L E E
C H I N G
T U N G
C H E R Y L
HKU BAAS | CLASS OF 2021
T
he past four years as an undergraduate architecture student at HKU has broadened my knowledge on architectural design and cultivated my own style and interest. With what I learned there as my toolset, I strive to design minimalistic architecture that caters to the users’ needs and creates a sense of place that brings people together. I value considerations on community, nature, site context, and structure in architectural design. My two capstone studio projects on housing are my criticism to modern-day housing, especially the residential towers in high-density cities like Hong Kong, that set neighbours apart and isolate individuals. To rethink housing, the two projects experimented with different uses of open spaces and external circulation, and have an emphasis on the sense of community. The rest of this portfolio serves as a brief documentation of my academic growth, as well as interests outside academic work.
C A P S TO N E
P ROJ E C T S
NEIGHBOUTHOODS IN SECTION 02 SPRING 2021 | HOUSING STUDIO
TURNING FACES & OPEN SPACES 20 FA L L 2 0 2 0 | H O U S I N G S T U D I O
S I D E
P ROJ E C T
A T H E H O N E Y C O M B B R I C K S
38
SPRING 2021 | 3D PRINTING ELECTIVE
OT H E R
P R O J E C T S
44
A L A N D O F C O N N E C T I O N 4 5 S P R I N G 2 0 2 0 | M E D I AT H E Q U E S T U D I O
F I C U S C A R I C A 4 8 FA L L 2 0 1 9 | V E G E TA B L E S T U D I O
B O O K N O O K 5 2 SPRING 2018 | CHAIR STUDIO
M Y H O B B I E S 5 4
SPRING 2021 | YEAR 4 SEMESTER 2 | HOUSING STUDIO
IN SECTION
N E I G H B O U R H O O D S I N S E C T I O N COMMUNAL QUALITY | STREET SCALE | OPENNESS
W
ith “In Section” as our studio brief title, we are challenging the dominant type of housing in Hong Kong nowadays, the podium tower. The design of the residential towers in Hong Kong is focused on the plan, and it is our goal to rethink that. We also focused on the method of making, which is cutting or subtracting. We worked with white foam as a medium, and the models are cut with the robotic arms at the fabrication lab at Department of Architecture, HKU. With a focus on designing in section, our group site is the central mid-levels escalator, which is one of the most iconic sections of the city of Hong Kong. We first analysed the site as a group, then picked our individual sites within it to continue developing our projects. In the end, we would each design a residential tower on our chosen site. My opinion on the podium tower is that it separates the residents from the street. With the podium at the ground as a large-scale block, the interaction between the housing units and the street is lost. With my interest in street-scale housing, I chose the Prince’s Terrace as my indivual site. When I was visiting the site, I was captivated by the communal
quality created by the low-rise tong laus. The internal street acts as the communal space between the two rows of housing, serving the small community enclosed by the building blocks. The small scale of the building allows the housing units to be directly connected to the street. Other than that, the thin building plot which is no deeper than 15m allows for a lot of openings for each unit, facilitating natural lighting and ventilation. Moreover, the circulation within the building is on the periphery, which provides desirable circulatory spaces which are well-lit and ventilated. These are qualities that I observed from the site and would like to preserve. Then, I cut the floor plans of the tong laus with the robotic arms, and looked at them in a sectional point of view. I saw a lot of potential in the unusual spatial qualities they generated. Sectional design distinguishes space without partition, allowing for openness as well as natural lighting and ventilation. The plan analysis and models cut by the robotic arms generated a range of spatial ideas, which were then developed into my final design. After further rationalisation and editing, the section of my residential
tower was generated. The leftover spaces are used as citculatory and communal public spaces. These corridors only serve the few floors above them, becoming small-scale streets in the sky where neighbours meet one another. A half-storey shift is introduced to minmise the space occupied by stairs within the unit, as well as to increase the openness inside the units. The units are separated by shear walls. The shear wall structural system and bris-soleil was inspired by the massing models specific to the method of making. Due to the thin depth of the building, the multi-storey units are allowed to have openings on both sides and therefore can get abundant light and ventilation. The facade consists of french/juliet balconies, which can be completely opened up or closed on both sides of the elevation. This not only promotes cross ventilation, but also social interaction. Residents can choose to open up their front doors entirely to blur the boundary between the home and the communal space. This strives to create a closer bond between neighbours, and foster a sense of community. | 3
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
4 | Group S i te A nal y s i s : Ce n t ra l to M i d - l eve l s E sca l a to r
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
Site Secti o n (To p) a nd Pl a n (Bot tom) | 5
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
6 | Group S i te M o de l i n 1 : 7 5 0
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
Expl o ri ng th e Po tentia l in To ng L a u P lan s | 7
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
8 | Princ e’ s Te r rac e Si t e P l a n ( Top : O r i g i n a l , Bot to m: N ew)
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
Ana ly s is a nd Ra ti o na lisa tio n o f Uni t Pla ns i nto Sect ion s | 9
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
1 0 | Massi ng M o de l s Cu t w i t h Hot w i re Rob ot i c Arm
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
Tw o- Si ded Fa ca de (To p: F ro nt E leva ti o n, Bo t to m: Rea r E levat ion ) | 1 1
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
1 2 | Le f tove r S pac e s : Com m u n a l Cor r i d or s W h e re N ei g h b o u rs Meet
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
Opennes s V S Priva cy / Blu rred Pu b lic- Priva te Bo u ndaries | 1 3
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
1 4 | St r uc tural a nd C i rc u l a tor y Ex p l od e d D i a g ram
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
F i na l Des ig n Sectio na l Mo del in 1:100 | 1 5
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
1 6 | Final D e si gn Se c t i on
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
F ina l Des ig n Mo men t s | 1 7
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
1 8 | Uni t Type Exam p l e F l oor P l a n s
HOUSIN G STUDIO | N E IGH B O UR H O O DS IN SEC T I ON
Uni t Ty pe Exa mple Expl o ded Di a grams | 1 9
FA L L 2 0 2 0 | Y E A R 4 S E M E S T E R 1 | H O U S I N G S T U D I O
MODULAR HOUSING
T U R N I N G
F A C E S
& O P E N
S P A C E S
O P E N S PA C E | E X T E R N A L C I R C U L AT I O N | R O TAT I O N
“S
o in the tropics, you would spend most of your time in the veranda, because this is where you experience the breeze, you experience nature, and you even enjoy the rain and so on, so forth, sitting in there. I think it’s only to sleep that you’re going to go inside a room.” - Kamal Malik The World’s Most Extraordinary Homes S02 E06, “India” (2018)
The site of this project, Tara Housing, is the first housing project in Delhi, India, commissioned by Tara Cooperative Society to rehabilitate the people affected by the 1947 partition, who had nowhere to settle down after their retirement from their professional lives. It is designed by Charles Correa, for the middle-class of Nehru centre, Tara Housing has 160 units and 375 persons per hectare. The housing complex is produced by the repetition and displacement of two types of units: 144 two-bedroom units and 16 three-bedroom units. Circulation to the upper units is supported by the characteristic external stairwells located along the central garden. The central garden created by the two strips of units consists
of communal courtyards and landscaping. The buildings turn their back on the external street to prevent pollution from noise to dust, thus providing a sense of protection and community. The dwelling units are arranged in a similar manner with row houses, where the central street is developed as a multifunctional landscape spine serving as a major circulation area and communal space. Displacement plays an important role in the design of Tara Housing, defining programme in different scales. The dwellings are formed by the combination of 3m x 3m x 15m massing blocks, through repetition and displacement. There is a sense of linearity in the whole housing complex, from unit size to overall planning. The objective of our design project is to add a minimum of 30% of existing units to the existing precedent site. In my design intervention, I wanted to provide more openings in each housing unit, as well as more small pockets of communal spaces. In my massing study, I also tried to raise the connectedness within the unit, as well as to create more open spaces as a response to the Indian climate and culture.
In my design, the addition is only building on top of the existing roof, and therefore is bounded by the area of the existing roof. This minimizes the impact on the overall site plan. However, the density of the addition is much lower, allowing for a luxurious amount of open spaces. A stairwell cluster forms one community penetrated by the external stairwell. There is a hierarchy between the open spaces, the most public being the public spaces generated by taken-away massing blocks. These then lead to semi-private front gardens which lead to the entrances of individual units. Lastly, the individual units also have balconies, which are private both spatially and visually due to the different orientation between massing blocks. In between the additional levels, there would be modular waffle grid as the structure. These wafle grids are placed according to the modular massing blocks, and define the spaces in individual units. Maximum openness is allowed on the facade, blurring the boundary between interior and exterior, as well as reduce the tightness of space within the narrow interior. | 21
FALL 2020 | YEA R 4 SE M E ST E R 1
2 2 | Ca se S tudy M o d e l i n 1 : 5 0
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
Ca s e Stu dy Mo del in 1:50 | 2 3
FALL 2020 | YEA R 4 SE M E ST E R 1
2 4 | Ca se S tudy A na l y t i ca l D i s p l a c e m e n t Di a g ram
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
Ma s s ing Mo dels : Experimenting wi th L inea r Blocks | 2 5
FALL 2020 | YEA R 4 SE M E ST E R 1
2 6 | Final D e si gn S i t e Roof P l a n
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
F i n a l D e s i g n St a i r w e l l Clu s ter Dia g ra m / Site Mo del & Des i g n Inter ventio n in 1:250 | 2 7
FALL 2020 | YEA R 4 SE M E ST E R 1
2 8 | Si te Pl an: N e w a n d O l d O ve r l a y
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
F ina l Des ig n Overa ll F l o o r Pl a ns / Ty pi ca l Uni t P lan s | 2 9
FALL 2020 | YEA R 4 SE M E ST E R 1
3 0 | Final D e si gn Se c t i on a l Pe r s p e c t i ve Dra w i n g
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
F i na l Des ig n Sectio na l Pers pective Draw in g | 3 1
FALL 2020 | YEA R 4 SE M E ST E R 1
3 2 | Final D e si gn Ove ra l l E l eva t i on s
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
To p: Interna l E l eva ti o n, Bo t to m: Externa l E l evat ion | 3 3
FALL 2020 | YEA R 4 SE M E ST E R 1
3 4 | St r uc tural a nd C i rc u l a tor y Ex p l od e d D i a g ram
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
F i na l Des ig n Mo del in 1:50 | 3 5
FALL 2020 | YEA R 4 SE M E ST E R 1
3 6 | Final D e si gn M od e l i n 1 : 5 0 M om e n t s
HOUSIN G STUDIO | TUR N IN G FACE S & O PEN SPAC ES
F ina l Des ig n Mo del in 1 : 5 0 Mo men t s | 3 7
SPRING 2021 | YEAR 4 SEMESTER 2 | 3D PRINTING ELECTIVE
3D PRINTED MATTER
T H E H O N E Y C O M B B R I C K S INTERLOCKING | PRINTING BED | POROSITY
In
this elective, I worked with two classmates, and we experimented with 3D clay printing and brick specials. Our goal is to design a new type of brick that has specific qualities and functions, and is unique to the 3D clay printing method of making. We would then assemble the bricks we designed to build a small wall. Going back and forth between the digital and physical media, we analysed and refined the printing paths so that they match each other. During this process, we came to understand more about 3D clay printing, colour mixing, air-drying, as well as firing, and have come to know the material well. On the other hand, we also learned to use the robotic arm to our advantage. Inspired by Stumbelbloc, a project in South Africa about interlocking bricks which aims to provide an affordable and easy way of construction, we wanted to explore the potential of interlocking bricks with 3D printing, so that people with limited skills and resources can build with these interlocking bricks that work almost like LEGOs. The three main considerations in our brick design are interlocking, printing bed, and porosity.
There are four main types of bricks, and they can be put together to form a wide range of curvatures, from a straight line to a closed circle. With 22.5 degrees as the modular angle, the four types of bricks can build a wall of angles of multiples of 22.5 degrees, creating a spetrum of possibilities. Users can experiment with these bricks to form any curvature they want. Other than the four main brick types, special half bricks are used as the base support and top cover, as well as side support. We used foam as a printing bed for the curved bricks. The foam bases were cut also using the robotic arms’ hot wire cutting method. Foam is a good material as a printing bed because clay sticks well on it and also detaches easily once dry. Due to the directional geometry of the bricks, different perspectives give different porosity and levels of privacy. The wall provides privacy and at the same time allows wind and light to penetrate through. However, clay is a rough natural material that is prone to deformation in the process of drying and firing. Therefore, we went back and forth from the digital models and the physical
printed bricls, 3D scanning them and measuring the deformations. Then, we altered the digital files and printing paths to compensate for the deformations found in the physical medium, via tapering and printing path calibration. In terms of colour, we aimed to produce three very distinct colours for the three curvatures of bricks. We wanted our brick types to be easily deciphered and distinguished to make construction even easier. Therefore, the colour mixing process was an important step in our design development. Our different colours are different mixtures of red, white and black clay. The final result was achieved after rounds of colour testing.
| 39
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
4 0 | Bri c k D e si gn: I n t e r l oc k i n g , P r i n t i n g Be d , Po ro s i ty , F l exib ility
3 D PRIN TIN G E L E CTIV E | TH E H O N E YCO M B BRI C KS
3 D Pri nting Mo ments / Ma s s Pro duct ion | 4 1
SPRIN G 2021 | Y E A R 4 SE M E ST E R 2
STR A IGHT-STRAIGHT
S TR A I GH T- C URV E D
4 2 | D i gi tal Pr i nti ng Pa t h s / Con s t r u c t i on Loos e- fi t Tes t
C U RV E D -S T RA I G H T
C U RV E D -C URV ED
3 D PRIN TIN G E L E CTIV E | TH E H O N E YCO M B BRI C KS
F ina l Wa ll Des ig n Mo del / Applica tio n Renderin g | 4 3
2017-2020 | YEAR 1 - 3
DESIGN STUDIOS
O T H E R S T U D I O P R O J E C T S A L AND OF CO NNE CT I ON V O I D | L I G H T | PAT H
T
his project started with the study of John Hejduk’s Lancaster/Hanover Masques. I understood my masque, the Farm Land, as an ever-changing, highly cooperative space with different subjects. Seasonal cycle greatly influence the activity of different subjects in the Farm Land, creating contrasts in terms of points of view. To show my understanding of the Farm Land, I used contrasting colours, paces and sounds in my one-minute stop-motion film to convey the seasonal changes of emotions. (Scan the QR code in the next page to watch the film.) In my design of the mediatheque, the qualities found in the Farm Land are preserved, including contrasting light and views, as well as connectivity. Our site, Matthaikirchplatz, located at the Kulturforum in Berlin, is the city’s centre of culture. The mediatheque is designed for refugees in the city to tell their story and make their voices heard, thereby connecting local Berliners and refugees. 44 |
FICUS CARICA
TIME | LIGHT | BIOLOGY
F
icus carica, the common fig, has a long history that traces back to at least 5,000 BC. One single fig contains thousands of tiny flowers enclosed in a “syconium”. Black Bursa, the fig studied in this project, is grown in Turkey and belongs to the Smyrna category that only has female flowers, and therefore depend on Caprifigs (male figs) and Blastophaga (fig wasps) to pollinate. In the symboltic relationship between figs and fig wasps, the wasps carry out pollination for Smyrna figs, while the Caprifigs provide nutrition and protection for the wasp larvae. It is an unfortunate fate for the wasps, but one that ensures the survival of both species. To understand nature, we must walk in its shoes. Therefore, in my final design, visitors of the pavilion would go through the life cycle of fig wasps in their perspective. While different spaces create different atmospheres for the visitors to experience, they also provide different environments for plants with different needs to grow in.
BOOK NOOK
W O O D | P O S T U R E | TA I LO R
S
itting is something we all do every day, but what is its definition? Lounging is my favourite sitting position. I love reading in this posture and I spend a lot of time in it, usually on the bed. However, prolonged sitting in this posture puts stress on the back, sole and bottom. Also, it is easy to slide downwards into an uncomfortable position. My chair was designed to solve these two problems, by changing positions via rocking, and providing support against sliding. Since we are bound by using wood as a material, the chair is built in a linear manner with wood sticks with a 20mm x 20mm section area. They are connected by bolts and screwed tight, and the joints were concealed during the final finishing process. The geometry forms a strong structure on its own, so not glue was needed to fix the shape. By being able to rock, the chair allows me to change the pressure points on my body without changing my posture. Also, the inclined foot rest prevents sliding.
ME DIATHEQ UE STUDIO | A L AN D O F CO NNEC T I ON
A
L A N D
O F
C O N N E C T I O N V O I D | L I G H T | PAT H
SPRING 2020 | YEAR 3 SEMESTER 2
MEDIATHEQUE STUDIO
F i na l Des ig n Overa ll Sectio na l Draw in g | 4 5
SPRIN G 2020 | Y E A R 3 SE M E ST E R 2
4 6 | One - m i nute S top - m ot i on F i l m
ME DIATHEQ UE STUDIO | A L AN D O F CO NNEC T I ON
Jo h n Hejdu k Ma s qu e a nd Berlin Ku ltu r fo ru m Analysis | 4 7
FALL 2019 | YEA R 3 SE M E ST E R 1
F I C U S
C A R I C A
TIME | LIGHT | BIOLOGY
FA L L 2 0 1 9 | Y E A R 3 S E M E S T E R 1
VEGETABLE STUDIO
4 8 | Inte r i o r V S Ex te r i or Vi s u a l i sa t i on
V EG E TABL E STUDIO | F ICUS C A RI C A
Ana ly ti ca l Dra wing o f F i g - Wa s p L i fe Cycle | 4 9
FALL 2019 | YEA R 3 SE M E ST E R 1
5 0 | Fig Pl a nt M i c ro s cop i c An a l y s i s
V EG E TABL E STUDIO | F ICUS C A RI C A
F ina l Des ig n Mo ments / Secti o na l Mo del in 1:50 | 5 1
SPRIN G 2018 | Y E A R 1 SE M E ST E R 2
B O O K
N O O K
W O O D | P O S T U R E | TA I LO R
SPRING 2018 | YEAR 1 SEMESTER 2
CHAIR STUDIO
5 2 | Po sture A nal yti ca l Dra w i n g / F i n a l D e s i g n Po s iti o n Overl a y
CHAIR STUDIO | B OOK NOOK
F ina l Des ig n Co ns tru cti o n a nd As s embly | 5 3
FREEHAND SKETCHING | FILM PHOTOGRAPHY @ _ C L A R T S | @ _ P O S T C A R D S F R O M F A R AWAY
M Y H O B B I E S
5 4 | Fre e h and S ke tch for Ne i g h b ou r h ood s I n Se ctio n Pro ject
@_POSTCARDSF ROMFARAWAY | F ILM PH OTOGRA PHY
Sh o t o n N i ko n F M2 / 2 0 1 9 -2020 | 5 5
SUMM ER 2020- 21 | @ _ C L ART S
5 6 | Se e M o re o n @ _ c l a r t s on I n s t a g ra m
E V E RYDAY DRAWIN G CHAL L E N G E | SKETC HES
3 0 - Da y Every da y Dra wi ng Ch a l leng e in Su mmer 2020 | 5 7