portfolio by All Choy

ALDRICH CHOY

PORTFOLIO 2014- 2015

DESIGN REPORT

PROJECT 4 :

CROSSOVER

PROJECT 3 :

PROSPECT & REFUGE * redesign PROJECT 2 :

LIVING ON THE EDGE

PROJECT 1 :

12 25

PLACED DISPLACED

NON-DESIGN WORK

CONTENTS

* additional work

This school year has been an enriching one. As oppose to stage 1,

stage 2 had been a more technical year whereby we had to focus on realistic issues such as construction and environmental details. This yearâ&#x20AC;&#x2122;s programme was more intense in terms of the difficulty of the projects as well as the time for them. I feel that these projects have exposed me to more sides of architecture that I have not encountered before. Moreover, these projects have extended my curiosity in the ways in which i can improve my craft. The stage 2 programme has been by far my best and most mature work. It has made me recognise my potential in doing better academically or personally. PLACED DISPLACED The academic year started with the design of a terrace house in Waldo street. I felt that the focus of this project was to challenge our ability to work confidently in spatial arrangement in consideration of ergonomics. Spatial arrangement have always been my weakness. The small space allocated for the house restricted the design potential. However, I managed to pull through by creating a light well display case that sets an interesting atmosphere to the space. There were no negative comments on my feedback sheet except to include more hand drawings into the pin ups, which I have included in my portfolio. The most important lesson that I have learnt in this project that could be applied in my future projects is that architecture is not a matter of ornamentation (light well display case), but instead is the relationship (physical, phychological) of this ornamentation to the space surrounding it.

LIVING ON THE EDGE This project brought to my attention about the existence of a foyers that tries to integrate the homeless back into society. Though I have heard of such programmes, I had never realised the significance of them until doing some research on it. Instantly, I knew I wanted to design a building that was transparent to the public. The type of transparency that gives a sense of assurance to the public about the homeless people, but also to educate the significance of foyers in society. The project gave me the opportunity explore the link between external and interior designs, as well as to improve on the quality of rendering my work. I was faced with the difficulty of managing access to three different groups of people (tutors, students and public). After much discussion with my tutor, I had a better understanding of managing the programmes to suit the needs of the people using the spaces. The feedback sheet commented positively especially the diagrams drawn to better explain the project. Personally, I felt that the project could have more consideration of the landscape surrounding the building. Nonetheless, this project has been the most enjoyable one. An important lesson that I have drawn from this project is that in future projects, I have to be reminded that in design, space is not the only thing that an architect have to think about, but the journey, and the journey starts from when the person sees the building to experiencing the spaces within the building itself.

PROSPECT & REFUGE This was the final individual project in which we had to design a mixed used building that mainly serves as an extension of a marine observatory post in Amble. After analysing the site, I realised that it was an important location historically as well as in terms of its connection to the sea and nature. Though the concept was quickly realised, I could not come out with a convincing interior for the space. Successes from the previous project was reinterpreted into this project. Due to the limitations of the form, there were times where design opportunities were shut down. I had a really slow start because of the limitations imposed on the form of the building. This project proved to be the toughest of all as it played on my weakness to create interesting spatial arrangements. In this project, I learnt to better incorporate environmental designs instead of just strapping on technologies to my design. This project has taught me about the skill of managing small space even in a larger project. Each individual rooms have to be designed in detail instead of leaving a void for activities to happen in them. My main regret for this project was the design of the plinth. Also highlighted in the feedback sheet, the plinth was not well thought of. Personally the plinth was not suitable to the site due to its angular shape. Additionally, the feedback mentions that there were little done to show the materiality of the interiors. To address these issues, I have redesigned the plinth as well as come out with renders explaining materiality in my portfolio.

CROSSOVER The last project took a different turn than what we usually have. We were grouped with engineers to design the chare for a music festival. Using timber as the main material to design our project, the group have decided to design a series of arches to accentuate the insecurity of the chare that we have chosen. The exhibition approach to this project has made me notice the difference between the style of presentation between a pin up and an exhibition. It has taught me the difficulty of working with groups and the need to compromise in order to move forward with a project. Most importantly, the need for group members to communicate during this tight period of time. The tutorâ&#x20AC;&#x2122;s feedback was that they found the concept intriguing were satisfied with the outcome of it. The projectâ&#x20AC;&#x2122;s flexibility and opportunity to collaborate with the engineers have certainly made it the most interesting one to design.

DESIGN REPORT

Overall, these projects has taught me the importance of having a strong architectural reasoning in whatever decisions I make. Given a very short period of time, I have to be decisive in the things I do in the future, be it academically or in my personal life.

CROSSOVER

CROSSOVER Project 4 : Plummer chare This collaboration project with the engineers was to design a music festival along a chare. The group went down to the site and chose Plummer chare as our site to hold the festival. The raw textured narrow pathway captured our attention as it stood out among modern developments. The chare exudes a sense of instability and insecurity especially at night. In order for this music festival design to be successful, there is an immediate need to inject human activities and life into this abandoned chare.

1-2. Sketches of site

3. Sketch with initial design idea

4. Site collage to show width of space along the chare

Project 4 : Developments The main idea of the design was to bring out this feelings of instability and insecurity through a series of arches. The following models are our concept models that developed into the final model.

Concept model 1 - The differentiating heights in the models represents the the different widths of the space. The different materials used to produce these changing heights represents the different light and shadow qualities of the space

Concept model 2 - Through the previous model, it inspired the creation of this model which represents the spatial tension and instability.

Final model - The arches were designed after the previous concept models. The tilted archways clearly represented the sense of instability of the site. A series of arches would be in place through Plummer chare.

Project 4 : Publicity movements

In order to attract people to this festival, the group has thought of a few publicity movements. Stickers would be placed around Newcastle to promote this event and the modular system (explained later) would be taken down in the day so as to be transformed into furnitures placed around the city to promote this event. The idea is also to set up a bright orange string from the city centre to plummer chare, leading the people to the festival. More significantly, we have set up an Instagram account and has 500 followers to date.

1-4. Publicity photos

5-6. Publicity stickers

7. Publicity poster

Project 4 : Models Through the use of light, materiality and music, the structure offers spaces of intensity and spaces of relief spaces with an intimacy and richness. The openings within the chare will serve as social bar spaces, whilst the nattow alley spaces will offer intimate performance areas, utilising the acoustic qualities of the confined space and the dramatic light qualities.

4. 1. 1:50 model of plummer chare

2-5, Background. Close-up of arches in 1:50 model

The qualities of the space are heightened through a series of installations, which amplify the relationship between space and occupant. A series of archways are placed in the gap between the performance and bar spaces, a place of nothingness, a pause between space - a Lacuna. As the voices of the crowd begin to fade, the apparent instability of the archways is revealed, appearing to be held up only by wire, the dim flickering lights and quiet exaggerating the dramatic change in space. The archways lead people towards the light and music at the end of the tunnel like space. As the final archway is reached, the wires guide the eye up toward the performers, standing elevated above the alleyway.

3. 1. 1:100 final site model

2-5. Photomontage of 1:100 final model

4. 5.

Project 4 : Structure The instability and tension of the chare is amplified through the structural workings of the archways and attached cable. The archways rely on tension in the wire, in order to stand at a seemingly impossible angle. The reclaimed materials further the desired atmospherics. To prevent the archways from slipping inwards, they are seperated at floor level by a beam in compression. In this sense, the arches are supported by cables. This provides greater potential for marginal movement that contributes to the quality of fragility offered by the site. With cables as the dominant structural feature and simple screw joints, the installation is fast which is fitting to the temporary festival. A modular system is used in the performance space to create shelter and division. Its form is pierced by shards of light hidden from sight, providing further contrast to the space before. The wall provides space for viewers to stop and immerse themselves in the music before moving through the most confined spaces, below the performers.

3. 1. Folding seat diagram

2. Modular model as shelter

3-4. Construction details leaflet

Project 4 : Final renders The steps further up the chare becomes seats for spectators and the landings as stages. The journey through the chare is developed by shifting qualities of light. Stages are lit more heavily while passage ways are darker. This is orchestrated by hanging lights powered by a central generator. Conceptually, this extends upon the rawness of the site and existing lighting in the back alleys.

1. Arches in alleyway

2-3. People enjoring music by baskers at staircases

4. Bar space at car park

Project 4 : Final sections

West section

East section

PROSPECT AND REFUGE

PROSPECT AND REFUGE Project 3 : Natural environment Every town has its own significant gathering spot. In the case of Amble, the site surrounding the bridge is the community’s ‘living room’. As evident from the frequent people walking on the bridge during the weekdays to the sunday markets held weekly on site. This project is to build a marine observatory, an extension of Newcastle University in Amble. More importantly, the cube structure should be a house for the community of Amble. Amble is a beautiful place that somehow seems to be forgotten, the idea of designing a building is a reminder of it.

To do so, there is a need to organise programs the space for the communityNature is the asset of Amble. This project would like to connect people to the natural beauty of Amble and to modify the way the community can appreciate it.

3. 1. Site map of Amble

2. Initial idea sketch

3-7. Site photos

Project 3 : Diagramatic developments Since the form of the structure cannot be changed, the idea is to create a landscape and design the plinth such that it blends into the surrounding context. Below shows the diagramatic changes made to fit the cube into context.

Cube structure on site.

Pathway - The site had a pathway cutting across the field. I did not want the design to impede this pathway. Therefore, in my design I wanted to have accessibility through the structure.

Vantage point - As observing nature is one of the big themes of the site, I wanted to create this journey within the building whereby people can go to a higher vantage point to look out into the sea. The slope allows them to walk the bridge, after viewing from the vantage point, to allow them to experience the sea.

Plinth sloped and designed to connect to the beach.

Entrance of the cube is landscaped with trees to give a â&#x20AC;&#x2DC;softâ&#x20AC;&#x2122; entrance from the custom house, as well as to give a visual connection to the ground

Custom house - To maintain relationship with the custom house, a side entrance is created to allow easy access to the people living in the custom house. The main entrance is redirected to the side of the structure instead.

Observation deck - Following a series of site analysis, there appears to be significant landmarks around the site. To obtain a view of each of these landmarks, There needed to be an observation deck that allowed a 360 degrees view of the surrounding environment.

Project 3 : Models

1-2. Structural models

3-4. 1:100 Study models

5. Interior model

6. 1:100 final model on site

Background. Close-up of final model

After a series of exploratory models, the design concept of the structure follows a tree, a symbol of the natural sights in Amble. Like the tree, there are three parts to the structure, the roots, trunk and branches. Like at the roots level, the leaves from the trees creates spots of shadow for people to enjoy under. In this case, the plinth was designed with a slope facing towards the sea which allows people to rest on the slope as well as to take in the views of the sea. In addition, the structure provides shade for the people on the slope. The trunk of the tree transfers ntrients and minerals to the rest of the tree. Just like the tree, the structureâ&#x20AC;&#x2122;s main programmes and offices are happening at the tree trunk. Lastly, the far reaching branches represents the view that people can get at the observation deck. Allowing them to view far into the landmarks surrounding the structure.

1-2. Close-up of 1:100 final model

3-6. 1:50 model of triple void

2. 7. 1:50 model of ferry waiting area

8. 1:50 model of cafe space

4. Background. 1:500 site model with sketch over

Key: 1. Lobby 2. Temporary exhibition space 3. Ferry waiting area 4. Lecture hall 5. Marine aquarium room 6. Flexible teaching centre 7. Informal study area 8. Admin office 9. Seminar room 10. Library 11. Study cells 12. Shared study space 13. Observation deck 14. Cafe

Project 3 : Floor plans and section

3. 4.

Scale 1:200

Ground Floor

Scale 1:200

First Floor

11.

10.

13.

12. 14.

Scale 1:200

Second Floor

Scale 1:200

Third Floor

Scale 1:200

Fourth Floor

Other than the use of timber coloumns, the building also uses Structural Integrated Panels (SIP) to support its weight. The outer cladding for the ground floor is an eco wall while the top floors have a metal frame with windows infill facade outside its timber frame structure.

Section A

1:200 16

Technical studies

Key: 1. Aluminium mullion 2. Aluminium transon 3. Double-glazed unit with infill 4. Aluminium pressure plate 5. Aluminium cap 6. EPDM gasket 7. EPDM therml strip

Window frame facade Key: 1. Metal frame 2. SIP wall panel 3. Metal lateral tie plate nailed to the top and bottom of bottom plate 4. Insulation 5. Floor (I-Joists) 6. Metal lateral tie plate nailed to the top and bottom of top plate 7. Nails on both sides 8. continuous sealant on each side of framing 9. Sheathing board Wall floor joint 1. Replication of window infill using wheat

2. Replication of window infill using peacock feathers

Project 3 : Interior renders The marine aquarium space is the focus within the building. It acts as a lightwell for the structure. The atmosphere in the exhibition space spreads throughout the building through the sounds from it. The marine aquarium space is further intensified with the light coming through the different infill patterned windows, casting spots of shadows into the space. Mimicking the experience of being under a tree, with nature. At the cafe, the curved timber framed walls forms the boundaries of the space, while the 360 degrees observation deck surrounds it. As the sun rises across the sky, the shadow casts by the revealed timber frame ceiling moves accordingly against the curved background.

1.Marine aquarium room

2. Cafe

Project 3 : Exterior renders The observation deck located at the top floor gives the people a vantage point to view the significant landmarks around the site. More importantly, the 360 degrees observation deck gives an uninterrupted view.

Observation deck

View in the day

View at night

PROSPECT AND REFUGE * redesigned

BRID

Project 3 : Diagrams and model In response to the feedback given by the tutors, I realised that there is much more improvement that could be made. Previously, the landscape around the structure felt like an after-thought. The new landscape design encourages people to enjoy the spaces designed around the building.

Ease of use - People coming towards the harbour have the decision to walk the bridge or up the stairs towards the vantage point. The wide staircase invites people to go up the steps towards the vantage point.

Ferry waiting area - The wide staircases become a ferry waiting area. The steps serve as seats for the people.

G ID BR E

Vantage point - From the vantage point, it gives a better view of the sea. In addition the slope ramp becomes a relaxing spot for people to enjoy the view. 4. 1-4. Photos of redesigned1:100 model

External seating area- The intention of this space is for those people who have walked the bridge to rest. Seats designed on the south facing side of the structure allows people to enjoy the sun as well as to enjoy the external garden designed around the seats. 26

Project 3 : Floor plans

6. 3. 2. 7.

4. 1. 5.

Ground Floor

First Floor Scale 1:200

Scale 1:200 27

11. Study cells 12. Shared study space 13. Observation deck 14. Cafe

13. 11.

10. 12.

14.

Second Floor

Third Floor Not to scale

Fourth Floor Not to scale

Not to scale 28

Project 3 : Final elevation

LIVING ON THE EDGE

Project 2: Site and history analysis

The aim of this project is to design a foyer that can accommodate 8 homeless as well as 3 additional staff. The building must also consists of a glass factory (located at site C) to equip the homeless with glass making skills. The greatest issue with this project is about integrating the homeless back into the community. There was an immediate need to create transparency for the public due to the â&#x20AC;&#x2DC;negative energyâ&#x20AC;&#x2122; that the homeless might bring in. More importantly, the idea of transparency cannot be replicated in the private areas so as to protect the privacy of those staying in the building. Ouseburn valley had been the cradle for Newcastle during the industrial revolution. The valley was the main form of transport for goods. Presently, the heavy industries have left and what is left behind are a few workshops, a farm and some pubs such as The Cluny. Even though there are rejuventaion plans, such as residential projects for that area, progress had been slow.

1. Site map of Lime street area

2-3. Site sketches

4. Daylight diagram

Project 2 : Diagrammatic drawings

Design allows accessbility of the public from all directions. Both from Line street or the pathway beside Ouseburn river.

Design maintains accessibility between Lime street and the pathway beside Ouseburn river.

The design concept is to provide transparency in public spaces while providing privacy in private spaces. This led to the idea of having public spaces at street levels while private spaces at the top. The idea is further developed by creating two focal points. One for the public space and another for the private space. The focus in the public space is the outdoor exhibition area. While in the private space the living room becomes the focus in the private space.

Site 1.

1. Concept diagram

Maximising space

Creating volume

Designing form

Organising space

Recreational places are desgined beside the structure through landscaping

It is important that the people in the building have a vantage point to look to the Ouseburn river.

Project 2 : Models 1.

The slightly curved final design draws the peopleâ&#x20AC;&#x2122;s attention to the Ouseburn river. I wanted this design to remind the people about the significance of Ouseburn river to Newcastle in its industrial past as well as to highlight its significance towards building a well knitted community in the future.

1-3. 1:200 study model

4, foreground. 1:100 final model on site model

1a.

1b.

2a.

2b.

3a.

3b.

The final 1:50 models provided more information on how the light would enter the spaces. In pictures 1a, 1b, 2a and 2b the corridors are lit up through the south facing windows. Lighting up the walkway before users enter the living spaces. In pictures 3a, 3b and 3c, light enters directly into the work spaces to allow better lighting under work conditions.

1. 1:50 triple void model

2. 1:50 study room model

3. 1:50 workshop model

3c.

Project 2 : Floorplans and section

Entrance from Ouseburn river

Entrance from Lime street 1.

2. 4.

Entrance from Ouseburn river

Scale 1:200

Basement 2

Scale 1:200

Basement 1

Ground Floor Key: 1. Store room 2. Hotshop 3. Teaching space 4. Coldshop 5. Lobby 6. Roof garden 35

11.

12. 9.

10.

8. 13.

Scale 1:200

First Floor

Second Floor

Scale 1:200

Third Floor

Fourth Floor

Key: 7. Tutor’s flat 8. Tutor’s dining room 9. Student’s flat 10. Student’s common room 11. Laundry room 12. Student’s dining room 13. Study room 36

As seen from the section, the relationship between the site and the workshops are transparent. The public can look through the work spaces and still get a glimpse of the river from Lime street. In the private living areas the corridors facing lime street acts as a buffer zone for additional privacy. The roof garden is directly accessible from Lime street, through the building, giving the public a better position to look into Ouseburn river.

Section B

Scale 1:100

Project 2 : Interior drawings and additional renders

1. Exhibition sketch

2. Sketch of lobby above workshop

3. Sketch of corridor

4. Sketch of recreation space

5. Render of study space

6. Render of tutorâ&#x20AC;&#x2122;s kitchen

7. Render of lobby above workshop

8. 8. Render of workshop

The outdoor exhibition and workshop becomes an attraction for the public. The preconceive notion of foyers being uninviting is redefined. Programmes are made public to show transparency as well as to create opportunities for the public to engage with the people from the foyer. The transparency also reminds the public the work and effort put into every piece of glass that are in the exhibition spaces. Having the outdoor exhibition space facing the foyer brings attention to Ouseburn river. Though there have been rejuvenation plans in that area, progress has been slow. With the publicâ&#x20AC;&#x2122;s attention brought to the river there might be a higher awareness for the rejuvenation plans to speed up.

Outdoor exhibition space

View across Ouseburn river

PLACED DISPLACED

3. 4.

PLACED DISPLACED

Project 1 : Investigating details The objective of this project is to build a small terrace house for a family of three. They are passionate about doing outdoor activities together, such as cycling. In addition, they have a collection of contemporary paintings and a few local pottery that they treasure. The initial idea that I have is to create accessibility for the bicycles as well as to create lighting through a light well at the north side of the house. With the use of a timber frame structure, the idea is to create an open plan house for comfortable living and bigger playing space for the family.

1-4. Site photos

5. Site map

6. Site sketch

Project 1 : Sketches and models The idea of circulation spaces wrapped around the display case becomes a journey for the occupants. As they travel up the stairs, photographs, pottery collection and other memorabilia evoke memories and past experiences. With each floor accessible to an open plan space.

1-3. 1:100 final model

4. Sketch of bicycle storage

5. Sketch of staircase around display case

6. 1:50 final interiormodel

7-9. interior photomontage

Project 1 : Floor plans, section and isometric 8. 7.

First Floor

Key: Entrance 1. Garden 2. Dining room 3. Toilet 4. Master bedroom 5. Bicycle storage 6. Daughterâ&#x20AC;&#x2122;s bedroom 7. Sitting space 8. Toilet

5. 4.

Ground Floor

3. 1.

2. C

Scale 1:50 Section C

Basement

Scale 1:100

Key: 1. Daughterâ&#x20AC;&#x2122;s bedroom 2. Toilet 3. Master bedroom 4. Bicycle storage 5. Dining room 6. Display case lightwell

Final renders and additional work The final design is an open plan concept built using a timber frame structure with timber cladding. Circulation spaces wrapping around the display case which doubles as a lightwell. The isometric diagram is an additional work done to show the materiality of each individual spaces, as well as to have a clearer sense of the relation of each spaces to one another.

4. 3.

a. Master bedroom

b. Sitting area

c. Daughterâ&#x20AC;&#x2122;s bedroom

d. Bicycle storage

Project 1 : Final Render

View from Waldo street

NON-DESIGN WORK

ARC 2009

AIR TIGHTNESS Vapour control layer turned up edge of roof insulation, lapped with PVC single ply roofing membrane

Compressible filler Cavity barrier giving 30 minutes fire resistance ensure cavity barrier is not breeched by inappropriate rigid sheathing insulation material Cavity ventilator Insulated sheathing board

Membrane roof construction 50mm ventilation space 25mm x 50mm firring strip 50mm x 125mm roof joists 50mm x 200mm roof plate Vapour control layer in ceiling Timber batten to be provided to cover junction between plasterboard sheets Vapour control layer in wall Insulation between the studs must be tightly fitted leaving no gaps

1. Check that any vapour control layer used in the wall overlaps with the layer in the ceiling

THERMAL CONTINUITY 1. Ensure that insulation layers in roof are fitted perpendicularly to cover junctions 2. Ensure that roof insulation fully laps timber frame insulation 3. Install cavity barrier at the top of the wall

CONDENSATION 1. Check that ventilation paths are clear before installing insulation above ceiling

U-VALUE Wall = 0.091 W/m2K Roof = 0.082 W/m2K Breather membrane

Vapour control layer in wall

Apply PVC gasket on floor deck prior to positioning upper wall panel below 50mm x 200mm bottom plate

Cavity ventilator 500 micron polyethene DPC Cavity barrier giving 30 minutes fire resistance ensure cavity barrier is not breeched by inappropriate rigid sheathing insulation material 50mm x 175mm Header joists

Seal gaps between skirting board and floor with a flexible sealant 38mm x 175mm timber joists 25mm x 25mm noggin support ceiling lining Vapour control layer in ceiling 50mm x 200mm top plate Insulated plasterboard reduces effects of thermal bridging Insulation between the studs must be tightly fitted leaving no gaps

Timber Frame Construction: Flat Roof (Cold Deck), Intermediate Floor

ROOF MATERIALS 1. 90mm PVC single ply roofing membrane (Celotex TA4000) 2. Vapour control layer (Procheck Premier) 3. 16mm Oriented strand board (SmartPly OSB3) 4. 50mm Cavity 5. 100mm Roof insulation between timber joists (Thermapitch (The TP10) 6. 70mm Additional insulation 7. Vapour control layer (Procheck Premier) 8. 12.5mm Plasterboard (Square Edge)

SCALE 1:10

Drawing 2.1 51

AIR TIGHTNESS 1. Install window to overlap with outer leaf of wall finish 2. Install air tightness seal between the inside face of the window and the structural finish of the window opening

THERMAL CONTINUITY Breather membrane

1. Check that there is no debris in the cavity 2. Install cavity barrier around opening

Insulation between the studs must be tightly fitted leaving no gaps Vapour control layer

U-VALUE Cavity tray with minimum upstand of 140mm and stop ends lapped by breather membrane Steel lintel with DPC below it

Backer rod and sealant below sill 50mm x 200mm timber plate 63mm x 200mm timber lintel Insulated plasterboard insulates window reveal

Cavity Ventilator 30 minutes fire resisting propretary insulating cavity barrier with

Air tightness tape Sealant to back of frame Compressible fill

Backer rod and sealant at window frame

Copper flashing with drip feature 30 minutes fire rated thermally insulated cavity closer DPC lapped behind cill and below window (timber closers)

Insulated sheathing board

Air tightness tape and sealant to the back and front of frame 10mm insulation below internal window cill Insulated plasterboard reduces thermal bridging through joints 50mmx 200mm timber plate

Vapour control layer in wall Insulation between the studs must be tightly fitted leaving no gaps

Window = 0.7 W/m2K

WALL MATERIALS 1. 25mm Plasterboard (Kingspan Kooltherm K17) 2. 15mm Oriented strand board (SmartPly OSB3) 3. Vapour control layer 4. 200mm Insulation between studs (Steico Steicofl Steicoflex) 5. 60mm Sheathing board (Steico Fibre Sheathing) 6. 10mm Breather membrane (Permafol Fire-Proof Membrane) 7. 50mm Cavity 8. 80 mm Infatec P Boards 9. 7mm Brick Bri slips

SCALE 1:10

Timber Frame Construction: Window Head and Sill

Drawing 2.2 52

AIR TIGHTNESS 1. Check that any vapour control layer used in the wall overlaps with the layer in the ceiling

THERMAL CONTINUITY Breather membrane

1. Check that there is no debris in the cavity 2. Install cavity barrier around opening

Insulation between the studs must be tightly fitted leaving no gaps

CONDENSATION 1. Check that ventilation paths are clear before installing insulation above ceiling

INTERMEDIATE FLOOR MATERIALS

50mm x 200mm bottom plate

Cavity tray with minimum upstand of 140mm and stop ends

Seal gaps between skirting board and floor with a flexible sealant 50mm x 100mm edge block

Insulation below window frame Wood lintel Sealant below lintel

Steel lintel Cavity Ventilator 500 micron polyethene DPC Compressible fill

Insulated plasterboard reduces thermal bridging at window reveal

1. 22mm Chipboard 2. 150mm Insulation between timber joists (Kooltherm K3) 3. Vapour control layer (Procheck Premier) 4. 12.5mm Plasterboard (Square Edge) 5. 12.5mm Additional plasterboard

Vapour control layer behind plasterboard 50mm x 150mm header joists Internal soffit lined with insulation Vapour control layer Reinforced in-situ concrete with waterproofing paint and plastered

17mm dia. Rebar

SCALE 1:10

Timber Frame and Concrete Construction: Ground Floor Window Joints

Drawing 2.3

SUSTAINABILITY Element

Element Number Summary Rating Climate Change Water Extraction Mineral Resource Extraction Stratospheric Ozone Depletion Human Toxicity Ecotoxicity to Freshwater Nuclear Waste (higher level) Ecotoxicity to land Waste Disposal Fossil Fuel Depletion Eutrophication Photochemical OOzone Creation Acidification kg of CO2 eq. (60 years)

Ground Floor Construction

Windows

Powerfloated in situ 50% GGBS concrete (100% RCA) slab, over insulation on polyethylene dpm laid on blinded recycled aggregate sub-base

Durable hardwood window, water based stained inside and out (TWAS), double glazed

Vapour control layer, insulation, timber joists, OSB/3, PVC single ply roofing membrane

Chipboard decking on timber joists

Timber stud, plasterboard, paint

Clay tiles on timber battens, breather membrane, OSB/3 sheathing, timber frame with insulation, vapour control layer, plasterboard on battens, paint

831500011 A+ A+ A+ A+ D A+ A+ A+ A+ B A+ B A+ A+ 76.0

1212520008 A+ A+ A+ A+ A A+ A+ A+ A+ A+ A+ A+ A+ A+ 20.0

807280081 A+ A+ A+ A+ A A+ B A A+ A A A+ A+ A+ -0.72

809760003 A+ A A A+ A+ A C A+ A+ A A+ A+ A+ C 15.0

806210570 A+ A A A+ B A+ A+ A A+ A+ A A+ B A 73.0

820100207 B A A+ A A+ A+ A+ A+ A+ D A+ A A+ A 47.0

SUSTAINABILITY REPORT All construction elements have reached targeted summary ratings of A+ except for ground floor construction. Solid concrete floor construction have worse environmental impact compared to a suspended ground floor construction. However, based on the site, it is difficult to build deeper than Ouseburn valley, thus a suspended floor construction is unlikely. The rest of the construction are more sustainable as it uses renewable resources like timber. Which is an organic material that has little impact on the environment.

Flat Roof : Cold Deck

Intermediate Floor

Internal Wall

External Wall

TECTONIC INTENT The design concept was to create an â&#x20AC;&#x2DC;urban living roomâ&#x20AC;&#x2122; in front of the factory area and beside the river. The idea is to attract the people into the space especially during the Ouseburn Festival that occurs annually. At the same time, the building must have a seperate private space for the residence of the foyer. To do so, the structure is built using seperate forms of construction, concrete for the factory and timber for the residential area. Timber construction with brick slip cladding aare common materials used in building homes in the UK. Timber is organic and a renewable resource. Growing trees have positive benefits environmentally, it provides oxygen and reduces impact of global warming. In addition, brick slips on Infatec P boards are light weight and provides additional insulation to the structure. The use of brick slips gives the structure a more 'sleek' facade as compared to using regular bricks. Its light weight makes installing faster and lessens stresses on the structure. Though concrete is not as sustainable as timber, using in-situ concrete allows various structure shapes to be built. Especially for my design, it provides a strong base for the timber construction to be built on as its connections are homogenous with the rest of the concrete frame. Overall design concept is enhanced when the materiality of the structure clearly defines the private and the public spaces. Allowing easier navigation around the structure.

(All red bracketed numbers refer to Building Regulations 2010 Approved Document M)

(All red bracketed numbers refer to Building Regulations 2010 Approved Document B2, Parts B1 and B5) 55

Disabled parking

2. Roa d

acc

essi

ble

from

Har

bou

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Emergency access Assembly point Main entrance 1. Main disabled entrance 2. Disabled access to car spaces Staff entrance Car parking pa spaces

Roa d

acce

ssib

le fr om

Har

bou

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ad 56

3 1500mm of desk lowered

Riser/Going=159mm/280mm (18 steps) Visually contrasting surface Enclosed lift

Lift satisfies M1/M2

fd 2200mm 5.

RP Visibility through door to avoid collision

16m

3. 16m

1500mm

18m

1500mm

12m 7. RP 2200mm Riser/Going=159mm/280mm (18 steps) fd RP

Suggested escape route Fire door Protected stairway Refuge point Key width

1. 2. 3. 4. 5. 6. 7.

6. fd

Disabled facilities satisfies M1/M2

Marine aquarium space Cafe Informal study area Admin office Observation space (North) Disabled facilities Part M WC provision

2 Riser/Going=159mm/280mm (18 steps) Visually contrasting surface Enclosed lift

1. 18m

18m

Lift satisfies M1/M2

fd fd

2200mm 3000mm

RP Visibility through door to avoid collision

fd fd 2700mm 15m

2. fd

fd 1500mm 4. 13m RP 2200mm

Riser/Going=159mm/280mm (18 steps) fd RP

Suggested escape route Fire door Protected stairway Refuge point Key width

1. 2. 3. 4.

3. fd

Disabled facilities satisfies M1/M2

Study cell Shared study space Disabled facilities Part M WC provision

1 Riser/Going=159mm/280mm (18 steps)

Riser/Going=159mm/400mm (18 steps) Stairs to ground level

fd Visually contrasting surface Lift satisfies M1/M2

1800mm

Enclosed lift fd

2. 11m

2200mm

15m

RP Visibility through door to avoid collision

fd 1500mm

RP Stairs to ground level

13m

4. 3.

2200mm fd Riser/Going=159mm/400mm (18 steps) fd RP

Suggested escape route Fire door Protected stairway Refuge point Key width

1. 2. 3. 4.

Stair equipped with wheelchair platform stairlift

Riser/Going=159mm/280mm (18 steps)

Disabled facilities satisfies M1/M2

Seminar room Flexible teaching space Disabled facilities Part M WC provision

G Riser/Going=159mm/280mm (18 steps) fd

12m

Visually contrasting surface Lift satisfies M1/M2

3400mm

Enclosed lift 2200mm fd

fd Visibility through door to avoid collision

Wheelchair space in theatre

15m

2000mm

20m 5.

6. 2200mm

fd RP

Fire exit Suggested escape route Fire door Protected stairway Refuge point Key width

1. 2. 3. 4. 5. 6.

Lobby Temporary exhibition space Lecture hall Marine aquarium room Disabled facilities Part M WC provision

Disabled facilities at entrance level

Riser/Going=159mm/280mm (18 steps)

fd 1500mm of desk lowered

ARC 2010

ENERGY STRATEGY Description

Located at the third floor, below the student’s accommodation. The tutor’s living area is a flat. Occuppying ground area of 85 m I managed to improve the energy efficency rating from 79 to 87. Credit ratings improved from N/A to 8.

DER/TER (%) Credit Rating CO Emissions Total Energy Cost Solar Gains Total Internal Gains (Watts) (£) (Watts) (kgCO / Year) Before After

-13 43

N/A 8

U-values of walls

2447.90 1488.56

424.29 253.00

U-values of windows Air-tightness at the joints and window have to be ensured to reduce energy lost. Building have to undergo 3 air tests. First upon completed as soon as the building is made air-tight. Second after services penetrations are made. Lastly, when all mad construction is completed.

Size and position of windows

Air-tightness of construction

1093.89 386.09

1703.27 995.47

Mechanical ventilation heat recovery (MVHR) is an energy recovery ventilation system which employs a counter-flow heat exchanger between the inbound and outbound air flow. It provides fresh air and improved climate cont control, while also saving energy by reducing heating (and cooling) requirements. It will be installed and located at the top floor in the boiler room.

Ventilation system with heat recovery

DAYLIGHT ANALYSIS Before modification

Modifications Overall area of windows was reduced from 62.3mÂ˛ to 22.3mÂ˛. Window height - Southwest reduced from 1.5m to 0.5m. - South reduced from 2.5m to 1.5m - Northeast reduced from 1.5m to 0.5m

June

Windows positioned towards the south to ensure sufficient solar gain in the flat.

December

Results June

After modification

E min

December Before (June) After (June) Before (December) After (December)

June

December June

December

E max

E average

1570

463

950

199

3041

884

1840

398

(lux)

There are two seperate results, one for June and another for December due to the difference in the angle of the sun and thus there will be differences on its effects on the space. E average after modification during December remains relatively high so that the spaces can achieve higher solar gain during the winter period. 63

SOURCES OF ENERGY Solar Photovoltaic Annual energy consumption 6358 kWHr Annual energy generated 2836 kWHr To generate that amount of electricity, 18 solar panels by SolarGen UK covering 28.8 m have to be installed.

1. Income from generation tariff (first year) 2. Savings on electricty bill (first year) 3. Income from export tariff (first year) Total income and savings Approximate installation costs Total income (over 25 years) Total profit (over 25 years)

£394 £74 £68 £536 £7,080 £10,656 £3,576

Gas and Electricity

Using the Energy Saving Trust solar calculator, I derived with tha table above. Savings is maximised during the months from May to July (summer period) as it is when the number of sun hours is the most compared to other months of the year. Solar panels might not be useful in generating energy during the winter period where sun hours are lesser.

Energy Description Energy for heating system

Energy for water heating system 3539 KWHr/year Energy for fans and pumps Energy for lighting

A well-sited 6 kW turbine can generate around 10,000kWh and the equivalent of around 5.2 tonnes of carbon dioxide a year. Which is more than enough to cover the energy consumption by the tutor’s flat. Total benefits (£/ year) 1517 Payback time (years) 20 30,000 After consideration, wind turbines are not Installation costs (£) 30,346 recommended to be used to generate Lifetime benefit (£) Earnings (£) 346 electricity on site.

Cost to install between £21,000 and £30,000. After 20 year, the benefit would outweigh the costs by £346. This does not include the cost of maintaining the turbines which may cost up to £200 a year. In addition, wind speeds around the site is too low for energy gene generation. Wind speed required = 5.0 m/s Max. wind speed = 2.9 m/s

130 KWHr/year 46 KWHr/year

Cost Description Space heating costs

81.93 £/year

Water heating costs

109.70 £/year

Pump and fan costs

15.60 £/year

Lighting costs

45.7 £/year TOTAL : 252.90 £/year

CO Emissions Total CO produced

Wind Energy

2643 KWHr/year

1489 kg

Conclusion Realistically, only solar photovoltaic panels, gas and electricity are likely energy sources for the tutor’s flat. The benefits of these energy sources far outweigh the cost to install and maintain it. In addition, wind energy is not a likely energy source as it is expensive to install and the site does not pr provide enough wind speeds to power the wind turbines.

U-VALUE CALCULATIONS 7

Wall thickness = 0.44 m R Total = R Materials + R External + R Internal = 10.78 m K/W + 0.04 m K/W+ 0.13 m K/W = 10.95 m K/W U-Value = 1/ R Total = 0.091 W/m K

Materials 1. Plasterboard (Kingspan Kooltherm K17) 2. Oriented strand board (SmartPly OSB3) 3. Insulation between studs (Steico Steicoflex) 4. Sheathing board (Steico Fibre Sheathing) 5. Breather membrane (Permafol Fire-Proof Membrane) 6. Cavity 7. Brick slips on 80 mm Infatec P Boards Boa References

Thickness (m) 0.025 0.015 0.2 0.06 0.01 0.05 0.08

K- Value 0.021 0.13 0.038 0.046 0.03 0.033

R- Value 1.19 0.11 5.26 1.30 0.33 0.17 2.42

http://www.kingspaninsulation.co.uk/Products/Kooltherm/Kooltherm-K17-Insulated-Plasterboard/Overview.aspx http://www.smartply.com/products/smartply-osb3 http://www.steico.com/fileadmin/steico/content/pdf/Marketing/UK/Product_information/flex/STEICOflex_en_i.pdf http://www.steico.com/fileadmin/steico/content/pdf/Marketing/UK/Product_information/universal/STEICOuniversal_en_i.pdf http://www.permavent.co.uk/permafol/ http://ww http://www.infatec-klinker.com/pobieralnia/INFATEC_P_tech_data.pdf http://broxwood.com/products/design-finish-glazing-bars-and-furniture/choosing-the-right-u-value-for-your-windows-and-doors/

Materials 1. Timber frame 2. Triple glazing 3. Argon-filled between glazing Balancing the costs of materials and their effectiveness in thermal resistivity, I have used the following materials. I have researched on the use of vacuum insultaion by Kingspan, known as the Optim-R. However, it is too expensive to be used for construction even though it has really high thermal resistivity. The tutorâ&#x20AC;&#x2122;s rooms are on the fouth floor in a flat style. It is also not located at the top floor. Therefore, theoretically heat loss to external environment can only happen through the walls and through the windows. Construction of the walls and the joints have to be air-tight to minimise heat loss.

ARC 2011

Étienne-Louis Boullée (Bibliothèque du Roi) Bibliothèque du Roi is a neo-classical style architecture that was designed by Étienne-Louis Boullée for King Charles V. It was Boullée's form of revolutionary architecture in response to his distaste over the rococo movement in 1760s France. An initiator of antique architecture, he wanted to bring the country back to its classical roots. Boullée was trained by Jacques-Francois Blondel and Jean-Laurent Legeay to be an architect. He was focused in combining grandeur and comfort (visual or acoustical). He believes that the highest form of architecture is in public buildings and that there must be an interaction between public and theoretical architecture. The Bibliothèque du Roi was a combination of his ideas of realism and grandeur. He created a reading room with a large barrel vault over an initial courtyard. The concept behind his Bibliothèque design was a way of assembling all human knowledge under the vault, a symbol of the universe. It was heavily influenced by the 'School of Athens', a painting by Raphael. Though the easiest to build out of all his other theoretical designs, the Bibliothèque du Roi was never constructed. He did not manage to build great things during the period due to political circumstances during the early stages of the French Revolution. The closing of public buildings and disappearance disappea of aristocratic patronage forced him to retire.

Bibliothèque du Roi, latitudinal section

The new image produced is a representation of the Bibliothèque du Roi. The fading vault roof represents the structure that was never built. Using Boullée's style of symmetry and one point perspective, the roads appear to protrude out of the pages. The road on the left represents the things that influenced his design. While the right represents the people he influenced. On the left are Plato and Aristotle from the 'School of Athens' painting and two other figures representing the French Revolution, a period that he was living in. On the right are Albert Speer, Hitler, Aldo Rossi and Lebbeus Woods who were heavily influenced by his wo works. The ‘king’ from Banksy’s ‘Naked Man’ represents the execution of King Louis XVI which led to Boullée’s retirement and exploration in theoretical architecture. The two statues holding the globe under the vault roof represents his design concept and also a replication of his facade design for the Bibliothèque du Roi. The collage is arranged according to the Bibliothèque’s designs. At the top is the vaulted roof, followed by the columns and the bookshelves of books.

Bibliothèque du Roi, first floor plan

Bibliothèque du Roi, elevation

Bibliothèque du Roi, interior view

Étienne-Louis Boullée - Bibliothèque du Roi 68

ARC 2023

2. Le Corbusier (1923) wrote: “all men have the same organism, the same functions. All men have the same needs… I propose one single building for all nations.” Offer a critique of this position and contrast it with the theoretical ideas of home as presented by Dovey and other theorists. ALDRICH CHOY 130031819 INTRODUCTION "Home is best conceived of as a kind of relationship between people and their environment. It is an emotionally based and meaningful relationship between dwellers and their dwelling places." (Dovey, 1985:34) As mentioned by Dovey, home connects people to the past, future, people and to the place. (Dovey, 1985: 44) In Le Corbusier's statement, home seems like it can be replicated, invent, packaged and sold to all nations. (Dovey, (Do 1985 : 33) Le Corbusier's concept of a home is mass produced and proposes a single 'international style' building across all nations and cultures throughout the world. CULTURAL Buildings with deep cultural and traditional background, or "vernacular architecture" is a category of architecture based on local needs, construction materials and reflecting local traditions. This form of architecture contain cultural elements that have provided solutions to existing architectural problems and “ensures sustainability in both cultural and economic terms beyond the short term.” (Oliver, 1987) Le Corbusier's idea to house everyone in single buildings imposes a single international style across the world, diluting cultural traditions. In China, the Chinese valued family bonds, which are expressed through traditional quadrangle housing structures known as 'siheyuan'. 'Siheyuan' promoted family unity by having generations of families and relatives habiting a single connected structure. However, to accommodate the population boom, modern housing devoid of cultural significance have replaced traditional housing. de Remaining vernacular structures like 'siheyuan' exist in modern China only through preservation efforts from organisations like the Beijing Municipal Administration of Cultural Heritage.

Additionally, in some cultures the relationship with the dwelling begins with the dwelling construction as part of a wider socialisation process linked to collective communal rituals. Complexities in these instances range across cultures (Rapoport, 1982), classes (Gan,1974), subcultural groups (Pratt,1981) and stages of the life cycle (Csikszentmihalyi & Rochberg-Halton, 1981). In the case of the Masaai tribes in Kenya, the building process of the house is a ritual to the tribe. Though many Maasai have moved away from the nomadic life towards a modern lifestyle, many will return to their traditional family wearing their shuka (colouful cloth), cow hide sandals to assist their tribes in building houses. The design process itself is dynamic and develops over time. The Maasai's concept of home begins from the first timber pole laid on the ground till the time when they demolish their house. Le Corbusier's concept contrasts cont greatly against the ideals of particular nations or tribes like the Maasai. Therefore, imposing the idea of a single building style on all nations should be curbed as it would further impoverish cultural diversity and cultural values in a country. COMMUNAL As mentioned earlier, the Maasai's design and construction processes consists of communal and work rituals that are part of a socialisation process in the community. Communities might not accept foreign architectural styles like those of Le Corbusier's proposal being imposed on them. As mentioned by Ehrenhalt (2001), "planning is too important to be left completely to planners and that citizens should engage in the planning of their cities." In Barcelona, Casa Milà's unconventional style made it the subject of much criticism amongst others in the community. Designed by Antoni Gaudi and owned by PereMilài Camps, it was given the nickname "La Pedrera", meaning "The Quarry". Milà was furious at Gaudi for not consulting him beforehand regarding the construction of Casa Milà. Homeowners in Passeig de Gracia also ceased to greet Milà as they thought Gaudí's building had lowered the property prices in the area. Even though Casa Milà is now a national icon in the city of Barcelona, the community had not previously accepted the foreign elements of Casa Milà. During the 1920s, Le Corbusier proposed a similar scheme of 'mass produced' houses known as "Plan Voisin". His scheme was met with criticism from French politicians and industrialiTsts, although they were favourable to the ideas of Taylorism and Fordism underlying

his designs. They believed that doing so not only impeach diversity in building designs but might also destroy liveable neighbourhoods currently existing. As mentioned by Jane Jacobs (1961) 'the Decentrists' like Le Corbusier often seek to replace the complexity of real city life with a planned ideal city. Instead of finding ways to improve the neighbourhood, replacing them with Le Corbusier's super blocks might not integrate well with all neighbourhoods. "Home grows both from the particular personal and social circumstances of the dwellers but also from the environmental context of the place itself, its genius loci. Thus home has a key element of uniqueness, it is placed based." (Dovey, 1985: 42) Le Corbusier's bold ideas might be great to some nations, but might not incorporate well with other nations or communities. PERSONAL Home is “a world of total order, a world of comfort, yet without the friction that keeps our experiences alive.” (Dovey, 1985). For homes to be comfortable and ‘in order’, as mentioned by Dovey, a home must function well for an individual. The needs of a disabled elderly are far different from the needs of an able adult. As such, the idea of home differs for the two individuals. “It is the dialetic between personal change and environmental change, the process through whi which we change our environment and we are in turn changed by environmental experience.” (Dovey, 1985) An instance would be how parents would transit from a "child-safe" arrangement, to a teenage one as the child grows, so as to cater to the needs of the child. Ultimately, the dynamics of the house adapts accordingly over time. Though it is agreeable that people are ultimately made up of the same biological materials, it does not necessarily equates to them having the same abilities throughout their lives. Le Corbusier’s statement that “all men have the same organisms, the same function” overlooks that different people have varying abilities throughout stages in life, and the house must adapt accordingly the physical needs of an individual to be recognised as a home. The idea of home have also evolved beyond the physical to include more abstract needs like identification and belonging. "The home is a statement and a mirror, developing both socially and individually, reflecting both collective ideology and authentic personal experience." (Dovey, 1985 : 40) Having a single building diminishes the opportunity for self-expression through the form of the house. In the case of Singapore, all HDB blocks look generally the same. Their

distinct blocky designs have created a national identity but not ide ntity on an individual level. "Home nowadays is a distorted and perverted phenomenon. It is identical to a house; it can be anywhere. It is subordinate to us, easily measurable in numbers of money value." (Vycinas, 1961 : 84-85) Vycinas explains that the form of a house is no longer a reflection of an individual, but constructed and sold by organisations for economical gains. The mass production of houses has caused the loss for self-expression through architecture. The idea of home as a place of self expression is lost with the introduction of ideas like that of Le Corbusier's single building. ENVIRONMENT Environmental factors in different geographical areas might hinder Le Corbusier's idea of a single building for all nations. As mentioned by Oliver (1987), every culture has some form of house in response to a society’s physical, social and psychological needs. Houses that are shaped by factors like territory, economy, security, resources, and climatic conditions. Houses in hotter climates have heavy construction so heat from the day can be stored in the building material and released during the night. However, houses in the tropical regions have to deal with humidity and are thus constructed with light materials so wind can reduce humidity in the house. “…form is not simply the result of physical forces or any single causal factor, but is the consequence of a whole range of socio-cultural factors… Form is in turn modified by climatic conditions, and by methods of construction, materials available and technology." (Rapoport, 1969: 47) Architects like Hassan Fathy have propagated the Egyptians's mud brick houses as effective social housing for the poor. Fathy realized that concrete housing was costly since it requires skilled labour, expensive foreign equipment and materials. Dwellings using locally available bricks made of mud and straw would be more practical and effective. As demonstrated by the success of Fathy's designs, there are limitations in terms of resources and the environmental conditions that might not support Le Corbusier's concept in our present reality. CONCLUSION

Le Corbusier's concept of a one-size-fits-all building appears practical during the 1920s when there was a need to house many

of the homeless after the war. Le Corbusier saw the potential of technology and thus conceptualised a one-size-fits-all building, employing the use of science and engineering to overcome our natural world. However, as Allport mentioned "Home suggests a certain dynamic adaptibility and may indeed actively resist equilibrium." (Allport, 1955). As of now buildings are not equipped with technology allowing homes to adapt accordingly to personal needs or changing environments automatically. 'Mass-produced' houses are still relevant in areas with population booms, but preserving self-expression, identity and connectedness culture is as important especially in places with declining populations where people become increasingly focused on generic globalized culture and less on the traditional. 1489 words Reference CSIKSZENTMIHALYI, M. & ROCHBERG-HALTON, E. (1981) The Meaning of Things: Domestic symbols of the self, New York: Cambridge University Press. DOVEY, K. (1985) ‘Home and Homelessness’ in Altman, I. and Werner, C. M. (eds.) Home Environments, New York and London: Plenum Press, 33-64. DESPRE DESPRES, C, (1991) 'The Meaning of Home: Literature Review and Directions for Future Research and Theoretical Development' Journal of Architectural and Planning Research, Vol.8, No.2, 96-115. EGITALLOYD TRAVEL EGYPT (2014), Pinterest, "Siwa Oasis - Egypt". Link: http://www.pinterest.com/pin/76350156156360329/ Accessed on 02/01/2015, 11:02PM GANS, H. (1974) Popular culture and high culture, New York: Basic Books. HENSBERGEN, G. (2006) Gaudí: A Biography, London: HarperCollins. JACOBS, J. (1961) The Importance of Death and Life of Great American Citites, New York:Random House. JMNAPOLITANO (2012), Angrylittledesigner, " Antonin Gaudi vs. Frank Lloyd Wright/Art Nouveau vs. Modernism". Link: https://angrylittledesigner.wordpress.com/2012/05/09/antonin-gaudi-vs-frank-lloyd-wrightart-nouvea u-vs-modernism/ Accessed on 02/01/2015, 11:15PM KUA, C.S. C. (2013), Straits Times, Story "New HDB measures target mortgage servicing ratio and maximum loan tenure", Dreamstime, Stock Image. Link: http://www.straitstimes.com/breaking-news/singapore/story/new-hdb-cooling-measures-target-mortga ge-servicing-ratio-and-maximum-l Accessed on 03/01/2015, 10:59PM OLIVER, P. (1987) Dwellings: the House across the World, Oxford: Phaidon Press Ltd. PRATT, G. (1981) The House as an expression of social worlds. In J. Duncan (Ed.), Housing and Identity, New York: Holmes and Meier. RAPOPORT, RAPOPOR A. (1982) The Meaning of the Built Environment: A Non-Verbal Communication Approach, London: Sage. VALENTE, GIAN (2006), Dreamstime, Stock Image "Chinese Pagoda". Link: http://www.dreamstime.com/stock-image-chinese-pagoda-image1762201 Accessed on 02/01/2015, 10:46PM VYCINAS, V. (1961) Earth and Gods: An Introduction to the Philospophy of Martin Heidegger, The Hague:MartinusNijhof. WANG, L. (2006) Beijing's Shiheyuan (Charm of Beijing series), China: China Pictorial Publishing House.