MA Architecture First Semester Portfolio
2025 January 23 Cheng-Yun Chang
ADDRESS : No. 4-1, Lane 2, Taian St, Zhongzheng District, Taipei City 10054 Country Taiwan
EMAIL : bychengyun0218@gmail.com
PHONE : (+886)928476888
UK PHONE:(+44)7375067175
/ Contact / Education 2006-2007
The A iliated Kindergarten of Xinsheng Elementary School. 2007-2013
Primary School Diploma - Xinsheng Elementary School 2013-2016
I am Cheng-Yun Chang, from Taiwan, a graduate from the Department of Architecture at Nottingham Trent University. Throughout my journey in architectural design, I have always believed that architecture is not just a manifestation of functionality but also a form of art—a power that touches the soul. Proportion and scale convey stability and harmony in buildings, colors and materials endow them with emotion and texture, while space design is the soul of architectural aesthetics—whether enclosed or open, fluid or layered, every detail in architecture creates unique experiences for people.
In Asia, Feng Shui often influences architectural design, sometimes leading to compromises or limitations. However, I aim to break through these constraints and explore a path where Feng Shui and architectural aesthetics can harmoniously coexist. As I embark on my studies at UCA, I wish to integrate traditional wisdom with modern design, allowing Feng Shui to be a source of inspiration rather than limitation, and achieving a balance between culture, space, and aesthetics.
Junior High School Diploma - Taipei Municipal Heping A iliated Hunior High School 2016-2019
Senior High School Diploma - Taipei Municipal Heping High School Number: (2018) 000230 2019-2020
Kaplan International Pathway & Art and Design Foundation (Nottingham Trent International College) - Foundation Certificate for Art, Design and Media (RQF - Pass with Distinction) 2020-2024
Bachelor of Architecture-BArch (H) ArchitectureRIBA BArch (Hons) Architecture Part One - Nottingham Trent University
I understand that this path of learning is long, but I believe that every step is part of the journey toward progress. I look forward to discussing, learning, and growing alongside my teachers and classmates at UCA, bringing more inspiration and possibilities to future architectural creations.
https://www.chengyun0218.com/
Workshop tasks, including manifestos and analysis.
“Challenge the Norm, Embrace the Unexpected.”
My personal declaration
“Balance Tradition and Innovation”
“Let the Space Tell a Story”
“Redefine Boundaries, Explore the Unseen.”
“Shape Space, Redefine Balance.”
My personal manifesto emphasizes challenging conventions and embracing unconventional design, which aligns perfectly with the group’s idea of colliding different perspectives. I look forward to our discussions that will inspire diverse viewpoints, allowing creativity to emerge from the exchange of unique thoughts and leading to designs that are truly distinct.
My proposed group manifesto
“Collision of Different Ideas.”
I aim to balance tradition and innovation in my design approach, while our group encourages spontaneity and trusting our initial ideas. These principles connect well, as they allow me to confidently blend traditional and new ideas without being constrained by rigid frameworks, finding harmony through flexible thinking.
I want to create spaces that tell a story, and our group encourages everyone to freely express their ideas. This alignment enables me to share my thoughts on spatial narratives and integrate storytelling into our designs, using the support and feedback from the team to enhance how the story is conveyed through architectural space.
My goal is to redefine boundaries and explore unseen possibilities in design, and the group’s open attitude toward criticism encourages me to challenge conventions and continually improve my ideas. By accepting feedback, I can experiment with new design approaches and explore broader possibilities within architecture.
As an individual, I strive to reshape space and redefine balance; our group manifesto emphasizes working together and learning from one another. This collaboration helps me understand balance from multiple perspectives, and through collective inspiration and teamwork, I can achieve a more comprehensive equilibrium in my design that encompasses space, culture, and aesthetics.
My personal manifesto emphasizes challenging conventions and embracing unconventional design, which aligns perfectly with the group’s idea of colliding different perspectives. I look forward to our discussions that will inspire diverse viewpoints, allowing creativity to emerge from the exchange of unique thoughts and leading to designs that are truly distinct.
“Almond nougat was introduced to Taiwan around 1626 through European influence, particularly from France and Italy. Initially a hard confection, the recipe evolved over time to suit local tastes, incorporating softer textures and the addition of nuts like almonds and peanuts. it grew into a popular gift and souvenir, symbolizing prosperity and joy. Its rich flavor and cultural significance make it a favorite choice for celebrations, gatherings, and festive occasions.”
“The nougat exhibits a smooth, glossy surface with embedded almond pieces. The texture suggests a blend of soft chewiness and crunchiness, similar to a polished facade with protruding structural elements.”
“The nougat’s internal structure contains a balance between voids (air pockets in the nougat) and solids (almond pieces), creating a porous, layered space. This can be compared to a ventilated facade system, where the interplay between solids and voids provides both structural and sensory experience.”
“The nougat’s soft yet firm exterior invites touch, while its internal crunch contrasts with the chewiness, providing a varied sensory experience akin to the tactile differentiation found in architectural surface treatments.”
“The nougat takes on a geometric form, primarily rectangular or cuboidal. The structure is consistent throughout, with a balanced distribution of almonds, resembling an architectural module where structural integrity is maintained by evenly spaced load-bearing components.”
“The nougat is constructed of layers of sugar syrup, milk powder, butter, and almonds. The layering is reminiscent of a composite building material, where each layer provides a different function—sweetness, texture, and stability.”
These sketches represent our team‘s early concept exploration and brainstorming, laying the foundation for our final Rube Goldberg machine design.
Our idea for the Rube Goldberg Machine was to creatively blend our group’s unique personalities and ideas into a single piece of art. The concept revolved around six balls, each symbolizing one of us, traveling through the machine, rolling over paint, and finally landing on a canvas to produce a collaborative artwork.
At the start, none of us had much hands-on experience building something like this, so we didn’t have a detailed plan for how to bring it to life. On the first day, the machine didn’t really function or look the way we had envisioned. But despite the challenges, we successfully finalized the concept and clarified the message we wanted to communicate through it.
When we tested the initial design, it became clear that the machine needed major adjustments. It was too small and didn’t meet the project’s specifications, which required six 50cm-wide modules spanning a total length of 3 meters and incorporating a variety of Rube Goldberg-inspired mechanisms. After discussing these issues, we agreed to redesign the machine with these dimensions in mind and ensure that it met all the requirements.
Collision of ideas, different- personalities turning into a piece of art. Rube
The marble starts at the top and rolls down the spiral slide to the bottom.
Step
The marble rolls down the slope and into the cup. The cup’s weight causes it to descend, triggering the next part.
Step
he falling dominoes trigger the swing of the steel ball, which leads to the next part.
The steel marble climbs through the 6-step structure to the top and then slides down to hit the large steel ball.
Step
The steel ball hits the pinball machine, causing the marbles to fall randomly.
Symbolism:
This step represents the initial stage of creativity, where chaotic ideas gradually form a tangible structure, symbolizing the shaping of thoughts.
Symbolism:
This part symbolizes the team’s thought process, where ideas are confirmed through discussion and collision, leading to the birth of new concepts.
Symbolism:
The falling dominoes symbolize the power of collaboration. Each team member’s action influences the next, driving the project forward.
Symbolism:
This part represents the team’s challenges and setbacks, much like the marble gradually climbing up. The act of climbing again signifies restarting after facing difficulties and ultimately proceeding smoothly.
Symbolism:
This part symbolizes the collision of diverse ideas within the team. Ideas form new possibilities through randomness and impact, pushing the project in new directions.
The marbles and steel ball pass through six colors of paint, ultimately forming an art piece symbolizing the collision of ideas.
Symbolism:
This step represents the final fusion of ideas. The different viewpoints of the team members collide and merge through collaboration, creating a unique and complete work of art.
The initial version of the climbing mechanism encountered friction issues due to its large size, preventing smooth rotation of the central axis. After resizing and shortening the structure, the mechanism worked manually. However, during the motor test, the motor’s power proved insufficient to rotate the device. To address this, I further adjusted the contact surface area to reduce friction and experimented with different gear sizes to improve efficiency. Additionally, when combining all six sections, we found that the total size was only half of the required length, necessitating further expansion of each team member’s components.
(Cheng Yun Chang, 2024 October 8)
033 Initial Version of the Climbing Mechanism:In the first test, the climbing mechanism was too large, causing excessive friction. This prevented the central axis from rotating smoothly.
(Cheng Yun Chang, 2024 October 9)
036 Adjusting the Contact Surface and Gears: To reduce friction and improve efficiency, I minimized the contact surface between the axis and the moving platform. Additionally, I experimented with larger and smaller gears to distribute the load more effectively.
(Cheng Yun Chang, 2024 October 15)
034 Revised Climbing Mechanism: After resizing the mechanism and shortening the structure, the central axis could rotate smoothly. (Cheng Yun Chang, 2024 October 10)
035 Testing the Motor Power: Although the manual operation worked, the motor did not have enough power to drive the climbing mechanism effectively. This issue required further testing or the consideration of a more powerful motor.(2024 October 11)
037 Final: This final version includes the completed road connections for both the front and back sections. With these adjustments, the current version should be successful. For the final operation, I plan to apply lubricant to the central axis to ensure smooth movement.
(Cheng Yun Chang, 2024 October 17)
The climbing mechanism is powered by a rotating central axis, which is connected to a series of platforms. As the axis turns, it gradually pushes the marble upward through the six steps. The use of gears ensures that the load is distributed evenly, minimizing the effort required to lift the marble. In the final design, we adjusted the size of the gears to create a smooth transition between each step, allowing the marble to move upwards without obstruction.
This page presents our group’s research on the theme of “Colored Glass.” Through 6 posters, we explore different aspects of colored glass, including its history, types, evolution, and applications in architecture, interior design, and art. We chose “Colored Glass” as our research theme because, during the project’s initial phase, we considered using marbles. However, marbles didn’t fully capture the visual and symbolic qualities we aimed for. Thus, we expanded our focus to colored glass, a broader material with rich historical significance.
- Description: Vitreous silica is a highly transparent type of glass known for its excellent thermal resistance, often used in high-temperature technical applications. While primarily used in scientific and industrial fields, its high transparency provides a foundational structure for colored glass production.
- Application: The transparency and stability of silica glass help ensure that colors in colored glass can be precisely presented without affecting the transmission of light.
- Description: Special glasses are designed to meet specific needs, including varying optical and physical properties. By incorporating different metal oxides, special glasses can achieve unique colors and optical effects.
- Application: In colored glass, special glasses allow designers to select materials with specific colors and light refraction properties. This makes them widely used in everything from art installations to modern architecture.
- Description: Optical glasses possess the ability to control the refraction and transmission of light. By adding metal oxides such as iron, nickel, or cobalt, different colors can be created within the glass.
- Application: Optical glasses are often used in colored filters and lenses. These materials allow for precise control over the colors and light transmission, making them essential in both artistic and scientific applications.
- Description: Glass ceramics combine the transparency of glass with the strength of ceramics, offering exceptional heat resistance. These materials are commonly used in architecture and design, particularly in colored applications due to their ability to provide unique textures and color effects.
- Application: Colored glass ceramics hold a significant place in modern architecture and decoration. Their color variation and durability make them ideal for creating striking visual effects.
Throughout this project, we encountered numerous challenges, from technical issues to design adjustments, but we managed to overcome them through collaboration and persistence. The process perfectly embodied our declaration, ‘Collision of Different Ideas,’ as each of our contributions came together seamlessly to create a cohesive and meaningful design.
During my site visit to Canterbury, We explored several key locations that offered insight into the city’s rich historical and architectural landscape. Each site provided a unique perspective on Canterbury’s urban fabric, which I documented through sketches and photos.
The Eastbridge Gardens provides a peaceful retreat from the bustling city. The garden reflects Canterbury’s monastic history and is surrounded by remnants of the medieval Franciscan settlement, offering a tranquil space for reflection.
The Beaney House:
Though part of my next visit, I observed the exterior of The Beaney House of Art & Knowledge. Its unique blend of traditional and modern architectural elements makes it a standout feature in Canterbury’s cityscape, serving as both a museum and an educational space.
Canterbury Cathedral Exterior:
This sketch shows the exterior of Canterbury Cathedral, an iconic example of Gothic architecture with its towering spires and intricate stonework. The cathedral is a major religious and historical site, dominating the skyline of Canterbury.
The narrow streets of Canterbury’s Old City are characterized by their concave shape, with tall buildings enclosing the central pedestrian paths. Walking through these ancient streets, one can feel the deep connection between the past and present in this historic city.
The square has long served as a hub for trade and community gatherings, surrounded by historical buildings that tell the story of the city’s evolution over centuries.
The Eastbridge Gardens provides a peaceful retreat from the bustling city. The garden reflects Canterbury’s monastic history and is surrounded by remnants of the medieval Franciscan settlement, offering a tranquil space for reflection.
The Cathedral Archive plays a critical role in preserving Canterbury’s rich religious and civic history. Located in the historic core of the city, the archive’s architectural style blends with the surrounding structures, reinforcing the city’s identity as a center of learning and administration. It showcases how urban spaces like this one maintain continuity with the past while serving modern functions.
Figure 068 Canterbury Map, 1588 https:// www.meisterdrucke.ie/fine-art-prints/EnglishSchool/854093/Canterbury-Map.html
The interior of the cathedral is designed to accommodate large congregations, reflecting its central role in religious and public gatherings. The expansive layout and towering ceilings evoke awe, consistent with the medieval emphasis on grand religious spaces. The seating arrangement and central pulpit indicate the cathedral’s function as a space for sermons and communal worship. This design illustrates how religious structures were integral to both spiritual and civic life.
Greyfriars Chapel, located within Eastbridge Gardens, is one of the few remnants of the 13th-century Franciscan settlement. The chapel serves as a symbol of Canterbury’s monastic past, connecting the religious history of the city with its present urban environment. Surrounded by greenery, the chapel creates a peaceful space that reflects the traditional relationship between monastic communities and nature, offering a quiet retreat within the city.
The quiet, green space of Eastbridge Gardens contrasts with the busier city streets. Here, I observed individuals using the space for relaxation and contemplation. The garden‘s enclosed nature makes it a peaceful retreat within the city.
The Gothic cloisters and stained glass windows in Canterbury Cathedral are key examples of medieval design, providing spaces for quiet reflection. The stained glass reflects religious narratives and uses light and color to create a sense of reverence, illustrating the spiritual influence of urban design.
During my visit to Canterbury, I observed various activities and interactions within the city’s urban spaces. The following map and descriptions document these activities, highlighting how people and buildings interact in key locations.
During my visit to Canterbury, I focused on understanding how the city’s coffee culture interacts with its architectural spaces, connecting historical settings with modern social habits. This page presents my observations, mapping key areas where coffeerelated activities take place and highlighting how Canterbury’s architectural heritage shapes these spaces.
The narrow Old City Streets create a confined yet intimate environment. People walk closely together, and the street layout encourages exploration. The historic buildings lining the streets contribute to the sense of a preserved past, while modern shops and cafes show how the space adapts to contemporary use.
075: Mapping of Coffee
Activities
Timeline of Coffee Culture and Architectural
- Early 1800s: Butter Market serves as a major community hub near Canterbury Cathedral, setting a precedent for the area as a gathering space. The market later transitions into a popular coffee area, maintaining its social significance.
Cathedral Square:
In Cathedral Square, people gather to admire the historical architecture, take photos, and rest. The space encourages both social interaction and tourism, with a steady flow of visitors moving in and out of the square.
- 19th Century: Victorian expansions, such as the conversion of inns like the Cathedral Gate Hotel, integrate communal spaces within historic architecture. These spaces provide a setting for social activities, blending old and new in a way that encourages engagement with the city’s heritage.
- Modern Day: Today, Canterbury’s historic buildings near the cathedral, in Butter Market, and in the Old City host cafes that respect their architectural past while supporting contemporary social uses. These coffee spots help maintain the city’s cultural heritage, connecting history with the daily lives of locals and visitors alike.
The Beaney House of Art & Knowledge serves as a central cultural hub in Canterbury, blending historic and contemporary elements that enrich the community’s cultural experience. Located on Canterbury’s bustling High Street, it is easily accessible to locals and tourists alike, reinforcing its role as a key institution in the city’s cultural landscape. As a Grade II listed building, The Beaney combines Victorian Gothic Revival architecture with modern design elements, making it a unique architectural and cultural landmark.
As a museum, library, and community center, The Beaney provides an inclusive space that promotes art, culture, and lifelong learning. With a variety of exhibitions, events, and workshops, it actively supports community engagement, celebrates local artistry, and invites individuals of all backgrounds to explore Canterbury’s heritage.
In the history of Beaney’s architectural character features red brick, terracotta, and timber framing, hallmarks of the Victorian Gothic Revival style. These materials create a cohesive visual connection with Canterbury’s historic aesthetic, adding depth to the Beaney’s role as both a historic and modern community space. Material Palette Historic of The Beaney
- Foundation and Early Years (1899)
The Beaney House of Art & Knowledge was opened in 1899 as an educational and cultural institution, funded by Dr. James George Beaney. It aimed to provide the community with a space for learning and inspiration, embodying Victorian values of public education and cultural enrichment.
- Expansion and Modernization (1920s - 1970s)
Throughout the early 20th century, The Beaney underwent several renovations, including the expansion of collections in the 1920s and major modernization efforts in the 1970s, aiming to improve visitor experiences and update its facilities.
- ERevitalization and Reopening (2012)
In 2012, The Beaney reopened after significant refurbishment. The building was redesigned to enhance accessibility, integrate modern technology, and update the gallery spaces, offering a blend of historical and contemporary elements. This transformation established The Beaney as a vibrant community and cultural hub in Canterbury.
Nottingham Contemporary, designed by Caruso St John Architects, is an architectural landmark that integrates Nottingham’s rich lace industry heritage. The building’s lace-patterned façade, based on the city’s historical textile designs, not only reflects the local culture but also enhances Nottingham’s identity, attracting both residents and tourists.
The lace-patterned façade, inspired by Nottingham’s renowned lace industry, serves as a tribute to the city’s past, transforming a functional structure into a symbol of local heritage. This connection deepens local pride and draws visitors interested in unique cultural landmarks.
- Community and Tourist Appeal: As a modern cultural center with a distinctive design, Nottingham Contemporary has strengthened community ties by creating a recognizable landmark. Its bold yet contextually integrated design appeals to both residents and tourists, making it a gathering point that celebrates Nottingham’s cultural identity.
The interior of Nottingham Contemporary is designed for seamless movement between spaces. The lack of rigid divisions and continuous flooring materials create a fluid visitor experience that encourages exploration without predefined paths.
Inspired by Nottingham Contemporary, The Beaney could incorporate design elements that reinforce its cultural significance within Canterbury. Adding historical references in architectural details and implementing clear, continuous gallery layouts would enhance The Beaney’s accessibility and spatial flow. These changes could support a similar dual goal: strengthening community identity while attracting visitors eager to experience Canterbury’s unique cultural atmosphere.
The Beaney’s diverse programs—including education workshops, art exhibitions, and community events—highlight its central role in fostering inclusivity and cultural engagement in Canterbury. These social functions directly inform its spatial design, creating a balance between historical legacy and modern needs.
1. Navigation and Wayfinding
- Guiding Arches: Modern arches are strategically placed at key junctions, visually defining pathways and zones while maintaining an open flow. These elements address navigation challenges in The Beaney’s original layout, improving visitor orientation.
2. Cultural Storytelling through Stained Glass
- Stained Glass Panels: Inspired by The Canterbury Tales, stained glass elements are incorporated into gallery spaces, providing both aesthetic and narrative value. Each panel corresponds to a functional area, such as exhibitions or quiet zones, enhancing the visitor experience.
3. Functional Zoning for Adaptability
- Flexible Spaces: Modular layouts accommodate a range of activities, from educational workshops to community events. Materials and lighting transitions visually distinguish these zones, creating an intuitive spatial hierarchy.
4. Enhancing Visitor Experience
- Quiet zones designed for health and well-being programs use natural light and acoustic materials to promote relaxation. Interactive areas for local artists and exhibitions are equipped with adjustable lighting and adaptive displays to foster creativity.
Jessica Smith, a researcher focused on socio-legal studies, explores how spatial movement and orientation can enhance visitor understanding in multi-functional civic spaces.
In her article “Journeying the Everyday of Civic Space: Movement as Method in Socio-Legal Studies,” Smith examines the importance of way-finding and spatial differentiation in complex buildings like museums and community centers. Her insights provide a foundation for rethinking space within The Beaney to create clearer divisions and guide visitors seamlessly through different areas.
In section 4.2, “Rooms/frames/lines,” Smith discusses the concept of “orientation points,” described by the architects as elements that “provide intellectual access to the building and its collections as well as a means of supporting legibility of the building thus aiding way-finding and orientation.” This concept emphasizes creating defined spatial markers to improve navigation and visitor experience. This directly supports the idea of using arches and other architectural elements to visually distinguish spaces within The Beaney.
In section 4.1, “Journeying the Beaney,” Smith describes the building’s transformation into a multifunctional hub after its reopening in 2012. She notes that “the building re-opened… not only a leading cultural venue but also a community hub,” indicating that the addition of various functions led to spatial ambiguity and navigational challenges. This highlights the need for clearer boundaries between exhibit and community areas.
Flow and Connection between Rooms
In section 4.2, Smith discusses how “rooms” and “corridors” act as paths and separators, enhancing connections and transitions between spaces. Structuring the journey with physical transitions, like archways or differentiated materials, can guide visitors intuitively, creating a sense of flow between spaces.
In section 4.3, “Layering the law,” Smith mentions a “room-by-room approach” that centers movement and creates layered experiences through spatial distinctions. This supports a design approach where arches or distinct entryways mark transitions, allowing visitors to experience each area’s unique function within The Beaney.
Addressing Navigation Challenges in The Beaney
The original layout of The Beaney presents significant challenges for navigation, with its network of interconnected rooms and ambiguous pathways. Visitors often find themselves disoriented, which disrupts their experience and limits engagement with exhibitions.
To address this, a reimagined spatial flow was designed to create a clear and intuitive pathway. By introducing a simplified circular route, the design ensures that visitors can easily navigate through all key areas without feeling overwhelmed. This enhanced flow not only improves accessibility but also aligns with The Beaney’s role as a community and cultural hub.
1.Simplified Circulation Route
- The new layout introduces a circular pathway that guides visitors from the entrance, through exhibitions and community spaces, and back to the exit.
- Redundant walls and doors were removed to create a seamless spatial flow, while arches were strategically placed at key junctions to serve as visual anchors.
2.Guiding Arches as Orientation Points
- Modern arches, inspired by Canterbury’s Gothic architecture, are used to define pathways and highlight transitions between zones.
- These arches not only enhance wayfinding but also integrate stained glass panels that narrate stories inspired by “The Canterbury Tales”.
3.Interactive Storytelling with Stained Glass
- Stained glass panels incorporated into the arches provide both aesthetic appeal and functional guidance. Each panel represents a theme or tale, creating a sense of discovery for visitors as they move through the space.
Studio Orme is renowned for its innovative approach to stained glass, blending traditional craftsmanship with modern aesthetics. Their projects focus on how light interacts with glass to create dynamic and immersive environments. This philosophy aligns closely with The Beaney’s goal of integrating historical narratives with modern design.
1.Storytelling Through Glass
Studio Orme often uses abstract forms and bold colors to convey narratives. This technique transforms stained glass from a static decorative element into an active medium for storytelling, inspiring the use of *The Canterbury Tales* in your design.
2.Integration with Architectural Elements
Their work seamlessly integrates stained glass into existing architectural features, such as arches, windows, and facades. This aligns with the guiding arches in your project, where stained glass acts as both a functional and narrative element.
3.Exploration of Light and Shadow
Studio Orme’s designs emphasize the interplay of natural light, creating shifting patterns that evolve throughout the day. This principle can be applied to your stained glass panels, enhancing the spatial atmosphere in The Beaney.
Figure 113 Stained Glass: SwordRepresents chivalry and honor (The Canterbury TalesThe Knight’s Tale)
Figure 116 Stained Glass: ScalesSymbolizes justice and law (The Canterbury Tales - The Man of Law’s Tale).
Figure 119 Stained Glass: SickleRepresents farming and hard work (The Canterbury TalesThe Reeve’s Tale).
Figure 122 Stained Glass: HandshakeSymbolizes promise and reconciliation (The Canterbury Tales - The Franklin’s Tale).
Figure 114 Stained Glass: CrossSymbolizes religion and faith (The Canterbury TalesThe Monk’s Tale).
Figure 117 Stained Glass: Spatula - Represents culinary skills and daily life (The Canterbury TalesThe Cook’s Tale).
Figure 120 Stained Glass: MaskSymbolizes disguise and deception (The Canterbury Tales - The Merchant’s Tale).
Figure 123 Stained Glass: Medicine Bottle - Represents healing and medicine (The Canterbury Tales - The Physician’s Tale).
Figure 115 Stained Glass: DoveRepresents purity and peace (The Canterbury TalesThe Nun’s Tale).
Figure 118 Stained Glass: WindmillSymbolizes labor and harvest (The Canterbury TalesThe Miller’s Tale).
Figure 121 Stained Glass: Scroll - Represents knowledge and wisdom (The Canterbury TalesThe Clerk’s Tale).
Figure 124 Stained Glass: Rooster - Symbolizes vigilance and intelligence (The Canterbury TalesThe Nun’s Priest’s Tale).
To further root the design in Canterbury’s identity, I incorporated the concept of Geoffrey Chaucer’s The Canterbury Tales. Each stained glass panel represents one of the 24 tales, transforming the arch into a storytelling medium that enriches the visitor experience while honoring the city’s literary history.
This combination of modern structure and traditional stained glass not only guides visitors but also provides a vibrant and meaningful connection to Canterbury’s past. The design strikes a balance between functionality and cultural resonance, allowing the arch to act as both a navigational aid and an artistic centerpiece.
The modern arch is constructed with a lightweight yet durable steel frame, ensuring structural stability. To harmonize with The Beaney’s interior, the arch incorporates a surface treatment that matches the room’s existing finishes, ensuring a cohesive visual integration within the space. Each of the two arches features six stained glass panels on one side, totaling 24 panels that correspond to the 24 tales in The Canterbury Tales. These stained glass panels are backlit with integrated lighting, allowing vibrant colors to illuminate the space and creating a dynamic interplay of light and narrative elements.
Figure 125 Stained Glass: Feather Pen - Represents learning and writing (The Canterbury TalesThe Clerk’s Tale).
Figure 128 Stained Glass: Anchor - Symbolizes navigation and adventure (The Canterbury TalesThe Shipman’s Tale).
Figure 131 Stained Glass: Horseshoe - Symbolizes adventure and luck (The Canterbury Tales - The Squire’s Tale).
Figure 134 Stained Glass: Chain - Symbolizes punishment and restraint (The Canterbury TalesThe Friar’s Tale).
Figure 126 Stained Glass: MirrorSymbolizes selfreflection and female empowerment (The Canterbury Tales - The Wife of Bath’s Tale).
Figure 129 Stained Glass: Madonna Icon - Represents miracles and piety (The Canterbury Tales - The Prioress’s Tale).
Figure 132 Stained Glass: Hourglass - Symbolizes the passage of time and inevitability of death (The Canterbury TalesThe Pardoner’s Tale).
Figure 135 Stained Glass: FlameSymbolizes alchemy and failure (The Canterbury Tales - The Canon’s Yeoman’s Tale).
law and
and
The original layout of The Beaney presented challenges with unclear circulation paths, creating confusion for visitors. The revised spatial flow introduces a simplified circular route, guiding visitors intuitively through exhibitions and community spaces. Key elements like guiding arches and stained glass further enhance navigation and storytelling.
By removing redundant walls and doors, the updated layout ensures seamless movement while preserving The Beaney’s historic character. The guiding arches act as orientation points, and stained glass panels enrich the cultural narrative, creating a more cohesive visitor experience.
This 1:100 floor plan highlights the key modifications made to The Beaney’s spatial layout. The revised design focuses on simplifying circulation paths, enhancing navigation, and creating functional zones that align with the building’s historical and cultural context.
This section drawing illustrates the key vertical modifications made to The Beaney. The integration of guiding arches and stained glass panels is emphasized, showcasing their structural placement and functional role in enhancing navigation and storytelling.
This rendering emphasizes the spatial connection between the guiding arches and stained glass panels, highlighting their role in navigation and storytelling. The vibrant colors and intricate patterns of the stained glass interact with light, creating a unique and immersive visitor experience that celebrates both functionality and cultural resonance.
This page highlights the technical details and structural integrity of the guiding arch and stained glass panels, focusing on their construction and material connections. By integrating traditional craftsmanship with modern engineering, the design ensures stability, functionality, and visual harmony within The Beaney’s historic setting.
The arch is designed with a modular steel framework, allowing for precise assembly and easy maintenance. Each connection point is reinforced to ensure structural stability while maintaining a lightweight aesthetic.
The stained glass panels are assembled using traditional lead cames, which provide both flexibility and durability. Each panel is securely mounted into the frame using concealed fasteners, ensuring a seamless appearance.
Integrated LED lighting enhances the interplay of light and color through the stained glass, creating dynamic patterns that shift throughout the day. The design leverages both natural and artificial light to enrich the spatial experience.
1.This page focuses on the materials and structural details of the guiding arch and stained glass panels, highlighting the interplay between traditional craftsmanship and modern techniques. By carefully selecting materials, the design ensures both functional durability and aesthetic integration within The Beaney’s historic interior.
2.The arch is constructed from lightweight steel, chosen for its strength and flexibility. The surface is finished with a polished black coating to harmonize with the interior’s modern accents while maintaining a sense of durability.
3.The stained glass panels are crafted using tempered colored glass for enhanced safety and durability. Traditional lead cames hold the individual glass pieces together, preserving the artisanal Gothic aesthetic while meeting modern safety standards.
4.The stained glass is framed by a concealed metal frame, ensuring stability and seamless integration with the arch structure. The connection points are carefully designed to allow for easy installation and maintenance.
5.Integrated LED lighting behind the stained glass panels enhances the vibrant colors, creating dynamic patterns on the floor and walls. This design not only provides an engaging visual experience but also complements the natural light entering the space.
1.Showcase Design:
- Features Victorian-style dark wood bases paired with transparent glass display cases, which highlight the details of exhibited items while maintaining harmony with The Beaney’s historic aesthetics.
- Embedded lighting inside the glass cases ensures uniform and gentle illumination of the displayed artifacts, enhancing the visitor’s visual experience.
2.Material Selection:
- The floor utilizes polished dark wood, presenting an elegant and durable design that reflects the ambient lighting and creates a warm atmosphere.
- Neutral-toned wall panels emphasize simplicity and modernity, providing a visual balance with the historic elements.
3.Lighting Strategy:
- Integrated lighting within the exhibition area focuses on the artifacts while casting soft light on the walls, adding depth to the space.
- A nearby window introduces natural light, combining with artificial lighting to enhance the openness of the space.
Fusion of Functionality and Design:
This exhibition zone not only exhibits aesthetic appeal but also demonstrates a well-thought-out functional design. Visitors can clearly appreciate the details of the artifacts displayed within the cases while enjoying the comfort and modernity of the space.
The arches and stained glass transform the space into a vibrant cultural hub. Visitors are naturally guided through the area, with the dynamic light patterns creating an engaging visual experience.
The design encourages exploration, with visitors pausing to admire the intricate details of the stained glass and interact with the space in a meaningful way. The arches act as visual and physical markers, ensuring seamless navigation.
The combination of functionality and aesthetics enhances the visitor journey, blending practicality with an appreciation for Canterbury’s cultural and architectural heritage.
Design Summary:
- The project focused on reimagining the internal layout of The Beaney, simplifying navigation through the addition of guiding design elements like arches and stained glass.
- The stained glass panels, inspired by the Canterbury Tales, serve as both cultural narratives and visual highlights, achieving a balance between function and aesthetics.
Feng Shui in the Design:
- Circulation Design: The pathway is designed in a counterclockwise direction, based on Feng Shui principles, to promote a sense of calm and serenity for visitors, avoiding the agitation often associated with clockwise movement.
- Elemental Balance: The design incorporates the five elements of Feng Shui (Wood, Fire, Earth, Metal, Water)
Project Reflection:
- Successes: The iterative modeling and rendering process ensured design feasibility; the preliminary integration of Feng Shui offered a new perspective on spatial arrangement.
- Areas for Improvement: Further exploration of the practical integration of Feng Shui concepts with contemporary design could enhance functionality and harmony.
Future Directions:
1. Continued Testing and Optimization:
- Use dynamic simulations of visitor flow to test the efficiency and comfort of the spatial design.
- Explore innovative materials suited for historic buildings to improve durability and sustainability.
2. Integration of Digital Technology:
- Introduce interactive digital installations in exhibition areas to diversify visitor engagement.
- Develop a digital guide system to inform visitors about the cultural and technical details behind the design.
3. Deepening Feng Shui and Cultural Integration:
- Conduct systematic research on Feng Shui’s application in architectural design, particularly its psychological impacts in interior spaces.
- Collaborate with other disciplines, such as environmental psychology and cultural studies, to explore cross-disciplinary practices in cultural design.
“Balance Tradition and Innovation: Facilitate cultural exchange through design.”
To design a Chinese-inspired garden and art gallery in the UK, exploring the balance between rules and creativity.
Rules-Based Design
- Existing Chinese Pagoda and formal garden layouts follow structured rules. Botanical diversity offers opportunities for integrating symmetry and proportion.
Research Questions
Q1: How can Chinese garden principles (e.g., borrowing scenery, layered landscapes) be adapted for a UK context?
Q2: What design elements best represent Chinese culture while appealing to an international audience?
Q3: How can the space balance natural and built environments to enhance visitor experience?
Q4: What are the practical and cultural challenges of integrating a Chinese art gallery into Kew Gardens?
Specific projects design
1. To design a Chinese-inspired garden and art gallery in the UK, exploring the balance between rules and creativity.
2. A Chinese-inspired garden harmonizes traditional elements with modern needs, promoting cultural understanding.
3. The Art gallery integrates Feng Shui principles with modern design to create a Chinese cultural hub in the UK.
What is Feng Shui?:
Feng Shui: A Balance of Energy in Design
Feng Shui (風水), literally meaning “wind” and “water,” is an ancient Chinese practice that seeks to harmonize individuals with their surrounding environment. It is based on the concept of Qi (氣), the flow of energy, and aims to optimize this energy within a space to enhance well-being, prosperity, and balance.
In architecture and design, Feng Shui principles are often applied through:
- Orientation and Layout: Aligning structures to maximize natural light and energy flow, such as south-facing buildings in the northern hemisphere.
- Symbolism and Elements: Incorporating the five elements—wood, fire, earth, metal, and water—to achieve equilibrium in space design.
- Functional Design: Using pathways, openings, and materials to guide energy flow, creating spaces that feel both dynamic and serene.
Feng Shui bridges traditional wisdom with modern design by offering a holistic approach that considers not only the physical but also the emotional and psychological impact of spaces. Its integration into contemporary projects demonstrates its adaptability and relevance in creating environments that promote health, harmony, and sustainability.
Final site selection and project selection: “Art Chinese Gallery and Chinese-Inspired Garden at Kew Gardens, London”
- “Why this site?”
- Kew Gardens offers a unique cultural and ecological context that aligns with the project’s goal to blend traditional Chinese and modern British design. The proximity to the Great Pagoda, an iconic symbol of cross-cultural heritage, makes this site ideal for a Chinese-inspired art gallery and garden. Additionally, the site’s accessibility and established visitor base provide an excellent platform for cultural exchange and educational programs.”
- “Why does London need this building?”
- As a global city, London thrives on cultural diversity but lacks a significant space that combines Chinese architectural traditions with contemporary design. This project addresses that gap, offering an inclusive platform that celebrates Chinese culture while promoting sustainability and innovation. It also serves as a bridge for deeper cross-cultural understanding and engagement.”
- “Why does Kew Gardens need this project?”
- Kew Gardens has a rich history of integrating cultural and botanical elements, but it currently lacks a dedicated space for celebrating Chinese art and design. This project enhances the gardens’ global appeal by introducing a Chinese-inspired space that complements existing features like the Japanese Garden and the Temperate House. It also aligns with Kew Gardens’ mission of fostering education, conservation, and cultural appreciation.”
Promoting Cross-Cultural Exchange: Highlight Chinese and British cultural interactions through art and design.
Design Integration
Showcasing Traditional Art: A space to exhibit Chinese art and craft techniques with modern adaptations.
Supporting Cultural Storytelling: Enable visitors to engage with Chinese culture through sensory experiences.
The project aims to seamlessly combine the Art Chinese Gallery and Chinese-Inspired Garden, creating a harmonious space that balances tradition and modernity. Situated within Kew Gardens, the design respects the site’s rich history and ecological significance while introducing innovative cultural and artistic elements.
create a harmonious space where history, art, and sustainability converge.
addressing contemporary design challenges.
Integration with Existing Landmarks: Respect the Great Pagoda’s historical significance while adding a complementary
Visitor Flow Optimization: Design clear pathways to improve navigation and wayfinding.
Preserving Biodiversity: Protect existing vegetation and enrich local ecosystems with new plantings.
Eco-Friendly Materials: Use sustainable and locally sourced materials.
Seasonal Landscaping: Plan dynamic seasonal plants to ensure year-round visitor appeal.
Immersion: Allow
Wellness and Relaxation: Create serene spaces for mindfulness and connection with nature.
Accessibility Features: Ensure inclusivity through ramps, tactile paths, and audio guides.
Multi-Sensory Design: Include tactile displays and visual elements to enhance visitor interaction.
Figure 001. Venice travel (Cheng Yun Chang, 2023 October 10).
Figure 002. My Logo.
Figure 003. My webpage QR-code [Digital image]. Available at: https://www.chengyun0218.com/.
Figure 004. Group Ideas (September 27).
Figure 005. Personal computer avatar (Cheng Yun Chang, 2018).
Figure 006. Making nougat (Cheng Yun Chang, 2024 October 3).
Figure 007. Give Gifts Nougat (Cheng Yun Chang, 2024 October 3).
Figure 008. Roasting Almonds (Cheng Yun Chang, 2024 October 3).
Figure 009. Mixed Materials (Cheng Yun Chang, 2024 October 3).
Figure 010. Heating Material (Cheng Yun Chang, 2024 October 3).
Figure 011. Whisking Egg Whites (Cheng Yun Chang, 2024 October 3).
Figure 012. Mixed Materials (Cheng Yun Chang, 2024 October 3).
Figure 013. Add Almond (Cheng Yun Chang, 2024 October 3).
Figure 014. Flatten (Cheng Yun Chang, 2024 October 3).
Figure 015. Cut Squares (Cheng Yun Chang, 2024 October 3).
Figure 016. Picnic Day (Cheng Yun Chang, 2024 September 30).
Figure 017. The group plan and section drawings collectively (Group A3 Noelle, Rimple, Cheng-Yun Chang, 2024 September 30).
Figure 018. Picnic Table Overview Sketch (Cheng-Yun Chang, 2024 October 1).
Figure 019. Preliminary Hand Sketch Evolving from Group Plan (Cheng-Yun Chang, 2024 October 1).
Figure 020. 1:1 Scale plan sketch redraw (Cheng-Yun Chang, 2024 October 1).
Figure 021. Nougat Cross Section (Cheng Yun Chang, 2024 October 2).
Figure 022. Nougat Tactile Experience (Cheng Yun Chang, 2024 October 2).
Figure 023. Exploded View of Almond Nougat (Cheng Yun Chang, 2024 October 2).
Figure 024. Nougat Speculated Ingredients Diagram of Almond Nougat (Cheng Yun Chang, 2024 October 3).
Figure 025. (Cheng Yun Chang, 2024 October 2).
Figure 026. (Cheng Yun Chang, 2024 October 2).
Figure 027. Team Conceptual Sketches (2024 October 7).
Figure 028. Team Early Prototype (2024 October 7).
Figure 029. Team Discussion and Concept Development (2024 October 8).
Figure 030. Overall Sketch (Cheng Yun Chang, 2024 October 8).
Figure 031. Part 5 Front Sketch (Cheng Yun Chang, 2024 October 8).
Figure 032. Simple Freehand Sketch (Cheng Yun Chang, 2024 October 8).
Figure 033. Initial Version of the Climbing Mechanism: In the first test, the climbing mechanism was too large, causing excessive friction. This prevented the central axis from rotating smoothly. (Cheng Yun Chang, 2024 October 9).
Figure 034. Revised Climbing Mechanism: After resizing the mechanism and shortening the structure, the central axis could rotate smoothly. (Cheng Yun Chang, 2024 October 10).
Figure 035. Testing the Motor Power: Although the manual operation worked, the motor did not have enough power to drive the climbing mechanism effectively. This issue required further testing or the consideration of a more powerful motor. (2024 October 11).
Figure 036. Adjusting the Contact Surface and Gears: To reduce friction and improve efficiency, minimized the contact surface between the axis and the moving platform. Additionally, experimented with larger and smaller gears to distribute the load more effectively. (Cheng Yun Chang, 2024 October 15).
Figure 037. Final: This final version includes the completed road connections for both the front and back sections. With these adjustments, the current version should be successful. For the final operation, plan to apply lubricant to the central axis to ensure smooth movement. (Cheng Yun Chang, 2024 October 17).
Figure 038. View of the Rhino (Cheng Yun Chang, 2024 October 17).
Figure 039. View of the AutoCAD (Cheng Yun Chang, 2024 October 17).
Figure 040. View of the Rhino Schematic Diagram After Installing the Motor (Cheng Yun Chang, 2024 October 17).
Figure 041. Top View of the Rhino (Cheng Yun Chang, 2024 October 17).
Figure 042. Perspective View of the Rhino (Cheng Yun Chang, 2024 October 17).
Figure 043. Side View of the Rhino (Cheng Yun Chang, 2024 October 17).
Figure 044. Front View of the Rhino (Cheng Yun Chang, 2024 October 17).
Figure 045. Planning of Colored Glass Design Project (Poster by Whole Group A3, Photo by Cheng-Yun Chang, 2024 October 14).
Figure 046. History and Introduction of Colored Glass (Poster by Noella, Photo by Cheng-Yun Chang, 2024 October 14).
Figure 047. Types of Colored Glass (Poster by Cheng-Yun, Photo by Cheng-Yun Chang, 2024 October 14).
Figure 048. Case Study (Poster by Pooja Maheshwari, Photo by Cheng-Yun Chang, 2024 October 14).
Figure 049. Use in Design: The Production of Colored Murano Glass (Poster by Leona, Photo by Cheng-Yun Chang, 2024 October 14).
Figure 050. Evolution of Colored Glass (Poster by Rimple Thadani, Photo by Cheng-Yun Chang, 2024 October 14).
Figure 051. Case Study (Poster by Pooja Maheshwari, Photo by Cheng-Yun Chang, 2024 October 14).
Figure 052. Group Presentation (Photo by Sun, 2024 October 14).
Figure 053. Presentation Date First Model Demonstration (Cheng Yun Chang, 2024 October 18).
Figure 054. Presentation Date Second Model Demonstration (Cheng Yun Chang, 2024 October 18).
Figure 055. Presentation Date Third Model Demonstration (Cheng Yun Chang, 2024 October 18).
Figure 056. Presentation Date Fourth Model Demonstration (Cheng Yun Chang, 2024 October 18).
Figure 057. Presentation Date Fifth Model Demonstration (Cheng Yun Chang, 2024 October 18).
Figure 058. Presentation Date Sixth Model Demonstration (Cheng Yun Chang, 2024 October 18).
Figure 059. Final Part (Cheng Yun Chang, 2024 October 18).
Figure 060. Group Photo After the End (2024 October 18).
Figure 061. Canterbury Overview Map (Digimap, 2024 October 24).
Figure 062. Eastbridge Gardens (Cheng Yun Chang, 2024 October 21).
Figure 063. The Beaney House (Cheng Yun Chang, 2024 October 24).
Figure 064. Canterbury Cathedral Exterior (Cheng Yun Chang, 2024 October 21).
Figure 065. Old City Streets (Cheng Yun Chang, 2024 October 23).
Figure 066. Butter Market Outside Cathedral Gate (Cheng Yun Chang, 2024 October 22).
Figure 067. Cathedral Archive (Cheng Yun Chang, 2024 October 23).
Figure 068. Canterbury Map, 1588. Available at: https://www.meisterdrucke.ie/fine-art-prints/English-School/854093/Canterbury-Map.html.
Figure 069. Interior of Canterbury Cathedral (Cheng Yun Chang, 2024 October 23).
Figure 070. Gothic Arched Cloisters and Stained Glass (Cheng Yun Chang, 2024 October 23).
Figure 071. Greyfriars Chapel in Eastbridge Gardens (Cheng Yun Chang, 2024 October 23).
Figure 072. Bridge Along the Path in Eastbridge Gardens (Cheng Yun Chang, 2024 October 23).
Figure 073. Walking Through the Old City Streets (Cheng Yun Chang, 2024 October 23).
Figure 074. Space Configuration of Butter Market Outside Cathedral Gate (Cheng Yun Chang, 2024 October 23).
Figure 075. Mapping of Coffee Culture Activities in Canterbury (Cheng Yun Chang, 2024 October 24). Available at: https://www.google.com/maps.
Figure 076. Map of The Beaney and Surrounding Cultural Sites (Cheng Yun Chang, 2024 November 2). Available at: https://www.google.com/maps.
Figure 077. 1899 Map (Digimap, 2024 November 2). Available at: https://digimap.edina.ac.uk/.
Figure 078. 1950 Map (Digimap, 2024 November 2). Available at: https://digimap.edina.ac.uk/.
Figure 079. The Beaney Existing (John Miller, Planning Application Documents, 2016 February 19). Available at: https://pa.canterbury.gov.uk/online-applications/applicationDetails. do?activeTab=documents&keyVal=ZZZXH8EAID953.
Figure 080. Floor Plan Ground Floor (Digimap, 2024 November 5).
Figure 081. Floor Plan 0.5 Floor (Digimap, 2024 November 5).
Figure 082. The Beaney House of Art & Knowledge (Digimap, 2024 November 5).
Figure 083. Floor Plan First Floor (Digimap, 2024 November 5).
Figure 084. Site Visit (Digimap, 2024 November 5).
Figure 085. Site Visit (Digimap, 2024 November 5).
Figure 086. Site Visit (Digimap, 2024 November 5).
Figure 087. Site Visit (Digimap, 2024 November 5).
Figure 088. Site Visit (Digimap, 2024 November 5).
Figure 089. Site Visit (Digimap, 2024 November 5). Figure 090. Site Visit (Digimap, 2024 November 5).
Figure 091. Site Visit (Digimap, 2024 November 5).
Figure 092. Site Visit (Digimap, 2024 November 5).
Figure 093. Site Visit (Digimap, 2024 November 5).
Figure 094. Site Visit (Digimap, 2024 November 5).
Figure 095. Site Visit (Digimap, 2024 November 5).
Figure 096. Site Visit (Digimap, 2024 November 5).
Figure 097. Key Social and Community Roles.
Figure 098. Indoor Space (Nottingham City Council, 2009). Available at: https://www.greatscenicjourneys.co.uk/attraction/4046/.
Figure 099. Nottingham Contemporary (Nottingham City Council, 2009). Available at: https://www.greatscenicjourneys.co.uk/attraction/4046/.
Figure 0100. Nottingham Contemporary Floor Plan. Available at: https://carusostjohn.com/projects/nottingham-contemporary/.
Figure 101. Nottingham Contemporary Floor Plan. Available at: https://carusostjohn.com/projects/nottingham-contemporary/.
Figure 102. Nottingham Contemporary Floor Plan. Available at: https://carusostjohn.com/projects/nottingham-contemporary/.
Figure 103. Easy to Get Lost.
Figure 104. Journeying the Everyday of Civic Space: Movement as Method in Socio-Legal Studies (Journal of Law and Society: Volume 48, Issue S1, December 16, 2021). Available at: https:// onlinelibrary.wiley.com/doi/abs/10.1111/jols.12334.
Figure 105. Modified Circular Route Map.
Figure 106. Schematic Diagram After Changes.
Figure 107. Original Photo Before Changes.
Figure 108. First Time Trying Arch.
Figure 109. Modified Arch Second Edition.
Figure 110. Claire Orme (Studio Orme Boss).
Figure 111. Stained Glass Examples.
Figure 112. Studio Work By Studio Orme. Available at: https://www.studioorme.com/about.
Figure 113. Stained Glass: Sword - Represents chivalry and honor (The Canterbury Tales - The Knight’s Tale).
Figure 114. Stained Glass: Cross - Symbolizes religion and faith (The Canterbury Tales - The Monk’s Tale).
Figure 115. Stained Glass: Dove Represents purity and peace (The Canterbury Tales - The Nun’s Tale).
Figure 116. Stained Glass: Scales Symbolizes justice and law (The Canterbury Tales - The Man of Law’s Tale).
Figure 117. Stained Glass: Spatula - Represents culinary skills and daily life (The Canterbury Tales - The Cook’s Tale).
Figure 118. Stained Glass: Windmill Symbolizes labor and harvest (The Canterbury Tales - The Miller’s Tale).
Figure 119. Stained Glass: Sickle Represents farming and hard work (The Canterbury Tales The Reeve’s Tale).
Figure 120. Stained Glass: Mask - Symbolizes disguise and deception (The Canterbury Tales - The Merchant’s Tale).
Figure 121. Stained Glass: Scroll - Represents knowledge and wisdom (The Canterbury Tales - The Clerk’s Tale).
Figure 122. Stained Glass: Handshake - Symbolizes promise and reconciliation (The Canterbury Tales - The Franklin’s Tale).
Figure 123. Stained Glass: Medicine Bottle - Represents healing and medicine (The Canterbury Tales - The Physician’s Tale).
Figure 124. Stained Glass: Rooster - Symbolizes vigilance and intelligence (The Canterbury Tales - The Nun’s Priest’s Tale).
Figure 125. Stained Glass: Feather Pen - Represents learning and writing (The Canterbury Tales - The Clerk’s Tale).
Figure 126. Stained Glass: Mirror - Symbolizes self-reflection and female empowerment (The Canterbury Tales The Wife of Bath’s Tale).
Figure 127. Stained Glass: Praying Hands - Symbolizes faith and morality (The Canterbury Tales - The Parson’s Tale).
Figure 128. Stained Glass: Anchor - Symbolizes navigation and adventure (The Canterbury Tales The Shipman’s Tale).
Figure 129. Stained Glass: Madonna Icon - Represents miracles and piety (The Canterbury Tales - The Prioress’s Tale).
Figure 130. Stained Glass: Gavel Symbolizes law and judgment (The Canterbury Tales - The Sergeant’s Tale).
Figure 131. Stained Glass: Horseshoe - Symbolizes adventure and luck (The Canterbury Tales - The Squire’s Tale).
Figure 132. Stained Glass: Hourglass - Symbolizes the passage of time and inevitability of death (The Canterbury Tales - The Pardoner’s Tale).
Figure 133. Stained Glass: Raven - Symbolizes secrets and lies (The Canterbury Tales - The Manciple’s Tale).
Figure 134. Stained Glass: Chain Symbolizes punishment and restraint (The Canterbury Tales - The Friar’s Tale).
Figure 135. Stained Glass: Flame Symbolizes alchemy and failure (The Canterbury Tales The Canon’s Yeoman’s Tale).
Figure 136. Stained Glass: Saw - Represents labor and craftsmanship (The Canterbury Tales - The Carpenter’s Tale).
Figure 137. Basic Drawing of Modern Arch Design (SketchUp, 2024 November 16).
Figure 138. Original Layout of The Beaney – Highlighting Circulation Challenges “Before.”
Figure 139. Revised Spatial Flow Diagram – Simplified Circular Route.
Figure 140. Revised 1:100 Floor Plan (Focus Area).
Figure 141. Section Drawing: Highlighting Key Modifications.
Figure 142. Floor Plan.
Figure 144. Stained Glass.
Figure 145. Detail.
Figure 146. LINEAR COLOR CHANGING LED.
Figure 147. Rendering.
Figure 148. Model Floor Plan.
Figure 149. Model Front.
Figure 150. Perspective In Model.
Figure 151. Perspective In Model.
Figure 152. Detail Model.
Figure 153. Rendering.
Figure 154. Rendering.
Figure 155. Experimental Practice Process.
Figure 156. Front Facade of HSBC Building in Hong Kong. Available at: https://www.archiposition.com/items/6c0f429955.
Figure 157. A Tall and Hollow Atrium on the First Floor of the HSBC. Available at: https://www.archiposition.com/items/6c0f429955.
Figure 158. Floor Plan of HSBC Headquarters Building in Hong Kong. Available at: https://www.archiposition.com/items/6c0f429955.
Figure 159. Section of HSBC Headquarters Building in Hong Kong. Available at: https://www.archiposition.com/items/6c0f429955.
Figure 160. The Apple Store (London). Available at: https://www.apple.com/uk/retail/regentstreet/.
Figure 161. Indoor Open Design of Apple Store (London). Available at: https://www.apple.com/newsroom/2016/10/apple-regent-street-to-reopen-with-new-design/.
Figure 162. Ground Floor Plan of Apple Store (London). Available at: https://www.archdaily.com/797835/apple-regent-street-foster-plus-partners.
Figure 163. Section of Apple Store (London). Available at: https://www.archdaily.com/797835/apple-regent-street-foster-plus-partners.
Figure 164. Front Facade of the Bank of China Tower in Hong Kong. Available at: https://www.sohu.com/a/208483081_557768.
Figure 165. The Bamboo Image of Bank of China Tower (Hong Kong). Available at: https://en.wikiarquitectura.com/building/bank-of-china-tower/.
Figure 166. Section of HSBC Headquarters Building in Hong Kong. Available at: https://www.apple.com/uk/retail/regentstreet/.
Figure 167. Natural Ventilation, Grand Atrium. Available at: https://www.apple.com/newsroom/2016/10/apple-regent-street-to-reopen-with-new-design/.
Figure 168. Use Trees to Create a Comfortable Atmosphere. Available at: https://retaildesignblog.net/2016/10/24/apple-regent-street-store-by-foster-partners-london-uk/.
Figure 169. The Direction and Flow of People and “Chi” in Indoor Retail Environments. Available at: https://retaildesignblog.net/2016/10/24/apple-regent-street-store-by-foster-partners-londonuk/.
Figure 170. HSBC Building Feng Shui Cannons. Available at: https://www.atlasobscura.com/places/hsbc-building-feng-shui-cannons.
Figure 171. Me & Palm House in Kew Gardens (2024 December 27).
Figure 172. Me & Great Pagoda in Kew Gardens (2024 December 27).
Figure 173. Three Hills and One Pond Layout (Concept).
Figure 174. Site Map.
Figure 175. Site Map of Kew Gardens (Mike Hall, 2021).