U.K.

PLY MOU TH U .K .

CHENG YUK SING ALEX

WARTIME PAVILION

D IA R Y

RESEARCH -­ INTELLIGENT CRAFT 2 0 1 6 -­ 1 7

Cheng Yuk Sing Alex

CIVIC MATTER [ MEMORY AND PLACV ] This year our site is our playground for investigation is our host city Plymouth. We are working alongside the City Council to respond to the July 2106 publication Plymouth City Centre Strategic Master plan.

Semester 1 will be looking at the civic spaces of Plymouth itself and propose a series of small but intense projects that starts to reveal place through both its physical transformation over time and also its reading through memory, that being the collective and individual. The projects you undertake are all forming part of a bigger picture so we need to work both individually and collectively

Cheng Yuk Sing Alex

PRE-WAR MAP RECENT MOVEMENT PATTERN

SITE ANALYSIS - [MACRO]SCOPIC HISTORICAL MAPPING

PRE-WAR MAP

POST-WAR MAP

RECENT MAP

Police Station

THE CHANGING OF CITY MOVEMENT The diagram can show how master planning was changed in Plymouth. Recent movement pattern are based on vertical and

Bowling Green

Bowling Green

Bowling Green

horizontal grid to design it. So different function can be more hierarchy.

We re-find the historical OS map and try to discover what is the different between now and before the war. It is because that there are somethings massing and damaging. We are going to re-build or re-design that and try to embrace this memory and story. We are going to bring back the atmosphere and let peoples this is what you city have. We call them a collective memory.

MAPPING OF

CITY 1 : 4000

Cheng Yuk Sing Alex

SITE ANALYSIS - [MACRO]SCOPIC We understand of the city through of the site model. This site model can represent the wider scale of the city and terrain. We need to know about the city ground and orders before when we build…….

Cheng Yuk Sing Alex

[ MEMORY ]

INTRODUCTION - 1A - Civic Matter [Memory and Place] Why the need to look so closely at Plymouth? In the recent past [since the millennium] Plymouth City Council has commissioned various reports on the status and condition of the city.

The reason for such extensive commentary is that Plymouth seems to be a city in anxiety and a place that ‘has lost its identity’. This ‘loss of identity’ could be to do with many factors, but if the city generally is a constantly evolving entity, with a gradually adapting grain, then the recent history of Plymouth has removed that sense of continuity.

Plymouth has had a difficult recent past. Plymouth has become what it is today due to a series of distinct actions imposed upon it – some controlled and others imposed;

PLYMOUTH CITY

LOCATION PLAN

IBy 1964 what once was a densely inhabited City had been transformed by

In 1914 by the merging of three districts – the county boroughs of Plym-

the planning thought of the era to be a civic centre and retail centre with

outh and Devonport and the Urban district of East Stonehouse, the

sprawling suburbs of some 20000 homes. The Plan for Plymouth was vi-

County Borough of Plymouth was created and by 1928 it’s status changed

sionary and bold and has enabled Plymouth to have the most post-war

to that of a City. The city like many strategic hubs and especially Port

listed structures in the UK outside of London. However the plan was never

Cities, was badly damaged by the Luftwaffe 1941 and following the publica-

executed fully in accordance with the plan nor fully completed and since a

tion of Ambercrombie’s ‘Plan for Plymouth’ in 1943, the City was erased to

sense of identity crises has emerged within the City leading to the commis-

enable a utopian solution. In doing so the grain of the place was to be virtu

sioning in 2003 the report and planning strategy of ‘A Vision For Plym-

ally forgotten.

outh’ of its bold Utopian city the report laments

Cheng Yuk Sing Alex

HOE AND COASTAL FRONT

A book (A Vision for Plymouth 2003) mentioned that “there is a fifth dimension to every city: the collective memory of place. Memory of place does not mean rebuilding the past, but drawing on its memory to rediscover the paths and footsteps

SITE ANALYSIS - [MICRO]SCOPIC BUILDING BLOCK, SECTION AND ELEVATION

of past generations, guided by topography and the weather, which traced the early structure of the city. It also means that in renewing the city for the present and the future we must create places that will strike new memories for the next generations.”

SITE AREA

Our group area focused on hoe and coastal front where is the end of Plymouth. This zoning is very special because there are two different places including residence and historical places. When I went to walk on this area, I feel that peoples pass through between residence and historical areas continuously that just like the historical stories pass through between time and peoples. There are missing somethings which are somethings about connection with city, history and peoples.

SITE PLAN

1 : 3000

ELEVATION STUDIES 1 : 100

This elevation are showing the understanding of the Georgian style and the development of the elevation through of the golden section.

13:30

Cheng Yuk Sing Alex

1. Wind 2. Traffic 3. Conversation 4. Builders

During the middle of the day, there is a greater amount of activity resulting in a higher volume within the block. An analysis of the soundwave demonstrates how various aspects become more influential as the day goes on. The traffic again provides the highest volume, ‘In Order to appreciate the depth of the problem of contemporary urbanity we should look more

stressing how significant traffic is on the edge of the site. During the day there is more interaction on the site however it still remains minimal.

closely at the nature of human situations, the true foundation of urbanity. Situation, unlike system, is not a technical but ontological term.

In more precise formulation, it is our mode of being in the world.....Situations are the receptacles of experience and of events which deposit in them a meaning not just as resides but as the invitation to a sequel, the necessity of a future.

Situations endow experience with durable dimensions in relation to which the whole series of other Experiences can acquire meaning, form an intelligible series and eventually a history’1

COMPOSITE DRAWING Elevation, section, the relationship with ground and building, door detail and human scale. All is about the setting of golden section.

(1) Change and Continuity in the Contemporary City Dalibor Vesely Scroop 8 Cambridge University Journal

18:30 1. Wind 2. Conversation 3. Background noise from the hoe 4. Car passing by Towards the end of the day there is a noticeable reduction in volume around the site. The amount of traffic is reduced to only a few cars passing by showing the lack of circulation within the site. Background noise from the hoe establishes that the block is connected to the hoe, and is directly affected by the events that take place there. Although more conversations are taking place around this time, there is still a limited amount of interaction between the residents.

Soundscape Analysis

Cheng Yuk Sing Alex

Historical Place Residence City Centre

Zoning

ZONING AND CIRCULATION The setting of the zoning are very obvious and all

This is a connection to the car parking and the extension of the second floor.

separated. The historical place is kind of a resting

EXTENSION OF HOUSE WALLS

area. They don’t feel any memory because there is Resident Circulation

missing something about transition place.

BLOCK STUDY, IDENTIFY OF THE WALL They don't have any conversation because of walls. Sometime the walls exist can not blocked your way, it can be something.

Tourist Circulation

There are four storeys and one basement in the building. There is a hotel for tourist.

CAR PARKING MAIN BLOCK

The function of the walls is the separation and blocking from street to peoples.

This is a private car parking and have walls to define it.

PRIVATE SPACE BREATHING AREA PROPOSAL PLACE

CITY CENTRE

AXIS ROAD CIRCULATION

HISTORICAL PLACE AND SEA

RESIDENCE, TRANSITION, CITY, HISTORICAL I am trying to embrace and re-connect the vertical axis of Plymourh where is Armada Way. It is because that I want to re-connect the city using historial RESIDENCE PLACE

storys. In pre - war period, this area was a police station which is a sense of observation. Now, I am using this area to observate back to the city, historial area and over the sea.

Cheng Yuk Sing Alex

STRATEGIC PROPOSITION The Block, macro micro and composite drawing studies provide a qualitative and intimate representation of individual regions of study we have been asked to explore and research. These studies have encouraged us to look beyond what is there, and understand the inhabitants / occupations, undertake architectural archaeology.

PERISCOPE NAVAL MEMORIAL MONUMENT PAVILLION PLYMOUTH SEA

JOURNEY, and WALK NARRATIVE SECTION There is a lot of information here but it’s about building upon what you have and then distilling down THE CONNECTION FROM ARMADA

WAY TO CITADEL ROAD

OLD MAN HOME SMALL STALL FOR FOODS

HISTORY THEATER

PROPOSAL, ABSTRACT SPACES My design concept also record about the naval and also give them to feel if. you are a naval what feeling you have. This is a way to give people feel about this history rather than just looking the informative in the online.

So my building have six sense of the naval and also using the historical way which are periscope to overview this city and reconnect Plymouth vertical axial back to Armada way and the sea.

{

SOMETIMES WALLS EXIST NOT TO BLOCK YOUR WAY,

}

BUT FOR YOU TO FIND THE REASONS AND METHOD GET OVER THEM.

Cheng  Yuk  Sing  Alex

BACKGROUND TASKS - 1B

CELEBRATION OF PROJECT 1A

To date the work has been focussed upon a strategic overview and contextual analysis of the city and the environs around Armada Way from North Cross to the Hoe.

We aim to learn from context and tradition to make a contemporary response to place, through deep investigation and development through tectonic studies. We consider that the act of building, and designing, should understand its situation and become a register of it.

This naturally leads to a focus on material and tectonics, on matters of climate and terrain, on the way materials and resources are used and brought together, and also to a focus on the culture and identity of the people who might make it; their skills, motivations, needs and ideas. Rather than the vernacular being a notion of the picturesque or a practice to historicism we consider it an architectural barometer with a constantly evolving techne.

The depth of study undertaken around any given block has identified a series of characteristics that reside within that territory, to provide a backdrop to particular programmatic suggestions. This is clearly identified in the urban framework plan.

The strength of any give block is dependant upon the area of modification and the synergies between any given series of programmes.

The projects now need consideration of programme and placement to ensure that those synergies can be fully realised.

Cheng Yuk Sing Alex

SITE PLAN, ANGLE AND TERRAIN TERRAIN ANGLE

NAVAL MEMORIAL

{

}

This means not only working at a range of scales and representational techniques simultaneously, but also across your neighbourhood block studies; all of which will ultimately construct a resilient, knowing and informed urban framework.

I try to pretend that if I am a soldier..............

OVERVIEW THE CITY

PERISCOPE

What Zumthor refers to as our own ‘biographies’. This is true of all and as an observation is nothing profound, but the fascination is what comes next: Zumthor goes on to describe a complete sensory experience of material, space and atmospheric elements that go into making an architectural proposition, resulting in most instances in the elevation of everyday occurrences.

DEVELOPMENT

SITE PLAN 1 : 5000

Cheng Yuk Sing Alex

BACKGROUND and FOREGROUNDTASKS - 1B Key programmatic intent: Proposal studies alongside analytical precedent studies: contextual / spatial / programmatic / textural

If the tabletop is particular once we have finished, because now marked with traces of our food and drink, it was general (generally okay) before we began. To describe a table – or for that matter a room, sidewalk, or garden – as a trace or chronicle is to recognise that it also served once as a prescription. Thus, a symmetry: inscription after the meal, prescription before it; the reply the table gives to our “orders” was written on the back of the invitation’ David Leatherbarrow – Table Talk in Architecture Oriented Otherwise

Cheng Yuk Sing Alex

G/F PLAN 1 : 100

THE OVER VIEW

FROM STREET VIEW TO INSIDE

THE SPACE OF BLOOD AND DRAPPING

BASEMENT AND SKYLIGHT

THE SPACE OF PREAFUL

The space of preaful

Tectonics activates our emotions – sight, smell, audibility and touch – they describe a spatial material language that with imagina-

The spaces of blood and dropping

tion can be precisely pieced together to form a complete build up of material life: surfaces, doors, windows, floors, levers, light, tempera-

The space of confused

ture etc. In short the elements that go into the make-up of room– what used to be called ‘decor’.

The space of overview

Cheng Yuk Sing Alex

1/F PLAN 1 : 100

Periscope angle

Periscope directio

None of the above can happen unless spatial consideration is tested through model was well as drawing; and that spatial decision making informs and clarifies tectonic resolution, the vessel in which the programme is situated must be knowing, in itself [proThe space for overview the building The space of fearful

Structural gride

gramme] and its setting [context] to give clarity to the project. This means that speculative testing in model and sketch is an absolute requirement to inform full resolution.

The space of hopeful The space of heavy

Golden section

KEY PLAN G/F 1 : 500 A

A

Cheng Yuk Sing Alex

SECTIONAL DETAIL A - A THAT SPACES CALL PEACFUL AND BLOOD . THE IN-

{ When a soldier or navy hold a family photo............... }

TERIAL SPACE ARE USING CROSS COLUMNS FOR ALIGE THE FLOOR PATTARN. THAT ALIGE CAN CARETE SYMMETRY IN THE INTERIAL PEACFUL SPACE. FOR THE OUTDOOR SPACE THE WATER POOL IS USING CAST IRON AND THE OVERHAND ROOF CAN MAKE THE RAIN WATER DROPPING TO THE WATER POOL. IT JUST LIKE A BLOOD DROPPING.

1 : 5 COLUMN PLAN OVERHANG ROOF

THE SECTIONAL ELEVATION OF PEACEFUL

CAST IRON

1 : 50

Cheng Yuk Sing Alex

KEY PLAN G/F 1 : 500

{ Confused mind and blood dropping................... }

THE SECTIONAL ELEVATION OF CONFUSED AND DLOOD

THE SPACE OF CONFUSED

THE SPACE OF BLOOD AND DROPING

The building structure and interior circulation are crossing over

The pool metarial is using cast iron so when we are looking the

so when people go to periscope before they will get confuse.When a

pool the water is not clern and the roof is overhang. So when

navy know that they need to start a war, maybe they will feel

the rain touch the roof the rain will drop into the pool.

confused and worry.

Cheng Yuk Sing Alex

KEY PLAN G/F 1 : 500

{ Fearful because of war, hopefully I will live................}

THE SPACE OF HOPE

THE SECTION OF FEARFUL AND HOPEFUL 1 : 100

THE SPACE OF FEARFUL

That space is to over view the city and over the sea. That is to

The space is to repersent the fear. The lower headroom and

represent hope and future and this is the end of the of the jour-

nawrow road carete a tiny space and the darkness.

ney.

Cheng Yuk Sing Alex

KEY PLAN G/F 1 : 500

{ No matter it is a body or mentality.................... }

THE SPACE OF HEAVY

To use a ramp create oblique let people feel hard to walk. This is to repersent

THE SECTION OF HEAVY 1 : 100

when a navy bear heavy “bags” to war. Family, country and friends.

STEEL FRAME STRUCTURE

CONCERATE COPPER

WOOD FRAME

PERISCOPE

CROSS COLUMN

STRUCTURAL CONCREATE WALL

WINDOW FRAME

STRUCTURE , MATERIAL

WATER

WOOD PLATFORM

Cheng Yuk Sing Alex

COMPOSITION DRAWING STAIRCASE 1 : 20

SHOP DRAWING 1 : 10

Cheng Yuk Sing Alex

COMPOSITION DRAWING WINDOW 1 : 5

RELATION FROM INSIDE TO OUTSIDE DRAWING

MIDDLE GROUND - CROSS SECTION We are touching on the ground and respect the topography. The connection between us is the site data. The basement is going to under ground and we are trying to align our neighbourhood. The soul of the site is the topography. We build something on the site. Therefore, we need to respect “them”.

I -­ COMMUNITY GARDENS II -­ FLORIST III -­ EVENTS COORDINATOR IV -­ WARTIME PAVILION V -­ EVENTS COORDINATOR VI -­ CEREMONIAL ARCHIVE

CEREMONIAL ARCHIVE

MASTER PLANNING

EVENTS COORDINATOR

WARTIME PAVILION

EVENTS COORDINATOR

COMMUNITY GARDENS

FLORIST

WARTIME PAVILION

1 : 2500 SECTION A - A 1 : 200

SECTION B - B 1 : 200

Cheng Yuk Sing Alex

MIDDLE GROUND - PHYSICAL CONNECTION

Histories and memories are, of course, very easy places in which to lose oneself. As David Leatherbarrow suggests “There are two ways of being mistaken about history: one is to see it as something outside the present, what once was and is no longer, and the other is to view it as something which constitutes the present, what we are now within.The truth of the matter is neither so far off nor so near. Similarly the present is neither so empty nor so full...the latency or potentiality of settings in shadow is nothing other than the present force of past events."

Cheng Yuk Sing Alex

CELEBRATION OF PROJECT 1B

BACKGROUND TASKS - 1B This thought is reiterated in Martin Heidegger’s essay Building Dwelling Thinking - “Only if we are capable of dwelling, only then can we build.” This realisation leads us to consider the site of architecture as a temporal space, which we must first learn how to dwell within. In considering this, we have learned to approach its actual site as, in some senses, an archaeologist might.Through careful examination of its hidden layers, we seek to reveal the often complex and overlapping histories of typology, construction, adjustment, and inhabitation, found in the traces of its immediate physicality.

YES THAT FEEL AND HANDS THAT SEE