wing yun portfolio (2007 - 2010) by wing yun

there is an existence of a dual centrality - two distinct interpretations of the center by two different social classes in one single geographical context. the dual refers “center for the privileged” and “center for the poor”. however, the government’s current development strategy is to create exclusions : only one of the dual meanings survives, which for most cases, “center for the privileged” wins. once there is a need for capital development, “center for the privileged” excludes the “center for the poor”: blocks and blocks of old housings hostingg the communityy of the ppoor are completely torn down to “re-create” land for “the center for the privilege”. thhee lo the lower low wer we eerr cl class lass s ar ss are re usua usua sually ally ll “r “rrelo elocat elo cated” cat ca ed ed” by the ggo by gover veernm ver rnme nm ment nt to to soc soccia social iaall ho ial housi using siingg far far awa way ffrom the city centers after their low o -re rent re nt old nt old ne neighbou neigh ighhbourho igh boourho bou rhhoods rhoods ods being being inng ng tor orrn down wnn. they they wi w llll bee ass assi as s ign ss iggnnedd bi bigger big gerr apa paart partm rrtm meent n s, s, but bu si s len lently ly be b ing nng de depri prived pri ved ved of the tthh riigght h to wo workk for f thee “dir dirty dirt ty job jobs” in jo the hee ce cente nters nte r ass the rs h high high com commut co mut m mu u ingg cost ut cost inn hong hon ho ong kon on ong ngg (a (and nd it’ it s a no nonn-b n bika ikkabl kable bl cit city itty ...) ...)) simpl simplly lock si ockks them them hem in in thheir eir i no nonn-noncentra cen tra ral social housing neighbourhood. ra these dev evvelo e pments are the source of el soccial iaal ex exclu cl sio siio ion. n. a ccoun oun ou ounter unnteract ter te ter erac ac ffor sociiall act har armon ar mony. an reiinforcement mo mon f t of sooci cial cial sttrati str st a fication. to build b ildd we bui we nee neeedd a “pplot lot”, t”, whi which hich c mea means e ns ns a piece of land at level 0 meter. to bu ldd fro bui frrom the ground is almost an unquestioned act. Therefore, within a context of limited land, demolishment of the old for the coming of the new is absolutely justified, simply because it is the only option available. we address the fact that the addition of new, and more, urban volumes for economic activities (and growth) is an inevitable in a city like hong kong. But if we are capable of suggesting an alternative (and interesting) way to add new urban volumes in a 3-dimensional manner, then to “build from the ground” suddenly becomes a questionable option. Furthermore, the justification of demolishing the old is also debatable.

win

ng yun / portfolio 2011

image ima ge att the ba back ckk : inte interlo rlocki cking ng pro progra gramma mmatic ti la lands ndscap ca es, in pr cap proje oject ct “go “going ing n hooriz r ont ontal” a al”

prefacee

wingg yun win yun / port rtfol fo io 201 20 1

in thi hiss po porrt rtfo folililioo yo youu wi willll ssee ee how w i rres esea es eaarcch an andd desi desi s gnn. for foor mo m st ooff the the ttiime ime thhes esee ttw wo ac acts ts hhap a peen att aalm ap lmos lm ostt th os thee sa same me ttim imee inn a symbi im biiotic mannne ner.r. vari va riou ri ouss te ou tech chni ch n qu ni ques ess, fo forr in inst stan st ance an cess mo ce mode deliling de ng sski killls, com ki mpu putaatiionnal a ski killls, lil ng ngui uiistticc ski killllls, ssoc occia iall reese sear arch ar ch sski killllllss annd pr ki proj ojec oj ectt ma m na nageeme m nt n ski k llllss ar ae almo al most mo st ddem emon em onst on stra st rate ra tedd th te thro roug ro ughh th ug t e co c ur u sees of the h proje jeect cts. s. i hhop opee i ca op c n pres pres pr e en entt yo youu th thee sk skililills lss, thhe me m nt ntal alit ityy and thee ppaass ssioon of arch ar chit ch ittec ectu ture tu ree ttha hatt yo ha y u lo l okk for o in your yoour pra r ct ctic icee. ic it wou o lldd cer erta tain ta innlyy be of o gre reat at pple leas le a ur as uree if i i ccoould explaain i thee ppro roje ro jeect ctss in g eaate gr terr de d taili, to you ou, inn per erso son. so n. w ngg yunn 200111 / 0022 wi

contents : selected projects and the corresponding cities

16 projects in various cities from my previous architectural, design and research experiences are selected for the location projects shown below with a number will be included in this portfolio. the rest of the projects are included in previous port lios of In-Betweens and Ten Months at Edge.

academic

selected projects (during master study at tu delft)

professional

selected projects (all built) (works with edge design institute / gary chang)

001 006 css goh going horizontal : a horizontal development in vertical hong kong chow sang sang sanlitun flagship store, beijing 002 sps spatial sundial : a time-specific architecture school in rotterdam

007 skg samuel kung gallery, central, hong kong

003 btd

tbn

004 stp studio park : an experimental design studio for architecture

csp chow sang sang parklane store, tst, hong kong

bridging the divided : a network architecture in singapore

â&#x20AC;&#x153;treasure box for urban nomadsâ&#x20AC;?, collaboration with Alessi, hong kong / italy

wing yun / portfolio 2011

map. tfo-

academic

selected projects (during bachelor study at cuhk)

selected research,

workshop,

freelance projects

csr chapel spanning a river, n.t., hong kong

005 sgt research : a singapore centuries apore timeline of seven s

hdg

rib

high dense gap : a housing of density, macau

freelance : ribbon : a fashion store in shenzhen, china

crh

inp

dst de-stabilizing : space ffor mime, i hong h kong k

bkd group exploration : new bk city in delft

cross-hang : government headquarter, hong kong

workshop : inter-paths : hyde park bus station pavilion, london

london ondon ond doonn

r lei lleipzig leipz e / parame pa para par arame ramee

delft

las vegas /exhibition coordination barc arc rcelona / exhibition ex xhibition coordination cooorr inn

experience and locations schools and jobs brought me internatio internati ational design experience spanning from east to west. st.t.t. st

rot otttttterdam ot otterdam m / etric workshop wo w

mii milan m

tokyo / eexhibition x onn coordination co coo beijing j g ssuzhou / vilillla project macau acau aca ca

s en shenzhen

hongg kong ko g

singapore g pore

sydney /exhibition / coordination

part

academic

selected projectts (during master study at TU Delft)

imagge at the h bbac a k : fo ac four ur eele leeva vatitition onns of thhee spa patiiaall sun undi d all in ro rotttter e daam

my master study at TU Delft w based fund is one of the very f allowed me to further my explo

wass solely s supported by Sir Edward Youde Memorial Fellowsship for Overseas Studies. the hong kong / uk few w well w established scholarships in hong kong. i am graatefuul for the sponsorship and the stay in delft has oraations of various architectural issues which you can see inn the following sections.

goh / acade go academicc pproject oject

001 going horizontal : a horizontal development in v master graduation project, tu dellft, lft 201 0 0

* forthcoming publication : Going Horizzont ntal a - A ddeb al ebat eb ate on alternative developmen

an urbanism of co-ex exis istencce add ng new volumes to th addi thee ur urba bann centerss is an in inev evitablee actt due to ever-growinng ec ac econ onom omic ic needs ds. howeve ver,r, w whi hile le acknowledging the laand ppririce ce of th thee ce center willl be b onlly show wing a rising trendd, we ssho houl u d ke keep ep aann eyye on how ttoo protect the rights off th thee po poor o too lilive ve iinn th thee ci city ty ccen ente ter.r

wing yun / portfolio 2011

images aboove shows w the demonstration by the local neighbourhhoo ood figh g ting ng against the decision off demolishing their olld re r sidentia iall buildings in the center.r. the right for th thee po p or iss the thh st s arting point of this is researrch ch-by-design gn prooject ct. it explores urbanism of co-e co -exi xist sten ence ce..

vertical Hong Kong *

nt in high-dense Hong Kong sec e tion cut u

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010

urbanism of co-existence - towards a plotless 3-D urban planning

prevailing model of exclusion 1950s

1970s - demolishing the old to get a larger plot size

1970s - taller towers built, more old buildings demolished 1980s - metro started, bigger present - a c podiums, new for even larger plot size plots, taller towers

suggested model of co-existence still existing 1950s neigbourhoods

vacancies happened but the neighbourhoods are still intact

new urban volumes are added to the vacancies and other 3-dimensionally vacant spaces

As one of the many examples of local social science research, a short text by Professor Ernest Chui from the Department of Social Work of University of Hong Kong unveiled the fact that there are a hidden network of the extreme lower class living under the shadow of prosperity in the city centers. This social class’ living depends on the “dirty jobs” that brought by the high intensity of consumptions of the privileged. These jobs range from dishwashing to security guards, from fast-food delivery to free-lance mall cleaners. The low-skilled jobs provide a easy labour rotation and demands no working (and living-in-Hong Kong) experience. New immigrants (legal and illegal) with low education and skill levels are mostly depending on these by-product jobs for survival. They are the backbone for the livelihood of the poor, whose earnings are barely enough for living if there is no the commuting cost needed. They are the group of immobility. They need to live in the centers to do their dirty jobs. Conceptually, for the immobile lower class, they need this “center for the poor” to sustain their livelihood, their children’s education and their hope for a future.

gradual connections

a new urban clus in close connectio existing neighb

Therefore, there is an existence of a dual cent of the center by two different social classes However, the government’s current developmen only one of the dual meanings survives, which f privileged” win. Once there is a need for capital the “center for the privileged” excludes the “cen of old housings hosting the poor are completely “the center for the privilege”. With the low-cost o the lower class are usually being “relocated” by rather far away from the city centers. They wil but silently being deprived of the right to work fo the high commuting cost in Hong Kong (and it’s them in their non-central neighborhood. Unknow source of social exclusion. A counteract for so social stratification.

To build we need a “plot”, which means a piec

wing yun / portfolio 2011

The research-by-design project explores the potentials and the problems of an imaginary horizontal development in an ultra high dense environment, a city center of Hong Kong. A background research on density in Hong Kong resulted in a recognition of “density” is not merely meaning “the number of people divided the total area”. The cause of density in Hong Kong is rooted in its geographical, historical, political and economical background. Quantitatively, we can refer to Alain Bertaud’s studies done in 1997. While qualitatively, the colonial background bizarrely squeezed the land supply of Hong Kong and made the a breeding bed for quick money from the property market. A unique mode of “property-driven” economy was born and, ironically, the top-ofworld ultra-high density thus became the survival backbone of the city’s economy.

city of connected w excluded the old

ster formed ons with the ourhoods

developments in typical ways connects with the 3-D conglomerations

trality - two distinct interpretations in one single geographical context. nt strategy is to create exclusions : for most cases, the “centers for the l development, for 99% of the time, nter for the poor”: blocks and blocks y torn down to “re-create” land for old neighbourhood being torn down, y the government to social housing ll be assigned a bigger apartment, or the “dirty jobs” in the centers as a non-bikable city ...) simply locks wingly, these developments are the ocial harmony. An reinforcement of

e of land at level 0m.To build from

The above “recognitions” or “discoveries” were echoing with a series of mapping studies done in the beginning of the thesis year. We can observed that while the population growth rate of the central areas of Hong Kong is declining steadily, an increasing number of high-FAR renewal projects are being implemented in these central areas. The programmatic compositions of these renewal projects are almost standardized : a mixture of hotels, shopping malls, office towers. These programmes are serving the visitors going to the district, but not the immediate neighbourhood. They are “out of context”. From the perspective of the government, the “city center” is a place for profit generating. The privileged class, or the class which bears the spending power, goes to the centers and spend the money and enjoy the high accessibility. Conceptually, the government regards the city centers as the “centers for the privileged”. the ground is almost an unquestioned act. Therefore, within a context of limited land, demolishment of the old for the coming of the new is absolutely justified, simply because it is the only option available. We address the fact that the addition of new, and more, urban volumes for economic activities is an inevitable in a city like Hong Kong. But if we are capable of suggesting an alternative (and interesting) way to add new urban volumes, then to “build from the ground” can become a questionable option. Furthermore, the justification of demolishing the old is also debatable. This is a design project of exploring the alternative way of adding new urban volumes to a city. And the alternative way is a horizontal development on top of the existing city. A 3-dimensional urban planning is the resultant suggestion. A part of the plan (~200 meter long) was developed into a building to test the concept.

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 methodology and computation sheenzhhen she en (ch (chhina na)) na

neew new w te t rri rritor tories to tories

kkow oow wlo loo oooon h ng kong hon ong is isllan lan a d

looca catitit on on

transportation centrality of the site the site for invesstigation is in the center of hong kong, the area of mong kok. it is the real transpo p rtation and consumption center for the locals. almost all places in hong kong can be reached from mong kok within 30 minutes of transport. in 2004, the new development of langham place was completed, the first mega commercial complex in the district which was originally famous for its old and delicate street pattern.

tthhe tr tro tro

““fa “f failiing oorr fai ailed ledd ci c ty t aareeaass are aree inn tr ar t oub ubblee no no so not s mu m ch beccaus ause of what th au t eyy hav a e, av e (wh (w whi wh hi to bui b ldd upo upon) n), ) bu butt bbec e use ec eca uss oof wh what th the hheey llack ackk.”” p17 1776, Thee De D ath an a d Life Liffee off Gr Grea eat at Am at meer eri ri r can Ciitie ies ie es

wing yun / portfolio 2011

urbanism of exclusion existing neigbourhood

demolished to build

new urban volumes

intended disconnection from the previous existings

laang nghhaam am pplllac aace ac ce

urbanism of co-existence new urban volumes the new urban volumes nurture the existing neigbourhood

the needs of the existing suggest the new urban volumes’ location

existing neigbourhood

whhat urbanism of co-existence can do the goals of the horizontal development should, on the one hand, enhance centrality meaning for the privileged (for inevitable economic requirements) and, on the other hand, create spacce to keep the existing centrality meaning for the poor (the new-immigrants, the unemployed, the retired and so on). this is a very important ortan buffer for the strata flow of the society exclusion is not sustainable

oouugh gh of th the sk skyl yliinne

ch ca ch can alwa can ways ys be ys be reg egard gard a ed ed as a a base asee

meaning of centrality for f the h privileged

convenience of commuters / consumers

concentration of primary uses

meaning of centrality li ffor the h poor buffer uf for the poor neighborhood eighborhood of the th poor livelihood velihood ooff the poor

generation of formal and informal secondary uses

above : the existence of a dual centrality - two distinct interpretations of the cennter t by two different social classes - in one single geographical context. the dual refers “center for the privileged” and “center for the poor”.

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 lackings of the society

diagramatizing jane jacobâ&#x20AC;&#x2122;s theory for generators of urban diversity parameters for computation are extracted from the study of jane jacobâ&#x20AC;&#x2122;s theory. th

0100

a round-the-day and round-the-week usage

1500

2100

0300

offices residential

for example

0700

network of inducements secondary use secondary use secondary use secondary use secondary use secondary use secondary use secondary use secondary use secondary use secondary use secondary use

shopping malls

mix of specialized shoppings hotel cultural

homogeneous / centralized / st lated spaces for chained e

old

key : tangible element

wing yun / portfolio 2011

hey are the evaluation criteria for the site. the red boxes indicate the tangible elements. a network condition of streets

avoid border vacuum / single use of border street

promote selection of paths

connections across urban rivers

avoid single direction flow

short blocks

concentration of regular commuting passer-bys

small blocks

diversity

f primary uses

concentration

concentration of residential people

aged buildings new buildings

effective density on the streets

ageing buildings gradual renewals

tandardized / repeating / reguenterprises / established firms

old ideas for new buildings d enterprises for new buildings

coexistence

scattered / heterogeneous / less-regulated spaces for new industries / personal offices / studios / galleries

new ideas for old buildings stimulating forces new enterprises for old buidlings

a self-regenerating energy

a high probability of encounters

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 methodology and computation

wing yun / portfolio 2011

th proces the esss of eeva valu luation in ordderr ttoo un u de ders rsta tand nd tthe he ssititee be beyo y nd thhe ta tang ngib ible le inf n or orma matition on aava vaililab able le on maps ma ps,, a 36 3600 de degr greee off st stud udyy by pho hoto togrraphs hs is adopted. a 60m X 60m 0m ggriridd is impo im p seed on the site to create the ba base pixe pi xels ls for the study.

1/ sitete pho hoto toss ar a e liisted on the 60m mX 6 m gr 60 grid id as thhe ba base s for or tthe eva valu luat atio ion

2/ an evaluation syyststem em deriv ived ed ffro rom om the ja the jane ne jaccob o theories is useed to t evaalu luatee th at thee nu numb mber of itemss of â&#x20AC;&#x153;lackinngâ&#x20AC;?

3/ didifferent lalack c ings are trans nsla latted into colour colo ur ccod o ings gs for eas asy id iden entitififica c tions. in tthi hiss ex exam mpl plee the topp-le left ft are reaa sh s ows no lacki king ngs, s, whi h ch ssug ugge gest stss th that at iitt is i an area ea with a high exi xissting diversificcat atio ion.

4/ a poorttioion of alll tthe he pixels. l evaalu luat atioon was donee ppix ixel by pi pixel to in orde derr to formulatte th thee colour ur-ccod odin ingg ma mapp fo for th thee e tire are en r a.

5/ th the gr grid i systeem imposeed on the sitite 6/ th thee gridd filleed wi with th ssitie ph photos oss 7/ evalalua uatition onss of tthe he entire siite 8/ co coloour ccod odin ingg foor the en entitire re ssite

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 lackings of the society

maps of lacking (physicaal ennvi v ronment)

blocks c 1 short blo

urban an cro crossings 2 urb

aging ng bui bu ldings ngs 4 agi

builildingss 5 new bu

hig i h resi ess den entiaal

3 densit s y

maps of lacking (round-the-clock and round the week usage)

ds / holidays

weeken

ds / holidays

15 11

19 18 17 16

19 18 17

15 13

15 12

16 11

17 16

18 17

kda w e e ys

lat atee nigh nights ts

3 23

ds / holidays

15 12

weeken

kda wee ys

3 23

15 11

ds / holidays

w kken wea ends ends ds / holiiday nighht tim nig me

kda w e e ys

weeken 23

ds / holidays

kda wee ys

we kdays y night tim timee 8 wee

weeken

kda wee ys

weekda kdayys day daytim time 7 wee

holiday daytime

weeken

ds / holidays

kda w e e ys

weeken

rus ushh hourss and us and lunch lun ch pea peakk

15 11

maps of lackings the colour codings are translated into individual maps of lackings. these maps are ready to be read by grasshopper for the computation of volumetric allocation.

wing yun / portfolio 2011

thee ov th overall ma m p of llac a king a comb mbin ined ed map for the 11 tyypes of lac acki king ngs. s. tthe dar arke kerr th the coolour indicaates a mo more r probl blem emat atic ic aare rea, a w ich deemandds moore to re wh r ac achh a health he t y so soci c al div iveersi sitty.

thee pr th p oble lemati ticc ar area ea aand nd the goove vern rnme ment n plans

2 4

the dark areas off th this is oovvera r ll map of llac acking ng,, wh whic ichh is tthe he rres esul u t of the ev th eval alua uatition on usi sing ng jan a e ja jaccobâ&#x20AC;&#x2122;s theory, cooin th incides with the gov over ernnmentâ&#x20AC;&#x2122;ss pla lann of rred edev evel elop opme ment nt bbyy tootal demoolilish shme ment nt. 1/ fforr th thco com ming fa yuen sstrree eett re redeve de velo lopm men entt 2/ forthcomi m ng sha hanngha hai st stre reet et redevelopment 3// for orthcoomingg tai kok o tsui massive r -developme re m nt 4/ reccla laim imed ed llan and, d massi sive ve residentiaal proje ject ctss inn pro progress

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 methodology and computation

g al go a off neew vo volu lume me alloc ocat atio ionn the goals of the horizontal development should, on the one hand, enhance centrality meaning for the privileged (for inevitable economic requirements) and, on the other hand, create space to keep the existing centrality meaning for the poor (the new-immigrants, the unemployed, the retired and so on). this is a very important buffer for the strata flow of the society. exclusion is not sustainable.

hypo hy pothhessiss ooff ne po new vo new v lu lum ume aalllloc llloccat a ion ioon the hy h pothesis for the new volume allocation is that the higher the diversity level of a particular spot in the city, the more immune this spot is against a total demolishment. in a truly diverse situation, different interest groups woul u d be involved and a possibly higher potential for generating high economic benefits. more interest group involved

more immune to total demolishment

diversity higher potential for economic beneďŹ ts

proggra pr ramm m at mm aticc rattio the programmatic ratio of the newly added volumes followed mostly the existing gigantic commercial complex, which was the result of the governmentâ&#x20AC;&#x2122;s urban planning intention. a new layer of programme, cultural activities, is added to create a more valuable mix for the general public. langham place development : 37% shopping 48% offices 15% hotel

plot ratio = 1:14 total floor area ~ 150 000 sq m

1:14 14 exi 14 xist xi stin st ingg ccoomp in m lex

the proposed horizontal development : 25% shopping 35% offices 10% hotel 30% cultural (10% museum+10% theatre+10% lofts) plot ratio = 1:1 total floor area ~ 150 000 sq m

1:11 imag agginnaattivve coomplex

wing yun / portfolio 2011

melting lan angh gham gham gh m - an vo v luume m tric stu tudy dyy

laangham lang ngghaam pl ngha plac plac lac ace ace

langham place is the building that we are going to study. its total volume me would be used as a the reference of how much new volumes we are goingg to add to the existing city. and its programmatic mix would be used as a refeerencee to the programme mix of the h new volumes. the images on the right show the complex is “melted” from a 1:14 gigantic high-rise to a 1:1 horizontal conglomeration of urban volumes. the study gives a brief impression of the impact of “melting the skyscraper” to the existing. a grasshopper definition was written for this sttudy.

1:144 exxis 1:1 iisstiing compplex ist l le

tot o al a covveera erra rage: ggeee: ~0 ~0.07 078 sq km 07 ave averag verag agge heei eig i ht: h ~6.342m

thhee eexxist the th sstting inng ng to towe wer e

thee me melte lteed volu volu oluumes mees m es

tot o all covvera errraagge ge: ee:: ~0 ~0.12 11225 sq km km averag ave ragge hei e ht: ~55.09 eig 00997m

total tot t covveera rraage ge: e:: ~0 ~0.01 0.0 .01 00116 sq km k averag ave agge heig eight: ~14.3 4. 97m m

total to a covveera rraagge ge: ee:: ~0 ~0.15 11556 sq km 156 km averag ave ragge heei eig i ht: ~44.61 66114m 14

total cov tota ovveera ra ragge: gee: e ~0 ~0.03 030 03 30 sq km km averag ave agge heigght: ~110.4445m 5

ttotal cov ovvera eerra ragge ge: ee:: ~0 ~0.19 195 sq km 19 km averagge heeig igghht:t:t ~44.18 184m 18 4m

total cov ovvera era rage: gee: ~00.05 053 sq 05 053 sq km km averag ave ragge heig eight: ~7 ~7.44 440m 0m

tot o al cov overag ov eerra era ragge ge: ee:: ~ ~00.23 233 sq km 23 km averag ragge hheig eeiigght:: ~3.87 eig ~3.87 88770 870m

above : images captured from the volumetric computation

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 methodology and computation

loooking forr wh what at is laackin kingg in tthe he ccitty for the urbanism of co-existence, instead of looking for where the best location is for our architecture, we look for what our architecture can do to fit the lacking of the existing city. existing existing existing existing existing existing existing existing

city area

existing conditions that favour architecture to happen

primary use

what developer looks at existing conditions as secondary attractors / connection factors

lacking lacking lacking lacking lacking lacking lacking lacking

effects trigger by the architecture which fill the lacking of the city

what planner looks at lacking of the city as primary allocators / location factors

thhe pu push sh and n puulll pa para rame mete me ete terrs rs this idea formulate the basic structure of the computation process. the new urban volumes of various programmes will be added to the h existing city according to the lacks revealed in the previous evaluation. weeken

ds / holidays 1

3 24

cultural (24-hour museums / loft)

kda wee ys

15 11

weeken

kda wee ys

15 11

weeken

ds / holidays

cultural (theater / cinema / seminar) cultural (24-hour museums / loft)

7 8

kda wee ys

15 11

boost up factor for new building volume addition

3 24

ds / holidays

pp g cultural (museums / galleries / workshops)

15 12 1

boost up factor for increase connectivity

kda wee ys

9 10

15 11

weeken

cultural (theater / cinema / seminar) cultural l l (24-hour ((24 h museums / lloft) f)

ds / holidays

shopping hotel cultural (museums / galleries / workshops)

kda wee ys

9 10

16 11

weeken

boost up factor for hotel and housing

ds / holidays

weeken

unregulated buildings promotes cultural activities

ds / holidays

kda wee ys

office

8 9

2 boost up factor for cutting up existing fabric

wing yun / portfolio 2011

thee co th compput utat atio ion of vol o um umet e ricc al allo l caati lo tion onn a grasshopper definition was written to allocate the new urban volumes into the existing city in rhino. the definition read the maps of lacking and the physical constrains. accordingly, it allocates volumes following different weighed lacks. the weights were set by the designer. the me melte lte lted ted volume vol um ume m to t be alloca all ocated oca t ted

societal information of the context

computation for allocation

physical constrains from the context

i foorm in rmat atio at ioon involv lvedd inn thhe gr lv g as asshhop o pe perr defi defiiniiti de tion on and wha h t thee deefi fini n tion ni on iss do d ing 1.Pixelizing the site 2.Reading the data from the maps of lacking 3. Protecting the network area 4. Protecting the existing park / green area 5.Abstracting the building heights into sky landscape 6. Sorting out the tall buildings 7. Creating immune area for tall buildings 8. Allocating the volume according to height / lacking/ buildable lands 9.Allocating the z-direction overlapping 10. Eliminating any volume with insufficient ceiling height for programmes 11. Keeping the total volume of the study constant 12. Testing connections on top of the roads 13. Measuring proximities for different programmes 14. Limiting the volume growth within a certain proximity area

image capture from the grasshopper computation 1

physical strains from the context city networks (roads, streets, bridges, etc) are exclusion from the volumetric allocation area. besides, new volumes will not be added to buildings taller than 35 meters (~8 storeys) in order to maintain a homogeneous growth throughout the city.

3 1/valu 1/v /valuues fro from the from he map maps of lack m lack acking ng with withh wei wi we ghe ghe gh hedd sca calles e 2/m 2/ map off la maps lacking in daata tascap appe form for orm rmat at 3/the melted volum umee on on the thee des de irirabble arreeas de eaaass 4/new 4/n ew urban volumes loaded witi h info foorma rm m tio tion, e.g. the nee needs ds off thee sitte, the sp specific programme height h and so on

1 2

site area : 530 000 sq m site network area : 154 000 sqm tall building immune area > 35m buildings with 8 meters of immune area

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 methodology and computation

thhe resuult : a 33-d -dim imen ensi sion onal al vol olum umet etri ricc ur urba bann pllanni annni ning ng

the 4 different programmes (offices, hotels, shopping and cultural) are allocated according to the â&#x20AC;&#x153;needsâ&#x20AC;? of the existing city. the total volume is equal to l gigantic commercial complex in the site. they are located on top short buildings in the city. the image below is a render of such a imaginative urban situati the column on the left shows the progress and iterations of the computation. various weights were assigned to different lacks of the city in order to create volumes for selection.

angham place, the on. variation of

wing yun / portfolio 2011

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 going towards a horizontal building

traditional tower

the hoori rizo z ntal building

circulation

architectural typology : a democratic horizon to avoid social so a exclusion the un the unique condition of the urban plan pl anni ning n leads a unique archittec e tural p teentiaal. what can be donne wi po w th a horizontal building having its ts 6 sides in contact c with the existing citityy?

unidirectional

multi-ddire dire rectional

city connections

from point to field instead of being a tower having a point touchhing the existing city, the horizontal building can perform as a fieldd of int nter eractions. interactions betweenn thhe new and the old, the users annd th the visitors, and the poor andd thhe privileged.

points

multi-nodal

open air leisuure

an open architecture to maximize the potentiaal given by this unique â&#x20AC;&#x153;siteâ&#x20AC;?, an open archi hitecture hi with multiple access to th the existing ng city (both on the ground pla lane n and on tower levels). the dev evel elop el opme op ment me nt of this architecture is an exp xper erimentation of er how far a buildi ding can open itself to the city.

top-floo to oorr mo mono n po poly l

shared joyy

s ci so cial bor orde ders

publicc eexxclu luusi sion on

publ blic ic incclu lusion

wing yun / portfolio 2011

from fr om uurb rban anis ism m to arc rchi hite tect cture a 20 2000 me mete terr po port rtio ionn of tthe hee 33-d -dim imen ensi s on onal al uurb rbban plann nnin ingg iss chhos osen to de deve velo lopp in into to aarc rcchi hite tect ctur ure to ttes estt wh what a hor what oriz i on o taal builildi bu ding ng in a hi h gh-d -dennse ver ertitica call ci city ty can aachievee.

00m

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 connection principles

a hill in the city by adoptingg the connection logic, the newly added urbban volume bec e omess an easily accessible urban hill in the city. thhis picture is ta t ken beefore the attachment of the facade system.

hotel are areea (roo rrooms) oooms) ms) ms s)

sh pppi shopp sh shoppi sho ppppiingg are rrea re ea off off ffice iccce ar areeaa ((m (ma maannag ma naag na ageme geme em ment nt ro rroo ooooms) ms))

cul ccu uulltu tur tural uurraall are areea ((ggal area ggaal aller leeerrie ies ies es) offfice off of icce ce ar arrea eeaa

cultur ccu cul ul ultur tturaal al areea (gal gaaller ga leries le e iies er es)) es

e sti exi sting ng oldd ne neigh igh

offfffice ooff icce ce ar area ea (c (ca ccaante ante ntee een) eennn))

ex sti exi s ng n wet aand dry dry mar market ke co ket c mpl m ex exi x sti sting ng pod podium ium of oold resi residen dentia den tiall buil tia u ding ima mage ggee at at the baack c : pr pro rroogre gress gr gre ss cap caaptur ptur tured ed du ed dur uring ng th thee conn con onnection onn ect ctio ion off the the comp compute omp m uteerr-g r--ggeneera rat atedd pplaannes es

x > 2000mm

1 spatial folds

from computational data to usable spaces

the computer-generated spatial cubes are exploded to get the upper and lower surfaces. these surfaces are to be connection to form a continuous architecture.

keep splitted

2000mm > x > 1000mm

variation of y

blend

connection

blend

connection

x y 1000mm > x > 300mm

variation of y

x resulted volumes of com comput p ation

extraction of top/bottom planes

y merged

300mm > x

2 foldsâ&#x20AC;&#x2122; identification

spatial characterization of the folds / spatial identities are given by employing different usages of the folding surfaces.

cultural

office

ramp

theater

stage

bar

exhibits

causal seats

<300mm

>2000mm

<1000mm

>2000mm

<1000mm

stairs

flat

cabinets

shelves

bench

bar

>2000mm

0mm

>2000mm

<2000mm

>1000mm

>2000mm

cultural landscape

office landscape

hbor borhoo hoodd

hotel

shopping

green

stairs

flat

bar

bench

>2000mm

0mm

>2000mm

>1000mm

hotel landscape

ramp

boutique

display

causal seats

exhibits

<300mm

>2000mm

<2000mm

<1000mm

ramp

open theater

outdoor seats

<300mm

>2000mm

<1000mm

shopping landscape

green landscape

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 general impression of the interiors

3 79m 3.79m 3.7 9m

5 3m 5.2

gene ge ene nera ral ra al im impr pprresssi sion ionn of the the in th inte teri eriior ors rs (c (col col olum lum umnss aare rree not not iinn-pl nppllac ace) e e) / innteerccon o neect ctio tioon off sspa p ccees an pa and progr roogr gram aam mmes mes me / va variririou ouss flfloo ou oor oo or heig heig he ight htss ht / dyyna n mi mic vi v su sual all con onne nect ne ctio ct ions io nss / cchhan angi ngi ging ng glaazi zing hei e gh ghts ts andd wid idth tthhs

3 20m 3.20m 3.2 0

wing yun / portfolio 2011

2 95m 2.9

variioouus heeigght va hs o the of h spaace cess r fllec re ect tthhe va variiouus vari need ne eds of thhee ed p og pr ogra raamm m ess on thee gr th g ou ound ndd plane lane la

6.883m 3m

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 building / model

framing the fluid hundreds of planes generated from the parametric volumetric allocation were connected to form an entity of flluid space : a walkable titin iinng ng mix-functioned horizontal struccture. to avoid creatin an over-powering mega-structurre over the existing delicate urban fabric, the footprints of the existing bloocks cckkkss were extruded and materialized as building facades to synchronize the horizontal building with the delicate rhythm of the city.

1 2 h(r) c(g) c(n)

building without a flat foundation

hundreds of planes generated from the parametric volumetric al aalllllloca o titio iioon were connected functioned horizontal structure. to avoid creating an over-powering mega-structure ove existing blocks were extruded and materialized as building facades to synchronize the h

1/parallel opening vent system was applied so as to maintain the box-like visual effect of the volum scale to the giantic building. 2/the melting green roof the computer-generated heights gave the bui walkways. 3/theater in connection at certain points the dramatic height difference of the existing n here we could find a theater situated at this steep connection. 4/the athletic run the direct walkable â&#x20AC;&#x153;hikersâ&#x20AC;&#x2122;. 5/caves in the hill a number of cave-like folds could be found on the roof top. they broug

could be found as results of the push-and-pulls of heights by the computation. there were private, p

south view ~50m

east view ~200m

wing yun / portfolio 2011

the facade patterns shopping facade h(c)

the needs : a dimmer area and non-coloured background ligght required. the facade pattern: all non-openable 20% of the panels = 60 % transparent grey 20% of the panels = 50 % transparent grey 20% of the panels = 40 % transparent grey 20% of the panels = 30 % transparent grey 20% of the panels = 20 % transparent grey

o h(r)

office facade natura nat tura ura ur rally lllllyy light-up area required. locally controllable ventilatioon prrreefer ppre fer fe erred r . fac aaca cade pattern: aallll gglllas aasssss aarre 1000% ass 0% tr 0% ttrans raans nnsspar p ent with curtain as flexible suu sh sun sha haadi ddin in ing 40% 0% op opena ennable eena able bblle le ppaanel neels (ppa ne par arall ar alllel eell ven ven ve enttil tiililati at onn venntss opening inw nw wards ard rdds to tthe he bbu he bui uuiildi lddiing) ld ng) ng g)

hote ootte tel faca acade de s

h(r)

c(a) o

d to form an entity of fluid space : a walkablee mixxer the existing delicate urban fabric, the footpprin rints ttss of the horizontal building with the delicate rhythm m of the city tyy.

mes. this gave rhythm to the 200 meter horizontal stru t ctture. th the in-a n-andnddd--oout ndouut ut sh s ift f tiing ft n of the vents also granted a human lding dynamic volumetric shifts. the “roof” simply “m “mel eltlted” too di diffe ffffe fere rren eennt llev evvvels eeve ls an and nndd bbeecame accessible by sloping neighborhood induced steep connections between tw two blocks. th these coonn nnectittiioons nne nss suggested different spatial usages. access from the ground plane to the green top is ffooollde ded into a cooont n inu nt inuous uss sp spiirira r l path a . it is a good challenge for urban ht in light and air to the interiors, and brought our pe peop opl opl ple to the opeen air aiirr ffo for or an or an es escape. 6/air gardens packets of green ublic and semi-public gardens.

rooo oom oom m ar area ea : clim imaat im atitic boord orrd rdeerr red r duce uce uc ces ttoo the he in iinv nvvidua iidduuaall rooms idu com omm mm m moonn are mon arre rea : at atmos moos m oosphe spphe pherric icc lliight ghting ng iss aacccep ceepptab ttaab ablleee.. centralcon onntro tro tr roled led le ed vveent ntilat nti t lat laat ation ioonn. fac aaca ccaadee ppat atter at tee n: n: random gradu duati du ation at ttiion on ooff lig liig ight ht kh kkha hhaakkii -co haki -cccoolou lou lo o red redd ggllaasssss at 20% intervals

cultural facade galleries : dim light htitngg with small amount of locallyht controllable ventila llaationn. subtle identification is preferrable. facade pattern: 20% openable paanel ells, random graduations of grey at 20% intervals plus 200% opague light khaki-coloured glass neighborhood cultuural center : naturally light-up area requireed. locally controlla lablee ventilation preferred. facade pattern: la lab 50% openablee pa pannels of khaki glass, 50% clear non-openabble glass panels.. artist’s residdence de cee and home-galleries : privacy and publicityy in good balaancee. facade pattern: 60% translucent khaki-coloured glass panels. 40% clear glaass panels and among those 40% openable

the bare model a 200 meter long structure was materialized from the earlier urban volumetric studies. the four indoor programmes (hotel, office, culture and shopping) were connected through the undulations of the structure. at the same time, the outdoor green areas were running side-by-side with the indoor programmes as the constant shifting of heights created unique accesses to the “green roof”.

going horizontal : a horizontal development in vertical Hong Kong design: designnn:: oct 2010 building / model

rooof pla l n of the he rrea eali ea aliize z d port po rtionn a col rt collag lag agee sho ag shoow owing wing n tthe relatitions o hip of tthhee reeal alize ali ize z d port o ion on o the of t e vo v lum metr t icc urbban tr an pla plann with ititss ccon o texxt. thi t s â&#x20AC;&#x153;urb urban an hil hillâ&#x20AC;?â&#x20AC;? is sit situat ated eedd at a th loow poin the ointt of the h sky kyylin inee.

location within the building the different programmatic landscapes are not stacking over each other. instead, they connect with each other through different levels and are located in a shifting manner within the building. the locations are result of responding to the maps of lacking in the computation process.

6 7

5 4 3 2 14

a zoom-in o -in of the h office offic ice landsca andsc s a 1

an isometric m drawing inng ng showing s win ing th tthe spatia patia tia landscape. c gathering spaces ces are put in t inter-departmental interactions. inter 1// rest rooms 2/ open working space 3/ causal meeting areas 5/ foyer to meeting semi open presentation theater 8/ recept and server facilities 10/ company library document archives 13/ open working sp

wing w win ing yyun in un / por un pportfolio po oorrttfo tfffoollilio iioo 22011 011 o the left: on 11/ overall view 2/ location of green landscape 3/ location of hotel landscape 4/ location of office landscape 5/ location of cultural landscape 6/ location of shopping landscape

greenn landscape a ap

hotell landscape a a

8 officee landscape a a

11 ccultural a landscape a a

1100 5

appe ffoor 40 40 400 000 w workers ker

al or organization rgannizaation t on of thee office offic he junction junct n ppo points o to promote

management ma an rooms 4/ g rooms 6/ meeting rooms 7/ tion areas 9/ back of house y 11/ management rooms 12/ pace 14/ canteens

explo d isometricc by functiion exploded i (not ( t bby hheight i htt) each of thee programmattic landdscapee are connected with the others at multiple pooints. a continnuous public paath can be draw wn throughouut the entire complex. c the greeen landscape can be accesssed frrom diffferent level of thhe existing cityy. 1/ shopping area, yellow inndicatess shops while the grey aree the sales counteers 2/ cultural ggallery on top of o existing wet mar market rket 3/ communal cultural center 44/ cultural workkshop with direct aaccess to the existinng neighbourhoood 5/ cultural theater t leading to the artists’ residdence 6/ artistss’ resideents andd galleries 7/ hotell roomss with volumes sculpted by tthe greeen landsscape on top, diffeerent colour representing differennt sizess 8/ hoteel’s function roomss 9/ caves in the green landscaape bring peoplee, light and wind in to and out from m the other proggrammatic atic landdscapes dscapes

shopping landscape a a

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 interiors in connection with the external

wing yun / portfolio 2011

innte terl rloc rl ocki oc king ki ng off ffic ices ic es the pe the pers rspe pect ctiv ives es ssho howe wedd on tthi hiss pa page ge are ttak aken en fro rom m th thee of offifice ce spac sp aces es.. wi with th tthe he uund ndul ulat atin ingg ma main in bbui uild ldin ingg st stru ruct ctur ure, e, ssmo moot othh tran tr ansa sact ctio ions ns aare re ffou ound nd iinn-be betw twee eenn di diff ffer eren entt pr prog ogra ramm mmes es.

1/ge 1/ geene nera rall of o fi f ce ar a eaa this pper this ersp specctitive ve iss ta take kenn in oone ne of th thee ma majo jorr of offifice ce aare reas as.. un undu dula latiting ng surfacess spl p it the offficce ar a ea into diff ffer eren entt in interlocki k ng com o paart rtme m nt nts, whilee at a the h sam me time me ccon onne nect ct the he ooff ffic icee ar area ea ttoo ot othe herr pr prog ogra ramm mmat atic ic zone zo ness. in th this is per ersp spec ectitive ve, th the of offifice ce aare rea is connected vissuallyy too the cultltur cu ural al are reaa (t (the he ggre reyy-flfloo oore redd ar area ea oonn th thee le left ft)) an andd th thee sh shop oppi ping ng aare reaa (the (t he w whi hite tee-f -flo loor ored ed are rea on the right).

2//of o fi fice ce lib ibra rary ry aare r a in the morni n ng the moree dra rama matiticc fo ma fold ldin ingg of the ssur urfa face ce cre reat ates es nicce po pock cket e spaces for th fo thee libbrar y an and ga gath ther th erin er i g fu in func nctition ons. s. th this is pper ersp spec ectitve cap aptu tureed in thhe mornnin ingg ililluustratees the flfushh-iin in ooff mo m rn rnin nin ing su ing sunn annd hoow it ddifififfu fuse fu sess se throoug ugh the the spliit leveels. thiss pper e sppective ve alsoo gives iddeeaas of o how w circculatioons was a deessigneed in tthe h bui u ldding ing. g.

2 3

3//pr p essennta tati tion ti on area du d ring ng sun unsett uns ggreeeen sppaccess are re alw ways wi w thin easy reach inn this buuiilldingg. this p rs pe r pe p ctivve show o s in the eveni ningg how o llig igght pennet etraatees annd how how clos osse the grreeen is is. oonne giian a t foldding ing suurf r fac rfac acee ccrrea eatte tes a cauusa tes usal pre us reese sent ntat nt a io at ionn area eaa for the offfice. icce thi h s suurfac r fa e al rf a so lea eaadss to the opeen en green e space whhich whic ich iss haallff-a-le leveel ab abov oovve ve. e.

4//an a ootthheer ang ngle le ooff th thee ge genne nera ral of o fi ficce ce arreeeaa a peers rsppecttivve wh w ichh sh show ow ws the the un undu dula du l titng la n glaaziingg aare reea. na rea. nat atur atur ural all lliight ight iiss most wellcoome mo medd.

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 interiors in connection with the external

wing yun / portfolio 2011

cult cu ltur ural a hilills al lss

thee pe th pers rspe rs pect pe ctiv ct i es ssho iv h we ho w d on on thi his pa page gee aree ttak aken ak en ffro rom ro m th the cu the cultltltur uurral a spac sp acces es.. mo most st of thhe cuultltur ural ur al sppaace al cess of tthe he hor o izzon onta tall bu ta builildi buil ding are di ding publ pu blic bl i andd wel ic elll conn coonn nnec eccte tedd wi with t oth th ther er pro er rogr grram gram amme mes. me s. tthe he und ndul ulat ul a inng at suurf rfac aces ac es ccre reeat ates hillates illll-lilil ke ke sspa p ce pa cess fo forr cu c lttur ural al acttivvitie ittiees. s

1 ccas assca cadi ding ngg eexh xhhibbit itio ioon arreaa rig t abbov righ o e the thhe exisstitng marrke kett coomp mple lexx wee can find innd th thiss ste t pp ppiin ing exhi h bi bitiion spa pacee. inndi divi v du dual a ggal alle l riries es are re vis isua uallllyy co conn nnec ecte tedd an andd situ si t at tu ated e at co ed c nt ntin innuo uous us spl plitit llev evel ev e s. el s. vissititor o s “cclilimb or mb”” up aannd mb nd ddow ownn of tthi ow hiss hi cultltltur cu ural ur al hilills ls witithh th thee in intititma mate t exi te x st stin ing ol ing oldd bu buililildi ding ngss as as the he eexh xhib ibititio ionn back ba ckdr ck drop dr opp.

2 nei eigh eig ghbo borh rhoo oodd cu cult ltur ural al ccen ente ter loca cate ca ted ririgghht aabbove th thee ex exis istiting ng oold ld rres esid iden entitiaal bui uildin i gs is thhis int nter errioor laandsc nddsccap ape ho h st stin stin ing the ing the ne th neig eigghb hbor orho hood od ccul ultu tura rall ce cent nter er.. ac acce cess ss from m al al pprrroogra ram mmes es is maaddee pos ossibl sible by by tthe he und und n ulat ulat ul atinng surf surf su r fac acess. an a exp xpre ressss re lilft als lsoo bbrriinngss the rel e ativel elly po poor or neeiigh g boorrhhood od di dire reectly ctlyy too thhiss ccuul ultu tura r l puubl blicc sppaaacce ce.

2 3

3 joi o nniinngg the he exi x stinng thhe pe pers rssppeect rspe ctiv ivee lo iv look okks att thee cul cul ultu tuura tura rall aarrea ffro room anot anothher angl gle. tthr gl gle. hrou hr ouggh ou gh the th he sp spli plit ga gap, p visitiorrs can w waalk down own to ow to tthe hhee roo oof of of the he eexi xiist stin tin ing ol ing old reesi s de d nnttiaal bbuuiilldi lddiing ing. ngg. a ddiireecctt eng enggag agem gem emeen ent in into to the neeiighbo ghborh rhhoood. d.

4 ccav a es av es in th the hi hill illl thhe piict ctuurre, ctur e takken en at 13 1300 00 on a su summ mmer e day ay, look lo ookks ks att tthhe transition beetw twee weeen th the cuultltur the tural al sppaacee aannd nd thee hot otel el aare reaa. re a. the th he liligh ghhte ter cher cherry ch erry er r y fflloor or ooff th the cult cuultltur urral ur all spaace ce con onne nect c s ittse ct selflff to th the he hhoote ote tell area ar e w ea wititth fo folddss.. a green reen suurr face re facee is fo fa fold ldeedd in too briing in liliggh lded ght annd ai a r an and bbrrinng ouut peop ppeeopplee to th the he op opeenn airr.

_ to pt

to pt

1600

1200 to pt_02

1300

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 un daylighting and form-ďŹ nding by the sun gs n i n or m g n i ain m re _1

1700

pt_01

pt_02

pt_03

sculpting the crossings by the sun in order to project the penetration of the low angle sun, existing sun paths are visualized in rhino and used to sculpt the 4 crossings of the horizontal building. building

17000

160 00 00

testing spot 01

testing spot 02

testing spot 03

~28m

1500 00

1400 000

1300 0

1200 2

wing yun / portfolio 2011

the tall tower as the killer of the sun from the sun s path studies, the gigantic complex with the highesst point at 250 meter blocks most of the desirable low angle sun in a vast area of the site. moreover,, it creates deep urban canyons which mess up the lighht and wind condition of the area. jun jul / may augg / apr sep epp / mar oct ct / feb nov ovv / jan de dec

1100

1000 00

090 0900

080 0800 80

the existing giant complex

07000

~250m the horizontal complex

~16m

~18m

~21m

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 structure and technical aspects

structural logic : mediating the computation and urban logics besides holding the weight of the new urban volumes, the structure of the building also takes the role of mediating between the existing delicate urban fabrics and the computer-generated grid system of the new volumes.

from spatial genes to structural logic

the spatial genes of the new urban volumes, which are the undulating cube 8m, are still visible after the creation of the new building. they are translated interception points are the positions of the columns.

2 computed volumes

top and bottom planes

formed from general rule

1/ architectural logic: multi-directional connected surfaces and split levels + remains of computational logic: uneven floor planes and varying ceiling heights 3/ structural solution: densely populated simple columns following the fold lines 2/ site logic: delicate existing neighborhood and detouring street networks 4/ structural solution: sparsely populated space columns to minimize disturbance to the existing 5/ the mediation: a simple computation was written to connect space columns to the closest simple columns to form a structural network

structural translation

isometric view undulating beams and columns (with floor infills)

isometric view undulating beams a columns

partial structural model : beams and columns allocation the column locations showed in the partial structural model above follow the architectural and the computational logic of the newly added urban volumes. the space columns show on the right illustrate how the densely populated architectural columns connect with the sparsely populated urban space columns.

wing yun / portfolio 2011

technical details

s with a base square sized 8m X d into structural beams and the

building services are incorporated as much as possible into the curved floor slabs so as to keep the purity of the interior programmatic landscapes.

major support column (250 mm diameter) green roofing

elevation (materialization)

steel mesh balustrade water gutter with matt metal external finish

exposed concrete external tiling

detail 01

+38.29m double glazing capping

double glazing

the remains of the computation grid

interior space (office area) sloped presentation area cherry wood finish thin-cushioned finish

side-way curtain for curved ceiling profile air conditioning exterior space green roofing

+36.53m

steel mesh balustrade exposed concrete external tiling detail 02

+35.37m

rolling curtain for straight ceiling profile air conditioning

top view - structural grid

interior space (office area) major support column lighting for office area below (+31.32m) meeting area

light weighed concrete for slimdek floor system white plastering finish for office ceilings

detail 03

+33.57m

air conditioning curved surface for structural purpose wooden shelves following the curved surface profile

section 01 / 1:10 splitting levels in office area

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 plans

inter programme inntera nttera - visual and accesssible sibl ible

inteerch interchange (physical) interchange ang nge (visual) (vis upp stair / rampp direction ction spot height +32.09m +32 09m

the interweaving of thee programmatic landscap apes m various encounters poossibl ossibl

boutiqque bouti quee qu shopp 16sqm q

upp

+30 +30 30.50 50m 50m 50

+277.01 01m m

+26 26.8 26 .80 880m

occasional i l theatre

sales counter 36sqm 36

office ffice barr

offi ffiice work orking ork or innngg ar arrea area

sales counter 16sqm q

+30 + 3 .17 30 .17m 17m 17 m

+311.31m m

+277.01 01m m

office ffi libbrary libr r

sales counter 16sqm

office libr b ary br

6/f of an existingg residential tower e

+28.84 +28 .84 84m 84 m

bouu ique bout 120 200 sqm

sales counter 16sqm

+30.4 .40 40m 40m +226.80 + +26 800m 80m 80 m rea read eadding inng areaa

office offi of f ce c work working o king area rece ceptio p i n area area / conn ecti connecti conn e on to ection t shoppi sho ngg

free bbus usines iness nesss area area 100 000 sqm sqm q

sales counter 16sqm

+27.8 +27 .84 84m

upp

slopping ngg gal gal a leery all

+30.31 +30 3 311m 30 gatherin gath er g ar eri erin area eaa / man ggemeentâ&#x20AC;&#x2122;s mana â&#x20AC;&#x2122;s re recepti p on pti

shop h 16sqm 16

+29.97m 99

+31 +3 3 .00m 00

+26 +26 26

wing yun / portfolio 2011 +28.775m 75m 75

ctions ti +32.09m +32 + 09m 09 0

existing office building on 9/f

makes k e e.

back-ofback of house

+32.09m 22.09m 9

hotel rm 30sqm

hotel rm 28sqm

+30.99m 0.99m

hotel rm 30sqm

+29.10m

office fice area

+29.10m

hhotel t l rm 100sqm sq

+32 +32.09 +32 32.09m 09 09m hotel rm 40 40sqm

hotel rm 40sqm

cultural tuural raall office of offi ff ccee s oppin shopping pp ngg

upp

+22 45m +29.45m +29 back-ofh house gallery allery all ry 70sqm 0sqm 0sqm

cultural u

gallery ll 90sqm 90 m

+27.36 +27.36m

+ +28.70m

gall galler galle gallery 38 38sqm

galler 42sqm gallery

lobby byy / ggathering gatheringg / bar ba b 170sqm 0sqm 0sqm q gal gall alleryy 55sqm qm

+29.93m 29 93m

+30.51m +30 +30.5 gallery e 150sqm

+28.53m m

+2m

+24m

+38m

+30.50m 330 50

entra traanc ance n e from from grroouundd plane fr pla lane boutique boutiq q qu shopp 16sqm sho q

upp

new ew mix mix-used mi m x-used x-used sed urban uur urba rbbba vol rba vo - llarge rrge ge area aareas rreea eas as of ur uurabn ura rabn rra abbnn ume uum me bbegins beeggi ginns ggreens eenns

+30.50m +30 30.50m 50m 50

+277.01m 7.01m m

+266 80m +26.80 +26.80m

occasional i l theatre

sales counter 36sqm

office ffice ce bar

office ice c working orking rking rkin ng aar area

sales counter 16sqm q

+30.17m +30 17m

+31. +31.31m 31.31m

+27 +27.01m +2 27 001m

office ffi library librar

sales counter 16sqm

+28 +28.84m 28 84m m

bboutique bou 120 200 sqm

office llibrary b

sales counter 16sqm

+30.40m 30.400

6.80m .80m .80m 0m m reading rreadi re eading ding area

office offic f working area e

freee bbusiness busines area 100 00 ssqm q

reception ec tit area / connection onnection nnec ection t to t sh shopping hopping

sales counter 16sqm

+27.84 +27.84m 844

upp

sloping oping pping ng ga ggal galle a lery

+10m

upp

+30.31m 300.3311 shop h 16sqm 16

gathering n aarea / management s reception managementâ&#x20AC;&#x2122;s m recepti ec

+3 +31 +31.00m

+29.97m 29 97

shopp 12sqm q sales counter counte ounter 4sqm q

manageeme meennnt offices

paraasitic para s tic connections co conneectio ections ec tionss with w wi h exist i tting ngg

+28m neeew mix-used new edd urban uurba rba baa volume vo olume luuume me with witiitth w th connections coonnec conne onnec nne ions ion to eexisting istinngg rooftops r s

up up

sales counterr sales sale 16sq 6sqm qm

shop 16 m 16sqm

+31.83 +31.83m 31.83m 331 1 83 slopping sloping ngg gall galle ga gallery a ery alle

shop h 12sqm 12

shop 36sqm

+32.97m 32 97 +32.02m +3 +32 2 02 02m 2

+2777.02 0022m

sales counter nter nt t 12sqm

shop 16sqm m

shop 16sqm

sales counter nt nte 9sqm q

shop 16sqm

+18m

+30.58m 30 58

sales counter teer 16sqm

sales counte countte ter 16sqm

+31.88m +31.88 +31 31.88m 31 88m 888 8m + +31.88m +31.88

paraas para asitic ittic connections c ctio tioonns with w wi h exist i tting i g and nd rroof oooff topp usages uusaa ess

+33m new m new mix-used edd urban urb rba volume vo olume luume me with witith connections con coonnections onnn nne nnec ne ion ons to uurban bann hil hills hhi lls

connections with the existing are shown in the series of plans captured from +2m to +38m. parasitic occupations of the existing residential buildings in the city is possible wherever there is vacant unit. a conglomeration of the new and old can be envisioned. these plans are 1:4000 in scale.

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 sections

3 sections showed here illustrated the contrast between the undulating new urban volumes and the stable old neighborhoods. new volumes flying across the streets are sculpted by the sun path studies aimed at protecting the penetration of the desirable low angle sun.

wing yun / portfolio 2011

c b

section b

+38m +33m + 8m +2 +24m +18m +10m +2m

section a

section c

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 a sectional perspective of lives

the included public on the democratic landscapes “The last decay has revealed an accelerated erosion of the Public Domain - replaced by increasing sophisticated and entertaining form of the Private. The essence of the Public is that it is FREE. Increasingly public space has been replaced by accomodations of quasi-public substance that while suggesting an open invite, actually make you pay.” Rem Koolhaas

the configuration of paths and accesses allows a open architecture. the green landscape is accessible from other programmatic landscapes through the caves. it is a true open and free landscape for the encountering by all walks of life.

4 5

7 6

2 3

we are high school graduates. we are waiting for results of our university entrance exams... we want a free place to talk about our worries of the future with our friends i am unemployed... i just want to take my daughter forr a walk in a neighbourhood park to stay away from our stuffy and packed subrented room...

i am a tourist. i want to walk out from my hotel room and take a green breath in the morning before deciding where to go for shopping...

we are primary school classmates. we want to meet our friends after school without taking any transport...

i am a house wife. i want to take a short walk in the green after my grocery shopping. i will then go to pick my boy from the kindergarten...

i am a security guard. i want to sit under the sun with my boy before i take my night shift but i don’t have much time to go somewhere far away from the city...

i am an office clerk. i want to catch an art show before going back home to cook for my kids...

i am an accountant. i want to take a short cut to go back to my office after lunch... the traffic on the road sucks...

thee ur th urba bann hi hillll ggivves hhon ongg ko

laarg rgee piece off ppub ublilicc gr gree een. n. tthe he v ew iillllusstr vi trat ated ed how tthe he new u umes um es tak akee up tthe he 3-d -dim men ensi s on thee ex th exis istiting ng ccitity. y.

ng a rar aree e aaer eria ial rbann vvol oal vvoi o ds of

wing yun / portfolio 2011

going horizontal : a horizontal development in vertical Hong Kong design: oct 2010 a sectional perspective of lives

existi exis ting ng cit ityy comp co mput u at ut atio iona nall da data ta allo al loca cati tion on aand nd ssiz izin ingg of nnew ew uurb rban an vvol olum umes ess

urba ur b ni ba nism sm ooff ccoo-e o-e -exi xist sten st ence en cee

the fo the form rm ooff th thee ne newl wlyy-ad adde dedd ur urba bann vo volu lume me ddem emon onst s raate st t d ho how w th t e daata ext xtra raact cted ed fro r m t e ex th exis istiting ng ccitityy ca cann be ttra rans nsla late tedd in into to ttec ecto toni nicc at attr trib ibut utes ess. thherre is no ovver eral a l “t al “top opp-d -dow ow wn” n form fo rmal al iint nten entition on tthr h ou hr ough ghou outt th thee de desi sign gn ppro roce cess ss.. new urban volumes

the new urban volumes nurture the existing neigbourhood

the needs of the existing suggest the new urban volumes’ location

existititing ng nnei eigb gbouurh rhoo oodd 2 exis

the hee ggrreeen eeeenn llaands ands nndddssca ccap aappe

o off of

the ppo porti rtion on bei being ngg bui builtlt

some so me ccon oncl clus usiions ffro rom m th thee co comp mput utat atio iona nall ap appr prroaacchh:

3 va vari riat atio ionn of ccei eililing ei ng hhei eeigh igh ghts ts th the he in inititia iall co comp mput utat atio iona nal al in inpu putt off sset ettiting et ng ddififfe fere reentt hei e ghht for di for diff ffer eren entt pr prog ogra ramm mmes es ccan an sstitillll bbee se seen en.. yo youu ca cann se seee th that at oonn av aver erag er agee th thee sh shop oppi pinng area ar eass ar aree wi with th hhig ighe h r ce he ceililin ings gs,, wh whililee of offifice cess ha have ve tthe he llow owes est.t.

4 siside de-b -byy-si side de ccon onfr fron onta tati tion on ooff di diff ffer eren entt pr prog ogra og ramm ra m es th mm thee in inititia iall co conc ncep epttuaal inpu innpu p t of llay ayer erin ingg th thee 4 di diff ffer eren entt pr prog ogra ram mme m s as ccul ultu tura rall / sh shop o pi op p ngg aatt th thee bo bottttttom om aand ndd hot otel tel el oonn topp is sliligh to ghtltlyy sh shififte tedd by tthe he ccom ompu puta tatitit onn bec ecau ause ause au se ooff th th variations of needs, this ccrreatees the thhe in inte tere rest stin ingg si side de-b -byy-si side de eenc ncou ounnter of different programmes. and becomes thee kkeey inn thhe ar arch chititec ectu tura rall de deve velo lopm pmen entt

5 sh shap apee fo follllow owss th thee ex exis isti ting ng skyline the intial abstraction of the building heeigh ghts ghts ts of the al the a l bu builildi ding ngss in the citityy by ppat atcchi h ng a surface in grasshopper still has its remaains in affe af fect ctin ingg th thee ar arch chititec ectu tura rall fo form rm. and this also creates the possibility of parasitic iinnterr ve v ntition on ttoo th thee ex exis istiting ng bbui uild ldin ings gs..

6 pr p ox oxim mit ityy wi with th tthe he eexi xist stin ingg the initial parametric constraints of walking tim me wi me w thhin 2 minu nute tes be betw twee eenn th thee ne newl wlyy ad addded volumes and the existing volumes (i.e. new of offfice fi to exis i ting off ffic ice, new ccul ultu tura rall to oold ldd neighbourhoor, new hotel to old shopping, new w sshhop o p ng to oldd sh pi s opppi ping ng)) pr prov ovid ides es iinndications in teh architectural design of where too lo loccatee poss po ssib ible le par arasititic ic iint nter erve vent ntio ionss.

ppar pa aaras asi sittic icc con conn co nnneecti ctions t ons ns w ns wiitthh the the th he eexxiist issstting ing in ng bbuuild uild ldding inngs in

wing yun / portfolio 2011

prreessen sen enttaati tion onn anndd pub ublilliica cati t on on thhe final the final naa pprese esenta ntaation nta tio ioon of the h pro p jec eecctt wass ddoonee onn 28 wa w 28t 8 h oct oct ct 201 200110. 0 hav havvingg thhe reccogn re ogniti itititioons ns fr from oom m the ttuutor t s,, the pprroje o ct ct iss now ow re revea vealed le by se led s ver e all ppub ublic licaati attionn channe cha n ls for fo ne f rth thhcom coming ingg publi ing puubli b ccat caa ion ons. s s. tthe he ggrreen eeeen e laands nds nd dscap cap ca ape

hhoo ell are hot arreea ar

offfffic ooff ice ice ce area aarrea ea

fice ce ar a ea ea

shooppp sho ppi ppiinngg aar are rea re

ccuuulltur cul ttuuurraall area arre aare rea

ann uunf nffin nf inis in ishe ishe hed se sec eccttiona ioonaal mo modeel due ue to to vaario ririo iouus us ttec echni nical cal a re reaaso ssoons ons, n thhe sect ns ection ec ion onnal al m moodel mod o eell cou od cooouldd not noo be fifinis nishe i hed h befor before o e tthe h final presen presen pre enntat entat tation ion on. howe on ow ver ver, ve er, thee mod mo eell doe model do s mate does terializzed a po possibl b e solu solutio tionn to t fur urthe therr ddens the e ify ens i thhe alre lrlready ready re ady-ultra-high-densed d edd as asian iann ci citie tiess with tie with i an at attem tempt pt to protec prote pr pro tecct the tect the “ri “right righ of abode” in the citty cent enter. en er. er

project information title : going horizontal nature : graduation project, tu delft project location : hong kong completion date : oct 2010 duration : 1 year no of designer : 1 tutors : prof. nimish bilaria prof. machiel van dorst guus westgeest

sps / academic project

002 spatial sundial - a time-speciďŹ c architecture sch desi s gn informatics individual study, tu delft, 2010

forthcoming competition entries

can calend n ar nd a s annd tim me ttablees take form ? me Spat Sp atia at ial ia al Su Sunddia i l is is aann arrch chit itec it tectu tuure r school. it is a build ldin inng desi de siign g ed e bbyy thhe mo move veme ve mentt ooff thhe Sun. The shape of th thee builili di bu ding ngg, inntern teernal al spa pace cess an andd al allo loc lo ocation of pr p oggramm mess aree al ar a l dete deete t rm minned e by th thee tr traj ajec ecto toory of Su Sun. Sun. n.

wing yun / portfolio 2011

Spattial Suund ndia iall ad adap appts tthe he con o ce cept pt of a su sund ndia nd iall. A ssun ia unndial al,, byy hav avin inng a un uniq iqque iqu ue geo eome metr me trric ical for orm m, del eliv iver iv errs a seens n e o ttim of im me th thro roug ro ughh thhe in ug inte terp te rpla rp l y of the la hee llitit aand nd tthe hee ssha h dedd. A Spat Sp atia tiaal Su S nd ndiial, ial, sim imilililar arly ly andd pro rovo vooca catititive vely ly, prov o ides the users a spatial ex expe perirence withiin th thiss ggeeometrical eo inter erpl plaay of the lit and n the ssha haded.

rotterdam museum park : 52 deg N / 4.5 degg E

hool in rotterdam

eveningg ggalleryy

the locat cation i

tthe sun path

mornin morn ingg titime me dirirec ectt ssunnllig su igght pennet etrati etra ratition ra ionn

luunchh time m dirrect ecct su s nliigghhtt penetrat pene netrat atiion atio

teea tit me ddirirrec ectt su sunl unl nlig igght ight h penetrrat atio ioon

even ev enin i g di in dire dire rect ct sun ct unlilil gghht pene pe netr ne trat atio at ionn io

teatime corridor lunchingg hall

morningg foyer y

comb co m inedd eff ffecct of pen e et etra rati atition tion

rotterdam museum museu se m park was chosenn as as the the si site ittee fo foor for spa patia t l sundial buuildding ing. thee qua qualit litityy of of an an open ope pen ggrreenn in i a dens e e city maake k thhe muse kes uss um m parkk a pperfeect pla laace too loc l ate th thee buil buildin dingg. din g.

spatial sundial in rotterdam design: aug 2010 a preview

search for “sun-based” gemeo eotr trie ies Artificial lighting grants typical floor plans of the modernist stacking tower the power to ignore the movement ntt of the Sun. As the users of these typical plans, we experience no nat a ure and miss the sense of natural time. The project tries to explore a methodology to create buildings as sundials – a geometrical form witithh part rtic i ular meanings towards the Sun and time.

ignoring sunlight

sunlight specific

spatial sundial - an overview the elevations give an overview of the twisting nature of the building, which is an inherited character from the movement of the sun.

sun’s trajectory as structure 3 4

2 1

the structure of the building followings the trajectory of the sun. the shafts are connected structurally to form a twisting structure. a wrapping structural skin follows the geometries of the twist and creates a dynamic appearance of the building.

1/ t foll 2/ s sha 3/ e the in d 4/ 3 stru 5/ t 6/ t

evenninng gaalller eryy 055:3 : 0p 0pm m 15 mar a chh

vem

ent

p create a ossible tw ist

in g

st r

e tur

su n

top view of the sun shafts: owing the trajectory of the sun structure generated to connect the afts, 200mm in diameter external structural skin following movement of the shafts, 500mm diameter 36 floor slabs hanged onto the ucture three sets of vertical connections the spatial sundial

wing yun / portfolio 2011

spatial sundial in rotterdam design: aug 2010 the main idea

how calendar takes form architectural school was chosen for the prototypical testing of the Spatial Sundial idea. A study of the monthly calender of the school gives hint of selecting which part of the trajectory of the Sun to be used as parametric input.

a spatial diagram a/

b/ the active months and active hours

can we have a building with holes for sun penetration? can we have a building with stacking programmes following the time of a day? then we can move around it, meeting different people at different time and at different spot of the building. then we can know the time, by the sun. then we can have a more humane built environment. possible?

so when are we referring to for the stacking programmes? a brief study of the school calendar was done. September to November and January and March are the months which desire direct sunlight for the vibrant school activities. and we select four distinct periods of day from the school time table as our point of departure.

mo thly cale mon alende nd r of an architecture schooll

monthh

school schedule

school acctiv tiviti ities e direct su sunli nlight ght

september - nove nov mber eeducation december dece m examinat nationn / winter win holiday holiday janu nuary ary - march march educ ucatio ation april may - august

examinat exam ation ion / eeaster holiday summer semester er / holida holidayy

fr uent freq scarce

desirable

scarce scar ce scarcee

fair undesirablee

generic n space sun specific space sun-specific eeve even ven eenning n

daily schedule of an architectural schhoool hours 0800 - 0900 0900 - 1000 1000 - 1100 1100 - 1200 1200 - 1300 1300 - 1400 1400 - 1500 1500 - 1600 1600 - 1700 1700 - 1800 1800 - 1900

teeaa-ti tiiime

lunncch ch-ti h tiiime

moorn m morn rning ni

180m / 36 storeys

desirable desirable

frequent

programmes school opens offices and classes begin / morning teacher meetings classes classes classes / flexible lunch hour g studios / flexible lunch hour design design studios design studios / flexible tea breaks g studios / flexible tea breaks design reviews / exhibitions / evening lectures / bar hours ws / exhibitions / evening lectures / bar hours review

3-D shafts

time-based movement

a day of the users

the trajectory of the sun creates a twisting motion of the location of the shafts. in section the on left, unique situations are created by the non-orthogonal angles of the shaft. these shafts give the building shallow plans : enhance diffused light penetrations and natural air ventilations.

the programmatic arrangement throughout the building is following the location of the shafts : from morning to evening in time and from bottom to top in position. this arrangement promotes a round-the-building movement within and therefore enhance interactions among the users.

some possible routes through of the building of various users of the architecture school are illustrated here.

evenin

evening gallery

tea at

tea-time corridor

lunching hall

morning foyer north to south sections in every 5 meters

desig

lun lunchin

bre morn

wing yu yun / portfolio 2011

c/ the fourr sun-penetrating shafts

h fa

1700 -

1800

Sep to Oct / Feb to Mar

1830

1530 -

Sep to Nov / Jan to Mar

1630

1430 -

1730

v3:

1230 -

1330

Sep to Nov / Jan to Mar

1130 -

1430

programmes associated design studios review rooms coffee house semi-outdoor social landscapes

v v1: v1

v3 v3:

programmes associated canteens cafes semi-outdoor social platforms picnic spaces

Sep to Nov / Jan to Mar

key :

0830 -

1100

v1 v1:

v44

v33

partly ON / parts of the shafts lighted up by the sun

project group

design tutor

guest critic

1700 evening lecture hall 1730 sunset bar to conclude

1730 sunset bar happy hour

1530 work in studio

1430 working in office

1100 classroom 1200 discussion on picnic platform

1230 lunch at lunching hall

v33

foyer receptions morning cafes morning brainstorming rooms

penetration till the end of the shaft

1800 sunset bar happy hour

B = -61.45, A = 21.00

1230, 21 march B = 6.27, A = 38.20

v3:

1230, 21 january januaary B = 5.92, 5 92 A = 17 17.98 B = -8.91, A = 17.75

v1:

0900, 21 march 090 B = 63 63.48, A = 19.62 B = 49.42, A = 227.32

v3 v3: v2

0900, 21 jan january anu nuary B = 53.35, A = 2.0 2.01 .01 01

v4: 1000, 21 january B = 40.91, A = 8.78

B = bearing / A = altitude

neighborhood

visiting scholars school administration

a tour round the 4 time shafts in a day evening gallery

tea-time corridor

1400 meeting at office 1300 outdoor lunch with colleagues

1000 morning brainstorming room

1630, 21 marchh 1

1330, 30 21 january v4: 133

tea with afternoon sun

1500 design studio

B = -47.1,, A = 28.48

1m march v2: 1000, 21

thematic shafts as hot spots for the public 1700 guest critic beer with sunset at evening galleries

1530 guest critic at design studio

1530, 21 march arcch

0, 21 march m v2: 1330, B = -12.78, A = 37.70

v1 v1

programmes associated

fully ON / direct sunlight

B = -80.46, A = 7.89

v4: 1630, 21 january B = -61.45, A = 21.00

morningg foyer y 1000

1800, 21 march

30, 21 jjanuary ja uary v2: 1530, B = -37.05, 37.0005, A = 10.5 10.55

v44

0900 -

B = -68.04, A = 16.84

21 february ebruary v4: 1800, B = -72.64, 72.64, 72 64 A = 0.31

Sep to Nov / Jan to Mar

1700, 21 march

21 february v2 1700, v2: B = -60.49, A = 8.76

lunchingg hall

Sep to Nov / Jan to Mar

1600 t tea-time corridor 1430 gn studio

v1::

exhibition galleries bars sunset-viewing platform review rooms

Sep to Nov / Jan to Mar

programmes associated

tea-time corridor

1700 ng guest lecture

0930 akfast at ning cafe

the desirable time frames are interpreted by the corresponding di sun vectors. they ey are the boundary lines for each of the shafts.

Sep to Oct / Feb to Mar

architecture student

1300 nch at ng hall

d/ the respective sun vector boundaries : framing ng the sun

eveningg gallery g y

picnic at open air cafe with morning sun

lunching hall

morning foyer

school administrations are located in the generic spaces of the building, which are mostly the peripheries

spatial sundial in rotterdam design: aug 2010 the time and the process

specific time for 52 deg N / 4.5 deeg E as the building is solely derived from trajecctory of the sun, the spatial organization respond honestly to the natural time. a series of elevations was captured to look at a the lighting on and off of the shatfs and also the effects on thee twisting facade. eaast elevvati attiio s ations

21 march

soouth ele e vations

21 march

west elevvati ations at

21 march

imag im agge att tthe back: aer eria iall zooom iinn of of tthe he llun unnch chin ingg hha in hall all aatt 1330 on 21 marchh while whi h lee ssunlight unliligh un ghtt pe pene ennetrates ttrrat ates teess till tiilll the tthhe end end ooff the en the he void vooiid

wing yun / portfolio 2011

allocation testings as a form-finding process, the four shafts are parametrically controlled to test for the allocation as a viable building. sun angle g e vector

evvenningg ggallller ey

teaatim te me co corr rrid idor or

teeatime corridor

vector com mponents : x = sin (((90-bearingg)/180)* Ď&#x20AC;) y = cos (((90-bearingg)/180)* Ď&#x20AC;) z = sin ((altitude))/180)* Ď&#x20AC; )

formation of shaft surfaces shaft-location contrrol ppoint

luuncchingg hall

the control pointt moves in x, y, and z directtion to test the aggregatioon logic of the shafts

morrningg foyer m y formation of volume

building volumee formation

lunchingg hhall

after getting the desirable shaft locations, volumes of the building are generated by connecting the isocurves of the vector lines.

spatial sundial in rotterdam design: aug 2010 the time and the shafts

the 4 shafts and time beingg der derive ivedd from the the sun sun vec ector tors, the 4 sha shafts ts are ar provid pro viding ing di diffe fferen rent func unctions n at dif differ ferent ent titme of th the day. day.

morningg foyer y

1 switching on and off by the sun 09:30 am 15 march

fully on all sides of the morning foyer aree lighted up the morning sun. this is the prime time for morning activities.

fully off

01:00 pm 15 march

most of the 4 sides of the morninng foyer are out of direct sunlight during lunching time.

fully off

04:00 pm 15 march

this picture with no artificial lighting shows the condition of the morning foyer during tea time.

fully off

05:30 pm 15 march

this picture with no artificial lighting shows the condition of the morning foyer during evening time.

2 shaft components and connections

lunchingg hall

1 switching on and off by the s fully off

09:30 am 15 march

only the outer skin of this part is lighted up during the morning peak hours.

01:00 pm 15 march

fully on all sides of the lunching hall is being lighted up by the sun. all lunching spaces are bathed in sufficient sunlight.

04:00 pm 15 march

partly on part of the luching hall is still lighted up by the lower-angled tea-time sun.

fully off

05:30 pm 15 march

this picture with no artificial lightting shows the condition of the mornning foyer during evening time.

2 shaft components and conn

L6 L5

L155

L14

L13

L12

LL10 L1 1

L11

sun

ections

wing yun / portfolio 2011

teatime corridor

1 switching on and off by the sun fully off

09:30 am 15 march

this picture with no artificial lighting shows the condition of the tea-time corridor during the morning time.

01:00 pm 15 march

partly on part of the tea-time corridor starts to receive sunlight. balconies start to bath in the afternoon sun.

04:00 pm 15 march

fully on all sides of the tea-time corridoor is bathing in the afternoon sooon. all the cafes, tea-houses, and the grassland are washed with thee sun.

05:30 pm 15 march

partly on part of the tes-time corridor (nnot the base surface) is still receivving warmth and light from the setting sun.

2 shaft components and connections

eveningg ggalleryy

1 switching on and off by the sun fully off

this picture with no artificial lighting shows the condition of the evening gallery during thee morning time.

fully off

04:00 pm 15 march

partly on the evening gallery starts to receive the afternoon sun and some of the balconies are bathed in in-direct sun.

05:30 pm 15 march

fully on all sides of the evening gallerr y are receiving light from the settinng sun. all exhibition spaces and evening bars are enjoying the sun set.t.

2 shaft components and connections LL32 322 L L31 L3 L L30

L222 L29 L29 L21 L28 28 28 L2 L20

01:00 pm 15 march

this picture with no artificial lighting shows the condition of the evening gallery during the lunch hours.

L24 24 L23 233

09:30 am 15 march

spatial sundial in rotterdam design: aug 2010 the time and the shafts

the sections of shaftss aand nd tthe heir functions morningg foyer y the morning foyer hosts a main entrance of the building. the inclined surfaces resulted from the sun vector study are interpreted as a living and unregulated staircase space with connections to cafes, morning meeting rooms, receptions and so on.

lunchingg hall the lunching hall captures the brightest sun light of the day. the high sun angles remain high throughout the hour of operation of the lunching hall (from 1230 -1330), and therefore it gives an steady slope for the shaft. this steady slope is interpreted as a stepping dinning spaces and two sun-bathed picnicking platforms.

programmes associated:

foyer receptions morning cafes morning brainstorming rooms

09:30am 15 march

L12

programmes associated:

canteens cafes picnic spaces semi-outdoor social platforms

01:00pm 15 march

wing yun / portfol fo io 2011

tea-time corridor the tea-time corridorr is fully shone from 1530 - 1630. the sun vectors give the corridor a tw wo-sided inclination base surfface. big openings are made ffor tea cafes and coffee houses. tthe remaining surface is paved witth grass to make it a perfect space for afternoon chill-out inn the sun.

eveningg ggalleryy the golden soft lightts penetrating through the eveningg gallery makes it a best place for exxhibitions and enjoying a beer withh the sunset after a day of work,, for students, tutors, and even people from the neighborhood. the ssloping nature of the floors inheriteed from the sun vectors is interpreted as a cascading gallery sspace.

L221

programmes associated:

design studios review rooms coffee house semi-outdoor social landscappes

04:00pm 15 march

L30

programmes associated:

exhibition galleries bars review rooms sunset-viewingg platform

05:30pm 15 march

spatial sundial in rotterdam design: aug 2010 the time and the shafts

a seection through the building the section illustrates a possible usage of the inclined shafts. the lunch time corridor is developed into a sloping dinning and picnnicking space connecting visually and accessibly 6 stories. the exteernal skin is wrapped inside to form the interior and structure of the shaft.

L19 L1 L19 19

beginn beg inning inn ingg of th thee tea time co corri rridor dor

L188 L18

L117 L17 17

extteri er or ski s n wrap wrap apped ppped ed inn as as sh shaft aft ft in inter terior ter ior

L166

L11 L15

L144 L14

L13 LL12 L1 1122 L122 L1 L11 L1 L11

L10

sectio sec tion thro h ugh the lunching hall

L09

w ng yun win y / portfollioo 20 20 1 201

enla larg la rged rg ed imagge of lu l nc nchi hing ng hal alll att 1130 300, 30 0, 155 ma m rcch suun pene netr ne trat tr atees till th at thee en endd off tthe he ssha haft ft aandd all the h a so as sociated roo ooms m aare ms re bei e ngg ligghtted up

spatial sundial in rotterdam design: aug 2010 a sectional perspective of lives

thee 36 rres esul ulte tedd fl floo oor pl plan anss floors flo ors su surro rrounding tthe morningg foyer y

~64 m

program

foyer recep morn morn brain

floors rs su surro rround unding ing th thee lunchingg hall

L10

L11

L12

L13

L14

L15

L16

L17

L18

cante cafes picnic semisocia

L27

desig review coffe semisocia

L36

exhib bars review sunse platfo

flooor sur surrou roundi nding ng the tea-time corridor

L19

L20

L2 L21

L22

L23

L24

L25

L26

floor flo or sur surrou roundi nding ng the th eveningg gallery g y

L28

L29

L30

L31

L32

L33

L34

area with sppeci ecific functions fu related to the shaft

phot o o at the bac ackk : lo look okin ingg ou outt fr from om tthe he ttea ea-t -tim imee co corr rrid idor or of th the 1: 1 20 2 0 model

L35

wing yun / portfolio 2011

sketch model

mmes associated

ptions ning cafes ning storming room ms

a 1:200 model of the Spatial Sundial was built to st stud u y liligh ud ght,t, for gh orm m annd spat sppat atia iall possibilities. the twisting structure was more visib iblee iinn the thhe ph phys ysic sical al m mod odel del. lighting conditions of the shafts were simulated by poosi sititiion onin ingg a ta tabl ble la lamp mp.. thee fo th fourr sha h ft ftss :

eens s c spaces -outdoor al platforms

from m vvarrious us angglees :

gn studios w rooms e house -outdoor al landscapes

fabrication a fa fabbrriiccatio ion o aattte tte temp mpt wa w s stuuddie st ied aass shhoown w in thhee im in maaggee. sseeequ queennce off qu tthhe inst iinnssttal taallllm lmen lm entt ooff str tr uucctu tura rall ra ccooomp mpppon m onennts on onen ts was shoow sh wn in in diffe ififffeere erreent n colou co loour. rreed ed : 1s 1stt innssttal al gree gr een : 2n 2 d in inssttal all bluuee : 3rrdd innsstall bl blue talll ta whhitte : 4t w 4th inst inst in stall

ition galleries

w rooms et-viewing orm

projec ectt in info form rmat atio ion n title : spatial sundial nature : individual studies project location : rotterdam comp mpletiton datte : auug 20010 d ra du ratiton : on an andd of offf fo f r 6 mo mont nths h n ooff de no desi sign g ers : 1 tuto tu tors ors : pro rof.f axel xeel ki kililian an prof. prof pr of. ruudii sstouffs of toouf uffs fss

btd / academic project

003 bridging the divided in singaporeâ&#x20AC;&#x2122;s china town * design project, msc 2, delft school of design, tu delft, jun 2009

* in Research and Design Catalogue, Urban Asymmetries Programme

how network takes form ? the happenings : we walk the project is an exxplor orattion on how com or o pact c prrograamm m at atic ic arr r annge geme meent n s can be dissolvved in a walkable urban lands d cape pe. pe

chin ch ina na ttoown wn theeat aater ter and nd sport porrtt com po omppllex ompl ex

the issues : relativities and interweaving layers relativities and urban layers in terms of phhysical a al accessibillity and social strata are the is i suess to be dealt with. how can an urban lanndscape p capture the hee core of these issuess?

wing yun / portfolio 2011

the context : a china town in the chinese society of singapore w at is the meaning of a â&#x20AC;&#x153;China Townâ&#x20AC;? in a society wh having 75% % of Chinese population? th this is urb rbban a intervention o project starts with a series of onn site interview e s with different people who actively involved inn di d fferent coommunities found in the site.

publ pu blic icc hou ousi usi sing nngs gs

prog oggra ramm matic and urban strategy

from m zon oning to the relational urban

rigid pro raamm prog m at atic zoniingg w zo withi hn a siite t

e, Delft Scchoool o of Design, TU Del e ft ft,, Th T e Neethher erla land la ndss

fizz fi zzyy prog ogramm mmat aticc zoniingg ffor or inte in tera racttio ions ns

soouuutth br so sout bbrid rid idge ge roa ge oadd

budd bu ddha haâ&#x20AC;&#x2122;s â&#x20AC;&#x2122;s ttoooooth th tem empl plee diilu luti ting ngg ggri ridd ri booun u daryy byy rela re latiting ng ttoo th thee exis ex istiting n

loca lo oca caall fo food od ccen ente en ter er

acti ac t ve ti v ext x ennsi s onns of nnet of e woorks rks to relat atee to thee exxis th isting ng p ogramm pr mmatically l pprreesser ervveed shhoopp--hhoou ous use ses

bridging the divided in singapore design: jun 2009 the approach

an architecture with urban thoughts the project went beyond the design brief and tried to locate and relate itself to a bigger context of the site - the 350 m X 350 m china town of singapore. the urban site area provides clues for programmatic mix and physical accessibilities. the architecture site is, thus, capable of hosting a building with meaning spreads beyond the site boundary.

urban and architecture / the tangible and the intangibles on-site interviews / followings / site intangibles observations urban analysis mappings / site tangibles topographic studies

urban site area

conclusi

ion

wing yun / portfolio 2011

required by the site: extra-extroverted gesture required / programmatic ties with the existing / a new concentration of primary uses to sustain the density of the site a networkk archi h teect c ure required by the site: network-like architecture / boundary-less architecture / stretching architecture / hill-dissolving architecture

new primary uses

aerial photo of the site the area with colour is the urban site area of the project with a north-south span of 350 meters.

architecture site area

penetrations to the existing city

bridgi bri dging g ngg the th dividded ed in in sin singap i ggapore po design gn: jun j 200 009 urban analysis: the intangibles

urban study off the he INTANGIBLLES

on-site interviews : 2 groups of people in order to understand how the china town operates, interviews were made with 13 shopkeepers in the china town complex and a group of elderly in the square next to the complex on 25 april 2009

the cheese players fruit stall

fresh fish store

the one in strips is the boss. he is serving customers from the north. he said peopel will come if the mrt journey is taking less than 30 minutes

he almost finished his sales today. he has customers from all around. he is living in the north of woodlands for easy access to fish stocks

grocery shop

bridal shop

she is intorducing the shopping coupon system for the elderly. she intentionally packed her food in small quantity for the living-alone old people

they are specialized in selling the traditional items for chinese wedding ceremonies. therefore, people from everywhere of singapore will come

fruit stall

boutique for the elderly

during weekends they have customers from all over singapore. they just moved back to this stall last may after the governmentâ&#x20AC;&#x2122;s renovation

his customers are mostly coming from far, and some are indonesians. he mostly speaks dialets with the customers as they do not speak madarin

butcher

shoes stall

he is removing the fat on his pork for his young female customers from far, as the neighbourhood is mostly elderly who are not his target customers

he said young people would not come to this complex. all his customers are over 40. there are also tourists buying from him

fresh fish wholesaling store

towels shop

he wholesales fish and forgs to nearby restaurants. individual customers are not his targethe is livingin this neighbourhood

he spent most of his time staying outside of his shop chatting with the bosses. his customers are the people living in the neighbourhood

main findings

the market shopkeepers

historical allocations of the chinese market

surprising mobility of t

the cluster of shops found in the chinese market nowadays have actually been forced to move by the government for several times throughout the past decades. however, no matter where the market is, the same group of customers from all around singapore would always come back for them. the intangible network, instead of its cnetral physical location, is the key to the survival of this old market.

to our surprise, after talkin actually come from far. so bus coming to this tiny sq they come everyday, from

1960s lau pa sa market starts to agregate

1980s china town complex the development of the nearby hdb and the complex finished

2006 - 2008 outram park temporary location for 22 months due to the renovation work in china town complex

2008 - present china town complex

the daily groups

ng with them we know that they ome of them take 45 minutes of quare to socialize with friends. m the earlyy morning till late.

wing yunn / portfolio 2011

conclusions

for the solidarity of the social groups which are active in the site, physical proximities are not the most important binding force as they have been forced to move around the city state for times.

for china town’s solidarity : intangible physical > network form

in a society with 75% of chinese population, why is there a need for “china town”? the ability to gather different kinds of chinese people from all around singapore in this small place is the real value for this “china town” in the predominantly chinese society in singapore

for china town’s identity : in tourists’ eyes, china food town is equal to : museums sourvenir shops buddhist temple in locals’ eyes, china town is equal to:

easy to replace, remove, and rebuild

china town market complex chess community various chinese associations

strong intangible networks connecting the entire singapore

the vibrant scene of activities are not supported by the immediate social housing neighborhood, but the scattered connected social groups found all around singapore.

geographically : china town neigbourhood

operationally : china town neigbourhood eigbourhood

bridging the divided in singapore design: jun 2009 urban analysis: the tangibles

urban study of the TANGIBLES

issues and solutions the analysis and design approach is basically a bottom-to-top exercise. instead of identifying a problem from general societal level, the analysis and design here starts from researching the very immediate situation of the site. in terms of physical constructs, in order to respect the natural terrain of the site, a 3-dimensional approach is applied.

the urban proposal the urban proposal is an honest overlay of all the solutions suggested for corresponding issues.

issue a difficult terrain

issue a desert in the oasis

8 lan averag

site boundary +100

+300

+15000

existing market complex

+8000 0000

+8000 + +8 8000 8800 0000

current terrain around the site

the site is the start of a no-green urban belt running SW to NE

solution adding a piece of artificial terrain

solution adding accessible urban hills

soluti loo

+100

+70000 +100000

+300

+15 15000 15

+8000 +800 + 88000 800 000 00 00 00

the diagrammatic proporsal will be taken as a base for 3-dimensional height study as the site bears a sloping urban terrain.

issue a le

0 +8000

+8000 8

+00

+80 +8000 +8 8800 00 +5000 +50 00

+88000 +8000 0000

+888000000 + 00

+00

urban hills for sport fields and greens

blending the difficult natural terrain into a walkable landscape

introduction oduct odu duct duc ddu ctt of urban hills to connect the existing scattered cti urban green walks

new loop

wing yun / portfolio 2011

issue an unconnected programmatic zone

eftover traffic void

existing site conditions

stitching of tourist souvenirs

new bridge road nes, two directions ge speed : 50 km/h

programme stitching : lines showing the connectivity of same programmes across an urban crossing

345 m

stitching of local restaurants

stitching of galleries south bridge road 3 lanes, one direction average speed : 25 km/h stitching of bars source : http://forums.vr-zone.com/world-news-singaporeaffairs/293004-news-erp-helps-business-says-lta.html

current traffic around the site with no access to the heart

current programmatic stitches around the site

on oping and sloping traffic into the site

solution introducing programmes for stitches in wider context

new programmes

working vehicles enter in small loops on ground level leisure vehicles enter from slow traffic on the platform level

ping of traffic following the slopes for infiltrating to the center

proposed programmatic stitches around the site

solution

1+2+3+4

a preliminary urban proposal

bridging the divided in singapore design: jun 2009 urban analysis: the tangibles

uurrba ban sttud udyy of tthe he IN NTA ANG GIB IBLE LEES

how w people walk : a stud udyy mo moddel for the pooss ssible pat aths hs oonn fo foott

fromt the interview we w know w ho how w people are re using they sitee, wh w ere they are fro rom, m, when they viisit, and how they get to the site. eachh wire represent on onee po poss s ible paths recorded from the he oonn site interview w and n the topographyy studies. below are some of thee pat a hs record - tourist getting off from m chi ch na town station for souvenir and thenn go go to the bars - local walking throuugh the h green to the market andd take take the no northh bridge br road back hom me - locals getting off ff fro fr m outram park station walk to the communit ni y center c for sport o s - social housinng resident going to play sport - duriing lunch ch hours, people from urban renewal authority office eat at maxwell food center and nd the then shop op at the chinaa town town market for 20 minutes - officee ladyy going through the market to shop before taking metro tro at the outram m park station - toursit frrom china town station heading to the buddhist temple - loca o l soci c al housing resident shop at the china town market - people from m outram park station walk along the new bridge roaad and drop by the china townn - locals from m the th outram park station going to the theater comp mplex - tour o ist getting off o from china town station, buy souvenirs annd then go to the china town maarket and the hen ggo to the the theate a r complex forr a visit

ded :

wing yun / portfolio 2011

bridging the divided in singapore design: jun 2009 urban analysis: the tangibles

nodess an node andd ne n w looopps aree therebby sugg su gges este ted by thee walking pathh st stud udy. y. thes th esee ellem menntss are the basis for how thee ar th arch chititec ectu ture takes its shape in thee proj pr ojec ectt

wing yun / portfolio 2011

urban strategy : in search of network architecture the urban strategy suggested to keep the china town area vibrant is to first project the existing network and social structure - keep the physical environment as intact as it is. instead of introducing new housing, vast amount of new primary uses are pumped into the siteâ&#x20AC;&#x2122;s empty plot with a extensive walkable network connecting the entire district. this act is to bring new life to mix with the potentially withering old economy of the site.

riall loooping pathh suggestiion

new primary uses

penetrations to the existing city

bridging the divided in singapore design: jun 2009 generation of the programmatic landscape

ne w

bri

dg e

roa d

the intangible + tangible studies are brought back to the physical condition of the site, a slightly sloping topography, for further testing the possibilities a walkable network archtiecture.

+4 m +5.5 m +0.5 m +2 m

+4 m

maxwell

g roadd idge south brrid so

+0 m +0 m +0 m +8 m +0 m +8 m +4.5 m

proposed human connections

issues of heights

human + car + height

maps for heights and nodes study

trial configurations for paths with slope <

+2.5 m

9 deg 8 deg 7 deg

generation of walkable paths interpolate curves are used as the basis of geometrical formation. horizontal and vertical distances of a and b are the basis for a parametric testing of feasibility for spatial uses

6 deg 5 deg 4 deg 3 deg 2 deg 1 deg 0 deg

te cur

vertical distance a

ola interp

4m horizontal distance a horizontal distance b

10 m 12 m 14 m 11 m 13 m 15 m

ve tria

+0..5 +0.5

wing yun / portfolio 2011

e is ex isti ting n the ng h at ater er aand ndd sspo poorrtts coomp port mple lexx le exis ex istiing ssoc isti is ocia oc ial ia al ho hous usin us ingg tow in toowe wers

+8 m

+0 m e is ex isti ting ng soc ocia i l ho hous ussin ingg to t we wers rs

existing under-used carpark area

walkability is the key concern regarding the formation of the geometries. all slopes generated in the scheme are less than 8 deg to facility human traffic

vertical distance b

+0 m

bridging the divided in singapore design: jun 2009 generation of the programmatic titic ic la ic landscape ands ndd cape

exis ex istt walkkwa way paassin ssing through eexxisting housi ouusi sing i podium

to sou to outh th bridg dgee ro road ad ccrossin ingg / kr kreta ayyer road oad add (gggallerie a iess an andd de d siign fir irms m ) ms

sugg este d ne

w ro

walkwaay be betw twee ee h us ho u inng to towe wers rs rs

crosssing off so sout uthh br ut b iddge g rroa oaa / to oad t old shoophouses clusters (b ( arrs annd teah a ou ah ouse ses))

i ng

ist ex w

ne idg

br d oa er

to sou outh th bbri th ridg ri dge ro dge dg road ccro ros ossing ss ss

how network takes form itera iterations of parametric trials resulted in a path systeem thatt fulfilled all the accessibility needs while at the sa s me tiimee capable of absorbing programmatic volumes. the shape of the network will be honestly translated iint ntoo archhitectural constructs.

too m max axwe ax welllll / urbban we an renewal authority

wing yun / portfolio 2011

direect ctio iioon too new bridge road a ad

throug thro ughh th thee cr creaatiton of the paath t s, s, the existing topo to pogr grap aphy hy is exxte t ndded e andd dilut uted ed. programmess aree too be in ar inse s rt r edd in the sppac a ess iinn between the walkkab wa a le ppat aths hs. itt is an intter erplay a betwe weeen e pulling andd pu an push shin ingg of in o the h solilidds ds and voids.

ting ti ng theeat ater er and sspo port rt com mpl plex ex

en tw twoo

insertion of programmatic volumes

walk wa lkwa lk w y pa wa passs ssiing through exissti ex t ng n houusing si podium

volu volumes lume mess protruding prot otru rudi d ngg out ou from room the t e void th voids ds fing fingers nger e s as interweaving er int nter erwe weav avin ingg pa in path thss

volu volumes lume mees that thaat th at are llef eftt ass voids vvoi oids ds

to publlic squaare / cchi h na town to wn shopping complex wn

the conceptual outcome : externalizing urban structure

too sou o thh bridge rooad a crossing / budd dddh â&#x20AC;&#x2122;s too ddha ooth th tem mple l

tthe th he pr proopos osed ed built vooluume m s ar are solely scul sc u ptedd by the netw wor orkk paattteern, whic wh icch is generated byy the pat atthss and a heiightss sttud he udie iees desccriribe bedd in tthe be prev pr evvio ious us sec e ttition onss. thhe enntitre pla l nnnningg iss a por orou o s urrbaan struct st ctur ct urre wh w ic ich sugg ggests ess s an e teern ex rnal aliz al izin iz ingg ggesture. in

bridging the divided in singapore design: jun 2009 in full vision

sugggges su este stteed ne new sppac ace w with wi ith th new ew

tthheeaate ate t r an andd sp spor ortt compleex

ssooci cia ial al h

how network takes form : the outcome the outcome of the architecture, with a strong urban presence and urban meaning is answering the networking needs of the site. it solves the problem of the mis-placed social housing towers, which are the blocking elements of the site. it reconnects the china with its surround in a natural manner.

preservedd shophousees

preserved s pprres eser ser erve v d sh ve shop hop ophho ho houses

wing yun / portfolio 2011

marrkket ma keett roouutings uttiinggs preserr ved ved shop ve oppho hous u es us

hou ousing ous ng tow wer ers mode mo dern rnn ttem em mpplle

foodcourt (hawker ce c nt nteer er) hophouses eess

bridging the divided in singapore design: jun 2009 the puzzle

1workshop tower 01

the architecture puzzle the 100% ground coverage the 100% coverage of the network architecture gives the building an intact volumetric pack. as all the shapes of the volumes are derived from the network, they are uniquely shaped with interesting spatial uses. uses 1 2 4

2sunbathinng / family pool site area : 1438 sqm height : 1 sstorey pool area : 290 sqm functions : pool + sunbathing aareas + jacuzzi + changing c rooms

3vegegtarian restauurant

6 the 8 components

ssitte area : 552 sqm heeight : 5 storey functions : small stores (ground floor) + 4 storeys of workshop / studio space pace

conglomerate

ssiite te area / podium size s : 14559 sqm toow weer size : 558 sqm m hheeight : 4 storey functions : vegetariaan restauurant + baarrss + roof-top cafe

4woorkshop tower 02 the compact volumes

sitte area : 340 sqm heeight : 5 storey funnctions : small stores (ground floor) + 4 sstoreys of workshop / studio space

5 kindergarten

the whole

paths + volumes

the paths

ssite area : 1083 sqm hheeiigght : 2 storeys func fu nctitonns : 10 classrooms + offices + oouutd tdoor playground capacitty : up to 250 students

6art mmuseum

wing yun / portfolio 2011

1:1000 plan in puzzle mode

site aarea : 1195 sqm h ight : 2 storey he functions : indoor+outdoor exhibition fu spacces

7 officee tower 01 site arrea / podium size : 1534 sqm towerr size : 772 sqm hheeightt : 6 storey functions : car park + offices + sport facilitiies on the roof

8office toower 02

saturday, satu aturday d 2 am

site area / podium size : 1156 ssqm q tower sizee : 485 sqm height : 10 storey functions : car parkk + oof offices

sunday sund unddaayy aafternoon

weekday w eekdd eek offic office off f hours

weekdays, weekd we wee kd 8 am

weekdays, week eekkd kdday ay 4 pm week weekdays, w wee ekkda d 2 am

6 food tem ple bu dd ist raann t/

fam ily

ann reesst taau

po ool

gal a le erryy

chin hines hi ese resta

fices

urt co od ffo

/ of

/ nt ura

offic ices

sta re an

field

ess fficce /o

um s use tm do rd re

iices

off

/ rryy lle ga

top sp or t

art al looc

roof -

air

etr

g ve

urants / vegeetra trairan ann resta res esstauuran t ve get raiir

ar t

stuu dioo s /s tud io

s sh s op

loc al

o s shop

iieess ocer all gr loca

teerr /

sppo orrtt ceen ntteer r/

rant

s/ shop

two reasons for suggesting the programme mix: 1. round-the-day and round-the-week primary usage activations 2. programmatic association with the surroundings above: round-the-day and round-the-week activations periods below: programmes linked to the surroundings

dra ma thea

ity

s eerrie rooocce al gr loc

ies

ocer

why these programmes?

kinnd deer ergga arrtte tenn /

l gr

/ oppss s sh

loc al

stau n re

ra trai

loca

ie ocer

l gr

ge / ve

loca

ur t

bridging g g the divided in singapore g p design: g jjun 2009 the drawing

views, plan and section : layers of networks form the lay spaces

the architecture generated from the network haas its unique configuration: an extrovertedd character with a lot of dynamic connectionns with its surroundinng. for the interiors, thhe layers of networks are translated into layers of internal spaces witth dynamic volumetric visual connectionn.

wing yun / portfolio 2011

yer of

7 4

1:1000 plan in intact mode

3 5

bridging the divided in singapore design: jun 2009 the encounters

muultltii--le m l ve vel en enttran ance cess foor th for the he of ooffi ffific ficcee ttow ower ow wer er

the aar th art rt m rt muuse seum um

proj pr ojec ecct info form fo rmat rm atio at io n io ttitlee : br brid idgi g ng thee ddiv ivviidded e natu na ture re : m msc sc 2 des esig i n prroj ig o ec e t,t, tu de de delft proj pr ojec e t looca catition onn : sin innga gapo gap poree pore comppletiion co o dat atee : jun 2000099 duraatition on : 1 sem mes e ter d si de sign gners : 1 tutors : ger tu erha hardd bruuyn y s g eg greg gr egorry br b acken

wing yun / portfolio 2011

the tropic encounterss thee st th str trate rate teg egic pr proogra ogra og ramm amm mmet e icc aarrrannge et geme geme ment nt of th nt thee ne new w pr prim imarr y uses us ess iiss ex expe pect pe cttedd to ppuump cted mp ttho hous ho usan a ds ds ooff da dailily ne dail new w us user erss innto to thhee sitite. e. for o ins nsta taanc n ess, 25 250 kindderrga g rtten en kkid idss pl id p us the heeir paareentts or o bab abyy si sitter ttter erss wo w ulld bbee aactivel elly us usin ingg th in thee si site t ddur ur-inng school days, s, hun u ddrred eds ds off off ffic icce wo ice w rkker e s woould uld bbee goi ul o ng n in aand ndd out u ooff the th site for attending wor orkk an and go goin ingg foor lu in lunch. h thhe ar ar t ga art g llery, with cllos osee as asso sociiat atio ions ns w wititth th thee ne near arby ar byy exist ist-ingg re in r dd-do ddoot ga galll er e y, will bring visitors all tthhe yyea ear too tthe hee site.

the th he ki kind ndeerrga ggart art art r ten en

new pr ne prim im mar aryy us u eess

peneetrations to thhe exxissti ting ccitty

wiith t the he ext xten ensi en s vee wal si alki alki k ng n net etwork rkss ba rk back ckin ck ingg up tthe in he eentire arrch chitittec ectture ture tu re, we we pro r je ject ct an in inte tere reest stinng nneew ennco coun unnte unte t rss beetwee tween tw een th ee thee ol o d an andd ne new in thi h s tr trop opic citity ty. y.

stp / academic project

004 a studio park - an experimental tower for design design project, hyperbody studio (studio for advanced archtiecture)),m , sc 1, tu delft, jan 200 009

the designer’ss need : switching betweenn solitude and gathering as designers,, sometimes s we want to stay alone, sometimes we want to talkk with people, and sometimes we just want to walk around to see what the others are doing. solitude, gatherings, and visual connnections are of particular needs in a design studio. the tectonnics : melting the flo loor plates

+15. +1 5.5m 5m +12.0m +1 0m

1 deep floor plan

2 split for interactions

3 connecting with walkable plates 4 increase connections +5.0 +5 5.0 .0m 0m

5 extending horizontally for

wingg yun / portfolio 2011 win

walkability

6 a contrast with the deep floor plan

studio park is an attempt to create a generative system to “melt” the floor or plates. the basic unit of studio park a working desk for desiggn students with a 1.2 meter circulation space. this unit aggregatees in a circular manner following a circular generative grid system. 655 55 design desks are aggregated into 8 different design studios annd each studio is situated on more than one planar plane. these 8 interw weaving studios form a “building” which cannot be described by leevels : a series of interlocking activities which allow extra interactionns.

+0.0m +0 00m m

ners solitude / certainty

social / uncertainty

needs and choices

+1155..55m + m

solitude / certainty

social / uncertainty

organization principle outward looking physical

+12.0m m connections

+8.5m 85

+5.0 +5 5.0m .00m

circulation / landscape

aggregation

studio park the process

design: jan 2009

aggregate

weave around cores

weaving log

basic unit : studio desk

circulation area

main circular structure : the ring beam workingg area solitude space : the multi-function desk

chain of desks

creation of cores for support and supply

the process in 6 steps details of the process

details of the multi-function desk

core positions

grid 60X60m

distort trials to gain more space the air tube material tube

floor heating

material transfer tray with width of 400mm ce for stationery, printouts, materials, rfa k su erent models, etc f des

distort trials to gain more space

if e sam ving d s ser ction fun

electronic / data tube delievering data and music

leveling at 5m, 8.5m, 12m and 15m

rolling surface : transparent film for light table / cut matt for modeling / electronic paper

basic circular references

weaving logic : a generative system (on planar 2D level)

after the establishment of the core system, a series of studies was carried out to create a generative system for the weaving tables. 8 studios will different with different sizes were generated by a basic grid of circles. through out the process, more parameters were identified for the allocations in order to ensure no crashing of parts and no non-walking landscapes would be resulted.

physical models to explore the relations between the cores and the studio

level 0.0m

level 5.0m

level 8.5m level 12.0m level 15.5

first testing (cores and studio space)

wing yun portfolio 2011

gics for 8 studios

in-filling the social landscapes

5 white cores = human vertical circulation 8 colour cores = material circulation for particular studios

level 5.0m

level 8.5m

social landscapes connecting different heights

social space : infill of undulating social parks

level 12.0m

spaces

creation of the studio park

level 15.5m

final configuration of the studio park

weaving logic : a generative system (from 2D to 3D)

the circular grid generative system was tested in 3-D. weaving happened in both planar and cross-planar manner

core

leveling

4.2m ring level 23m circular grid pattern at 4 levels (5m, 8.5m, 12m, 15m)

circular rings allocation

1m ring image showing the relationship between cores and studios as generated from the circular grid system

studio ring

desk formations

ring beam ring aggregates

second testing (detailing of spatial elements)

studio park the studios

design: jan 2009 studio

1 / junior studio

human circulation core for studio 1

+555..0m +5. + 0m

level involved

+888..5m +8. + 5m

0m+15.5m 30m+12.0m 60m@+8.5m 30m@+5.0m

+112 +12 12.0m 2.0m 0m m in-the-mix

zoom-in material circulation core

studio

2 / junior studio

human circulation core for studio 2 level involved

+55..0m +5. +5 0m +8.5 +8. + 8.5m 5m

numeric facts

8 studios 8 interconnected social â&#x20AC;&#x153;parksâ&#x20AC;? 5 human cores 8 material cores 655 design students (maximum) 1240 meters of desk length here is a breakdown showcase of the 8 studios developed from the circular generative system. each studio is running on different horizontal planes and with different studio usages. the numeric facts showed above is the programmatic summary of this studio puzzle.

in-the-mix

studio

zoom-in

3 / junior studio

+8.5m +8. +8 + 88.5m 5m material circulation core

human circulation core for studio 3 level involved 0m+15.5m 0m+12.0m 0m@+8.5m 129m@+5.0m

+55. +5. + 5 0m 0m in-the-mix

studio

zoom-in

4 / senior studio

material circulation core

human circulation core for studio 4 level involved

+1112 +12 + 12.0 2.0m 0m 0m

+555..0m 0m

+8. + +8 88.5m m in-the-mix

unfolding the weaves to understand the undulating heights, the diagrams on the right illustrate the unfolded weaves on scale.

0m+15.5m 0m+12.0m 160m@+8.5m 40m@+5.0m

zoom-in

15.5m 12.0m 8.5m 5.0m 0.0m

0m+15.5m 140m+12.0m 15m@+8.5m 45m@+5.0m

material circulation core

studio 5 / 66

wing yun / portfolio 2011 studio

5 / research studio

human circulation core for studio 5

total desk length : 155 meter horizontal desk length : ~120 meter number of designer’s desk : 80 - 90

level involved 0m+15.5m 0m+12.0m 0m@+8.5m 66m@+5.0m

+5. 5.00m 5. m in-the-mix

total desk length : 66 meter horizontal desk length : 66 meter number of designer’s desk : 30 - 35

zoom-in material circulation core

studio

6 / senior studio

human circulation core for studio 6

+115 +15 + 15.5m 5

total desk length : 218 meter horizontal desk length : ~200 meter number of designer’s desk : 110 - 130

+11122m +12 + +115 + +15 115..5m .55m .5 m in-the-mix

studio

zoom-in

7 / junior studio

level involved 70m@+15.5m 55m@+12.0m 0m@+8.5m 0m@+5.0m

total desk length : 145 meter horizontal desk length : ~120 meter number of designer’s desk : 60 - 65

materi eriiaall circulation core eri

human circulation core for studio 7

+11122m +12 + level involved

total desk length : 129 meter horizontal desk length : 129 meter number of designer’s desk : 70 - 90

60m@+15.5m 65m@+12.0m 0m@+8.5m 0m@+5.0m in-the-mix

zoom-in

total desk length : 155 meter horizontal desk length : ~125 meter number of designer’s desk : 70 - 75

+15.5m +15 155.5m 55m m material circulation core

studio

8 / senior studio

human circulation core for studio 8 level involved

total desk length : 226 meter horizontal desk length : 200 meter number of designer’s desk : 70 - 90

+1155.5 +15 +1 5.5m 5m 5m in-the-mix

zoom-in

146m@+15.5m 0m@+12.0m 0m@+8.5m 0m@+5.0m

total desk length : 146 meter horizontal desk length : ~146 meter number of designer’s desk : 70 - 80

material circulation core

studio 8 / 146m studio 7 / 155m

studio 6 / 145m studio 1 / 155m

studio 4 / 226m studio 2 / 218m

studio 3 / 129m

studio park the drawings

design: jan 2009

the social langscape the circulation ring the desks

~60m

studio 6 additional design desks

studio 2

discussion spaces

book shelves

top view

project information title : studio park nature : msc 1 design project, tu delft project location : nil completion date : jan 2009 duration : 1 semester designers : 1 tutors : tomek jaskiewicz hannes pfau p (un ( studio))

+5m

plan at level 10m

+8.5m

stud stud st stu

ssttuuddio stu ioo 8

the project is considered more as an exploration on generative spatial system than a real buildable project. as a result, no climatic border was developed at this stage. rendered views illustrate the visual and physical connections

st di stud stu diioo 6

studio st stu dio 7

stu tud tu udio dioo 1

wing yun / portfolio 2011

primary radial support from cores

the weaving desks ring beam

secondary beams

tio

c se

~29m ~6m

~15m

19m 15.5m 12m 8.5m 5m 0m -4m

zoom-in structural plan

sections

d 6 dio stairs stai sta t irs irs to sst studio studi tudi udio io 2 sstudio stu dioo 6 soc social ocial ial la l nds nndscap dscap dscap cape apee ap

sstudio st stu tudio dii 2 soc dio social ocial iaa la lands ndscap nds d cap cappe cape

studio stu dioo 3 soc dio o ial al la lands nd cap ndscap ape pe

sgt / academic project

005 seven centuries of singapore in a research time

group reesseear a chh proj roje ro jectt ((15 15 stu tude dent de nts) nt s),, mssc 2, s) 2 del elftft ssch choo ch ooll of des oo des esig iggn, n tu de delflft,, mar a ch c 2

* prres esen ennteed in IInt nter nt erna er rna n ti tion onal on al W Wor orks or ksho ks h p : Th ho Thee Ea East st Urbban Env nvir irron onme meentt ment

this research was done in the urban as a ymmetr trie tr iess sttud udioo inn delft school of design, a theory-drivenn designn brancch unndeer the faculty of architecture in tu delft. 15 off us spent 1 monthh reading globa balizatiion o the h or o ies in febbruary 2009 and another month researchingg and diagramaticing the history of singapore, dat ating back to seven centurie i s ago.

winng yun wing u / portfo fol olioo 201 20 1

this 8 meter long time-line was presented in national university of singapore in april 2009 and in the Internationnal Workshop : The East Urban Environment - Shan anngh g ai, Hong Kong, Singappore in june 2009.

eline *

200 009 00

Sha hang n ha ng h i,, Hong Kong, Si Sing nggaappor oreâ&#x20AC;? e , De Delf lftt Sc Scho hool ol ooff De Desi sign gn,, TU D Del elft ft,, Th Thee Ne Neth ther erla rla land n s nd

seven centuries of singapore in a research timeline research : march 2009 an overview

wing yun / portfolio 2011

paart

professiional

select sele cted ed projects (during workingg with edge design institute) (d

im mag a e att the bac a k : stairc r ase complex at cho how w shhan sha hann sa sanl nlititun un flaags gshi hipp st stor oree

eddge desiggn in inst stititut utee is oone ne of of the â&#x20AC;&#x153;400 arc rchi hite tect ctss un unde derr 40 proj ojec e ts iss th thee ke keyy to tthe he ssuc ucce c

thee mo most st act ctive and famo m us deesiggn office inn asia ia. ga garyy cha hang ng, the director of the office, was select cted as one â&#x20AC;&#x153; by Ta Tasc sche hen. n. a lot freed e om waas given to designner ed e s in the ddes e ign process. experimentations on sma mallll ssca cale le ess s of thhe of offifice ce.

css / professional project (built))

006

chow sang sang sanlitun ﬂagship store, beijing winning entry of invited competition, 2007- 2008 (built) design team : wing yun / kent chiu project management : tinyiu fung supervisors : gary chang / raymond chan

thhiss 3.55 sttoore reye yed flflaggsh s ipp stooree in sa sanl sanl nlitittun un, beeijjing un, ing is the in h firi stt fla lag ags gshi hip sstto tore off ren enow owneed jewe je welrr y co corp orpor orraattion ion ch io choow w ssan anng saang ng.. tthhe bu bui uililt pr projjec ect shhow ect owin ing he here re is th the wi win inn nninng en entrr y off entr aann invvitted ed ccom om mpe petititit on on org rgan a izzed ed bbyy th the jeeweellrr y coorppor orati aattiioon in in ear a lyy 2000088.. i hav avee thhe luuck ck to woorkk on annd lleead ad the he deessiggn th thro thro roug ughho ug houutt tthe hhee pro rocceess ss.

wing yun / portfolio 2011

the im th imag magge heerree shows ow ourr int nter erve veent ntio ion off tthe he fac acaddes es. the es. thhe coorpor rpporratte lo logo go ooff th thee ““sswi wing nginng fifishh pat atte teernn” is i ttra raans nsla late teed iinntoo str trip ip pat atte att te off var terns arioous dennsiity ty. ba back back ckin ing ng wi w thh cle lear arr glaass s and nd mirror mi rrror o , th the patter ernn cr er crea eaatees a ch char arm miingg eff ffec ect at at niigght ht..

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

20080101

20080108

the building hosting the flagship store

interior view of the original layout

we are going to keep the existing exterior but to vigourously replan the interior with a certain degree of structural amendment. originally it is a 3-storeyed building.

the photo shows the ground floor of the existing building under the existing layout. we are going to demolish part of the slab.

wing yun / portfolio 2011

a four-storeyed shop...

challenge: attract the people to go upstairs 20080109

challenge of a multi-storeyed store our client reported to us that the most challenging issue of running a multi-storeyed store was how to attract people to go upstairs as for most of the time people are hesitated to go up.

solution: circulation space = main space + a journey of discovery 20080109 create a void for functional circulation

what we proposed was to dilute the sense of â&#x20AC;&#x153;going upâ&#x20AC;? by transforming the circulation space as part of the main space of the shop. to achieve that, we proposed to create a void connecting the 3 storeys.

chow sang sang sanlitun ﬂagship store design : 2007 - 2008

evolution of the staircase concept to fill up the void

20080115

20080117

“diluting” the sense of staircase by inserting platforms

first proposal of staircase / platform

an early experiement on how to create a “diluted” staircase. the angular wall is the existing 2.5 meter tall structural wall on the ground floor. our “diluted” stair is going to “climb” over it.

as a pure experment we created our first staircase / platform without any consideration of the external factors. it was a product of a pure conceptual exploration.

wing yun / portfolio 2011

20080119

20080319

second proposal of staircase / platform

third proposal of staircase / platform

putting the first experiment into the context of the building and the spatial needs of selling jewelleries, the second staircase / platform was formed. it incorporated business space and showcasing space for the client.

after consulting the structural engineer, the second version of staircase was amended so as to minimize changes in the existing post-and-beam structure. business platforms and location of showcases were also amended according to clientâ&#x20AC;&#x2122;s comments.

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

evolution of pl

a quick study mode

20080119

preliminary programming

this preliminary programmnig of the tower changed quite a lot after several times of review by the client.

the size of the void dec

wing yun / portfolio 2011

ans (red being the introduced void)

20080111

model of the main structures

l highlighting the main structures to study our creation of the central void.

20080228

20080113

first floor plan: original layout plan from the landlord plan with no void

20080318

20080119

first floor plan we simply placed our early version of staircases / platforms into the void we suggested. the red colour indicates the size of the void.

20080403

first floor plan

platforms were re-arranged. reased due to structural and circulation considerations.

the relationship between between the staircase / platform complex and its surround amended after consolidating clientâ&#x20AC;&#x2122;s requirements.

final version after clientâ&#x20AC;&#x2122;s further comment on the zoning of sales spaces.

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

structure and expression

20080314

preliminary study of structure

final struc

the diagram illustrated the study of looking for a possible structure. some platforms would be supported from the ground while some others would be supported by hanging from the above.

the brown are the propose the grey are the existin

wing yun / portfolio 2011

20080318

20080319

ctural proposal

hiding the structure

ed structural members ng structural elements

after layouting the structure for the entire staircases / platforms complex, we hid the structure by incorporating clientâ&#x20AC;&#x2122;s sales need. we wrapped the structure with functions like showcases, feature walls, sales desks poster spaces and multi-media screens.

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

wing yun / portfolio 2011

1/f

20080318

20080403

viewing from an in-between-storeys platform into the space of first floor. we intentionally created the profile of the staircases to be visible even being view from the bottom.

the view shows the straight corridor next to the entrance

rendering

g/f

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

1/f

20080403

rendering

the view from the back entrance

g/f

wing yun / portfolio 2011

20080319 rendering

we applied translucent glass films to lighten the weight of the staircases. it is the view from the corner of the first floor looking into the void.

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

g/f

20080402

rendering

a selection of going up or looping the ground floor is presented to the visitors right at the main entrance.

g/f

20080402 rendering

some of the volumes inside the void can be seen as floating boxes when viewed from the main floors. the picture shown a view captured from the ground floor.

wing yun / portfolio 2011

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

simultaneous works in factory and on site

20080425

20080513

testing of the double-layered strip pattern

double-layered pattern tested with light box

many trials were done to test for the best visual effect of the double-layered strip pattern. the image above shows a full-scale mock up reflecting with a clear window in open air.

the photo shows the ground floor of the existing building under the existing layout. we are going to demolish part of the slab.

wing yun / portfolio 2011

20080905

floor slabs demolished with staircase structure emerging the structure was built according to the previous digital studies. the image shows one of the platforms is being supported by two existing structural concrete beams.

20080921

viewing through 3 storeys

the image taken during construction illustrates the concept of the design : view lines are in 3-dimensional manner in order to attract customers to walk up the shop.

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

20090529

snap shots of the completed project

wing yun / portfolio 2011

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

20090529

snap shots of the completed project

wing yun / portfolio 2011

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

wing yun / portfolio 2011

20090529

snap shots of the completed project

chow sang sang sanlitun ďŹ&#x201A;agship store design : 2007 - 2008

20090529

snap shots of the completed project

wing yun / portfolio 2011

skg / professional project (built)

007

samuel kung gallery, hong kong direct commission, 2007- 2008 (built) design team : wing yun / match chan supervisors : gary chang / raymond chan

this high-end jade store is located at one of the most renowned shopping mall for luxurious shopping in central, hong kong. the rectangular shop is extremely compact. however, it owns a full height display window facing towards an atrium space.

wing yunn / portfolio poor ort rrttffo fol oolliioo 2011 2201 20 00111

perforated penrose-patterned panels are used as the main structure to support all the showcases. this gives a translucent wall collecting diffused sunlight from the atrium side. in the interior, the perforated panels deliver an unique illusion of endlessness and create multiple view lights within the extremely compact space.

samuel kung gallery design : 2007 - 2008

existin

100% commerc

100% a

existing

wing yun / portfolio 2011

ng ceiling

cial space

art gallery view angles of the showcases

partitions

20071123

20071206

shop and gallery

single space with various view angles

all the showcases would be held by the pattern wall to form the commercial space. the ground would be left for michael linâ&#x20AC;&#x2122;s painting.

it was a difficult task to draw a plan of the shop due to the profile of the pattern wall and the showcases. the diagram explained the experience of walking through the rectanlinear shop. since the wall was composed of modules facing different directions, the showcases hanged on it created a discovery path for the shoppers: they have to look for the showcases as they could not see them in one view angle.

samuel kung gallery design : 2007 - 2008

considerations / inspirations: sunlight from one side, ďŹ ne-cut jades, painting on the ground

20071107

looking for one system....

20071107

....a system coming out from all the consdierations

wing yun / portfolio 2011

solution: pattern as structure

20071122

20071121

solution: pattern as structure

human dimensions

to echo with the clientâ&#x20AC;&#x2122;s fine jade cuttings, we adopted a geometrical penrose pattern. to maximize the natural lighting quality of the site, we made the pattern transparent. to allow an open ground plan for michael linâ&#x20AC;&#x2122;s painting, we make the pattern a structure to hold all the showcases.

the grid of the pattern wall created possible showcase locations for human eyes. in the 1:12 model, we studied possible locations for showcases.

samuel kung gallery design : 2007 - 2008

type B

type A

penrose system wall

20071115 inspiration

we finalized two types of showcases. the coloured face represented the front face of the showcase.

20071115 inspiratio

wing yun / portfolio 2011

scattering

20071115

20071116

we tried to scattered the location of the showcases so that even on a one-directional wall, the customers would experience a process of discovery as the showcases would not be facing to one single direction.

after several trials of scattering, we suggested a temporary allocation of the showcases for further investigation.

inspiration

stabilize

samuel kung gallery design : 2007 - 2008

trial : showcase type A

match chan showcase mock up (foam)

20071213

human dimensions

our first attempt to create a 1:1 mock up. the model was placed at its real height for us to study its relation with human dimensions.

wing yun / portfolio 2011

20071215

1:1 side wall model it was hard for us to determine the exact form, direction and location of the showcases without a 1:1 mock-up. we used foam board to build a portion of the side wall and pinned it up in our office for study.

trial : showcase type B trial : showcase type C

samuel kung gallery design : 2007 - 2008

draft carpet to be replaced by an artwork

wing yun / portfolio 2011

20071218

first rendering: the entrance

our renderer helped us to visualize what might appear on site after the construction finishes.

samuel kung gallery design : 2007 - 2008

wing yun / portfolio 2011

20071231

1:150 elevation, the installation guide version

for better understanding of the workmen, we symbolized the pattern of the panels for their quick reference.

samuel kung gallery design : 2007 - 2008

wing yun / portfolio 2011

20071231

1:150 elevation of the shop window side

samuel kung gallery design : 2007 - 2008

the lighting the unique shapes and opening method demands a specific lighting system for the disp

yellow source white source

20080104

fibre optics and colour temperature

we also visited the lighting supplier. since the design of the penrose showcases is so delicate, only fibre optics lighting is small enough to suit our design. we tested lightings with different colour temperature.

we tested the possible angles.

wing yun / portfolio 2011

lay of precious jades.

client

temporary rectangular structure

20080108

single showcase mock up with temporary frame structure

20080115

fibre optics on jades our client mr. samuel kung brought some of his fine jade jewelleries to the factory to examine the effect of fibre optics on jades.

samuel kung gallery design : 2007 - 2008

from file to factory

20080320

the wall of showcases following the locations marked in the diagram

wing yun / portfolio 2011

samuel kung gallery design : 2007 - 2008

wing yun / portfolio 2011

20080624

photo shot after the shop opened (photo by gary chang)

samuel kung gallery design : 2007 - 2008

wing yun / portfolio 2011

20080624

photo shot after the shop opened (photo by gary chang)

samuel kung gallery design : 2007 - 2008

wing yun / portfolio 2011

20080624

photo shot after the shop opened (photo by gary chang)

samuel kung gallery design : 2007 - 2008

wing yun / portfolio 2011

20080624

photo shot after the shop opened (photo by gary chang)

part pa rt

figure of thoughts

projec proj ects ts ffro rom m (the (t heor oret etic ical exper e im imen ents with drr. ta tahl hl kkam amin iner er, de delflftt sc school off de desi sign gn))

as par artt of the cur u riculuum o c lllec co ectitve namee of â&#x20AC;&#x153;Fi Figu g res endd th en this is Por ortfolio 201 011. th

im mag agee at tthe he bac ack : schooem emak a erstraat, delft, 14 may 2009, 199000 from m pr p ojjec ect vi v su suaal al memor em moorriees

oof the msc2 programme under delft school of design, tu delft, a serious of lectures and workshops with a s of o Thoughtsâ&#x20AC;? were conducted by dr. tahl kaminer. i would like to include my two projects in this course to ese projects are not spatial, but the concepts behind lead me through the rest of my studies at tu delft.

ﬁgure of thoughts

figure of thoughts project 01

visual memorie

the project explores how intangible me time can be represented physically. th here as demonstrations. images of pa taked at a constant time intervals of 2 of every single second shares a equal images of different walks were recreat reduced opacity. this mechanical method of portraying dimension of visualization and imagina gradually the method develops into a p captured and juxtaposed for comparis

figure of thoughts project 02

it’s about style it should not be

it is a very intensive study of eisenma of diagrams was drawn to illustrate th powerful description of the contempo from these diagrams, the essay tried t “parametricism” as termed by patrick

emories of a place at a particular ree cities were selected to show articular walks in these 3 cities were minutes. with the assumption importance in our memory, the ted by overlaying of images with

cities surprisingly brings out a new ation. project which different cities were son.

/ e only about style

nâ&#x20AC;&#x2122;s post-functionalism. a series e dynamics of eisenmanâ&#x20AC;&#x2122;s rary architectural debate. departing to attack the ocular-centric schumacher.

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froom blaak to westt, rotterdam, 11 mar 2009, 1500

ﬁgure of thoughts

It's about style / It should not be only about style

0. introduction : Modernist ocular dogma in the parametric language The creation of the worldwide arrays of dynamic and stunning formalistic architectures as the outcom the digital architecture is still adopting the ocular-centric approach, which delivers no difference agains linked with the geometrical expression of the building, serve the purpose of creating stunning forms. T always visually stimulating. This ocular-centric use of parametric design prevails in the contemporary the proposals done by Zaha Hadid for Istanbul and Singapore), no matter what kinds of parameters the

If the above observation of a global “parametric visualization” style is correct, then it is justified to agre

“Despite this pervasive convergence nobody has yet pronounced the formation sustained wave of collective work since the demise of modernism, and that we Postmodernism and Deconstructivism have been transitional episodes that ushe

The statement by Patrik Schumacher reinforces the fact that no matter where you begin with the desig and will eventually be dogmatized as an aesthetic style, which fall into the ocular trap. We have seen th buildings had to be with a worldwide, homogeneous and monotonous outfit in order to be classified as

A suggested sequential development? In Patrik Schumacher's quote above we can already sense a suggestion of sequential progression from then to parametricism.

However, in Schumacher's discourse he failed to provide the progression logic behind his suggested s pinpointing the progression logic, what Schumacher claimed as a sequence would simply become a s

This essay will attempt to use Peter Eisenman's theoretical framework to look critically at what Schum the term “Parametricism” is the correct direction to work on for the architecture industry. Series of diagrams will be made as a tool for investigation.

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e of digital parametric design process led to Henrietta Bier and Douglas Spencer's observation that in the current situation st the ocular dogma of the non-ornamental visualization of the modernist era . Parameters, which in most cases are closely The easy plug-in of mathematical geometric representations are visualized in ease into three dimensional objects which are architectural scene. From the smallest object like furniture or tableware to the largest scale of urban planning (for instance e designers are taking, for most of the time the design itself will come to a similar aesthetic representation.

ee with Patrik Schummacher's proposal of terming a new style of “Parametricism” :

of a new style. However, I would like to argue that we are in the midst of the longest and most are now fully justified to talk about a new style : Parametricism is the great new style after modernism. ered in this new, long wave of research and innovation.” Patrik Schumacher, London 2008

n process of architecture, the representation of the architecture itself will somehow end up as an independent discipline his trap earlier in the 20th century right after the Baushaus advocated their social considerations in the field of architecture – s “modern” or “radical” in that period.

m modernism to, what he termed, “parametricism”. It is a path from modernism, to postmodernism, to deconstructivism and

sequence of architectural development (or more precisely in his mind development of architectural style). Without clearly sequence of ocular-oriented visual style.

acher suggested: firstly about whether or not there is really a observable sequence of development, secondly about whether

nathan road, hong kong, 7 may 2009, 1300

ﬁgure of thoughts

1. modern = the fundamental displacement of man In his essay Post-functionalism, Peter Eisenman declared that architecture never exactly entered into M oppositions, is merely a late phase of Humanism , instead of being truly “Modern”. His foundation of t “sensibility” refers to the fundamental displacement of man which means that the central point of refe as the period when human being is no longer the originating agent of thoughts. Instead, there are alwa becomes a mediating agency. In Eisenman's words, he sees the traces of this displacement of man in the western consciousness at prevailing Functionalism architecture as a branch of humanistic thoughts where human is still located till the British Revisionist Functionalism of Reyner Banham, Cedric Price, and Archigram . The intrinsic production.

Diagram 1: Eisenman sees the form/ function opposition as a humanistic approach in architecture and

In the humanistic approach of form/ function opposition, the role of the architect is basically to translat appearance of authorship since the active influence of the author is constantly visible and affective thro architecture through time. They also give the line a linear character (Diagram 1).

2. the dialectic process of post-functionalism To inject the modern sensibility – the fundamental displacement of man – into architecture and make it based on the Structuralist interpretation of human reasoning:

'As Levi-Strauss has said, “Language, an unreflecting totalization, is human reason which has its reaso no longer either account for a linear development which has a “beginning” and an “end” - hence the ri

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Modernism as the prevailing Modernist concept of Functionalism, having form/function as the only two valid dialectical this argument lays on the belief that the true Modernism should include, what he termed, the “modernist sensibility”. This erence shift away from the dominance of human. Here Eisenman is taking the Structuralist approach that he regards modern ys bigger collective systems being the ultimate agents that shape thoughts, believed, and culture. Human being simply

some point in the 19th century. However, for him these traces never appear in the culture of architecture . He sees the at the central point of reference and throughout the 20th century this Functionalist thinking just keeps going and reviving values of Functionalism, being ethical positivism and aesthetic neutrality, are still the backboning notions of architectural

d it has been carried through the discourse of time even across the modernist era

te function into forms and then to sculpt the resultant form. This is very much a linear process and furthermore, a linear oughout the design process. Ethical positivism and aesthetics neutrality are the two logical backup of the progress of

t truly “modern”, Eisenman suggested a dialectical approach to the design of architecture. This new dialectical approach is

on and of which man knows nothing.” It is this condition of displacement which gives rise to design in which authorship can se of the atemporal – or account for the invention of form – hence the abstract as a mediation between pre-existent sign

oxford street, london, 3 aug 2009, 1800

ﬁgure of thoughts

systems.'

The idea of architect taking the active role of translating function into form (or the resultant of form – s from the architectural relic line, the mediator in the dialect between the selected fragments and the relic

Diagram 2: Dialectical relationship in the post-functionalist approach to design When comparing Diagram 2 to Diagram 1, it is obvious that the role of the architect is submerged into fragments and the existing architectural relic line.

3. look for the advantage of “modernist sensibility” in architecture The term “modernist sensibility” seems to be a caring word with the affiliation to “sensible”. However, to a lot of “modern” social problem. For instance, Max Weber's projection of the pre-modern being a p rationalization (or to be more precise, goal-oriented rationalization) becomes a new religion for the peo cage.

In view of the above, since the fundamental displacement of man is the source of social problem, it is terms of humanistic consideration Eisenman's proposal maybe a problematic (and in fact this lack of h two advantages in this approach in the production of architecture.

The first advantage is to open up a new critical perspective to look at the “architectural relic line”, whic force of these notions, and their breed of form/ function opposition, this “progression” of architecture approach). Although there is sub-text of denying the existence of authorship or pure invention, Eisenm becomes a critical element in the debate towards new form of architecture.

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space) is no longer exist in this discourse. Instead, the role of the architect becomes the selector of the atemporal fragments c line, and the actualizer of the dialect by using the architectural language which is already existing in the system.

the system of the existing. No real invention is possible as the architect is dealing with the dialectics between his found

in many sociologists' view this “fundamental displacement of man” may result in objectification of mankind which leads period of enchantment, the modern being a period of disenchantment will finally lead to a period of re-enchantment which ople. This is the true period of “fundamental displacement of man”, and also the true period of social impasse of the iron

difficult to justify why Peter Eisenman would like to inject the up-till-now missing “modernist sensibility” into architecture. In humanistic consideration has always been the key critic against the Deconstructivist architecture), but I would like to suggest

ch is a “progression” mostly based on the notion of ethical positivism and aesthetic neutrality. Due to the strong bounding limited to a re-current study of typologies (for which typologies are regarded as the proven result of form/ function an's proposal of post-functionalism allows architects to employ a distance from the typological path and this distance

towards palais, br ussels, 4 aug 2009, 1500

ﬁgure of thoughts

The first advantage leads to the second advantage. The introduction of the critical distance opens up th trans-disciplinary design. From more architecturally-relevant references of material behaviour to less re aesthetic values, if this debate can lead to a better performance of architecture by cross-referencing ot

Diagram 3: Interpretation of trans-disciplinary referencing possibilities using the post-functionalism dia

4. linearity of authorship in design process The recognition of the process of collecting atemporal fragments from different relic lines suggested th non-linear. Scrutinies of different disciplines, selection of fragments and dialectical debates between th happening in loops throughout the design. As quoted above from Eisenman, there is no more direct au the “end”. And very possibly, there are hard times in defining the “beginning” and “end” in these series Thus, a pendulum of design approaches can be mapped in the scale of linearity of authorship. Diagram 4: pendulum of linearity of authorship

Several identified architectural periods/ approaches can be located in the pendulum shown in Diagram during the industrialization period till the school of Bauhaus is relatively linear in terms of authorship as industrialize mass production into the aesthetics of products and architectures. Eisenman's proposal o creation of House VI, demonstrated a theoretical recognition of non-linearity in design process. The de seen as a dialectic debates between Eisenman's selection and manipulation of architecture fragments

It takes quite a while to stabilize the dialectic relationship between the screen-only computer-generated 1990s. This dialectic struggle leads to the creation of the first generation of digital architecture being a

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he possibility to select atemporal fragments from disciplines other than architecture, and thus opens up possibility to elevant references of flower mechanism, a wider spectrum of architectural debate can be projected. Besides academic and ther disciplines, it is a good direction for exploration.

alectics model

hat the authorship in the design process can be he fragments and the architectural relic line are uthorship which is visible from the â&#x20AC;&#x153;beginningâ&#x20AC;? to s of loops.

4. In comparison the architecture production s the architects take the direct role of translating of post-functionalism, which later leads to his esign and construction process of House VI can be and the functional aspects of architecture.

d forms and the architectural relic line in the actualized in the 1990s.

towards pantheon, rome, 3 jan 2010, 1530

ﬁgure of thoughts

This non-linearity of authorship continues to evolve and now we see people like Neil Leach starts to th Materialistic concerns, for instance material behaviour and environmental responses, and fundamenta

5. theorized sequence versus real practices However, we should also notice that the real practices in the architectural field covers a much wider sp Diagram 5: pendulum of linearity of authorship with scattered practices Several examples are mapped out in Diagram 5 to demonstrate the limited coverage of the theorized approaches. For instance, in his series of unbuilt projects of “unlimited growth museum” in 1930s, Le Corbusier had explored architecture as a system of growth and final outcome of the architecture was mostly determined by the aggregation of pre-fabrication pieces which was subjected to changes over time; Iannis Xenakis created a mathematical system in his Philips Pavilion in the 1950s; and Antonio Gaudi and Frei Otto attempted material computational techniques long before the emergence of computer similation of materialistic behaviour. These are a few of the plenty examples that architects can go beyond their “theorized” time. Similarly architects can stay behind their “theorized” time. While Grey Lynn was busy in the dialectic debate between the digitally-generated forms and the functional aspects of architecture in the 90s, Dominque Perrault materialized his conceptual model of the National Library of France almost 100% into the final built-form of the giant complex. Bunch of architects like Peter Zumthor, David Chipperfield and Tadao Ando were all working with actualizing their conceptual models. They are the representatives of the linear authorship processes in the theorized time of the non-linearity.

6. where is the trajectory leading us to? Following the trajectory of Diagram 5, the next theorized approach of architecture should go beyond “n truly responsive to the complex materialistic, environmental and social quests. Under this trajectory, ar disciplines and produces spatial solutions after running through loops and loops of dialectic debates.

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eorizing the new materialism and the new immaterial approaches to the production of architecture in the late 2000s. l architectural concerns are interacted and inscribed in the codification of architecture.

pectrum of practice/ academic models.

new-materialismâ&#x20AC;?, â&#x20AC;&#x153;swarm architectureâ&#x20AC;? and interactive architecture, which represents a pursuit of architecture which is rchitecture, using the words from Winy Maas, will become a device which processes all sorts of knowledge from various

r ue nova da alfandega, por to, 26 jan 2010, 1030

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Diagram 6: theoretical projection of where “Parametricism” should locate

“it is as though the whole history of architecture can be divided into two contrasting yet reciprocally re some preordained “template”. (Here one immediately thinks of the role of proportions and other system to certain programmatic requirements.” Neil Leach's summary of Deleuze's thoughts about division of architecture

The “contrasting yet reciprocally related” type of architecture is the approach which allows “forms to e dealing with forces which the designs are not started with the desired image but with structural logic. systems that are beyond the immediate human decision. For instance in the contemporary context, be exemplified in the projects mentioned above : Taichung Metropolitan Opera House, National Stadium, C and carbon dioxide emissions. Works by MVRDV demonstrates how these “datascapes” can be used In view of all these, following the trajectory, the projected “parametricism” should be the translation of

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elated outlooks. One would be a broadly aestheitc outlook that tends to impose form on building materials, according to ms of visual ordering.) The other would be a broadly structural outlook that tends to allow forms to â&#x20AC;&#x153;emergeâ&#x20AC;? according

emerge according to certain programmatic requirementsâ&#x20AC;?. Originally in Deleuze's words it refers to the Gothic method of Put it in a border sense this form-emerging type can also use to describe the design process which refers to referential sides materialistic parameters like material behaviour, structural behaviour and environmental behaviour (which are CCTV Headquarter and Water Cube), forms can also be emerged from urban data like demography, transportation figures as the breeding bed of forms. knowledge from various discipline, selection of fragments from different spatial typologies, abstraction of strata of social

national street, antwerp, 06 aug 2010, 1330

ďŹ gure of thoughts

quests into manageable parameters which form the dialectic platform for architecture to be emerged fr It should be more than an ocular-centric stylistic approach.

7. but where is Schumacher's â&#x20AC;&#x153;Parametricismâ&#x20AC;?? However, when Schumacher talked about Parametricism as a new style located at the recent end of hi resumed to exert active control power over the built-form which ensure a collective style can be achiev Famous participants of this collective stylistic linear control include Zaha Hadid, UN Studio, and MAD.

Diagram 7: a proposed parametricism following the trajectory of Diagram 6

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rom it.

s suggested sequence of modernism to postmodernism to deconstructivism, he simply implied a direct authorship is ved and recognized.

Diagram 8: linear role of Schumacher's Parametricism

ﬁgure of thoughts

Diagram 9: incorrect over-focus in visual style as a force that twisted the development of “parametricism”

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ﬁgure of thoughts

ALL DIAGRAMS BY YUN WAI WING BIBLIOGRAPHIES

HENRIETTE BIER AND DOUGLAS SPENCER, “THE BODY IN DIGITA T L ARCHITECTURE – FROM REPRESENTA TATION TO (RE)INVENTION”, PATRICK A H

PETER EISENMAN, “POST-FUNCTIONALISM”, K.MICHAEL HAYS A (ED.), ARCHITECTURE THEORY SINCE 1968 (MASSACHUSETTS: MIT PRES

PETER EISENMAN, “THE END OF THE CLASSICAL: THE END OF THE BEGINNING, THE END OF THE END”, K.MICHAEL HAYS A (ED.), ARCHITECT

PHILIP JOHNSON, “THE SEVEN CRUTCHES OF MODERN ARCHITECTURE”, CHARLES JENCKS AND KARL KROPF (ED.),THEORIES AND MANIFES

STEVEN JOHNSON, “THE MYTH OF THE ANT QUEEN”, EMERGENCE: THE CONNECTED LIVES OF ANTS, BRAINS, CITIES, AND SOFTWARE (NE MVRDV IN COLLABORATION A WITH THE BERLAGE INSTITUTE AND ACTA T R, KM3 (MADRID: ACTA T R, 2005).

WINY MAAS, “SPA P CE FIGHTER”, HTTP://WWW.BK.TUDELFT.NLL/LIVEE/PA P GINA.JSP?ID=060CD936-C51D-4524-80B8-F636EAD6A8EE&L

NEIL LEACH AND XU WEI-GUO, (IM)MATERI A AL PROCESSES – NEW DIGITA T L TECHNIQUES FOR ARCHITECTURE (BEIJING: ARCHITECTURE AND B KAS OOSTERHUIS, “SWARM ARCHITECTURE”, HTTP://WWW.OOSTERHUIS.NLL/QUICKSTA T RTT/INDEX.PHP?ID=266, 2003. KAS OOSTERHUIS, “SWARM ARCHITECTURE 2”, HTTP://WWW.OOSTERHUIS.NLL/QUICKSTA T RTT/INDEX.PHP?ID=452, 2006.

ALBERTO PEREZ-GOMEZ, “INTRODUCTION TO ARCHITECTURE AND THE CRISIS OF MODERN SCIENCE”, K.MICHAEL HAYS A (ED.), ARCHITECTUR PATRIK A SCHUMACHER, “DESIGN RESEARCH WITHIN THE PARAMETRIC PARADIGN” / “SMART WORK – PATRIK A SCHUMACHER ON THE GROW

PATRIK A SCHUMACHER, “PARAMETRICISM AS STYLE – PARAMETRICIST MANIFESTO”, PRESENTED AND DISCUSSED AT A THE DARK SIDE CLUB, 1 SPA P N, SPA P N PORTFOLIO 09 (SEE IN HTTP://WWW.SPA P N-ARCH.COM/SHOW_CONTENT.PHP?HID=26). BERNARD TSCHUMI, “VIOLENCE OF ARCHITECTURE”, IN THE DIGITA T LLY CIRCULATE A D DRAFT OF ARCHITECTURAL POSITION PUBLISHED BY CHAIR ANNE ZWEIBAUM-LONGERINAS (ED.), DOMINIQUE PERRAULT, GILLES DE BURE (BOLOGNE, 2004).

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HEALY AND GERHARD BRUYNS (ED.), DE-/SIGNING THE URBAN (ROTTERDAM: 010, 2006), PP. 390 – 397. S,

2000), PP. 234 – 239.

TURE

THEORY SINCE 1968 (MASSACHUSETTS: MIT PRESS, 2000), PP. 522 - 539.

STOS OF

CONTEMPORARYY ARCHITECTURE (NEW YORK: ACADEMY EDITIONS, 1997), PP. 208 – 210.

YORK: TOUCHSTONE, 2001).

ANG=EN,

2006.

BUILDING PRESS, 2008).

THEORY SINCE 1968 (MASSACHUSETTS: MIT PRESS, 2000), PP. 462 - 475.

ING IMPORTA T NCE OF

PARAMETRICS”, IN RIBA JOURNAL, SEPTEMBER 2008 (SEE ALSO IN HTTP://WWW.PA PATRIKSCHUMACHER.COM/).

11TH ARCHITECTURE BIENNALE, VENICE 2008 (SEE IN HTTP://WWW.PA PATRIKSCHUMACHER.COM/).

PUBLIC BUILDING, FACULTY OF ARCHITECTURE, TECHNICAL UNIVERSITY OF DELFT.

this portfolio was done in february 2011 by yun wai wing. yun wai wing MSc in Architecture (TU Delft) BSSc (Architectural Studies) (1st class hons) (CUHK) BSSc (Sociology) (hons) (CUHK)