The Rebirth of Peng-Design Realisation Portfolio

OPEN THE MONSTER EYE --Resurrection of Peng Design Realisation Report Chuxiao Wang|Unit 12|Year 4 Johnathan Hill | Elizabth Dow James Hampton | James Nevin | Ben Leary Pedro Gill | Stefan Lengen May 2020

CONTENT

Section 1 BUILDING FORM, SYSTEMS, PLANNING & CONTEXT

Section 2 BUILDING CONSTRUCTION

1.01 OPEN THE CABINET OF CURIOSITY

2.01 MATERIAL STRATEGY Surrounding Resources Study

1.02 FROM A CITY TO A MONSTER, FROM A MONSTER TO A GIANT 1.03 ZOOM IN TO THE BIRD PENG 1.04 GENERAL BACKGROUND OF PENG'S HABITAT Ⅰ Site Constrains & Local Context 1.05 GENERAL BACKGROUND OF PENG'S HABITAT Ⅱ To See and Be Seen 1.06 ENVIRONMENTAL CONDITIONS OF PENG'S HABITAT Ⅲ Environmental Conditions 1.07 BODY COMPOSITION OF PENG Ⅰ Material Strategy 1.08 BODY COMPOSITION OF PENG Ⅱ Material Palette

Section 3 BUILDING PERFORMANCE

Section 4 BUILDING DELIVERY

3.01 ENVIRONMENTAL STRATEGY OVERVIEW

4.01 CLIENT AND FINANCIAL CONTEXT

3.02 ACOUSTIC STRATEGY

4.02 CONSTRUCTION PHASES AND ROLES

2.02 THE PRIMARY STRUCTURE

3.03 THERMAL COMFORT Peng's skin regulates internal temperature

4.03 CONTRACTUAL RELATIONSHIPS Contracts for Two Types of Constructions

2.03 WING CONSTRUCTION Ⅰ Structure

3.04 LIGHTING STRATEGY

4.04 COMMUNICATION

2.04 WING CONSTRUCTION Ⅱ Mechanism

3.05 VENTILATION Peng's Breath

4.05 CONSTRUCTION TIMELINE

2.05 WING CONSTRUCTION Ⅲ Skin Fabrication

3.06 WATER MANAGMENT

2.06 WING CONSTRUCTION Ⅳ Muscle Fabrication 2.07 SKIN DETAIL 2.08 WOOL FABRICATION

1.09 BODY COMPOSITION OF PENG Ⅲ Crafts Strategy

2.09 WIND SENSOR MECHANISM Application of physical model - "Little Peng"

1.10 ONE DAY OF THE POET Programmatic Activities

2.10 TAIL CONSTRUCTION

1.11 ORGANISATIONAL STRATEGY Spatial Layout and Activities 1.12 THE EXPERIENCE OF FLYING 1.13 PENG'S SKIN AND BREATH 1.14 PENG'S EYES Fire and Light Strategies 1.15 THE RETURN OF PENG Delivery Strategy: Contractors, Crafts and Community

General Arrangement Drawings Existing Site Plan 1:5500 Proposed Site Plan 1:400 Section 1:25 Plan A 1:20 Plan B 1:20 Plan C 1:20

2.11 BEAK CONSTRUCTION

4.06 PENG'S AGING Space Maintenance

Bibliography

SECTION 1 BUILDING FORM, SYSTEMS, PLANNING & CONTEXT

“God speaks through all things and everywhere there are spirits – though to keep like intelligible we lock these off. ” -- <Fanny and Alexander>, Ingmar Bergman, 1982

1.01 OPEN THE CABINET OF CURIOSITY This story began on an ordinary evening, I was walking along the Thames as usual.

Something shimmering on the bank caught my attention -- it like a mysterious underwater beast that had slipped into the human world--it slightly rose and fell, seemed to breathe. On closer inspection, it appeared to be something shaped like a ship, with a large strange suitcase lying on. Inside the suitcase was a mess of strange pieces and objects, like a scrambled puzzle. This is what I am going to reveal in Design Realization -- another real world.

Archive of some pieces and objects

1.02 FROM A CITY TO A MONSTER, FROM A MONSTER TO A GIANT

Sources: https://www.independent.co.uk/environment/47-per-cent-of-london-is-green-space-is-it-time-for-our-capital-to-become-a-national-park-9756470.html https://digimap.edina.ac.uk/

Through a map on a piece of scale (archive No.024 and No.025), a strange city unfolds. In this city, each natural land is a giant monster phantom, and each giant phantom consists of small souls. Living things are constantly nested, and each little life is part of another big life. Taking the Regent's Park and Primrose Hill as an example, the whole place was haunted by the ghost of a huge monster.

However, if we focus on the monster's eyes, we will find a giant lying inside, and when we look closely at the giant, many small monsters would appear on its body.

Archive No.025 - Monster's skin

Archive No.024 - A piece of monster's scales

Archive No.002 Monster ghost in the Regent's Park and Primrose Hill

Archive No.003 Zoom into the monster's eye

The whole view of the giant (From left to right: Archive No. 008 - Head of giant, No. 014 - Chest of giant, No. 068 - Belly button of giant, No. 087 - Legs of giant)

London Greenspace map (Inner London)

Focus of DR report

1.03 ZOOM IN TO THE BIRD PENG Poet's home

Inside the giant's body lived a poet. They are lovers and take care of each other during the poet's life. They stare with light, comfort with rain, whisper with the wind. Every detail of the giant is a record of their emotion.

The focus of this report is the giant's belly button, where the two lovers whisper through the wind. It is called Peng——a bird-like monster, the endorsement of the wind god. Here, the poet feels his lover through the Peng breathing and returning with poems, songs and stories. This DR report examines how to reconstruct this space on the top of Primrose Hill, recall the phantom of monster, giant and poet in a mysterious world.

Poet's gallery

Poet's writting room

Poet's theatre

Focus of DR report Archive No.020 - A portrait of the poet

Archive No.010 - A drawing of the giant

THE SONG OF PENG In the northern ocean, there is a fish, called the Kun, I do not know how many thousand miles in size. This Kun changes into a bird, called the Peng. Its back is I do not know how many thousand miles in breadth. When it is moved, it flies, its wings obscuring the sky like clouds.

When on a voyage, this bird prepares to start for the Southern Ocean. When the Peng flies southwards, the water is smitten for a space of three thousand miles around, its breath forms a great wind, while the bird itself mounts upon the wind to a height of ninety thousand miles, for a flight of six months' duration.

And for this bird, a depth of ninety thousand miles is necessary to bear it up. Then, gliding upon the wind, with nothing save the clear sky above, and no obstacles in the way.

There mounting aloft, the bird saw the moving white mists of spring, the dustclouds, and the living things blowing their breaths among them. It wondered whether the blue of the sky was its real colour, or only the result of distance without end, and saw that the things on earth appeared the same to it.

A cicada and a young dove laughed, saying, "Now, when I fly with all my might, 'this as much as I can do to get from tree to tree. And sometimes I do not reach, but fall to the ground midway. What then can be the use of going up ninety thousand miles to start for the south?"

The fungus plant of a morning knows not the alternation of day and night. The cicada knows not the alternation of spring and autumn. How could momentary exist realize eternity?

The cicada and the young dove asked him, “Now, why didn't you fly directly to the edge of the universe, but stopped at this small and normal place?” I fly 800 kilometres by the wind every day, breathing with all living beings. With the earth to travel 40 thousand kilometres, with the Galaxy to swing in the boundless universe.

What’s the difference?

Eternity is not an answer, it is in the process. Follow the nature of the universe, roaming through the realms of the infinite, upon what, then, would such a one have to need to depend?

However, Peng is only a part of a larger life.

1M Reconstructing the phantom of Peng

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The whole view of the giant

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1.04 GENERAL BACKGROUND OF PENG'S HABITAT Ⅰ Site Constrains & Local Context

Sources: http://bq.blakearchive.org/17.3.taylor https://www.royalparks.org.uk/parks/the-regents-park/things-to-see-and-do/wildlife/birds-of-regents-park 26m 29m https://en.wikipedia.org/wiki/Primrose_Hill

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Primrose Hill is a hill of 64 metres (210 ft) located on the northern side of Regent's Park in London.[2] The name was given also to the surrounding district. The hill summit has a clear view of central London, as well as Hampstead and Belsize Park to the north and is adorned by an engraved quotation from William Blake. Nowadays it is one of the most exclusive and expensive residential areas in London and is home to many prominent residents.

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There is an etching at the top of Primrose Hill featuring lines attributed to poet William Blake: “I have conversed with the spiritual Sun. I saw him on Primrose Hill”

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The Primrose Hill district is surrounded by St John's Wood to the west, Swiss Cottage to the northwest, Belsize Park to the north, Chalk Farm to the northeast, Camden Town to the east and Regent's Park itself lies adjacent to the south of the hill itself. The nearest stations to Primrose Hill are Chalk Farm tube station to the northeast and Swiss Cottage tube station to the northwest. The defunct Primrose Hill railway station sits on the railway lines that separate the Primrose Hill area from Camden Town.

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Amenities of the hill include an outdoor gym known as the Hill Trim Trail, a children's playground, and toilets, all located on the south side near Primrose Hill bridge which connects to London Zoo and Regent's Park.

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Archive No.013 - a drawing of a view from the monster's eye

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Primrose Hill is apparently the highest spot in London, it was also the site of a Druid procession in 1792, and every year thereafter. The Welsh poet and lexicographer Edward Williams (Iolo Morganwg, 1747-1826) was convinced that the bardic traditions of his native Glamorgan had preserved the true esoteric lore of the Druids. He accordingly devised a ritual called the Gorsedd of Bards, which involved the ceremonious sheathing of a naked sword inside a magic circle of stones.

With a small group of fellow Welshmen that included Blake’s friend William Owen, he performed this rite on Primrose Hill at the Autumn Equinox of 1792. There are a couple of contemporary references to the meeting. A lengthy account, giving details of the ritual, was published in The Gentleman’s Magazine, 62 (October, 1792), 956:

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View from Primrose Hill

Saturday, Sept. 22.

This being the day on which the autumnal equinox occurred, some Welsh Bards, resident in London, assembled in congress on Primrose Hill, according to ancient usage, which requires that it should be in the eye of public observation, in the open air, in a conspicuous place, and whilst the sun is above the horizon. The wonted ceremonies were observed. . . . On this occasion the Bards appeared in the insignia of their various orders. The presiding Bards were David Samwell, of the primitive, and claimant of the ovation order; William Owen, of the ovation and primitive orders; Edward Jones, of the ovation, and claimant of the primitive order; and Edward Williams, of the primitive and druidic orders. The Bardic traditions, and several odes, were recited. . . .

① Primrose Hill ② ZSL Londo Zoo ③ The Regent's Park ④ Queen Mary's Rose Gardens ⑤ Bird sensonal immigration ⑥ Regent Canal27m ⑦ Boating Lake

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Left：the view from bottom to top Right: T he view from top to bottom

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1.05 GENERAL BACKGROUND OF PENG'S HABITAT Ⅱ To See and Be Seen

Sources: https://digimap.edina.ac.uk/roam/download/os https://www.zsl.org/sites/default/files/media/2019-08/London%20Zoo%20Map%20February%202020.pdf https://www.cityoflondon.gov.uk/services/environment-and-planning/planning/heritage-and-design/Documents/protected-views-spd-january-2012.pdf

There are the thirteen vistas protected by the London View Management Framework, two of them are envovled with Primrose Hill, one is from the summit of Primrose Hill to St Paul’s Cathedral, the other is from the summit of Primrose Hill to the Palace of Westminster. The effect of a protected view is to preserve the ability to see the landmark as a focus of the view.

As a monster, Peng is a spiritual guide for the animals nearby who symbolizes freedom and strength. Animals in London Zoo can see it from a certain location. More and more protected views from animal to monster will be arised.

New protected views ZSL London Zoo is located in The Regent's park, about 400 metres away from Peng, and the view of Peng and his friends at the zoo watching each other should be protected. Taking four animals as examples, Photos and diagrams on right side show the protected sight line connected with Peng.

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Protected view in City of London

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Peng's Height

Giraffe Height

ZSL London Zoo

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② View from Emu St. Paul's Cathedral

Heightest point Emu can reach in the Zoo

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③ View from Tiger Heightest point Tiger can reach in the Zoo

Peng's Height

New protected view Existing protected view

Palace of Westminster

Future Plan When all the monsters of London are resurrected, the sightline from monster to monster will also be protected.

④ View from Birds

Heightest point birds can reach in the Zoo

St. Paul's Cathedral

Palace of Westminster

Peng's Height

1.06 ENVIRONMENTAL CONDITIONS OF PENG'S HABITAT Ⅲ Environmental Conditions Located within the centre of London, the small hill shows a typical feature of London's weather. London has a temperate oceanic climate. The environmental strategy expanded on here and further in section 3 is one that explores responses to seasonal temperatures and strong winds.

Sources: https://www.researchgate.net/ https://en.wikipedia.org/wiki/Climate_of_London https://www.worldweatheronline.com/lang/en-in/primrose-hill-weather-averages/camden-greater-london/gb.aspx

Temperature:

Wind:

Summers are generally warm, sometimes hot. London's average July high is 24 °C (74 °F). On average each year, London experiences 31 days above 25 °C (77.0 °F) and 4.2 days above 30.0 °C (86.0 °F) every year. Winters are generally cool with little temperature variation. London's average December low is 2.7 °C (36.9 °F). Heavy snow is rare but snow usually happens at least once each winter. Spring and autumn can be pleasant. Straw is used as an insulation material to keep the indoor temperature stable and ventilated in summer.

In winter, the interior has detachable wool for insulation.

Besides, the heating equipment could also provide heat.

Whilst the building is not connected to an electricity main, the proposal uses a stack ventilation system, with a circulation of air that moves through openings located at roof level. As hot air travels up, fresh air is pulled in, creating a constant flow of fresh air.

The proposal sits on the top of the Primrose Hill and experiences winds that travel from the south-west to northeast of the site. Due to the elevation of the terrain, the wind power of the base is strengthened. Facing southwest, Peng is better able to take advantage of the prevailing wind direction and extend its wings, then slightly lift the whole body.

Archive No.012, No.019 - Two pieces of Peng 's skin

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Wind direction distribution in year (%)

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The overarching strategy of the scheme is to keep costs low and to be resourceful in sourcing materials that are either locally grown or found. Thus, most materials are from The Regent's Park and Primrose Hill. Since Peng is a monster and many animal skins were found in the suitcase, this space will use animal materials with the support from ZSL London Zoo.

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Sources: https://www.royalparks.org.uk/__data/assets/pdf_file/0009/59364/Trees-in-The-Regents-Park.pdf https://www.zsl.org/zsl-london-zoo/exhibits https://www.royalparks.org.uk/parks/the-regents-park/things-to-see-and-do/wildlife

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1.07 BODY COMPOSITION OF PENG Ⅰ Material Strategy

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Local fish monger - whole fish skin to make Peng's wings

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The neighbors - the hair of domestic pets

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ZSL London Zoo - the hair of animals

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Archive No.028 a fragment of Peng's wings The Regent's Park - lawn thatch for outside insulation

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The Regent's Park - different woods for making structure White Oak

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Archive No.019 a piece of Peng's skin

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Blue Atlas Cedar

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Archive No.012 a piece of Peng's skin

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White willow & English yew tree

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Archive No.025 a piece of Peng's skin

Boatinig Lake: Bird feather, park's ornamental waterfowl feather and fish skin

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Archive No.030 a piece of wood bone

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Proposal site

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1.08 BODY COMPOSITION OF PENG Ⅱ Material Palette Material Palette is used throughout the construction and structural arrangement of the Peng.

The overarching strategy of the scheme is to keep costs low and to be resourceful in sourcing materials that are either locally grown or found.

① Thath

② Blue Atlas Cedar

③ English Yew tree

④ White Willow

⑤ Soil mixed with cob

⑥ Copper

⑦ Feather

⑧ Fish skin

⑨ Steel wire

⑩ Animal wool

11. Cherry tree

12.White Oak

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1.09 BODY COMPOSITION OF PENG Ⅲ Crafts Strategy

Sources: https://heritagecrafts.org.uk/

The proposal aims to revive intangible crafts' culture through the construction and structural strategy.

The building assumes the role of craftsman and learner, learning from the immediate context and lineage of crafts and heritage.

Then the role as a craftsman, offering learners the opportunity to learn and play an active role in the revitalisation of these traditional practices. The leaners body includes local and ordinary people who are interested in handicrafts and Peng's story.

The building proposal aims to transfer these skills in nontraditional ways, combing and hybridising the various crafts and skills to create new and unexpected forms and material compositions.

All of the crafts applied to Pneg's construction are from The Heritage Crafts Association.

① BASKET MAKING

② THATCHING

③ CARPET AND RUG WEAVING

④ COPPERSMITHING (OBJECT)

⑤ WOOD CARVING

Basketry is widely believed to be the oldest craft in the world, dating back ten to twelve thousand years and predating pottery. Britain was renowned for skilled basketry, and large quantities were exported to Rome. Somerset, with wetlands suitable for willow beds, was the heart of Britain’s willow industry. The Industrial Revolution heavily influenced willow production and basketmaking, creating a higher demand of willow. This lead to the plantation of over 3,000 acres in the early 1800s.

Thatch, which goes back as far as the Bronze Age, was the most commonly used roofing material in Britain until the seventeenth century. Historically, all sorts of buildings were thatched, not just inhabited dwellings.

Later on, in the nineteenth centur y, the picturesque movement led to a surg e in thatched follies and summerhouses etc.

T he craft of car pet and r ug weaving is essentially a sub-craft of handweaving in which a thick, strong, fabric is created. The UK has a long history of carpet design, weaving and manufacture with industrial production dating back to the seventeenth century. Most carpets are knotted or woven with pile. Flat woven rugs were first made in the UK in the 1870s by William Morris. Rug weaving is an occupation requiring just one person to design and make, therefore taking a lot of time to make. There are now few people who design and weave rugs in the UK – it is more common to be a rug designer with the manufacturing done abroad.

Coppersmithing in the UK dates back to the Bronze Age, with the production of copper goods for functional and decorative purposes.

Wood carving dates back to when we learned how to make sharp tools. The earliest examples are lost to the decay of the material. Some may consider that wood carving achieved its pinnacle in the UK in the late-17th century with the naturalistic style of Grinling Gibbons and his contemporaries. There have however been exceptional carvers in all the periods between then and now.

The number of basketmakers began to fall in the nineteenth century: 14,000 professional basketmakers were recorded in 1891, falling to 5,500 by the mid-1930s. It is unclear how many professional basketmakers there are today, but the numbers are thought to be around 200.

APPLICATION IN BUILDING The building will offer opportunities for the local crafts of weaving and basketry to be adopted in the construction methods of the mainframe of the building, together with the steam-bending oak wood to strengthen the structure. The dense hollow wicker will help insulate the house.

Thatch began to decline in popularity from the seventeenth century as other roofing materials, such as slate and clay tiles, became more widely available. Thatch remained the cheapest roof covering in some parts of England until the 1920s. Furthermore, as villages grew into towns, the rationale of thatch was last.

APPLICATION IN BUILDING The material used depended on what was locally available, e.g. brushwood, turf, heather, broom, water reeds or straw. In this proposal, the long straw would be the easiest material to get in The Regent's Park. Besides the roof, thatching craft will also be applied to the whole body of Peng's to protect rainfall and keeping pleasant temperature.

APPLICATION IN BUILDING The craftsman will apply raw wool to the interior insulation system. By combining different technics such as tufted rugs, rag rugs and felting, a variable pattern could be shown on the interior wall. Exposing raw wool makes the interior more animal-like vivid, also challenge the aesthetic value of insulation material.

It is easy to find applicable wickers in The Regent's Park. It is also the easiest to use because when soaked in water, it becomes quite flexible.

Furthermore, it comes in different sizes and lengths. In some cases, thin flexible twigs from trees or bushes, such as turpentine tree, monks’ tree and the wild olive tree are used together with wickers.

Summer Palace (2009) by Patrick Dougherty, Morris Arboretum

Thatch house in Norway by Gartnerfuglen and Mariana de Delás

Project Hello Wool (woolhouse) by AU Workshop + Marton Low

Ornamental copperware flourished in the UK during the Arts and Craft movement.

Coppersmithing as a hand skill began to decline during the wars as men and metal went to munitions and never recovered as a handcraft. It began to decline further in the 1970s when those working in the sheet-metal trade took on much of the coppersmith’s work leaving a limited trade for coppersmiths APPLICATION IN BUILDING The coppersmith draws on the skills of the blacksmith, silversmith, turner, spinner, sheet metal worker and tinsmith. Coppersmithing incorporates numerous techniques such as hand raising, hand blocking out, annealing, hand pierces, stone setting, panel beating etc. As a result, the technology can be applied flexibly to some small structures and decorations of buildings. In this project, coppersmithing was mainly used to make Peng's tail. It is easy to shape and link, which can make its tail move freely. Besides, the craft is also used for detailed joining of other mechanisms.

Copper belfry of St. Laurentius church, Bad Neuenahr-Ahrweiler

Wood carvers today fall into two groups, amateur and professional. The amateur or hobbyist carving group is thriving with many participants taking it up in later life. This group depends solely on their own enthusiasm. The professional group has been in decline in the early-21st century.

APPLICATION IN BUILDING Much like the larch shingles and ornaments on the Borgund Stave Church in Norway, there is an opportunity for this craft and skill to be celebrated in both the facade and furniture of the building proposal.

A construction method that lends itself well to the curvatures of a chimney design, like two horns of Peng's. Delicate woodcarving techniques will also be used in interior details, such as tables, chairs, armrests, etc.

Borgund Stave Church, Norway

1.10 ONE DAY OF THE POET Programmatic Activities The poet climbed to the entrance along Peng's 6-meter-long leg.

Through the thick curtains, he climbed barefoot up a narrow ramp, as if he could feel the bones through the soft felt under his feet. Wool was rubbing his shoulders in Peng's narrow body.

The poet sat gently in his ear, stroking the sleeping pupa. He was waiting for that voice, even though he expected it thousands of times. Suddenly, Peng began to sing, the wind was sucked from its mouth, and the small bird jumped into the air. It is time to turn the gear. Peng raised its wings, flying smoothly in the wind. The poet slowly spread his arms, swaging with the wind.

It brings the giant's hug and love in through every detailed taste and rhythm. Finally, the memory left the body along the tail and dissipated in the wind with Peng's breath.

Peng's body (plan and elevation )

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1.11 ORGANISATIONAL STRATEGY Spatial Layout and Activities

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1.12 THE EXPERIENCE OF FLYING

Sources: https://www.britannica.com/science/human-skinhttps://paraventureparagliding.satora.co.uk/principles-of-flight/

Flight is a dance with the wind. Working with a dance partner is crucial.

As with the paragliding experience, flying requires learning to read the language of the wind. The wind carries the wings, the wings hold the ropes, and the poet feels the power of the wind through the tension of the ropes.

The poet judges the wind by looking at the small birds(2) on the table. When the wind is strong, the bird is pulled up off the table by a sensing device(1) and leaps into the air. The poet turned the gears(3) on his chair, driving the moving pulleys(4) on Peng's wings, which were slowly pulled up. The spread wings drive the body, swaying gently in the wind.

I was practicing paragliding

① Wind sensor ② Bird toy ③ Geers ④ Pulleys

The principle of paragliding 65m

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1.13 PENG'S SKIN AND BREATH

Sources: https://www.britannica.com/science/human-skin

Peng's skin can adjust its thickness to the weather.

Peng's breath brings song, brings wind, brings poetry.

Peng's skin is divided into three layers. A epidemis layer made from thaych, a dermis layer made from willow and Oak, a fat layer made from wool. In winter, a layer of fat made from wool acts as an insulation. In the summer, the fat layer can be rolled up for ventilation, cooling down.

The Aeolian god entered Peng's body with Peng's inhale. The wind came to whirl in the poet's ear. Then follow Peng's tail and bring the poem back to the wind.

A schematic cross-section of human skin

A schematic cross-section of Peng's skin Epidemis(thatch)

Dermis (willow and oak)

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① The wind blows the flute ② The wind blows through Peng's body ③ Wind paddles the wind sensor

1.14 PENG'S EYES Fire and Light Strategies

Sources: https://slideplayer.com/slide/9926698/ https://www.velux.co.uk/products/sun-tunnels https://deciwatt.global/gravitylight https://fireescape.co.uk/high-rise-fire-escape-systems/

Peng has two eyes, one that glows and one that cries.

LIGHT STRATEGY

FIRE STRATEGY

Inside Peng's body was narrow and gloomy; Peng worked at sunrise and rested at sunset. Its would-be glowing eyes face south. During the day, it brings the sun's rays inside. At night, Peng would close his eyes and sleep. At this point, the poet can only get a brief glimmer of light with a gravity-sensing lamp.

When it comes to fires, PENG will shed tears of grief over his injuries. Some of the tears are outward and some of the tears are inward. Tears flowing inward protected the poet and his manuscript.

The Human Visual System Diagram

German copper engraving of the Mother of Sorrows, depicting a tearful Mary with seven swords piercing her heart. These stand for the seven sorrows she endured during her life

Sun tunnel diagram

Sun tunnels are an inexpensive solution to bringing light into a home where there is limited space for a rooflight. They feature a panel that sits discretely on the outside of a roof, a highly reflective tube channeling sunlight into the room, and a diffuser that disperses light naturally. Compared to conventional skylights and other windows, offer better heat insulation properties and more flexibility for use in inner rooms.

Crying eye - top view

Crying eye - scction

Diagram locating rain collector and waterstorage, when it comes to fire, it may release its contents over the facade and inside of the building by spray pumps, extinguishing any potential fires.

LIght and fire strategies layout

Gravitylight rendering

Gravitylight working principle

GravityLight is a gravity-powered lamp designed by the company Deciwatt for use in developing or third-world nations, as a replacement for kerosene lamps. It uses a bag filled with rocks or earth, attached to a cord, which slowly descends similar to the weight drive in a cuckoo clock. As the bag slowly falls to the ground it drives a generator through a gearbox, which provides direct electrical power for an LED, creating 20 minutes of light.

High-Rise Fire Escape Systems

Peng also has High-rise fire escape systems for the poet, which is located at the entrance. It provide a range of entirely self-contained lowering systems which can be adapted to rescue people from any height of up to 100 floors. It adjusts to the user's weight and lowers them down to earth at speeds of between 1 and 1.5 meters per second. The poet will be safely on the ground in about six seconds.

The glowing eye Gravitylight Spraying equipment Range of indoor tears High-Rise Fire Escape Systems

1.15 THE RETURN OF PENG Delivery Strategy: Contractors, Crafts and Community The contractors' strategy is one that is socially and culturally driven, seeking to engage the local community and local skills to revitalise a culture of craftsmanship and community.

There are three key phases within the construction process of Peng (discussed expansively in Section 4), Phase 1 utilises contractors of a traditional kind, trained and professional, who is responsible for sourcing materials, and constructing the main building frame of Peng. However, Phase 2, takes an alternative approach towards construction using a group referred to as The ‘Unprofessional’ Contractor. They are professional craftsmen in the UK and amateurs from the local community. They will handmake different parts of Peng's body separately. In Phase 3, these two groups of contractors will work together to combine, suspend and test the whole space.

Participants:

Storyteller + Animism + Architect

Craftman Artist Community Poet Architecture enthusiast Theology enthusiast ...

Traditional contractor Structural engineer M&E enginneer Construction team ...

Construction of wings and legs

Organs and skin's making

Organs and skin connect to the main body

Wood bending Willow weaving ...

Wood bending Fish skin stitching woodworks ...

Wood carving Coppersmithing Thatching Carpet weaving ...

Wood carving Coppersmithing Thatching Carpet weaving ...

Professional engineer Craftman

Craftman Amateurs

Craftman Amateurs

Professional engineer Craftman

Regular maintenance

Test mechanism

Connect the wings and legs

Professional engineer Craftman

Professional engineer Craftman

Peng's body building

Technical requirements:

Design and build contractor

Contract Administrator

Test mechanism

Professional engineer Craftman

Set up the primary structure and suspend the body in the air

All crafts mentioned above Professional engineer Craftman Amateurs

Professional engineer

GA ———— Existing Site Plan 1:5500 Proposed Site Plan 1:400 Section 1:25 Plan A 1:20 Plan B 1:20 Plan C 1:20

③

②

①

Proposed site ① The Regent's Park ② ZSL London Zoo ③ Primrose Hill Site Plan 1:5500

65m

60m

Proposed Site Drawing 1:300

Section 1:25 ① Cherry tree ② Rain storage ③ Pulley wheel ④ Book holder ⑤ Pupa table ⑥ Chain wheel ⑦ Ear chair ⑧ Exit for the poem

A

⑨ Wind tunnel ⑩ Stove 11. Wind sensor 12. Little bird

①

13.Wings

+11.000

14. Ladder 15. Entrance 16. Cable

②

17. Wood column 18.Tail

③

⑨

B

④ ⑧

⑩ 12

16 ⑥ ⑤

15

⑦

+7.400 C

11 17

+6.700

14 13

0.000

③

①

④

②

⑤

⑥

① Cherry tree ② Southwest facing indow guards ③ Rod for holding pulley wheel ④ Wing ⑤ Chimney ⑥ Beak for singing and breathing

Plan A 1:20

⑨

③

② ④ ①

⑤

⑦

⑧

⑥

① Pupa table ② Ear chair ③ Chain wheel ④ Book holder ⑤ Stove ⑥ Small Window ⑦ Wind Sensor ⑧ Beak ⑨ Exit for the poem

Plan B 1:20

④

①

③

②

① Entrance ② Ladder ③ Wing

Plan C 1:20

SECTION 2 BUILDING CONSTRUCTION The following section of the report primarily focuses on the design principles, details and construction methods used within the construction, with an overarching agenda to utilise and apply variety crafts, taking care to consider the materiality and narrativity used within construction.

I make all my decisions on intuition. I throw a spear into the darkness. That is intuition. Then I must send an army into the darkness to find the spear. That is intellect.

--Ingmar Bergman

2.01 MATERIAL STRATEGY Surrounding Resources Study

Sources: https://symbolsproject.eu/explore/plants-and-vegetations/cedar-tree.aspx http://treesforlife.org.uk/forest/mythfolk/yew.html http://badger.uvm.edu/omeka/exhibits/show/uvmtrees/whiteoak/whiteoaksymbolsandscaredtradit https://www.therapixie.com/where-i-work/therapixie-s-treatment-room/

This report is geared towards sourcing the materials need in the construction process and as explained in the table (right) the rich diversity of the parks offers a variety of different materials.

This material study is made to gain a strong understanding of the qualities and potentials of each of the materials surrounding the site, investigating how they will applied in the construction process explored in section 2.

Fish skin

Blue Atlas Cedar Feather Animal wool Blue Atlas Cedar White Oak English Yew White Willow

Mythology&Symbolic meaning: As with other conifers, due to their shape that points to the sky (heaven), cedar trees are often used as a symbol of immortality and elevation. They are sometimes associated with Mary (the Assumption of the Virgin Mary into Heaven).

Workability: Easy to work with both hand and machine tools. Holds paint well. Stains, glues, and finishes well.

Typical Use: Boatbuilding, carving, siding, shingles, and construction lumber.

Use within Proposal: Used in the construction of the substructure

Straw

Supplier: The Regent's Park

White Oak Tree

Mythology&Symbolic meaning: The Druids used oak trees in spells for stability, safety, strength, and achievement. In North American culture, white oaks are a historical symbol of peace and calmness. Many communities have planted white oak trees to create a calm space and a sense of place. The white oak often symbolizes rebirth or serenity.

Workability: Produces good results with hand and machine tools. Has moderately high shrinkage values, resulting in mediocre dimensional stability, especially in flatsawn boards. Can react with iron (particularly when wet) and cause staining and discoloration. Responds well to steambending.

Typical Use: Cabinetry, furniture, interior trim, flooring, boatbuilding, barrels, and veneer.

Use Within Proposal: Steam bent wood for structural frame, ladder and wing's frame.

English Yew Tree

Mythology&Symbolic meaning: The yew tree is another of native trees which was held sacred by the Druids in pre-Christian times. They no doubt observed the tree’s qualities of longevity and regeneration, and the yew came to symbolise death and resurrection in Celtic culture. The custom of yew shoots are buried with the deceased, and boughs of yew being used as ‘Palms’ in church at Easter.

Workability: Overall, an easy wood to work, though knots and other grain irregularities can pose a challenge. Yew glues, finishes, and turns well.

Typical Use: Bows (archery), veneer, cabinetry, furniture, carvings, musical instruments (lutes), and turned objects.

Use within Proposal:Tables, Chair, Bookshelves and other funitures.

Supplier: The Regent's Park

Supplier: The Regent's Park

Lincoln Longwool

Mythology&Symbolic meaning: Sheep, like goats, are associated with Christmas in folk tales told across northern Europe and the British Isles.

On Christmas eve, these tales report, all sheep face east, bow three times, and are gifted with the power of speech from the stroke of midnight until the rise of the sun. This holy ritual cannot take place under the gaze of human beings, but provided the sheep are unobserved and unaware, their conversations can be overheard.

Workability:The largest British breed, producing the heaviest, longest and most lustrous fleece of any breed worldwide. Docile, hornless, with dark ears, its white face has a broad forelock of wool and its legs are white and woolly.

Straw

Mythology&Symbolic meaning: Ancient Armenian mythology called the Milky Way the "Straw Thief's Way". According to legend, the god Vahagn stole some straw from the Assyrian king Barsham and brought it to Armenia during a cold winter. When he fled across the heavens, he spilled some of the straw along the way.

Workability: Threshed straw is shaken into a layered bed; it is carefully wetted and left to steep. Once the material is pliable it can then be formed into ‘yealms’. Long straw yealms are laid and fixed into place, surface rods are used to secure the eaves and verges.

Typical Use: Thatched Roof

Typical Use: Mostly in carpet blends.

Use within Proposal: Exterior decroation and insulation layer.

Use Within Proposal: Interior decroation and insulation layer.

Supplier: The Regent's Park and suburban farms.

Supplier: ZSL London Zoo, suburban farms and domestic pets in the neighborhood (for maintenance).

Willow Branch

Mythology&Symbolic meaning: All willows were seen as trees of celebration in biblical times, but this changed over time and today willows are more associated with sadness and mourning.

Workability: Willows are prized for their slender, flexible stems, which have been used for many years to weave baskets and ‘cribs’ for animal food. Larger stems were traditionally used to make small sailing boats.

Salmon Fish Skin

Mythology&Symbolic meaning: Salmon is surrounded by a rich web of myth and culture in Scotland and beyond. The Celts associated the salmon with wisdom. In Irish myth the salmon of knowledge swam in the Well of Segais, and ate the magical hazel nuts that fell into the water.

There was a prophecy that Finegas would catch and eat it, thereby gaining all knowledge.

Typical Use: Baskets, utility wood, crates, furniture, cricket bats, carvings, and other small specialty wood items.

Workability: Most of the salmon available in the UK is Atlantic salmon.

Available fish skins are around 90-120cm long and 25-35cm wide. With careful handling, the skin can become smooth and soft, thin and tough.

Use Within Proposal: Weaving the structural frame together to form a continuous facade.

Typical Use: Most fish skins will be discarded as food waste. In the north some peoples will use fish skin to sew their clothes.

Supplier: The Regent's Park

Use Within Proposal: The treated fish skins will be sewn together to make the skin of the wings.

Supplier: Fish Mongers nearby

2.02 THE PRIMARY STRUCTURE The structure’s foundations are composed of Blue Atlas Cedar columns, which insert into a concrete pile under the ground.

The columns are erected by crane and hold until they are fixed. Thick steel wire will be linked to four points of Peng's mainframe. With the support of wood columns, the steel wires pull up Peng's body.

Blue Atlas Cedar trunk (d=40cm)

Main frame of Peng's body

Steel wire

Concrete piles have been used as opposed to timber as a response to the ground conditions, they are far less susceptible to decomposition. The saltwater and stormy winter conditions which soaks the ground in the winters would eventually rot the timber columns and the whole structure above would be at risk of damage.

Steel wire

① Wood column support steel wire 1:50

The steel wires are covered with wool felt to reduce the effects of thermal expansion and contraction. It might warm the birds' feet in cold winter when they landing here.

② Steel wire pull up the main frame 1:50

①

②

Fujimori's Teahouse, image showing steel wire pulling the house in air Wind direction

③

④

③ Steel wire meets ground 1:50

Steel wire

Blue Atlas Cedar trunk

④ Wood column meets ground 1:50

Blue Atlas Cedar trunk (d=40cm)

Steel wire Concrete pile

Gravel

Gravel

Concrete pile Steel wire knot

Gravel The priminary structure diagram

2.03 WING CONSTRUCTION Ⅰ Structure

Sources: https://www.airspacemag.com/flight-today/04_on2014_howards-sidebar-180956655/

The idea of the wing's structure borrowed from the traditional wood-made aircraft wing, which is popular in the 1930s. The wood structure makes the wings lighter and sustainable. There are two types of woods used in construction: the White Oak is used in ribs because of its good response to steam bending, while the Blue Atlas Cedar is used to strengthening the connection.

Beam diagram

There are 8,000 to 10,000 parts in total. Each rib alone has 60 components. And craftsman has to handle each part about 10 times; picking the boards, running them on the CNC, hand sanding and glueing for several times, then varnishing, and hand sanding again. Finally, assemble them together.

Airplane structure

Wing's Detail fabrication

Wing skin Craftsman uses White Oak and Blue Atlas Cedar to make wings

Wing's Detail 1：40

Wing structure

Beam

Beam

wing's structure

2.04 WING CONSTRUCTION Ⅱ Mechanism To lift the wings is controlled by a mechanical system, which is divided into two parts, a chain system and a pulley system. As mentioned earlier, the poet decides when to spread its wings by the height of the little bird. The poet first spins the chain ring A next to the chair, which makes chain ring B spinning. The chain ring B then activates a pulley set, using the fixed pulley C as a pivot, and slowly pulls the entire wing up through the pulley rod attached to the wing. This pulley system saves two-thirds of the energy, but also increases the stretch by three times.

chain system

pulley system

Sources: https://en.wikipedia.org/wiki/Pulley

Beam diagram

④ Chain Ring B

③ Little Bird ② Chain Ring A ① Wind Sensor

⑥ Pulley Rod

⑤ Fixed Pulley

④ Chain Ring B

② Chain Ring A

⑤ Fixed Pulley

④ Chain Ring B

③ Little Bird ② Chain Ring A

① Wind Sensor

⑥ Pulley Rod

2.05 WING CONSTRUCTION Ⅲ Skin Fabrication According to Archive No. 028 and Archive No. 025, wing skin is fabricated by fish scale. In construction process, salmon skin is used in sewing wing skin. Fish skin provide a strength and smooth surface to protect wings from wind erosion. Its reflective surface would produce a shinning effect.

Sources: https://thekidshouldseethis.com/post/how-to-make-rope-from-grass https://www.smithjournal.com.au/blogs/adventure/3196-how-to-make-your-own-leather-out-of-a-fish

Fish skin strength Fish leather is stronger than other leather types, if the same thicknesses are compared. This is because the fibre structure of fish skin runs crosswise, rather than parallel as in, for example, cowhide. The tensile strength of fish leather reaches up to 90 Newtons (e.g. salmon or perch).

As shown in the chart below, fish skin preformed well in a test hold on Germany national testing center.

Process of tanning fish skin to leather

2.6 m Peel the skin off

Leather tested

Get the meat and scale off the skin

Texture of Salmon skin Craftsman will use salmon skin to sew the wing. Since salmon is a common species, sufficient skins are available for further processing to salmon leather. However, salmon leather is not widely used, it is also an oppotunity to save the food waste.

Archive No. 028

Wash it with clean water for 5mins

Archive No. 025

7.5 m

Put into solution (vegetable glycerin and rubbing alcohol 1:1) and let sit for 24 hours.

Salmon leather crust. - Salmon leather ironed and coloured.

People of the north have tanned fish skins for centuries to make bags, shoes, and other useful items. People beneift from their waterproof, wind-proof, strong, and lightweight qualities.

Stretch it flat and dry on board for 24 hours.

Trimmed fish skin 65cm*14cm

Image shows fish skin cloth from Alaska.

Then massage, r ub, stretch and work the skin until it is soft and flexible. This can take several hours to do.

Sewing fish skins together.

A fish skin unit 127cm*25cm

2.06 WING CONSTRUCTION Ⅳ Muscle Fabrication

Sources: http://www.slate.com/blogs/atlas_obscura/2013/06/10/the_last_incan_suspension_bridge_is_made_entirely_of_grass_and_woven_by.html?via=gdpr-consent

According to Archive No. 028, muscle on wings are fabricated by feather.

In realization, feather will be replaced by sturdy grass rope. Moreover, grass are able to give out a floating effect with long grass hanging down.

The natural fibre rope is made by grass, which means its color will change over time. Sometimes it will grows Vascular plant. The extra grass and vascular plant float in the wind like feather.

The use of ropes for hunting, pulling, fastening, attaching, carrying, lifting, and climbing dates back to prehistoric times. Natural fibre rope is sustainable and have a high tensile strength. The average rope life-span is 5 years, a regular maintenance is necessary.

Images show grass rope in different colors and with Vascular plant.

Grass rope organization Cut grass

Long grass is easy to find in The Regent's Park.

After one day

Divid them half and half, rotate one of section before combining them.

①

②

Take a small handful of grass, knot it at one head

After one month

Archive No. 028

Divid it into two even sections, twist them in same direction.

Image shows Incan Suspension Rope Bridge in Peru, indicating the high strength of grass rope Learning rope knot from paragilder:

After one year

Put new group of grass in to make it longer

① Rope knot for linking mutiple ropes Once it get to a proper length, knot the other sisde of rope

② Rope knot for linking rope with hook

Vascular plant

① Rope knot for linking mutiple ropes Re peat unitl it g et to a proper thickness.

② Rope knot for linking rope with hook

2.07 SKIN DETAIL

Sources: https://thatchinginfo.com/thatching-other-standard-features/

Peng's skin is constructed by several material which could be found in The Regent's Park. They are used different layers because of different functions.

Willow rods Wood frame tighten by b o l t a n d wa s h e r to catched the thatch firmly

Matereials used in skini fabrication from ouside to inside.

Raw wool rug Thath

Oak wood beam Ropes tie a branch of thatch to willow stick

Hooks and ropes to hang the rug to willow rods

Thath was tied into two layers,

Willow rods

Skin composition 1:8

White Oak Beam

Thatch

To prevent the sharp edges of the beams from cutting the willow, the edges of the beams were cut into flat.

Animal wool

Willow rodsand Oak wood

Raw wool

Traditional way to tie a brunch of thatch to a wood frame.

In this project, the willow rods were on average 2cm thick.

2.08 WOOL FABRICATION The inside of skin is woven from animal wool. A total of 40 square meters of material is required. There are two main sources for the material: one is the animals that live in the London Zoo, such as sheep, camels, alpacas, yaks, etc. The second is the cats and dogs that live in the neighborhood. Once the materials have been collected, each section will be individually made to fit the different shapes before sewing together.

Sources: https://www.zsl.org/zsl-london-zoo/exhibits https://shepherdlikeagirl.com/make-felted-fleece-rug/

Unfolded plan

Residents in ZSLLondon Zoo who would like to donate their hair:

Area covered by animal wool.

Nearby dogs and cats who would like to donate their hairs:

Process of making a piece of Peng's interior skin

Make a properly sized wooden frame, Thin layer of batting. This layer should Making a fluffy layer by quickly and Raw fleece, cut-side to batting repeatedly ripping off fairly small lay one piece of the spa cover (bubble- be fairly see-through, flat, and even. side up) in the frame. amounts of fiber from the batting and throwing it over the first, flat layer of batting.

Full-filling with raw fleece.

Repeat rolling three more times, press Take off the spa-cover, lay the fiber on Drizzle with hot water and squeeze Spray the felted until most of the soap Pull open the wool which stick together harder in each time. the mesh frame. some dish soap in thin stripes onto the is washed out. felted side.

Pour hot water on it little by little, until Place the second layer of spa cover, Tightly roll the layers around a long stick it all get wet. Start compressing down bubble-side down (toward the fleece) and secure the package in three places and getting flat. over fiber layers. with strings or nylons.

Finished backside

Finished frontside

2.09 WIND SENSOR MECHANISM Application of physical model - "Little Peng" As mentioned in 2. 04, the poet judged the size of the wind by a wind sensor and then pulled up Peng's wings. The wind sensor consists of a wooden panel hanging outside and a "little Peng".

"Little Peng" is a combination of fragments from the Archive and used in Peng's research. Now it becomes a messenger of wind hanging before the poet's table.

Quill-pen

When the wind comes, it hit the wood panel hanging below Peng's body. The wood panel drag the rope which linked to the wing of "little Peng", and lifted the wings up. The stronger the wind, the greater the angle at which the panel is blown and the greater the distance at which the rope is pulled, so that "little Peng" wings are lifted higher. The poet can judge the wind by the height of its wings.

Quill-pen

Pulley wheel

Ink

Ink Rope

Wings made from fish scales

Wings made from fish scales

"Little Peng" also provide the poet with ink.

Rope

Little Peng's components according to the Cabinet of Curiosity

Pupa table

Pupa table

Wind sensor part 1 front view 1:8

Wind sensor part 1 section 1:8

Bottom skin

Bottom skin

Wood rod

Wood rod

Wood ring

Wood ring

Wind sensor part 1

Wind sensor part 2

Wood panel

Natural wind

Wind sensor part 2 section 1:8

Wood panel

Wind sensor part 2 front view 1:8

2.10 TAIL CONSTRUCTION The tail of the Peng is the only way to spread the poems. It also help to keep the body in balance. It is made of several copper rings connected at the end, which enable it could sway back and forth in the wind. The ring is divided into two layers: the outer layer is radial (as shown). The inner layer is smooth for easy transport of paper. This was done by a craftsman who specializes in Coppersmith.

Tail detail 1:35 Wood frame

Rope

Outer copper ring Outer copper ring Paper blowed by wind Paper with poem writing on it Wood-carving hand holding the paper Inner copper ring

shaking tail (inner copper ring) INSIDE

Natural wind

Tail Detail 1:20

OUTSIDE

2.11 BEAK CONSTRUCTION Peng's beak consists of three parts: an opening and closing air inlet, three opening and closing air tunnels, and a vocalizer.

When the wind blows an wood panel, the panel swings back, driving the lower part of the beak open, and the wind enters the air tunnel and vocalizer. If the air tunnes are opened, wind will enter the interior space. Different air tunnels will bring different temperatures, which will be discussed in the next section.

Oak Wood Wood panel as a window Metal spindle Wood panel facing the wind

Metal spindle

Spring pulling the lower beam

Beak detail 1:8 Oak Wood

Reference from Archive No. 30- Aeolian flying across the wall Three wind tunnels

Beak plan 1:20 Natural wind Metal flute

Oak wood

Oak wood

Metal panel for cooling the air

Spring pulling the lower beam front

side

back

Metal spindle

Metal spindle

Wood frame on the main body

OUTSIDE

Natural wind

INSIDE

Wood panel facing the wind

SECTION 3 BUILDING PERFORMANCE The following section of the report primarily focuses on Peng's respones to environment, illustrating how its organs and physiological phenomena interact with the environment.

It was difficult for me to differentiate between what existed in my imagination and what was real. If I made the effort, perhaps I could make the reality remain real, but then, for instance, there were always the ghosts and the visions. What was I supposed to do with them? And the fairy tales, were they real or not?

--Ingmar Bergman

3.01 ENVIRONMENTAL STRATEGY OVERVIEW The architectural strategy is one that it closely is interwoven into the existing landscape, using local resources, skills and people. The aim of the environmental strategy is one that strives to impact the surrounding context as little as possible.

The perfor mance of the building is not one that follows the traditional requirements of guidelines of BREEAM or similar frameworks but one which aims to work self sufficiently and resourcefully as possible. As mentioned in section 1 there is no electricity or artificial fuel systems in Peng and it has been designed to take an economical stance that utilises the surrounding resources.

WINTER SUN

15.2 SUMMER SUN

61.7

5

3

As a daytime running program, it utilises daylight through a sun tunnel and in the evening, a gravity-driven light will provide basic lighting source. The wall made by wool release heat at night and the wood-burning stoves could also provide heat during the wintertime. The water is collected from the rainy winter weeks and is used for making tea.

5

8 7

All waste generated will be cleaned up by the user and taken away when they leave.

2

1

4

The wind entered the body through Peng's mouth and also triggered the acoustic device which is made by copper. People in the surrounding area can hear the tweeting sounds coming from Peng, which vary with the strength of the wind.

2 7 7 9 6

5

2

5

6

① EASTERN SOLAR GAINS ② PASSIVE VENTILATION ③ WATER COLLECTION ④ ACOUSTIC DEVICE ⑤ RAIN WATER ⑥ ADHOC INSULATION ⑦ LOG BURNING STOVE ⑧ SUN TUNNEL ⑨ GRAVITY-DRIVEN LIGHT

3.02 ACOUSTIC STRATEGY

Sources: https://icell.com/cellulose-insulation/ https://commons.wikimedia.org/wiki/File:Aeolian_Harp_armature_in_Oodena_Celebration_Circle_at_The_Forks,_Winnipeg.JPG https://archello.com/project/project-hello-wool-woolhouse

Peng's interior space is for poets to read, write, and think, so the acoustic strategy is to keep the space as quiet as possible, which is involved with two insulation layers. However, there are still two voices could travel to internal space if the poet open the channel: one from Peng's beak. Peng will make the sound of hum when the wind comes. The other comes from the tail of Peng, which is trumpet-shaped and spreads the poems outward while also collecting nearby sounds inward.

The hum sound from Peng will spread to the Zoo, then animals in Zoo may roar as a response.

Inner lining of tail made from copper sheets.

Inside

Wood pipe instrument

outside

Diagram shows how does the conversation happened ZSL London Zoo

outside

sound path

③ quiet area ② hum from Peng

① tweet from other birds

Inside

acoustic insulation sound coming from external and internal spaces sound is absorbed by acoustic insulation material

wind path

① Tweet from other birds

② Hum from Peng

③ Quiet area

Peng's tail droops down to 4-5 m above the ground. The horn-like shape allows it to collect sounds from a specific range nearby, such as the chirping of a bird flying by, the laughter of a child.

Peng's beak has a musical device. The device refer to the principle of the ancient pipe instrument and aeolian harp, which is made from wood. Whenever the wind passes through its mouth, the Peng makes a sound of hum. The size of the sound is determined by the size of the wind.

For the most time, Peng's internal space is very quiet. The wool on the inside of the skin gives the poet a very comfortable environment to think, read, and write. Thatch layers also help to isolate sounds from outside toa certain extent.

Sheep wool offers fantastic acoustic insulation – far better than comparable insulating wool materials. Therefore it is becoming increasingly popular in schools and offices to help aid concentration in the classroom and ensure meetings can be held undisturbed.

Anisha Kapoors Sound Installation

Aeolian Harp armature in Oodena Celebration Circle

Medieval pipe instrument

Project Hello Wool (left)

Thatch layers (right)

3.03 THERMAL COMFORT Peng's skin regulates internal temperature

Sources: https://icell.com/cellulose-insulation/ https://www.thegreenage.co.uk/advantages-sheep-wool-insulation/ https://archello.com/project/project-hello-wool-woolhouse

As mentioned in Section 1, Peng keeps the internal temperature stable by adjusting the thickness of the skin to suit different temperatures. As with the skin of other mammals, Peng controls the flow of heat in and out by adjusting the thickness of the "fat layer", which is made from animal wool.

A schematic cross-section of human skin

Wintertime Epidemis(thatch)

Dermis (willow and oak)

Fat (wool)

Summertime Thatch were blowed away by wind

scrap paper turned into cellulose insulation

A schematic cross-section of Peng's skin ①

②

① Performance of normal skin

② Performance of thickened skin

Peng's skin is divided into three layers. A epidemis layer made from thaych, a dermis layer made from willow and Oak, a fat layer made from wool. In winter, a layer of fat made from wool acts as an insulation. In the summer, the fat layer can be rolled up for ventilation and cooling down.

Since the Peng is suspended in the air, the bottom is more likely to absorb or dissipate more heat. So the skin on the bottom of the Peng is thicker. In addition to animal wool, cellulose insulation is used on the bottom to enhence performance.

Since cellulose insulation is not a wild range use in Peng, it is made by the poet's scrap manuscript.

The regulation of different temperatures is mainly regulated by the animal hair, which is the "fat layer". The "fat layer" is basically made by sheep wool (cat wool, dog wool, etc. are used in subsequent repair work), and I will use wool as an example.

Cellulose insulation is a so-called high-density product. This means that the material is extremely dense and has a relatively high weight volume. It helps to prevent unwanted air currents (convection) in the insulation and also provides a high thermal capacity.

The advantage of sheep wool 1. Sheep wool is an outstanding insulator Sheep wool insulation has a thermal conductivity of between 0.035 – 0.04 W/mK, where as typical mineral wool has a thermal conductivity of 0.044 W/mK. 2. Sheep wool purifies the air Sheep wool is proven to absorb and neutralise harmful substances – the wool is a natural protein made up of a number of different amino acid chains (18 to be exact!) of which 60% have a reactive side chain.These reactive areas allow the wool to absorb harmful and odorous substances including Nitrogen Dioxide, Sulphur Dioxide and Formaldehydes and neutralise them through a process known as Chemisorption.

3. Sheep wool regulates humidity The core of sheep wool fibre is hygroscopic, meaning that it absorbs and traps moisture and humidity from the air. So it is not affected by damp and can absorb about 30% of its weight in water without losing any thermal insulation performance, and provide a dry and cosy internal space in the meantime.

4. Sheep wool offers outstanding sound insulation 5. Sheep wool insulation does not burn 6. Sheep wool doesn’t itch 7. Sheep wool is sustainable

cold air heat releasing

Cellulose insulation is a dense insulation, which consists of cellulose fibers which also naturally contain air. This contributes to the binding of the effect through so-called forced convection. The value of cellulose insulation is excellent at 0.039 (sheep wool 0.035-0.04). Natural convection starts at a temperature difference of 15°C for glass wool, 22°C for stone wool and not at all for cellulose even at the highest temperature differences that could be relevant for house insulation.

The thatch grows thin like a human hair falling out.

The production of cellulose insulation

3.04 LIGHTING STRATEGY

Sources: http://astro.ukho.gov.uk/nao/services/ais58.pdf https://www.velux.co.uk/products/sun-tunnels https://deciwatt.global/gravitylight

WINTER SUN

As previously mentioned, Peng does not run on electricity or artificial fuels, and so it aims to achieve the desired conditions through the surrounding resources linked closely to nature and the surrounding context.

As a space that is used for writing and reading the internal lighting becomes incredibly important. The internal spaces should be enriched with a consistent glow that does gleam with sharp white light, and so two key approaches are taken with the lighting strategy.

15.2 3

SUMMER SUN

61.7 1

Lighting is no exception, Peng uses natural light in the daytime and gravity-driven light at night.

London sun path

2

Reading and writing area

① SUN TUNNEL

Sun tunnels are an inexpensive solution to bringing light into a home where there is limited space for a rooflight. They feature a panel that sits discretely on the outside of a roof, a highly reflective tube channeling sunlight into the room, and a diffuser that disperses light naturally. Compared to conventional skylights and other windows, offer better heat insulation properties and more flexibility for use in inner rooms.

Sun tunnel acts as one of Peng's eye, and provides natural light in the daytime.

② GRAVITY LIGHT

A book storage provide enough weight to generate energy

③ WOOD-CLAD WINDOW summer sunlight

winter sunlight Gravity light uses a heavy bag attached to a cord, which slowly descends similar to the weight drive in a cuckoo clock. As the bag slowly falls to the ground it drives a generator through a gearbox, which provides direct electrical power for an LED, creating 20 minutes of light.

It is the only light resouces in Peng during the night.

The drawing illustrated a wood-clad window guard points downwards. In the summertime, it acts like a shield it blocks direct sunlight entering the building that may potentially disturb the internal ambient glow and also cause the internal spaces to overheat. In winter, sunshine will bring light and heat into space.

Wood gaurds tilt down, blocking direct southwestern sunlight in summer time.

3.05 VENTILATION Peng's Breath

Sources: https://www.thegreenage.co.uk/advantages-sheep-wool-insulation/ http://hyperphysics.phy-astr.gsu.edu/hbase/Tables/thrcn.html

As mentioned in the introductory pages of this section, there is no electricity in Peng, it is imperative that the building maintains its intimate relationship with the outdoors, sound, light and air. Peng's breath is ventilation for the whole building. The air comes with the wind through Peng's beak, then cooling down or warming up by different air channels, finally release through its tail or other openings.

Cross Ventilation achieved through a small wood window in thatching roof.

Warm air

Cold air

Passive ventilation effect moves through windows and openings secttion A winter airway keep closed

raw wool on the surface

copper panel

Section showing Air circulation and Ventilation

Section A showing two types of air channel

airway used in summer

Natural Stack

Two types of air channel

The Building takes an approach that offers natural ventilation, achieved through the stack effect, a movement of air into and out of the teahouse, resulting from air buoyancy occurring from the difference in indoor-to-outdoor air density resulting from temperature and moisture differences.

Most of the air is passed through the Peng's beak to the interior for ventilation, where has two air channels: in the cold winter months, the middle passageway is closed and the wind enters the internal body through narrow channels on either side.

The inner surface of the channel is covered with animal wool, which can warm up the cold air when it blowing in. On a hot summer, the channels are closed on both sides and the wind enters the internal body through a large channel in the middle.

When the copper panel is opened and the wind passes through the horizontal panel, the copper panel acts as a cooling device for the wind.

Described in diagram air is drawn through the openable windows and openings on Peng's body, the air is drawn in and as it heats the air rises and is drawn out through the windows in the thatch roof.

The openings on both sides of the roof offer Peng a cross-ventilation that maintains a steady flow of fresh air in and out, ensuring moisture does not settle, preventing the decay of the materials in the buildings. This ensures the Peng is passively cooled in the summer months and that air quality is maintained.

Animal wool is a common insulation material that has good insulation properties, which has discussed in previous pages. Copper has good thermal conductivity and is a very common material for cooling the air. It is often used to cool the CPU.

From left to right: CPU cooler A piece of wool Thermal conductivity of different material

summer airway keeps closed

air channel used in winter

3.06 WATER MANAGMENT

Sources: https://tinyhouseblog.com/tiny-furnishings/toilet-will-change-world/ https://science.lovetoknow.com/science-fair-projects/homemade-water-filter-science-project https://www.statista.com/statistics/681635/tea-consumption-daily-amount-united-kingdom-uk/

As previously discussed, Peng is not connected to either a mains for electricity and water supply. Most of the water used in the building is water that is harvested from the Rain Collector.

London averages approximately 106 rainy days each year and receives a total of 601 millimetres annually. The primary use of water is to make tea. The average British drinks two to five cups of tea a day, which is about 450ml a day and 164.5 litres a year.

Extra water will be stored for emergency.

As mentioned in section 1, the rain storge is one of Peng's eyes. When Peng is on fire, its teaers will come out as the diagrams shows. There are two main area its tear will protect.

A basic calculation can be used to estimate the potential annual volume of water collected from the workshop roof using the following formula:Annual rainfall (600mm) x Rain Catcher Area(1m2) x filter efficiency (0.95)= 684 litres per year. Extra water is stored in tanks and can be used temporarily to extinguish fires for an emergency.

Poet seating area

RAIN COLLECTOR

Peng uses low tech/primitive technologies that purify and utilize the harvested water. The life cycle of the water begins at the rain collector, then makes its way into a primitive water cleansing process. The purified water is used to make tea. Wastewater that can be purified after use can be re-purified for further use. The non-purgeable wastewater will be transported to the ground by pulley system with the rest of the garbage for further disposal.

poem storage area PURE WATER (INPUT) Wastewater that can be purified after use will be re-purified in water filter.

wood or metal cover diffuser plate slows water flow to ensure it passes through bio-film layer gradually

contaminated water in Water Purification Process

biologically active bio-film develops on surface of sand (kills 99% of pathogens)

The process generate heat for war ming up Peng in winter time.

ourlet pipe and tap for clean water

sand

coarse sand layer

gravel concrete body cast on site in shuttering mould

Clean water will be used for boiling the tea and general cleaning.

PRIMITIVE HOMEMADE WATER FILTER

The non-purgeable wastewater will be transported to the ground by pulley system with the r est o f th e garbage (including poet's excrrement).

LOG BURNING STOVE

GENERAL CLEANING

①

① RAIN STORAGE DEVICE ② PRIMITIVE HOMEMADE WATER FILTER ③ MOBILE COMMODE ④ PULLEY LIFT SYSTEM

Devices references

②

③

④

SECTION 4 BUILDING DELIVERY This section describes how a group of people who believe this story summoned back Peng. With the guidance of the arhictect, People of different identities create and work together to build, listen and maintain Peng.

First, I write down all I know about the story, at length and in detail. Then I sink the iceberg and let some of it float up just a little.

--Ingmar Bergman

4.01 CLIENT AND FINANCIAL CONTEXT

Sources: https://www.royalparks.org.uk/support-the-parks/corporate-partnerships/funding-partners https://www.architecture.com/ https://heritagecrafts.org.uk/ https://phca.cc/

According to the archives in the Cabinet of Curiosity found in on the boat, Peng was living at the top of Primrose Hill, where is managed by The Royal Park. After a series of studies on the Cabinet of Curiosity, the architects took the initiative to share the results with The Royal Park and propose plans to resurrect Peng with their support. The support of The Royal Park is an essential step in the success of the project, and they will provide funding and assist the architects in contacting other supporting committee.

Expanded Project Team Supporting committee The Heritage Crafts Association (HCA) is the advocacy body for traditional heritage crafts. Working in partnership with Government and key agencies, it provides a focus for craftspeople, groups, societies and guilds, as well as individuals who care about the loss of traditional crafts skills, and works towards a healthy and sustainable framework for the future. Their aim is to support and promote heritage crafts, which include communicating the vital importance of heritage craft skills to the public, Government, key agencies and organisations, and actively raising awareness and interest in heritage craft skills with the wider public and offering opportunities to engage.

Leading Client

In this project, HCA acts as a supporting committee, provides consulting services on traditional crafts and assists architects in communicating with craftsman.

The Royal Institute of British Architects (RIBA) is a global professional membership body driving excellence in architecture. They serve their members and society in order to deliver better buildings and places, stronger communities and a sustainable environment. Their strategy for 2016 to 2020 sets out their priorities to achieve a vision, which includes attract and retain the best and most diverse talent, provide access to education, knowledge and skills and build a body of knowledge and facilitate collaboration, research and innovation in practice.

The Royal Parks is a charity created in March 2017 and officially launched in July 2017 to support and manage 5,000 acres of Royal parkland across London. Their aim is to: protect, conserve, maintain and care for the Royal Parks, including their natural and designed landscapes and built environment, to a high standard consistent with their historic, horticultural, environmental and architectural importance; to promote the use and enjoyment of the Royal Parks for public recreation, health and well-being including through the provision of sporting and cultural activities and events which effectively advance the objects; to support the advancement of education by promoting public understanding of the history, culture, heritage and natural environment of the Royal Parks and (by way of comparison) elsewhere; to promote national heritage including by hosting and facilitating ceremonies of state or of national importance within and in the vicinity of the Royal Parks.

In this project, RIBA acts as a supporting committee, provides consulting services on architecture construction and performance technology, and assists architects in communicating with engineer, construction team and supplier.

Primrose Hill Community Association (PHCA) was formed over 40 years ago. Based at the Community Centre in Hopkinson’s Place they run events, classes, workshops and other activities for all ages. They have two halls for hire for one-off or regular events, children’s parties and other occasions.

In this project, The Royal Park acts as the leading client, providing the site, funding, and some of the materials for the project, and also played an important role in the communication among the various departments.

In this project, PHCA acts as a supporting committee, provides spaces for workshops, publicize the project and call up community volunteers to help craftsmen's works.

Financial Committee The Royal Park works in partnership with a wide range of organisations who will provide funding for Peng's construction:

Funding Partners

Heritage Lottery Fund Big Lottery Fund People's Postcode Lottery London Marathon Charitable Trust Sport England Stavros Niarchos Foundation Halcyon Gallery

Wolfson Foundation Macfarlanes Bloomberg Artemis Almacantar Kusuma Trust ......

4.02 CONSTRUCTION PHASES AND ROLES People play different roles at different stages of the construction process. There are three different roles in construction section, they are: architect, professional contractor and craftsmen.

The building is conceived in four stages of construction. As described in the figure to the right.

Phase 1: site

It begins with the Oak frame structure for the main body being assembled in the factory. This is done by professional wood-bending technicians. To minimize the impact on visitors to Primrose Hill, the fabrication of Peng's will be done in a temporary workshop in the regent park. So these two parts will be processed in the meantime.

temporary constuction space (20m*20m)

Architect: Provide drawings and models and keep a loose supervision Professional contractor: Responsible for the frame construction and construction of the temperory work place Craftsman(unprofessional contractor): -

Three different roles in construction section: Architect: The architect plays an absolutely proactive role in the realization of the project. The architect is responsible for the entire process, from research to maintenance. Unlike a general scheme, the architect has to proactively seek out the client and convince the client to realize the project together.

During the design process, the architect needs to provide drawings and models to the construction team. Although a certain space is left for craftsmen to play, the architect must undertake the whole performence.

Professional contractor: The architect plays an absolutely proactive role in the realization of the project. The architect is responsible for the entire process, from research to maintenance. Unlike a general scheme, the architect has to proactively seek out the client and convince the client to realize the project together.

During the design process, the architect needs to provide drawings and models to the construction team. Although a certain space is left for craftsmen to play, the architect must undertake the whole performence.

In addition to quality control of construction, the contractor will appoint suppliers for some of the materials which include steel and such basic supplies as nuts, bolts screw and the necessary tools for both phases of the construction. A construction sequence should be established with the architect to reduce costs and increase efficiency.

The daily supervision of the construction itself is the responsibility of the contractor, who is also responsible for ensuring that the structure is built in compliance with the building contract, the planning permission.

Health and Safety requirements and building regulations. Throughout the construction, the contractor will continuously correspond with the structural engineer, M&E engineer and consultants and quantity surveyor. All of the observations and information is then passed to the architect who prepares for the next phase of the construction.

Craftsman (unprofessional contractor): The ‘Unprofessional Construction Team’ are responsible for Peng's main body construction. It is composed of a group of craftsmen who take responsibility for the different specialised skills outlined in Section 1 which include willow weaving, coppersmithing woodcarving and so on, all necessary in the construction of Peng. They are expected to exercise their interpretations of the drawings and models supplied by the architect, who offers a less direct and precise set of directions. All archives found in the cabinet of curiosity, 1:50 models and abstract drawings made by the architect will be provided and interpreted for their loose and ambiguous details. They are highly involved in the design process of the phase of body construction.

If a large number of repetitive, simple tasks arise, such as preparing dried fish skins, craftsmen can run a workshop for volunteers from community or students to work together. However, craftsmen should take responsibility for quality.

Phase 2: When the frame is done, it will be transported to the workshop. All craftsmen are encouraged to work in the workshop. This space helps communication between craftsmen and reduces the transportation cost of materials. This stage involves the fabrication of various parts of the body, such as wings, legs, tail, etc. Professional technicians install fire systems, water circulation systems and sun tunnels at this stage.

Architect: Provide drawings and models and keep a loose supervision Professional contractor: Craftsman(unprofessional contractor): Making different parts of Peng's body.

Phase 3: In this stage, all the parts of Peng are done and transported to the site after the substructure being erected. First, Peng's body is lifted via a crane and linked with steel. Then the wings, tail, legs, and other parts are attached.

Architect: Work on site and keep supervising Professional contractor: Erected substructure and link different parts of Peng together Craftsman(unprofessional contractor): -

cherry tree Phase 4: The final step is to test Peng's performance and adjust if needed.

Architect: Work on site and check the final effect Professional contractor: Work on site to adjust final effect if needed Craftsman(unprofessional contractor): Work on site to adjust final effect if needed

Four construction phases

4.03 CONTRACTUAL RELATIONSHIPS Contracts for Two Types of Constructions There are two main types of works for the development of Peng.

One follows a traditional contract route, whilst the other follows a design and build approach.

The architect is hired by the client as the designer as well as the contractual administrator. The main contractual agreements are then agreed by the architect who overlooks the entirety of the built project, his role and the construction the information he offers is vital for the two phases.

Architect (contraact administrator)

Proactively present research results of the cabinet of curiosity and design proposal Contract for service

Client

Leading Client The Royal Park Supporting Committee HCA (The Heritage Crafts Association ) RIBA (Royal Institute of British Architects ) PHCA (Primrose Hill Community Association ) Financial Committee Groups

Traditional contract

Design and Build Contract

‘Professional’ Contractor

‘Unprofessional’ Contractor

Construction team for phase 1, 3, 4:

Construction team for phase 2, 4:

Sub Contractors Structural Engineer Steel Fabricators Suppliers M&E engineer Quantity Surveyor

Willow Weaving Craftsman Woodcarving Craftsman Wood-bending Craftsman Thatcher Wool Felt Craftsman

Table Showing contractual relationships Architect

Client: The Project Committee

The ‘Professional’ Contractor

The ‘Unprofessional’ Construction Team

The Architect is responsible for leading the design. Whilst the first stage of the project is built by professional contractors, the architect supplies them with GA’s and detail drawings of the structure, outlining the specificities of the project.

The project committee is composed of one leading Client and several supporting institutions which make up the project committee, including the HCA, RIBA, and financial committee group. The role of the project the committee includes meeting regularly in meetings to ensure that all parties are in agreement on the project development.

The responsibility of the ‘Professional’ Contractor is to overlook the initial stages of the construction process and appoint the necessary subcontractors.

The ‘Unprofessional Construction Team’ is composed of a group of craftsmen who take responsibility for the different specialised skills outlined in Section 1 which include willow weaving, coppersmithing, woodcarving and so on, all necessary in the construction of Peng's main body. As a design and build contractor, the excellent craftsmen are expected to exercise their interpretations into a fantastic large-scale monster. The architect offers a less direct and precise set of directions, which means the craftsmen will have enough room to express themselves.

The second stage of the project takes a low tech and locally resourced approach, the architect is responsible for administrating a design and build a contract with the unprofessional contractors of the project.

Here the architect is responsible for offering craftsmen physical models made at 1:50 scale and several handdrawings allowing room for the interpretation and artistic expression of the craftsmen. To achieve this flexibility the architect will offer a thorough supply of guidelines and processes and designing high tolerances into Peng itself. The architect will remain responsible for Peng after the construction work is completed, including regular maintenance and management.

Whilst the financial committee group is responsible for donating funds, and HCA is responsible for providing information and promoting events about crafts and craftsmen. RIBA is responsible for providing professional construction consultants and organizing communication between two types of contractors (professional and unprofessional contractors). The Royal Park is the leading client responsible for providing the site, construction material, and holding community meetings and consulting with the general public.

Due to the low tech approach of the proposal and the focus being the main structural frame it is unlikely many specialists contractors will be needed. The contractor will cooperate with The Royal Park to overlook and gather construction materials like wood, copper... and also ensure the quality of the materials are suitable for construction. They will provide professional advice for "un-professional" contractors to help them deal with professional construction issue.

With the loose guidance of the architect, craftsmen will be responsible for structural engineering. With the help of Primrose Hill Community Association, several workshops will be held by the craftsmen for sharing handcrafts technique and saving time for repeated lowrisk works. When the construction is done, the craftsmen will responsible for Peng's yearly maintenance.

4.04 COMMUNICATION BETWEEN ARCHITECT AND CRAFTSMAN Peng's construction distinguishes itself from other construction projects: in addition to a professional construction team, artists and craftsmen team play a vital role during the construction process. Their work is varied and closely related, and as builders who are not professional in architecture, communication between architects and artists and craftsmen becomes particularly important. In the process of communicating from the beginning to the completion of construction, the architects should not only in control of the big picture, but also leave a proper room to the artists and craftsmen to boosting their imagination.

Architect conveys information primarily through text, hand drawing, a 1:25 model and the Archive from the cabinet of curiosity. There is no accurate data until the wood mainframe is complete. So, all the construction process that involved with the artist and craftsmen will take place after the wood mainframe is complete.

A possible texture composition

2.6 m

Email from Graham (thatcher) showing communication in early stage:

Here, we use the example of the fish leather to illustrate the process of communication between the architect and the artist. After the artist get well known of the previous study, the architect should clarify some basic information about the artist's work: 1. General discription of the task: To fabricate the skin of Peng's wings with fish skin.

2. Dimensions: Each wing is about 2.5m wide, 7.6m long and 35cm thick at its thickest point.

3. Expected effect Using the original texture of the fish skin to create a flat, smooth surface that slightly reflects the sunshine. As Peng flapped its wings, the sunshine reflaction and repeated pattern creates a fantastic illusion.

7.5 m

This page illustrated the communication process between architect and craftsman.

The architect first consulted with HCA (The Heritage Crafts Association) to roughly confirm the involved crafts. With HCA referrals and architect's preference, candidate artists and craftsmen are confirmed. An invitation will be sent out to them.

Afterwards, the artists and craftspeople who confirmed their participation were provided with raw materials from the Cabinet of Curiosity, including the architect's initial ideas. Meanwhile, they are encouraged to come up with their own ideas.

Trimmed fish skin 65cm*14cm

4. Material The choice can be made by artist within the list from supplier, but salmon is recommended. Artist should consider the hidden risks like wind and rain erosion.

5. Other relevant components: Wood mainframe, pulley system and grass ropes.

6. Schedule Communication meeting with all artists and craftmen : Jan 25, 2021 Feb 8, 2021 Feb 22, 2021 Construction Period: Mar 1 to May 31 (Combining and testing in June.)

7. Working space The professional construction team will setting up a temporary work site in The Regent's Park, as it involves close collaboration between the artists, who are expected to work together in the temporary site.

8. Assistance The PHVA (Primrose Hill Community Association) will call for volunteers to help with some simple works. Artists and craftmen who need special skills assistance could arrange workshop for a basic training.

9. Maintenance The artist is responsible for the regular maintenance of the Peng in a long period.

10. Contact Contact information of relative artist such as artist who make the mainframe of wings

A fish skin unit 127cm*25cm

Diagram shows other components that may affect design

l Aug

4.05 CONSTRUCTION TIMELINE

Sources: https://www.architecture.com/knowledge-and-resources/resources-landing-page/riba-plan-of-work#available-resources

The chart shows the timetable for the delivery of the building and the appropriate role at each stage for the different parties.

Since this is a initiative project lead by architect, the stage 0 take a longer time which is hard to estimate. Whilst the timetable is expected to be followed as closely as possible - especially during the construction stage. To reduce the impact on visitors, the construction of different componments will be held on a interior space in The Regent's Park. Then people take them to the site for assembly and testing. Also, due to the strongest winter winds, the project will complete testing around December to January.

0

1 2 3

CLIENT

WORK STAGES

4

8

6 7

5

funding secured brief issued reviewe of concept reviews of developed design

working on site Preliminary study of the story

“PROFESSIONAL” CONTRACTORS

arhitect develops design brief issued adjust concept structural engineer consulted architect appoints and consults with professional contractors planning application submitted

architect hands project over to client

Substructure construction begins structure constraction finished body assembled mechanism test and adjust

professional contractors support architect with technical design and appoint consultants as necessary wood mainframe constuction begins temperory working space constrution begins

“UN-PROFESSIONAL” CONTRACTORS

RIBA Plan of Work 2020 Overview

architect regularly inspects site

Resurrection of Peng

ARCHITECT

It may be seen that the architect plays two different roles with regards to the ‘Professional’ and ‘Unprofessional’ Contractors.

The architect keeps a close eye on construction phase ensuring all the details are followed with accuracy and precision. Whilst in the construction phase the ’unprofessional’ construction workers are left to their workflow (individual working or community workshops), only with the occasional visit, ensuring the artists can have their artistic expression with the loose guidance on offer.

unprofessional contractors prepare for the following construction period

Regular maintenance

Regular maintenance

Transport to the site wings making wing’s construction thathing and willow weaving skin construction

funiture and other decorations (e.g. mouth&tail) making

Sep

Oct

Nov

Dec

Jan

Feb

Mar

Apr

May

Jun

Jul Aug

Sep

Oct

Nov

Dec

Jan

Feb

Mar

Apr

May

Jun

Jul Aug Year 1

Sep

Oct

Nov

Dec

Jan

Feb

Mar

Apr

May

Jun

Jul Aug

Sep

Oct

Nov

Dec

Year 2

Jan

Feb

Mar

Apr

May

Jun

Jul Aug Year 3

Table Showing Construction Timetable

RIBA Stages Chart

Sep

Oct

Nov

Dec

Jan

Feb

Mar

Apr

May

Jun

Jul Aug

Sep

4.06 PENG'S AGING Space Maintenance Peng's body uses a lot of materials that are prone to deterioration and damage, which make the body ages like other animals. A regular maintenance is necessary. The architect is responsible for coordinating the different departments to do regular maintenance.

SPRING

SUMMER

AUTUMN

WINTER

SPRING

SUMMER

AUTUMN

WINTER

SPRING

SUMMER

AUTUMN

WINTER

SPRING

SUMMER

AUTUMN

WINTER

Cherry Tree Maintenance

Fertilize

Thatch Maintenance Repair

Wing Skin Maintenance Repair

Wool Maintenance

Clean and Repair

Grass Ropes Maintenance

clean

repair check

replace

Check and Replace

Year 1

Year 2

Year 3

Year 4

Thatch Maintenance

Wool Maintenance

Wing Skin Maintenance

The thatch of Peng's skin would be blown off by the wind, which will help ventilation in summer. However in winter, thatch needs to be filled up by a professional thatcher to prevent interior temperature in cold day.

Peng's inner skin is woven from the animal wool. It may be damaged while using.

A regular fix and clean will be done by a professional craftsman and volunteers.

In addition to materials provided by the animals at the ZSL London Zoo, nearby domestic pets also donate their own hairs.

Peng's wings are stitched from fish skin and can also be damaged by the wind. The restoration of the wings will be done by professional craftsmen with the fish skin stitching enthusiasts. The skins are provided by Fish monger near Primrose Hill.

Grass Ropes Maintenance

Cherry Tree Maintenance

The cables of wings are made by grass. The lifespan of a solid grass rope is about 5 years. A professional craftsman will regularly check the safety and replace the whole ropes every forth year. Grass are provided by The Regent's Park.

There is a tiny cherry tree located at the highest point of Peng. Because of the limited soil, cherry trees need regular fertilization and pruning. This maintenance is done by a professional technician using a lifter.

BIBLIOGRAPHY

BOOKS Fujimori. T., Fujimori Terunobu: Architecture (2007) Ingmar B., The Magic Lantern (1987) Unknown Author, Classic of Mountains and Seas (BC 221) Richard G., Eye and Brain: The Psychology of Seeing (1966)

WEBSITES 1.02 https://www.independent.co.uk/environment/47-per-cent-oflondon-is-green-space-is-it-time-for-our-capital-to-become-a-nationalpark-9756470.html https://digimap.edina.ac.uk/ 1.04 http://bq.blakearchive.org/17.3.taylor https://www.royalparks.org.uk/parks/the-regents-park/things-to-seeand-do/wildlife/birds-of-regents-park https://en.wikipedia.org/wiki/Primrose_Hill 1.05 https://digimap.edina.ac.uk/roam/download/os https://www.zsl.org/sites/default/files/media/2019-08/London%20 Zoo%20Map%20February%202020.pdf https://www.cityoflondon.gov.uk/services/environment-and-planning/ planning/heritage-and-design/Documents/protected-views-spdjanuary-2012.pdf 1.06 https://www.researchgate.net/ https://en.wikipedia.org/wiki/Climate_of_London https://www.worldweatheronline.com/lang/en-in/primrose-hillweather-averages/camden-greater-london/gb.aspx 1.07 https://www.royalparks.org.uk/__data/assets/pdf_file/0009/59364/ Trees-in-The-Regents-Park.pdf https://www.zsl.org/zsl-london-zoo/exhibits https://www.royalparks.org.uk/parks/the-regents-park/things-to-seeand-do/wildlife 1.09 https://heritagecrafts.org.uk/ 1.12 https://www.britannica.com/science/human-skinhttps:// paraventureparagliding.satora.co.uk/principles-of-flight/ 1.13 https://www.britannica.com/science/human-skin 1.14 https://slideplayer.com/slide/9926698/ https://www.velux.co.uk/products/sun-tunnels https://deciwatt.global/gravitylight https://fireescape.co.uk/high-rise-fire-escape-systems/ 2.01 https://symbolsproject.eu/explore/plants-and-vegetations/cedar-tree. aspx http://treesforlife.org.uk/forest/mythfolk/yew.html http://badger.uvm.edu/omeka/exhibits/show/uvmtrees/whiteoak/ whiteoaksymbolsandscaredtradit https://www.therapixie.com/where-i-work/therapixie-s-treatmentroom/ 2.03 https://www.airspacemag.com/flight-today/04_on2014_howardssidebar-180956655/

Acknowledgements 2.04 https://en.wikipedia.org/wiki/Pulley 2.05 https://thekidshouldseethis.com/post/how-to-make-rope-from-grass https://www.smithjournal.com.au/blogs/adventure/3196-how-to-makeyour-own-leather-out-of-a-fish 2.06 http://www.slate.com/blogs/atlas_obscura/2013/06/10/the_last_ incan_suspension_bridge_is_made_entirely_of_grass_and_woven_ by.html?via=gdpr-consent 2.07 https://thatchinginfo.com/thatching-other-standard-features/ 2.08 https://www.zsl.org/zsl-london-zoo/exhibits https://shepherdlikeagirl.com/make-felted-fleece-rug/ 3.02 https://icell.com/cellulose-insulation/ https://commons.wikimedia.org/wiki/File:Aeolian_Harp_armature_in_ Oodena_Celebration_Circle_at_The_Forks,_Winnipeg.JPG https://archello.com/project/project-hello-wool-woolhouse 3.03 https://icell.com/cellulose-insulation/ https://www.thegreenage.co.uk/advantages-sheep-wool-insulation/ https://archello.com/project/project-hello-wool-woolhouse 3.04 http://astro.ukho.gov.uk/nao/services/ais58.pdf https://www.velux.co.uk/products/sun-tunnels https://deciwatt.global/gravitylight 3.05 https://www.thegreenage.co.uk/advantages-sheep-wool-insulation/ http://hyperphysics.phy-astr.gsu.edu/hbase/Tables/thrcn.html 3.06 https://tinyhouseblog.com/tiny-furnishings/toilet-will-change-world/ https://science.lovetoknow.com/science-fair-projects/homemade-waterfilter-science-project https://www.statista.com/statistics/681635/tea-consumption-dailyamount-united-kingdom-uk/ 4.01 https://www.royalparks.org.uk/support-the-parks/corporatepartnerships/funding-partners https://www.architecture.com/ https://heritagecrafts.org.uk/ https://phca.cc/ 4.05 https://www.architecture.com/knowledge-and-resources/resourceslanding-page/riba-plan-of-work#available-resources

Bartlett School of Architecture 2019 - 2020 ‘BARC0013: Design Realisation Lecture Series’ Environmental Engineer: Ben Leary Structural Engineer: James Nevin Architect: James Hampton Tutors: Elizabeth Dow & Jonathan Hill Thather: Graham Willow Weaving Artist: Deb Hart Fish Skin Leather Artist: Zhongjin Zhang Problem Solver: Candace Fu I would like to acknowledge those mentioned above for their support in the development of this document.