Tilbury E-waste Exchange Market
Afterlife of E-waste: A Reciprocal Exchange
2023-2024
E-waste Circular Economy, Community Space, Reuse, Future Folktales
Museum of movement and energy
Body, Movement and Energy: A Figurative Representation of Excitement and Sustainability
2022 - 2023
Energy Crisis, Green Energy, Resilient Device, Olympic, Masterplan
Complexism Community Centre
2021
Self and Belief, The Complexism of the Religious Space
Famadihana Community Space
Informal Publicity: Movable and Adaptable Architecture
2022
Vernacular Ritual, Low-Technique, Community Space
Nanjing Xianlin Art Centre
Kengo Kuma and Associates, 2022
Community Space, Landscape, Culture Centre
Wuxi Concert Hall
Kengo Kuma and Associates, 2022
Concert hall, adaptive design
Dinghai Terrace House
Continuation Studio, 2021
Pitched roof, Detail control
Suji Restaurant
Continuation Studio, 2021
Translation of traditional perspective in Chinese Ancient Garden, Landscape, Local Material
Tilbury E-waste Exchange Market
Afterlife of E-waste: A Reciprocal Exchange
Location:
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Tutor: Time:
Tilbury, The UK Research - led design 1400 m2
Mark Parsons Sep 2023- Jun 2024
The UK generates the second-highest amount of e-waste per capita in the world, with 23.9 kg. The Tilbury E-waste Exchange Market shapes the future of the E-waste Circular Management System, valuing e-devices as information carriers, and in turn, as media for people to exchange knowledge and life skills
Given Tilbury’s history of mining, excavating, and rubbish dumping, the project considers sustainability a key focus. The use of recycled materials with varying roughness and transparency allows the architecture to balance hi-tech and craftsmanship, industry and elegance, and people and machines.
The hybrid complex provides laboratory spaces for e-waste repair and disassembly, retail areas for e-waste exchange, workshop spaces for life skills training, exhibition spaces for e-waste artworks, and café areas for social interaction. The architecture distinguishes itself from the bleak and monotonous townscape, offering Tilbury residents a distinctive and joyful journey from Tilbury’s main street to the industrial port. It bridges divided areas and celebrates the town’s industrial culture.
Please click the link to see the manifesto film
https://youtu.be/66m0NTfooKI?si=-PbZToaEioCXyJSt
Long section
Gallery Walkway
Balcony
Building mass
- Accessible route
- Visual connection from the residential side to the port
Volume division
Avoiding long and continuous facade seen by passengers arriving by train and car
Volume division
- Building edges are parallel to the railway
- The block near the residential houses is lower to blend into the context.
Volume division
- Combination of indoor and outdoor circulation
- Flipped circulation on both sides reduce the rigid volume.
Volume division
- The exposed walkway guides people to enjoy the architectural journey - Perception of various movement and activities.
North facade
Street View
View to the port
Landscape terrace stairs Platform
1. Collection: E-waste could be delivered to the market by train, cars and cargo.
2. Store and classification: All E-waste would be temporarily stored in the storage room, waiting for being assessed, classified and categorised.
3. Disassemble: Categorised E-waste would be transferred to two different laboratories. One is for simply repair . The other one is for more sophisticated treatment.
4. Exchange: Repaired E-waste will be moved into different retails based on their size and functions, labelled with original owner. Ready for exchange.
5. Skill Learning: Customers who complete an exchange of E-waste could use the small equipment and tools in open workshop area to exchange the stories behind and skills required of a particular object.
6. Exhibition: E-waste based artworks exhibition offers more innovative and creative insight on E-waste recycling.
7. Reuse: Electronic and electrical equipment have a longer life span. A more sustainable circular usage of electrical equipment.
floor
Retail
Open workshop
Central workshop (double-high)
Enclosed workshop (double - high) Laboratory (double-high) Reception
Second floor plan 1:200 on A1
h. Exhibition gallery
i. Open cafe
b. Open workshop
c. Central workshop
e. Laboratory
h. Exhibition Gallery
South facade
1. Recycled polycarbonate facade
2. Composite vertical rail fixed to H-column
3. Bolted fixings
4. Recycled H-column
Facade design
The façade comprises a combination of three types of modular cells, each designed to create different architectural atmospheres, enhance visibility, and employ various ventilation methods.
The rainscreen is affixed to the H column using a composite vertical rail. The design of this rail aims to achieve a higher weight-to-strength ratio while also celebrating the industrial atmosphere through its delicate visual effect.
The lower floor adopts corrugated rubberised concrete which creates a sharp contrast to the smooth and translucent polycarbonate rainscreen above, implying Tilbury’s wound from extraction and rubbsihscapes.
5. 7.
5. Recycled I-beam
6. Self-supported rammed earth wall
7.Corrugated concrete floor, supported by frame structure
Corrugated rubberised concrete: Fly ash, recycled aggregate, recycled rubber crumb, cement, water, sand.
Museum of Movement and Energy Body, Movement and Energy: A Figurative Representation of Excitement and Sustainability
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Sarajevo Research - led design
640 m2
Lucy Dinnen Sep 2022- Jun 2023
In 1984, Sarajevo hosted the Winter Olympics, leaving a lasting impact on its history. However, the ski jump site on Mountain Igman, once vibrant, fell into neglect after the Siege of Sarajevo in the 1990s.
Today, Sarajevo grapples with the looming threat of the climate crisis. By 2050, projections suggest the city’s climate may render it too warm to host the Winter Olympics.
The revitalization of Mountain Igman symbolizes sports, movements, and energy. Drawing inspiration from resilient devices in Sarajevo, the project translates various sports using Laban’s dancing notation and Bernard Tschumi’s theory of movements and events.
Crucial concept is to convert kinetic energy for sustainable, green energy sources. Figurative installations spreads around Mountain Igman, blending seamlessly with the natural landscape. Here, individuals actively engage with the architecture, not merely as spectators but as contributors to energy generation. The project transforms a once-neglected site into a dynamic space that harmonizes with nature and addresses contemporary challenges.
The Green Runner
The Green Runner is an outdoor fitness facility where individuals can run on the bin wheel, which is a legacy from the Olympic Stadium. The axle connects to the motor, which is fixed in the bearings. The motor generates electricity through the continuous rotation of the bin wheel.
Bin from Olympic Stadium
b. Playground
c.
d.
e.
f.
Impression of freestyle and skateboarding
Impression of cycling and ice-skating
Impression of Sport Climbing
a. Olympic Podium
Energy Collection Stairs
Funicular Trolley
Museum of Movement and Energy
Open Terrace
The notation of movement in ski jump
Ski jump needs the athlete to remain steady as much as possible. The movement could be separated to four phases, including the preparation, take off, glide and landing. The impression drawing emphasizes the linearity and steady of the movement. The spatial experience therefore is a minimal representation of the sport seeking for clear and direct circulation.
[Motif ]
A motif is the graphical pattern of an abstract movement, describing the relative spatial position between the limbs and the spine.
[Shadow ]
[Frame ]
A movement is the shadow of a series of action. The frame articulates the purpose of each action.
[Rhythm ]
A rhythm reconstructs the motif patterns to define the movement as an linear, curvilinear, repetitive, and pausal experience.
[Impression ]
An impression visually describes the sensory and dynamic image of a sport movement.
[Experience ]
A experience is a spatial representation of an abstract sport movement.
Nanjing Xianlin Art Centre
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Senior Architect:
Kengo Kuma and Association in Shanghai
Kengo Kuam, Teccasalei Yutalca
Nanjing, China
Art Centre
LEE Suhye
Yunjie Lu
In the design process of the Nanjing Xianlin Art Centre, I was in charge of the concept for the sunken entrance and the theatre lobby, located at the end of the site. The site is blessed with a beautiful natural setting, surrounded by trees and mountains. To minimize the impact on the mountain, parts of the theatre are sunken into the ground. Consequently, the square in front of the entrance has the potential to welcome people into a space with a cave-like ambiance.
I utilized Grasshopper to create several linear stepped platforms, allowing people to enjoy the open space under the tensioned roof. An interactive and lively square encourages people to communicate before, during, and after the show. Simultaneously, they appreciate the visual continuity with the contours of the mountains, where nature and man-made creation blend seamlessly. Additionally, I designed several landscape strategies. Through this practice, I became more aware of the subtleties of form, guiding the perception of the landscape when the context of an architecture holds significant value.
Terrace Landscape Design Development
Water Landscape Design Development
Hill Landscape Design Development
Concert Hall in Wuxi
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Principle Architect & Partner:
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Senior Architect:
Kengo Kuma and Association in Shanghai
Kengo Kuam, Teccasalei Yutalca Wuxi, China
Art Centre
Yu Wen
During the design process of the Wuxi Concert Hall, I contributed to multiple configurations of the transformative stage floor design and consulted on the lighting design with lighting and acoustic specialists.
Stage lighting development
Elevated floor-stage options
Suji Central Restaurant
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Principle Architect & Partner:
Advisor Email address:
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Principle Architect:
Continuation Studio
FAN Jiujiang continuation_stu@126.com
Quzhou, China Restaurant
FAN Jiujiang
In designing the Central Restaurant in Jiangshan, I demonstrated eight design schemes, all incorporating the architectural humbleness and cultural significance. The primary concept is to project the architectural atmosphere of a barn in the farmland onto the visitors. We believe that the perception of such a kind of space could remind the visitors imagination of wheat and harvest, bridging the communication between clients, architecture and earth.
Complexism Community Centre
Self and Belief:Th e Complexism of the Religious Space
Location:
Type: Area: Time: Singapore Community Centre 784 m2 Sep 2020 - Feb2021
Research into the Fo Guang Temple, St. Peter’s Basilica, and the Great Mosque of Mecca yields a fascinating spatial principle that encourages circumambulation within religious spaces. The discreet utilization of a column matrix, along with a pronounced emphasis on corner spaces, effectively conveys a sense of rotation and circular movement. Rational scale between circular space and roof space enhances the sense of sacredness to bridge the gap between reality and spirit. This continuous and unending spatial experience reflects a spiritual realm where believers can embark on a profound journey of self-discovery and reaffirmation of their faith.
The design consciously establishes a neutral stage for the concept of ‘Complexism’ to flourish. This concept transcends the confines of representing a specific deity; rather, it emerges as a poignant social metaphor. The power of communication between individuals and their deeply held beliefs resonates outward, permeating the surrounding environment.
These pivotal moments of movement, prayer, and meditation become cherished memories, akin to precious treasures etched onto the very surface of the architecture itself. In this spiritual journey, individuals find themselves on a path of self-discovery and enlightenment, where the act of seeking is as profound as the destination itself.
Communal space
Famadihana Community Space Informal Publicity: Movable and Adaptable Architecture
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Time: Arivonimamo, Madagascar
Public Space
288 m2
Dec 2021 - Mar 2022
Madagascar faces a considerable challenge, with over half its population contending with low incomes. The Merina people, within this context, must save resources over years to host their cherished Famadihana celebration, bridging the gap between the living and departed. For them, draping a new Lamba on the deceased is a joyful reunion rather than a somber affair, as those who have passed continue to offer guidance.
To address economic constraints and uplift the community, the design envisions public spaces as versatile workshops for weaving activities. By promoting low-tech construction techniques and using locally available materials, the project reduces costs and strengthens community bonds.
Additionally, a demountable structure system provides practicality during the Famadihana period, enabling villagers to transport structures to the graveyard for use as dressing rooms or meditation spaces. The fluid movement and transformation of these elements create profound communication between the living and the deceased, transcending sorrow and fostering a nuanced connection.
Transformative construction
Daily workshop space
Famadihana ritual parade
Famadihana ritual space
