ESALA Architecture MA Hons Academic Portfolio

Cecile Ngoc Suong Perdu Academic Portfolio s1455066 2018

1

Reflection On the past For the future

Degree Career

The Academic Portfolio documents the path to the Part I of my Architectural Degree. After four years, I can see clearly ways in which I’ve changed as a designer, a potential architect, and an active part of the design community. During this time, I was able to learn the process of designing a buiding, and the systems (construction, social, political) that come with it. I have been able to push my love for art and visual communication further ahead, learn new techniques and new methods to bring attention to the important aspects of the design, and of architecture in general. My time here also allowed me to experiment and learn from different materials, each of them bringing different things to the architecture they make up. It pushe me theoretically as well. The time in Theory scourses was an eye opening experience to the world theory writing, there I’ve been able to take what is concrete in the world and dissect their underlying threads and influences, and further act on these influences that I see. My time out was an exciting time, asking me to completely relearn the process of design in an industrial context, as much as that was a welcome lesson, it also pointed to me that this industry of architecture isn’t for me, and I must find the perfect sweet spot between architecture and architectural intervention for social action. Moreover, after this degree, I have also noticed the changes and added nuances in my design philosophy and seen the drive for my work increase, and change. Now that I’ve completed 4 years of the Degree, I’d like to take some time off to create on my own. Apply what I’ve learned, challenge my current design philosophy, use the drive that I have gathered to create work of meaning, of agency and of importance. The Degree was a stepping stone on the path to the career. I have been able to study all the formal lessons, and be curious and gather the ones that were not taught explicitly, but that showed up after accidents and experimentation. In the future I hope to be able to keep challenging and questioning myself, apply and re-apply the lessons I’ve gathered so far, develop new lessons and new thought processes, and tune and heighten the nuances in my design process.

The Academic Portfilio can be considered a document full of threads, connecting my first year work, to the outside work, to my 4th year. It is my hope that these threads can be seen so that anyone who look into this document can see the distance that I’ve traveled. It is my hope that the spool is long enough for me to continue the threads outside of the degree, making these influences and development speak and be self aware in my work. It is also my hope that I have the clear sight and the courage to snip off the threads that no longer teach me new things, but rather tangle and tie me down. All of these threads, they lie in this document, waiting to speak up.

Cover visual - year 4 - Architectural Desgin Shear Drawing of a dancing building

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RIBA GENERAL CRITERIA FOR PART 1 ARB PART 1 GRADUATE ATTRIBUTES Ability to generate design proposals using 1 understanding of a body of knowledge, some at the current boundaries of professional practice and the academic discipline of architecture.

Ability to apply a range of communication 2 methods and media to present design proposals clearly and effectively.

Understanding of the alternative 3 materials, processes and techniques that apply to architectural design and building construction.

Ability to evaluate evidence, arguments 4 and assumptions in order to make and present sound judgments within a structured discourse relating to architectural culture, theory and design.

Knowledge of the context of the architect 5 and the construction industry, and the professional qualities needed for decision making in complex and unpredictable circumstances.

Ability to identify individual learning needs 6 and understand the personal responsibility required for further professional education.

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

3

Body of Work

Year 1

2

3

Sem 1

Arch.

History

T&E

Assembly

From Revivalism to Modernism

Principles

Arch.

Design

T&E

Arch.

History

A. Greek. Thompson Scholarship Exhibition

Any Place

2B Building Fabric

Culture and the City

Architectural Drawing Exhibition Lighthouse, Glasgow

Arch.

History

Elements

Intro to World Architecture

Arch.

Design

T&E

In Place

2A Building Environment

Arch.

Design

Architectural Theory

Arch.

Pratice

T&E 3

Arch.

Design

Architecture Dissertation

Art & Design

Contemporary Art Practice

Outside

Arch.

Design

Arch.

Design

Explorations

4

Sem 2

Working Learning

Placement

Techtonics

Arch. Reflections Pratice

Independent Design work: MAKESHIFT • CRUMBLE • Competition • Graphic Design Project • Study Abroad • Internship

Arch.

Design Logistics

Academic Portfolio 1

TEDxUoE

Design Work

CRUMBLE

Creative and Staging Director

Graphic and Architecture Design

Chief Illustrator

4

ARchitectural Design Elements GC

Course Title

1 2

General Criteria Map

3 4

Navigation

5 6

A guide

7 8

Engagement

Development

Mapping the Scale of the project, to allow me to reflect on how I have been able to manage work at different sizes, and different complexities, with different nuances and demands.

The impact of the work is mapped here to show the personal connection felt with the work. It helps charts the sense of awareness I had with my work and also trace the line of growth. Some work had such an impact that inklings of it can be found in much later work.

Going hand in hand with impact, this personal reflection is mapped to trace the active level I played in the project.

Was I engaged? Was this a project that demanded my full attention, full effort and full dedication to make it viable.

This criteria is a reflection on what I have been able to learn. Each project brings with it a specific lesson, or multiple ones, and this reflective criteria allows me to see whether I felt that I’ve learned much. It allows me to see whether I have grown.

Development

11

Impact

10

Scale

9

Reflections:

Scale

Impact

Engagement

Mapped

Time code 5

Year 1

6

GC 1

art & Design

2

(ARCH07001)

3 4 5

Description

6

Through a series of practical projects and a wide range of lectures this course explores a range of art and design themes.

They develop an understanding of drawing as: a device to develop concepts and communicate the design process; a way to research, observe and tell stories; an expressive tool to illustrate ideas and emotions. Problem solving and design thinking is explored in a number of the projects. You are asked to create and test prototypes and consider, the user, function and form.

7 8 9 10

Development Engagement

LO1

Demonstrate experimentation and fundamental understanding of drawing using a range of techniques and materials.

LO2

Demonstrate an awareness of Art and Design process in researching, testing and developing ideas to find creative solutions.

LO3

Communicate ideas and complete work in a well-structured and coherent way.

Reflection

Art & Design was the very first approach to spatial agency I was exposed to. It offered me a chance to develop skills not only useful in Art and Design as a general culture, but to approach spaces and places investigatively. Each exercises allowed me to interrogate why I’m here, where is here, how does this place feel. The ability to work with different materials across different scales was a vital point in preparing me for Architectural Design in developing model making skills and gestures for an architectural intervention.

Scale

Impact

s1

11

1

7

GC 1 2 3

art & Design

4 5 6 7

Introduction

8

This course was an introduction into the process of designing an intervention, an action in space and within a place.

9

The course starts with exploring the city through drawings, and creating gesture marks a process of reiterating a conscious action of design.

10

Scale

Impact

Engagement

Development

11

Via the exercises above, we were able to develop a set of approaches to acting on the scene of Edinburgh. The first intervention consisted of group approach to an intervention on a large scale, the second intervention was an individual approach set in motion after esxploring the city, both in drawings, and through research.

Visualisation for the Intervention project

8

Art & Design GC 1 2 3 4 5 6 7

Draw the city

8

Before this exercise I was already familiar with gesture making in real life drawing. However, as I started on this project I realise it was not only about a freeing movement in painting, but rather about creating one simple, conscious thought on the landscape. Gesture making was about creating and refining a thought in space, for what is architecture but simply a line on the landscape.

11

This project demanded a nearly obsessive process of iteration in order to define, redefine and refine the movement and the design gesture.

Engagement

Time traveller As a group of four, we were asked to create an intervention in Edinburgh, our approach was looking at how in 5000 years, when the earth has started to heal itself after human made pollution, our descendents will start taking it for granted and forget to cherish this nature.

Impact Scale

10

Development

Gesture

9

For this exercise I drew the contrast between the old and the new architecture of the city. It was a project made of different media paint, charoal, paper, like the collage of architectural time period in Edinburgh. One main influence for this project was the atmosphere of new and old architecture I felt at Quartermile. coming from vietnam it was a very different environment to be in, and the clash of architectural styles was palpable.

As an intervention we create a clip depicting our concern and a plan to carve a story into the rock of Edinburgh Castle to tell the story of how we as a species took our nature for granted and found a way to revive it once more. The Castle rock, made of volcanic rock, extremely hard, and will last forever will serve as a reminder for our future generation.

Intervention The last exercise of the course was to create an intervention in Edinburgh, based on our understanding of the city, our past drawings as investigations of them. We were to look for potential site and develop an intervention fit to the site.

My project looked at the Telfer wall, about how it was the old boundary of the medieval city. Since Edinburgh was called Athens of the North, i devised a ritual of dance, and colours similar to the Panathenaiac procession in Ancient Greece. The goal is for muralist to paint their designs in glue, and as the procession approaches with its flying coloured powder, the powder would stick to the glue and reveal the artworks.

Carving design by Cecile Perdu - video by Erin whalley

9

GC 1

ARchitectural Design:

2

Elements (ARCH08001)

3 4 5

Description

6

The first design course introduces students to the foundational knowledge and skills appropriate to the practice of architectural design. Design is seen as a process involving imagination, representation and communication, analysis and research, iteration and reflection. Throughout the semester, students work on a series of design projects, which require individual and group submission of models and drawings.

Working in a studio environment, students undertake a number of studies that introduce some of the essential elements of architecture, such as path, threshold, opening, membrane and enclosure. These studies are underpinned by a concern for the role of place and embodiment in the experience of architecture and the built environment. Studio exercises are supplemented by a series of lectures on practical and theoretical issues associated with the design process.

7 8 9 10

Development Engagement Impact

LO1

Awareness of basic architectural elements and issues that inform their disposition in architectural designs;

LO2

Awareness of different dimensions of the design process, from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs.

LO3

Awareness of appropriate representational and communication methods to prepare and present design proposals.

Reflection

The impact of this course is still felt until my last year of Architectural Design. In working with pure elements as Ground/Wall/Frame/Canopy/Space I am able to treat Architecture as sculpture but with the added intensity of social, environmental impact. This was the first time I was able to bring a cultural aspect into my work, by isolating the lighting effect common to fishing villages at home, I was able to treat atosphere as an integral part to Architecture. Through out this design course I have been able to learn much about the power of distilling and abstraction. Looking back, I realised that I had taken the abstraction lesson too far and forgotton about the incorporation of programmes into form to create architecture.

Here is to another lesson learned!

Scale

s1

11

1

10

GC 1 2 3

ARchitectural Design:

4

Elements

5 6

Introduction

7

Architectural design elements was the first contact with spatial design we had. In this course, we were expected to learn the basic principles that make up architecture: ground, wall, frame, canopy and ultimately: Space. We also explored the impact of surface/texture/light/darkness and void. In a series of experiments we were also investigating the use of hierarchy, order, composition.

8 9

The first week we were asked to do a project called Head in a window, depicting somebody we love. The point of the exercise is to kickstart our model making skills and along the way I also learned how to create objects imbued with meaning.

10

By the end of week 4 we dive into a project to design a Writer’s retreat on Cramond island. This was an exercise to apply the previously learned elements into a specific brief and location. This started with a series of investigation on where do writers write? What are the conditions needed for their creative work. Since Edinburgh is the home of many famous writers, we look to their well known writing spots in order to analyse what makes a writer’s space. This was also our first attempt at doing site studies, investigating the place to build, in order to react appropriately to the context.

Impact

Engagement

Development

11

The next few weeks was about creating and swapping models testing these concepts of Ground/Wall, Frame/Canopy and Space. This resulted in a series of models that slowly become more conversational and abstract as the week progresses.

Scale

Drawing for Frame/Canopy

11

GC 1 2 3 4 5 6 7 8 9 10

With this exercise I decided to depict my cousin through a series of layers to illustrate the complexity of her precicious self. The exercise was to base our project on someone dear to us. In my case, it was a young little girl bright and smart beyond her age.

The project consisted of approximately 20 layers of drawings, each with a specific aspect/side of her that shows through in bits. When these 20 layers are assembled, they turn into an image of my cousin.

Ground/Wall

Next on the elements was ground and wall, for this drawing we were to create ground place and exchange it with another student in order to interact and intervene with wall planes. I created a cave like ground plan, upon which my groupmate (Momoi Sumida) created lines as barriers. In her case, she created a wholly orthogonal ground plane, regular, and static. To contrast the ground I intervernes withslanted walls, pushing and coming out of the ground in an organic manner.

Frame/Canopy With Frame and Canopy I had the chance to work with linear elements. The narrative behind the frame was that it could become an overarching shelter. For canopy I had to react to an orthogonal frame by Michelle Ng. Once again, in order to counteract the regularity of the frame, I created a flowing veil shielding the space below.

Space The space project was one that I much enjoyed. In this project I had the chance to work with designing atmospheres. The entire design is meant to create a dark space in which reflections from the water below is the only source of light. This was inspired by the atmosphere on fishing villages where the eaves extend very low, but the building’s interior is still light since the river reflects sunlight into the dark space.

Scale

Impact

Engagement

Development

11

Head in a Window

12

ARchitectural Design Elements GC 1 2 3 4 5 6

Section

Inspiration 7

Writer’s Retreat

In order to design the Writers Retreat, we first had to know the space a writer would like. We visited the Elephant House cafe, where J.K. Rowling wrote a large chunk of Harry Potter. Here, we studied the hum of the white noise of chatter, and the warm lighting, with the passerby. A calm atmosphere seemed to be the main ingredient of a writer’s space.

The Cramond Writer’s retreat project was inspired by the seashells found on Cramond. The shells form two planes protecting a space inside. So the writers retreat’s main architectural gesture was the two planes of the roof, forming two shells covering a space inside.

8

Writer’s Space

9 10

Engagement

Development

11

Plan

Impact

Reflection

Scale

Cramond Island site studies As ou first architectural design project we went to visit Cramond Island - the site. Here as a group we developed skills to investigate the lighting, the atmosphere and the sense of place. For me personally, the sense of place was developed through site sketches, drawings of people, the beach and sunlight gleaming on the seashells.

As the first step into architectural design, I much enjoyed the abstract and sculptural form of the models and experiments. However, I find myself lost as I try to build a concrete space with a tangible programme, and yet, while sculpture is needed for a clear architectural gesture, I must learn how to resolve programmes and space in order to design inhabitable spaces. All in all, this first dip into the architectural design culture was exhilirating and I couldn’t wait to learn more in order to become an architect, finely tuned into detail.

13

GC 1

ARchitectural History

2

Introduction to World Architecture (ARCH08003)

3 4 5

Description

6

This course introduces significant architectures of the world. It begins with an examination of Ancient Egyptian, Greek, and Roman architecture, the architecture of the Middle Ages, Islam, Pre-Columbian America, and the first great re-evaluation of Antiquity in the Italian Renaissance. It goes on to survey the Renaissance in Britain and Northern Europe and the subsequent influence of the Italian Baroque in these areas. Later, other significant cultural traditions in the history of architecture are introduced. Concluding with an examination of the theoretical, cultural, and stylistic aspects of the architecture of the European Enlightenment

7 8 9 10

Development Engagement

LO1

Demonstrate a knowledge and understanding of the history and theory of architecture and the related arts before c. 1800, in its artistic, social, political, and programmatic contexts.

LO2

Locate and start to appraise critically historians’ work on the history and theory of architecture and the related arts before c. 1800, in support of a reflective and informed approach to architectural history and design precedent.

LO3

Demonstrate the development of communication skills relating to the key themes of the course.

Reflection

Introduction to World Architecture was the first experience at charting the evolution of architecture, its importance to human culture and functionning. I appreciated the wide array of eras and geographical regions covered, with particular personal interest in MesoAmerica, Antiquity and Buddhist Architecture. The course was the first opportunity for me to practice academic writing concerning the evaluation of design and impact of architecture in a social/historical/political context.

Scale

Impact

s1

11

1

14

ARchitectural history

Introduction to World Architecture GC 1 2 3

ARchitectural History

4

Introduction to World Architecture

5 6

Development Engagement

Why is the Parthenon regarded as the finest example of the architecture of Ancient Greece? Consider the building’s siting, design, detailing, materials, and cultural significance.

The presentation for this course details the understanding of the Parthenon as the symbol of Greek architecture. It dissects the building, study its construction and what it would have looked like during ancient Greece. The Parthenon being the most venerated building now stands as a building to symbolising the whole sphere of architecture seems to freeze architecture as a homogeneous whole.

This is because its impact was so great, the Greek Doric style ended up influencing architecture of the whole Roman empire and much later into the renaissance and neo-classical times. The parthenon, now sits atop the Acropolis, tattered and chipped, and yet seems to continue to glow in its glory thanks to the imbued meaning that the whole sphere of Western architects and architectural writers have written into it.

This presentation was one of the first dissection of a building, forcing me to look at the building as not simply an object sitting in any chosen context with actionable impact. Rather, it allowed me to study the building as a the accumulation of socio-political construction systems, as well as studying it as the subject of cultural admiration.

Connelly, J. B., The Parthenon Enigma, Virginia, 2014, Moffett, M., A World History of Architecture, London, 2013, Watkin, D., A History of Western Architecture, 1986,

Scale

Ching, Frank. Architectural graphics. New York: Van Nostrand Reinhold Co., 1975.

Print.

Frascari, Marco, Jonathan Hale, and Bradley Starkey. From models to drawings: imagination and representation in architecture. London: Routledge, 2007. Print.

Fraser, Iain, and Rod Henmi. Envisioning architecture: an analysis of drawing. New York: Van Nostrand Reinhold, 1994. Print.

Hagen, Margaret A.. The Perception of pictures. New York: Academic Press, 1980.

Print.

Pérez-Gómez, Alberto , and Louise Pelletier. Anamorphosis: an annotated bibliography. Montreal: McGill University Libraries, 1995. Print.

Recht., Roland. Le dessin d’architecture : origine et fonctions. - Paris : Adam Bino, 1995. Paris: A. Biro, 1995. Print.

11

The essay went in tandem with work taken at the time concerning architectural drawing in Architectural Design, when it comes to isometric drawings, atmospherical drawigns, sketches, details. It is a very important theoretical and historical ground to understand the act of drawing in architecture, to be aware of how the hand thinks in conjunction with the brain as our hands draw these lines.

Presentation

10

The development of perspective projection and orthogonal projection allowed for two trains of thought, where the real consequent difference in drawing is the message conveyed, interms of form, texture, light and ambiance. The essay looks at the development of these two school of thought (of drawing) tovaluate their advantages and disadvantages. The essay concludes that by being each other’s opposite, they end up complimenting one another, and therefore both are needed in developing a coherent working tool for design.

9

Impact

Compare and contrast the merits of perspective projection for architectural drawings as opposed to orthogonal projection.

8

This course covers Architectural History in the Ancient times to Revivalism across the globe, from Ancient Egypt and Ancient Greece, to European Gothic Cathedrals, then chateaux, to Buddhist architecture and Mesoamerican Architecture. As part of the course we were expected to attend lectures, seminar tutorials and produce an essay along with a presentation analysing the development of architecture and noting the historical foundation on which our contemporary architecture rests.

Essay

7

Introduction

15

GC 1

Architectural Design

2 3

Assembly (ARCH08004)

4 5

Description

6

This course introduces the theme of assembly in architectural design. It is focused on the capacity of structure, construction, and materials to create architecture.

These physical factors as are considered alongside more ephemeral conditions such as light and sound. The way architecture establishes variable distinctions between exterior and interior spaces is also examined. The course asks students to develop these themes through consideration of a relatively simple programme such as a dwelling. To this end, students work on an integrated series of design exercises and projects. Students produce design proposals that are represented by a range of techniques ranging from expressive to scale drawings and models.

7 8 9 10

Development Engagement

LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture;

LO2

Capacity to manipulate architectural form in the consideration of interior, exterior space and context in the resolution of simple programmes;

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format.

Reflection

Architectural Design Assembly taught me the importance of working with the materials. In the four initial exercises of designing with different materials, I learned that materials have inherent qualities expressed best in a certain manner. It was in this course that I realised my partiality with timber and the construction logic of working with timber. In the later stages, when designing strangely familiar, I was able to consider texture and material as an integral part of the architectural experience.

Scale

Impact

s2

11

1

16

GC 1 2 3

ARchitectural Design:

4

Assembly

5 6

Introduction

7

Assembly is a course tailored to increase our understanding with building with materials.In this course we are introduced to brick, concrete, stone and timber/ steel in order to learn the characteristic of designing with each material, how to make use of their inherent properties and manifest their best quality in the buildings.

8 9

The brief was to design

10

After the exercises with these four materials, we moved to create aresidential building tailored to a profession. The site chosen was in Stockbridge, Edinburgh and I was to design a house and studio for a photographer.

Concrete

Engagement

Development

11

A public changing room - in brick A boathouse for Kayak rowing teams - in concrete A Spa - in stone A Tea house - timber

To work with brick, we were firstly introduced to a workshop that allows us to see the modularity of the brick element in action. In the design we had to incorporate and make use of this modularity in order to create patterns. The site give was on a path and the designs proportion , as well as the furniture design, was completely based on the modulat dimension of the brick.

Scale

Impact

Brick

With concrete we were supposed to develop a building for a rowing team. Concrete lends itself well to this programme since it is malleable, i can be poured into a smooth slip way for the team to come in.

In this project I can start to see why some materials are selected for specific functions (like the slip way here), for concrete it was a play on the undulating form since it was a material that lent itself very well to flowing surfaces.

17

GC 1 2 3 4 5 6 7

atmospheric sketches inspired by the Thermes de Vals.

8

Engagement

Out of the four materials, timber is the material that come most naturally to me. The beam and post element lend itslf to a grid like layout that is modulater but still allows for flexibility.

A main design aspect that I was leaning towards in the exercise was the ritual of going to a spa.

In a series of sketches I managed to map out the rituals of going to spa and arange those into a spatial order.

This was the very first time I truly considered the function within, the procession of circulation and the atmosphere inside a building.

This exercise with timberwas the first time i could experiment with stacking elements and creating patterns with long lines of wood. The most important design strategy for this exercise was the ceiling/roof on the second floor. The stacked timber ceiling help diffuse light from above and create a sense of serenity inside the tea house.

Meanwhile, specific openings were made to open the visitors up to the views surrounding the building.

Scale

Impact

With Stone we were asked to design a Spa. For the material consideration I looked at the traditional French house called borie, which is the equivalent of the Scottish bothy. Stone was a material that interested my much more than brick since it has different finishes and not so modular (unless it is stone from quarries, processed).

11

Timber

10

Development

9

Stone

18

GC 1 2 3

Maquettes

4

Original massing model 5 6 7 8 9 10

Development Engagement Impact

11

Sketches Showing relationship of inside to outside

Strangely Familiar The programme for this building is a studio for a photographer and residential space. In this hybrid programme i was to study the use of space by the photographer and the use of light. The studio itself is devoid of light since it requires a blackroom, and a northfacing window in the shooting space.

The design was developed through a series of maquettes, diagrams, site studies and resulted in one resolved model. Initially i had found that sketching came most easily to me, but maquettes and models allowed me to solve problems in 3d that drawings could not have helped. This exercise was the first time I was exposed to a more concrete programme, unlike the small writers retreat in Semester 1 where every design decision was still shy.

Model

Scale

resolved model - card

19

ARchitectural Design Explorations

20

GC 1

Architectural History

2 3

From Revivalism to Modernism (ARCH08005)

4 5

Description

6

The course begins with a survey of the stylistic revivals that dominated architecture in the early nineteenth century. It also introduces the apparently contradictory theme of modernity in architecture and discusses the nineteenth century development of new and more sophisticated typologies along with the new materials and technologies that made this possible. The revivalist and the modern are also discussed in terms of the conflict between industrial and anti-industrial that saw the architectural technology of the Crystal Palace juxtaposed with the emergence of the Arts and Crafts Movement. The course traces the complex ideas that lie behind the emergence of Modernism in the early decades of the 20th century. It concludes with lectures on the revision of Modernism in the 1950’s and 60’s and the recent emergence of a Post-modern consciousness.

7 8 9 10

Development Engagement Impact

LO1

Demonstrate a knowledge and understanding of the history and theory of architecture and the related arts since c. 1775, in its artistic, social, political, and programmatic contexts.

LO2

Locate and start to critically appraise historians’ work on the history and theory of architecture and the related arts since c. 1775, in support of a reflective and informed approach to architecural history and design precedent.

LO3

Demonstrate the development of communication skills relating to the key themes of the course.

Reflection

The second part of Architectural History focuses on the Western hemisphere and its more recent development. Here I was able to track the development of architecture and constructional technologies along the history of political, cultural and economical events. Through out this course I was able to gain a more methodological approach to research and argumenting. Although part of me felt I would have wanted to learn more outside of the Eurocentric history this course offers, I understand that the course is also rooted in the culture and city of Edinburgh, and therefore such depth into its past was needed.

Scale

s2

11

1

21

GC 1 2 3

ARchitectural History

4

From Revivalism to Modernism

5 6

Introduction

7

This course is a continuation of the history course in Semester 1, bringing our attention (now mainly in the West) to the nearer past. During the course we were expected to join discussions, debates and present our understanding of architectural history in all of its multifaceted forms. As production of work we were asked to produce an essay on a building in Edinburgh, and present on a topic covered in the lectures.

8 9

The red house - Image from presentation

Development Engagement Impact

The influence of William Morris’s artistic and political ideas on the Arts and Crafts Architecture.

The National Museum of Scotland by Benson and Forsyth.

William Morris was not only a designer that opposed to the industrial rise of badly made objects, decorations and spaces. William Morris was inherently political. In this study of his artistic inclinations and political influences, William Morris was found to be opposing a system that still affects us today. His push for the handmade and the carefully crafted was part of a beckoning to return to nature instead of the colder industrial design. This question of craft in design and the return to nature is one that still divide the architectural world in our time and therefore, by going back to William Morris, the presentation allows itself to dissect the drawbacks of Morris’ formulations.During this process, the presentation noticed that in his idealism for this return to craft, Morris neglected a few key players in the propagation of industrially produced designs - efficiency, time, and cost. Upon this study of Morris’ influence on Arts and Crafts architecture at the time, the presentation draws also to our current time where as architects we must be able to bridge the gap between his work and everything he was against.

This essay looks at the National Museum of Scotland as a prime example of the museum as part of the city. It draws on Patrick Geddes’s theory that every is a museum and uses Geddes’ formulations to analyse the building. This building is built as a landmark to the identity of Scotland, across various timeframes and contexts. The essay talks of the museum as a good example of Postmodernism with not too cliche references to Scottish architecture and culture. It looks at how the architects reconciled the pre-exisitng museum - Royal Scottish Museum and the new sandstone clad building inspired by Scottish castles. Not only does the museum manage to reconcile all of the ancient identities of the city but it also manages to chart a path for new architecture in Scotland. Sadly, this sandstone clad approach is currently being taken without thought and replicated in all contemporary construction in Edinburgh. Lastly, the essay dives in to a study of the building as a context based museum, managing to present the exhibition in their current context as well as their time period, instead of presenting time as separate objects floating in no space as white cubes museums do. The building’s circulation and fenestration scheme are also noticed to play a role in extending the exhibition inside outwards to the city, making the exhibition of Scottish history a part of the city. This brings us full circle to Patrick Geddes’ work on the city as a museum.

Scale

This essay was very enjoyable to write. As an architect-to-be not from Scotland, this text allowed a deeper insight into Scottish architecture during times of conflicting identiy (especially so recently post-referendum), Moreover, this work provided access into very concrete examples of context based Architecture that I planned to learn and aplly in my own desgin course.

National Scottish Museum - Image from essay Calder, J., The Wealth of a Nation in the National Museums of Scotland. (Edinburgh, 1989).

Cerver, F., The Architecture of Museums. (New York, 1997).

Cousins, M., ‘Review: The Museum of Scotland, August Media in association with Benson + Forsyth, ISBN 1 903854 071. £35’ in Architectural Heritage, vol 11, issue 1, pp.98-101.

Giebelhausen, Michaela. The Architecture of the Museum: Symbolic Structures, Urban Contexts. (Manchester, 2003).

Goodman, L., ‘Soul-searching and nation building in postmodern museum architecture: Benson & Forsyth’s 1997 Museum of Scotland’ (Edinburgh, 2013).

Hanks, Laura. Museum Builders II. (Chichester, 2004).

11

Essay

10

Presentation

This reflection drawn from Morris proved to be an opportunity to contemplate the role of the architect in the current design industry. This was the first key reflection that spurred me into looking for a social/natural/handmade architecture that was not just reserved to the wealthy but affordable by everyone.

Anscombe, Isabelle, and Charlotte Gere. Arts and Crafts in Britain and America.

London: Academy Editions, 1978. Print.

M. Moffett, A world history of architecture (3rd ed.). Laurence King. (London, 2013).

G. Naylor, The Arts and Crafts Movement. Studio Vista, (London, 1971). Print.

M. Richardson, Architects of the Arts and Crafts Movement. (London: Trefoil, 1983).

Print.

22

GC 1

technology & environment

2 3

Principles (ARCH08002)

4 5

Description

6

This course introduces the technological and environmental aspects of architectural design. It focuses on the key concepts which underpin the design of structural and environmental systems. It is also concerned with the use of materials in architecture. The course emphasizes the links between architectural design, architectural technology and sustainability and a wider concern for the global environment.

7 8 9 10

Development Engagement

LO1

Demonstrate understanding of the key concepts in the physical behaviour of structural systems and their application in architecture;

LO2

Appreciate the integral nature of material assembly and environmental systems to the development of architectural designs;

LO3

Demonstrate breadth of knowledge and understanding of the principles of architectural structures, material assembly, environmental systems, and sustainability in the built environment

Reflection

Technology and Environment course provided a strong foundation in terms of understanding constructional methods, manufacturing and sustainable design. I found the initial study into element assembly to be extremely vital to my development as an architect. Since I am partial to timber construction, I was eager to apply knowledge from T&E Principles to my Architectural Design project. Much of the lessons learned then are still applicable now that I am in my fourth year, creating a project with timber.

Scale

Impact

s2

11

1

23

GC 1

Building Hierarchy Structure Report, Group 14

2

Group 14 Naheemat Mustapha: s1451019 Cecile Perdu: s1455066

technology & environment

3 4

Principles

Building: The National Scottish Museum, located on 44 th Chambers Street, consists of two buildings: the first one built in 1997 by Benson and Forsyth and the other built in 1861 by Captain Francis Fowke of the Royal Engineers. This report is concerned with the latter, older part of the building. It looks specifically in detail at the main hall of the building.

5

Observed Plan and Section: Fig 1: Plan

7

This course consisted of exercises that demanded our attention to how the buildings are built, the expression, manufacturing and function of the materials involved, And how the building changes according to what materials was being used. It involved three main exercises, the series of drawings and study into material fabrication, a study of a building of our choice, and the design for a thermally insulated building.

6

Introduction

8 9

Iron columns

10

Development

11

Fig2: Section Timber framework for the glass

Glass panels

Iron arches

Engagement

Iron columns Timber trussing

Stone facade Timber flooring

The first exercise was to investigate how materials are made for use in construction. Here we studied the manufacturing of concrete blocks. We covered the material gathering process, the processing of such material, the form-making and transporttation. This was a group work where we were to present a coherent document explaining these processes. Drawings illustrating the gathering material and the curing process - by Cecile Perdu.

For the second exercise we were to study a building, we chose the National Museum of Scotland, and study how the building functions. In our analysis of the museum, we focused on the forces that the arches exert on the structure and analysed the role of the stone facade as part of the structural strategy.

The last part of the project entails a study on thermal and sustainable performance. Here were are to design a studio that is thermally efficient, and to evaluate its energy consumption. This was part of a series of studies on energy, on ventilation, on U-value that later on helped us in T&E 2.

Scale

Impact

Tiled floor

24

Year 2

25

GC 2 3

In Place (ARCH08007)

1

architectural design

4 6 7

The studio theme arch-e-tectonics as the primary motive behind architecture, place and identity follow.

These themes collectively inform an architectural design The thematic scope of the module serves as a context to introduce critical and self-reflexive dimensions of architectural design, and the development of skills in design inquiry.

5

Description

8 9 10

Development Engagement Impact

LO1

Investigate through design-research architectural and urban issues that impact on architectural design decisions.

LO2

Respond to brief and site by synthesizing a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Effectively explore and communicate design ideas and propositions, articulate by visual means an architectural argument, individually and in teams, in a range of digital and analogue formats.

Reflection

The course is called In place, and we were very much in the position of questioning where we were and why its architecture is of a certain manner. The design project for this course is an architectural school, most likely stemming from the current dissatisfaction with the current context. We located the architecture school right at the center of the city, beneath the Edinburgh Castle, giving it a central location, near architectural landmarks, putting the project in communication with its peers. The course was race of model making, drawing and investigation through visual means and through research. It provided an opportnity for me to refine the abstraction skills I had acquired in first year and push them further with confidence.

Scale

s1

11

2

26

ARchitectural Design In Place GC 1 2 3

ARchitectural Design:

4

In Place

5 6

Introduction

11

Development

10

Engagement

9

>>>

To the right are some sketches and maquettes developed as a thinking tool to respond to the principles in Francis Dk Ching’s book Form, Space and Order. I started the semester by creating very elaborate models that can be too concrete visually and not investigative enough. As the weeks pass by, the models got more and more abstract, reducing the elements down to the core lesson that Ching was highliting. This was the time when I felt free enough to experiment with different materials and their inherent characteristics like clay, wax, foam, paper, plaster wood, thread and plastic. I learned the ability to distill ideas to their most essential and the skill to quickly produce objects of interest, of texture and thoughtm, not just pretty objects.

Scale

Impact

8

Response

7

The first leg of this course was focused on studying Ching’s book on Form, Order and Space. It was a model making, concept devising race. As individual students we were asked to produce 5 models per week. Some of these are maquettes, some of these are atmospheric drawings/models, and some are much more abstracted understanding of the principles of space. The project starts with this race and ends with an exhibition of 2000+ models all answering to these questions. Then we are grouped into teams working on a brief for an architectural school in Edinburgh, considering how the place the studio was located at the time was inadequate. The course is called In place,and we were in place to investigate our own city, our own architetural school space and react to the problems that we were facing, fix those very problems in the new design.

We were expected to create a site specific design strategy, that roots the new building to be, into the local community and history.

27

ARchitectural Design In Place GC 1 2 3 4 5 6 7 8 9 10

The wax experiment for this course was the very first time i took an experimental and accidental approach to architecture. I liked the investigative aspect and the incidental side of these experiments since they yielded unexpected results that allowed me to understand the limits and advantages of each material. Here with the wax I was testing the mixture of material, one translucent and another more opaque. I was able to create objects with fissures later on used in the design project for the architectural school.

Reflecting back on this exercise I recognise the benefit of the fast pace design and model making process. Here, there was only room for intuition, reaction to materials and no room for doubt to get paralysed in. This is the first time I took up an experimental approach, the very beginning of a long series of interest and curiosity.

Scale

Impact

Engagement

Development

11

The very first experiments

28

ARchitectural Design In Place GC 1 2 3

Studying Edinburgh - In place

4

Brief

5 6

Since the course was called in place, an extensive studying of the site and of Edinburgh was due. In this leg of the design process, I first had my attempt at creatine maps, and drawings communicating relationships and quality of space surrounding the site. It was the first attempt at creating visuals that communicated both quantitative and qualitative information.

7

>>>

8 9 10

Development

Investigations <<< Quantitative drawing mapping the height of Edinburgh topography, this maps

the topgraphy accroding to satellite images and locates the building in the wider Edinburgh context.

Qualitative drawing mapping the change in colours depending on the season and type of vegetation. Digital brushes illustrating the different vegetation are created and classified into 5 categories, coniferous, grass, flowering trees, evergreens, and other. These are then categories that will each change in their own way across the seasons.

>>>

Scale

Impact

Engagement

11

The first study was around the site, on Kings Stable road, and it marks out the available greenspaces around the site, the Edinburgh Castle and Princes Street Garden. It was one of the earliest drawings that gave rise to the study on colour change across seasons as the vegation changes.

29

ARchitectural Design In Place GC 1 2 3 4 5 6 7 8 9

Groupwork, visualisation of model by Shaun Leung

10 11

Plan Sketches - Group

Concept model by Shaun Leung

from

to

to

The project played with idea of a narrative of us slicing icebergs and bringing them into edinburgh to puncture through the preexisiting site. This is also the first time I had the chance to play with a narrative in my architectural design work and it adds a layer of layfulness and enjoyment into the work.

Form finding in this project toook the two paths of sketches and maquettes. The original concept was based on a maquette during the first five weeks that Shaun - out team mate has created. Then development on form, interior form, external facade and atmosphere were continuously tested through drawings and sketches.

These models and sketches then took a digital form and were turned into artifacts ready to be populated. This was our first design to be 3d modelled and designed. Looking back we see that the model making being in a conversational system with sketching was a much better process than being stuck in the digital design world, that I later found myself in.

Narrative

Form

Objects

Scale

Impact

Engagement

Development

Comic explaining narrative of teh icebergs

30

ARchitectural Design In Place GC

>>>

4 5 6

Diagrams were an essential tool in communicating circulatory zones, programme distribution and spatial arrangement. They were needed in communicating within the team itself, but we found them to be ver iformative to the viewers and examiners fo the project. We developed the design as rough drawings, then to elaborate sections and finally as large scale visuals bringing the full impact of the work to the viewer.

3

Diagrams

2

from

1

Communicating the Design

7 8

to

9

Drawings >>>

11

Drawing showing section throgh lecture spaces, circulation and library/exhibition spaces.

to

Going Back to Ching We went back to ching as we try to elaborate the drawings that could show the right amount of information, condensing all the information into its most needed and potent form. In the form of sections showing, mass, and puncture and sale. for example.

>>>

Scale

Impact

Engagement

Development

>>>

10

Drawing showing section through crit spaces, library and studio spaces.

Long section showing the cones / iceberges, the floor plates and their integration into the buildings behind.

31

ARchitectural Design In Place GC 1

Lessons

5 6 7

This project was the first project in which we familiarised ourselves with 3d modelling tools like Rhino, and the rendering process. Much attention was paid into rendering realisticallt and truthfully to communicate the atmsphere and details of the design project. However, looking back, these renders did not ontribute much to the meaningful value of the project. They were rather a useful tool, an attractive image that draws attention. Whereas the sectioonal drawings that we have prepared as a team was much more efficient in communicating these.

4

The design process during this project was one of the first flly collaborative effort. We were 4 people working simultaneously and swapping roles when needed. It was a lesson in how the set back of a team member can be overcome by the rest as we move throuhg different stages of the project and each individual can present thei contributions in different ways. The sketching process was also an extremely fruitful conversational system when ideas are teted and contested in order to bring out the best result.

3

Graphics

2

Collaboration

8 9 10

>>>

The landscape was an important aspect in the design, where we tried to integrate the building seamlessly into its surrounding in order to respond to the brief of In Place. Visualisations that Ive made fr the landscae strategies were inspured by enric mirallesâ&#x20AC;&#x2122; drawings of landscape studies here in Edinbrugh itself.

Reflection

Form finding in this project toook the two paths of sketches and maquettes. The original concept was based on a maquette during the first five weeks that Shaun - out team mate has created. Then development on form, interior form, external facade and atmosphere were continuously tested through drawings and sketches.

Scale

Impact

Engagement

Development

11

Landscape

32

GC 1

technology & environment

2 3

2A Building Environment (ARCH08028)

4 5

Description

6

T&E2A: Building Environment examines building design in relation to exterior and interior environmental performance. Building on the Stage 1 courses ‘Technology and Environment: Principles’ and ‘Architectural Design: Assembly’, the course develops skills and abilities to assess, analyse and design buildings in relation to exterior environmental conditions. These include microclimate modification, energy and water conservation and integration with landscape as well as interior conditions such as natural and artificial lighting control, acoustic performance, and ventilation strategies. The course places emphasis on designing for passive environmental performance, but introduces mechanical systems as a supplement. The course also examines the application of sustainable building practices, including qualitative and quantitative assessments of environmental performance. Case study project site visits and design-based coursework place emphasis on design integration and applying theory to practice.

7 8 9 10

Development Engagement

LO1

Apply key interior and exterior environmental principles in the development, testing and analysis of architectural designs using appropriate visual techniques.

LO2

Recognise key interior and exterior environmental principles in a design project or case study, and communicate these concerns using appropriate visual techniques.

LO3

Demonstrate an awareness of key environmental principles in architectural design and critically reflect on this learning throughout the course and in the assessment tasks which are given.

Reflection

This course offered new insights into how different systems can come together to create a functionning whole working together to create a comfortable built environment. It offered a set of skills, of tools for analysis aiding us in the process of design. The course also introduced us to the importance of environmental sections, not just as communication devices, but also as a way see this integration of structure, and climatic strategies all at once.

Scale

Impact

s1

11

2

33

GC 1

Erin Whalley s1402336

Erin Whalley s1402336

Cecile Perdu s1455066

N

He Liang s1405680

08:30

15:30

08:30

08:30

2

12:00

12:00

12:00

He Liang s1405680

21/09 Sun Path 21/03

Sun Path 21/12

Location

Thermal Comfort Chart

Comfort Analysis IES

Wind Direction 21/06

21/09 Wind Direction 21/03

Wind Direction 21/12

Sun Shadows: 08:30 12:00 15:30 Wind Path - Wind Shadows

Sun Shadows: 08:30 12:00 15:30 Wind Path - Wind Shadows

Sun Shadows: 08:30 12:00 15:30 Wind Path - Wind Shadows

SUMMER

EQUINOXES

WINTER

SUMMER

EQUINOXES

WINTER

4

2A Building Environment

Sun Path 21/06

3

technology & environment Cecile Perdu s1455066

15:30

15:30

Yedija Markus s1408894

Yedija Markus s1408894

Cecile Perdu s1455066

Greywater Storage Tank

He Liang s1405680 REED BED SYSTEMS

Yedija Markus s1408894

>>>

Sand Filter Beds

VERTICAL FLOW = AEROBIC BREAK DOWN OF AMMONIA INTO NITRATES Greywater

CHOSEN SYSTEM VERTICAL/HORIZONTAL CROSS a fall of 1.5m in total, allowing for aerobic break down, with a greater area devoted to the lowest level for anaerobic break down.

A

REED BEDS ENCLOSED WITHIN CENTRE RING, BLOCKED FROM VIEW BY TREES. TREES ALSO HELP TO CONTAIN ANY SMELL EMANATING FROM THE EFFLUENT. B-B

7

WATER SYSTEM

16

To Septic Tank

Blackwater

http://www.yourhome.gov

SECTIONS SHELTERED FROM THE PREVAILING WIND A

<<<

VENTILATION

<<<

Development

A-A

11

Engagement

A

OUTSIDE AREA IS SHELTERED AND HABITABLE DUE TO A LIVING WALL ON THE LEEWARD SIDE OF THE EARTH MOUND.

10

Impact

TO FLOW ABOVE AND AROUND THE BUILDING.

DESIGN

Detail drawing showing the water treatment strategy and rain water collecting faicility to be implemented into the design. We initiated a conversation concerning the making of pond in George Square in order to accomodate these facilities.

Scale

Sunlight studies of Edinburgh and George Square.

9

Site study, climatic study of edinburgh and George Square.

EARTH MOUND PROTECTS THE LIBRARY ANNEXE BY ENCOURAGING THE WIND Wind speeds and direction.

HORIZONTAL FLOW = ANAEROBIC BREAK DOWN OF NITRATES INTO NITROGEN GAS

Environmental section showing the airflow around the building, Designed specifically to make the building more thermally insulated, without disrupting the surrounding environment, the buildng has an earth wall as the back for added insulation

3

8

Erin Whalley s1402336

2

7

We worked in a group of 4 in order to elaborated strategies of lighting, acoustics, water treament, thermal insulation, ventilation and more in order to come up with a comprehensive building able to function sustainably at different seasons of the year. The project ‘s design deicsions were based on quantitative findings and tests in order to find the best strategies for water treatment, wind shielding and thermal comfort.

6

This course was a series of exercise demanding us to be able to compile multiple environmental strategies into an architectural intervention. How does one build architecture without sacrificing the comfort of the built environment and the natural environment? The question seem like it would have an easy answer, and yet the incorporation of these systems all into one coherent work is one that architects still struggle to do. This course is comprised of two exercises, the first involves our own architectural intervention in George Square, Edinburgh, with an attempt at integrating all environmental systems into consideration.

The second is a detailed study of a built project in order to learn from it how architects have managed to make structure a climatic device.’s exercise was to create a Library annex in George Square, Edinburgh. One that is sustainable and ecolgically sound.

CLIMATIC DATA

Library Annexe

CLIMATIC DATA

5

Introduction

Top Soil 0.6m Fine Sand Coarse Sand Pea-Shingle (Gravel)

http://info.cat.org.uk/ques

A-A

REED-BED PLACEMENT

DIAGRAMS

34

P

Technology & environment 2A Building Environment

Cecile Perdu s1455066

Lux = 250

Cecile Perdu s1455066

INDIVIDUAL STUDY space should be bright but of warmer feeling than the study group space (warm white lighting) Lux = 250

READING ROOM

BATHROOMS

ENTRANCE

1) Lux level: 250 lx 2) Floor area: 47.5 sqm 3) Total luminous flux= Lux level x floor area = (250 lx) x (47.5sqm) = 11875 lm 4) Lumen output from chosen lamp: 3180 lm 5) Total luminous flux = 11875 lm Output from chosen lamp = 3180 lm = 4 lamps

1) Lux level: 150 lx 2) Floor area: 11.9 sqm 3) Total luminous flux= Lux level x floor area = (200 lx) x (11.9 sqm) = 2380 lm 4) Lumen output from chosen lamp: 2120 lm 5) Total luminous flux = 2380 lm Output from chosen lamp = 2120 lm = 1 lamp

1) Lux level: 100 lx 2) Floor area: 7 sqm (for 2 WCs) 3) Total luminous flux= Lux level x floor area = (100 lx) x (7 sqm) = 700 lm 4) Lumen output from chosen lamp: 550 lm 5) Total luminous flux = 700 lm Output from chosen lamp = 550 lm = 2 lamps

1) Lux level: 200 lx 2) Floor area: 11.9 sqm 3) Total luminous flux= Lux level x floor area = (200 lx) x (11.9 sqm) = 2380 lm 4) Lumen output from chosen lamp: 2120 lm 5) Total luminous flux = 2380 lm Output from chosen lamp = 2120 lm = 1 lamp

Lamps needed: 19

Lamps needed: 4

Lamp needed: 1

Lamps needed: 2 (1 in each WC)

Lamp needed: 1

TOTAL U VALUES

ARTIFICIAL LIGHTING CALCULATIONS

2

He Liang s1405680

BATHROOM space should be dimmer than than oher spaces as it is not necessary to be too bright

GROUP STUDY

1) Lux level: 250 lx 2) Floor area: 40.8 sqm 3) Total luminous flux= Lux level x floor area = (250 lx) x (40.8 sqm) = 10200 lm 4) Lumen output from chosen lamp: 550 lm 5) Total luminous flux = 10200 lm Output from chosen lamp = 550 lm = 19 lamps

1

Yedija Markus s1408894

INDIVIDUAL STUDY

THERMAL MASS concrete bookshelves absorb incident rays of direct sunlight during the day, then radiate the heat stored from this into the room during the night.

Erin Whalley s1402336

GROUP WORK space should be quite bright so colour of lighting chosen is neutral white

He Liang s1405680

GC

Erin Whalley s1402336

THROUGH ROOF = 0.09 W/m2K (timber width = 0.2m, insulation width = 1.8m, spacing = 2m)

Lux = 100

Yedija Markus s1408894

Chosen Luminaire: Starpoint Pendant Downlight Luminaires • Wide beam, rotationally symmetrical light distribution for the illumination of large areas from a short distance.

• Warm White • High-power LEDs on metal-core PCB • Luminous Flux: 800 lm • Optical cut-off 30° • Power Rating: 8W • Made of optical polymer • Light distribution: extra wide flood • Anti-glare cone • Dimmable

Chosen Luminaire: Quintessence Double Focus Round Recessed Luminaires Double-Focus Downlights • LED 24W 3180 lm switchable • Colour of light: Neutral white 4000K • Technical environment: • Light distribution: Flood • Target: Floor • Mounting location: Ceiling • Mounting type: Recessed mounting • Mounting detail: covered • Wide beam, rotationally symmetrical light distribu tion for general lighting.

• Good visual comfort in rooms with high ceilings.

Chosen Luminaire: Compact Recessed Luminaires • Colour of light: Warm white • Optical cut-off: 30° • Power Rating: 16W • Covered • Switchable

Chosen Luminaire: Starpoint Downlight Recessed Luminaires • Wide beam, rotationally symmetrical light distribution for general lighting • Colour of light: Warm white • LED • 8W • Wide flood

Chosen Luminaire: Compact Recessed Luminaires • Colour of light: Neutral • Optical cut-off: 30° • Power Rating: 16W • Flush • Switchable

LIGHTS AND LUMENS

INTERIOR LIGHT

21

During the Day

6

Roof Through Battens

Ceiling Through Insulation

5

LIGHTING ZONES

20

Heat previously absorbed re-radiated outwards at later times.

4

ARTIFICIAL LIGHTING

Lux = 200 READING CORNER space should be of cozy lighting thus warm white lighting colour was chosen Lux = 150

ARTIFICIAL LIGHTING

U value taken through highest point of roof. The roof is subjected to a heavy layer of insulation for its coating is metal, which is very conductive. Since the roof is also designed to direct water to the rainwater tank for uses within the building, some water accumulation might happen and this would cool the building even more. Perhaps the insulation can be thinner as well so as to make the building more economical.

Heat absorbed by thermal mass concrete shelf

THROUGH WALL = 0.23 W/m2K (timber width = 0.1m, insulation width = 0.4m, spacing = 0.5m)

3

RECEPTION space should be bright and welcoming but less brighter than the study group lighting

STUDY SPACE ANALYSIS

Erin Whalley s1402336

TERRACE

PATHWAY

7

Cecile Perdu s1455066 He Liang s1405680 Yedija Markus s1408894

8

Heat previously absorbed kept inside by insulated louvre system when closed.

Volume/V 43.98m2x4.00m= 175.92m3

Materials Double glazing, 2-3mm glass, 10mm air gap Plasterboard on 25mm Battens Rough Concrete Bookshelf Carpet on Concrete Hardwood Beams/Desks Plasterboard 10mm thick backed with 25mm thick bitumen People

Surface Area/S 579.00m260.79 43.85m2 16.00m2 43.98m2 377.60m2 36.78m2 16.00m2 (approximate value)

Absorption Coefficient/a 0.15 0.31 0.20 0.10 0.19 0.30 0.25

Satotal = 116.74m2

Volume/V 56.55m2x3.40m= 192.27m3

Materials Double glazing, 2-3mm glass, 10mm air gap Plasterboard on 25mm Battens Rough Concrete Bookshelf Carpet on Concrete Hardwood Desks Plasterboard 10mm thick backed with 25mm thick bitumen People

Surface Area/a 29.00m2 18.00m2 16.00m2 56.55m2 19.2m2 56.55m2 18.00m2 (approximate value)

Absorption Coefficient/a 0.15 0.31 0.20 0.10 0.19 0.30 0.25

Satotal = 43.90m2

For 125Hz, RT60 = 0.24 seconds

Cecile Perdu s1455066

This means that the sound will decay by 60dB in 0.062s and the room has a very dead acoustic, which is ideal for this space.

He Liang s1405680

Acoustics of Group Study Area Sabine’s formula, RT60 = 0.16V/Sa For 125Hz, RT60 = 0.70 seconds

Yedija Markus s1408894

This means that the sound will decay by 60dB in 0.7s and the room is relatively non-reverberant, which is good for this space.*

Impact

LOUD, GROUP WORK does not matter if the space is slightly reverberant

ACOUSTICS

RT60 = 0.24s

Scale

NATURAL LIGHTING

0.14 0.14 1

0.04 0.04 1

Chosen Luminaire: Orientation Luminaires • Lumen output from chosen lamp: 3 lm • Colour of light: Warm white • Low ambient brightness for night setting • LED • Recessed mounting

12

DAYLIGHT

EXTERIOR LIGHT

SOLAR PATH

19

During the Night

DIAGRAMS

Detail of thermal performance of the building during daytime when the louvres are open and during nighttime when the louvres are closed.

Strategies of thermal mass was included in creating this space by making the book shelves concrete.

WOODEN BOARDS ADDED FOR PRIVACY AND TO ABSORB SOUND IN THE QUIET ZONE

23

Our result for this project turned out to be a much more resilient space than we could have hoped. The design decisions to make the louvre the main architectural consideration, along with the retained earth wall as wind shield were made to become efficient environmental devices. Working in this group of 4 we had to constantly question every design decision brought up in order to test its sustainability and adaptability in our design. We were encouraged to prototype part of the louvre system and althought that part has never been completed, I was starting to see a pattern emerges with the testing, analysing and evaluating. I came out of this project much more aware of the possibility to make green design an integral part of architectural design, and not as an add-on that I had previously thought before entering my architectural education.

ACOUSTICS

into different zones. The librart annex is supposed to have a quiet study space and completely silent interior around the books. Studies on cladding materiasl, furniture was tested in order to optimise the level of acoustic comfort.

RT60 = 0.7s

QUIET, INDIVIDUAL STUDY space should not be reverberant at all to aid concentration

ATTENUATING BOARDS

max.

25.3% 3096.4 lux 1

Chosen Luminaire: Lightcast Downlight Recessed Luminaires • Lumen output from chosen lamp: 1200 lm • Colour of light: Warm white • Rotationally symmetrical light distribution for general lighting • LED • Wide beam • 12W • Switchable

Special attention was put into the lighting design of the work through the use of Sketchup lighting calculators acquired from workshop with lighting designer. We considered lighting strategies in accordance to our current louvre system.

Acoustics Acoustics was calculated and separated

REVERBERATION TIME CALCULATIONS - 125Hz.

ACOUSTIC ZONES

min.

1% 124.11 lux 1

Diversity

Reflection

*There will be books inside this space too, which will shorten the RT60 more.

22

THERMAL

Development Engagement

Acoustics of Individual Study Area Sabine’s formula, RT60 = 0.16V/Satotal

Erin Whalley s1402336

13

Daylight Factor Illuminance Sky View

Uniformity

11

U VALUES

Working plane 1 Grid size 0.5m Area 73.45m2

Values ave.

7.5% 913.94 lux 1

10

As a development from first year, in this design we included a detailed study on the building fabric as having not only an impact of the visual design but also on its functionality as a sustainable space. Our louvre system provides flexibility is retaining heat, shading, coolign so that the rest of the building can be built in a manner as thermally resistant as possible without sacrificing the ability to regulate for comfort.

Quantity

NATURAL LIGHTING

<<<

U value

Lighting

Wall Through Battens

Surface

IES DAYLIGHT ANALYSIS

DAYLIGHT WITH THE LOUVRES

18

<<<

Wall Through Insulation

Sedum roof over service space and raised ground around building also act as a thermal insulating layer

Louvres open to allow sunlight in. When closed, it acts as insulating barrier to preserve the heat inside.

THERMAL

U value taken through wall section below desk level. Compared to the building U value limit for wall in Scotland -which is 0.3 (W/m2K), this library’s walls perform quite well as a whole. However, the U value through the battens remains quite high and it would benefit the building to lower it even more. This would in turn help decreasing the thickness of the insulation boards in use - which is perhaps more economically viable.

Another detail to be taken into consideration is the building performance interms of insulating differs greatly between day and night. The louvres/blinds system in place also acts as an insulating layer at night and as it covers the building from ground level to above window level, it helps in decreasing the u value of the lower wall, even through battens.

9

Concrete shelf doubles as thermal mass to absorb heat when louvres are down/open.

<<< 35

GC 1 2 3 4

The early part of this course demanded that we study and create environmental sections. One of the earliest exercises was through a site visit to John Hope Gateway building at the Botanical Gardens in Edinburgh. The end result was a drawing of the building highlighting all the environmental strategies incorporated into the design.

5 6 7 8 9 10

Scale

Impact

Engagement

Development

11

36

Technology & environment 2A Building Environment

Environmental section: Rainy Season

How does it play into the thermal, lighting and ventilation control of the building?

Termitary House, Da Nang, Vietnam

2

The main feature of this building is its use of brick and this construction of brick ties in multiple aspects. It is hard to separate the structure from its effect on ventilation, thermal and lighting qualities.

Rainy season is mainly cloudy when the monsoon rains and thunderstorms hit.

Glass

Warm air through the building rises up due to pressure differences as with cooling wind/air from perimeter of the second floor helps cool down the building.

7

<<<

Development

<<< My work studying the mateiral system, the construction, the rainscreen and the cladding strategy.

The main feature of this building is its use of brick and this construction of brick ties in multiple aspects. It is hard to separate the structure from its effect on ventilation, thermal and lighting qualities.

Glass

The screen it self helps reduce the intese solarglare and allows the building privacy. The buildoing remains lit by daylight relatively well thanks to theConcrete rooflights located above the atrium.

Impact

Cecile Perdu s1455066

Bricks are traditional material of the vernacular architecture in Da Nang. It is produced locally, it can act as thermal mass to help shield the building from the sun during the day, maintaining a cooler interior; and release some of its abosorbed heat at night when it is slightly colder. (On average temperature drops around 5 Celsius degrees between day and night.)

The brick material also refers to the Historical heritage of Champa towers of the region.

The concrete is used for floor slabs and ceilings.`

s1408894

Scale

Brick

The building porous facade allows air into a buffer space between its first layer - the brick skin - and its second layer - the glass skin. The air is then blocked to help maintain a constant environment against: • Insects • Humidity • Strong Winds

Diagram showing how double skin structure helps block strong winds but allow air to filter through. (Especially during thunderstorms)

Study on enclosure, cooling strategies in the The building consist of two skins, and the solid skin can be divided into condition of rainy season, and storms. two categories: • Study Porous -on allowthe air through lighting and heating strategy and • Solid - block strong storm winds impact of the climate on the building during dry season in Vietnam.

The materials chosen to build is sturdy enough to brace against strong winds of the thunderstorms as well. Not to mention that the building is located in an urban context where it gets part of its wind shelter from surrounding neihgborhood.

<<<

How does it play into the thermal, lighting and ventilation control of the building?

In rainy season, especially the transitioning period between seasons that is often linked with thunderstorms, perhaps a flat roof is not the best strategy as there is much excess water to evacuate from the roof.

Second floor

The glass panels have operable glass doors that allows controlled ventilation into the building dependinng on the users’ need.

Building Construction: The Screen and The Skin

11

The organisation of staircases, storage spaces along the two sides of the building highlighted in the diagram on the right actually doubles up as buffer space to protect the building from the worst of weathers e.g Moonsonn thunderstorms which happens yearly and affects Da Nang heavily.

The building porous facade allows air into a buffer space between its first layer - the brick skin - and its second layer - the glass skin. The air is then Cecile blocked to help maintain a constant environment against: Perdu s1455066 • Insects • Humidity • Strong Winds

Diagram showing how double skin structure helps block strong winds but allow air to filter through. (Especially during thunderstorms)

Shading also provides good protection from glaree, solar radiation and its heat.

10

Bricks are traditional material of the vernacular architecture in Da Nang. It is produced locally, it can act as thermal mass to help shield the building from the sun during the day, maintaining a cooler interior; and release some of its abosorbed heat at night when it is slightly colder. (On average temperature drops around 5 Celsius degrees between day and night.)

The brick material also refers to the Historical heritage of Champa towers of the region.

The concrete is used for floor slabs and ceilings.`

Brick

Yedija Markus Lighting Study - Environmental section

9

Using Curtains to separate spaces (Bedroom vs kitchen): All organization inside are relativaly open plan and lightweight, which is preferable in tropical humid climates.

8

Wind controls humidity and temperature: Wind coursing through the building helps mitigate the humidity’s affect on the users as well as the heat’s. In theory the building works similarly as in dry season but to a differnt extent since it is has temperature fluctuations between two seasona.

Ventilation of building helps partially remove the humidity of the building and can help the users cool down.

N

Engagement

6

Double skin system: The building has a glass screen before the brick screen, creating a buffer space between the living space and the exterior facade. Preventing rain to invade the living space.

The air circulates on top floor, pours into atrium and also escapes at the back of the building.

The interesting part about this project was that it is a project from home, Vietnam. I had an advantage in being able to communicate with the architects at Tropical Space in Vietnam. The conversation was very helpful in terms seeing how architecture and the living environment all come together during the design process. The Termitary house wasn’t just a visually pleasing project, it was a perfect example of designing a comfortable built environment.

Detail of drawing explaining how the structure facilitates ventilation, dehumidification and cooling through the facade of perforrated brickwork.

Choice of materials: the Bricks themselves help the building maintain a warmer and less humid interior when its cooler outside in this .

It is locally produced and pays tribute to the ancient Champa towers of the region.

5

Because of the high humidity levels in rainy seasons, the air is likely saturated with water, which is very common in central Vietnam.

Humidity in this case is not preferable since rainy seasons typically falls in the colder months.

Yet these potted plants create a permeable layer can help absorb excess rain water.

4

Create an environmental section detailing the climatic strategy of a chosen building - here we chos ehte Termitary house by Tropical Space Architects. The project is located in Vietnam with a monsoon climate, strong winds, high levels of humidity and sunlight. Our approach into its study was to focus on lighting, ventilation, heating and ma terial study.

Concrete

3

Brief

Environmental section: Dry Season

Ground floor

Wind circulating through and up and out of the buidling, removing stale air and humidity.

Solid

In dry season the humidity level is lower, thus having the plants on roof would help cool down the building by evapotranspiration. The cool air from this effect would travel down and cool the building.

porous

After this exercise I realised the importance of a communicative sections. Looking back, I can see how the work we’ve done here influenced the environmental section we produced for Architectural Logisitcs in Year 4. This was an exercise that combined visual skills, architectural considerations and environmental strategies into one coherent document/system.

The contact with Tropical Space Architects remained and I was able to contact them years later for the Design Report and the T&E technical review in year 3 and 4

Intense solar radiations on clear days, although in dry season there is more cloud coverage.

Termitary House, Da Nang, Vietnam

Warm air rises up.

Roof light allow sunlight into the building without letting the building it overheat.

The second floor is mainly porous, allowing air to circulate through second floor and since the walls around the atrium are porous so it allows cooler air on second floor to cool the atrium and the ground.

The building is located in central Da Nang, in an urban context with tightly packed housing around and an airport not too far away.

Which would actually help shielding the building from strong winds in moonsoon storms seasons.

Breathing Screen: The bricks act as a screen against direct solar radiation, reducing heat gain, glare on daily basis.

Air flowing out of the building removing humidity and stale, warm air.

N

The wind flowing through the building helps regulate temperature as well as humidity. It carries cool air in and helps remove humidity. Good ventilation allows for good transpiration process, which is crucial in the thermal comfort of the users of the building.

Using Curtains to separate spaces (Bedroom vs kitchen): All organization inside are relativaly open plan and lightweight, which is preferable in tropical humid climates.

The brick screen also allows air to flow through and ventilate the building. It act as a breathing skin around the building.

Double skin structure to help maintain a constant internal temperature between the two seasons.

Outer skin: bricks Inner skin: Glass

Cecile Perdu s1455066

Second floor

The glass panels have operable glass doors that allows controlled ventilation into the building dependinng on the users’ need.

The screen it self helps reduce the intese solarglare and allows the building privacy. The buildoing remains lit by daylight relatively well thanks to the rooflights located above the atrium.

s1408894

1

Assignment 2

GC

Building Construction: The Screen and The Skin

The building consist of two skins, and the solid skin can be divided into two categories: • Porous - allow air through • Solid - block strong storm winds The materials chosen to build is sturdy enough to brace against strong winds of the thunderstorms as well. Not to mention that the building is located in an urban context where it gets part of its wind shelter from surrounding neihgborhood.

Ground floor

Solid porous

37

GC 1 2

contemporary art practice

3 4 6 7 8

This course introduces architecture students to the practice of Sculpture. Students will engage with the current debates in contemporary Art Practice, and be introduced to the fundamental knowledge and skills of Sculpture and reflect on their own architectural practice. Students work on a series of exercises and projects of differing timeframes and increasing complexity within a studio environment exploring form and material. Students are encouraged to develop an iterative creative process that incorporates making, evaluating, presenting and reflecting. This will enable them to apply research and making skills, knowledge of processes and techniques relevant to a range of materials in the development of their imaginative concepts.

5

Description

9 10

Development Engagement

LO1

EVALUATE: evaluate and respond to art practice project briefs, and formulate appropriate approaches.

LO2

DEVELOP: apply fundamental and conceptual development through a transparent iterative process in the development of a sculpture form.

LO3

REALISE: realise sculpture project solutions through structured and transparent methodologies.

Reflection

Contemporary Art Practice for me was an extension of Art and Design, although the level of criticality and work was much higher. The course offered an access to the toolkit of Sculpture in order to find the perfect balance between Abstraction and meaning. Since this was something I struggled with during my first year.

I came out of it much more confident in my ability to create architectural gestures imbued with thought and not just trivial forms.

Scale

Impact

s1

11

2

38

GC 1 2 3

contemporary art practice

4

Development

11

Engagement

10

The last part of the project was to assemble five key images of the work Iâ&#x20AC;&#x2122;ve produced. Yet what I realised is that the most impactful work of mine sometimes looses impact in a photograph. The hair project where clumps of hair are let fallen to the ground is powerful in its simplicity and visceral impact. However, it loses the power when photographed out of context. The power of that work was due to it being in a strange place, and the photograph takes the strangeness of the place away.

DEVELOP: Through a series of repetitive work, in my case, swapping parts, functions and meaning, I was to test and see what happens with the meaning and guttural reaction I had previously stumbled upon. I had found through this series of trial and error that the swapping must take a conscious path and must be simple in order for it to be clear. At one point during the programme, I also tried and dived into a different line of installational work, where a painted canvas was torn, and hair was left on the ground of the studio. Yet what they had in powerful emotional impact, they lacked in clear methodology.

REALISE: This is the learning outcome that I believe I struggled with the most.

While through the iterative process the project of swapping meaning and parts became a success, and the level of production was high. In the more guttural attempts later on during the course the level of care in their realisation was much lower.

Bristles on cups - Cutting forks - Dinner scene in a strange household - Hair

Scale

Impact

9

EVALUATE: My most impactful work was the most simple and where my most elaborate work lost the intensity of simplicity. As part of the first learning outcome I was asked to test and evaluate the immediate reaction I had when it comes to seeing the form/image I had created. I was to reflect on the guttural reaction and try and direct the work into a path I want it to take, to increase the intensity of the work. This lead to the second learning outcome.

8

My time working in this project followed a very clear path similar to the path charted by the learning outcomes

7

Reflection

End project, the torn painting and the damaged image of self. For the end project I presented two main works - a torn painting, a strange dinner scene with objects of swapped functionality that have undergone a long process of refinement.

6

The course consisted of exercises that demand development of basic skills involved int creating sculptures. The play with meanign and form provide space to reflect on our architectural practice. A series of exercises in swapping objects, swapping their meanings, their forms and functionalities with different timeframes and increasing complexity. The exercises demanded a thoughtful iterative process to build layer of meaning on the work while stripping the layers of uneeded detail way. Revealing sculptures that are potent in their message and transparent in the methodology.It was about creating eliciting an immediate feeling and impression from the viewer. The course demanded a series of curated work to be produced and presented as part of a whole exhibition. During this course I created scenes, objects, rituals and paintings. Where mundane objects like food and brooms and cutlery take on a different feeling. Like the gnarly forks and bristling tea pots. Or the heavy deformed forks on brooms.

5

Introduction

39

GC 2 3

Any Place (ARCH08006)

1

Architectural Design

4 6 7 8 9

This course is thematically focused on circumstances and conditions. From critical ideas of locality, foreignness to space. This thematic focus is supplemented by a critical interest in the city as a condition for architecture. Students investigate a range of everyday practices that constitute the experiences of the contemporary city. Working through a series of studio exercises, students explore these themes in architectural terms.

These exercises also support the development of skills in the manipulation of form, volume, metaphor and built fabric. They do so in the context of ideas of creative agency and design inquiry within broader frameworks of accountability and consequence.

5

Description

10

Development Engagement Impact

LO1

Demonstrate ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research;

LO2

Demonstrate capacity to synthesize a range of programmatic components, formal, spatial and technical strategies of modest complexity within an architectural design that responds to specified urban conditions;

LO3

Demonstrate ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Reflection

The title of this course is Any Place, so we were dropped unceremoniously into Rome. With a different climate, different culture, and a limited amount of time for site investigations, we learned the skills to develop a research methodology quickly and effectively. During this project I was able to combine research skills from Architectural History and Art and Design into my concept studies on models, drawings and narrative. The design process here was one of the first to be truly conversational, and going back to the concept drawing/form. This was also the first chance I had at designing both digitally and analog, so I have developed both Rhino modelling skills and maquette, concept model making skills.

Scale

s2

11

2

40

GC 1 2 3

Architectural Design

4

Any Place

Engagement

My investigations for this course took the form of models and drawings happening in conjunction. The drawings expressed constrast in Weight and Lightness, and in model form the Weight took form of concrete, and Lightness took form of resin. Then I dwelled into a study of concrete, the Roman hydraulic concrete that built the Pont du Gard and coats the very same catacomb network system under Rome. This led to a refinement of the design, where material plays a part in reinforcing this protective network.

Drawing Rome Then I moved on draw the spaces of Rome. Here on the right is the negative and positive space felt at the Portico dâ&#x20AC;&#x2122;Ottavia, where although it is concrete, the space flows and blurs into one another.

Scale

Impact

Going back to the research on Rome, I realised that despite Rome being planned according to a very centralised composition above ground, underground it is a dense network of tunnels, and catacombs. If corpses can lay there untouched for centuries. Surely books will be safe? This offers a model and a preexisting frameowrk for me to build on.

11

During this time, in Architectural History 2B, I was familiarising myself with WWII era urban design of a defensive network. This is where cities are planned as a network of different nodes, so that should one node be attacked the others can assist all the while maintaining their own safety.

10

I started the first four weeks with a research on the history of Rome, its sacking by the Visigoths. Then I moved to studying the theoretical understanding of a library space. What i found was that the Library is a space that must archive knowledge, meaning it must protect the knowledge and yet must be accessible. During the burning of Rome, the Visigoths ransacked the city and burned all the books. What should a library space be like? How can you protect and grant access at the same time?

9

During our visit to Rome I was also making trips to architectural landmarks of advanced concrete.

One of them was the Jubilee Church and the other was the MAXXI museum by Zaha Hadid.

Here, through sketches I was able to see how her drawings transformed into her architecture, and how her architecture is essentially her drawings. The conversation between drawing and form was one of the big lessons I gained.

8

After Architectural Design - In Place, in which we were to design in Edinburgh, a context that we know well, we are dropped in Rome in order to see how as architects we can adapt to an unknown place quickly, research and learn as we design a project for a site far away and not always accessible. The Brief was to design a library in Rome and the first four weeks consisted of research, and of experiments in order to find concept and form. Then we had the opportunity to visit Rome for a few days in order to see which one of our previously attempted concept fit best.

7

Drawing MAXXI

6

Development

5

Introduction

41

ARchitectural Design Any Place GC 1 2 3 4 5 6 7 8 9 10

Development Engagement

Drawing The original investigation in the form of drawings became a study of contrast. Here Weight is juxtaposed to Lightness with either a tying element like beams and lines or cavities carved into the junction where Weight and Lightness means, Or the drawings try to extend one into the other. Many of these drawings took an abstract form, something that I was not too familiar with before, until I took Contemporary Art Practice. The style and the methodology behind the thinking and making of these drawings are inspired by Ryan Typpery constrating work of flowing lines and static forms.

to

Model

The models then took these concepts of Weight and Lightness and translated them into materials. I found that constrast is more easily represented in model form than the smooth extension of one into the other. Here Weight took the texture of concrete, and Lightness took the transparency of resin.

Some models were essentially the exact copy of their drawing counterparts, some were much more rigorous in the abstraction of concept. The two most important models that Iâ&#x20AC;&#x2122;ve made that later on decided the concept are the solide block of concrete and resin (bottom right) and the separate parts concrete, resin + concrete, resin model (top left). These two models were later on combined into one drawing explaining the different quality of space and the change in these spatial atmospheres as one moves through my design.

Model and drawings and precendent merging into one in order to create a concept

to

Concept

The concept was a combination of research, drawings, and models. Essentially, the concept was a development through trial and error coupled with investigations on the role of a library and the site. The concept drawing is reminiscent of a bunker space, heavy concrete made to open to light. This led to an investigation of the bunker typology, with its mass and darkness, specifically in the project by RAAAF architects to open up this mass.

Scale

Impact

from

Models recreating this contrast of lightness and weight

11

Abstract drawings showing contrast of light and mass

42

ARchitectural Design Any Place GC 1 2 3 4 5 6 7 8 9 10

After visiting the site in Rome, a maquette of the site model was created and provided a platform to use the investigative/abstract models created in the first four weeks in order to compose the constrast of Lightness and Weight and orientate it to respond to site.

Atmospheric drawings of the transition from darknessprotection - to lightness - openess and connection.

These drawings were developed in order to tailor the interior design of the project. Many of the drawings were seeking to invert the relationship between weight and opacity, therefore the ones illustrated here tend to draw lightness underground and darkness above ground.

Sketches - Form finding for lightness and weight. The sketches are used to develop in external form of the building in a way that is in accordance with the interior atmospheric design. They adapt to the site, some of the drawings hug the outline of the church of San Nicola in Carcere next door, raising the question of new and old, whereas some sketches were much more respectful of the existing architecture.

Scale

Impact

Engagement

Development

11

The exhibition of the 20+ drawings and investigations for Rome - prior to trip in Rome. Here I had the chance to see the development of models and drawinsg and how they informed one another in my work. By laying them out I had the chance to reflect and connect concepts and threads previously left out.

43

ARchitectural Design Any Place

>>>

Plans

>>> Level 0

Level 1

Printing facilities

Printing facilities

Level 2

4

Protected, staff access Public access

Circulation

Level -1 contains parts of the bunker and also a printing and binding facility that is only accessible by the staff. This is where published books online are printed and bound to conserve them in the worst case scenario of the Internet falling. The two areas are separated by the thick Roman concrete wall that runs up Bunker into the upper floors as well as into the lower levels of the bunker to maintain support.

3

-1

Diagrams showing the distribution of programmes, of protected and exposed spaces, of circulation.

The lower levels constitute the majority of the bunker. They follow the same plan to ensure wall continuity through out the building vertically, creating a concrete spine running up and down the mass and supports the upper floors. The storage for the books are inserted into these walls to maximise storage. This allows the plan to be continuously repeated if the libary were to grow and expand into the soil.

2

Bunker and book archives.

Level -1 contains parts of the bunker and also a printing and binding facility that is only accessible by the staff. This is where published books online are printed and bound to conserve them in the worst case scenario of the Internet falling. The two areas are separated by the thick Roman concrete wall that runs up into the upper floors as well as into the lower levels of the bunker to maintain support.

1

The lower levels constitute the majority of the bunker. They follow the same plan to ensure wall continuity through out the Staff access building vertically, creating a concrete spine running up and down the mass and supports the upper floors. The storage for the books are inserted into these walls to maximise storage. This allows the plan to Bunker and book archives. be continuously repeated if the libary were to grow and expand into the soil.

Staff access

- 2 and lower

GC

Final plans and Plansdevelopment as one goes from the catacombs underground and move up into the lighter sections.

Circulation

Level -2 and lower. 1:250.

24

Level -1 Bunker and printing facilities. 1:250

Level -2 and lower. 1:250.

Level -1 Bunker and printing facilities. 1:250

24

25

5

34

35

Bridge overhanging over the ruins.

6

Tripple height entrance.

Staff circulation: protected access to all floors and protected areas.

7

- 2 and lower

Drawing of gradual blurring -1

Level 0

Bunker: protection. Books are part of the walls that support the bunker.

Level 1

Level 2

Approach

8

Bridge overhanging the ruins.

Protected, staff access Public access

Book reception: Contact point where requests for books are made.

Public space, flexible space.

Development Engagement Impact

The catacombs system will be the framework upon which many iterations of these towers will build up with each being slightly different to adapt to surrounding above ground context.

>>> Public space, flexible space.

Level 0 Plan 1:250

Book showcase, an “introduction” to the library.

Bridge overhanging over the ruins.

Moreover, the building introduces the passerbys by creating a showcasing space inserted into the thickness of the tail.

Staff and administration area.

N

Level 1 Plan 1:250

11

The design overall was comprised of a central concrete tower that punctures through the undergound layers of Rome and connects itself to the catacomb system in Rome.

The tower had a light, well glazed wing attached to it forming the accessible part, and the reading area adjunct to the protective paths.

Book reception: Contact point where requests for books are made.

Staff and administration area.

26

Tripple height entrance.

Staff circulation: protected access to all floors and protected areas.

Staff access

The tail of the building act as an urban move to redirect the passage to either through Bunker: protection. Books are part of the walls that support the bunker. the building, or the passage between the mass of the building and the church, creating a moment where they can appreciate the mass and intensity of the roman concrete bunker.

Reception receiving books.

Open reading area

Book showcase, an “introduction” to the library.

Book reception: Contact point where requests for books are made.

<<<

The design then started to take form, and from here it is an even more complex series on the study of drawings. As plans were developed, initial abstract drawings showing the contrast of Weight and Lightness came back into play.

Some were Nshowing the gradual blurring of darkness into lightness. Yet the project also took on even more forms of drawings. Most of these are in plan, which was a concern of mine since I felt I was stuck designing in plan and not much wasLeveldeveloped in section. Other drawings took form 0 Plan 1:250 of volumnetric diagrams, circulation diagrams, detailed 20 plan overlaid with the blurring, as well as material considerations.

Bunker: protection. Books are part of the walls that support the bunker.

N

10

Design

On the ground floor the building create an urban change with a swooping tail: A change in the35circulation of the public. Whether they are not using the library or not. They are either forced to go through the lighter wing of the library or guided towards a narrow passage squeezed between the building and the church, juxtaposing the two fabrics of the two different buildings. The passage at the rear of the building allows the visitors to view the concrete mass and protectiveness of the bunker, suggesting that something precious is contained within, very much similar to the church layout discussed previously. Meanwhile, the passage through the parasite of the building does not have the same effect, but rather, it focuses on the contact between the light and the protected.

9

34

Staff circulation: protected access to all floors and protected areas.

N

Secure reading area

21

Public space, flexible space.

Stairs inserted into thickness of the bunker’s wall

Drawing overlaying levels of blurring, materiality, weight, lightness, and circulation all in one.

Level 0 Plan 1:250

Staff and administration area.

N

Book showcase, an “introduction” to the library.

The 1st level has a secure reading space on top of the bunker area. It is situated within the bunker mass. This secure reading area is a semi enclosed space with skylights of onyx marble diluting the light from above inside. It is the transitional state that was discussed in the models of my first four weeks since it is a more porous part of the solid bunker. Aside from the skylights, this space is completely enclosed. It follows a formal organisation for reading as this is where books of important values are read. Each book requested will be brought to the borrower at their designated table. Meanwhile, in the more open area, the borrowers of the book can go up to the book desk to retrieve their books and sit as they please. This shows a contrast beween the open and the enclosed space, not only physically but also in the formality of its ritual of reading.

Computer zone

Level 1 Plan 1:250

26

27

<<< Drawing explaining the building, with its light wing, its tower puncturing into the lower levels of Rome, and connecting to the system of catacombs

Staff access

Reception receiving books.

Open reading area Terrace with rooflights introducing light into secure reading area below.

The top floor is the lightest most open floor out of all. The stairs have a rooflight casting light down into the circulation within the bunker, encouraging the visitors to move up and experience their passage within the mass and thickness of the bunker. As they emerge they come face to face with another mass of the bunker, squeezing them either to the terrace that is on top of the secure reading area or into the open reading area. The terrace here is infact the ultimate extreme open space that I experimented with as I came up with the concept.

The Gradient of Enclo

Stairs inserted into thickness of the bunker’s wall

Scale

N

Open reading zone

Diagram showing the gradi

Level 2 Plan 1:250 28

44

ARchitectural Design Any Place GC 1 2 3 4 5 6 7 8 9 10

Reflection This design project is one that was challenging and fulfilling at the same time. During this entire project I was able to design something with thought fully all the way through out. I learned how to present concepts, develop a procedure for research, a methodology for exploring and developed my abilities to present drawings in a coherent manner with an overarching theme. Looking back on this project i still see many holes in my development and I recognise the paralysis when it comes to designing in section. My development as a designer will have to rest on my noticing these set backs and work on improving them in later projects. During this project I also had the chance to start thinking about detailing the structural design, something that Iâ&#x20AC;&#x2122;ve found to be lacking in my curriculum.

Section through the building

Scale

Impact

Engagement

Development

11

Renders of interior

45

ARchitectural Design Any Place GC 1 2 3 4 5 6 7 8 9 10

Scale

Impact

Engagement

Development

11

46

GC 1

technology & environment

2 3

2B Building Fabric (ARCH08027)

4 5

Description

6

The course explores the applications of the principles of structural analysis and design, and also construction technology, implemented in the first year technology and design courses. Moving up the degree of complexity in design, structural stability and serviceability is examined as a result of a wider range of actions. The process of dimensioning structural elements is scrutinised to provide insight to the rationality involved. Discussion of the design of these elements and their expression in structural forms classified broadly as linear and cellular addresses the majority of medium-sized construction and covers collectively the main material systems (timber, steel, concrete, masonry), highlighting their relevance to architectural design. This is further explored in their tectonic expression in processes of material system choice, architectural synthesis and assembly, actually the essence of how a building communicates its qualities to its users.

7 8 9 10

Development Engagement Impact

LO1

Apply the mechanisms of design of structures that address increasingly complex interactions between forms, human use and the environment of a site, in terms of imposed actions and the impact of the chosen material

LO2

Demonstrate an understanding of the process of choice and assembly of material systems in the design of buildings to provide internal conditions of comfort and its aesthetic expression

LO3

Communicate an understanding of the range of applications of the principles of assembly and structural performance with regards to the main material systems (masonry, timber, steel and concrete) in the design of medium-sized buildings

Reflection

This leg of Technology and environment provided me with the opportunity to study the construction logic/ hierarchy in much more detail. In the endeavour to create a walkway at Dirleton Castle, I was tasked with the challenge of resolving a clear, non-intrusive design on the whole, and detailing the junctions specifically. I specifically like the aspect of working with historical fabric while designing new structures. Especially, when this is studied in a context like the city of Edinburgh. I came out of this course with a reinforced understanding of the intuition in working with timber, with the care that must go in when treating historical fabric. This served me well much later on in my fourth year project of a timber construction.

Scale

s2

11

2

47

GC 1 2 3

technology & Environment

4

2B Building Fabric

5

UPPER FLOOR PLAN

6

SCALE 1:50

7

7

8 9

Technology and Environment 2B is meant to teach us about building enclosure, structural junction especially in the context of conservation and preservation. The main assignment in this course revolved around Dirleton Castle, which we were to create an architectural intervention that is structurally sound and thermally efficient. It consisted of two tasks, creating a walkway, and a visitor pavilion,

6

Introduction

10

Development

11

The walkway exercise was for us a structural exercise, demanding that we must understand the hierarchy of structural elements in building with timber. We had to also closely study joints in the design to see how timber can connect. The pavilion exercise was a challenge in enclosure and joining an outdoor structure to an indoor structure.

GROUND FLOOR PLAN

Engagement

The walkway During the first half of the project we were expected to design a walkway structure on the exposed floor of Dirleton Castle. The challenge was to learn how to build a robust timber structure for the outdoors without being structurally or visually intrusive in the historical space.

The design process for the walkway was not a linear path but it followed multiple iterations of form, then some consideration for the structure, backed or contested by findings through calculations, based on which we went back and tuned the structure to ensure the walkwayâ&#x20AC;&#x2122;s stability.

UPPER FLOOR PLAN SCALE 1:100

Final plans and sections of the pavillion, its enclosure and the walkway.

SECTION B-B SCALE 1:100

11

Scale

Impact

In order to complete this task, our group of four were divided into two, with two focusing on the calculations and form, and two focusing on the junctions and detail.

SCALE 1:100

9

48

Technology & environment 2B Building Fabric GC 1

SECTION A-A PRIMARY BEAM

Design loads for the mezzanine: Live load (imposed) Self-weight Total q

5.0 kN/m2 0.5 kN/m2 5.5 kN/m2

I

M

S

T

R

U

C

T

U

R

Load on beam

E

6

Decisions for the structural elements for each of the detailing of the walkway’s construction was based on the layout proposed and the data collected from the site investigations.

Initially, the sizing of the deck on top of the stone pillars were broader, as it needs to hold the step downs strategically. At that point, the deck was supported by slightly bigger columns with cruciform oriented four sided struts which were placed at an interval of 2.5m spacing. The decking on top of the Great Hall’s stone wall was held by a smaller but similar columns.

A

Permissible Shear Stress PLAN

A

T

E

R

I

A

L

S

Design bending stress = bending moment M / section modulus Z. In order to calculate the section, Mmax is used together with the design (permissible) bending stress (strength) fm,d In this expression:

Maximum Deflection

Max shear stress in a rectangular section The duration factor kdef = 2.0 from Table 10 Final deflections wfin = wins(1+ kdef) = 1.9 (1 + 2.0) = 5.7 mm

Service Class 3 : external uses, fully exposed (Table 7) Load duration: medium term Material: solid timber Therefore strength modification factor kmod = 0.65 (Table 6) Although the section has not been evaluated, a depth d is assumed > 150 mm , therefore the size factor kh = 1.0 Full torsional constraint of the beam is provided, therefore the instability factor kcrit = 1.0

75 122

Hence by comparing maximum deflection against allowable deflection, max allowable (Table 11) = L/150 = 1200/150 = 8 mm > 5.7 mm. The beam section is ok.

Hence by comparing the shear stress against permissible shear, or 1.39 < 2.09 the beam section is ok.

11

The bolts and connectors in the design are all pre-galvanised VISUALISATION steel. This is to reduce the corrosion from tannic acid, contained in the timber, from producing permanent blue staining.

DEFLECTION OF THE BEAM

10

Development

STRUCTURAL DESIGN

Max shear force in a simply supported beam: V = RA = RB = q s L/2 = 8.8 x 1.6 x 1.2/2 = 8.5 kN

9

Engagement

STRUCTURAL DESIGN

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

M

W = q s = 5.5 x 1.6 = 8.8 kN/m

8

SECTION A-A

DESIGN STRATEGIES

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

3D-MODEL RENDERING

West section

from

to

Form

Structure

The design for the walkway takes first form as we visited the castle and speculate on where the passage should be and how elevated. We were meant to design an visuall non disruptive and structurally un-intrusive walkway that can blend seamlessly into the context. This form is then informed by the constructional system that we developed into it.

The structure of the walkway is primarily made of timber, with concrete foundation that simply sit on the ground. Where the timber post does not meet the top of the wall, they are attached to the side of the wall. This latter approach is STRUCTURAL DESIGN slightly more intrusive structurally, since it requires penetrating the preexisitng building fabric. However, it is visually light and non disruptive. Much attention was paid to the construction system of the walkway, the selected method was timber connected by metal plates for a light effect. The construction system was broken down into 3 levels of structure primary: the most crucial, secondary: supporting structure, tertiary cladding and fittings.

to

Calculations

ZOOMED IN OF SECTION A-A

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

CALCULATIONS

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

A part of the course is also to be able to calculate the forces that the structure experiences. During the deisgn process, the spacing of columns, the width and overhang of the walkway are determined through calculations of shear forces and deflection. These calculations not only determine the overall form of the project but they also determine the smaller details like the size of the cross section of the timber members, as well as the fittings and type of junction.

Scale

Impact

BEAM SHEAR STRESS

ZOOMED IN OF SECTION A-A

Scotland has an average rainfall occurrence is 147 days per year. Therefore it is important to use, not only a durable and Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong strong material for the walkway, but also a material which survives wet weather. Our material choice of the walkway is Scottish Oak . It is strong, suitable for the outdoors, hard and tough due to its little to least shrinkage when cut and sawed.

It is also fire resistant, making it highly resistant to vandalism.

Even though it is porous, the weathering of the timber with a silvery grey layer will be physically esthetical to the design.

The usage of native timber is both economical and sustainable as it has low embodied energy. By using Scottish Oak, it is also another way of promoting Scotland’s rich timber industry.

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

A

7

The final design now shows the main structure of the walkway with a consistent appearance in order to give it a neater character when seen form below. The deck on the east side is narrowed and the columns were twisted, becoming x-cross columns to also rationalise the primary beams across the walkway.

Uniquely, the beams holding the deck on the Great Hall’s wall were only functioning as a transmitter of the load it carries, not the main supporter. The column would be screwed to the stone wall similar to the existing timber stairs at the Great Hall’s entrance.

From Table 12 select a beam with Zxx > 160 x103. The choice for beam dimension is 75 x 122 (Zxx = 186 x103 mm3)

5

The project is specified to advocate an appealing and neatly connected juxtaposed timbers, bonded by intricate connectors, promoting both aesthetic and structural approach for design process of the walkway.

BEAM DIMENSION

4

A

Data from Table 3 Bending, fm,k 40 N/mm2 Compression parallel fc,0,k 26 N/mm2 Compression perp fc,90,k 8.8 N/mm2 Shear fv,k 3.8 N/mm2 Mean Elasticity Modulus E 11000 N/mm2

The material is solid treated timber, therefore the partial factor γM for material properties is 1.3 (from Table 5)

3

PRIMARY BEAM Timber choice: Scottish Oak. Strength class : D40

The load sharing factor kls is assumed to be 1.1 as the beam (floor joists) span 2.4 m, i.e. less than 6 m apart (Table 9)

2

West section

49

Technology & environment 2B Building Fabric GC 1

2

2

1

3

<<< Developing the steel + timber junction for the

4

walkway. These are classified into three categories primary/secondary/tertiary. The primary connections were inspired by the design at the John Hope Gateway, using CLT panels and steel plates.

5

STRUTS TO PRIMARY BEAM

COLUMN TO STRUTS

DIMENSION Primary beam: 75x122x2400mm Secondary beam: 75x122x4500mm Connection cap fasteners: M10x60mm

Column: Knee-brace: Four-way flitch plate steel connector Fastener:

DIMENSION Primary beam: 75x122x2000mm Knee-brace: 75x130x1000mm Custom connectors Fasteners: 3.75x30mm

10

PRIMARY CONNECTIONS

PRIMARY CONNECTIONS

DIMENSION Secondary beam: 75x122x4500mm Pre-galvanised steel plate fasteners: M10x60mm

DIMENSION Secondary beam: 75x122x4500mm Joist: 36x72x900mm Fasteners (on beam), Annular ring shank nail: 10x60mm (on joists), Screw: 10x60mm

M10x100mm

PRIMARY CONNECTIONS

>>>

9

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

The secondary connections are developed based on a similar rationale and system. Here we still use steel plate connections to join blocker to beam, and splice beams together to create a larger beam lining the walkway.

DIMENSION 150x150x4000mm 75x130x1000mm

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

msanitwong

Joists and secondary beam are connected by concealed pre-galvanised steel beam hanger. The first part of the connector is fixed into a pocket on the header timber with nails and the second part on the end of the in-coming beam with screws. No slots or dowel holes are necessary, and this helps speeding up production. The 10mm Annunlar Ring Shank Nail is fixed to the beam and a 10 mm screw is fastened to the joist.

8

Based on the precedent of the columns seen in John Hope Gateway, the column and the struts are fixed by a four-way flitch plate connection. This is because the way the post receive the load from the props is slightly more difficult and need to be aided by metal structure in between them. The steel flitch plates are bolted to the struts are welded to a steel bar which provides continuum in the structure, across the column and the struts’ ends. The use of slender steel rod as the column head achievably makes it capable to withstand beyond the maximum bending moment of the overall mezzanine.

The span for the longest allowable secondary beam is 8m. Hence it is necessary to cut down the longest secondary beam spanning at 12m into half. The beams are attached again together by placing a steel flitch plate in the timber slits. The flitch steel plate is hidden and screwed to get the connection neatly fastened.

SECONDARY BEAM TO JOIST

7

The connection cap is customized accordingly to fit the exact dimension of both beams. This to make sure that there is no room for lateral movement thus maximising the load transfer efficiency. Steel bolts are fixed into the beams to fasten the connection.

SECONDARY BEAM TO SECONDARY BEAM

The primary beam meets the strut at an angle. Here it is decided to use a custom connection which allows two timbers to be bonded when they are in contact not perpendicular to each other. This is to ensure the knot is intact in long term and stabilise the structure.

6

PRIMARY BEAM TO SECONDARY BEAM

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

SECONDARY CONNECTIONS

SECONDARY CONNECTIONS

Development

11

Reflection

Engagement

3 FLOORBOARDS

FOUNDATION PADS

COLUMN TO STONE WALL The column screwed to the existing stone wall using pre galvanised steel bolts to assist the load transfer. The use of the bolts are minimised in order to avoid further loss of the columns section which can affect the bending stress in the timber.

Impact

DIMENSION Column: 150x150x4000mm Bolts, Pre-galvanised steel (Wedge Anchor): M24x180mm

The Scottish hardwood timber is used as the base of the floorboards. It is covered by another thin layer of engineered hardwood on top, as has higher capacity to protect from moisture absorbance.

The oak column is attached to a concrete base by galvanized steel flitch plates. The concrete base is seen to be bulky and heavy as to support the whole structure before all the loads are transferred into the stone pillars and the stone ground.

It is agreed that the construction would not necessarily be a permanent build, the heavy pad is not fastened to the ground or make any changes to the castle, and hence it is easy to be dismantled. Connection is fixed for stability reasons and in order for load to be transferred directly into the ground.

DIMENSION Column:150x150x4000mm Fasteners:M20x150mm Foundation Thickness: 450mm (>400mm) Width:350mm Breadth:350mm

DIMENSION Base, Plywood Sub-floor: 1000x12x70mm Top, Engineered hardwood: 2.5mm

BALUSTRADE It is an assembly of square glass plates that encircling the walkway. While it is mainly for safety measures, the invisibility of the balustrade façade expressing an elegant manner of the walkway design. It encompasses the harmony relationship between native natural materials with modern construction component in which both are easily attained only they both possessed different identity. The design celebrate diversity while at the same time appreciate the national integrity of both historically and contextually respectively.

<<< Tertiary structure was developed as a series of

PRIMARY BEAM TO STEP-DOWN STAIRS

The straight primary beam is extended as the stairs’ beam with two steps under-deck mounting system. Stringers are used and positioned perpendicular to the joists. The load will be transferred to the steel rod and down the column. This structure of the walkway was the particular main reason of the steel rod and four-way flitch plate connector is necessary.

The step down carries extra weight than the rest of the deck.

cladding and fittings for the stairs and the balcony. The work was divided so that each of us could focus on one part of the structure.

DIMENSION Primary beam: 75x122x2400mm Steps: 180x250mm, 180x424mm Connector cap Steel angle connector: 50x250mm

Despite our first familiarisation with timber construction in first year, this is the first time we were able to design in depth with timber and understand the hierarchy of the structure when it comes to designing with this material. Our contact with calculation based design decision and the incorporation of conservation of historical fabric was a new step, although in hindsight these aspects could have become a more important procedure in the design process. Strangely enough, during Architectural Design, even in fourth year, when I was designing with timber, worries of timber span was largely told to be neglected. Is this a separation between the two courses?

And is this separation healthy?

DIMENSION Glass panels: 1200x900x5mm Standoff Fitting: 50mm diameter Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong PRIMARY CONNECTIONS

Diyana Adi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong TERTIARY CONNECTIONS

TERTIARY CONNECTIONS

TERTIARY CONNECTIONS

Scale

angAdi Yazid / Madihah Azhar / Cecile Ngoc Suong Perdu / Natcha Ruamsanitwong

50

Technology & environment 2B Building Fabric

SCALE 1:20

3D model to visualise and refine the design by Cecile Perdu

1

SECTION B-B

GC

<<<

2

FOUNDATION SYSTEM

Timber floor Vapour Barrier Floor Joists Glass Wool Insulation Damp Proof Membrane Damp Proof Course Concrete Foundation

<<<

9

10

<<<

10 11

Model showing how the building connects with the walkway.

Development

<<<

insulation. First detail is cut through solid wall, second detail is cut through glazing.

Key: (top to bottom)

Timber floor Vapour Barrier Floor Joists Glass Wool Insulation Damp Proof Membrane Damp Proof Course Concrete Foundation

8

Exterior + Interior

Key: (top to bottom)

7

Detail of material build up. The building elements

are assembled and detailed to show the layers of model visualisations

The floor is suspended in order to avoid direct contact between the timber structure and the existing historical fabric to prevent the timber from rotting. The pavilion sits on reinforced concrete foundation blocks, which are located underneath the edges of the building.

There are holes punctured through concrete foundation to allow air circulation. The structural frame is protected by the plywood sheathing on the very bottom layer. This plywood sheathing is attached to the floor joists.

Sitting right on top of the sheathing is a damp proof membrane that contributes to further prevent moisture transmission.

Glass Wool Insulation is fitted between the floor joists, which is then covered with a layer of a vapour barrier and timber flooring.

6

FOUNDATION SYSTEM

13

5

SCALE 1:100

Timber floor Vapour Barrier Floor Joists Glass Wool Insulation Damp Proof Membrane Damp Proof Course Concrete Foundation

4

SECTION A-A

3

Detail section showing the roof and side insulation of the pavilion. Detail for rooflight also includedNatcha Ruamsanitwong and Cecile Perdu

Key: (top to bottom)

The floor is suspended in order to avoid direct contact between the timber structure and the existing historical fabric to prevent the timber from rotting. The pavilion sits on reinforced concrete foundation blocks, which are located underneath the edges of the building.

There are holes punctured through concrete foundation to allow air circulation. The structural frame is protected by the plywood sheathing on the very bottom layer. This plywood sheathing is attached to the floor joists.

Sitting right on top of the sheathing is a damp proof membrane that contributes to further prevent moisture transmission.

Glass Wool Insulation is fitted between the floor joists, which is then covered with a layer of a vapour barrier and timber flooring.

CONNECTION SYSTEMS CONNECTION SYSTEMS

FLOOR TO SOLID WALL

FLOOR TO SOLID WALL

The structural timber frame of the wall sits directly on top of the floor joists. The external cladding is extended down for an aesthetic purpose, which is to cover the foundation so that it is not visible from the outside.

14

The structural timber frame of the wall sits directly on top of the floor joists. The external cladding is extended down for an aesthetic purpose, which is to cover the foundation so that it is not visible from the outside.

CONNECTION SYSTEMS CONNECTION SYSTEMS FLOOR TO GLASS WALL

14

Glazed walls are of triple glazing, which helps to significantly lower the U-value due to its ability to effectively prevent heat loss. Metal clips are used to form a frame, which is then connected to the structural timber frame.

FLOOR TO GLASS WAL

Glazed walls are of triple glazing, which helps to signi cantly lower the U-value due to its ability to effective prevent heat loss. Metal clips are used to form a fram which is 15 then connected to the structural timber fram

16

Engagement

26

18

Scale

Impact

The Pavilion The second part of the project was to design a visitor pavilion that is respectful of the historical fabric and able to direct its impact away from the building. Focus was put on thermal comfort and water chanelling away from the structure of the castle. The pavilion was to house an exhibition and a projecting room so it had to be well insulated since visitors might spend a significant amount of time there. It also had to be well connected with the walkway and ensure that the junction between the pavilion and the walkway structure can direct water away.

Development of material build up.

The junction between wall and roof consists of beams spanning the length of the pavilion, the two beams sit atop the timber frame of the solid wall. Where the beams spans over the glazed wall, they are supported by the three main columns.

The roof is then supported by a series of joists spanning the width of the pavilion, these joists are laterally braced by blockers running perpendicularly from them.

Mineral insulation is then fitted between the joists and blockers. Sitting atop the insulation and timber frame, a layer of rigid insulation is fitted to ensure that the internal environment is maintained.

A plywood sheathing is positioned on top of the rigid insulation slabs, this plywood serves as an anchor for the waterproofing membrane which is vital to prevent leakage and water damage of the building. To ensure design coherence, the ceiling of the pavilion is clad similarly to the wall.

Junction between column, beam and walkway. The same connection system is used as in the walkway, with steel plates, and bolts.

<<<

<<<

There is glazing on the roof but only in the back of the pavilion. This is because the other side of the pavilion consists of a projection screen and therefore, there is no rooflight to interrupt the projection.

ENVELOPE ROOFLIGHT TO GLASS WALL

ENVELOPE ROOF DETAILS

51

Technology & environment 2B Building Fabric GC

ENVELOPE EXPLODED SOUTH WALL

>>>

1 2

Exploded axo showing the construction layers of the envelope. This image is to demonstrate the care and study that has gone into understanding the constructional layers to ensure a thermally efficient space within.

The envelope of the building follows the same play of density that is present in the use of posts underneath the walkway. However, on the walls, this play of density is manifested in the cladding. On denser parts, the cladding is closely knit, forming a solid wall. The cladding are attached to horizontal battens that are in turn attached to a layer of plywood sheathing. At the bottom of the wall, rain drips are installed to evacuate moisture out of the frame and thereby prevent damage to the building.

4 5

GUTTER DETAIL

The design of this pavilion was a challenge in incorporating not just the historical fabric into consideration The but other end of the walkalso an external fabric to an internal one. The walkway way is embedded into the is apt to be exposed to the elements but attention had topavilion. The wall on the North will be slightly be given into how it connected to the pavilion which had thicker in order to allow to be well enclosed. As a non-intrusive strategy to locatethe structural timber frame of the pavilion to the building, we let it rest on foundation pads that simply connect with the posts sit atop of the historical structure, the underside is lifted of the walkway. Finally, off of the ground, and therefore the building had running posts of the walkway on the East follow the same water and flowing air underneath it. This meant that itprinciple, where the spacneeded to be well insulated below as well. During this ing between posts are determined exercise we had to the rigour of ensuring internal comfort by the views behind them. of a space. Looking back, I can see many gaps in which the building could have been better enclosed.

Special consideration was extended into the water strategy of the building. Since Dirleton Castle was located in Scotland, it was exposed to strong winds and heavy rain.

Thus water had to be directed off the structure somehow.

We devised a plan to make sure that the walkway is lined with gutters and that the connection between building GUTTER DETAIL and walkway also include a gutter to ensure water damage to the structure will not happen.

>>>

Development Engagement

WATERPROOFING SYSTEM

21

WATERPROOFING SYSTEM >>>

Impact

The spacing of the posts are sparser where there is a point of interest, revealing the view and detail of the historical ENVELOPE GLASS WALL TIMBER POST fabric andTOsetting to the visitors. Where there are lesser interesting points, the spacing of the posts is denser.

24

Scale

11

Reflection

Where the wall is sparser to introduce a view of the main hall, the cladding is sparser. The cladding are positioned in front of triple glazed glass frames.

The glazing is secured by clips that are secured to the timber frame, floor and roof structure. The glazed parts of the wall are divided into four sections, with 3 main columns that act as support for the roof as well as a visual divider. By dividing the wall as such, it allows for a systemised spacing of cladding, making the design simpler and coherent. The 2 outermost sections have cladding spaced at a 75 mm intervals whereas the innermost sections have cladding spaced at 225mm interval. This plays into creating a blurring of solid wall into sparser, lighter wall that allows for a view.

10

1 (Columns and props and at the middle of the walkway. On the North however, the walkway is supported on both ends.

Posts are constructed to support the walkway, as well as contributing aesthetically to the design.

9

>>>

22

8

WALKWAY

Detail exploded drawing explaining the cladding stratVISUALISATIONS egy and the glazing strategy. This was both an attempt The walkway on the West at creating an architectural statement with the cladding will continue to have strategy becoming sparse blinds across the glazing asthe same structure as much a way to minimise completely exposed glazing. proposed in Assessment

>>>

>>> The waterproofing of the pavilion roof includes a gutter at the west near the Timber walkway. It gathers all the water from the roof down to a pipe fixed on the solid timber west wall to the garden below. At the junction where the walkway meets the pavilion, silicone rubber lining is used to seal the gal and prevent water from leaking in and damage the pavilion.

The waterproofing of the building is also done by creating a 5cm eave shedding the water onto the walkway.

The water is collected by a guttter that the end of the buildingâ&#x20AC;&#x2122;s slope and redirected offsite

7

20

The junction between the pavilion and the walkway is lined with a gutter to allow water to be whisked away instead of gathering and damaging both the new and old fabric.

6

Key: (ext to int) External Timber Cladding Battens Rain Drip Plywood Sheathing Building Paper Semi-Rigid Insulation Boards Timber Frame Vapour Barrier Plywood Sheathing Internal Timber Cladding

3

23

Following the plywood is the building paper that is fixed to the timber frame that makes up the solid wall. This timber frame consists of columns spaced at 450mm intervals, these columns are laterally braced by blockers also spaced at 450mm intervals. Semi rigid insulation slabs are then fitted within the frame. A layer of vapour barrier is lodged between the timber frame and another layer of plywood sheathing. This layer of plywood then serves as a base for the internal cladding, which follows the same design strategy as the external one.

Development process without the foundation stones.

Detail drawing of end gutter and how it is attached to the pavilion structure

WATERPROOFING SYSTEM GUTTER DETAIL

52

GC 1

Architectural History

2 3

Culture and the City (ARHI08007)

4 5

Description

6

be constituted according to the commands of political thought, the course concentrates upon the city conceived also otherwise. It is the scene of self-conscious community and is our monument to shared memory. If the essential act of the city, politically conceived, is one of walling or penning, the city conceived socially is a scene of processing and gathering- together. The architecture and city planning of accord is the subject of the course. The lecture programme falls into two parts, the first dealing with our acts of pilgrimage and congregation for the purposes of religion, entertainment and improvement. The second part deals with our celebration in architecture of what we share metaphysically social memory and the memorial.

7 8 9 10

Development Engagement Impact

LO1

Demonstrate knowledge and understanding of connections between architecture and social, economic and political circumstances within which it is located - tested by the Essay.

LO2

Demonstrate the ability to evaluate urban phenomena in social contexts - tested by the Exam at the end of semester.

LO3

Research, analyse and present in written and report form themes appropriate to the course content - tested by the Tutorial Presentation.

Reflection

Culture and the City offered a new lens through which I could look at the city as the culmination point of culture, politics, social issues and how the cityâ&#x20AC;&#x2122;s form is manifested through these. The most important part of this course was potentially the study on Libraries and Museums as depositories of culture and history. This very much informed my research process for the Any Place project. Moreover, i find in this course a large wealth of information and unexplored topics in design, specifically in the urban planning for Dystopias, which has been touched on before during WWII, and now reside as a part of history, and yet its lessons remain untouched and unapplied.

Scale

s2

11

2

53

GC 1 2 3

Architectural History

4

Culture and the City

5 6

Introduction

7

With the essay, I was able to reflect on the two main school of thought in theater design, and it made me question to what extent is the city a theater all on its own, with at the same time very realistic stage design and sometimes much more abstract and unseen stage setting for intangible ritauls and plays to happen.

Development Engagement

and Pei inspecting the 1 Mitterand quality of glass.

2 The alignment of the building on the voie triomphale.

Presentation What does the Louvre Pyramid say about France?

In this presentation I try to answer this question by dissecting the Louvre Pyramid (by I. M. Pei) in the light of politics, culture and urban design.

The pyramids started out as a commission by Francois Mitterand, who at the time did not have any idea that the project will take the form of pyramids but had already commissioned multiple public works to be built under his presidency. I.M. Pei, who is a Chinese, and an American, was described by Mitterand to have the perfect balance between tradition and innovation in order to create this new symbol for France. (Or for Mitterand)

Key Bibliography

The pyramids were initially very hated by the public, and it took a long period of time for them to overcome the intervention of the previously ministry of finance. Now, it has become the symbol of elegance and Paris. Despite the obvious pyramidal form reminiscing of French occupation of Egypt, especially under Napoleon, the cultural influence behind the pyramids was rooted in French garden and green house designs. And yet, now it forms part of the array of landmarks on the voie triomphale, and often times grouped with other artifacts from Egypt.

Jodidio, P., Pei, I., Weymouth, Y., Wolf, A., & Musée du Louvre. (2009). I.M. Pei : La pyramide du Louvre = the Louvre Pyramid. Munich ; London : [Paris]: Prestel ; Musée du Louvre Editions.

Girard, J., Boyer, G., & Beaux Arts. (1989). The grand Louvre’s pyramid (Great Museums ; Special Issue). Levallois: Beaux-arts magazine.

Wiseman, C. (1990). The architecture of I.M. Pei : With an illustrated catalogue of the buildings and projects. London]: Thames and Hudson.

Scale

Impact

With the presentation I was able to study the political aspect of public works like museum, I studied how the Louvre was part of Francois Mitterand’s political campaign/ strategy, while not forgetting to dissect I.M. Pei’s ingenuity in designing and building the project.

11

The presentation, discussions in tutorials and essay provided space for me to contemplate the role of architecture and the architect in an urban context. It helped me study these roles in their multi=faceted impact since the city is a conglomeration of heterogeneous identities that yet identify with one commonality - the city they live in.

10

Reflection

9

The consisted of two main exercises - a presentation and an essay, each focusing on its own building type.

8

This course looks at Architectural history in the West and the different schools of thought that happened in tandem within the urban context. It involved a series of lectures, many of which informed my Architectural Design course - such as the section on Dystopias. Some studies focused of specific building types within a city, museum, library, theaters, and some were focused on the urban arrangment of cities. What makes up a city, and what part of the city comes into play in a building?

54

Architectural history Culture and the City GC 1 2 5 6

Types of theatre setting - sketches by Cecile Ngoc Suong Perdu 7

2

8 9 10

Moving onto more concrete concerns of Eyre, who was dissatisfed with the architecture of theatres at the time because he felt architects were not able to fully immerse the audience into the play, but value sightlines above all else, making the edge and the back of the room feel marginalised, and excluded from the play. The essay takes this concern and tests out the different theatre seating configuration that Eyre himself was fond of in order to see whether this new space could spring forth.

4

The essay dissects the citation from Richard Eyre in order to study the two main different school of thought in theatre design. Eyre advocates for a more open layout, simpler setting in oder to focus fully on the play and the story that unfolds, while his opposition look to recreate realism on stage. In a way, this conversation is similar to the debate in the Arts on whether abstraction is a higher form of thinking or realism is more skill and thought demanding. In studying Richard Eyre, his work and the Cottlesloe theater, which he directed for awhile, I found value in the flexible space of the theater.

It is a new space not bound by the constraints of realism, where questions and actions and actors take a more hypothetical stance, a less concrete, more ephemeral form. It is as if the theatre, in trying to house actors re-enact everyday life, should not be part of this everyday life at all. The play is the only reality.

3

The Essay - on theatres

Athanasopulos, C., Contemporary Theater: Evolution and Design (Translation of) (New York, 1983) Breton, G., Theaters (Translation of) (New York, 1991) Cleaver, J., The Theatre Through the Ages (London, 1946) Corry, P., Community Theatres (London, 1974) Eyre, R., â&#x20AC;&#x2DC;Forewordâ&#x20AC;&#x2122; in Fair, A., Geometry and Atmosphere:Theatre Buildings from Visions to Reality (Surrey, 2011) Eyre, R., Wright, N., Changing Stages: A View of British Theatre in the Twentieth Century (London, 2000) Izenour, G., Knudsen, V., & Newman, R. Thearer design (Second ed.) (New Haven, 1996)

Scale

Impact

Engagement

Development

11

Key Bibliography

55

GC 3 4

Lighthouse, Glasgow

2

Alexander Greek Thompson Scholarship

1

scholarship exhibition

5 6 7 11

Reflection

Looking back upon this experience, I realise that the winning drawing had much thought behind the drawing hand whereas mine was still experimental and wholly shy in its formulations. As much as I enjoyed the exercise of drawing urban landscape, and the exercise of burning wood as a craft in and of itself, I recognise the lack of thought behind that wasnâ&#x20AC;&#x2122;t wholly naive, just ungrounded. It was a lesson in supporting the thinking hand, doing the drawing with more intention, more study, more thought.

Scale

Impact

Engagement

Development

10

O

9

2

In 2016 I participated in the competition for architectural drawing to be exhibited at the Lighthouse gallery, in Glasgow. The theme was on Detail in architecture, and my approach to it was how the urban scheme must be attuned to detail. The drawing was made by hand burning wood (pyrography). the scene is part of a series of urban drawings I have previously studied as a seires of urban topographies where futurism is one that is wholly integrated with nature, not cold and distant. The work did not win the scholarship but was exhibited anyways at the Lighthouse, April 2016.

8

Description

56

GC 1

Renovating McEWAN HALL

2 3

Scottish Mural Paintings Conservation

4

McEwan Hall, Edinburgh

5 6 7

Development

11

[Due to it being on a construction site, no phones were allowed and no pictures were taken]

Reflection

This volunteering experience allowed me to learn how to study each material (in this case: plater, stone, gold leaf and paint) as a dynamic entity of its own, interacting and playing a part in creating the overall architectural atmosphere. It provided an opportunity to gatehr skills in conservation, in renovation and the visit of the structure granted insight into construction processes and to what extent the renovation process musts take into consideration the pre-existing fabric. In this case, the interior of the building was left quasi untouched, except for the gold leaf top up and the painting renovation. Yet, the entire underground was excavated and re-organised, a talk with the architects in charge provided insight into how one must approach the fabric around and beneath the building one is renovating, in order to ensure that the building stands during the renovation period.

Scale

Impact

Engagement

10

O

February 2016, I participated in a volunteering project to clean McEwan Hallâ&#x20AC;&#x2122;s wall paintings under the guidance of Karen Dundas and Kristin Forsythe. The project lasted for a few months, of those I participated for a month every Wednesday. The role I was given was to clean the paintings above the graduation stairs with an alkaline solution that help remove debris and dirt from the paintings. This opportunity allowed me to visit the McEwan Hall as an architectural object - we were allowed to visit the structure, when the inside of the hall was scaffolded - and we were able to peak through traps in the ceiling to see the double dome structure of the roof. From then it was a series of lessons about construction process, about treating surfaces and materials in order to restore them to their original brightness.

9

2

8

Description

57

Year 3

58

GC 2 3

Explorations (ARCH10001)

1

Architectural Design

4 6 7 8

This course extends Stage 2 level architectural design and communication skills by foregrounding experimentation. It is focused on developing studentsâ&#x20AC;&#x2122; familiarity with different approaches to architectural design experimentation and the processes that these entail.

Students are asked to develop an approach to specific design themes based on the identification of problems, opportunities, sources, methodologies and inventive strategies. The course is offered in a number of parallel design studios that sustain the overarching pedagogical aims through varying and distinctive sub-themes.

5

Description

9 10

Development Engagement Impact

LO1

Demonstrate ability to adhere to a design methodology that builds on the conceptual framework and key theoretical, cultural, and representational concerns outlined in the project brief.

LO2

Demonstrate knowledge of the ways in which research and analysis of context, program and construction inform architectural design and the ability to synthesize these concerns to develop a coherent architectural proposal.

LO3

Demonstrate ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written production.

Reflection

Architectural Explorations was the course in which I fully discovered my being partial to experimental design. Through this course I was able to dissect the city into finer details to notice the network of issues, and accidents and joyful incidents. This course also combined for me the perfect mix of technical development and visual communicative art through the use of Arduino, Grasshopper and the mappings of the city. The light maps produced serve as a navigational tool to understand the city and its inner workings.

This push for the technical development makes me wonder if robotic design is something for me. This along with the Theory course allowed me to be much critical of the state of the city,its mechanisms and provide me a sense of agency to react to these conditions.

Scale

s1

11

3

59

Architectural Design

Explorations GC 1 2 3

Architectural Design

4

Explorations Unit: Prototyping Realities

5 6 7

How can we play if we are supervised?

Our initial mapping of CCTV in Old Town yielded a surprising amount of public CCTV, noting our everymore. The first mapping was based on excursions noting down cameras and lighting. Within Old Town alone we found somewhere along 100+ cameras facing public spaces and sometimes public cameras that have private space in their lines of sight.

The city, we now see it as layers and network of sightlines and surveilled spaces.

Development Engagement Impact

11

Architectural Design Explorations is a course that demanded of us investigation into our current living environment. I took the unit of Prototyping Realities, in which this investigation carry out as a series of measurement, development of tools, of approaches to the urban context of Old Town Edinburgh.

10

How can we resist?

9

Old Town Surveillance

8

Introduction

As part of the project, we were expected to develop a series of tools and devices that can help us read our context. We focused on light, infrared and visible, and the space between and within the range of CCTV. The second part of the project was to develop a simulation of our environment. For this leg of the project we developed a game navigating through the closes of Old Town, trying to squeeze between cameras.

The last part of this project involves creating an intervention in the space that we have discovered. Although the brief initially wanted us to react to the hedonistic side of the city, in the bleak context of mass surveillance in the city we decided to devise a scheme for resistance instead.

Going Dark...

Scale

<<<

Initial Mapping of CCTVs in old town. This was the starting point for the project to dive into the question of architecture and surveillance.

This initial drawing was the first to make me look for the unseen boundaries of surveillance.

60

Architectural Design

Explorations GC 1 2 3 4 5 6 7 8 9 10 11

Scale

Impact

Engagement

Development

<<<

Steve Mannâ&#x20AC;&#x2122;s drawings depicting the counteraction of surveilling surveillance

from

to

Research

Developing Tools

Mapping

Our initial research brought us to Steve Mannâ&#x20AC;&#x2122;s concept of Sousveillance surveilling the surveillance, as a dynamic grassroot approach to monitoring our surveillance. This research formed a large part of our approach to this monitored context. Steve Mann developed a series of toos that can detect the range of a CCTV camera and we took these as models upon which we can develop our tools. We then interviewed professor Charles Raab of the Centre for Research on Information, Surveillance and Privacy in Edinburgh. The work of these two people formed the largest bulk of our new understanding of the city.

After the research part of the project we dived into developing measurement devices. developed a series of devices that logs the level of visible lighting from street light and infrared lighting from CCTV. To our surprise we found that some CCTV are fake and are only installed as a crime prevention strategy. Yet after the discussion with Professor Raab, we understood that street lighting is still the most efficient crime deterrent while CCTV only create crime dislocation.

Then we proceeded into a series of mapping, using our devices, the ritual takes place on the Royal Mile of Edinburgh, and returns to Adam House, our place of study. We had to establish rigorous mechanism and choreography to get an arcurate reading of the cityâ&#x20AC;&#x2122;s lighting level.

to

Stages of Developing and Mapping will be elaborated in the following pages 61

Explorations

Architectural Design

GC 1 2

Developing the tools

3

1. The Light Measuring Staff

4 5

The first device we developed was the light measuring staff. It was out first venture into working with Arduino and designing an object that will function with an on board Arduino controller. Through this exercise we developed programming skills, design skills and a series of methodology to fine tune the device as a way to understand our urban context.

6 7 8

The light staff was designed to be carried by one person following a specific choreography to measure the light and infrared level of the city. the Device might be simple but the choreography was an intricate part of the mapping. We created guides on how to build one, how to use one and how to maintain and read the information received.

9

The upper part of the device is where the light sensor is located. The cone is to block out light pollutions when measuring infrared.

10

1 2 3 4

Light Measuring Staff™ 1000 Infrared + Visible Spectrum

5 6

1x Conical light pollution filter 1x Adafruit™ TSL2591 Light Sensor 1x Arduino Uno™ 1x Arduino Uno protective case 1x Stainless steel hinge 1x Staff 1x Long M-F red jumper wire 1x Long M-F black jumper wire 1x Long M-F yellow jumper wire 1x Long M-F orange jumper wire

1/ Insert the Arduino board in its case and slot it securely onto the staff.

fMeasuring Visible Light To map visible lighting intensity, establish an orthogonal grid with your preferred dimensions, and progress along the points in a serpentine fashion.

fMeasuring Infrared Light To map infrared light intensity, establish a radial grid with your preferred dimensions around the emitter, and progress along the points in a serpentine fashion.

1.20m

Development

Setting up the Staff

Components

SOUSVIVAL®

11

This sensor is mounted on a hinge in order to allow a directional measurement when used with cone to measure infrared light.

2/ Attach the Adafruit sensor onto the hinge using the provided screws.

Software To log your data, you will need to download third party software such as the Arduino IDE application to your computer. It can be found at https://www.arduino.cc/en/Main/Software.

You could also use the Grasshopper plugin for Rhino 3D. Both of these can be downloaded at https://www.rhino3d.com/download and http://www.grasshopper3d.com/page/download-1.

3/ Plug the sensor wires into the Arduino. Red to 5V, black to GND, yellow to Analog 4, and orange to Analog 5.

QUICK-START GUIDE

Engagement

Sousvival® , the Light Sensing Staff ™ and the Sousvival Logo are registered trademarks of I.C.U. Industries, Inc.

Customer Support

Setting up the Staff

Components

Online Go to http://www.sousvival.icu.com/support.

1

4/ For measuring infrared wavelengths accurately, fasten the light pollution filter onto the sensor.

2

Email Send email to support@icu.com.

4

Phone +44 (0) 0131 455 1254 (UK) or 1-800-ICU-UCME (US).

Measuring Visible Light Stand at the point where you want to measure lighting conditions. For optimal measuring, make sure the hinge is parallel to the ground, at a 90 degree angle with your staff. Keep your arm and shoulder aligned as you hold the staff up. Hold it straight and steady for the duration of measurement.

Measuring Infrared Light Stand at the point where you want to measure emitted infrared.

For focused measuring, make sure to mount the provided cone on the sensor. Use the strings to adjust the hinge to point the cone right at the source of infrared. Hold your staff straight and steady for the duration of measurement.

Registration http://www.sousvival.icu.com/registration.

5

5/ Link the Arduino board to a portable computer using a portable computer using a USB cable of your choice

5

3

6

6 5

6/ Use the two ropes to control the angle of the hinge. This is useful to point the sensor towards a particular point for more precise readings.

tubing for wiring and ropes: this allows the wiring from sensor to Arduino, as well as the cable to computer to remain secure.

When we first test mapped street lighting, we realised that we must maintain the same direction at every measurement, thus the horizontal holding of the staff. This later on developed into the hinge system that allows the staff to turn it’s measuring angle so the user is not forced to hold the staff horizontaly.

Scale

Ropes to control angle of the hinge

The Arduino board is connected to a computer that logs and visulises the measurements into a specific point through a USB cable/

<<<

Impact

The manual for the light staff

62

Architectural Design

Explorations GC 1 2

1. Components

7 9 11 12 13 14 15

Colour code the wires used in the making process in order to distinguish positive from negative. Here positive is seen as red and negative as green.

20.0000 20.0000

Piece 2

Piece 3

Piece 4

inner circuit

4

Connection to parabola

Cut velcro strips into appropriate dimensions according to the piece: Attach soft velcro patch to piece 1 and piece 2.

Attach rough velcro patch to piece 3 and piece 4.

Create holes in piece 1 and piece 2 - these holes allow wires to pass through.

14

The ends for the two jumper wires mentioned here must have male ends.

Simplified diagram of circuit

7

Sousvival® , the Infrared Scope Painter™ and the Sousvival Logo are registered trademarks of I.C.U. Industries, Inc.

2. Textile template 40.0000

Locate metallic contact point on battery housing.

6

Position battery housings on outer face of piece 2 with alternating direction as illustrated beside. Sow battery housings in place.

7

On inner face of piece 2, create small holes at contact point on the textile, this allows to solder the circuit and the battery housings together.

8

Solder wire from negative connection on battery housing1 to positive connection on battery housing 2. In the same manner, connect negative connection of housing 2 to positive connection of housing 3.

23.6194 92.8192

196.4386

16.4058 86.1521

9

Solder the 220 resistor to the left and the middle pin of the transistor.

15

8

Side A

Registration http://www.sousvival.icu.com/registration

5 40.0000

85.9225

14.1176

64.0919

6. Making the circuit

3.0000

Online Go to http://www.sousvival.icu.com/support Email Send email to support@icu.com

6. Making the circuit

4. Preparing for circuit 158.4184

Phone +44 (0) 0131 455 1254 (UK) or 1-800-ICU-UCME (US)

Solder jumper wire with male end to negative connection of battery housing 3. Length of this wire depends on the distance between the battery and hole on piece 2.

6

3

Customer Support

13

Positioning of circuit within the textile template.

55.2473

70.1698

2

CONSTRUCTION GUIDE

Piece 1

Solder end of LED to a jumper wire. Length of this jumper wire with male end, depend on distance between hole on piece 1 to hole on piece 2 with an extra 3 cm for flexibility.

5

16

12

4

8

10

58.2474

20.0000

6

4.0000

5

Soft velcro

4

20.0000

Infrared Spectrum

3

f6. Making the circuit

55.8241

Rough velcro

2

SOUSVIVAL®

Infrared Scope Painter™

f5. Circuit Diagram

3. Velcro attachment and holes

1 x Durable and waterproof fabric: 0.5m x 0.5m 1x Needle 1x Roll of Thread 1x Velcro Roll 6x Thin jumper wires or 1x roll of thin electrical wire 1x soldering pen 1x solder 10x Infrared photodiodes 1x LED 1x 220k resistor 1x transistor 1x cardboard 1x roll of reflective paper 3x coin batteries CR3202 3x coin battery housings 1x small plastic tube of 5cm length

3

1

Fit the LED through the hole on piece 1.

3.0000

93.6647

10

Side B

Piece 2 - flipped

Measurements here are suggested, for comfortable fit, please measure your hand and adjust dimensions.

Pay attention to the opening for thumb.

Sow piece 1 to piece 4, piece 2 to piece 3, make sure to fit jumper wires through hole on piece 1 and seal well at the junction where circuit passes from piece 1 to piece 2.

11

Solder a wire from the resistor to the positive end of battery housing 1. Length of wire depend on distance between battery housing on piece 2 and hole on piece 1.

11

Cut two of each template on the waterproof textile Be careful to create two mirrored faces for each side, this lets the right side of the textile to face outward

16

10

1

Solder positive pin of LED to right most pin of photo transistor. make the cluster of resistor, transistor and LED as small as possible.

9

Piece 2

from

to

Research

Developing Tools

Next we looked into handheld devices that become part of the body, finely tuned to become a reading machine and detect zones of surveillance by detecting the Infrared emitted from the CCTV. For this device we had to learn how to seamlessly design a context-reading product. It was an exercise in creating a coherent, well finished whole through a series of iterations and prototype.

For the handheld devices we also had to develop a manual, a construction guide for the user to be able to use the device to its fullest potential.

to

Mapping

As a series of test for the handheld devices we used long exposure photography in order to visualise the range of CCTV. The red blur indicates the zone in which the device was activited, thus it indicates the range of the camera.

Scale

Impact

Engagement

Development

To increase the range of reception, we used a parabola that can direct all infrared rays towads the sensor for increased range and sensitivity.

63

Architectural Design

Explorations GC 1 2 3 4 5 6 7 8 9 10

In order to communicate our project we had to prepare a range of different maps allowing us to be able to transfer our understanding of the surveilled space of Old Town. These maps are created through quantitative mapping in Rhino, using Grasshopper and Arduino, then rendered an overlaid with city context to clarify the information and locate the zones of light in space.

Scale

Impact

Engagement

Development

11

Visualising our mappings.

64

Architectural Design

Explorations GC 1 2 3 4 5

4 conditions

Grasshopper coding for the simulation

7

No cameras - High lighting

6

No cameras - low lighting

8

Cameras - low lighting

9

Cameras - high lighting

10 11

2d lightlevel map

Scale

Impact

Engagement

Development

from

Real life

Once our 2D light level maps are created we identified 4 conditions and used those 4 conditions as a guide and parameters for our simulation.

to

Simulation

Through a series of trial and error, we managed to develop a Grasshopper code that can react on the information of the map. We ended up with a Pac man like game when the user controls a character to move through the map of Old Town, seeking the path of least surveillance. As they navigate this map, the code reads the information from our quantitative mapping in order to notify the player whether they have been detected or not. This was a push in our understanding of Grasshopper, developing our programming skills in order to understand our environment even more.

The game interface of â&#x20AC;&#x2DC;The path of least Surveillance

65

Architectural Design

Explorations GC 1 2 3

small units

4 5

Unshielded space - Visible

6

Medical/ Emergency unit

7

Shielding surfaces also acting as reflectors

8

Congregation space

9 11

The three main clusters of cameras

10

Shielded outdoor space and corridor space

Scale 1:1250

Development

Protest and evacuation routes Cowgate lighting levels

Clubs

Site

Scheme

Our site of intervention is Cowgate, being the hedonistic center of Edinburgh, and a place highly populated by CCTV.

Our intervention took the resistant approach in trying to create unseen pockets within the range of cameras. We invade into the space of cameras and shield them from seeing behind the veil. The scheme was to develop a series of structure that can be used during protests, therefore these structure ahve to be easily deployable and serve multiple purposes.

Scale

Impact

Engagement

Cameras: Scope and field of view

66

Architectural Design

Explorations GC 1 2 3 4 5 6 7 8 9 10

to

Testing

Refining

Devising the scheme for protection by making tents out of reflective surfaces with a wing extending to shield the entrance.

Refinement of the original scheme, with coverage on roof level.

to

Invading

The beginning of the invasion into surveilled space.

Scale

Impact

Engagement

Development

11

from

67

Architectural Design

Explorations GC

The final tessellated surface with its multifaceted reflectors meant to blind the CCTV wth light and with distorted images

1

The shielding surface was developed based on the shifting surface of an umbrella.

2 3 4 5 6 7 8

THE SKIN

9

Regular Triangular Tesselations

10

Option 1: Exposed mechanism, reflectors facig outwards.

Development

11

Mounted as a hexagonal grid onto a recangular grid PVC pipe frame.

Random Polygonal Tesselations

from

to

Tests

Prototype

The original brain storm for the structure involved a series of tesselating surfaces. It was a starting point to see which one will reflect distorted images that the monitor behind the CCTV would not be able to understand.

Then we moved on to test with a few different materials, from small scale to large scale, with lighter materials like emergenvy blankets to foil.

to

Realisation

We finally decided to go with foil since it allows for more releciton and it didnâ&#x20AC;&#x2122;t tear so much. The realisation of the final prototype was the most time consuming and demanded on the go problem solving.

Scale

Impact

Engagement

Option 2: Hidden mechanism, reflectors facig inwards.

68

Architectural Design

Explorations GC

120° Joints

Curvature 120° Joints

1

90° Joints

2

Upper

3

3D

4 5

2D

7

3D

6

Lower 2D

8

4

5

Iterating the structure The development of the mechanism and the structure also followed an iterative process, from looking at the general structure (1) to joints (2), to developing enclosing surface (3) to developing the moving mechanism (4) and then the attachment of the mechanism to the structure (5). This demanded us to work at different scales and contanstly go back and forth between them to ensure that they all function together.

Scale

Impact

Engagement

Development

11

3

10

2

9

1

69

Architectural Design

Explorations

2 3

Congregation space

1

Small units - dwelling

GC

Sprawl

4 5 6 7 8

[On the impact of surveillance]

Engagement

11

Impact

10

Development

9

â&#x20AC;&#x2DC;The crowd, a compact mass, a locus of multiple exchanges, individualities merging together, a collective effect, is abolished and replaced by a collection of separated individualities.â&#x20AC;&#x2122;

-Michel Foucault But it is through gathering and reversing the aim in the face of authority that we can reclaim the space.

Sprawl and living unit

Scale

The scheme was to create a sprawl of units shielding the center of the street from the all seeing eye of the cameras. The living units all have their reflective surfaces face outwards, using their wing to create nooks and crannies, and small alleyways beyond the monitoring of the CCTV.

70

Architectural Design

Explorations GC

Boundary of seen and unseen

1 2

Circulation 3 4 5

Dwelling

6 7

Camera scope 8 9 10

Engagement

Development

11

This project at the time was the most rewarding and eye opening challenge. We were able to develop not just technical and programming skills but also investigative and prototyping skills. Through this project we were able to develop a methodology that is open and imaginative concerning our living environment. What is the city, do we truly understand it? How can we act on the city as architects?

Scale

Impact

reflection

71

GC 1

Architectural Theory

2 3

(ARCH10002)

4 5

Description

6

This course explores the relationship between theory and architecture. We will use a range of case studies to look at how theory can challenge assumptions and offer new ways of thinking about key problems.

The course will support students in exploring the relationship of architecture to other areas of culture. It will also provide you with an expanded interpretive framework through which to understand architectural production. The sequence of lectures is thematically organised and explores the timings and spacingâ&#x20AC;&#x2122;s of architecture, including architectural origins, the everyday nature of technology, as well as architectures role in supporting and/or challenging social boundaries around gender, nature and power. By doing so we will engage with a wide range of theory including deconstruction, phenomenology, feminist theory, environmental philosophy, continental philosophy and more. Students will develop skills in reading and writing.

7 8 9 10

Development Engagement Impact

LO1

Demonstrate knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of, architectural design.

LO2

Demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses.

LO3

Demonstrate ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.

Reflection

The theory course was extremely eye opening for me since it provided a philosophical tool to dissect the current context in the architectural practice, in architectural design and the simply act of building and making meaning through this act. Studying this course in conjunction with Architectural Design Exploration provided me with a wider set of tool to react and develop responses to the built environment. Moreover, much of the work within this course has developed over the course of the placement period and found their way into my dissertation.

Scale

s1

11

3

73

Architectural Theory GC 1 2 3

Architectural Theory

4

This entry focuses on how the gender binary system of our society enforces the removal of nature in our urban landscapes, how the built world i carried out by one gender of the species “mankind” and how everything out of the built world that must preserved in a “pure” state is called “mother nature”, At a glance, our ubran landscape can be quickly stereotyped into phallic shaped skyscrapers while women’s work liek Zaha Hadid’s stadium desig is quickly reduced to its resemblance to a vagina because the architect is a woman. This entry has not been able to criticise much but offer a chance for me to reflect on current state of our building culture.

After the journals exercises, I had found myself taking up the pen and work out my thoughts as I write. I recognise that this course was a preparation for the Architectural Dissertation, for I was able to toy lightly with ideas here that later on found their way in much more impactful form in my dissertation.

For brevity of the journals, entry 1-4 are left out and the ones presented here are the better quality part of the same project,

Journal Entry #6 excerpt

Scale

Impact

Engagement

This entry revolves around how communal design can helprelieve the trappings in women’s life. Iris Marion Young and Dolores Hayden had argued that the woman is confined to the private space of architecture. That they are not active participants of the world building, and thus have no real relation with the built world and cannot impart their meaning into the built world. I argue that one such remedy is to let women participate in communal design, open for all during construction and later during use. One such model, I had taken from the Mekong Delta and its boat houses, which provide to real private sopace, but is a dynamic space of exchange, freeing both men and women.

11

Le trace regulateur by Le Corbusier is a device meant to help emulate the order and harmony found in nature1. Le Corbusier’s scheme was studied through the ages of Europe2 and was most usually seen as a grid.But this scheme has ben over copied, over used without thought that is has become the scapegoat from actually designing. Leading many cities, especially in the third world like Ho Chi Minh city in Vietnam with a grid that does not function, has no meaning, and is infact constraining rather than liberating as the Manhattan plan of 1811, in New York. This text criticises the mindlessness behind the application of the trace regulateur.

10

The course of Architectural Theory demanded us to be continuous and patient in our thought development as we read the various texts and studies by different authors and their formulations on the act of building, the act of beign in space. The course’s exercise manifested in encouraging us to keep a reflective journal on every single theory learned in class. We were expected to dissect, study, reflect, devise, and question their thinking as well as our own. We were to gain a deeper theoretical understanding that can help us ground and be critical in our design work. The final exercise, one that I much enjoyed, was a reflective essay on one of the themes studied, I had gone with Foucalt on the idea of Power in our urban context since it was very much relevant to the design course I was doing.

9

Journal Entry #8

8

Journal Entry #7

7

Journal Entry #5

6

Development

5

Introduction

74

GC 1

“

3 4 5 6 7 8 9 10

The essay touches on the topic of power in the urban context. It is not simply a theoretical question thrown in the dark without context, but it also acts as a way to reflect on the design project that I’ve developed in Architectural design Explorations.

It looks at Foucault’s writings, Bentham’s panopticon and the more contemporary play on surveillance and switching of power in Diller and Scofidio ‘s Fascimile project. In the context of increased paranoia, increased surveillance and evermore pervasive information mining (especially online, and especially in the UK), the question of power is one that tries to dissect the nature of oversight, it is a question that further interrogates how we treat our urban space as a scene and theater for crime to take place, as well as an actionable zone to prevent such crimes. Furthermore, it also shakes up the previously laid still assumption about how we perceive power, consciouly or subconsciously. In current day and age, we gather more and mroe information, our CCTV eyes’ can see larger and larger expanses of land while also able to hone into minute details, but we never questioned the nature of these surveillance in relation to architecture and urban planning. We never questioned the nature of our relationship with the surveillance of the land. This essay is attempt to push these questions to the fore. Although the text focuses more on the Fascimile project, it nonetheless leshed out much greater concerns on the imbalanced positions of power in the urban context and the role of architecture that makes up such context.

Where is Power?

2

Theory Essay - Summary

Engagement Impact

This was the first successful attempt at being interrogative and reflective in a theoretical essay for me personally. It allowed me to connect questions close to my heart, to the design projects that I was carrying out and the multiple lessons gathered on the way. This essay was also the first real attempt as dissecting theoretical concepts and finding the inklings and the threads of these ideas in very concrete objects and visible actions of our day and age. It forced me to consider the scale and impact of our actions, as community, as the fringe, as the center of power. In a way, this idea of center of power and power needing to be spread across the community is a thread that can be traced to the dissertation. It proved that much of what shook me in my work in Architectural Design continue to make me curious now and potentially for much longer (since there are no easy answers to questions of this nature).

Scale

Excerpt

“

Development

11

The impact of this essay

75

GC 1

Architectural practice

2

Working Learning (ARCH10027)

3 4 5

Description

6

This course introduces the MA (Hons) Architecture degreeâ&#x20AC;&#x2122;s practice period in terms of the ethical, procedural, and business aspects around the profession of architecture. It also provides a framework that supports students in their practice period and facilitate an active reflection on their practice activities. It comprises of a series of seminars and presentations to prepare for practice activity followed by distance learning delivered to support workplace activities. You will undertake coursework that reinforces and contextualises your work based learning

7 8 9 10

Development Engagement

LO1

Understand business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered.

LO2

Understand the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects.

LO3

Understand the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry.

Reflection

This course was created to ensure we have a continual reflection on our time out experience. It acts a thread connecting school and work. Ensuring our constant criticality and awareness of the intricacies at play in the architectural profession. Through this course I was able to make contact with architects that have been inspiring to me and able to discuss and learn from them the multiplpe influences that are exerted on the architect in practice and on the project during its development.

Scale

Impact

s2

11

3

76

GC 1 2 3

Architectural Practice

4 5 6

Introduction

7

This course was the tie between our professional work and academic work. It demanded to be constantly applying information learned from Professional Studies during semester 1 in order to respond to questions concerning the industry. The exercises took two main forms: the 4 small essays answering questions concerning regulations in the UK, the office structure, the role of the Architect in different procurement methods, and the protection of the title of an architect. It also took the form of a Design Report, an exercise in analysing the construction process in the architectural profession.

8 9 10 11

To the right are four essays detailing my thinking upon the regulatory framework around the profession of architecture, as well as the operational framework of the architectural firm. Having not been part of an architectural firm before, and writing this as I was looking for employment and creating my own design collective, these essays sparked many questions concerning whether this is the environment Iâ&#x20AC;&#x2122;d want to design in. In the process of understanding all the legislative framework around being an architect, I realised that the kind of architecture I want to practice is different, is interdisciplinary, and its title not important and should not necessarily protected by the ARB .

Scale

Impact

Engagement

Development

4 Essays

77

Architectural Practice

Working Learning GC 1

Design Report

2 3

The Design Report consisted of studying the different stages involvent in tendering, procuring, constructing a building. However, since the project was located in Vietnam as a bespoke commission from an artist, the phases were not following directly RIBA’s plan of work. It still proved to be an insightful document and iscussion with the architects since they too, noticed and were cuious about the UK’s construction processes. The document spans from concept to construction, to labour, to materials and finishing.

4 5 6

Development Engagement

legal administrations, ie. contracts with local workers,...

Construction starts

sunshine heats up space inside

*The building procurement process information here is from interview with the project’s leader. Process here differ from others since it is a project where client involvement is greater.

The design follow similar phases as depicted above, but it is more fluid, with iterative processes. The client’s involvement is more constant while the craftsmen’s involvement are more distinctly located at the end. The design is also overseen by a structural engineer - Bach Ngoc Hoang as follow Vietnamese regulations - who joins the project in later stages (i.e stage 4).

Intense tropical sunshine

Rain blocked from entering thanks to glass roof

moisture and heat whisking wind

wind helps cooling despite intense sunshine

Shade in working space to protect artist

wind passing through the perforated brick, cooling inside

Scale

Impact

structural considerations/consultations

11

co-development of design preparations of technical drawing

Perforated brickwork is then constructed around the concrete framework, using the concrete frame as a brace.

Added as shelves and boardwalk. The roof is then covered with glass panes supported by a metal frame.

10

DESIGN PHASES

proposal of layout meeting with client

Far right: The Design Report also briefly dissect the building’s climatic strategies since these were a crucial concern that took up much of the structural consideration and consultation with the structural engineer Bach Ngoc Hoang.

inner cap of the working space is also made of concrete.

Also cast in situ. Concrete frame and inner concrete canopy integrated.Construction of the concrete frame extends to the floor plates, supporting the upper levels.

9

initial design meeting with client

Building concrete frame up as a brace for the perforated brick facade. inner cap of the working space is also made of concrete. Also cast in situ. Concrete frame and inner concrete canopy integrated.Construction of the concrete frame extends to the floor plates, supporting the upper levels.

8

Below: The Design stages involved in the process of constructing this building, it showed the collaboration between the architects at Tropical Space and the structural engineer that was found later on, more close to site in order to ensure the smooth going of the project.

Concrete foundation dug deep because soil type is prone to swelling. This is to prevent failure of the building should any change in soil humidity occur.

Cast in situ by local workers and brick workers of the area.

7

To the right: Construction process and special structural consideration in a tropical marshland climate. The construction process also touches on the labour procurement of the building - using craftsmen of the area who have already had experience with brickworking.

78

GC 1

Architectural practice

2

Reflection (ARCH10026)

3 4 5

Description

6

This course provides for recording and reflecting on professional practice in the MA (Hons) Architecture degreeâ&#x20AC;&#x2122;s practice period. It is intended as an academic companion to work based learning. The course is introduced through a short series of seminars, followed by active reflection during placement period through a structured journal.

7 8 9 10

Development Engagement

LO1

Demonstrate an ability to identify key themes and issues in practice and the workplace

LO2

Show understanding through critical reflection of the academic, social and cultural contexts of practice and the workplace.

LO3

Demonstrate an ability to communicate effectively and rigorously the process of your practice period.

Reflection

With reflection I was able to ask myself the questions concerning the current state of the architectural practice, the role of the architect and the future of my career altogether. The series of entries and essays were used as a chart tracking my development and forecasting my growth. The reflective essay wasa test in itself. In it there are inklings of my dissertation topic,reflecting my concerns for the current architectural culture and my place in it.

Scale

Impact

s2

11

3

79

GC 1 2 3

Architectural Practice

4

Reflection

5

Development

/ Confident speaker / Effective Team Leading

/ Well-versed in Creative Suite skills and visual production

Engagement

/ Architectural journalism editorial skills

Experience VFL - Festival Design, Branding and Graphic Design

Vietnam 2017 - present

Experience in designing a Food festival space, festival pavillions for the Vietnamese Food Lovers event in Ho Chi Minh City, Vietnam. Moreover, I was hired immediately after my intership for my branding concept and visual production for the campaign leading up to the festival.

Crumble -- crumble.press

Entry #3

Edinburgh 2017-present

Student led architectural magazine based in Edinburgh, focusing on bringing architecture into wider dialogue. I helped out in setting up the magazine and then worked on the editorial team as the Chief Illustrator. Now I have relayed my role to other students in preparation of graduating, still I continue to work as their illustrator and writer/contributor.

Makeshift -- makeshifted.com

Impact

Edinburgh 2018

Organising events, talks and design for the TEDx MainConference â&#x20AC;&#x2DC;Empowermentâ&#x20AC;&#x2122; at the McEwan hall with over 700 attendees. I worked as the Creative and Staging Director who produced all the visuals and design prior to the events, as well as running and problem solving the event on the day

Scottish Wall Painting Conservation

Edinburgh 2016

Restoration and cleaning of murals in McEwan Hall under the guidane of Fiona Allardyce and Karen Dundas during the renovations and extension of McEwan Hall for the University of Edinburgh

Volunteering Projects Leader

Entry #5 What kind of architect will I become? What am I doing as a designer to thrive and to help the community around me? This entry is a personal reflection on my own inclinations, on the personal findings and development. At the time I wrote this entry, I wanted to become an experimental social designer. I was going through a hard time of doubt and questions concerning my pursuit of architecture, but I realised quickly that the things I love to do in my free time is design! This entry was a cathartic discovery about myself, the industry and and teh vibrant design community around me all at once.

Architecture is a dynamic entity consisting not just of architects but of everyone: users, designers, legislators, engineers etc. Out point of view, and the technocratic point of view are merely one lense in the collective experience of architecture. It is then crucial to encompass this diversity into architecture, instead of letting it become something homogenised by our push for advancement, by our technocratic blindness. Rather, architecture is the means to make meaning, and there are too many points of views here to let architecture be bound in its homogeneity.

Edinburgh 2017-present

Student led architectural design team that my colleagues and I run. We focus on design through craft, in creating intuitive construction systems and open for all designs. We organise building sessions and groups for everyone to participate in competitions. In June 2017, we were selected to work with Civic Soup, for the ArchiFringe, on a project called Long Cuts that is based in Leith.

TEDxUniversityofEdinburgh -- tedxuniversityofedinburgh.co.uk

11

/ Interactive Design

10

In this entry I argue that oursourcing drafting techniques and procurement method is similar to driving a wedge between the architectural world and the artistic/enginering/legislative world. However, in reality, all of these worlds collide together, and therefore should be treated as an interconnected network. Despite outsourcing reducing inhouse cost, it separates the realm of architecture frim the rest and that is a risky position to be in. How can we ask architecture to be interdisciplinary when we architects and contractors struggle to co-operate among ourselves?

Skills

/ Event organising and managing

9

Currently an architecture student, I am a dedicated and patient worker aiming to make architecture part of a larger conversation socially, ecologically and even politically. Reliable, responsive, and quick on my feet, I enjoy solving problems both at a large scales and at smaller scales of detail. I am meticulous in my work and rigorous in the quality of work that I produce.

I am excellent at developing projects and working on my own, even better in a group dynamic where conversations on architecture becomes multifaceted and lively.

/ Graphic Design

The question of BIM in architectural design is one that is disccussed often and yet rarely reaches a consensus. The use of BIM in a firm is crucial since it is a pathway to communicating different problems across teams with different expertises.

However, design with BIM can be limited to box like conglomerations, and leave no room for the thinking hand. In this respect it is crucial to remember that BIM is the means through which we achieve Architecture, not the promised land where architecture should be.

Entry #2

Personal Profile

/ Architectural Design

Gaining employment in the current architectural scene has been a process that required many reviews of firms, countries, multiple reflections on the self as well as how this self should be presented on paper. The process started with the search for firms and tailoring the CV and portfolio to the requirements of each firm. From here onwards, it was a back and forth design process, where the end product is a CV that should reflect who we think we are, and sell it to the employer.

Entry #4

8

cecileperdu.com s1455066@sms.ed.ac.uk +44(0)7742675944 28/4 Wrights Houses, EH10 4HR, Edinburgh, UK

Cecile Ngoc Suong Perdu

Entry #1

7

The reflections fo Architctural Practice was a way for us to be able to contemplate the struggle and advances weâ&#x20AC;&#x2122;ve made in the search for employment, in reflecting on our role and activitie as designers and in the way that we want to move forward. The exercises here consisted of journal entries answering questions about CV, portraying yourself to a potential employer, about externalising architectural visualisations in the industry, about Globalisation and the use BIM in the professional practice. Out of these four questions, the conern about global homogenisation is one of great interest to me, and it was pursued in the final essay, as a thought process of mine detailing the impact and mechanism of technology in homogenising the world.

Reflection

6

Introduction

Vietnam 2014-2015

Member of the founding team of the Long Hoa Orphanage project. We were training students and organising events to develop a programme to teach English to students at the Long Hoa Orphanage in Ho Chi Minh City. (Long Hoa Orphanage has recently chaned its name.)

Education

Scale

University of Edinburgh - Architecture MA Hons

Edinburgh, UK 2014-2018

Currently pursuing a Part I at the Edinburgh School of Art and Landscape Architecture with Liam Ross and Sebastian Aedo as my current tutors.

Architectural Association Visiting School Athens

Athens, Greece 2017

<<< CV supplied as supporting document for entry 1

Focusing on architecture with soft materials, parametric and interactive design.

80

5 6 7 8 9 10

“

11

Key Bibliography

4

Development

With colonialism and globalisation also came the spread of a very specific dichotomic view of the world. Views such as: East-West, man-nature, Contemporary and Vernacular. In Europe, the discussion on Architecture has developed a binary view between modern architecture and the Vernacular, a vague concept that began with Pugin and Ruskin . These 2 two criticised the industrial aspect of the rising architecture, and advocate for a return to the hand-made, honest architecture3 Vernacular here had an association with rustic, small dwelling and it is seen as truthful architecture without architects. This Vernacular idea was only considered within European architectural discourse at the time, so it was homogenous body of work, Later on, with colonisation, the dichotomy of WestEast/NonWest/Other arose. As explained by Marcel Vellinga, this view presented a mindset that did not encourage much learning from other cultures, for all that is Other - not Western - is seen as savage, tribal, primitive and backwards. Thus, vernacular architecture as we refer to it now takes on a ethnic, tribal connotation along with the rustic, handmade quality. Interestingly enough, even with the expansion of knowledge and intercultural contact, the ‘vernacular surprisingly kept its appearance of being homogenous.4 Yet this Other, this ‘vernacular’ encompasses multiple climates, cultures, peoples, eras and politics. It is a body of region specific architecture, also culture specific and accordingly demand a specific configuration, a specific mastering of material. It is organic and grows and morph as one spins the globe, but it is also an important database wasted when put into a binary position, a diverse asset that was dismissed because it was seen as a homogeneous backwards compared to the ‘contemporary’.

3

Engagement

2

Adam, Robert. 2008. “GLOBALISATION AND ARCHITECTURE.” Architectural Review 222, no.

1332: 74 77. Academic Search Complete, EBSCOhost (accessed March 7, 2017).

Collier, Jane. “The Art of Moral Imagination: Ethics in the Practice of Architecture.” Journal of Business Ethics 66, no. 2-3 (2006): 307-17. Accessed March 12, 2017. doi:10.1007/s10551-005-5600-4.

Graafland, Arie. Digital Studio for Research in Design, Visualization and Communication. 2012.

Accessed March 20, 2017.

Hill, Jonathan. Architecture - the subject is matter. London: Routledge, 2001.

Kuma, Kengo. “New Primitivism - Terunobu Fujimori, La Collina Omihachiman”, Lecture, Four facets of Contemporary Japanese Architecture: Theory, EdX, July 2016.

Park, Tanya L. “Architectural Preservation Process in Japan: Theoretical Discourse and its application.” PhD diss., University of Tsukuba, 2014.

Scale

Impact

1

“

GC

The question of global homogenisation found in entry 3 of the reflections was a question that lingered for awhile in my dealings with the architectural world.

Coming from Vietnam, and France, and seeing the same mistake, the same gloss over details and design across continents and climates, I wanted to take a jab at dissecting this concerning trend. This essay looks at the mechanism of homogenisation starting from the colonial era. It later on very much influenced my writing on the Badjao community in Crumble about letting nature in, about diversifying.

About an open Architecture.

Reflective Essay

81

GC 1

Placement

2 3 4 5

Description

6

During my placement period, I was able to get involved in multiple projects, some of them self-directed, while some were organised by schools/organisation/firm. My time out provided me with a range of skills and renewed interest in design.

7 8 9 10

Development Engagement

Reflection

During this time out, I was able to hone my technical and programming skills with Grasshopper, Processing and Arduino, with the project at the AA Visiting school of Athens. I had the chance to renew the interest I have in visual representation with a self directed graphic design project that later landed me into a position at a publishing firm. During this time, I was also involved with setting up Crumble and this proved to be the perfect combination of architectural commentary and new skills like publishing/illustration.

Last but not least, I was able to kickstart a design collective focusing on developing construction systems with a few of my classmates. We were able to design multiple interventions at the human scale since we thought that those were lacking in our curriculum. It goes to teach me the lesson of taking matters into my own hands and determining my own architectural experience, as wide and interdisciplinary that is.

Scale

Impact

O

11

3

82

Placement GC 1 2

INDEPENDENT DESIGN

3

Innovo for the Vietnamese Food Lovers Project

5

with

4

Graphic Design

6 10 11

Development

9

Engagement

During my placement period, I had the chance to work at Innovo JSC as a graphic designer for the Vietnamese Food Lovers Project - a projec that aims to push vietnamese cuisine on to the table of haute cuisine and fine dining. My work encompasses illustrations of food and logo designing. Designing visuals where the client and commissioners are people who are not used to the production time meant that it was extremely fast paced. I had to anticipate needs, questions and concerns about style and applcation of the design during the process. My time there forced me to be much more disciplined in terms of time spent deisgn, time spent on polishing, time spent explaining. Ultimately, I recognised that the design must be simple and speak for itself without my vocal help.

8

Reflection The commissioner had asked the entire team to dive in a develop a design for this project and ended up selecting my work as the one to develop forward. I was offered the opportunity to work from afar on this project as a freelance designer. In such position, I had to manage both school and design. I realised that for me to do it I must find a sense of pause in the work, work is break from school, school is break from work.

Logo prepations and design for the Vietnamese Food Lovers project.

Illustration for the cook book

Scale

Impact

7

Introduction

83

GC 1 2

Architectural journalism

3 4

Crumble

5 6 7

Introduction

11

Development

10

Engagement

9

Reflection The entire process of designing a magazine, drawing for a magazine and setting this magazine up was a series of new lessons.

The setting up of the magazine was a lesson in management, in collaboration. The writing of the article a lesson in architectural commentary/journalism. Yet, the one that I was more engaged with was the specific process of illustrating for publication.

The magazine is risographed, meaning it is a blend of specific colours - here we went with the three primary colours. It meant that there needs to be a though process in the production of the drawing - splitting colours, layering them, blending them. All in all, it was a great project, a great team and we later on went on to be noticed by AIGiondesign, Stack - as we won the prize for Stack Best Student Magazine of the year, internationally.

Illustrations for the theme. Illustrations for my article. Illustrations for other writersâ&#x20AC;&#x2122; text. In crumble Issue 1 What is Urgent?May 2017

Scale

Impact

8

During the first part of my placement period, I was involved in setting up Crumble magazine with some friends who came up with the idea in 3rd year. After a seriesof discussion on theme, on what the magazine should look like, should talk like, should be carried out. We moved on to the production process. I was appointed Chief Illustrator, and in charge of the drawings and illustrations. However, since I was away for my placement period, I was not able to manage the team of ilustrators but functionned more a the main illustrator myself. In this magazine, I submitted around 5 drawings, 1 text all surrounding the theme of whatâ&#x20AC;&#x2122;s urgent.

84

GC 1 3 4

Makeshift

2

INDEPENDENT DESIGN

5 6 11

Development

10

Engagement

9

Reflection This was very exciting times, since I gotto be experimental and enjoy the human scale, the craft and materiality of spatial design. But is it architecture? I still question that sometimes, and I think the answer is yes, but not the kind of architecture we would normally expect. This is a spatial intervention, a stuy of constructional systems, of collaboration. This is what I want to do later.

Scale

Impact

8

During this time period a few friends of mine and I have also started a project focusing on developing construction system and spatial intervention at the human scale. Feeling a lack of hands on experience in our curriculum, we took matters into our own hands. We started with 3 people and then gradually progressed to having a full team working one installations, objects, and competitions. Our team was called Makeshift.

We intended to pursue this and get non-architects involved in the construction process as well. In may 2017, we participated as a team in Civic Soupâ&#x20AC;&#x2122;s competition for the site of Restalrig bridge. The competition was called long cuts and required the team to gather (online, since most of us were out on placement) in order to come up with an intervention for the site during ArchiFringe2017. We ended up winning, after producing a detailed document of our ideas, and the members that were available in Edinburgh participated in a full day event carrying out this project.

7

Introduction

85

GC 1 3 4

Graphic Design

2

INDEPENDENT DESIGN

5 6 10 11

Development

9

Reflection This project though started as a personal learning project for my own growth and development, was very welcomed online, especially on instagram @apres.garde when I started showing my progress. It became a whole new project where I was documenting publicly my progress, the lessons that I acquired. After these exercises, I developed quick illustration skills in illustrator, Processing that made me much more efficient in fourth year to make my point come across.

Scale

Impact

Engagement

8

This project is called Apres.garde since it started as a graphic design study using skills that are already widely used inthe digital age. The goal with this project was to learn and experiment and enjoy. For everyday I had to produce a poster using digital tools at my disposal. It ended up becoming a disciplining project, forcing me to get going with design, not second guess and just experiment! This project was carried out at a time of doubt in my capabilities as an architect, and doubt in the course I have chosen for myself but through having fun here, i realised design is truly what I want to do.

7

Introduction

86

GC 1 2

AA Visiting School Athens

3 4

Kinetic Design, Soft Materials & Parametric Design

5

at AKTO College, Athens

6 7

Introduction

10 11

Development

9

Reflection I considered my time here to be of highest value since not only was I thrown into new materials, and was forced to be instinctive about studying them, I also got the chance to meet great architects and learn from them. The 2 weeks there was in effect an extension of Architectural Design - Explorations since I had the chance to hone my skills in programming, in Arduino and getting even more comfortable with Grasshopper. So all in all, it was a fast paced two weeks of experiment, material study, technical development, collaboration. And to top that, the discussion I had with our tutors planted many questions concerning what kind of architect I want to be and how to get there.

Scale

Impact

Engagement

8

During summer 2017, I attended the AA visiting school in Athens to learn about kinetic design, soft architecture and parametric design. The course lasted for 2 weeks, and entailed stuying soft materials like fabric and veneer, in trying to see how they can combine and move. After the material study, we were also included in coding workshops studying Processing, 3DS Max, Arduino, Grasshopper, Rhino. The end result was a 12 man collaborative effort in creating a movement activated wall meant to sit in the hall of AKTO college in Athens.

87

Year 4

88

GC 2 3

(ARJA1002)

1

Architecture Dissertation

4 6 7 8

This course provides the student with an opportunity to investigate an architectural topic negotiated with a member of academic staff. The student will undertake sustained and in-depth research and present a coherently argued, fully referenced and appropriately illustrated piece of academic writing. Preparation and research for the course is undertaken along with its developed and presentation; this provides the student with an opportunity to plan and organise the study materials and research methods required in the writing of the Dissertation. The work it largely self-directed with support for a appointed tutor.

5

Description

9 10

Development Engagement

LO1

Demonstrate detailed knowledge of the chosen subject demonstrating sufficient understanding of relevant cultural, historical and philosophical themes

LO2

Demonstrate ability to construct and synthesise an intellectual argument expressed against stated objectives and presenting original conclusions.

LO3

Demonstrate ability to produce a substantial piece of academic writing, coherent, attractive, illustrated, wellwritten, using correct referencing conventions and the acknowledgement of sources.

Reflection

The dissertation was a challenging piece of academic writing that demanded not only rigour, but patience and resilience. Through this course I was able to address my biggest concern in the architectural world - the homogenisation of architecture - specifically when accompanied with the removal of culture at the fringes of the world. Here, I was able to learn how to manage a large piece of research and reach out to sources and contacts in order to gather first hand research on a region of which so little is known.

Scale

Impact

s1

11

4

89

Architecture Dissertation GC 1 2 3

Architecture Dissertation

4 6 7 8 9

With the architetural Dissertation we were expected to find an architectural topic of interest and develop an detailed study into the issue through research and with a consideration for the architectural context. The end result was to become a coherent document with grounded sets of arguments. I personally had initial struggles with selecting a topic that had enough both breadth and depth, but ultimately I had been able to select a concern close to home. The dissertation on my part followed a series of investigative drawings and studies on post colonial architecture in the Mekong Delta. The point I am making was that architecture in the region of the Mekong Delta cannot be a rigid language, but should be dynamic as possible since the landscape, the culture, the regionâ&#x20AC;&#x2122;s position at the fringes of power will always change. Therefore, the architecture of the Mekong Delta is an ever changing entity.

5

Introduction

10

Development Engagement

The Mekong is a region of discourse, the rivers are channels of communication and change. Rivers here are carrier, not barriers. In such quagmires, time is of prime concern since things sink and shift in matters of days and months. Here, permanence is of secondary concern, adaptability crucial and rigidity fatal. Yet most of the architecture in this region has been following the model of new development projects in concrete and steel, heavy weight buildings ill adapted to the soil and the climate. It seemed as though the people behind these projects were disconnected with the place, the people and the culture they were building in (despite most of these project leaders coming from that very culture).

The demand on adaptability make the question of building a Deltaic architecture a question of finding balance ono shifting grounds. The path to reaching an architecture of the Delta must be a conversational system. The point of this text is not to formulate a dogmatic theory to be applied on all culture. It is rather a text to interrogate how architecture can become an ever adapting process. Especially in the Mekong Delta, at the periphery of the powerful economic centers (Ho Chi Minh) and colonial metropole (Paris/France), architecture here is situated in a space of ever changing spectrum at the edge of power. Located at this dynamic fringe, architecture here must constantly push at the centers of power, proving that in its open chaotic space can come a vibrant place of question and ingenuity. By being at the fringes, the Mekong is space for adoption and innovation, taking from the center and turning it into declarations of agency. The lessons developed in this region are not to provide rigid solitions for the global situations, for they are not homogeneous. Rather, it provides one of many plausible models for an architecture aware of its past, a collective result created by the heterogeneous people building increasingly lively cultures.

Paul Ricoeur, David Biggs, Pierre Gourou and Caroline Herbelinâ&#x20AC;&#x2122;s work are studied in depth here because although their work might be located at various point in time, the value and message they carry is increasingly important in our current context of xenophobia, of rejection of culture and tradition, of paranoia about technology. It is not about abandoning the past, but about participating in the present with the full weight of history and culture. To see architecture as a continuous shifting enigma made of morphing layers is to see it in light of change and progress. It is to be open inwards and to our out into the world simultaneously.

Scale

Impact

11

Looking for an architecture in the Mekong Delta

90

GC 1 2 3 4 5

Abstract

6 7 8 9 10

Scale

Impact

Engagement

Development

11

Key bibliography Biggs, David A. Quagmire : Nation-Building And Nature In The Mekong Delta, 2010.

Bourdeaux, Pascal, and Fabien Lotz. Programme Vent D’Est 1997-2007 : Perspectives Et Travaux Sur Le Vietnamméridional. Les cahiers de la cooperation Française au Vietnam. Hanoi: Cahiers de la cooperation Française au Vietnam, 2007.

Foucault, Michel, and Jay Miskowiec. “Of Other Spaces”. Diacritics 16, no. 1 (1986): Frampton, Kenneth., “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” in The Anti-aesthetic : Essays on Postmodern Culture. Seattle, Wash.: Bay Press, 1983.

Gourou, Pierre, and Centre D’études De Politique Étrangère. L’utilisation Du Sol En Indochine Française. Travaux Des Groupes D’etudes ; No.14.

Paris: P. Hartmann, 1940.

Gourou, Pierre. Les Paysans Du Delta Tonkinois. [With Folding Maps And A Bibliography.]. Pl. XLVIII. 9. Paris, Bruges [printed], 1936.

Herbelin, Caroline. Architectures Du Vietnam Colonial. [Paris]: CTHS, 2016.

Hickey, Gerald. Village In Vietnam. 1st ed. New Haven: Yale University Press, 1967.

Ngô Kế Tựu. Nhà-Xưa-Nam-Bộ. Thành-phố-Hồ-Chí-Minh: Phương-Nam-book, 2013.

Nguyễn, Phương Thảo. Văn Hóa Dân Gian Nam Bộ. Hà Nội: Nhà xuất bản Giáo Dục, 1997.

Nguyen, Thi Dieu. The Mekong River And The Struggle For Indochina. Westport, Conn.: Praeger, 1999.

Ricoeur, Paul., “Universal Civilization and National Cultures” In History and Truth, trans. Chas. A. Kelbley, Evanston: Northwestern University Press, 1965.

Son Nam. Cá Tinh Cua Miên Nam. Saigon: Nhà xuât ban van hóa, 1992.

91

GC 2 3

(ARDE10002)

1

Technology and Environment

4 6 7 8 9

The course follows on from the 1st and 2nd year courses in Technology and Environment. The course is concerned with contemporary building technology primarily the industrialisation of the construction industry, the building faรงade and large complex structural framing systems. The manner in which buildings are constructed is continually changing, responding to cultural, social, and technological conditions.

During the next forty years (the probable length of your career) the means available to construct buildings will have changed radically. Traditional construction methods and techniques are being replaced by increased industrialisation and prefabrication. New disciplines and roles are evolving for the design teams. Each new project raises new issues for the design team and their builders. Change is an inherent characteristic of the construction industry. Designers need to approach the use of technology with this in mind, in an informed rather than an empirical manner. The course will provide a framework for the critical review of contemporary building construction.

5

Description

10

Development Engagement Impact

LO2

Students will be able to analyse and review contemporary construction methods and technology.

LO3

Students will be able to make informed decisions integrating issues of building technology into their design work.

LO4

Students will have gained an understanding of structural framing using reinforced concrete and steel, the building envelope and the use of manufacturing and prefabrication in construction.

Reflection

Technology and Environment 3 is an extension of the previous T&E courses diving indepth on contemporary and advanced construction methods. Looking at the larger picture, we studied methods of prefabrication, advanced applcation of steel and concrete in order to create ever more challeging architectural designs. Perhaps the most important tool this course has given us is the ability to critically assess the advantages and setbacks of certain construction methods. Through this course, I was also armed with a wider (yet more in depth) knowledge of the construction industry and how they can collaborate with the architects involved in the project through the different types of procurement and contract.

Scale

s1

Students will understand the key differences informing the design of steel and concrete structures.

11

4

LO1

92

GC 1 4

Modular construction study - Moho Modular Housing Cecile Ngoc Suong Perdu

5 6 7

2. Vertical core

8

The Technology and Environment 3 course consisted of multiple exercises to familiarise us with the construction process in contemporary architectural practice. It starts with small essays concerning the manufacture, prefabrication and pre-asssembly, as well as exercises in analysing advanced construction systems and seeing advantages in all of the work. The course demanded a close study on these systems through a technical review - where we answered the juxtaposition between traditional construction systems as well as prefabricated and modular construction.

Upon this work, we also prepared essays dicing in depth into construction processes and manufacture with concrete building examples.

3

Introduction

Prefabricated construction study - Switch house, Tate Modern

by Naheemat Mustapha

2

Technology & Environment

3. Stacked modules

6. Screening system

10

4. Clip-on pods

9

1. Hallway steel frame

5. Outer steel frame

Scale

Impact

Engagement

Development

11

Construction principles - order

TRA + PREF + MOD Technical Review The Technical Review was a chance to revise the advantages and drawbacks of each processes through three case studies - the terra cotta studio for traditional construction, the Tate Modern Switch house for prefabrication, the Moho for Modular constructure. What was remarked is that the main trade off in this industry is between design and cost. All innovations in the construction industry has to be based on a rigorous understanding of all of these techniques in order to make the best out of each construction type. They need to take into consideration all the socio-cultural aspects into the design and into choosing the optimal construction technique. Moreover, the review realises that there are many misconceptiones surrounding the pre-fabrication and modular construction, saying that they trade personalisation for cost and reflect a culture of mass production and industrial design. Yet, prefabricated construction can allow for unique landmarks and project to rise in the dense context of London, such as the Tate modern, and in the case Moho, the prefabricated saces allow add ons and choice for the inhabitants.

STRUCTURE

Construction process

The main structural scheme for the building makes use of both steel frames construction and reinforced concrete Large horizontal forces are applied on the structure as a result of the truncated twisting pyramid; this created a corkscrew effect on the structure The building is designed with two strategically located internal precast concrete cores. Façade Panels and internal structure are also precast.

The external perimeter columns have a cruciform profile and twist to form the creases in its envelope, these columns also have â&#x20AC;&#x2DC;armsâ&#x20AC;&#x2122; which act as support for the precast cladding panels, the glazing and the peculiar brickwork. Due to the location of the certain UK power network assets around the site, long span transfer beams where installed to accommodate opening for the building entrance.

All apartment modules were built and tested in a strict factory environment to ensure quality and performance. The services: bathrooms, piping, heating, were also tested in factories. Moreover, all energy consumption and ecological design were also tested, adjusted and measured here in order to fit into the rainwater recycling and solar cells system. These two environmental strategies are much cheaper when incorporated in such modular schemes than when they are incorporated in a renovated housing project. This is an advantage of modular housing since the tests can happen before the actual occupation of the spaces and allow for early remedies of any failures that arises.

Not only were the services tested, but all finishes were made in factory: including the detailed plasterworks, paint.

93

Technology & environment 3 GC 1 2 3 4 5 6 7 8 9 10

Scale

Impact

Engagement

Development

11

Essay 1 - Prefabrication

Essay 2 - Materials

Essay 3 - Facades

Essay 4 - The NMAAHC

Thanks to pre-fabrication, there is a critical reduction of material waste in their production; up to 65% of material waste was reduced in the construction of a building in Hong Kong.1 Yet, the largest amount of waste is during maintenance and demolition.2 The next challenge for architects, is to consider the lifetime and disassembling the buildings, allowing for recycling and/or re-using. The concern for cost, manufacture and also recycling are all affected by scale, the larger the scheme, the cheaper it is to build pre-fabricated buildings comparatively. Buildings using prefabricated concrete panels which require in-situ connections make such projects impossible to be deconstructed, recycled or re-used.3 The project Murray house uses CLT not only for its lowered energy use, lower embodied energy but also because during the building’s lifetime, such component and design help lower heat loss, and is easy to deconstruct and recycle.4

The essay looks at three projects - the Shard, Heathrow Terminal 2, and Maggie Nottingham Care Center in order to dissect the advanced techniques in contemporary steel and concrete constructions in which these projects have been developed.

Glass is studied here as an advanced cladding material of sleek design and modern open plan spaces with flooding light. This essay outlines the manufacturing of glass, its advantages,qualities, drawbacks and uses contemporary examples to mark out potential development in construction with glass. Being a material that needs a perimeter support - often in the form of a frame. Glass can be a tricky claddind to work with. The essay look at two main example, the pavilion for Milan ‘s New Trade Fair, as well as I.M.Pei’s design for the Louvre museum.

Although both attemted things previously deemed impossible, the approach to their construction with glass is comepletely unique to each gentleman. The Milan Trade Fair pavillion relied on an overhanging diafrid system to hold the glass planes together, where I.M.Pei relies on a suspended cable system to achieve the lack of framee and the increase of visual continuity between the outside and the Louvre inside.

This essay looks at the fast apced construction rocess of the National Museum of African American History and Culture. Because the building sits on a public and touristic site, it was designed and carried out with a design assist package to help minimise the time spent on decision making, and to help minimise disruption on the site.

The building’s fast construction relies on this package but also on the prefabrication of its parts. However, this did not stop the architect David Adjaye from being able to detail the facade with advanced materials. The facade was design using this design assist package as well, we conception and full scale prototype was quickly erected to flesh out issues and move into piroduction as soon as possible. The design rationalised the pattern of the facade, prefabricated them so that the only site disruption entailed the assembly of these facade panels.

The Shard utilises a rationalised system for its multiple “shards”, some of which are pre-assembled offsite since the site in London is quite congested. The entire assembly system had to cater to the path between the assembly site to the final site.

Heathrow Terminal 2 uses a set of movement joints that allows the building to expand and contract, since it has a large amount of concrete that will swell and deflate when external elements apply.

Maggie Nottingham Care Center uses curved steal beams, elements that over required bespoe design, increasing in cost. However, they managed to overcome thi by rationalising the design to create curves out of straight beam elements, reducing the cost all the while maintaining the integrity of the design.

94

GC 2 3

(ARCH10025)

1

Architectural Design: Logistics

4 5 11

Development

10

Engagement

9

LO1

Demonstrate knowledge and understanding of a specialist theme in relation to the design and procurement of buildings.

LO2

Demonstrate ability in applying knowledge of a specialist theme to enhance a design proposition.

LO3

Display aptitude in communication through the production of incisive text and graphical outputs.

Reflection

Architectural Design Logistics is a course meant to familiarise us with the multitude of factors playing into the tendering, design and construction process of a porject in the UK. While the course offers a set of topics through which we can study the construction process. For our work we as a group explored a new theme involved in the design process: How does the national educational goal of Scotland, and the frameworks set in place to achieve this goal, impact the design of a school? I came out of the course much more aware of how integrated our work as architectural designers is in the wider context of a nation.

Scale

Impact

8

s2

7

4

The course asks students to engage with an aspect of building design and procurement relevant to the workflows experienced in the design and construction sector. Students select a theme relevant to their experience in the workplace and re-contextualise it within the framework of their own design studio work. The course requires students to take an aspect of design production and treat it as a process that can work within and enhance a complex system such as the creation of a building. Architecture Design: Logistics focuses on the management of the flows of resources between the stages of basic design and final hand-over, inorder to meet the requirements of all agents involved in the processes of implementation of an architectural project. It involves a broad understanding of what constitutes resources, to include material, human and temporal aspects of production. The course is organised around a set of themes, led by academic staff according to their specific areas of expertise.

These will include statutory frameworks, building procurement, digital modelling and simulation, manufacturing processes and case study research.

6

Description

95

GC 1 2

Architectural design: logistics

3 4 5

Introduction Section detailing the space and goals of the school in creating identity and connecting the school to the wider context. This section also shows the multiple spaces that fall in line with the Scottish Curriculum for Excellence, such as the space for Responsible citizens, sense of self,...

6 7

Responsible citizens

Identity - Community

The transparency between the spaces allow for the teachers to passively supervise the pupils.

No doors, fluid spaces. Pupils are encouraged to be aware of their volume and be mindful of others.

View to the canal, link to the community and identity.

9

Security

8 10 11

Engagement

Development

This project looks at Lairdsland Primary School to study the impact of how Scottish educational legislation manifest visibly in the architecture of schools across scotland. In this project, we contacted Lairdsland Primary School with tailored question about how they overcame constraints of space to meet the demands of the legislation. The end result is a detailed study on how the architecture of Lairdsland Primary School became a prototype for other schools in Scotland, how they optimised requirements of space and fucnctions, how they created a space that manifested the goals and aims of a nation. It dissects the Scottish Curriculum for Excellence, the Scottish Futures Trust and see how these multiple mechanisms, organisation and systems come together with the architects and the locals to build a school fit for a nation.

Clear visibility to the outdoor learning spaces.

Transparency here links the classroom back to the outside, adding a sense of identity.

Scale

Impact

Identity-Community-Flexible learning spaces

96

ARchitectural Design Logistics GC

with >self respect >a sense of physical, mental and emotional wellbing >secure values and beliefs

and able to

2

confident individuals

with >enthusiasm and motivation for learning >determination to reach high standards of achievement >openness to new thinking and ideas

1

successful learners

and able to

>use literacy, communication and numeracy skills

4

>use technology for learning >think creatively and independently >learn idenpendently and as part of a group >make reasoned evaluations >link and apply different kinds oflearnin g in

3

>relate to others and manage themselves >persue a healthy and active lifestyle >be self awa re >develop and communicate their own beliefs and view of the world

new situations

5

>live as independently as they can >assess risk and take informed decisions >achieve success in different areas of activity

6

To enable all young people to become

effective contributors

with >respect for others >commitment to participate responsiblity in political, economic, social and cultural life

with >an enterprising attitude >resilience >self-reliance

7

responsible citizens

8

and able to

and able to

>work in partnership and in terms >take the initiative and lead >apply critical thinking in new contexts >create and develop >solve problems

different settings

the world and Scotland ’s p lace in it

technological issues

>develop informed, ethical views of complex

How Walter & Cohen overcame space limitations and decrease the amount of floor area needed per student by creating a flexible open space plan for the school where all the students can share.

11

>understand different beliefs and cultures >make informed choices and decisions >evaluate environmental, scientific and

10

>communicate in different ways and in

9

>develop knowledge and understanding of

are

D H IN A IN L G L

am

res p

ond

JEC

T BA

dim

ens

ion

x st

ude

Floor plan showing flexibility to open up the dining hall and the the gym to the public for community use, and the architects’ guidance to design these two spaces in compliance with the number of students to accomodate.

nts

SED

LEA

RNI

NG

SPA CES

L

The group work consisted of studying the building as a manifestation of Scotland’s goal. The school was studied by linking each space to a specific aspect of the Curriculum for Excellence. Contact with the architects were made to ask detailed questions concerning process of tendering, design as well as consultation with the public. It brings about questions of designing for the public sector, where the design must respond to the state’s goal but also the endeavors and comfort of the local population. As architects, we must be able to bridge this gap and tie in the different construction/environmental/social/political systems into one design.

Moreover, the idea that architecture should reflect the larger goal of a nation is one that is highly relevant to my Architectural Design - Tectonics project concerning Pyroseismic design in Tokyo.

ust

PRO

AL

Impact

Group work

Aims and goals of Scotland - manifested in the Scottish Curriculum for Excellence.

H

Scale

Open plan - no door design for the Lairdsland Primary school. Image from architects Walter & Cohen.

L A M G R NIN E S F O AR C LE P A S

Engagement

Development

issues

Community use

Floor plan showing the learning spaces that comply with the Scottish Curriculum for Excellence.

These types of learning spaces make up a Kit of Parts making up the package for prototype of future schools in Scotland.

97

ARchitectural Design Logistics GC 1 2

Constraint: Roof Height

Constraint: FAR

3 4 5 6 7 8

The Design

9 10

Constraint: BCR

11

Constraint: Human contact

Diagram demonstrating the intricate networks of regulations within Kyojima, Tokyo.

Diagram demonstrating the roof height laws of Kyojima, one of the laws that grant right to light in Tokyo, and form part of the intricate network of constraints that later on influenced my design.

The roof planes and constraints of the site rising above the building. Pictured here is the calculated barrier that determines the shape and structure of my proposal in Kyojima.

Individual work In light of the study on Lairdsland Primary School study, the same analysis could be applied to the context of designing in Tokyo - where networks of intricate regulations and concern make uo the urban fabric of this city. To build in Tokyo is to build within the spaes between these constraints, fitting into small tight spaces. Designing in Tokyo is to design with the Japanese concern of building a resilitent nation in the face of tsunamis, fire and earthquake, After the great Kanto earthquake of 1923, Japan had a significant increase in its regulations of building design in order to improve the quality of its structure. In fact much of the building regulations in Japan is essentially a document about preventing disasters. Japan’s aims to become a resilient space is one of national scale that affects in detail each and every single building of Tokyo.

My studies focuses on the epicenter of risk-prone neihboorhoods in Tokyo: Kyojim infamous for its local resistance to the restructuring of the district and its buildings. The argument against such restructuring is the loss of “old Tokyo” and the fear of turning Kyojima, a human scale, human centered place into one of grandeur and cold like Shibuya station. In trying to preserve the social resilience of the neighborhood, the people here sacrificed structural resilience. Similar to the context of Kyojima, the goal is to bridge the social resilience and the structural soundness to create space for a thriving community.

Scale

Impact

Engagement

Development

Constraint: Setback

98

GC 2 3

Tectonics (ARCH10003)

1

Architectural design

4 5 7 8 9

This course is focused on extending studentsâ&#x20AC;&#x2122; capacity to operate with different approaches to architectural design. Students are asked to develop specific approaches to design problems in a coherent manner, deploying skills in architectural design and communication gained in earlier Stages. The course concentrates on developing architectural designs that integrate programmatic, formal, material, structural and budgetary considerations. The course is offered in a number of parallel design studios that sustain the overarching pedagogical aims through varying and distinctive sub-themes. Students produce coherent architectural designs of moderate complexity communicated with clarity and precision.

6

Description

10

Development Engagement Impact

LO1

Demonstrate an understanding of tectonic, structural, constructional, environmental and contextual matters

LO2

Research, analyse, synthesize and integrate with design an appropriate technological approach

LO3

Demonstrate skills in deploying specified two- and three-dimensional representational techniques correspondent with accepted architectural conventions.

Reflection

This course was by far the most challenging and fulfilling design project for me, since I have been able to implement lessons acquired from the previous courses and from my time out during placements at an unprecendented level of depth and thoroughness. In this course I was able to develop my technical skills while learning even some more of it with OaSys GSA analysis. Here, I was able to weave together diffrerent social, cultural and structural systems following a thorough period of researcha and prototyping. I came out a much more confident designer, able to incorporate all of my design concerns that had previously felt much more daunting.

Scale

s2

11

4

99

ARchitectural Design Tectonics GC 1 2

architectural design

3 4

Carp Dragon Snake Dance

5 10 11

Development

9

During this course, I also took interest in creating structural prototypes. Allowing myself a way to visualise structure, work out and notice problems that have previously gone undetected when working in a 3d model on computer. Finally, one of my previous concern was being too stuck in designing in plan, and not in section.

This year, I have managed to design an entire structure on its whole without being tied down to the plan. This project left me a sense of encouragement, I think I have found what I want to do: designing experimental architecture that weaves together systems of structure, socio-politics, poetry. One that constantly questions and grows itself into something meaningful and useful all at once.

Scale

Impact

Engagement

8

Our project took a derivative turn, in seeing the tectonics of the minka - the common folk thatched farmhouse - we also saw a series of threads connecting the building to its surrounding, to the local culture, trade. It was reminiscent of Italo Calvinoâ&#x20AC;&#x2122;s city of threads - Ersilia. Therefore, in taking this bold decision forward, we pursued to design buildings in the neighborhood of Kyojima. In the designing process, special consideration was put into making the building accesible and buildable by the people of the neighborhood. Technical skills like analysis with GSA Oasys to test Seismic resilience in the building were acquired and encouraged to be used during the designing process. Moreover, the exchange with the students from Kindai university provided insightful contact with the site and the style of construction in Japan. Next was the skill to quickly input assing maquettes into Google Earth in order to visualise and evaluate its impact on the context.

Series of drawing demonstrating the construction process of the minka - the traditional thatched roof farm house from Gifu prefecture. This series of drawings demonstrate the sequence and rhythm of placing, bracing, and tightening. It shows the elements of construction - small members with the occasional large beam to help span the building, Wobbling elements with the braced heavy top.

7

The project of this unit is to design a pyro-seismically sound building in the context of Tokyo, by studying the structural principles of a specific Japanese architectural typology. The project starts with research and leads onto prototyping attempts in order to fully understand how a building dances during an earthquake.

The last leg of the project consists of studying a building in Tokyo and devise a new construction project in its place.

6

Introduction

Frank Lloyd Wrightsâ&#x20AC;&#x2122; hands decribing japanese architecture - an image that deeply influenced the design process as weaving together different systems, fitting each other in. This image gave rise to the poetic thread that follow through out the building - woven.

100

ARchitectural Design Tectonics GC 1 2 3 4 5 6 7 8 9 10

to

Research

Seismic Prototyping & Analysis

The project firstly looks at the junctions, structural principles, social cultural ties and the construction process of the minka in order to devise a structural system for the new building in Tokyo. The example taken was the minka - common folk farm house - whose structural principles follow the lines of a wobbly base, a sliding plane and a braced roof. Strangely counter-intuitive (but works!) is the fact the building is heavy on top. However, with the Minka, the roof extends low to the ground and brings the center of gravity low in the building, ensuring the stability of the building. This braced roof and sliding plane are crucial structural aspects that were carried out later on in the design.

After multiple workshops with Steven Brown from Arup - GSA OaSys modelling was included in the design of the building in order to assess the structural stability of the design and make appropriate changes. This also means that the two main structural systems taken from the Minka, were prototyped, tested, designed and redesigned.

to

Design

The design is a continuation of the prototyping and analysis, but it was also working in tandem with these testing, leading to multiple iteration and redesign to refine the structure and the architectural moments. Inspired by the intricate web of constraints surrounding the act of building in Tokyo, the project is designed to be a mass pushing against the invisible legislative barriers of the city.

It exposes moments and circulation that are outside of these invisible barriers.

As one move through the building, they are exposed to the outside, beyond the protective layer of the heavy roof. The building is structurally designed so that the roof can function as the main bracing element against earthquakes.

Scale

Impact

Engagement

Development

11

from

101

ARchitectural Design Tectonics GC 1

Research

2 3

<<< Research on the social, environmental and cultural ties of the minka. It allowed us a chance to look at the building as a multifaceted object exisiting in different spheres, morphing under different lenses.

4 5

<<< Research on the structural layout of the building - in identifying the five main active players in the buildings dance, we were able to learn each of their roles in depth and study how this can be implemented in a contemporary building.

6 10 11

A simpler diagrammatic model was also included to show the the movement and function of the braced roof - the sliding beam during the building.

Scale

Impact

Engagement

Development

9

The question then arises - what is a contemporary Minka?

8

<<< Group work Several detailed model were made in order to visualise and communicate the language of the buildings tectonics.

7

The construction process drawing shown at the beginning of this project is a crucial study on the rhythm of placing, tying and bracing that later on influenced how the design in Tokyo was approached - designing with small members, making up great things.

Prototyping the movement of the minka

102

ARchitectural Design Tectonics GC 1

Individual Work

2 3

community center 35.71557363905014 139.8214207960175 11m

Community center

5

Narrow streets

4

Site 2 Commercial Building 35.715312308352516 139.82249367962345 9m Workshops

Site 1

6

Site 3

Site 3 Workshop 35.71566946009122 139.8232306165503 10m

7

Residential

8 9

Dilapidated buildings

10

Site 2

>>>>>>

Development Engagement Impact Scale

11

Commercial

Drawings based on photograph of Kyōjima. Where the lower section of the alley way is cleared for passage but the upper parts are dense with laundry, hung paper, signs,...

<<<<<< Images

of

Kyōjima

showing

density >>>>>>

Research on the congestion of the alleyways in Kyojima, how the circulation within the neighborhood is much denser above - hanging lanters/laundry/ commercial signs - and the market and people circulating at the bottom. This creates a gradient that fits with the minka’s structural principles - light at the bottom and heavy at the top.

1:10000

Kyōjima - Site Map - Site relationships 1:2500 /////////////////////////////////////////////////////////////// Sites for intervention

Research - Site - Kyojima

Commercial buildings

Community buildings

Workshops/Production buildings

Residential

Site studies - the type of construction in Kyojima surrounding our site. This study was made in order to decide which programme to take up - the end decision was to create a hybrid programme with community center at the bottom and residential programme at the top.

Kyōjima - Site Map - Site relationships 1:2500 /////////////////////////////////////////////////////////////// Sites for intervention

Commercial buildings

Community buildings

Workshops/Production buildings

Residential

The previous study on the type of buildings allowed for a more detailed study of the relationships between each type of buildings. This creates a network of threads showing the frequency of each building, their location and their position within the district context, centered node, or at the fringe?

The research leg of the project then took a dive into the neighborhood of Kyojima, the building that makes up the district, the regulations, Japan’s wider, grander legislations against earthquake and for disaster prevention were studied in order to identify the building as a node in the urban scale intervention, participating as a regulating object in the incremental land readjustment of Kyojima.

103

ARchitectural Design Tectonics GC 1 2 3 4 5 6 7 8 9 10

Urban Scale

to

Conception

to

Post Kanto earthquake (1923), Tokyo heavily increased its rigour on devising and implementing strategies against disasters like fires and earthquakes. Much of these legislations consisted of creating smaller separate blocks that prevented fire spreads. The design of the building must take into account this urban strategy. The beginning of the project starts with dividing up the blocks of Kyojima and widening some alleyways, creating passage of urban egress as well as realigning some streets. The building will be situated along the lines of these new pathways.

The minka provided an image of the idyllic life in rural Japan, however, when put in Tokyo, it is subjected to the intricate network of legislation that controls and deforms the ideal shape of the minka. What is left is the wounded image of the minka and its grid system.

After cutting the building with the roof planes, the same woven beam system is then flowed alone these cuts to form the bracing system. Elements from the minka- the diagonal bracing Ohagai and Kohagai are retranslated and re-incorporated here in order to make the building structurally sound. The building now becomes a new contemporary minka, fit for the people of Kyojima, fit for the context of chaotic Tokyo.

Design

Scale

Impact

Engagement

Development

11

from

104

ARchitectural Design Tectonics GC 1

Area of the woven beam system that is suspended

2 3 4

Woven beam system - ground + floor blockers (shown here)

5 6 7 8

Ushi bari 9 10

Snapshots from GSA OaSys testing showing the stress, strain, and deformation of the design. The elements and zones highlighted are zones of special attention where the design will need to be refined and tailored to ensure structural stability.

<<<Shear Diagram of the dancing building Drawing showing deformation of the building as it moves with the earthquake.

Vulnerable parts of the roof that required attention >>> This diagram was crucial in determining which part of the roof to break.

The diagram above demonstrate the thought process after seeing the stress put on the beam system in GSA prototyping. The diagram is part of a refining process, tailoring the building to its weight distribution, movement, and structural vulnerabilities in order to let it dance.

The seismic prototyping process was crucial in the design process of the project. The GSA OaSys was a new and welcomed skill, It allowed me to bridge my artistic and structural side in order to bring together a coherent design that is poetic in its structure.

Scale

Impact

Engagement

Development

11

Atrium - has no foundation to support the net - Ushi bari is needed to span this space

105

ARchitectural Design Tectonics GC 1

Structural Prototype + Design

2

1 3 4

2 5 6 7

3

8 9

Structural patterns

Development Engagement Impact Scale

The junction between >>> beams of the woven beam system is a crucial study of the design. The need to create a manageable construction process for the people meant that this system must be resolved in order to help them build great projects spanning large distances.

Here on the right is one of the first iterations of how the building builds up.

Study of a joint - self designed - that help splice smaller elements into larger beams, allowing the small beams of the system to form a greater whole. This joint was developed after studying Japanese joinery techniques - this is a tenon joint.

11

<<< The building consists of many elements weaving into one another in order to ensure the structural stability of the building. This means that there must be a methodology to resolve the junction at each part of the buildingâ&#x20AC;&#x2122;s design. Pictured here on the right is how the internal bracing element puncture into a living space, and connects with the columns.

After Kengo Kumaâ&#x20AC;&#x2122;s lecture, where he said that the reason why large buildings in Tokyo can still have a sense of the human scale is due to them being made up of smaller elements, I started diving into the study of the woven beam system as a set of smaller parts, easy for the builders to manage, easy for the people to participate. And it links the project back to the construction process of the minka previously studied.

10

This part of the design process has to do with developing a bespoke beam system that fuction exactly in the same manner as the beam system in the minka does - it needs to slide. However, this beam system must also incorporate the poetry of weaving into its form. The resulting beam system is one that creates a woven pattern, bringing in the thread of poetry through out the entire structure of the building.

Physical modelling of the structural weaving beam system and the test of the slides, the suspension. This prototype is made of smaller elements and assembled in the same way the real woven beam system to be would be assembled.

This structural prototyping leg of the building demanded that I must be rigorous in the design and the level of accuracy in testing. It demanded foresight of potential concerns, problems and clearsight to resolve all of these problems. Much of the prototype methodology I achieved were lessons I retained from the previous year Architectural Design : Explorations. They proved to make my thinking much more rational, efficient and clear. This is a skill that throughout the entire prototyping process was very helpful in deciding size/position/location of members, elements and spaces in the building.

106

ARchitectural Design Tectonics GC 3

hello my head is above the law!

2 4 5

The building is designed as a mass that pushes up to the invisible barriers of the city. These invisible barriers slices the perfect grid system of the minka, and what remains is a deformed grid filliing up the space below the roof constraints.

It was a play on the ideal image of the minka and how it is wounded when put in the context of an urban chaos like Tokyo.

1

Moments

Roof detail >>> The roof was designed as a structural element and then further detailed as a shield that channels water away from the internal structure. Shown here is an isometric drawing explaining how the outlaw moments and the circulation are exposed the elements but the water is quickly caught below and redirected away from the building.

6 7

In slicing and damaging the ideal grid, the roof planes limit eliminated roof levels and preserved the floor plate, creating moments where the user is standing within the law, but a part of theit peak out above the law, and beyond the roof planes. The rest of the design is then concerned with maintaining the openness of these outlawed moments.

8 9 10 11

Engagement

Development

Roof height constraint

Four years in architectural school and I realise that realistic renders are not the best approach to communicating a design. Although in the industry, to communicate with clients outside of the architectural spere, they might be the only means we architects have. I realise I personally much prefer drawings that still retain much of the poetry in the building. The point where architecture becomes something just shy of a static, resolved building is where it is most exciting for me.

Scale

Impact

A few renders showing veranda/circulation spaces, communal spaces, exposed circulation at the roof level.

107

Architectural Design Techtonics GC

Section showing the living space and the distribution of programme along with structural elements.

1

Section cut

2 3 4 5 6

Main Structural element - Roof beams - GasshĹ?

7

Kyojima

8

Roof Space

Thatched roof

9 10 11

Outlaw Spaces

Development

Diagonal Circulation

Polycarbonate roofing Exposed circulation

Impact

Engagement

Woven beam system

Exterior veranda

Raised floor

Scale

Town hall

Polycarbonate flooring

atrium Internal diagonal bracing

Dining/Living - Communal space

Perspectival Section 1:100 ///////////////////////////////////

108

ARchitectural Design Tectonics GC 1 2 3 4 5 6 7 8 9 10

Engagement

Development

11

Above: the construction process of the new minka - this is done is the same line of thought as the study on the construction process of the traditional minka. Here patterns of placing, weaving, bracing and tightening is also present, creating a rhythm that denotes the poetry of the building.

The illustration here is to show the different groups of people and processes that take place as people gather and create the building. Where different groups: construction worker, shinto priests, firemen,etc all gather to make the building lively, to integrate this structurally sound building into their resilient community. The building here acts as a point of gathering. >>>

Scale

Impact

<<< The development of maquette to model to detail model

109

GC 1 2

independent work

3 4 6 7

Below are a series of Independent work that took place in tandem with course work this year.

They range from Graphic Design to Architectural Design to Architectural Journalism and Project Management. Each of these projects brought in new ideas, qualifications and skills that contributed into my work for Architectural Design Tectonics and to my qualifications as an architect in the professional environment.

5

Description

8 9 10

Development Engagement

Reflection

Independent work provided some space to explore the action of design, the industry of design in a context outside of the academic world. It was a source of motivation and investigation into potential paths I want to pursue. As much as work this semester has been encouraging and inspiring, I also find much relief in designing outside of school, seeing that my work arenâ&#x20AC;&#x2122;t just hypotheticals but concrete actions that impact the people around it. Working in a firm taught me the intricate legislative and regulatory systems that designers must be able to overcome, especially for a designer to work from a distance, the street regulation, urban control regulations seem like a network of constraints. During my time working as an architectural designer for Innovo, I was able to learn the complexity of a fast paced industrial design envrironment. This later on helped me on the path of creating my own opportunity and design environment.

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Impact

O

11

4

110

GC 1 2

TEDx University of edinburgh

3 4

Creative and Staging Director

5 6

Development

M E N T

TH

20

F E B2 0 1 8

from

9:00am To

5:30pm

M C EWAN HALL

Scale

Impact

Engagement

P O W W E R

11

This was an eye opening experience overall, I had to juggle architectural design/product design/graphic design and visual communication, which all contributed in my work in Architectural Design : Tectonics.

MAIN CONFERENCE

10

Reflection

UniversityofEdinburgh

9

As a venture into the wider range of design projects, I was tasked with the challenge of stage design in the newly renovated McEwan Hall. It was a hefty challenge since the building had regulations (due to it being listed) that the entire team must comply to while also having to comply to TED rules. the stage design ended up become a very minimalistic design, semi transparent and barely attached to the buildingâ&#x20AC;&#x2122;s structure.

E M

8

In the last year of my degree, I was the Creative and Staging Director of TEDxUniversityofEdinburgh. My role as the Creative Director entailed designing the full range of visuals for events - posters, flyers, tickets, banners - both printed and for online purposes. I was also in charge of all medias like videos, promotion materials. This proved to be excellent graphic design challenges, but the most important task I was undertaking is stage design and merchandise design.

7

Introduction

111

GC 1 5

Innovo for the Vietnamese Food Lovers Project

4

with

3

Graphic and Architectural Design

2

INDEPENDENT DESIGN

6 10 11

Development

9

Reflection This project taught me how to design a project from a distance, despite it being in a place I know well. The idea of having to communicate to sponsors and clients in a series of attractive images that were both informative and enticing was not new, but they certainly required higher standards for this project. In doing this, I also learned how to manage a team and create a timeline to work with our commissioners. The aspect of managing a project in its production and end result was a new challenge, but luckily, my commissioner was kind enough to guide and give pointers on where I should be heading. After this, I realised that managing a team is something I am apt at, but would prefer not to do. I believe the best environment for me is to be in a flat collective, where I am part of a group that co-manages a project, with different roles but no hierarchy.

Scale

Impact

Engagement

8

After my internship at Innovo JSC over the placement period I was hired to work on the architectural design for their concept food festival as part of the greater project for Vietnamese Food Lover - of which I was the designer. The project entails designing pavilions and creating a layout on one of the main streets of Ho Chi Minh City, in Vietnam. It also involved creating visuals/ designing the mascot, the logo, the general concept art to communicate with clients.

7

Introduction

112

GC 1 2

crumble

3 4

Chief Illustrator

5 6 10 11

Development

9

Reflection This project allowed the opportunity to take part in the profuction of a published print, in refining and communicating some heavy theoretical architectural text to the wider public. We as a team managed to snatch the prize of Stack Student Magazine of the Year on the international scale as well as being stocked at the Tate Modern shop. It was all together an very fulfilling experience. We are proud of the work we have done and humbled at the same time by the reception it was received with. I realised that although I might not be made for writing architectural commentary, my medium is drawing and my tool is the thinking hand. So if I can participate in architectural journalism in this visual aspect, then this is something Iâ&#x20AC;&#x2122;d like to pursue a bit more.

Social media communication - 404 page not found landing visual for the website at crumble.press and the crumble in Tate modern anouncement for social media

Scale

Impact

Engagement

Illustration did for an article by Nadim Jacquemond on the new capital of Egypt.>>>

8

Although I participated in the very early beginning in the set up of the magazine. This was the first time I was able to present as the Chief Illustrator for Crumble through out one entire issue [since last time I was out on placement]. This year I had to manage a team of illustrators and was tasked with distributing work, keeping updates, designing and drawing some on my own. I was also in charge of visuals for Crumbleâ&#x20AC;&#x2122;s social media, announcements and some website communications.

7

Introduction

113

GC 1 3 4

Engaging with people at TEDxUoE

2

Makeshift

5 6 10 11

Development

9

Reflection The activity was very well received by the public, with much interest in joining Makeshift as an activity of making and building. It proved to be a good sign to start a collaborative and interdisciplinary project in Edinburgh. After this event, I think that is the next goal, to create a collective that works on the built and natural environment, to gain deeper insight to our living context and create actionable opportunities.

Scale

Impact

Engagement

8

Working for TEDxUoE and Makeshift at the same time provided an opportunity to combine two of my creative works into one. In the aim of making Makeshift more widely known to the public, TEDxUoE prepared a space during the lunchtime activities, within which Makeshift was expected to prepare an interactive activity. The team at Makeshift had come up with an interlocking system, made of plywood that could be arranged into a small plywood coffee table.

7

Introduction

114

Final Reflection In my 4 years of architectural education I have seen myself grow intellectually and professionally. Each year, as I thought that I know better, I amd faced with many more challenges and many more lessons. All of this is for the better and I look forward to learning more once my architectural education is complete. As a designer I am now able to weave together different systems to create an architecurally rich project with insights into our living condition. What now? I am not sure but I do know that I want to make use of these skills in order to move forward with a career in design.I also know that I want this design career to not be limited by whatever preconception of architecture was/is, but that my career can be something open, curious, interdisciplinary and collaborative. After all, we as architects-to-be are just humans making meaning through space, and this is what I intend to make as my career.

Final Mapping Scale

Impact

Engagement

Development

115