PORTFOLIO KYLE HUI 2016
CONTENTS
RESUME
i
REFERENCES
ii
Education, relevant work experience, relevant awards, exhibitions, & referees
Reference letters
RETAIL& ENTERTAINMENT - SHIBUYA, TOKYO
1-4
MANIFESTO
5-7
Architectural Masters Studio C- Semester TWO 2015
21st CENTURY ARCHITECTURE - Semester TWO 2015
OFFICE & HOTEL - WEST MELBOURNE
8-11
LAND ART GENERATOR - COPENHAGEN
12-15
Architectural Design Studio Fire - Semester ONE 2015
Architectural Design Studio Air - Semester ONE 2014
CASE STUDY - PEGS
16-19
ASSOCIATED WORKS
20-21
Construction Design - Semester ONE 2014
2015 Architeria Architects work & 2011 VCE Berliner Schloss redesign exhibition
RESUME
EDUCATION University of Melbourne (UOM)
Kyle Hui Bachelor of Environments University of Melbourne Australia
University of Melbourne (UOM)
UOM ABP Studio Fire studio leader
e: hella@bellabark.com
Mel Gawi
DESIGN SOFTWARE
2012 - 2015
SketchUp Rhinoceros Grasshopper AutoCAD REVIT
Bachelor of Environments
Camberwell Grammar School (CGS)
2006 - 2011
GRAPHIC TOOLS & PROGRAMS
PROFESSIONAL Junior architect
Hella Wigge
2015- present
Master of Architecture
House Prefect, House Colours, Australian Army Cadet Quarter Master Corporal, Editor of ROTE
REFEREES
SKILLS
Internship at Architeria Architects, Melbourne
2015
AWARDS & EXHIBITIONS (UOM) Construction Design
Architect & director of Architeria Architects
Construction Design model exhibition at Wunderlich Gallery, University of Melbourne
e: info@architeria.com.au t: 03 9894 5805
(UOM) Studio Water
2014
FABRICATION & MODELING 2013
Studio Water Boathouse design, 757 corridor, University of Melbourne
VCE Top Designs Exhibition
Award for Visual Communications 2011 Exhibition of project at Melbourne Museum
Adobe Illustrator Adobe Photoshop Adobe InDesign Vray Lightup Lumion
2012
Hand modeling Laser cutting Card cutting 3D Printing LANGUAGE SKILLS English Cantonese Mandarin
i
ii
01
To replace the iconic 109 Tower in busy Shibuya, the Tokyo Replay Centre was a brief for a 60m tower of entertainment and retail, including other facilities such as an auditorium, hall, and facilities for films.
Throughout the course of the semester, students were encouraged to take up various studies in the context, the various routs TOKYO REPLAY CENTRE of connectivity, and any elements SHIBUYA, TOKYO unique to Shibuya and incorporate it as a design consideration.
STUDIO C SEM 2- 2015 July-October
INDIVIDUAL WORK
Location in the centre of Shibuya
Location in West Melbourne- 391 Spencer St
1
For my scheme, the design process initially started from the observation of pedestrian movement on ground level. The complex routes people took when visiting various entertainment venues across Shibuya was unique on its own. I therefore attempted to replicate the relationship of people and the entertainment programs and translate it vertically in a grand circulation system. To distinguish my scheme from the schemes of ordinary shopping centre/ entertainment complexes, the focus of the entire design is dependent on the staggered leveling. Then, programs are applied ‘lightly’, as to distinguish it apart from conventional rows of shops in a typical shopping centre. Furthermore, special considerations were made to present the whole scheme. This was made via the study of Japanese sweets, or Wagashi, and the respective cultural appreciation of such presentation methods.
East view
West view Interior view
Collage work done as a part of design study Typical Ukiyo-e print scene
3
4
The name of the project I gave was the Ukiyo-tower. This is a play on the Japanese characters of Ukiyo, or the ‘floating world’. There is a long Japanese art form known as Ukiyo-e, or pictures of the floating world, where the subjects of each print was centered upon frivolities, entertainment and fun. As a venue of entertainment and relaxation, I wanted to reflect this tradition in the built form. The lightness of each floor plate alludes to weightlessness and therefore as floating. Furthermore, the transparency of the envelope allows the spectator to visualize the users moving throughout the scheme, and thus, creating a manifestation of the modern art of Ukiyo-e.
G
A
Detailed perspective section of scheme
A
NTS
02 21ST CENTURY
ARCHITECTURE
MANIFESTO
SEM 2- 2015 July-October
INDIVIDUAL WORK
As a critique to the state of the modern practice of architecture so often seen presently, during 21st Century Architecture, I took the opportunity to express my personal discontent through the means of a manifesto. In the writing, I analysed the low quality works built through the pretenses of ‘architecture’ by large and passionless property developers for the sake of a quick profit. I was hugely inspired by Victorian architect A.W. Pugin, whom through his work, Contrasts, expressed his discontent with the state of Neo-classical architecture as he saw the falsities, Godlessness, and pretenses of grandiose schemes when in reality, the budget, purpose and client rarely reflected its style. However, were Pugin suggested a remedy for this by building in the neo-gothic style, which according to him represented something solid, appropriate and wholesome; my proposals for rectification is for recycling old buildings. Much of my arguments were based around the rate of purposeless and wasteful demolition, often carried out by said property developers. Throughout my education, I have to this point realised one of the definitions of architecture. Apart from the artful creation of space, etc., I also see the art of respecting the work of past colleagues, their work and their dedication to the art.
5
6
To willy-nilly demolish their work to create a blank canvas for ones’ own work would be selfish, disrespectful, and wasteful. Whereas there is a higher art in preserving parts if not all of past architectures into modern schemes, so as to bring new life to the outdated, and to create full contextual immersion. As a nod to Pugin’s life work, I decided to create a presentation that reflected the neo-gothic tradition, and the original message it carried.
Images created to illustrate my proposals
Manifesto presentation box in the form of a neo-gothic reliquary
7
8
03 STUDIO FIRE
OFFICE & HOTEL
WEST MELBOURNE SEM 1- 2015 March- June
INDIVIDUAL WORK East facade- Spencer St
Porte cochere
Location in West Melbourne- 391 Spencer St
To be situated in West Melbourne, Studio Fire 2015 aims to utilize a 20m x 25m plot for the building of a small hotel of twenty-five suites with conventional accouterments, such as restaurant, event hall and lounge; alongside a caretaker’s residence, three offices for different clients and three seminar spaces. Furthermore, the building is to facilitate a designated group (one of the clients), their needs and their mission. The subject is to allow students to plan and design a building from conceptualizing to the detail of furniture, whilst entertaining a list of set requirements, thus giving students the opportunity to fully plan every aspect of a realistic brief.
Entrance & reception
Having chosen the National Association for the Visual Arts as my principal client, I aimed to create a scheme that would satisfy the criteria in a manner that would accentuate the options and flexibility an arts association may need. This included a circulation that would provide the entire scheme with a gallery-type quality. Furthermore, large spaces, i.e. the atrium, are for accommodating different sizes and modes of art. Another aspect to the design of my scheme was the play on expectation, anticipation and contrast in the areas of materials, colour, texture, temperature and light.
Longitudinal section- NTS
Feature stair from atrium
9
10
GF Entrance Reception Offices
L2
GF Bicycle parking Laundry Loading bay
LOWER
Caretakers’residence Storage Lavatory (for hall)
L6 Hotel suites x 4 Small semi-outdoor area Public seating area
Atrium from feature stair
MEZZANINE
L3
Hotel lounge Restaurant Restaurant kitchen
L7 Hotel suites x 5 Public seating area
L1
Seminar suites x 3 Lavatory DSIG offices x 3 Office pantry
L4
Hotel suites x 4 Small semi-outdoor area Public seating area
L8
Hotel suites x 4 Small semi-outdoor area Public seating area
L2
UPPER
Hall/ gallery event space Lavatory
L5 Hotel suites x 5 Public seating area
L9 Hotel suites x 5 Public seating area
Final plans of design GF to L9-NTS
Roof top art space sketch
Hotel room interior view
The idea of including contrast and anticipation centers upon the clients’ and guests’ view and experience of the building. By positioning myself as a potential guest, I tried to create specific scenes (as shown in my rendered images) and would create a programme of events. This timeline of events led me to concentrate on specific aspects or areas to be accentuated through the mediums of contrasting materials, colours, temperature, space, and masculine vs. feminine qualities. For example, from the exterior, the scheme is cladded in matte zinc panels- giving off a futuristic, sharp, cool, masculine outlook. However, after entering the rooms, the interior qualities are light, soft, colorful, and therefore more feminine. East facade- night view
11
12
04
STUDIO AIR LAND ART GENERATOR
COPENHAGEN
SEM 2- 2014 July-October
INDIVIDUAL WORK
Final form and landscape design for Lagi site
Using computational design, Studio Air uses an international competition brief- the LAGI Land Art Generator, where the aims of producing an architectural/ sculptural structure that generates energy from the natural environment is created through the medium of digital design. The subject revolves around the use of parametric systems, namely Grasshopper and Rhinoceros, and digital fabrication, such as laser cutting and 3D printing. The 2014 brief was set in Copenhagen, on a reclaimed piece of land. Students also had to respond to the surrounding site context in order to maximise form appeal and energy generation possibilities.
INDUSTRIAL PARK
LAGI SITE
Location in Copenhagen
83
97
88
99
110 iterations made Over a hundred iterations were made throughout the process in order to test limitations and different permutations to achieve the desired form. These iterations were a part of the design process of trial and error and assessing its reasonability for model making, and for potential construction purposes.
89
103
92
107
109
Final chosen form
Digital form translated to fabricated model
13
14
Applying surface to site
Creating a landscape
Raised walking path on landscape
Seaside lattice
I gave parametric treatment for the piece of land, in order to create an undulating landscape in an urban area. The framework sculpture designs were then added onto this landscape to create an artificial landscape- as a juxtaposition on the landscapes of nature and the man-made. Planning for access
Applying parametric landscape
Additionally, a section of the parametric design extends to the sea front- a gentle statement of the relationship of the natural and artificial. Furthermore, in line with the land art-generator theme, I planned a walkway scheme as a part of the landscape design. This aspect was inspired by landscape architects, TCL Landscaping.
1:500 model of design.
Selection photographs of model and model making process
15
16
05 CONSTRUCTION DESIGN PENLEIGH & ESSENDON GRAMMAR SCHOOL
MOONEE PONDS
SEM 1- 2014 March-June
GROUP WORK
The task for 2014 Construction Design was to learn, analyse, and recreate a section of a precedent building. Apart from a 1:20 axonometric drawing of the selected section, two 1:50 detailed section drawings; a 1:20 detailed model was also produced to test students’ capabilities of understanding the building systems, the function of the said systems, and the selection of materials internally and eternally prescribed by the architects’ intent. The precedent choice for 2014 was McBride Charles Ryan’s PEGS Junior School. The modeling exercise was done in partnership with Jingle Chen. The work share was evenly divided. McBride Charles Ryan’s PEGS Junior School classroom interior http://www.mcbridecharlesryan.com. au/#/projects/pegs-junior/
Model of classroom interior
1:20 detailed axonometric diagram of selected section
1:20 detailed model of selected section
17
18
McBride Charles Ryan’s PEGS Junior School
Complex interior work
A major challenge to the task, was the complicated shape of the building, which was a major design feature by the architect. The rationale behind the decision was a nod to the style of period houses in the immediate site context.
1:50 detailed axonometric diagrams of ceiling, floor plate, and roofing
1:20 section model of particular section of building according to plans
My partner and I after presentation
06 RELATED WORKS
INTERNSHIP EXHIBITION
20
During my internship at Architeria Architects, I was given the opportunity to partake in the design, drafting and planning process of the day-today schedule of a typical firm. A lot of my work was drafting based, but for some exercises, I has given a plain render of a commissioned design, and was instructed to help produce potential marketing images. This was a project planned in Brunswick. My internship lasted from Feburary to March.
Rendered and Photoshop scene of Brunswick design
17
Site of scheme- centre of Berlin
2012 TOP DESIGNS
In 2011, as my VCE Visual Communications Unit 3&4, I chose an architectural subject as my final and portfolio requirement. The design was for the redesign/ reconstruction of the Berliner Schloss (The Berlin Castle). The original palace was poorly damaged during WW2, and was subsequently demolished. Former glory of the Palace
Model of my design for the Berliner Schloss
Berliner schloss demolition in 1950
Project displayed at Melbourne Museum
My design was a literal mix of the old and the new. The project was graded highly by my schoolmasters. Later on, during the annual Camberwell Grammar School Art Show, I was awarded the Headmaster’s Acquisition Prize, worth $250. The project is now on display at the school. In early 2012, the project was selected by VCAA to take part in the annual Top Designs exhibition held at the Melbourne Museum.
21