Exterior walls are attached. These are in a basic panel form, which are laready prepared for external weathering. The house is now air and water tight. Final touches are then made. At the self-buiders choice. The inside layout is chosen by the self-builders, simple by placing light light partition walls wherever needed.

THE RESULT; Flexibility: the self-builder can arrange the house to their exact specification. Environmentally friendly: using lots less material and labour than standard construction. Cost: much cheaper than other methods to reach the same product.

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PLAN SKETCHUP

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SECTION

semi-public private

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The key aspects that came to mind when thinking

about Walters Way were; the community inhabitation, the eco friendly and readily available materials used and the adaptability that came with self building. The collage above shows the community atmosphere of the project through the three stages of Walters Way; building together, forming a neighbourhood and the annual street party. This sketch shows the materiality, form and variation of the buildings. You can see that this house had an extra patio which was also built with timber. The form is continuous from the basic house, using cubic, modular structures.

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LEITH 2025 “Prehaps the most dangerous aspect of the large scale urban gesture is the way that it purports to be extraordinary, when in fact its ulimate manifestation is often overbearing in its triviality.� ----JEREMY TILL

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HISTORY Leith is located on the Firth of Forth in south east Scotland. It was

The Shore developed a clutch of upmarket restaurants, including

for many centuries Scotland’s premier port. In 1833 it became a

the second of the chain of Malmaison hotels in a conversion of the

separate burgh with its own Town Council. It became part of the City

former “Angel Hotel”, a seaman’s mission, whilst the once industri-

of Edinburgh in 1920.

ally-polluted and desolate banks of the Water of Leith were cleaned up and a public walkway opened.

While the story of Leith is in part the story of Kings and Queens, Merchants and Mariners, it is more the story of the ‘ordinary’ people

Leith’s gradual revival was also helped by the decision of the then

who lived in Leith and worked in its docks and industries - often in

Scottish Office to site their new offices in Leith Docks (just north of

conditions that we would regard as intolerable nowadays.

the old infilled East Dock). The site was chosen as part of a designand-build competition against other sites at Haymarket and Mari-

The history of Leith has something to offer both to people interested

onville. It was completed in 1994. The hoped for influx of well-paid

in Leith itself and those who are interested in social, maritime,

civil service jobs failed to have much local impact as most com-

industrial and transport history.

mute to the office, and only a small percentage venture beyond the confines of the office during lunchtimes. It did further foster Leith’s

After decades of industrial decline, deindustrialisation, slum

growing reputation as a white-collar, small business location. Fur-

clearance and resultant depopulation in the post-war era, Leith

ther large-scale service and tourist development followed, including

gradually began to enjoy an upturn in fortunes in the late 1980s.

the Ocean Terminal complex and the permanently moored Royal

Several old industrial sites were developed with modest, affordable

Yacht Britannia. The plan to connect Ocean Terminal and the Scot-

housing, while small industrial business units were constructed at

tish Executive building area by the new Edinburgh Trams by the Port

Swanfield, Bonnington, Seafield and off Lindsay Road.

of Leith tram stop has been shelved.

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RELATIONSHIP BETWEEN SHIPYARD AND SURROUNDINGS

TIMBER TRADE ROUTE ON SITE 20


Building Height

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contrast of historical site

contrast massing

contrast road

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SECTION

Section AA

Section BB

Section CC

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ELEVATION

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LIGHTING

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LIGHTING

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TRANSPORT AND USES

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VEGETATION

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ROUTES

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NOISE The noise around the the side is quite loud. The cornors’ noise is around 80 to 90dB. 80 to 90 dB is not suitable for redisential area. There will be hearing damage after long exposed to outside. Inner part is 50 to 60 dB, which is fine for residents to stand there.

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MASTERPLAN

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FINDING OBJECTS 34


DWELLING PLUS “Domestic life is not compliete until one is also assimilated into the community through participation in social conventions, rituals and shared beliefs. This interchange between group and place invites the telling of stories and the creation of myths.� ---- K BOSMA, D.V HOOGSTRAATEN, M VOS

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APOLOGIA

After interview with local people in Leith, lacking of public green area is the main problem. My

design is mainly focusing on separating the public and the private spaces, as well as to increase the green areas and create semi-public green areas. By using the different height of building which I designed and the building at the back which changed in the future and three stories height, to create semi-public feeling. In comparison with the block building, the shape of the semi-public green area is way different from the building itself. Furthermore, semi-publish green area is space for people to chat and interact with each other in those area, though roof garden is much more private green area just for people who live in this block. Roof garden is developed in detail and it can be changed or re-decorate by dwellers themselves. Staircases is the most attractive object in every design, thus staircases designed as a whole surrounded by glazing to highlight the staircases. The studios mainly for couple with kitchen space and the special part of the design, where will a tiny little door porch space at the entrance. It is not only for them to put shoes. It is also create a step-in space to make the studio more private. After enter the room, there will a storage space between entrance and kitchen. In addition, there will be some glass screen to protect the smoke. There different from the studios on the third floor, the rooms on the second floor are en-suite rooms. They will have a combined common room with kitchen and courtyard. Moreover, there will windows on both second and third floor to lighten up the corridor to avoid relaying on artificial lights. Double glazing will be used before enter the corridor as well. It will bring a feeling of walking through from a large space into a small but private space. Timber columns sit on the first common room space. Although they smaller the space a little bit, they give a step in feeling to separate the public area on the ground floor and private residential space. Exterior material will be different from the ground floor and the upper floor. Different type of stone cladding will be used and in different colours as well. It is much dear to separate the public and private.

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SITE PLAN

The design for dwelling plus project will floor the masterplan in Leith 2025 and make some changes on that plan. The flats behind chosen site will be knocked down in this masterplan. It will become 3 stories floors building. The design block will be 4 stories height and combined with the flats behind to create a semi-public feeling green area.

The design is mainly focus on seperating private and public. Thus on this masterplan. there will be public car park place as well as private car park places. the green areas are designed to solve the problem which were found in Leith 2025 project. The pink area will be the new building. The building in red circle will be the selected site.

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GROUND FLOOR PLAN 1:200

GROUND FLOOR ON SITE The semi-public green area is designed to solve the lacking of green area and place for them to interact each other. Compared with semi-public green area. The roof garden is also designed for even more private space. The shape of the green area is to make contrast with the block building, as well as to make the site more intersting. Ground floor plan It is the semi-public space include gallery, artists’ studio, community space and a lobby for people to chat and have lunch break together. A space for people to interact with each other.

FIRST FLOOR PLAN 1:200

First floor plan on site This is a semi-public space mianly for second floor people. It combines kitchen and common room with small courtyard.

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Ground floor plan

Second floor plan

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SECOND FLOOR PLAN 1:100

SECOND FLOOR PLAN ON SITE There are six ensuite rooms. Those people who live in these rooms will share the coommon room downstairs.

THIRD FLOOR PLAN 1:100

THIRD FLOOR PLAN ON SITE This is the plan for couples these are studio area. There will be a removable screen at the kitchen area to prevent smoke. There will be a small space before enter the room. This is not only to put shoes or storage clothes, but also gives a step in feeling but increase the sense of private.

ROOF GARDEN PLAN 1:100

ROOF GARDEN PLAN ON SITE To have a semi-public green area. Then roof create even much more private feeling of green area.

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Second floor plan

Third floor plan

Roof garden plan 46


The main idea is to separate the private and public space. Thus artists’ studio and art gallery space on the ground floor as the semi-public space. On the first floor is relatively private but still semi-public for those people who live in the building. Then upper two floors are much private residential area.

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SECTION 1:100

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MONTAGE 54


INHABIT “Dwelling is indissolubly linked with building, with forming the protective environment. There two notions cannot be separated, but together comprise the notion of man housing himself: Dwelling is building.� ____ N. J HABRAKEN

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SITE PLAN 䴀䄀匀吀䔀刀 倀䰀䄀一 䜀刀伀唀一䐀 䘀䰀伀伀刀 倀䰀䄀一 伀一 吀䠀䔀 匀䤀吀䔀 

䌀䄀刀 倀䄀刀䬀 䄀刀䔀䄀

倀唀䈀䰀䤀䌀 䜀刀䔀䔀一 䄀刀䔀䄀

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EXPERIENTIAL STUDIES

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FLOOR PLAN 1:100

GROUND FLOOR PLAN

FIRST FLOOR PLAN 59


After interviewed local people in Leith. Lacking of public green area is the main

problem. The design is mainly focusing on separating the public and the private spaces, as well as to increase the green areas and create semi-public green areas. By using the different height of the building which I designed and the building at the back (changed in the future. 3 stories height) to create semi-public feeling. In comparison with the block building, the shape of the semi- public green area is way different from the building itself. Furthermore, semi-public green area is space for people to chat and interact with each other in those area, though roof garden is much more private green area just for people who live in this block. Roof garden is developed in detail and it can be changed or re-decorate by dwellers themselves. Staircases is the most attractive object in every design, thus staircase designed as a whole surrounded by glazing to highlight the staircase.

RENDERED FIRST FLOOR PLAN 1:100 60


FLOOR PLAN 1:100

SECOND FLOOR PLAN

THIRD FLOOR PLAN

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Tmber columns sit on the first common room space. Although they smaller the space a little bit, they give a step in feeling to separate the public area on the ground floor and private residential spaces. Exterior material will be different from the ground floor and the upper floors. Different type of stone cladding will be used and in different colours as well. It is much clear to separate the public and private.

These studios are mainly for couples with kitchen space. The special part of the design, where will a tiny little door porch space at the entrance. It is not only for them to put shoes, it is also create a step-in space to make the studio more private. After enter the room, there will be a storage space between entrance and kitchen. In addition, there will be some glass screen to prevent the smoke. Whilst facing south studios will have balconies, the studios which facing north will be slightly bigger than south studios. Different from the studios on the third floor, the rooms on the second floor are en-suite rooms. They will have a combined common room with kitchen and courtyard. The rooms on the second floor are only for 1 to 2 people to stay. Moreover, there will windows on both second and third floor to lighten up the corridor to avoid relaying on artificial lights. Double glazing will be used before enter the corridor as well. It will bring a feeling of walking through from a large space into a small but private space.

SECOND FLOOR EN-SUITE ROOM

THRID FLOOR FACING SOUTH STUDIO

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FLOOR PLAN 1:100

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MODEL 1:100 64


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猀攀挀琀椀漀渀 ㄀㨀㔀 

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ENGINEERING EXPERIENCE THOUGHT IN MOTION

The two clips of film allocated to Studio B - Group ii, Perfume and Labyrinth are both films that play with the mental fragility of the characters. In Perfume the main character, Grenouille, falls in love with the smell of a girl, as apposed to the girl herself, showing what we percieve as a mental infragility. In contrast to this, in Labyrinth, Jareth the Goblin King, played by David Bowie, uses the Escher inspired staircase and the play with gravity to confuse the viewer and again create a state of mental infragility. The installation is centred round a gyroscope which is intended as a metaphor for a confused mind. This links into the adjoining film created around the mental infragility of a person and their misunderstanding of their own identity.

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1

Perfume: The Story of a Murderer (2006)

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2

Labyrinth (1986)

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EXPLORING EXPERIENCE ROLLER COASTER Digital and online gaming is big business, with gamers able to turn professional and eSports competitions attracting

prominent sponsors and hordes of fans alike. Whilst these competitions are predominantly viewed online, they are hosted in large arenas and the games themselves are now beginning to take advantage of technological developments which blur the lines between real and digital environments, thus providing an emerging opportunity for architecture to embody gaming in a much more physical sense.

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APOLOGIA The studio B in exploring and experience project is to design a building related to gaming. There are two site options: site 2 and

site 5. I chose site 5 as it is a hidden site this provides a good chance to design something attractive to lead people into this site. In addition, site 5 has a great view of sea. The first game came to my mind is Virtual Reality. After research most popular VR games, I decided to choose Roller Coaster and Motorbike. I had experience of gaming exhibition which was held inside a wide and open factory in Shanghai. I decided to use steel frame as my main structural strategy. I was really into conceptual architecture, the way Toyo Ito uses abstract forms in his Sendai Mediatheque. At the beginning I designed a steel framed structure for the roller coaster (as I choose this game) which led me towards designing my faรงade and ultimately giving a shape/ form to my design. Then I thought why not take the roller coaster element and abstract it similar to the style of Toyo Ito. Roller coaster is all about structure and stability, the columns directly support the rails from the ground which maintains a stable and solid form. I wanted to make the structure of my building bare for people to see and experience the structural qualities of the building. My main idea for the interior is not just to provide a chance for people to play the VR games, but to experience it differently. So I made 3 exhibition space on my ground floor in which the gamers and the people can all together experience live gaming in real time with the aid of light installations.

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FLOOR PLAN 1:200

GROUND FLOOR: Right hand side door led people to the reception area ask for information. The ground floor is mainly exhibition area. The Arch columns separate the ground floor into 3 parts. Virtual Reality is all about new technology and this will be main idea to gather all the new technology into the design. There will be a light installation area. Different heights of lights control by computer. They normally appear in performance. The second one will be motorbike area. Real motorbikes will bring into the site with different length of lights to create a waving feeling. The top of the lights are screen and project the gaming scene that players are playing for people to have same experience. However, the Virtual Reality game of Motorbike that plays with real motorbike is still developing and hasn’t realised yet. Nevertheless, it is awaked to see other people use the Glass to play the game. Thus the last part is relatively private shelter for them to actually play different kind of VR games. PLATFORM: Platform is to connect the ground floor and first floor, including auditorium.

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GROUND FLOOR PLAN

PLATFORM PLAN

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FLOOR PLAN 1:200

FIRST FLOOR: First floor connects with the existing building. There is cafĂŠ on the first floor and open balcony. From the auditorium to the first floor, on the right hand side. There is a space as second platform for people to see the screen. On the left hand side is the cafĂŠ and its kitchen is in the existing building with storage room and staff toilet. There will be a public unit toilet in the existing building. The open balcony is designed to have the view of the sea.

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SECTION 1:100 84


DETAIL SECTION

The steel construction is used in this design. I was considering concrete construction, yet, the outer columns is too long and concrete will break from the middle.

The arch columns with ‘V’ shape beams on the ground floor is not only just supporting the upper floor, but also separate the space. The staircases are made from light weight steel panels connect with steel beam hanging from upper floor. This structural idea is from the Q by Jonathan Segal FAIA in 2010. The roof structure is made of light metal sheet, gap to collect water, then glazing, insulation and finishing. To solve the problem of no internal column on the first floor, long beams crossing the outer columns will be used in the design. The main idea is to design outer columns to support roof without interior columns on the first floor.

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The staircases are made from light weight steel panel. It connects ground floor and first floor with platform. The staircases is holded by light weight steel column and also holded ‘V’ shape beams.

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This is the auditorium.

The staircases are also used as seating area. There is a projector on the top roof. There is another small platform people can stand on and look from the top to watch screen There are lot of people enjoy looking at other people playing games. Thus the scenes of the games that people are playing on the ground floor will be projected on the screen.

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DETAIL

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Virtural reailty is developing fast these few years. I am

mainly focusing on motorbike and roller coaster. Roller coaster is the inspiration of the exterior design. It enhanced the gaming experience of virtual reaily. The arch columns separate the exhibition space on the ground floor. Its ‘V’ shape beam holds up the upper floor. there will be lights installation, Motorbike VR gaming space and more private VR game space in the exhibition space. The platform is designed to conncect ground floor and first floor as an auditorium.

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interior space collage 96


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一伀一ⴀ刀䔀匀䤀䐀䔀一䌀䤀䄀䰀 䄀刀䔀䄀 䜀刀䔀䔀一 䄀刀䔀䄀 刀䔀匀䤀䐀䔀一䌀䤀䄀䰀 䄀刀䔀䄀

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7am

12pm

5pm

The sun expose was one of the problem in the pre-

vious review, so I made one more site analysis. This is the north east facing site. Only in the very early morning and late afternoon will have direct sunlight in. however, in my previous design, the left corner from faรงade might get sun expose. Thus I will large the roof and cover the corner.

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The top render shows the change of roof. The diagram is showing the sun path which affects the building.

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The spot from the outer balcony to have view of the sea.

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For the change of inner column, I had inspiration of tatlin tower. However, the design of the building is complex itself and then I decided to make the inner column simply.

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GROUND FLOOR PLAN 1:100 104


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PLATFORM PLAN 1:100 106


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SECOND FLOOR PLAN 1:100 The existing building is around 1.5 M gap with the first floor. The staircases will connect the kitchen and Cafe.

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SECTION 1:100 SHOW LIGHTS AND ARTIFICIAL LIGHTS 110


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Internal atmosphere

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CONCRETE

STEEL

Light, shiny steel is used as outer columns.

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METAL

The roof is made of metal sheet to be light and hold up by the primary inner columns and outer columns.

STEEL

These inner columns are inserted on the ground floor and direct connect with the roof. The roller coaster is all about structure and all the columns are directly support the rail from the ground. These columns are primary structure and link with the beam of the roof.

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Detail of suspended flooring structure

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Detail of roof structure: Metal sheet (with wholes) -gap (garthering water) - glazing - insulation - finishing - beams The roof is giving dots lights to link the interior gaming experience space.

Detail of flooring connect with inner columns

Detail of columns connect with ground floor

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CRAFTING ARCHITECTURE

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MODELLING

Modelling is one of my favourite part in producing design. In first year, I sketch first then do the model. However, this year I tried to design the project based on model making. I found out modelling first help me to develop and inspired me more than sketching as the starting point. I personally love making model, yet, I do not usually producing massing model and I think this is the improvement I need to make in modelling part.

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DRAWING

I used tracing paper and layered them up to show the difference between routes, residential areas and green areas. The researches drew an inspiration to the final design. I used different colours to emphasise different meanings which led me to the development of my design.

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EXPRESSING

Detail of roof structure:

Metal sheet (with wholes) -gap (garthering water) - glazing - insulation - finishing - beams The roof is giving dots lights to link the interior gaming experience space.

Detail of flooring connect with inner columns

This drawing of detailed section is to show the structure of the final design. The bubbles are the zoomed out detail of the building to explain their function and how each element connects with each other. The hatching provides the viewer a clear explanation of the material used in my building, this is important to show to prevent any misunderstanding if read by the building control officers.

Detail of suspended flooring structure

Detail of columns connect with ground floor

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The render shows the natural light and artificial light which affects the building.

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NON-DESIGN MODULE COURSEWORK

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ARC2009 ARCHITECTURAL  TECHNOLOGY

140007198 YI  SHU     ARC  2009     ARCHITECTURAL  TECHNOLOGY   DWELLING  PLUS   11.01.2016

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ARC2009 ARCHITECTURAL  TECHNOLOGY  PART1

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART1

LOCATION MAP  

ELEVATION &  SECTION   ARC2009  ARCHITECTURAL  TECHNOLOGY  PART1

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART1

MODEL PHOTOGRAPHS

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ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

Roof structure

chipping Extension board Covering pipe

Timber stubs Plaster board

Waterproof layer Insulation Vapour control barriers Structural decking Firings Timber joints

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ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

SUGGESTED IMPROVEMENT Ground floor: I use solid concrete ground floor construction. I also placed heating pipe in the concrete slab. Underfloor heating is far more efficient than conventional central heating. However, pay for the cost of installing it with fuel savings as less energy is required to achieve the same feeling of warmth. PFA material is lack of CaO and it is not a hydraulic material. However, GGBS has higher ultimate strength and much more stable than PFA. Solid concrete ground floor required good quality DPM. In addition, I use air Crete block as it got good insulating properties and good workability. It has lighter weight. But it has many disadvantages. For example it is non-renewable materials, use of aluminium adds embodied carbon and use of cement contributes to global warming. For these disadvantages, I can choose unfired clay block as it is recyclable and it does not hazardous to human and environment. Moreover, hardwood window with double glazing and water based stain within TWAS was chosen for my window structure. Compared to solvent borne gloss paint and water based stain paint, I choose water based stain paint. It also named as acrylic emulsions and it dries quicker and much durable. Solvent borne gloss paint is also called as ‘oil-based’ paint bad to human health. Whilst density of hardwood is better than softwood, it will be much more expensive. So under same condition, softwood will be a better choice. For the insulation part, I chose those kind of insulation for each different construction. According to research online, cellulose, wood fibre batts, glass mineral wool batts and XPS and EPS are nearly the same K-value. However, there are difference between them. EPS and XPS should only be used if space is an absolute premium. Cellulose is also good but only if the insulant does not have to be load-bearing. But its nuclear waste level is not as good as others. Compared to all of them, I also choose cork board as its k-value is slightly higher than others. For the improvement, I can use cork board insulation to replace cellulose insulation.

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ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

Solid concrete ground floor

Wall structure

Screed

Wall tie Concrete flooring slab

Plaster board

Concrete slab

Timber studs

Heating pipe Insulation DPM Sand blinding

Concrete blocks Sheathing board insulation

External brick blocks Stone cladding

Sub base

Breathing membrane

DPC

Foundation

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

Window structure

Intermedia floor structure

flooring

Joints

insulation

Flashing tape Insulation Window frame Glazing

Concrete beams

Cavity closer    

Wood stubs Plaster board

Lintel detail structure

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ARC2009 ARCHITECTURAL  TECHNOLOGY  PART2

After interviewed the people in Leith, the problem is lacking of public space. Thus I focused on creating some public space, such as semi-public green area and roof garden, for people to chat with each other. Stone cladding will be used as the main material. Darker colour stone cladding will be used on the ground floor. Moreover, timber columns will be used on the first floor. It smaller the space but it separate private space from semi-public space. I use masonry structure for my design and solid concrete ground floor as it can load more weight than suspended concrete ground floor. It is simpler and cheaper to build as well. In addition, warm flat roof structure is chosen for the roof as the insulation is above on the top and it can install the heat. However, warm flat roof has some disadvantages for its extra height of new surface and soft final surface.

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ARC2009 Architecture Technology- Coursework Submission Part 2B Means of Escape - Exploring and Experience 140007198

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SITE PLAN SITE 5 1:500 2

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MEANS OF ESCAPE ROOM TYPE

GROUND FLOOR

Exhibition space

AREA(m ²)

FLOOR SPACE FACTOR (m²/Person)

208.05

1.5m²/person sub-total

FIRST FLOOR

Café

65

Minimum stair width for each stair calculation

OCCUPANT CAPACITY (people)

1m²/person

The width of the staircase is calculated with this formula W=(P+15n-15)/(150+50n), where P is an occupant capacity, n is a number of storys served by stair.(1)

138.7

Wfirst floor =((136+15-15)/(150+50))*1000=680mm However, this result should be increased to 1100mm or wider. (2)

139 Minimum width for final exit 65

The width of the final exit is calculated with this formula W=((N/2.5)+(60S))/80, where W is width of final exit, in metres, N is the number of people served by ground floor storey exit, S is stair width in metres.(3) N=275, S=1.5m

corridor

First floor with existing building

67.38

1m²/person

67.38

W=((275/2.5)+(60*1.5))/80=2.5m W=2500mm More than 220 people, 5mm/ person does not apply to an opening less than 220 persons. thus minimum width mm is 1325mm or plus. so this is fine for final exit.(4)

kitchen

storage

29.38

17.5

7m²/person

4

30m²/person

0.58

sub-total

136

Total

Minimum escape route corridor & door opening widths for each storey The width of escape routes and exits depend on the number of persons needing to use them, following table can be refferred; (5) FLOOR OCCUPANT CAPACITY MINIMUM ROUTE WIDTH Ground floor

139

850mm

First floor

136

850mm

275 Maximum travel distances for occupants of your building when escaping (6)

SUMMARY For this project, I did not consider about the fire escape staircases, my staircases were just decoration staircases. Thus I changed my design for staircases in same location but function is different. On the ground floor there are two exit doors, one is the main entrance and another exit is connect with the staircases and people can directly escape from the building. Ground floor is double height. On the first floor there is two doors to the staircases. One change for first floor plan: I opened another door the side open to corridor as people in the kitchen or storage place can escape without pass the GROUND café. FIRST In the event of fire, the detectors located in each rooms, corridor and stairwell will ring, and the red lights will flash in the corner of each rooms for people with hearing impairments. The green exit signs will guide the way to the nearest exits. All fire doors close automatically during fire accident. 1. According to 4.25 p.48 Appendix C, Building Regulation Approved Document B, Vol 2 2. According to Table 6 Building Regulation Approved Document B, Vol 2 3. According to p.38 Appendix C, Building Regulation Approved Document B, Vol 2 4. According to Table4 p.46, Building Regulation Approved Document B, Vol 2 5. According to table4. p.37 Building Regulation Approved Document B, Vol 2 6. According to table2. P.34 Building Regulation Approved Document B, Vol 2

ROOM

ONLY DIRECTION ONLY (M)

MORE THAN ONE DIRECTION (M)

Exhibition space

15

32

Café 18

45

kitchen

18

45

storage

25

45

1

133


ORIGINAL SECTION

3

CHANGED SECTION 1:100

4

134


G

G+0.5

ORIGINAL PLANS 1:200

1

ELEVATION 5

135


1

KEY 1. CAFE 2. KITCHEN (STAFF) 3. WHEELCHAIR TOILET 4. STORAGE ROOMS 5. STAFF TOILET 6. OUTDOOR BALCONY

A

B

ROUTE A FROM THE CAFÉ TO THE STAIRCASES = 21.9M ROUTE B FROM THE CAFÉ TO THE STAIRCASES = 20.01M THE WHEELCHAIR SHARE THE SAME ROUTE WITH ROUTEA

6

136


KEY PLATFORM

G+0.5

THIS IS THE PLATFORM AREA WHICH CONNECT WITH THE GROUND FLOOR AND FIRST FLOOR. THE PLATFORM DOES NOT INCLUDE IN CALCULATION OF ESCAPING ROOM SPACE. SO THERE IS NO ESCAPE ROUTE. 7

137


G

KEY 1. EXHIBITION SPACE 2. TOILETS

A

B

FINAL EXIT 1

C

ROUTE A TO FINAL EXIT 1=19.5M FINAL EXIT 2

ROUTE B TO FINAL EXIT 1 = 5M ROUTE C TO FINAL EXIT 2= 9.4M DOTS LINE IS THE ESCAPE ROUTE FROM 1ST FLOOR WHEELCHAIR TOILET TO FINAL EXIT 2 FINAL EXIT 2 IS CONNECT WITH FIRE ESCAPE STAIRCASES,SO PEOPLE CAN DIRECT ESCAPE FROM THE BUILDING 8

138


140007198 ARC2010 EnviRonmEntAl DEsign DwElling plus lEitH, EDinbuRgH DwElling plus plAn 29. 01.2016 plAn in 1:200

139


plAns

This is the plan of my dwelling space. This is the studio space for couples for one person within kitchen. There will be a tiny space before enter the room to increase the privacy as well as a glass screen at kitchen area to prevent smoke. Thc dwelling space is facing north-east

140


u vAluE oF EXtERnAl wAll

To

achieve greater U value, changed the insulation is the first choice. I chosed mineral wool in the external wall. If just change the thickness of the insulation, the u value will not change that much. Rather than cheap but thicker insulation, change the main material of insulation from mineral wool into kingspan will compeletely the u value from 0.27 to 0.18. However, it will costs much more than using mineral wool.

impRovEmEnts DER/ TER(%)

Credit Rating

SAP

CO2 Emissions (Kg CO2/Year)

Total Energy cost (pound)

Solar Gain (Watts)

total Internal Gains(Watts)

before

13%

2

85.69989

25.78687

196.1546

47.501

430.09

after

20%

4

86.45111

24.45863

185.8502

78.535

415.711

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DAyligHt AnAlysis bEFoRE AnD AFtER By using the DIALux file to

analysis of my living space. From the DIALux file, the aim of the daylight factor is to naturally daylight these spaces aiming to have daylight factors between 2% to 5%. My chosen living space is facing northeast, it only have natural sunlight into the room in the very early morning, so create some large opening is important for these rooms. However, from the beginning, the daylight factor was 1.83%, the room shown on the left hand side is quite dark. Thus I larger the double glazing windows from 1m* 1.5m each into 1.2m*1.5m, as well as increase an inner balcony to match the south facing rooms as they have south facing balcony. There will be a glazing siding door at the balcony. At the end, the number of daylight factor has improved from 1.83% to 2.69%.

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ARC 2011 20TH CENTURY ARCHITECTURE

143


TOYO ITO

IN SEARCH OF A NEW ARCHITECTURAL ORDER, PHAIDON, TOYO ITO First published in 2009 by Phaidon Press British-American publising house YI SHU 140007198

Toyo Ito is a Japanese architect known for creating conceptual architecture. He Sendai Mediatheque was the highlight of his career. Sendai Mediatheque translates his ideas through texts, diagrams, or art installations into his production. Ito was in search of a new architectural order and was also in search of his own style. Building houses were used to protect themselves from different danger of the natural world as the first purpose, which leads to a spatial and stable order. However, due to the complicity of human’s need, it cause the various structural design for people. After many years practice and researches, he recovers an intimate relationship with the natural environment, in order to find out a new architectural order. Finally, he uses many natural elements such as trees, which is the most easily comprehensible example of a flexible order, to propose an algorithmic architectural order, an order of the natural world.

provides the function of an art gallery, a library, a visual image media centre and a service centre of people with visual or hearing disabilities. It is the conceptual proposal consisting of three elements: plate, tube and skin. Plate is the place for people to communicate with each other, crossed by tubes. The skin is to separate the interior and its exterior. It looks like many trees becomes the conjunction of columns to hold the building(the sketch above is the tube, looking from the bottom to top roof). It brings new construction and structural techniques to simultaneously express his idea of the algorithmic architectural order.

SENDAI MEDIATHEQUE 144


1

145


ing

2

3

4

Love house —— former western house Jiehao Song 2011 https://uk.pinterest.com/pin/489766528202098050/ assessed on 10.02.2016 3:20

Image: Cover page picture http://www.cnet.com/pictures/the-majesty-of-frank-lloyd-wrights-fallingwaterphotos/16/ assessed on 14.02.2016 22:37

Falling water house plan http://arch3510sp14cook.blogspot.co.uk/2014/02/bubble-diagramming.html?v iew=sidebar assessed on 15.02.2016 20:11 Love house http://blog.sina.com.cn/s/blog_751f352f0101p4u2.html assessed on 15.02.2016 22:08

Both sketches are mine own work. It is really hard to find love house’s plan as it is not open to the public.

No.9 DongPing Road The Love House http://blog.sina.com.cn/s/blog_55c85ddb01019xxt.html assessed on 09.02.2016 3:00 Love house http://www.hengfush.com/en/xuhui/xh_history2_2.htm assessed on 09.02.2016 3:03

Architecture of Fallingwater http://www.fallingwater.org/assets/Fallingwater_Architecture.pdf assessed on 10.02.2016 12:33 Love house http://xh.qjtrip.com/xhzw/yswh/lfz/al.asp assessed on 10.02.2016 2:26

5

7

8

6

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ARC2023 THE PLACE OF HOUSES

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IT IS ALL ABOUT INFLUENCE Being-in-a-certain-place

T

he first part of the analysis will examine the relation between the dweller and the dwelling places. As is referred in the dictionary, ‘dwelling’ means a house, a flat or a specified place where someone lives. ‘Dweller’ means someone who live in the dewlling. Dwelling has evolved four modes, i.e, natural dwelling, collective dwelling, public dwelling and private dwelling. Natural dwelling, as its name implies, means a place or a shelter for settlement, which is a part of the environment in a natural way. Collective dwelling is a product of the urbanization, which falls into the urban space. As we know, human beings are, in a sense, somewhat controversial. They are a combination of being gregarious and reclusive. Therefore, public and private dwelling have a sense of socialization. Public dwelling represents people living in a socially integrated community, while private dwelling can be retained as a place where a person can gather his or her behaviors and memories to create his or her personal world. There are still two words for describing our residence. One is house, the other is home. House is a building for people to live and stay. It is a physical object of the man-made environment. Home is the house or apartment where someone lives. Home is a suppositional word to describe about the house. Same denotations they have, the word ‘home’ has a connotation of people’s warm family life. Home is also the link between people and their environment.

This poster will deal with the following aspects of the question. The aim of the essay is to outline about user involvement in the process of producing housing and will enumerate the impacts on the relationship between the dweller and the dwelling by giving examples. In addition, it will also particularize what does user involvement mean for the role of the architect.

The Need According to Dovey(1985), home is also an object between the dweller and the dwelling with emotion. Moreover, It is an intangible, dynamic and meaningful relationship. Home, as the center of the spatial word, it has socialization processes. It is not build for individuals, but for community. Further, it is also a social cultural order for the users to re-creating home. In another word, it also means “patterning”, which includes spatial, secular trend order for people to experience the environment. Norbrg-Schulz (1985:13) demonstrated that ‘to dwell implies the establishment of a meaningful relationship between man and given environment’, which gives a sense of people who belong to a certain place.There is a deeply-impressive documentary TV program in china called ‘lvxing’ (on the road). A young couple traveling around world, yet they were not just visiting normal tourist attractions, they went to the north pole, the south pole, Iraq, Syria and some other places either with extreme weather conditions or with human turmoils. Here I can cite an example for illustration. Sarah, film director of Angels, Midwifery education program, was one of the women interviewed in Kabul, Afghanistan. As we know, this is very place full of violence and abuses. When she was asked the question “What brings you back to here, since you are wealthy and well-educated?” She replied, “No matter where I studied and worked, no matter how bad the situation is, I still want to return back home. It’s my home and I want to try my best to make a change here.” This is a good case in point. It proves that there is an emotional link between dwellers and his or her dwelling place.

T

he second part is to discuss about how user’s participation produces an impact on the processing of housings. Home is supposed to be a place involving people’s life and emotion. However, Dovey (1985) revealed that frenzied commoditization has made us feel confused about the conception of house and home. The image of home has been sold into the market place as a commodity. Commoditization has its significant consequence not only in the quality of house form but also impact on the relationship of the dwellers and their living places. More and more concrete high rises have been built over the past few years; more and more people do not have their choice but to buy them as a result of the land shortage to build lower story houses. As blocks of the high rises have changed the landscapes of towns and cities, we are in an urgent need to make a change about the situation. The following is one way of the solutions. In Shanghai, China, there was one family of three generations living under the same roof, one child, two parents and one grandfather jammed in 12m*2 house, shared the corridor with neighbor without privacy as well.

Listen and understand The worst part of the story is that the father of the child is a handicapped man. It is tough for the father to climb the ramshackle ladders day in and day out. It is even a challenge for the architect Zhongping Wang went to the site and asks the users’ requirement for dozens of time. It is amazing that finally he made incredible work. He even designed lift in this house and satisfied all the specific need.

THE PLACE OF HOUSES ARC 2023 140007198 YI SHU (VICTORIA) Word count: 1587, 1777(with references) Question 2

1.Japan olympic stadium. Zaha Hadid 2,3. House rebuilt project on North Sichuan Road in Shanghai. Zhongping Wang 4. Quinta Monroy houses project. Alejandro Aravena 5. Woman with a child in Kahul, Afghanistan back is a picture of Afghanistan. in photoshop

Furthermore, the acquisition of information on product character is a gradual process for the user Their demands should also have a character of changing with time, that is, they should have a dynamic character. The 2016 Olympic games will be held in Japan. Japan scrapes the plan from Zaha Hadid of Japan Olympic Stadium as the structure takes too much space and it does not harmonize the surrounding environment. It does not harmonize itself with its surrounding environment. In this case, the key factors for consideration includes the space, scale, cost of the stadium and its future attendance. Although Hadid explained that the design itself is not expensive but the material in Japan will cost a bit of money, Japanese government abandoned the design as they cannot support twice more than their budget. This example shows that even the design is attractive but it does not meet the user’s need, it should not be a good design in the end. It is also essential for architect to make ends meet in their feasible design. Thus, the user’s involvement plays an important and direct role in the process of housing and also synthesize the relationship between the dwellers and dwelling places. References: Home and homelessness: introduction. Kimberly Dovey. (Altman, Irwin and Carol M. Wernereds. Home Environments. Human Behaviour and Environment: Advances in Theory and Research. Vol.8. New York: Plenum Press, 1985) People living in bad housing – numbers and health impacts. Matt Barnes, Carl Cullinane, Sara Scott and Hannah Silvester. 2013 The concept of dwelling. On the way to figurative architecture. Christian Norberg-Schulz. 1984 Potery. M.Heidegger. 1983 lecture note

I

n addition, Communication is needed and expected in every aspect of our lives. As for the architect, it makes sense essence to listen and understand what your customers need, realize what the concepts of house and home really mean to you. Heidegger (1983) said, “Language is the house of being.” Thus language is not only used for us to interact with others, but also to express the basic existential structures. However, this language is a link which can bind the building and users together. The first step is to let the users speak out their minds. As we know, language has the features of displacement and retention of our human beings’ memories. The second step is to listen to the language from the users and understand their ‘memories’. Hence the second step for architects is to listen. The most challenging part for the architect is to figure out what your customers need. Those languages can visualize their virtual images into their structures and designs. What architects should concern is that how to make the dwellers experience of the feeling of home coming and domestic living in this home rather than looking at the structure that architects designed. Besides, the judgments and feedbacks of the dwellers are also vital to the designers. It helps them to improve their designs. The rebuild project in shanghai that described above is a good example. The architect tried very hard to explain and share his idea. He also listened to the users with patience every single time. Documentary Lvxing, season 3. The women in Kabul. https://www.youtube.com/watch?v=UU1kgcI-eNM&index=7&list=PL4klxSj1mhzrx07oylb-DplfYGsceHkqQ assessed on 20th of Jan. 16:55 The hardest rebuilt work: 12m*2 house in shanghai http://m.v4.cc/News-288804.html assessed on 20th of Jan. 3:17 zaha hadid Tokyo stadium http://www.mmag.com.tw/ad/20150723-environment-1133 assessed on 21st of Jan. 19:41 Japan scraps Zaha Hadid plan for Olympic stadium http://www.theguardian.com/world/2015/jul/17/japan-scraps-zaha-hadids-tokyo-olympic-stadium-design assessed on 21st of Jan. 19:43 selected writing 2005-2015 Justin McGuirk http://justinmcguirk.com/alejandro-aravena assessed on 21st of Jan. 18:57 My architectural philosophy? Bring the community into the processs. Alejandro Aravena. Ted https://www.ted.com/talks/alejandro_aravena_my_architectural_philosophy_bring_the_community_into_the_process?language=en assessed on 21st of Jan. 19:00

Here is another example, the 2016 Pritzker Prize winner Alejandro Aravena. In my opinions, the reason that he wins the prize is not because he built one thousand houses for the poor Chileans, but because he has contributed his great mind behind the buildings. From many interviews he did not tell story or educate people about architecture. By contrast, he pointed out many problems in today’s society. He went to site to discuss with those people and work with them. He tried his best to receive their trust. In his work, he built the exterior and basic structure of the houses and let the dwellers to finish the job. It is a good chance to ask dwellers to design their own house as well as to engage in their future personal world. Architects tell people story by using their own architecture language as well as to fulfill people’s need. They are the tools to fix and link the dwellers and their dwelling places as well as to make it better.

I

n conclusion, it is emotional, meaningful and memorable on the basis of the relationship between dwellers, dwellings and architects. Home as social, cultural, spatial and secular trait gives the dwellers a sense of belonging. It is obvious that the dweller and dwellings are interconnected. This can be effectively represented in the designing processes. This can be modified or changed in the architects’ design. But anyhow, in the first place, the architects should let the users speak out their mind, listen to their ‘speak’ design to achieve the best interest.

picture: http://m.v4.cc/News-288804.html assessed on 20th of Jan. 3:17 http://www.mjjq.com/blog/archives/1452.html assessed on 21st of Jan. 19:38 http://www.diqiushijie.com/a/afuhan/34.html assessed on 21st of Jan. 19:42 http://www.dezeen.com/2013/10/10/japanese-architects-rally-against-zaha-hadids-2020-olympic-stadium/ assessed on 21st of Jan. 19:56 http://img6.cache.netease.com/home/2016/1/14/20160114112115fae7a_550.jpg,http:// home.163.com/16/0114/11/BD9N9IRJ00104JLD.html assessed on 21st of Jan. 20:01

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ARC2020 DISSERTATION STUDIES AND RESEARCH METHODS

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140007198

140007198

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ǨǤ†”‹ƒ ‘”–›Ǥ‘”†•ƒ†„—‹Ž†‹‰•‘…ƒ„—Žƒ”›‘ˆ‘†‡””…Š‹–‡…–—”‡ǤŠƒ‡•Ƭ —†•‘ …ǤǡͷͲͲ ‹ˆ–Š˜‡—‡ǡ‡™‘”ǤʹͲͲͲ ʹǤ‡–‡”‘ŽŽ‹•ǤŠƒ‰‹‰ †‡ƒŽ•‹‘†‡””…Š‹–‡…–—”‡Ǥ ƒ„‡”ƒ† ƒ„‡”Ž‹‹–‡†ǡ ‘†‘Ǥͳͻ͸ͷ ͵Ǥ‹…Šƒ‡ŽŠ‡‡Ž‡”Ǥ—•ƒ†‡˜‹”‘‡–Ǥƒ…Š‡•–‡”‹˜‡”•‹–›”‡••Ǥͳͻͻͷ

ͶǤƒŽ‹„‘”‡•‡Ž›Ǥ”…Š‹–‡…–—”‡‹–Š‡ƒ‰‡‘ˆ†‹˜‹†‡†”‡’”‡•‡–ƒ–‹‘Ǥƒ••ƒ…Š—•‡––•

•–‹–—–‡‘ˆ‡…Š‘Ž‘‰›ǤʹͲͲͶ ͷǤ‘›‘ –‘Ǥ‡†ƒ‹‡†‹ƒ–Š‡“—‡Ǥ…–ƒ”ǤʹͲͲ͵

͸Ǥ ‘Šƒ˜ƒǤ‡‡–Š ”ƒ’–‘Ǥ–—†‹‡•‹‡…–‘‹…—Ž–—”‡ǣŠ‡‘‡–‹…•‘ˆ‘•–”—…–‹‘ ‹‹‡–‡‡–Šƒ†™‡–‹‡–Š‡–—”›”…Š‹–‡…–—”‡Ǥͳͻͻͷ ͹Ǥ‘›‘ –‘ǤŠƒ‹†‘ǤŠƒ‹†‘”‡••‹‹–‡†ǤʹͲͲͻ

Š‡”‡™ƒ•ƒƒ”‰—‡–†—”‹‰ˆ‹ˆ–‡‡–Š…‡–—”›ǡ‹ˆƒ”…Š‹–‡…–—”‡‡‹–Š‡”‹•ƒ–—”‡‘”‹• Ž‹‡ƒ–—”‡ǡ™Šƒ–‹––Š‡‹•Ǥ‘‡•ƒ›•ƒ–—”‡ƒ•–Š‡•‘—”…‡‘ˆ„‡ƒ—–›‹ƒ”…Š‹–‡…–—”‡Ǥ

‡‘‡–”›‹•‘‡‘ˆ–Š‡…”‡ƒ–‹‘‘ˆƒ–—”‡™Š‹…Š•ƒ–‹•ˆ›‹‰–‘–Š‡Š—ƒ‹†Ǥ‘‡ •ƒ›•‹–‹•–Š‡‘”‹‰‹‘ˆƒ”…Š‹–‡…–—”‡Ǣ•‘‡•ƒ›•‹–‹•–Š‡˜ƒŽ‘”‹•ƒ–‹‘‘ˆ architecture: ’mimesis’, or the imitation oˆƒ–—”‡Ǥ……‘”†‹‰–‘‹…‡”‘ƒ† ‘”ƒ…‡ǡ–Š‡ ‡••‡–‹ƒŽ’”‘’‡”–›‘ˆƒ”–™ƒ•‹–•…ƒ’ƒ…‹–›–‘‹‹–ƒ–‡ƒ–—”‡Ǥ‘‡–”›ǡ’ƒ‹–‹‰‘”•…—Ž’–—”‡ ‘”‘–Š‡”ƒ”–’‹‡…‡•”‡’”‡•‡–ƒ”–ǡ„—–ƒ”…Š‹–‡…–—”‡™ƒ•‘–ƒ”‡’”‡•‡–ƒ–‹‘ƒŽƒ”–ǤŠ‡ ƒ”–‘ˆƒ”…Š‹–‡…–—”‡‹•‘–‡“—ƒŽ–‘‘–Š‡”ƒ”–•„—–•—’‡”‹‘”–‘–Š‡ǤሺŠ‹•‹•–”›‹‰–‘ ˆ‹‰—”‡‘—––Š‡”‡Žƒ–‹‘„‡–™‡‡ƒ–—”‡ƒ†ƒ”…Š‹–‡…–—”‡ǡ™Šƒ–†‘‡•ƒ–—”‡†‘–‘ ƒ”…Š‹–‡…–—”‡ƒ†Š‘™Ǥሻ

ƒ›ƒ”…Š‹–‡…–•—•‡ƒ–—”‡ƒ•ƒ‡Ž‡‡–‹–Š‡‹”†‡•‹‰Ǥ ‘”‡šƒ’Ž‡ǡ ƒ’ƒ‡•‡ ƒ”…Š‹–‡…– —•‡–”‡‡Ǧlike structure in Tod’s Omotesando building †‡•‹‰ƒ† …”‡ƒ–‡†ƒˆ‡‡Ž‹‰‘ˆ„‡‹‰‹ƒ–—”‡Ǥ’ƒ‹•Šƒ–ƒŽƒƒ”…Š‹–‡…––‘‹ ƒ—†‹ƒŽ•‘—•‡–”‡‡ ‡Ž‡‡–‹Š‹•†‡•‹‰ǡƒ‰”ƒ†ƒ ƒ‹Ž‹ƒǤŠ‡‹–‡”‹‘”…‘Ž—•Ž‘‘Ž‹‡–”‡‡•Š‘Ž†‹‰–Š‡ ”‘‘ˆǤ‘–Š‘ˆ–Š‡—•‡†–”‡‡‡Ž‡‡–„—––Š‡›—•‡†‹–˜‡”›†‹ˆˆ‡”‡–Ǥ –‹•‡ƒ•›–‘ˆ‹†‘—– –Š‡†‹ˆˆ‡”‡…‡ƒ‘‰–Š‘•‡ƒ”…Š‹–‡…–•—•‡ƒ–—”ƒŽ‡Ž‡‡–ƒ•™‡ŽŽƒ•„›˜ƒ”‹‘—•™ƒ›‘ˆ —•‹‰–Š‡Ǥ –‹•Š—‰‡†‹ˆˆ‡”‡…‡‘ˆ…—Ž–—”‡‹™‡•–‡”ƒ†‡ƒ•–‡”…—Ž–—”‡Ǥ –•‘‡Š‘™ †‡‘•–”ƒ–‡–Š‡†‹ˆˆ‡”‡…‡‹ƒ”…Š‹–‡…–—”‡Ǥ ‘™‡˜‡”ǡ ƒ–”›‹‰–‘”‡•‡ƒ”…Šƒ† ƒ””‘™†‘™–Š‡•‹‹Žƒ”‹–›‘ˆŠ‘™–Š‡›—•‡ƒ–—”ƒŽ‡Ž‡‡–ƒ†Š‘™ƒ”…Š‹–‡…–•—•‡ –Š‡ƒ•–Š‹‹‰ƒ†’”‘…‡••‹‰‹–Š‡‹”†‡•‹‰Ǥ There is a Chinese saying; ‘nature and people are –Š‡one.’ They share the same world. Š‡”‡‹•ƒ‰‹‰ƒ–‹……—Ž–—”‡…‘ˆŽ‹…–‹™‡•–‡”…‘—–”‹‡•ƒ†‡ƒ•–‡”…‘—–”‹‡•ƒ†‹– …Šƒ‰‡•–Š‡ˆ‘”ǡ™ƒ›•‘”†‡•‹‰–Š‹‹‰‹ƒ”…Š‹–‡…–—”‡ǤŠ‡…‘‘–Š‹‰‹•–Šƒ– ƒ”…Š‹–‡…–•ˆ”‘†‹ˆˆ‡”‡–…‘—–‹‡•—•‡ƒ–—”ƒŽ‡Ž‡‡–‹†‹ˆˆ‡”‡–™ƒ›•Ǥ‡˜‡”–Š‡Ž‡••ǡ –Š‡‹†‡ƒˆ‘”›†‹••‡”–ƒ–‹‘‹•–”›‹‰–‘ˆ‹†–Š‡•‹‹Žƒ”‹–›‹…‘…‡’–‘ˆ—•‹‰ƒ–—”ƒŽ ‡Ž‡‡–Ǥ 

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ACADEMIC PORTFOLIO            AP1:  CONTENTS  AND  DECLARATION  (STAGE  2) You  should  print  out  this  page,  complete  it  (provide  all  known  provisional  grades  and  Module  Marks)  and  submit  it  as  the  first  document  in  your  por`olio  case/box.  

I confirm  that  my  Por`olio  includes  the  following  elements  and  that  each  of  these  is  en>rely  the  product  of  my  own  work:   Student  Name  (print):  ____________________________________          Student  No:  ________________  Signed:  ________________   Tick

AP1  CONTENTS  AND  DECLARATION  (Signed)  AP2  SEMESTER 1  DESIGN  SUBMISSIONS      P2.3  AT HOME IN THE CITY  P2.3.1  P2.3.2  P2.3.3 P2.3.4

☐ ☐ Provisional Grade

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STUDY TYPE  LEITH 2025  DWELLING PLUS  INHABIT

AP3  SEMESTER 2 DESIGN SUBMISSIONS    P2.4 ENGINEERING EXPERIENCE  P2.5 EXPLORING EXPERIENCE

AP4  NON-­‐DESIGN  MODULE  COURSEWORK  2009  ARCHITECTURAL  TECHNOLOGY      2010  ENVIONMENTAL  DESIGN  AND  SERVICES    2011  20th  CENTURY  ARCHITECTURE      2023  THE  PLACE  OF  HOUSES  2020  DISSERTATION  STUDIES  AND  RESEARCH  METHODS  AP5  PROCESS + REFLECT LEARNING JOURNAL AP6  DIGITAL  SUBMISSION  

Provisional Grade

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☐ ☐ ☐ ☐ ☐ ☐

Module Mark  (where  known)  

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ARC2001  ARCHITECTURAL  DESIGN      2015/16   SCHOOL  OF  ARCHITECTURE  PLANNING  AND  LANDSCAPE      NEWCASTLE  UNIVERSITY  

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