architectural designs crafted by
ALICIA LU LIN
“ towards a spontaneous, vernacular and humanistic architecture “
ALICIA LU LIN /Jan 12th 1993/ /linlu93112@gmail.com/ /0064-02102318812/ /currently based in Bergen, Norway/ TOPICS OF INTERESTS IN ARCHITECTURE Human-scaled, intimate architecture/ “Architecture without Architects” - Vernacular Architecture/ Architecture as social responsibility / Sustainablility / Lightweight Architecture/ Natural Material: Timber, Bamboo, Stone, Rammed Earth/ Craftsmanship
WORK EXPERIENCE November 2017 - current
OPA FORM Arkitekter - Part-time Architectural Assisstant Bergen, Norway opaform.no Beca Group Ltd - Architectural Designer Auckland, New Zealand www.beca.com
August 2016 - July 2017
Kengo Kuma and Associates - Paid Full-time Internship Tokyo, Japan www.kkaa.co.jp
May - July 2016
Trace Architecture Office - Paid Full-time Internship Beijing, China www.t-a-o.cn
February - April 2016
Bull O’Sullivan Architecture - Internship Auckland, New Zealand www.bosarchitecture.co.nz
October 2015- January 2016
Future Islands New Zealand Pavilion, La Biennale di Venezia - Model Making www.venice.nzia.co.nz
December 2015
Milan World Exposition 2015 - Volunteer Milan, Italy
May 2015
Awaiting Eyes Foundation - Architectural Volunteer London, UK
March - April 2015
Alicia Lin Photography ( Freelance and Self-employed ) www.alicialinphoto.com
2013 - current
EDUCATION Bergen Arkitekthøgskole (Norway), Master of Architecture University of Auckland, Bachelor of Architectural Studies grades A~A+, Frederick Ost Scholarship in Architecture
August 2017 - current 2012-2015 (gap year in between)
Technische Universität München, Germany, Bachelor Exchange grades A~A+, Studio Freeland by MVRDV
2014-2015
Burnside High School NCEA National Top Scholarship in Design and Photography
2008-2011
PARTICIPATED EXHIBITIONS Art In Structure Competition Finalists Virtual Sculpture Exhibition Simon Devitt Photo Competition Finalist Exhibition, Auckland Ellerslie International Flower Show, Christchurch Be The Light Of My Lantern, George Fraser Gallery, Auckland Floornature International Architecture And Urban Photography Contest Finalists, Helsinki World Habitat Day Photo Exhibition, Third prize, University of Auckland NZ TOP ART Exhibition 2012, Wellington City Gallery + touring exhibition around New Zealand
2016 2014 2014 2014 2013 2013 2012
LANGUAGE
English Chinese German Norwegian
(A2 learning) (A1 learning)
TRAVEL Countries I’ve been: China, New Zealand, Australia, Germany, Singapore, Malaysia, Saudi Arabia, Switzerland, France, Italy, Czech Republic, Hungary, Spain, Netherland, Austria, Belgium, Luxembourg, Slovakia, Norway, Sweden, Denmark, Iceland, Turkey, Greece, South Korea, Japan, USA. Cities I’ve lived: Bergen, Beijing, Auckland, Munich, Brussels, Tokyo. DESIGN SKILLS
PS
AI
InDes
Bridge
Lightroom
AfterEffect
Premier
CorelDRAW
Rhino
Revit
ArchiCAD
3dsMAX
Film Camera
DSLR
Sketch
Hand Modelling
REFERENCES Hua Li Architect, Design Principal at Trace Architecture Office Previous Employer huali@t-a-o.cn www.t-a-o.cn
Mark Green Architect, Technical Director at Beca Groups, Previous Senior Supervisor mark.green@beca.com www.beca.com
Justin Jin Photographer Justin Jin Photography Previous Employer justin@justinjin.com www.justinjin.com
WORK PROJECTS
HOUSE OF SPONTANEITY:
House Vision China by Trace Architecture Office exhibited at Venice Biennale 2016 /Group Exhibition Projet curated by Kenya Hara/ /Exhibition at ‘Across Chinese Cities‘, la Biennale de Venezia 2016/ /Internship at Trace Architecture Office(TAO) - Model Making, Exhibition Design, Publication/ /Internship: Feb - April 2016/ /under direction of Hua Li and Liu Yunhan/
“House of Spontaneity” is a proposal by TAO for House Vision China project (initiated and curated by Japanese Designer Kenya Hara). This project is exhibited in the ‘Across Chinese Cities’ Exhibition at the Venice Biennale 2016 in Italy. I took part in the design development stage, model making, exhibition design and 1:1 test installation of this project. The House of Spontaneity is not a mere shelter. We are instead concerned with the meaning of home and how homeliness can be conveyed. The house is a cosmos of the individual. The individual carries with him his own universe of sentiments and memories as he moves from one place to another. It is human nature to mark territory by leaving traces. Like a showroom in an exposition, each object in the interior displays the life of
its owner. Even when the dweller is absent, we can still construct his identity from these objects. The house defies rigid confinement. There is simply no established rules and conventions that can be imposed on how we dwell. From the witty, unorthodox and playful relationships between the dweller and his habitat, we extract the essence of dwelling. And based on our careful observations, we attempt to design objects and furniture that embodies this very essence. What influenced me in this project: always thinking about the essense when designing, looking at ordinary objects or actions in a new and unusual way, teamwork collaboration with 4 people, hand modelling and crafting skills
Layering Door
Conversational Table
Rotating Window
Sit-Lay-Stand Bench
Stepping Door
Working Ring
Co-living Bed
Co-Living Bed Home is where people can coexist without intruding on each others’ privacy and solitute. We designed a bed that is shared above but divided below, a bed for two that is a shared space above but individual rooms below.
Sit-Lay-Stand Bench The chair and table has no definitive form. The same piece of furniture generates different meanings under different circumstances. The bench is designed as a common ground that is simultaneously a chair, a table or even a bed. The changes in floor height blurs the distinction. The act of dissolving the conventional boundaries of objects also liberates the dweller.
Working Ring Thinking, Learning & Creating : Hemingway wrote while standing; Matisse draws with a long stick in bed... The agile writer finds lying in bed or standing more stimulating than sitting upright. This design is a ring that encloses the human body, but also allows one to take up different postures while working.
Stepping Door Crossing Boundaries : The door allows us to cross boundaries horizontally; the stair allows us to travel diagonally. This is a door that can transform into a staircase. The conventional door opens to the adjacent room; the segmented door transforms into a spiral staircase that leads us up to the space above.
Conversational Table The dining table is a stage for the family. The seating arrangement reveals the relationship between the self and the others. The regular dining table seems a bit too stoic when guests begin to chat and gossip in cliques. A deformed table makes picking seats way more interesting.
LAYERING DOOR The door records meticulously the routines and rituals of “coming home” - knocking on the door, turning on the lights... Each step casts off our weariness and welcome us into a world of intimacy and comfort. The layering door becomes a series of receding planes, into each of which a ritual of “coming home” is embedded.
House of Spontaneity The House of Spontaneity is not a mere shelter. We are instead concerned with the meaning of home and how homeliness can be conveyed. The house is a cosmos of the individual. The individual carries with him his own universe of sentiments and memories as he moves from one place to another. Openings & Nature : To make up for the loss of courtyards and gardens in the vertical city, people have their own ways of interacting with nature.
A bed that is shared above but divided belowindividual rooms below.
The chair and table has no definitive form. The same piece of furniture generates different meanings under different circumstances.
Crossing Boundaries : The door records meticulously the routines and rituals of “coming home” knocking on the door, turning on the lights... Each step casts off our weariness and welcome us into a world of intimacy and comfort. Crossing Boundaries : The door records meticulously the routines and rituals of “coming home” knocking on the door, turning on the lights... Each step casts off our
A bed for two that is a shared space above but individual rooms below.
The changes in floor height blurs the distinction between a table and a chair. Dissolving the conventional boundaries of objects liberates the dweller.
Relaxing : Home is where people can coexist without intruding on each others’ privacy and solitute. rooms below.
Thinking, Learning & Creating : Hemingway wrote while standing; Matisse draws with a long stick in bed... The agile writer finds lying in bed or standing more stimulating than sitting upright. Crossing Boundaries : The door records meticulously the routines
Gathering & Socialising : The dining table is a stage for the family. The seating arrangement reveals the relationship between the self and the others. gdjshgdkasjhgdashdgkhjd,akjsdjaksdkasjdjksdljkdhsjk
Crossing Boundaries : The door allows us to cross boundaries horizontally; the stair allows us to travel diagonally.
Born in 1972 in China, HUA Li received his B. Arch. from Tsinghua University in 1994. He then studied at Yale University and received his M. Arch. in 1999. He practiced in New York and Beijing before founding his own firm TAO (Trace Architecture Office) In 2009. Being critical at contemporary architecture as an obsession to fashionable forms in media driven globalized consumerism, HUA Li visions architecture as an evolving organism, being an inseparable whole with its environment, rather than just a formal object. With most projects positioned in particular cultural and natural settings in China, TAO explore the essence of place; make architecture deeply rooted in its cultural and environmental context with respect of local condition. The sense of place, response to climate, efficient use of local resource, site-responsive construction method, such issues are always explored in every TAO project responding to its specific situation. HUA Li’s key works include: Museum of Handcraft Paper (2010, shortlisted in Aga Kahn Award 2013), XiaoQuan Elementary School(2010), Wuyishan Bamboo Raft Factory(2013), Forest Building(2014), and Split Courtyard House(2015). HUA Li and TAO has won several important architectural awards including ARCASIA Award, shortlisted in Aga Kahn Award 2013, Architectural Record GDGB Award, China Architecture Media Award and WA Award, and TAO was listed in Design Vanguard 2012 by Architectural Record Magazine. TAO’s works have been exhibited internationally in Venice, Vienna and New York. HUA Li also teaches at Tsinghua University as a visiting professor and has been a guest critic for studio reviews at HKU, CAFA and UdK Berlin. He has given lectures in many universities and conferences in both Asia and Europe.
The house defies rigid confinement. There is simply no established rules and conventions that can be imposed on how we dwell. From the witty, unorthodox and playful relationships between the dweller and his habitat, we extract the essence of dwelling. And based on our careful observations, we attempt to design objects and furniture that embodies this very essence. It is human nature to mark territory by leaving traces. Like a showroom in an exposition, each object in the interior displays the life of its owner. Even when the dweller is absent, we can still construct his identity from these objects. The house defies rigid confinement. There is simply no established rules and conventions that can be imposed on how we dwell. From the witty, unorthodox and playful relationships between the dweller and his habitat, we extract the essence of dwelling. And based on our careful observations, we attempt to design objects and furniture that embodies this very essence. It is human nature to mark territory by leaving traces. Like a showroom in an exposition, each object in the interior displays the life of its owner. Even when the dweller is absent, we can still construct his identity from these objects.
The House of Spontaneity is not a mere shelter. We are instead concerned with the meaning of home and how homeliness can be conveyed. The house is a cosmos of the individual. The individual carries with him his own universe of sentiments and memories as he moves from one place to another. The House of Spontaneity is not a mere shelter. We are instead concerned with the meaning of home and how homeliness can be conveyed. The house is a cosmos of the individual. The individual carries with him his own universe of sentiments and memories as he moves from one place to another. The House of Spontaneity is not a mere shelter. We are instead concerned with the meaning of home and how homeliness can be conveyed. The house is a cosmos of the individual. The individual carries with him his own universe of
The conventional door opens to the adjacent room; the segmented door
Proposed Exhibition Design for Venice Biennale 2016
Photos of Exhibition on site at Venice Biennale 2016
HOUSE ON A ROCKY HILL
/Residential - Model Making/ /Internship at Bull O’Sullivan Architecture/ /Site: Auckland/ /Oct-Dec 2015/ /under direction of Michael O’Sullivan/
I was in charge of model making at the conceptual design stage for this residential project in north Auckland. The house sits on top of the hill overlooking the rocky site. The house incorporates a huge roof which is stretched by tension cords down into the ground. A bridge is arranged in the middle of the composition to link the more private (bedrooms) and the more communal (dining, kitchen) part of the house.
The model was made mostly in 3mm plywood, completely by hand without any lasercut. It was then sent to the client on site in order to observe the light and shadows under the sun. What influenced me in this project: handcraftsmanship without using any machinery, conceptual design through model making.
MITSUKOSHI DEPARTMENT STORE GINZA
/Interior Renovation, Shopping Mall/ /Internship at Kengo Kuma Associates/ /Site: Mitsukoshi Nihonbashi, Ginza, Tokyo/ /May - July 2016/ /under direction of Genki Yada/
I got into a three-month internship at Kengo Kuma and Associates in Tokyo during May-July 2016. I was involved in the Mitsukoshi Interior Renovation Project. Historically, Mitsukoshi is Japan’s first department store developed from a Kimono textile store established in 1673. It was designed in an ‘Art Deco‘ style and has been designated as a Historical Building. The concept of this renovation by KKAA is based on 道(road) and 樹(tree). Each floor can be navigated along the central ‘main road‘ with columns changed into tree-like shelters. The concept was derived from the famous Ukiyo-e painting “Hundreds Scenic Spots of Edo“ by Hiroshige Ando. As the main road is for people to navigate and pass through and
trees are for people to stop, take a break and gather around. I participated in the following parts of the project: Screen design, Ceiling type design, Cosmetics Area design, plinths design, physical model making, 2D drawing and etc. What influenced me in this project: Kengo Kuma’s theory of “Anti-Object“, breaking architecture down into smaller pieces to become human-scaled; Teamwork ability in foreign environment, overcoming language barriers; typologic design through options and making comparisons; fast model-making techniques
Ceiling Design Options And Model Testing
Screen Design Options And Model Testing
Cosmetics Area Design Options
WE NORWEGIANS OSLO INTERIOR
/Interior Fitout/ /Part-time at OPA FORM Arkitektur/ /Digital Modelling, Visualisation/ /under direction of Marina Bauer and Espen Folgerø/
We Norwegians is an apparel company, based in Voss, Norway. Focusing on the design, distribution, and marketing of premium wool products. I was part of the team to design the interior for their Oslo store. This was one of my first projects involved during my part-time job at OPA Form Arkitektur. My main focus was modelling the interior and providing several options for visualisations for the client. A curved wall was designed to go through the ground floor space, covered with shinglelike wool pieces. The fitting room is designed as an elongated rectangle in plan with a
transparent glass window frame at the end of the room. This space acts like a stage so that friends and families waiting outside the fitting room can see them trying out the clothes and take pictures. The warm and cosy environment is further emphasised with the use of rammed earth flooring on the basement with a timber path going around the space. What influenced me in this project: uses of natural and sustainable materials; how to express identity and branding through interior layout and detail designs
WALTER PEAKS AMPHITHEATRE
/Tourism Architecture/ /Work Project at Beca Group/ /Site: Walter Peak, Queenstown, New Zealand/ /March 2017/ /under direction of Graham Applin/
This project is done at my full-time work Beca Groups. I took part in issuing the construction drawing set at the end of the project. Beca were commissioned in 2016 to undertake a Concept Masterplan Design for Real Journeys Ltd. The overall brief was to design Queenstown’s ‘Premier’ tourist attraction catering for up to 2500 people per day. The amphitheatre is a key part of the Walter Peak farm experience. The new amphitheatre will provide dog show experiences and sheep shearing demonstrations for visitors. Designed to seat 400 with the chance to witness
working dogs herding sheep from the hills and controlling them into pens. The visitor will be able to watch a sheep being shorn and have the process of sheep rearing and farming described in a live show. The amphitheatre is to operate in conjunction with the wool shed which will provide the restroom facilities and sell light refreshments and be the main retain opportunity following the show. What influenced me in this project: Understanding detailing and materials, Revit technical skills
Ground Floor Plan
Slab Plan
GREAT SOUTH ROAD HOUSING DEVELOPMENT
/Residential Apartment/ /Work Project at Beca Group/ /Site: Great South Road, Auckland, New Zealand/ /September - October 2016/ /under direction of Graham Crust and Robert Creed/
This project is done at my full-time work Beca Groups. I took part in the studies of complying wiith the Auckland Council planning regulations.
the education Precinct and with its direct proximity to Newmarket, offers an opportunity for a quality residential development close to existing retail and transport infrastructure.
Together with our client, Yellow River Holdings, we have undertaken several development studies for this site, 27-29 Great South Road, in the light of the current Planning Regulations and PAUP revisions.
The design concept for 27-29 Great South Road has evolved out of our early Bulk and Location studies together with the proceeding development option studies, which explored both the commercial and residential development potential of this site, together with the possible incorporation of the adjacent site, 25 Great South Road.
Our objectives are to determine a forward looking, appropriate, urban design response to the changing development environment and address the current high demand for residential accommodation in Auckland. The location of this site, addressing both Ngaire Avenue and Great South Road, within
What influenced me in this project: studies of council regulations (Proposed Auckland Unitary Plan and District Plan); Expressing ideas through diagrams and typologies
Diagrams showing Council Regulation Compliance
Sun Diagrams showing Impact of Proposed Design to nearby Buildings and Residential Neighbourhood
STUDIO/PERSONAL PROJECTS
ROOMS OF DARKNESS:
Framing the traces of ruins, memories and traumas in Yayo Village, Orchid Island
/Reuse of Abandoned Structures or Ruins/ /Art Installation, Masterplan, Adaptive Use, Publication/ /Professor: Marco Casagrande/ /Site: Orchid Island, Taiwan/
This was my first studio course at Bergen School of Architecture, Norway. The course focused on the local knowledge of the Yami People / Tao, inhabiting 7 villages on Orchid Island, Taiwan. The Yami is a Polynesian tribe located solely on Orchid Island, where they moved from the Philippines Batanes Archipelago approx. 800 years ago. The studio engaged with a complex range of issues including colonisation, pollution, nulear waste dump site, history and politics of China, Taiwan and Yamis. At the end of the course the whole class of 18 people have produced a series of suggested masterplans and 18 indivisual peojects. The discussion had been
heavily focused on the role of architects as an outsider and how to have a sensitive, considerate and people-orientated method on design. What influenced me in this project: complexity of different layers of colonised society; beauty and essence of polynesian culture as well as the challenges most of these indegenous cultures are facing today; how to engage locals in design; using Art Installation and architecture as a tool to help deal with local issues;
<Yami Sea Sand House Self Help Declaration>
While Taiwan’s economy is growing at a rapid speed and the whole society of Taiwan is becoming wealthy with all the imported cars and skyscrapers, Lanyu seems to be forgotten as an isolated island outside Taiwan. Yami people still live with strives and traditions.
From 1966 to 1980, under the planned han-localisation policy from Taiwanese government, Lanyu people were forced to demolish all of their traditional architecture due to the “outdated” look of the houses and the fact that they might tarnish the nation’s reputation. In the meantime 566 socalled “modern national houses” were built. In addition, the traditional ceremony of settlement of new houses was also cut down by the government. After the forced demolition of traditional houses, Yami people were then forced to live in this tiny match-box sized ‘national houses’. At the beginning of construction, due to the usage of sea sands and cheap materials, the lack of design as well as the financial profits between officials and business traders, the houses were constructed in extremely cheap and bad methods. In less than a year, Lanyu’s ‘national houses’ already have cracking columns and corroded steel reinforce bars exposed. They have gone as bad as being extremely dangerous for anyone to live in and to be around.
Therefore Yami residents have formed a ‘Sea-sand House Self-help Association’ represented by all the seniors and local representatives in order to gain help from society and to get attention from the government.
The common goal of the association is:
1. Reconstruct Sea-sand Houses, subsidised by the government.
2. There are six villages on the island. New community planning should be updated for each village.
3. Yami people should be part of the replanning and construction of ‘national houses’. The principles should follow the traditional culture and wsays of living of the Yamis.
4. ‘National House’ reconstruction project should include the whole village. The details of expenditure and the quality of construction should be supervised.
Yami Sea Sand House Self-help Association
September 1994
{ Ruin One: The Return of Orchids }
{ Ruin Two: The Invaded Invasion }
A room to bring back what was lost. A room to let history reappear. A room that is almost without a roof. A room with trees growing from inside out, with orchids growing on the trees. A room to start a new beginning.
A room to present what were brought to the island, what were dumped on the island. A room with nature pouring through window, but plastic and nuclear barrels from within. A room that is also semi open from the top.
{ Ruin Three: The Corrosion of Sandy Concrete } A room with a passage attached.
{ Ruin Four: The Immersion of Darkness }
A room that transits from external to internal.
A room that is fully dark with drops of light from the broken parts of ruins and the drilled roof of tiny holes.
A room to invite everyone inside.
A room that exposed the trauma in the dark.
A room for the old to tell the dark memories of the past and sing the lost songs.
A room that unrolls every detail of what had been done to the village in the past.
A room for the young ones to look back and remember.
A room for reflection, contemplation and rethinking why we are here.
SOCIETY IN MOTION
/Erasmus Summer School Project/ /A three-year summer workshop series to investigate architectural and spatial challenges for new emerging society in motion from various perspectives./ /Collaboration between three universities Bergen Architecture School, Angewandte Wien and the University of Liechtenstein/
“Society in Motion” is a three years summer workshop series together with students and researchers from Bergen Architecture School, Angewandte Wien and the University of Liechtenstein. The aim of the workshop is to investigate architectural and spatial challenges for new emerging society in motion from various perspectives. The workshops are supported by an Erasmus+ grant for strategic partnership for higher education. The 2017 “Societies in motion” Summer workshop seeks to uncover the spatial complexities that have evolved in response to the movement patterns of successive
generations of skilled labour migrants in Norway. Multi-scalar explorations of shortlisted localities, using various interdisciplinary techniques, provides opportunity to document and celebrate this half century of technical, cultural, economic and social migration, and to propose enhancement through alternative spatially designed interventions. What influenced me collaboration between universities, discussion migration and our current
in this project: three European of ideas around moving society
FINAL MASTERPLAN
Agotnes needs an expansion of activities and social gathering spaces to match the requirements of its dynamic population and hidden community. This will also assist with defining the cultural identity of the area. THE 10-MINUTE WALKING CIRCLE
EXISTING SOCIAL HUBS
NEW SOCIAL HUBS
STORYBOARD: ONE DAY FOR FOUR DIFFERENT PEOPLE AND HOW THEY COULD MEET
The Day of Migrant Worker, Falah
CYCLE AND RUNNING LANES
ACTIVITIES
The Day of a mother, Veronika
The Day of Veronika’s Son, Norman
The Day of Fisherman, Jøran
The Day of Ida from Bergen
FROM THE MOUNTAIN TO THE OCEAN:
Rethinking The Boundry Of Lyttelton Waterfront
/Master planning Project, Landscape Architecture/ /Hand-drawing on A1 papers, hand-crafted models/ /Professor: Michael O’Sullivan/ /Site: Lyttelton, New Zealand/
The design proposal of Lyttelton’s Public Harbour, Dampier Bay envisions the possible future of our coastline. The proposal is a criticism towards reclaimation of land. It also emphasised the importance of water in terms of activating public spaces. During the site visit of this historic port, I found its dramatic and moody character alongside the mountain and the ocean. However, in between the ridgeline and the coastline, Dampier Bay with its reclaimed land exposed a sense of boundary and isolation within those two natural characters. The proposal is to blur this boundary and in-between space, to make Lyttelton’s landscape becomes one entity. A waterway is proposed through the bay by joining the mountain valleys. The declamation of the reclaimed land is a return of land back to its origin, the ocean. At the same time, it activates the surrounding space and encourages different activities along. Public Buildings are designed to run along the old coastline so that people would have the same view as their ancestors.
The Lyttelton journey starts from the other side of the mountain, the existing Gondola stops at Heathcoat Valley. On this side of the mountain, the Gondola would firstly bring people to Lyttelton town centre (small stop at end of Bridle Path which leads to London Street). Then it would end at the transport centre tower, which is also the ferry and cruise terminal from where people can take the ferry through Dampier Bay. Tectonically, all of the public buildings are constructed in a Pacific tradition. Each structure embodies aspects including the centralised system, flexible joinery, impermanent material, open interior spaces and the traditional gable form. Each public building looks different from the outside, but structurally they all follow the same priciple. What influenced me in this project: Conceptual Developments through watercolour and physical model making; Crafting skills; Detail Design.
Top four: Conceptual Watercolours of Ridgeline and Coastline Bottom: Materplan of Lyttelton Harbour Right: 1:10000 Site Model Showing Gondola route
THE FISH MARKET
THE OP
Public Facilities along Lyttelton Coastline
THE
Site Model showing Larger context @ 1:10000
PEN AIR THETREA
E BOATSHEDS
THE COMMUNITY CENTRE
THE TRANSPORT TERMINAL
1:500 Model showing Community Centre and Open Air Theatre
Top: Drawing @ 1:500 showing Master Plan Bottom:Haka Dance in front of Community Centre
Top Three: 1:50 Model Picture of Boat Shed Bottom Left: Boat Sheds and Gondola Bottom Right: People playing Haka facing the ocean in front of Pasifika (the Community Hall)
Hand-drawn Detail on A1 for Central Pole Construction
Detail Drawings of Boat Sheds
A HOUSE WITHIN A HOUSE
/Residential, Lightweight Architecture/ /Hand+Digital Drawings and Models, Multimedia Application/ /Professor: David Mitchell/ /Site: Freemansbay, Auckland, New Zealand/
‘A House within a House’ reflects the philosophy of domestic architecture via the emphasis on the central vertical bamboo volume which is isolated from the rest of the house. The tall vertical volume at the heart of the house employs a bamboo construction a sustainable, flexible material that smoothly translates verticality into the space. Natural growing bamboos are planted right in the garden on the north, which provides shadings and a link between the interior and the exterior, exaggerating the idea of verticality. The house is orthogonally laid out into three parts – the bamboo volume in the centre; service, private, working space on each side of the house. The central vertical volume has become the spirit of the house, highlighting the most important features inside domestic architecture. On the ground floor of the central ‘bamboo house’, there lays the living room. The height of this space is lower than other parts outside the bamboo structure to create a sense of gathering. It contrasts with
the space above, which is a 4m tea room, small gallery space as well as a circulation area, leading to different places around the whole house from public (ground floor) to private (first and second floor). The top level of this volume holds the master bedroom with an enclosed bed facing towards the garden of growing tall bamboos. This triplehigh volume is enclosed by bamboo columns without touching the roof or wall of other parts of the house. Stairs circulating around the ‘bamboo house’ are translucent, held by tensioned cables for a light and floating effect to separate the central volume from the rest of the house. What influenced me in this project: Lightweight construction, bamboo as a material, reading David Mitchell’s book “The Elegant Shed, NZ Architecture since 1945”, and book “Poetics of Space“.
Study Of Bamboo Joineries
PLANS @ 1:200
Section
Top Row: Atmosphere Second Row: Lighting Studies Bottom Row: Central Bamboo House 1:100
FREELAND
/Urban Project/ /CAD, Rhino, Physical Modelling, Programme Massing, Team Collaboration/ /Professor: Jacob van Rijs, MVRDV/ /Site: Almere, Netherland/ /Group work with 50 other students at TUM/
FREECITY, which is conceptually closely linked to FREELAND, is an urban planning concept, which steps away from the normal governmental controlled to an open organic planning, done by the inhabitants, who can freely create their individual styles. The inhabitants are also responsible for common programs like public spaces, infrastructure and food-production aso. Goal is to create a liberated urbanism. This concept was created by MVRDV and was part of the Venice Biennale of Architecture 2012. The project FREECITY is located in Almere Poort in the Netherlands close to Amsterdam. Almere is a bedroom community, which is still searching its identity. Architects like OMA, SANAA, MVRDV and many more are trying to help on this search. The aim of the project was to transform the idea of FREELAND, which had a rural setting, into a more urban and denser environment. 60 bachelor students in their 7th semester took the chance of this rather unconventional approach of developing a quarter of Almere Poort in the size of 2,2 Mio. sqm. After we made the excursion to Almere and Rotterdam, we handed out colored cards to each student with no indication of size, each color was standing for a function of the program like housing, offices, foodproduction, public space, infrastructure, aso. The students where free to exchange cards with their colleagues depending on their
interest and formed teams of two. The second step was the introduction of the actual size of the program and plot size of 40.000 sqm. On this numbers they made their first design according to their color-card settings. The design steps were always presented with models in scale 1:500, than newly arranged and discussed and step by step they formed quarters of different topics and identities, like sports-loop, greenbelt, center, spine and ecozone. One of the main learning effect of the students was, besides the architectural approach, the very intense work in communicating with their fellow student as their project neighbors, each team had at least 4 neighbors. In two months time after a lot of work we had the final presentation on a 1:500 model of the size 4x4m. The result was incredible, it looked like a grown city with a very high urban quality, never boring, individual styles and always surprising from every point of view. text by tutor Jacob van Rijs What influenced me in this project: team collaboration with group of international teammates, looking at the design from different scales (from a city scale to a human scale), defining and understanding programmes through colour coding, transferring the programmes from colour codes to massing, eventually to architecture
CENTER
ECO ZONE
SPORT ZONE
G R E E N B E LT
SPINE
INDUSTRIAL ZONE
MASTERPLAN (left) and DIGRAMS (right) showing the six sub-districts
Team District - Centre
Team Plot - Cultural Square
The center is not only the geographic middle of Free City but also a vibrant place with a wide variety of offerings, attracting people from the whole city. The visitor is lead through it by a pedestrian path opening up several times to bigger squares where either activities or rest points are created. As well as all the public functions along this path, every square has itâ&#x20AC;&#x2122;s own topic.
Central District: Culture Square
residential
pavilions of five elements
commercial ZEN CHAMBER
C U LT U R E S Q U A R E
residential
B O TA N I C G A R D E N H I L L ( e x t e r i o r ) ART GALLERY (interior)
GROUND
FIRST 0
10
20
30
40 Meter
Culture Square: Art Gallery Plans and Section
With a blank canvas for a site, and freedom of design, there was an opportunity in FreeCity to break the mold of the generic cityscape. Bringing topography and landscape into the center of the city was uniquely possible on this greenfield site. However, a landscape in a city alone is not enough. In contrast to the recent trend of ever-higher glass towers, our concept was to create a tranquil, hidden space within the hill. The building is an art gallery and spiritual space, or Zen Chamber – the uses reflecting the building form and vice versa. To contrast with this, the square outside is a busy and vibrant space, with an amphitheater for performance and multidisciplinary, informal art. With the focal hill building providing an intriguing aspect, we arranged housing with views towards the hill and square – taking again the amphitheater concept to the south, and sun rays to the north, centering on the Zen Chamber. Again considering the freedom granted in FreeCity, we wanted residents to have the opportunity to adapt their homes. In the Amphitheater housing, many of the four-storey row-houses have a “free room” on the entry level. This could be used as an art studio for artists around the gallery, for extra bedrooms, or could be let to provide income.
Central District: Culture Square
Central District: Zen Chamber
PAVILION @ UTICA
/Public Project/ /Competition Entry, Quick Concept Formation, Team Collaboration, Visualisation/ /Site: Roseville, Michigan, USA/ /in collaboration with Matias Kaufmann and Helen Bowen/
This project is located in a high-class residential area in Wuhan. High-rise buildings dominate this area. A temporary showroom is to be built on the site along Zhongshan road (one of the major roads of the city). The design form proposed a vast open space scattered with individual rooms under a pitched canopy. The L-shape plan divides the buiding into two functional spaces, visitor/customer space (longer rectangle), and service/office space (shorter rectangle). These two functional spaces are arranged in opposite ways, with customer space scattered in a linear order along the centre of the long axis, and service space on the two sides along the short axis. This also left the open spaces in opposite compositions. The rafters, posts and beams support the canopy and frees up the interior space, providing different possibilities of spatial arrangements inside. Rooms are designed at
different heights with open/closed partition walls according to functions, giving a different spatial experience under the same canopy. For example, people on the upper floor of the cafe/bar will be able to view the bigger unit Showroom from a bird-eye view. This design allows future rescilience when the real estate finished the property sale. Internal partitions can be easily arranged into other layout or even taken down to host local markets, live concerts, art exhibitions, and other public/ community events. What influenced me in this project: Designing temporary space for future resilience; using partition walls/screens in vast open space to provide different programmes
D5
CHURCH
THEATRE
ART STUDIO
CHURCH
SITE
SHOPS
SHOP FRONTAGE
ATTRACTIONS
CARPARKS
GRAFFITI ROSE WALL
POTENTIAL SITE EXTENSION
SITE
SITE
POTENTIAL PEDESTRIAN/CYCLE LINKS
B
RE
TU
FU
N
IO
CT
IRE
HD
T OW
GR
PLAYGROUND A
A
SITE GROUND FLOOR PLAN 1:1000 B
PAVILION BELOW ELEVATED PATH
TOWN SQUARE
VO
ENTRANCE 2
ID
FUNCTION SPACE
WC
Y
ON
WC
LC
BA
GARDEN
COLOURED POLES
SER
VIC
EN
TRA
BA
FUTURE
SITE PLAN 1:500
GROW
TH DIRE
CTION
E
LCO
NC
E1
GROUND
NY
MEZZANINE
PAVILION GROUND FLOOR PLAN 1:200
Cross Section AA
Long Section BB
WOODEN ECCLESIA
/Chapel/ /Grasshopper and Laser cut/ /Competition Entry/
This is an experimentation of applying the idea of ‘Waffle Joints‘ into large structure with lightweight material, also a study of Grasshopper. “Breaking down Object“ is the conceptual aim of this project. Architecture as object is broken down into a more human scaled patterns by the ‘waffle structure‘. It provides transparency and intimacy for the visitors. As a spiritual space it also reconnects visitors to the surrounding nature, the earth
and the sky. The structural concepts of wall and roof are transformed into one entity. This provides the space with changing lights and shadows. What influenced me in this project: How ‘Waffle Structure‘ can break down ‘objects’ and bring light and transparency into architecture, studies on Grasshopper
Form Studies
Interior Atmosphere
Light and Shadow Studies
V-HOUSE
/1:10 Model Making Project/ /A detailed study of timber frame construction and NZS 3604, sectional model at 1: 10/ /Professor Jeremy Treadwell/ /in collaboration with Mika Shao, Chris Lin and Hyewon Lee/
This project is a 1:10 study of the New Zealand Standard for timber frame building. The design consists of non-compliant elements including the central steel support, angled wall, as well as standard compliant elements including pile foundations, weatherboard exteriors, standard insulations etc.
What influenced me in this project: study of NZ3604, detail designs, and model making craftsmanship
ROOF
WITH ROOF
FLOOR
WITH 1ST FLOOR
FOUNDATION
WITH GROUND FLOOR
CLOSE-UPS OF MODEL
1: 10 SECTIONAL MODEL DETAIL
V-STRUCTURE CONNECTIONS TIMBER AND STEEL
OUTSIDE ARCHITECTURE
Art Installations
/Art Installation Projects within different communities/ /Project One: Waste to Art - Collaboration with Local kids on Orchid Island/ /Project Two: Harbour Stone Paint - A Reaction to Nuclear Waste Dump on Orchid Island/ /Project Three: Teepee Garden - A community project in Sandviken, Bergen/
From 2017 onwards I started to get involved in several art installation projects in both Asia and Europe. My interests in art installation was heavily influenced by Marco Casagrande and Raumlabor, both teachers at BAS and practising architects. I found out that by doing 1:1 community projects in small scale with more spontaneous approaches than
actual â&#x20AC;&#x153;architectural constructionâ&#x20AC;&#x153;, we could achieve responses and local involvement in a much better way. Small interventions allow much more temporary and sensitive interactions between the architect and local people. Therefore it coule become something that could bring immediate attention within the community and start a local discussion.
Plastic windchimes - Collaboration with Local kids on Orchid Island Orchid Island, Taiwan Collaborators: Triin Vallner, Eivind Leschbrandt Hustvedt, Norman Krystad, Lanyu High School students This installation was made from plastic and can trash collected on the shore of Orchid Island. The rubbish were either left by tourists or brought to the shore through ocean waves from the sea. We hanged all the bottles together at the local farmer’s market, putting rocks and smaller waste pieces inside the bottles to allow them bring out a sound to the tourists and locals. Plants and flowers are also put inside the bottle to challenge the idea of “what is trash“.
“LANYU?” - A Reaction to Nuclear Waste Dump on Orchid Island Orchid Island, Taiwan Collaborators: Triin Vallner, Eivind Leschbrandt Hustvedt, Jeni Lin, Lei Zhu Lanyu (Orchid Island) has been a nuclear dump station for Taiwan since 1982. The island itself still houses nearly 100,000 barrels of radioactive waste from power plants on the mainland of Taiwan. However most tourists do not know these facts and locals start to become tired of protesting and getting no reponses. We created this art painting on stones at the harbour to bring people’s attention when they arrive or leave the island. We believe it could get everyone to requestion about the nuclear waste issue.
Teepee G ar den
Teepee Garden - and art project at Galleri Christinegaard Bergen, Norway Collaborators: Galleri Christinegaard, students from BAS My proposal is to utilise the tree branches to build a group of “teepee“ structures within the site. All the tree branches are tied together on the top end with bottom ends secured deeply underground. To make the bottom end more stable, seeds can be planted with their future roots tightening the structure. Each of the teepee can accommodate different uses: some as picnic shelters, others as a frame for creepers/verticle gardens to grow....More functions can be introduced with community events. For example, the gallery could host a bon-fire party, weekend barbeque, community gardening activities and etc... The possibilities are endless once it becomes a place that the whole neighbourhood love and take care of themselves.
I won the proposal of utilising the tree branches in the garden of Galleri Christinegaard for an art project. A group of teepee structure will be constructed by myself and some fellow students at Bergen School of Architecture. We will study about the joinery and stability of the branches. The construction will begin in Feburary this year and hopefully finish before Easter so that it can become a nice public space in spring and summer for picnic and community events and etc.
TRAVEL WATERCOLOURS
/Sketches with Watercolours/ /Left: Lyttelton, New Zealand/ /Right: South Tyrol, Italy/
Watercolour is my main conceptual design medium. The visual subtleness of it is a great tool to express atmosphere and emotion. The variety of colour also allows the expression of different programmes and intensity. The medium of water allows different ideas/ colours to have a softened boundary and and
possibilities to blend together. Following are some of my watercolour drawings. The series of images with texts on the right is a study of Heritage Architecture Reservation in the Castles of South Tyrol, Austria, using the medium of watercolours.
Top: Lyttelton Impression, New Zealand Bottom: Heritage Preservation Studies, South Tyrol, Italy
FURNITURE MAKING
/Self-designed and hand-crafted furniture/
After graduating from Architecture school, I started designing and making a few pieces of furniture from materials left at architectural modelling and crit presentations. In particular, I become fascinated with trestle structures. I have made a table, a shoe rack and a shelf from a series of experimentations with
trestle structures. Materials I used include pine wood, metal hinges, screws and nails, ropes, bamboo flooring with the aid of several electrical and traditional hand tools. I am still in the process of exploring ways of incorporating trestle structure into different objects.
PHOTOGRAPHY
/Leica R6.2 with varying 35mm films/ /alicialinphoto.com/
BRUSSELS
R E Y K J AV I K
BEIJING
LONDON
BRUDER KLAUS FIELD CHAPEL
BRUDER KLAUS FIELD CHAPEL
BARCELONA
BEIJING