Newcastle University Architecture Stage 2 Portfolio 2015-16 by cocoswk

CONTENTS P 2.3.1 STUDY TYPE KITAGATA APARTMENT

P 2.3.2 LEITH 2025 03

P 2.4 ENGINEERING EXPERIENCE REQUIEM FOR A DREAM

PROPOSAL FOR LEITH

P 2.3.3 DWELLING PLUS 10

P 2.5 EXPLORING EXPERIENCE 44

BERWICK BOOK PRESS NEW IMPROVEMENTS

RESIDENTIAL HOUSING

P 2.3.4 INHABIT 16

NON-DESIGN WORK 50 66

WORKS OF FIVE MODULES

MOMENTS IN KEY SPACES

PROCESS + REFLECTS 68

DESIGN THINKING DESIGN DOING

110 112

O N E S E M E S T E R S E M E S T E R

T W O

Then according to our proposal for LEITH 2025, the building use in the site for Dwelling Plus is residential housing and hence the whole scheme of my design became a pure-residential project. After having a clear scheme type, I tried to make a connection of the concept of ‘Layering’ to my housing design. For example, I noticed there is a pattern of the traditional window positioning and sizing in my site area so I want to innovate a new form of window openings to show the contrast of traditional and new window openings in different layers as a starting point. Then I further developed more concepts of layering in different aspects such as the natural and manmade landscape relationship and the layer of public to semi-public and the semi-public to private area in the housing scheme.

W O R K

In semester one, I was in the studio which has the theme of ‘Layering’ so I started to look at the site in a ‘Layering’ angle. For instance, there are many mixed use buildings in Leith that I tried to analyse the site in the layer of different building uses like where these mixed use building were located compare to other one-function buildings. So then we came up with a proposal for LEITH 2025 that all functions of the buildings should be reallocated in different zones so then the productivity of that area would be developed effectively and efficiently. Therefore, no mixed use buildings would be in our site yet a one-function buildings instead.

N O N - D E S I G N

SEMESTER ONE APOLOGIA

PROCESS + REFLECT

In conclusion, I have learnt to design a building that needs to respond to the site and I think I was focusing too much on the massing scale instead of the experience of the space of each apartment. I wish I can do better next time.

P 2.3.1 STUDY TYPE T W O

STUDIO D: LAYERING TYPOLOGY: KITAGATA APARTMENT, JAPAN DESCRIPTION: In this project, we aim to explore the layering in a mixed-use residential housing in both stacking and folding of different uses and tenures. This layering can be explained into social, environmental and users context, such as the different levels of privacy, the interaction between neighbors and the social environment, openness of the building and different uses of materials. We therefore investigated the example of an apartment in Japan - KITAGATA apartment. It has an open courtyard for social activities which gathers the neighbors and forms a sense of community that enriches the residents' quality of life. We have made a booklet explaining the design ideas behind this building, its basic layouts and how the LAYERING concept can be applied on this typology.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

P 2.3.1 STUDY TYPE

KITAGATA APARTMENT, GIFU, JAPAN

NEWCASTLE UNIVERSITY. ARCHITECTURE, PLANNING & LANDSCAPE STAGE 2. 15/16. SEMESTER. 1. ARC2001

SITE

ANALYTICAL DIAGRAMS

INHABITATION

LAYERS

RESEARCH

K I T A G A T A A P A R T M E N T S N

Kitagata apartments are located in Gifu Japan and is situated approximately 15 minutes driving distance from the city centre. It sits within a neighbourhood consisting of four apartment complexes which form the perimeter of the site. At its core is located a vast communal site which is designed to promote social interactions and enhance the living experience within the neighbourhood.

ARCHITECTURAL DRAWINGS

STUDIO GROUP:

Designed by SANAA (Kazuyo Sejima & Associates ) in Gifu Japan the Kitagata apartment building was an ambitious development intended to suggest new paradigms for Japanese social housing. At its heart is a generous and animated community space that brings together the various housing blocks and enriches the quality of life.

Site plan (ground floor) 1:2000

Study Type Booklet

Site plan (First floor) 1:2000

P2.3.1

SEM. 1: P2.3 DWELLING PLUS

A R C H I T E C T U R A L D R A W I N G S Type 1 3 bedroom apartment 202 sqm

Type 4 2 bedroom apartment 168 sqm

Type 3 2 bedroom apartment 168 sqm

Type 2 2 bedroom apartment 168 sqm

First floor Plan

Floor Plan

1:200

Floor Plan

1:200

Section

1:200

Section

Aerial photograph of site

Section

1:200

Section

1:200

Ground floor Plan

1:200

BlockBlock Planplan (ground floor)

Ground floor Plan

1:200

1:1000 1:1000 12

A D

A I

L A

Y G

T R

C A

L S

Depiction of external staircase positioning and open courtyard distribution

TYPE 3

Interested in movement and how residents flow through the building we explored this notion by creating a series of diagrams which illustrate journey. Inhabitants of the dwelling move from external staircases to corridors which apartments are accessed from. Once within the dwellings depending on apartment type journeys will vary as illustrated on the diagrams we have produced.

Cross section To explore the context within our building section we have shown one possible arrangement for how the rooms may appear when cut through. However this is only one of many possible section compositions due to the complex, ever changing nature of the structure.

Representational drawing of how residents move throughout individual dwellings;

Open courtyards Staircases

TYPE 4

TYPE 2 TYPE 2

TYPE 3 TYPE 4

ranging from individuals to families, the different households are spatially configured in a way that promotes social interaction between different sociological layers. This is further encouraged by the minimal use of staircases within the design and the extended use of corridors within the structure. Due to the location of the apartment complex; on the boundary of the inner and outer city the high rise building is exceedingly condensed to accommodate the high demand for housing in this area. Landscape architecture has been an important aspect of this build due to little availability of public space within. The four apartment blocks in this neighbourhood form the perimeter around which a large communal area has been devised. This promotes the use of outdoor spaces and the importance of social interactions which in turn creates a sense of community within the neighbourhood. Using analytical diagrams of how spaces are divided we noticed a correlation between double height spaces and the assignment of 32

Representative sketch illustrating four different apartment types and their variation in size and shape. Colour has been applied to visually show the network of housing and how variegated dwellings interlock to form the structure.

Type 1 Type 2

Outdoor space has been defined both privately and publically providing opportunities for both individual and communal use of spaces. Many of the homes have courtyards which links the inside to the outside space by creating a direct visual link between the two. Through generating this connection the inhabitants feel less claustrophobic and associate more closely to the landscape surrounding them. Moving from the outside into one’s home can occur through many means as there are multiple ways to gain access to corridors and apartments, again this promotes the possibility for social interaction and relationships within the neighbourhood.

The Kitagata apartments are located relatively local to the city centre, if we compare the location in relationship to the Burgess Land Use Model determination of the buildings location in relationship to the cities land use bands is possible. The apartments sit directly on the boundary between the inner city (industrial area) and the outer city (low class/rise residential) a typical location for high rise structures. This typology could be duplicated throughout the boundary line between the two land use bands and in the

In order to explore how the Kitagata apartments relates to our project theme of layers in physical terms we made a timber model of the structure. The structure has four types of flat formations which are reminiscent of the shapes used in the children’s game Tetris, a possible inspiration for the architect during the design process. When building our model we created these individual formations and furthermore put them together to create a solid mass. When recreating the structure ourselves it was clear that the very nature of the building is formed around the principal of layering. Every level is reliant on the previous in order to create a rectangular form and it is the intellectual placement of each unique shape the enables

Diagrammatic illustration showing how air flows through the building via courtyards

LAYOUT OF THE BOOKLET

STAGE 2. 15/16 SEMESTER. 1. ARC2001

In order to explore how people may interact with our building we have created a series of sketches exploring how this building would be inhabited. If we compare occupation of this Japanese style building to UK homes the key difference is the layout which in turn greatly effects inhabitation of the space. Homes in this country tend to lean towards a more open plan way of living however the Kitagata Apartments have been designed modularly which promotes a sense solidarity and segregation.

Drawings documenting the inhabitation of the apartment 25

NEWCASTLE UNIVERSITY. ARCHITECTURE, PLANNING & LANDSCAPE

these to kitchen or study space. We believe this to be as having a large open space is conducive of living and working. By designing a double height space here it will encourage usage and creates a more family/work orientated atmosphere. The double height being embodied within alternative spaces caters to different people’s needs and wants and provides suitable living for all based on priorities.

I N H A B I T A T I O N

Type 3 Type 4

1. The structure houses a variety of inhabitants

Sketch of lateral section illustrating different types of apartment

TYPE 1

Perspective drawing of Type 3

Circulation through apartment TYPE 1

two land use bands and in the outer city. By reproducing the typology in this location it will aid in creating a transition between different areas of the city and build connections between the residential and the industrial. However due to space consumption this kind of typology would not be suitable within the CBD. It also could not be duplicated within the suburbs due to high rise structures being undesirable in these areas and not meeting the demand of the affluent sector.

Burgess Land Use Model

STUDIO GROUP: 5D

Kitagata Apartments Central Business District (CBD) Inner city (Manufacturing and Industry)

Wing Kei So Coco

Outer City (Lower-Class Residential)

Elle-May Simmonds

Inner Suburbs (Middle-Class Residential)

Lily Street

Outer Suburbs (Upper-Class Residential) 33

Study Type Booklet SEM. 1: P2.3 DWELLING PLUS

2 P2.3.1

P 2.3.1 STUDY TYPE

Type 1 Type 1 3 bedroom apartment 3 bedroom apartment 202 sqm202 sqm

Type 2 Type 2 2 bedroom apartment 2 bedroom apartment 168 sqm 168 sqm

Floor PlanFloor Plan

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 CONFIGURATIONS - SINGLE STOREY

PROCESS + REFLECT

1:200

Section Section

1:200

Section Section 1:200

1:200

P 2.3.1 STUDY TYPE

2 CONFIGURATIONS - TWO STOREIES Type 4 2 bedroom apartment 168 sqm

First floor Plan

1:200

Ground floor Plan 1:200

1:200

Ground floor Plan 1:200

First floor Plan 1:200

Section

PROCESS + REFLECT

Type 4 2 bedroom apartment 168 sqm

N O N - D E S I G N

First floor Plan

W O R K

S E M E S T E R

T W O

Type 3 2 bedroom apartment 168 sqm

19 20

Section 1:200

P 2.3.1 STUDY TYPE T W O

In order to explore how the Kitagata apartments relates to our project theme of layers in physical terms we made a timber model of the structure. The structure has four types of flat formations which are reminiscent of the shapes used in the childrenâ&#x20AC;&#x2122;s game Tetris, a possible inspiration for the architect during the design process. When building our model we created these individual formations and furthermore put them together to create a solid mass. When recreating the structure ourselves it was clear that the very nature of the building is formed around the principal of layering. Every level is reliant on the previous in order to create a rectangular form and it is the intellectual placement of each unique shape the enables

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

30 31

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.1 STUDY TYPE

P 2.3.2 LEITH 2025 T W O S E M E S T E R

LOCATION: LEITH, EDINBURGH DESCRIPTION: We went to Leith in Edinburgh for site study and made a proposal for a future neighborhood of Leith in 2025. We have studied the history of Leith and its potential development for the future regarding the social, economic and the inhabited neighborhood. We discovered that the green space in the site area is not sufficient enough and all the buildings are almost mixed-used such that the pedestrian flow is chaotic and that weakens the security of the residential area. Therefore, we proposed 3 main aspects in the site for the future development â&#x20AC;&#x201C; Greenery, pedestrian flow and building types.

ELEVATION OF SITE WITH KITAGATA APARTMENT 1:750

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.3.2 LEITH 2025

As we move on to LEITH 2025, we decided to explore the site with merging another building, the Kitagata apartment as an inspiration of this project such as the size of the building and how it relates to the site surroundings.

Leith was for a significant period of time the largest and most popular port of Scotland as the border trade of wool and skins came through Leith. Docks became known as the Port of Edinburgh and ship building here flourished. This continued until the 18th century when Glasgow port was opened by the Americans and became the prinicpal port in Scotland.

After WWII like many places around the United Kingdom, Leith degenerated into an undesirable area to live as it became widely associated with prostitution and low standards of living. The resulting state of the area after the war lead to extensive regeneration projects having been undertaken within the area which have transformed Leith into one of the most desirable residential locations in and around Edinburgh.

ST. NINIAN’S MANSE

Within our site lies only one historic monuments the coucil has preserved in Leith;St. Ninian’s Manse. The Chapel was built by Robert Bellenden, Abbot of Holyrood; the original owners of the land, in 1493. Over the years the chapel’s appearance and purpose has altered, in 1606 the building was extended into a church in order to accommodate the village of North Leith’s growing congregation. The purpose of the structure as the areas main church only lasted until 1816 when the number grew too large and a new location was found in Maderia Street. After this the use of the building varied until 1977 when the Cockburn Conservation Trust purchased the building and restored it for office use; the building is now housing Simpson & Brown Architects.

‘ P E R S E V E R E ’

T W O

P 2.3.2 LEITH 2025

Regardless of its inhabitants voting five to one against the move in a referendum Edinbugh coucil made the decision to merge the two. In spite of the merge Leith still retains its own identity and is perceived by its inhabitants as its own area.

To date the area is filled with upmarket bars, restaurants and high end hotels, as well as several new apartment complexes being built for the increasing number of residents being attracted to the area.

S E M E S T E R

Leith was for many years separated from Edinburgh itself and was considered inferior but Leith was officially merged with Edinburgh city in 1920.

W O R K

Leith is a relatively large urban conurbation which lies to the north of Edinburgh on the southern shore of the Firth of Forth. To date the earliest recording of Leith is in the Foundation Charter for Holyrood Abbey in 1128, which tells us that the main existing harbour and land on the north side of the river were given to the Abbots of Holyrood by David I. Later the lands which lay to the south were given to Peter, one of David I Anglo Norman friends.

N O N - D E S I G N

A BRIEF HISTORY

PROCESS + REFLECT

L E I T H

WING KEI SO COCO, ELLE-MAY SIMMONDS, LILY STREET 11

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.2 LEITH 2025

RESIDENTIAL

COMMERCIAL

MIXED

PEDESTRIAN FLOW

BUILDING TYPE

GREEN AREA IN LEITH IS MINIMAL

DIFFICULT TO DIVIDE PEDESTRIANS INTO DIFFERENT GROUPS AS MOST OF THE BUILDING ARE MIXED-USE

MAJORITY OF THE BUILDING IN SITE ARE MIXED-USE

GREENERY

PEDESTRIAN FLOW

BUILDING TYPE

CREATION OF MORE GREEN AREA FOR RECREATIONAL USE

RESIDENTS WILL CONGREGATE AROUND RECREATIONAL AREA BECOMING MORE CONCENTRATED HERE. BUSINESSES AND TOURISTS WILL GENERALLY GATHER TOWARDS THE SOUTH OF THE RIVER

PROCESS + REFLECT

2025

N O N - D E S I G N

GREENERY

W O R K

S E M E S T E R

T W O

PRESENT

P 2.3.2 LEITH 2025

LEITH 2025 PROPOSAL

BUILDING FUNCTION IS CLEARER AND AREA HAS A CLEARER STURTCURE

RESIDENTIAL

COMMERCIAL

MIXED

PRESENT

APARTMENTS ON SITE

BUILDING USE RELATIONSHIP

REDUCED SIZE OF APARTMENTS

SHEAR SIZE OF THE STRUCTURE OVERPOWERS LEITH

APARTMENTS ARE ENTIREY RESIDENTIAL AN ASPECT WHICH IS NOT CURRENTLY COMMON IN LEITH

THE KITAGATA APARTMENTS WOULD NEED TO BE REDUCED BY MORE THAN HALF IN ORDER TO FIT TO FIT ON SITE

BULDING USE RELATIONSHIP

REDUCED SIZE OF APARTMENTS

APARTMENT LOCATION AND BUILDING USE HAVE A DIRECT RELATIONSHIP AND FI TS INTO FUTURE PROPOSAL PLANS WELL IN TERMS OF THE AREA ORGANISATION

KITAGATA APARTMENTS NEED TO BE REDUCED BY MORE THAN HALF TO FIT ONTO SITE

2025

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.2 LEITH 2025

KITAGATA APARTMENTS IN LEITH

APARTMENTS OF SITE SHEAR SIZE OVERPOWERS LEITH AND FRINGES UPON NEWLY ALLOCATED GREEN SPACES

P 2.3.2 LEITH 2025

LEITH 2025 PROPOSAL IN AND AROUND THE LEITH THERE IS STRONG USE OF A WARM COLOUR PALLET WHICH HAS BEEN INFLUENCED BY THE SHIPPING HISTORY OF THE AREA. WE PLAN TO USE COLOUR IN ORDER TO GENERATE A SENSE OF RYTHMN BETWEEN THE ARCHITECTURE AND BUILD CONNECTIONS THROUGHOUT THE AREA.

KIATAGATA APARTMENTS THE SANAA BUILDINGS SHEAR SCALE WAS NOT DESIGNED FOR THIS KIND OF AREA AND WAS INTENDED TO BE PLACED ON A MUCH LARGR PLOT LEADING US TO CONCLUDE THAT THIS TYPOLOGY WOULD NOT BE SUITABLE FOR THE AREA AS IT STANDS. WE HAVE MADE MODIFICATINS ALLOWING IT TO FIT ON TO THE SITE AND ORIENTATED IT SOUTH-EAST IN ORDER TO MAXIMISE SOLAR GAIN BUT AVID OVERHEATNG AND CONNECT THE RESIDENTIAL AND COMMERCIAL PARTS OF THE AREA. HOWEVER IN THE PROPOSAL THIS IS NOT THE TYPE OF STRUCTURE WE WISH TO INTRODUCE INTO THE CITY IN 2025 SO WE FIND IT UNSUITABLE FOR LEITH.

TRADITIONALN MATERIALS IN CONJUCTION WITH THE RE-ORGANISING OF LEITH'S INFASTRCTURE WE WANTED TO CREATE A STRONGER CORELATIN BETWEEN THE AREAS HISTORY AND ITS MODERN DAY PRESCENE. NEW RESIDENTAIL STRUCTURES WILL COMPLIMENT THEIR HISTORIC SURROUDINGS BY USING SIMILAR MATERIALS AND COLOURS UNLIKE THE RECENET DEVELOPMENTS WHICH H AVE TAKEN PLACE IN LEITH.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

FUTURE RESIDENTIAL STRUCTURE

WARM COLOUR PALLET

P 2.3.3 DWELLING PLUS T W O

DESCRIPTION: This is a project that we have to design a residential housing with communal space based on our LEITH 2025 proposal. We have decided the site uses of this project which is only for residential purposes. That means no mixed-use buildings are in this area. So I decided to have a housing dwelling in the site together with an open communal courtyard. The design focused on the layering of different aspects such as the rhythm and patterns of facades, the changes of privacy, uses of spaces and landscapes and the quality of sun lighting.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

P 2.3.3 DWELLING PLUS

SITE PLAN 1:2500 16

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

P 2.3.3 DWELLING PLUS T W O

INITIAL IDEA

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

The initial idea is actually inspired by our Study Type project which we have studied an apartment which consists of different configurations and provides an open courtyard which can be seen throught from one side of the building to the other side. But in my version of design, this would be more dynamic and fit into the site with its own shape. But design about the circulation of the building, the positioning of blocks affects the external circulation and the accessibility cause a big problem to my design. Therefore, I tried different positions of the blocks and the circulation as below:

CIRCULATION 1

In this arrangement of blocks, each apartment has two storeies and the above diagram consists of 8 units. This circulation is for the main door which is placed on the first floor of each of the apartment. This first-floor main door will increase security for the apartments on the ground floor as the site area is not very pleasant regarding to security.

CIRCULATION 2

This is another approach to just have the main door on the ground floor. This circulation may benefit the apartment on the top floor as their route to get the stairs is closer comparing to CIRCULATION 1. The accessibility of the third stairs can either be kept or not as adding a stair can increase the relationship of neighbours but it would have a lower pravicy on the other hand.

P 2.3.3 DWELLING PLUS T W O

2-STOREY ON THE SOUTH; 4 STOREY ON THE NORTH (FINAL*)

PROCESS + REFLECT

N O N - D E S I G N

4-STOREY ON BOTH SIDE

S E M E S T E R

Considering the increase of wind speed due to open courtyard, panels are added on either one end of the courtyard to reduce the wind speed. The panels can also add a bit of shadows so that the open courtyard would not be too exploded and have some pravicy. The external circulation moved into the central circulation and people would enter from the entre and split into two ways when they get upstairs.

W O R K

NEW PANELS + CENTRAL CIRCULATION

STOREY HEIGHT IN MASSING

Initially I would like the have 4 storeies on each side and I realise it would block the sun light so the new layout would have a better lighting quality and the landscape fits into the site better. 19

SITE PLAN 1:250

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

The designed housing aims to fit into the site and emphasizes on the layers of privacy. The shape of the building is a parallelogram instead of the normal rectangle. Each residential unit occupies 2 floors and they are all mirrored to each other either vertically or horizontally. The patterns formed by the units create interesting shadows and the open private courtyard between units form holes on the building which connects the residential housing to the outside space. In order to reduce excess air flow between the courtyards, panels are added on one side so as to block one end. The outdoor communal space is designed inwards so that people will be facing each other rather than facing outwards. The whole residential housing is 1m leveled up so as to provide a bit of privacy from the pedestrian streets. In terms of the lighting, the housing on the left is only 2-storey so that it would not block off the southern sunlight received by the 4-storey housing.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

1:100 SECTION

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

P 2.3.3 DWELLING PLUS

1:200 Site model

1:100 Model

1:200 Site model

1:100 Model

I N H A B I T 2 . 3 . 4

2.3.4

INHABIT

DESCRIPTION: This project is to explore how the users may inhabit in my designed housing. By revisiting the project, A Day in the Life of You, I decided to investigate the routine of a family of how to use the spaces in the house throughout the day. The three key spaces are the dining space, communal space and bedroom. I split these 3 key spaces into day time and night time of a day to show the changes of the space carefully. Besides, I added the people into the modelling photos to show how people would inhabit the external space.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

There is an open communal area for neighbours to sit or rest. As it is below the ground level, neighbours are sitting facing each other instead of facing outward.

I give myself a short break after using the laptop for couples of hours so I change my clothes and go out for a walk and grasp myself a lunch. As I never tidy up my bed so it remains the same as I just wake up in the morning. Getting an inspiration may take a long while so I always get out of my room or just stand in front of the window and try to get myself some fresh air. Seeing how the shadows change with the time is really great and interesting. Shadows which are created by the chair move slowly on the floor. When the shadows gradually vanish, it is already sunset.

10p.m./My Room/Newcastle It is 10 oâ&#x20AC;&#x2122;clock in the evening. The small lamp on the desk is on and it brightens up the working area. After I am done with the work, I usually use my laptop on my bed while placing the pillow against the wall. The clothes moved from my bed to the chair and all the stationaries are just left on the desk. My room is with artificial light at this moment. They are much stronger but more stable than natural light. I still like the natural light penetrating my room though. When I am tired of using the laptop, I go bed to sleep.

I N H A B I T PROCESS + REFLECT

3p.m./My Room/Newcastle

N O N - D E S I G N

W O R K

After I wake up in the morning, I have my breakfast on my desk. I am always having a sandwich with milk while I am using my laptop. Having my sketchbook next to the laptop, I can always draw things when I have inspiration. The morning sun lights up the place where I work. My desk is in dark wooden colour and is not big but it is enough to put everything that I need. I can spend the whole morning just in front of my computer. I enjoy having the natural light coming into my room. It is soft and elegant. I am literally looking for inspirations on my laptop for the whole morning.

S E M E S T E R

9a.m. /My Room/Newcastle

T W O

This is the first art work that had been done before the semester started. It is to reflect how we spend a day living in a space. Then we came to the final project of the first semester, INHABIT which want us to re-think how people would spend their time in the building that I have designed for LEITH 2025. I mainly want to show the changes in a space in different time, say the morning, the afternoon and the evening. The detail of every movement or changes in the space would reflect how we use and live in that space with time.

2 . 3 . 4

A DAY IN THE LIFE OF YOU

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

PROCESS + REFLECT

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

2 . 3 . 4

I N H A B I T

I N H A B I T 2 . 3 . 4 P T W O S E M E S T E R W O R K N O N - D E S I G N PROCESS + REFLECT

This is the back of the building and there is a pedestrian road along the building. The whole building is rised up a meter high and fence panels are added so as to increase privacy. Besides, the panels are placed on one side to form a closed end so that it is not too windy in the corridor.

I N H A B I T 2 . 3 . 4 P T W O S E M E S T E R W O R K N O N - D E S I G N PROCESS + REFLECT Neighbours meet up at this open courtyard everyday and this increases the relationships between neighbours. Windows alongside the wall but not the wall facing the neighbourâ&#x20AC;&#x2122;s house and this gives a bit more privacy between neighbours.

I N H A B I T 2 . 3 . 4 P T W O S E M E S T E R W O R K N O N - D E S I G N PROCESS + REFLECT

This shows the internal lighting quality of the unit. The yellowish wooden wall reflects the light and lights up the room with a soft and comfortable brightness.

O N E

Overall, I have learnt so much in this project and I see the progress of the designing buildings from the Dwelling Plus to this project especially the use of materials and ways of presenting ideas.

S E M E S T E R

T W O

S E M E S T E R

In terms of the building materials, I have decided to use concrete and timber as both the structural and finishing materials. As the shapes of arches and pitched roof are kept in order to respond to the site, I want the material can break its own properties at least the perception of how people see it. So I use the polished concrete as the main body of my building as well as the roof and have timber texture around the window reveals so when people walk around the building, they will see the timber reveal instead of the concrete itself. So this would change the perception of concrete from heavy and solid to light-weight and soft. The roof is also concrete and it is attached with the façade so the whole building is a one solid instead of assembling different compartments into one building.

W O R K

I decided to have a traditional book binding workshop for people to customise their book cover in a traditional way while showing them the traditional printing technique. Then I have a modern printing display right at the centre where the circulation is going around. This core represents modern which is the core whereas the circulation represents the timeline of a book history from making to publishing and then consuming. So when people are going up the circulation, they will come across the reading area and then get into either the audio area or the computer cluster and finally the sharing area. Then there is the writers’ studio on the top floor where can only be accessed by one staircase not the circulation so as to add more privacy to the writers and give them a quiet environment to work.

N O N - D E S I G N

In semester two, we were given a theme for Exploring Experience and that is a book press in Berwick. Our studio aims to apply multi-purposed functions in the scheme instead of just one function for the building. Therefore, I have decided to have Printing, Reading and Writing elements in my design scheme. Then I came up with a main idea that people could experience ‘books’ from the past to the future throughout the internal circulation. In this journey of experience, people would also experience ‘books’ in the form of creating, reading, listening and sharing.

PROCESS + REFLECT

SEMESTER TWO APOLOGIA

S E M E S T E R

O N E

DESCRIPTION: Our given film was Requiem for a Dream and our particular scene portrayed a downward trajectory of the character Marion. As the film progresses we see her slowly degrade through her heroin addiction and by the actions of other characters within the film. Emotions such as claustrophobia, anger, pain, fear, panic, entrapment etc. are all present throughout the scene. As such these are the feelings we wanted to focus on and recreate in our installation.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.4 ENGINEERING EXP

P 2.4 ENGINEERING EXPERIENCE

This is the corridor in the maquette from the scene

O N E P 2.4 ENGINEERING EXP

S E M E S T E R

When I focused on finding the right sources for our background music, other groupmates were very helpful that they were trying to give me inspirations with some examples. Quynh and I did the sound and emotion charts to explain the concept behind the music of the film. So at the end I just put all the video together with the sound and put some effects on as our final product. Overall I quite like this group and I have learnt a lot new things from this project.

W O R K

It was my first time to try video and sound editing. I first downloaded a software called Wavepad sound editor which is operated by NCH software and try to do some sound editing. But then I realise it is a software to edit each sound track individually. So in order to edit all the sound tracks in multiple layers, I need to use another software called Mixpad multi-track Recording software. I therefore learnt to do sound editing by swopping these two sound editing software and then I had done a first 40 seconds demo for our first review. The feedback from the tutors were very positive and it kind of told me that I was on the right track.

N O N - D E S I G N

Generally I think we were working quite well in this project. The artist got many creative ideas of the installation and the film and we then tried to narrow down the ideas and made it became more specific. In other words, we kind of knew what we were doing compared to the other group. As none of us has any experience of video editing, I tried to learn some online sound and video editing software. I was willing to do it because I wanted to learn that kind of software many years before but I did not get the chance to do so.

PROCESS + REFLECT

INDIVIDUAL STATEMENT

O N E

The video is filmed from the maquette in an honest way. The maquette creates the path of the journey which reflects back to the given scene of the movie. Different spatial qualities are shown in the maquette whereas the sound track of the video brings in emotions and feelings from peace to uncertain and then anxious to mental breakdown.

1. LONG CORRIDOR

2. IN THE ELEVATOR + POURING WATER

3. ELEVATOR'S DOOR OPENS

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.4 ENGINEERING EXP

S E M E S T E R

SIX KEY SCENES FROM THE VIDEO

The first scene from the video is a long corridor going towards to the elevator. The door banging and people talking background noise are representing a normal situation and everything is still under control.

REQUIEM FOR A DREAM Marion: Moving Downward - Leaving Arnoldâ&#x20AC;&#x2122;s Apartment (1:00:20 - 1:01:30)

When it gets into the elevator, the colour of the scene changes to show the changes of emotions and stages. The water starts filling up the elevator and the music is getting more intense which represents lost and the anxiety from claustrophobia.

When the door opens, it is a big relief as the water causing suffocation and nervous is gone but it also brings uncertainty in the later journey. The scene is blacken out when the suffocation is ended so this is the first climax of the emotional journey.

O N E

6. SPINNING TUNNEL

S E M E S T E R

5. NARROW & DEEP U-TURN

It comes to the end of the three-phase journey and it is getting harder to get through and the depth of the corridor shows the depression from helplessness. That feeling is enlarged with the louder depressive music. It is the second climax of the experience.

After getting through the narrow and deep u-turn, it gets into a complete new space where everything is spinning and is getting extremely lost. This emotional breakdown will last until the journey ends which is different with the previous two climax which just last for a blink of an eye.

This is the one minute clip from the movie that we were asked to represent it through the maquette and the video. It is the changes of feelings throughout the journey where she was going down from the apartment to the ground floor. We then use this emotional journey to start building up the path of the maquette and making a film out of it.

PROCESS + REFLECT

Then the scene goes into a three-phase journey. When it comes across more and more turns, it gets more depressed and lost. Radio tuning and people whispering sounds are gradually added in three different phases. Each phase is getting worse than the previous one.

N O N - D E S I G N

W O R K

P 2.4 ENGINEERING EXP

4. WALKING JOURNEY IN 3 PHASES

O N E

We have decided to make the maquette from polystyrene as our base to show the volume and depth of all the paths within just one solid. The process is actually harder than we think it would be as we do not have hot wire for cutting such a big block of polystyrene so we can only cut it by a saw.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.4 ENGINEERING EXP

S E M E S T E R

MAKING THE MAQUETTE

After cutting out the shapes of the paths, we started to layer up the polystyrene with newspaper and PVA glue. This would give a better texture of a shinny concrete surface after we paint it in grey. Then the tunnel is made by small pieces of glass that reflects lights. The spinning effect of the tunnel would give the visuals more dynamic and dramatic.

We used the full extent of our allowed 15x15x15 metres. The encompassing idea behind the journey was to create a descent, a slow and traumatic build up – climaxing with a disorientating experience. Although our maquette was built out of polystyrene and card, we intend the real installation to be a solid cube of concrete. Its clean, unrevealing form, would give noting away of its interior horror and equally the sheer solidity of the mass would present the occupier with no sense, or possibility, of escape. As you can see from the plan, the space manifested itself as a long corridor. The beginning of the passage starts at 12m high, a long corridor leads towards a lift. The walls and ceiling taper generating a forced perspective from inside the space – the doors close, water fills the floor, the lift descends into the mass. The largest and longest part of the installation is a winding passageway; sharply angled changes in direction lead the viewer downwards through the installation. Slowly the floor slopes and the width of the passage grows smaller; yet the ceiling never alters, it becomes further and further away – this combined with the forever narrowing walls creates an extremely strong sense of claustrophobia and inescapable depth. Reaching the end of the arduous journey the passage is reduced to 50cm in width, making for a last tight struggle into our final ‘experience’. Within our clip of Requiem for a Dream we noticed there is no relief for our main character Marion: even when she seemingly escapes the ghastly apartment and breaks out into the rain you don’t gain any sense of liberation. The rain falls hard, forcing her down to the floor. We wanted to create a similar expression within our piece, hence when one is relieved from the passageway they are met by a large, turning, disorientating tunnel. The corridor continues through this churning cylinder, lights and mirrors move round with the structure generating an even more sickening experience in the same way as Marion, our occupant is broken down further and further.

S E M E S T E R

O N E

Our space for the engineering experience project was designed to be a full scale gallery installation. Hence the dimensions of the volume and interior were intended for a human participant to occupy the structure. Equally, the film represented a first person interpretation of the viewer.

P 2.4 ENGINEERING EXP

After affirming our influence and the direction we wanted to take, we set about modelling and drawing to try and visualise a final form that encompassed our desired emotive experience. All three disciplines worked well together at this stage, however the engineering aspect of the brief came into its own after the design was established and certain structural problems needed solving in order for us to build the maquette.

W O R K

In regards to making a film of our own, we took inspiration from such work as Birdman’s continuous shot, The Shining’s tracking filming and its ever-eerie soundtrack. Further influence came from Fight Club’s green tones, the world famous Yayoi Kusama’s mirrored installations and Daniel Libeskind’s angular forms within the Jewish Museum: the dark, cold, uncomfortable, silence created within his ‘holocaust room’.

N O N - D E S I G N

Our given film was Requiem for a Dream and our particular scene portrayed a downward trajectory of the character Marion. As the film progresses we see her slowly degrade through her heroin addiction and by the actions of other characters within the film. Emotions such as claustrophobia, anger, pain, fear, panic, entrapment etc. are all present throughout the scene. As such these are the feelings we wanted to focus on and recreate in our installation.

PROCESS + REFLECT

GROUP STATEMENT

S E M E S T E R

O N E

DESCRIPTION: We are asked to design a bookshop in Berwick while reflecting the digitalisation of printed word and the way we communicate and then bringing the ideas into our design. I decided my design to accommodate three themes: Reading, Printing and Writing. The material and spatial configuration changes with the internal circulation.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

P 2.5 EXPLORING EXPERIENCE

Photo of the 1:100 model in site

O N E S E M E S T E R

The local branch of Berwick Press has a traditional exterior but with a contemporary layout. It shows the integration of both traditional and modern elements within a building. It aims to provide a cozy environment for people to read books and rethink the art of handmade book binding.

2. Modern printing machine (see through)

It promotes the changing of book press through the printing process. It provides workshop for people to customise their own book cover by using old-fashioned book binding machines. This gives an opportunity for people to understand the process of traditional book binding whilst encouraging this place as a tourist spot. Besides, the main part of the printing machine is enclosed by glazed wall so as to reveal the modern printing process to the people. It can also form into a small book museum presenting the transformation of book publishing alongside with the stairs leading up to the upper floor which is representing the modern era of books form. Going up to the upper floor, it shows the contrast of the digital reading media and modern printing technique. The printing machine stands in the middle of two floors and which is surrounded by the staircase connecting two floors. Going up to the top floor, there will be a writer’s space for promoting creative writing. There is a book conveyor near the staircase which can bring up the books that the writers are needed without going up and down.

Owning the printing machine, the bookshop can publish books for customers and provide an opportunity for them to use the self-print system. Besides, people will get to know more about the modren printing technique.

MAIN THEME 3. Writer’s space

4. Paper then pressed into the machine

PROCESS + REFLECT

1. Arrange the metal letters into paragraphs

N O N - D E S I G N

W O R K

1. Traditional book binding workshop

P 2.5 EXPLORING EXP

IDEA DEVELOPMENT

Provide 8 individual workplaces for writers to work on the top floor where is more quiet and has a better view. 2. Arrange the layout

5. Binding all the pages

This is an example from the Hong Kong Central Library. The conveyor can distribe books to its respective floors. 3. Sticky ink is rubbed evenly onto the types

6. Decorate the book cover with hot metal tool

There is a book conveyor which can deliver books to different floors. It saves the writer’s time and effort searching and carrying the books up and down

S E M E S T E R

O N E

This is where the bookshop located and stairs will be the right hand side and a art gallery with skylight which brings more natural light into the building.

W O R K

P 2.5 EXPLORING EXP

BOOKSHOP

READING AREA

PROCESS + REFLECT

N O N - D E S I G N

Glass cube is on the right and there is a pathway gping up a few stairs to a traditional binding workshop. the stairs alongside the reading area leading up to the audio space.

AUDIO AREA + SHARING AREA The audio space right on top of the glass cube that people can listen to audio book and record their voice for a book. A staircase leading up to the conference room where provide a comfortable environment for sharing between readers and writers.

O N E

FIRST FLOOR

1. Bookshop (Whole ground floor) 2. Traditional Binding Workshop (Toilets) 3. Printing Machine in a glass cube 4. Gift Shop / Art Gallery 5. Reading Area 6. Audio Area 7. Books and Computer Cluster (E-book) 8. Conference room 9. Seating area / Cafe 10. Conveyor belt for books 11. Writersâ&#x20AC;&#x2122; space (including Toilet & Pantry)

TOP FLOOR

PROCESS + REFLECT

N O N - D E S I G N

W O R K

GROUND FLOOR

P 2.5 EXPLORING EXP

S E M E S T E R

INITIAL VOLUMETRIC DIAGRAM

O N E S E M E S T E R P 2.5 EXPLORING EXP W O R K N O N - D E S I G N PROCESS + REFLECT 54

MATERIAL DEVELOPMENT I have made the shape of my design from a lego to see the window openings and the exterior material which would fit the best with responding to the site. At first, I would like just one material going through my whole design but when more combinations have been made, the better refult it is. So finally I decided to have two different colour of concrete to tell the story from inside out.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

The key spaces are developing in a more visual way with adding more material textures, light and shadow.

READING

Bookshop providing seats alongside with the window

Reading area is going up along the stairs while the window is opened up with the circulation

PRINTING

O N E PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

FINAL KEY SPACES

This is the traditional workshop for book binding that can let people to customise their own book cover by hands and understand the process of traditional printing technique.

This giant glass cube is a display room of modern printing machine showing the flow of paper roll and how books are binded in modern technology. It also creates a constrast to the tranditional printing from the workshop.

This is the first floor of the reading area that has more bookshelves

O N E S E M E S T E R The spatial configuration of the first floor is different to the ground floor and it is more modern and contemporary that represents the digital and modern area.

Laptops are provided on the digital area that people can browse the internet and read the E-books.

This is an outdoor space on the first floor and the window openings make the shape looks more contemporary.

This is one of the writer's room on the top floor where can be only access by one stair. This aims to have more pravicy for the writers. A pantry and an outdoor area are provided on the top floor to give them a better environment to work.

N O N - D E S I G N

This is the audio area that people can listen to audio books and they can even record their own voice for a book.

W O R K

P 2.5 EXPLORING EXP

DIGITAL WORLD

PROCESS + REFLECT

GENERATING IDEAS + WRITING

This space sticking out from the building facde indicates its essence which is for people to share their ideas with the writers who are working on the top floor.

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

CIRCULATION DIAGRAM

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

S E M E S T E R

O N E

O N E S E M E S T E R PROCESS + REFLECT

N O N - D E S I G N

W O R K

P 2.5 EXPLORING EXP

NEW IMPROVEMENTS

ATMOSPHERIC MODELLING After the review, tutors suggested to add some atmospheric drawings into the design to show more light and spatial qualities. So I have taken a photograph from my 1:100 model and render a bit light and shadow in Photoshop.

O N E S E M E S T E R P 2.5 EXPLORING EXP W O R K N O N - D E S I G N PROCESS + REFLECT

MODELS WITH SITE CONTEXTS The feedback from the tutors that I can improve more is adding more site contexts. I have this 1:500 site model with the building model and I wish this can give a bit more contextual information about the site.

O N E S E M E S T E R T W O S E M E S T E R W O R K N O N - D E S I G N PROCESS + REFLECT 68

NON-DESIGN WORK

CONTENTS

ARC 2009 ARCHITECTURAL TECHNOLOGY

ARC 2011 20TH CENTURY ARCHITECTURE

COURSEWORK PART ONE

COURSEWORK PART TWO A COURSEWORK PART TWO B

Construction Details - Dwelling Plus Access for all

Means of Escape - Exploring Experience

ARC 2010 ENVIRONMENTAL DESIGN & SERVICES

ESSAY

Compare and contrast the difference of St. Sebastian Kindergarten and Fuji Kindergarten

POSTER

101

Performance-oriented Architecture

SAP COURSEWORK

SAP Report - Dwelling Plus

103

ARC 2023 PLACE OF HOUSES POSTER

Discuss how direct user involvement in the process of producing housing impacts on the relationship between the dweller and the dwelling. What does user involvement mean for the role of the architect?

ARC 2020 DISSERTATION STUDIES 107

DISSERTATION PROPOSAL

A Human Side of post-disaster shelters

109

LEITH 2025 PROPOSAL

O N E PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

S E M E S T E R

T W O

DESIGN SUMMARY 1:5000 SITE LOCATION

S E M E S T E R

ARC2009 ARCHITECTURAL TECHNOLOGY | COURSEWORK SUBMISSION PART 1

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH. PROCESS + REFLECT 70

SUGGESTED IMPROVEMENTS The design of my building is a bit complicated and the load of the building between the walls and the L shaped opened courtyard is not linear. It may need to add more beams or load bearings wall on the ground floor. Besides, the construction of the opened courted yard may need to cope with the wall junction and the upper floor of the second floor. So the floor of the courtyard needs to be more like a roof which can prevent rainwater coming in and has heat insulated property to reduce heat loss. As this is a timber framed structure, it is actually not very energy efficient. Moisture in air may demage the timber structure. So it would be better if I used a higher thermal mass timber or install a good quality of insulations in thermal, water-proofing and soundproofing aspects. *The red area is the private opened courtyard

O N E T W O

S E M E S T E R

CONSTRUCTION DECLARATION

2. Construction of opened courtyard and the junctionof the External wall

3. Warm roof 4. Window sill

4 1

PROCESS + REFLECT

1. Suspended Concrete Ground Floor and the junction of the External wall

ARC 2009 ARCHI. TECH.

S E M E S T E R

5. Window head 71

O N E

2. Construction of opened courtyard and the junction of the External wall

S E M E S T E R

1. Suspended Concrete Ground Floor and the junction of the External wall

1. Wall Finishes (Vertical panels); 400 mm wide 2. Masonry brick wall 100mm 3. Weep hole 4. DPM 5. DPC

10 9

T W O

2 3

12 11

15 14

4 5

10 9

S E M E S T E R ARC 2009 ARCHI. TECH.

11. Skirting

5 4

Opened courtyard floor (Intermediate Floor)

1. Chippings 2. Bitumen Felt 3. Insulation 4. Vapour control layer

Suspended concrete ground floor

12. Hollow pre-cast reinforced concrete plank 13. T-Beam 14. Insulation 15. Vapour control layer 16. Wooden floor

External Wall

8. Wall Finishes (Vertical panels); 400 mm wide 9. Masonry brick wall 100mm 10. DPC

GROUND

5. Plywood Decking 6. Ceiling Joists 7. Plasterboard (ceiling)

11. Timber Stud 12. Insulation 13. Vapour barrier 14. Interior wall finishes

4. Window sill

3. Warm Roof 1

PROCESS + REFLECT

6. Breather membrane 6. membrane 7. Breather Double sole plate 7. sole plate 8. Double Insulation 8. 9. Insulation Vapour barrier 9. 10.Vapour Interiorbarrier wall finishes 10. Interior wall finishes 11. Skirting

External Wall

12 11

10 9 8

2 3 4 5 66 7

WarmRoof Roof Warm 1. Chippings

1. Chippings 2. Bitumen Felt 2. Bitumen Felt 3. Insulation 3.4.Insulation Vapour control layer 4.5.Vapour control layer Plywood Decking 5.6.Plywood Decking Ceiling Joists 6.7.Ceiling Joists (ceiling) Plasterboard 7. Plasterboard (ceiling)

External Wall

5 4 3

External Wall(Vertical panels); 8. Wall Finishes

400Finishes mm wide(Vertical panels); 8. Wall 9.400 Masonry brick wall 100mm mm wide DPC brick wall 100mm 9.10. Masonry 11.DPC Insulation 10. 12. Sole plate 11. Insulation 13.Sole Vapour 12. platebarrier 14. Interior wall finishes 13. Vapour barrier 14. Interior wall finishes

Window Sill

2 1

1. Wall Finishes (Vertical panels) 400 mm wide 2. Masonry brick wall 100mm 3. Window sill (Exterior) 4. Window Frame 5. Window sill (Interior) 6. Double glazes (Powder coated aluminium window)

O N E S E M E S T E R

T W O

S E M E S T E R

5. Window head

ARC 2009 ARCHI. TECH.

7 6 5 4 3

1 Window Head

1. Window Head 2. Lintel 3. Breather membrane 4. Plates 5. Timber frame 6. Insulation 7. Vapour control layer

PROCESS + REFLECT

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH. PROCESS + REFLECT 74

TECTONIC INTENT The design proposal of this building is wanted to create a more sustainable and greener environment. The vertical windows on the exterior wall have the same width as the vertical white timber finishes which is about 400mm. The idea is that the window is kind of hindden in the wall and which narrow windows would create interesting shadows to the interior spaces. All the windows seem to be very choatic but they acutally are followed by a hidden grid line. So the window forms its own pattern and innovates a new pattern and rhythm of windows among the site. In terms of the use of color, the main color tone of the building would be very light wooden color which is almost white. This will brighten up the surroundings and provide a cozy visual view.

I chose timber framed construction for this 4-storey building and they are all local timber which will lower the embodied energy. Since each unit of the building is repetitive yet only changing the orientation, it saves cost and reduces constrcution waste by efficient controlled production. Besides, the heat gain of timber frame structure is faster than a masonry structure as timber has low thermal mass. Besides, I also use the suspended concrete ground floor as the suspended floor gives a better ventilation and is well insulated which can greatly reduce heat loss and noise. Thus, the construction aspect of the building can help the sustainable development of the site and make the city greener and more eco-friendly.

O N E INTRODUCTION ...................................................................................................................................... 2 AUDIT LOCATION & SCOPE .................................................................................................................... 3 Car Parking ..................................................................................................................................... 6

S E M E S T E R

CONTENTS

Website ........................................................................................................................................ 18 SUMMARY ............................................................................................................................................ 22 REFERENCES ......................................................................................................................................... 22 APENDIX A ACCESS AUDIT.................................................................................................................... 23

S E M E S T E R

Wayfinding, Information & Signs ................................................................................................. 14

T W O

Sanitary facilities .......................................................................................................................... 10

140007121

ARC 2009 ARCHI. TECH.

ARC 2009 Architectural Technology Coursework submission Part 2A

Figure 1The Great North Museum: Hancock (The Great North Museum: Hancock, 2016)

PROCESS + REFLECT

Access Audit and Report

GREAT NORTH MUSEUM: HANCOCK, NEWCASTLE

1 75

O N E

The Great North Museum: Hancock is located in Newcastle and was built as a natural history museum in 1884. It has been now redeveloped and managed by Tyne and Wear Archives & Museum in the interests of Newcastle University since 2009. It not only presents the history of Newcastle and the collections of different wildlife but also has different programme of exhibitions and showcases of various world culture (Greatnorthmuseum.org.uk, 2016). It is a two-storey masonry building with a new extension which has approximate 6340 sq. meter in the total floor area. A record of visitors in 2009 is 638,454. (96 words)

Name of the building: The Great North Museum: Hancock Address: Barras Bridge, Newcastle upon Tyne, NE2 4PT

Date of audit survey: 22/03/2016 Weather condition: Mostly Cloudy (5-11OC)

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

Layouts & circulations: The layouts of both floors of the museum are similar. One small lift is near to the entrance and the other larger lift is near the back of the café. Both lifts are for fire evacuation so both lifts will still operate for disabled people in case of fire emergency. (50 words)

The Great North museum: Hancock. (The great north museum, 2016)

1 2 3 4 5 6 7 8

Car Parking Setting-down points Pedestrian Routes Shared spaces Street Furniture External Ramps External Steps Handrails

Internal Environment: 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Entrances Doors – external and internal Doors – access control systems Doors – opening and closing systems Entrance Foyers Reception desks and service counters Seating Horizontal circulation Surfaces Internal ramps, steps and stairs Passenger lifts Platform lifts Sanitary facilities Wayfinding, information and signs Communication systems and acoustics Switches and controls Lighting

X X

Building Management: RESEARCH SUMMARY In this project, I focus on the people with mobility impairments who visit the museum for their first time. They need to be on the wheelchair for walking a long distance but they still can be able to walk for a few steps if handrails are provided. For the research of this project, I will use my personal experience of visiting the museum and reimagine the problems that the disabled people may come across and their needs whether they are fulfilled by the facilities and service of the museum. (89 words)

2 76

External Environment:

Illustrated Report

S E M E S T E R

AUDIT LOCATION & SCOPE

S E M E S T E R

T W O

INTRODUCTION

Building Management checklist

Communications: 27

Information

28 29

Websites Communication services

Clear print Large print Braille Telephone services Audio tape Digital

O N E S E M E S T E R ARC 2009 ARCHI. TECH.

S E M E S T E R

T W O

FIRST FLOOR

PROCESS + REFLECT

GROUND FLOOR

Figure 1 This is the site plan with the ground floor plan.

FIRST FLOOR

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH. PROCESS + REFLECT

Car Parking

The provision of car parking is very important that it should be near to the building and has sufficient spaces for both standard and designated car parking proportionally. This facilitates disabled people entering the museum after taking off the vehicles. The museum has four designated car parking spaces near the front entrance for blue badge holders and other two in the university car parking where is at the back of the building (Figure 2 & 3).

STRENGTHS: The locations of the designated car parking are both near to the main entrance and the back entrance which shortens the travel distance for disabled people (Figure 4). All parking sign and symbols are clearly displayed. Sufficient designated spaces in proportion to standard parking spaces. WEAKNESSES: There are no kerb near the ticket machine of the on-street car park and all of the kerb has no tactile warning on the floor. The off-street car park can provide a ticket dispensing machines at the entrance used by all motorists without leaving their vehicles. (169 words)

Figure 2 Four designated parking spaces for blue badge holders near to the entrance providing a clear groundpainted symbol. The hatched zone gives enough space for disabled people to get on and off the vehicles. This designated car parking is on the ground level with smooth surface.

1 2

Designated car parking Off-street car parking Entrance

Figure 4 This is a 1:1000 site plan showing the location of the car park and the entrances. Figure 3 Two designated parking spaces at the back of the building provides enough space for disabled people to get on and off the vehicles but some paint symbols are not clearly highlighted. The rough brick flooring may provide difficulties for disabled people.

6 78

O N E Figure 9 The dropped kerb near to the ticket machine of the off-street parking area.

S E M E S T E R

T W O

S E M E S T E R

Designated car parking (see red shaded area 1 in Fig.4)

Figure 10 Route from the designated parking to the back door of the museum with dropped kerb.

On-street car parking (see Devonshire Terrace in Fig.4)

ARC 2009 ARCHI. TECH.

Figure 5 & 6 Two parking notices in the designated parking are clearly displayed at the designated parking entrance and at the back of the parking spaces.

Figure 11 Direction and information sign of the nearest on-street ticket machine on the Devonshire Terrace.

Figure 7 Information about car parking is clearly displayed in the off-street car park at the back of the building.

PROCESS + REFLECT

Off-street car parking (see red shaded area 2 in Fig.4)

Figure 12 Ticket machine with free-parking label for disabled motorists on the Devonshire Terrace.

Figure 8 Ticket machine in the off-street car park with accessible height.

9 79

O N E S E M E S T E R T W O S E M E S T E R

The provision of complete sanitary facilities is essential to the building as it is not only provided standard male and female toilets but also unisex accessible toilets, changing place toilets and babychanging facilities. STRENGHTS: This museum considers the quality of sanitary facilities for disabled people and provides various functions of uses to satisfy their needs, like baby-changing table in the accessible toilet and an accessible shower room. The building has 2 wheelchair accessible toilets on each floor and they are all near to the elevator. The locations of accessible toilets are dispersed so it gives a shorter distance for disabled people to access the toilets. Besides, the doors, lighting and water supply of all the toilets are automatic which is more convenient for disabled people. WEAKNESSES: There is only one major weakness of the accessible toilet and the shower room which all wallmounted support rails cannot be pulled down or lifted up (Figure 20 & 21). There is one female cubicle on the first floor which size is way too small for baby changing. Apart from this particular cubicle, all the cubicles with the benches have a proper size in all toilets. The consideration of children use in sanitary facilities is not well-thought that there is no wash basin with lower height and 2-height hooks on the cubicle door. (185 words)

Figure 15 The height of the press button near to the accessible door is reachable for disabled people.

Unisex accessible toilets

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

Sanitary facilities

Figure 18 & 19 This is the accessible toilet with drop down baby-changing table on the first floor. Figure 13 & 14 This is the accessible toilet on the ground floor near the entrance. All the layout and emergency facilities are in standard. Heat emitter is placed higher up so that it does not block the clear wheelchair manoeuvring space and the wheelchair transferable space.

Figure 16 Press button on the left would lock the door and the other button is to open the door. However, the paint on the button is not very clear. People may take time to read the text on the buttons.

Figure 17 The distinct colour of emergency alarm pull cord makes it identifiable.

Figure 20 The drop-down support rails, however, cannot work functionally that cannot be hold firmly when it is not in use.

O N E Figure 23 The shower curtain can cover both the seat and the rails and can be operated from the shower seat. There is only one detachable shower head but it can be adjusted on the lower shower head holder within a proper range of height.

Figure 24 The shower control is placed 97cm above the floor which complies with the standard height.

Figure 26 The open and lock button of the power-assisted door with wellpaint wordings. Reset alarm button is provided as well.

Figure 27 Drainage is installed on the floor at the corner of the shower area and the tile flooring is slip-resistant.

Figure 28 A shelf next to the shower seat is provided to place personal belongings but no toiletries is given in this shower room.

Figure 25 Alarm pull cord is provided but it is not easy to be identified as it has the same white colour as the shower curtain.

ARC 2009 ARCHI. TECH.

Figure 22 The shower room provides 2 height hooks on the wall for disabled people.

Figure 29 The alarm pull cord next to the toilet seat with a distinct colour.

PROCESS + REFLECT

Figure 21 The drop-down support rails, however, cannot work functionally that it cannot be hold firmly when it is not in use. Apart from this, the size and the layout comply with the regulations.

S E M E S T E R

T W O

S E M E S T E R

Accessible shower room

13 81

O N E S E M E S T E R T W O

The wayfinding system directs the people flow of the building and facilities people to navigate their location and get familiar of the building instantly. For disabled people, they are able to get the direction of all accessible toilets and exits from the information that the museum provided. STRENGTHS: Floor plans showing the layout of the building with wayfinding signage are placed near to the entrances, stairs and exits (Figure 30 & 31). This helps people to get more information and have a clear idea of the layout of the building. Every signage board on the column or on the wall in the museum is lit which is easier to be identified (Figure 32 & 33). Green lights on the exit sign can guide the way out when the indoor lighting is insufficient (Figure 34,35 & 36). Induction loops are provided near at the entrance, the cafĂŠ shop and the accessible shower room. WEAKNESSES: The symbol of accessible toilet is misplaced outside of the family toilet where has no accessible sanitary facilities (Figure 45). There is no portable tactile map for ambulant disabled people to locate the place. Adding the signs of accessible escape route in the building are recommended as there are only signs for normal fire escape route. (200 words)

Figure 31 The map near the stairs shows all the functions of each floor. All the font and symbols are clearly displayed and have a great contrast with the white background.

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

S E M E S T E R

Wayfinding, Information & Signs

Figure 30 The map near the stairs shows all the functions of each floor. All the font and symbols are clearly displayed with great contrast with the background.

Figure 32&33 Wayfinding signs are placed at the suitable height and are lit.

14 82

O N E S E M E S T E R 16

Figure 43 It is a thoughtful design that an emergency call is provided near the stair on the first floor so that disabled people can get assistance in any emergency case.

Figure 44 A list of main functions of each floor is provided in the lift so that people can know which floor they are going.

ARC 2009 ARCHI. TECH.

Figure 41 & 42 Clear label of â&#x20AC;&#x2DC;Emergency evacuation liftâ&#x20AC;&#x2122; on both lifts. Evacuation intercoms are provided in the lifts for safety concern. The symbols showing each floor are touchable with standard Braille.

S E M E S T E R

T W O Figure 37,38 &39 All the sanitary symbol and the Braille comply with the standard and they are placed with a reachable height.

Figure 40 Clear and big symbol showing the direction of separate-sex toilets at the entrance.

PROCESS + REFLECT

Figure 34,35 & 36 All the exit signs are lit so people can still find the way out when the room is dark.

Figure 45 There is a major mistake of placing the wheelchair symbol outside the family toilet where does not have any accessible sanitary facility.

17 83

O N E S E M E S T E R T W O

The provision of website provides an online platform for people to understand the organisation and allows public to access the contact details of the building. It can attract potential customers to visit the museum. STRENGHTS: The website provides clear visual contrast between the text and its background and it is easy to be navigated. It provides a search engine within the website and a filter for all the exhibitions and events. It saves a lot of time for people searching a particular event or query. The website can navigate to the online museum gift shop so people can go online shopping at anytime and get the delivery.

Figure 46 The website pops out easily when you search the keyword on the search engine. The layout of the website is consistence with clear font. Short descriptions are provided in every image with a slightly transparent black background with white font.

WEAKNESSES: The website generally did not show any sign of disability consideration. The flexibility of the font and graphs is limited that people cannot change the size and colour manually. All videos in the website are mostly linked to YouTube which only provide subtitle or transcript occasionally but not all of them. I will suggest adding sign language alongside with the videos so that deaf people can have more options to understand the video content. (182 words)

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

S E M E S T E R

Website

18 84

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH.

Figure 47 This is the home page of the website and it clearly shows the opening times and the word ‘free entry’ on the first page. This is convenient to most of the people as people search the opening time of the museum the most.

PROCESS + REFLECT

Figure 49 The website will navigate to the online gift shop of Great North and Discovery museums. So people can place their order online and get the delivery at home without carrying the projects all the way from the museum to their address.

Figure 48 The website provides a search engine under the page of What’s On. It can filer out the events and search for a particular events which people are interested in.

Figure 50 This website shows a very good practice of having the sign languages video for deaf user to understand the website.

21 85

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH. PROCESS + REFLECT

SUMMARY The Great North Museum in Newcastle covers various accessible facilities for disabled people but the practical usage of the actual facilities may need to be improved, such as the wall-mounted handrails in the accessible toilet are not functioning well. Otherwise, the provision of facilities is actually performing quite well, especially the circulation design of wheelchair users is very considerate that wheelchair users have a shorter travel distance to access the lifts and the accessible sanitary facilities. On the other hand, the consideration of disabled people about the website design is comparatively lower than that about the building facilities. The website is mainly for general public that it lacks flexibility of changing the font size and colour which would be very handy for people with sight problems. (126 words)

REFERENCES Greatnorthmuseum.org.uk. (2016). About the Great North Museum: Hancock | Great North Museum: Hancock. [online] Available at: https://greatnorthmuseum.org.uk/about-us/about-gnm [Accessed 3 Apr. 2016]. The great north museum. (2016). [image] Available at: http://i3.chroniclelive.co.uk/incoming/article1315001.ece/ALTERNATES/s615/Great-NorthMuseum-Hancock.jpg [Accessed 2 Apr. 2016]. The Great North Museum: Hancock. (2016). [image] Available at: Source: http://www.citynewcastle.co.uk/great-north-museum [Accessed 11 Apr. 2016].

*All photographs are taken by myself.

22 86

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH. PROCESS + REFLECT

ARC2009 Architectural Technology

Coursework Submission Part 2B Means of Escape Exploring Experience 140007121 0

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH. PROCESS + REFLECT

SUMMARY & CALCULATIONS According to the UK building regulation approved document B of fire escape, the maximum occupants of each floor are listed in Table 1: Table 1: Number of occupants on each floor and the overall number of occupants Floor space Type of Number of 2 Level of floors Floor area (m ) factor accommodation occupants1 2 (m /person) Ground floor 357 Shop sales area 2 179 First floor 199 Library 7 29 Second floor 192 Office 6 32 Total: 240 occupants Based on the maximum number of occupants, the minimum number of fire escape routes and exits of each storey and the minimum widths of all escape routes and exits of each floor are listed as Table 2: Table 2: Minimum requirements of fire escape routes, exits and stairs Minimum number Minimum width Minimum stair Level of Number of of fire escape of escape route width of each floors occupants routes and exits of 3 and exits (mm) stair4 (mm) 2 each storey Ground floor 179 2 1050 N/A First floor 29 1 750 1000 Second floor 32 1 750 1000

Approved Document B: Fire Safety, Volume 2 – Buildings other than dwellinghouses, 2006 Edition (incorporating 2007, 2010 and 2013 amendments), Newcastle: NBS, p.135, Table C1: Floor space factor 2 Approved Document B: Fire Safety, Volume 2 – Buildings other than dwellinghouses, 2006 Edition (incorporating 2007, 2010 and 2013 amendments), Newcastle: NBS, p.34, Table 3: Minimum number of escape routes and exits of each storey 3 Approved Document B: Fire Safety, Volume 2 – Buildings other than dwellinghouses, 2006 Edition (incorporating 2007, 2010 and 2013 amendments), Newcastle: NBS, p.36, Table 4: Widths of escape routes and exits 4 Approved Document B: Fire Safety, Volume 2 – Buildings other than dwellinghouses, 2006 Edition (incorporating 2007, 2010 and 2013 amendments), Newcastle: NBS, p.46, Table 7: Capacity of a stair for simultaneous evacuation of the building

According to table 2, there would be minimum 2 final exits for people on ground floor to get out of the building in case of fire emergency and a final exit from the fire escape stairs. The widths of each final exit are shown in below Diagram 1 and Table 3. Diagram 1: The labels of each final exit on a ground floor plan

1 3

Table 3: Minimum width of each Final Exit on the Ground Floor Number of people Label of the Final Exit Minimum width of each Final Exit (mm) used after discounting Final Exit 1 (in red) 179 1050 Final Exit 2 (in blue) 179 1050 Final Exit 3 (in green) 61 850

O N E S E M E S T E R S E M E S T E R

T W O

The design of this building is different at each floor, for instance, the ground floor is a bookshop; the first floor is a reading area with seats in a row; the top floor is the writers studio. Therefore, the maximum travel distances of each floor are listed in below Table 4: Table 4: Maximum travel distance of each floor5 Travel distance (m) Travel distance (m) Level of floors Use of premises More than one One direction direction Ground floor Shop and commercial 18 45 Assembly and First floor recreation: area with 15 32 seating in rows Second floor Office 18 45

Outline of Strategy

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

The basic layout of fire escape routes, exits and stairs in my design generally fulfils the minimum criteria of building regulation. However, the travel distance is exceeded on the top floor when there is only one direction. Therefore, in order to keep the travel distance within the maximum requirement, a new escape staircase will be added on the top floor.

Approved Document B: Fire Safety, Volume 2 â&#x20AC;&#x201C; Buildings other than dwellinghouses, 2006 Edition (incorporating 2007, 2010 and 2013 amendments), Newcastle: NBS, p.33, Table 2: Limitation on travel distance

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

S E M E S T E R

T W O

S E M E S T E R

BACKGROUND INFORMATION MODEL PHOTOS

SITE DEVELOPMENT PLAN 1:500

O N E

O N E S E M E S T E R

The proposed strategy relating to Mean of Escape is to add a new escape stair opposite to the original escape stairs diagonally. This has minimised the travel distance from the furthest point to the escape stairs on the top floor. Besides, the new escape stair reaches to the half floor where the other escape stairs cannot reach.

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

S E M E S T E R

[NEW] 2 â&#x20AC;&#x201C; SECOND FLOOR PLAN 1:200

T W O

STRATEGY

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

S E M E S T E R

T W O

S E M E S T E R

[NEW] 1+0.5 â&#x20AC;&#x201C; FIRST FLOOR PLAN 1:200

O N E

PROCESS + REFLECT

ARC 2009 ARCHI. TECH.

S E M E S T E R

T W O

S E M E S T E R

[NEW] G â&#x20AC;&#x201C; GROUND FLOOR PLAN 1:200

11 93

O N E

O N E S E M E S T E R T W O S E M E S T E R ARC 2009 ARCHI. TECH. PROCESS + REFLECT

The changes of the details are listed as below: Table 5: Number of fire escape routes and exits before & after amendment Level of Minimum number of fire escape Before/After amendment floors routes and exits of each storey 2 Ground floor exits & 1 Final Exits from stairs / Ground floor 2 2 Ground floor exits & 2 Final Exits from stairs First floor 1 1 escape stairs/ 2 escape stairs Second floor 1 1 escape stairs/ 2 escape stairs Table 6: Width of escape routes and exits before & after amendment Minimum width of escape Level of floors Before/After amendment route and exits (mm) Ground floor 1050 (See Table 8) First floor 750 1000/ 1000 Second floor 750 1000/ 1000

Table 9: Maximum travel distance of each floor before & after amendment Travel Travel distance (m2) Level of floors distance (m2) More than one Before/After amendment direction One direction Ground floor 18 45 -First floor 15 32 -30 (one direction)/ Second floor 18 45 18&26 (two directions) The design of the building is changed to comply with the regulation of mean of escape by adding an escape stairs. The female toilet on the ground floor is removed in order to accommodate the new stairs and a final exit is also added on the side of the building. The travel distance on the top floor is greatly reduced to an acceptable distance after the amendment.

Table 7: Stair width of each stair before & after amendment Minimum stair width of each Level of floors Before/After amendment stair (mm) Ground floor N/A N/A First floor 1000 1000/ 1000 Second floor 1000 1000/ 1000 Table 8: Width of each Final Exit on the Ground Floor before & after amendment Number of people Minimum width Before/After Label of the Final Exit used after of each Final Exit amendment discounting (mm) Final Exit 1 179 1050 1200/ 1200 Final Exit 2 179 1050 900/ 1050 Final Exit 3 61 850 850/ 850 [New] Final Exit 61 850 -- / 850 12

In this essay, I will be using the St. Sebastian Kindergarten in Germany and the Fuji Kindergarten in Japan as examples to show how different the two successful kindergartens can be even they are having the same purpose of driving a better learning environment for children at their early stage. They will be comparing the differences in terms of the geographical context, their educational philosophy, their spatial configurations and the sustainability of the design. The first example is the St. Sebastian Kindergarten which is located in the city of Münster in Germany. The building was used to be a church which was built in 1962 and then it was transformed into a kindergarten in 2013. The exterior of the old church was reused which the 50cm x 50cm small windows around the wall provide natural ventilation evenly and the large skylight from the roof allows sunlight entering the space (Figure 1). The building has three floors combining three classrooms on the ground floor, two classrooms and a play space on the first floor and a larger play space on the top floor. The architect placed acoustic panels around the classroom to

St. Sebastian Kindergarten is the top one and the Fuji Kindergarten is the bottom picture

Compare and contrast the difference of St. Sebastian Kindergarten and Fuji Kindergarten

reduce noise and used green flooring on the play space which is normally used in sport fields to give a comfortable interior view for children. A giant hand was formed on the green flooring that adds a hint of joyfulness. The waiting area of the entrance is fully glazed which enhances the interaction between the exterior and interior spaces. There is an external staircase with a landing area connecting the entrance of the first floor to the ground floor. An adjacent extension was built for external neighborhood events to increase the conversation between the parents and the school. It comprised with kitchen, offices and multipurpose room. Apart from this, the school also provides outdoor facilities for children (Bolles-wilson.de, 2013; McManus, 2013)

T W O

S E M E S T E R

O N E to consider various aspects and strike a balance between safety and challenges (Dudek, 2000).

S E M E S T E R

140007121 Wing Kei So, Coco

ARC 2011 20th CENTURY ARCH

ARC2011

PROCESS + REFLECT

Kindergarten has been recognised as an institution for early childhood education for over a century. The early built forms of the kindergartens in the 18th century were barely influenced by the educational philosophy as people at that time did not realise or notice the physical educational environment would greatly affect the quality of children’s education (Dudek, 2000). People later recognised the importance of early children education and then more pre-school institutions were changing their focus from traditional design to a more children-based approach. They focus on the variety of facilities, the functions of each room and especially the relations of the spatial quality to the children’s learning process. Therefore, a successful kindergarten needs

Take two buildings built within 20 years of each other that contrast greatly in terms of design, but have very similar functions.

Ensuring that you describe these contrasts carefully,

give an account of why the two buildings are so different (perhaps this is to do with the design approaches and beliefs of the architects or their clients, the social, geographic or

economic context and so on).

O N E S E M E S T E R T W O

Figure 1 The interior of St. Sebastian Church Figure 3 Ground floor plan

PROCESS + REFLECT

ARC 2011 20th CENTURY ARCH

S E M E S T E R

Figure 4 The model of the Kindergarten

First floor plan

Figure 2 The interior of the St. Sebastian Kindergarten showing the first and second floors

Figure 5 The The external staircase connecting from the ground floor to the first floor

Second floor plan

O N E T W O

S E M E S T E R

The other example is the Fuji Kindergarten which was built in the Tachikawa city of Japan in 2007. It is an oval-shaped single storey building which has a huge roof for children having their outdoor activities. The architects kept the old trees on site and adapted them into the building. Thus, the three original Zelvoka trees now remain intact and have educational purposes of raising environmental awareness and tree climbing for children. The centre part of the building where surrounded by classrooms is a natural greenspace with different facilities such as sandbox and water taps (Figure 6). There is no wall between classrooms but fully glazed sliding doors facing around the central greenspace. So children can move freely all around the building and run

S E M E S T E R

around on the endless circular roof (Figure 7&8). A semi-outdoor terrace around the classroom acts as either shelter for blocking the excess sunlight or an outdoor space in a rainy day (Nagasawa Satoru, 2010)

allows sufficient natural sunlight entering the classrooms and every classroom has at least two skylights to make sure the learning area has sufficient lighting for children to read.

Figure 8 The overview of the Fuji Kindergarten

In the acoustic aspect, the architect deliberately did not add any soundproofing insulations because the client wants the children to grow

PROCESS + REFLECT

Figure 6 Ground floor plan of Fuji Kindergarten

ARC 2011 20th CENTURY ARCH

In terms of the lighting, the large glazed sliding door

up in a natural environment where noise is needed. He believes that children can sleep better under noisy environment than in a complete quiet and enclosed space (Takaharu, 2015).

Figure 7 Roof plan â&#x20AC;&#x201C; There is stairs accessing from the ground to the Figure 9 Children are running on the circular roof top.

roof and a slide connecting back to the ground. 5

O N E S E M E S T E R T W O S E M E S T E R

Figure 12 Only bookshelves are used to define the space and all the sliding door are mostly open all

Figure 10 Children are climbing the Zelvoka tree on the roof

PROCESS + REFLECT

ARC 2011 20th CENTURY ARCH

the time

Figure 11 This is how the tree is being adapted in the building

Figure 13 When there is large event happening, the roof is turned into an audience stage.

Therefore, instead of having partitions to define the classroom, they used furniture like bookshelves to separate the spaces. For the acoustic aspect, the school thinks that children should learn to endure and accept the noise from the environment and they would perform better and show more concentration under a noisy environment comparing to a complete enclosed space (Takaharu, 2015). Spatial configuration According to the theory of Mark Dudek, the expert of school design, there are two types of spatial configurations: Inside out and Outside in (Dudek, 2007). The inside out design emphasizes on the children who use the space. The space changes with the childrenâ&#x20AC;&#x2122;s developmental needs. An open classroom or shared circulation area can enhance the connection between classes so as to form a kid-friendly environment. And this approach applies on the spatial configuration of the Fuji Kindergarten which is a very kid-friendly environment and no boundary between classrooms.

Figure 14 Diagram showing the air flow within the Fuji Kindergarten and the insulated roof to moderate the

On the other hand, the outside in approach focuses on the linkage from public to semi-public to private. The layout of the building has been divided in zones such that public area and private area is clearly separated. The St. Sebastian Kindergarten is a

temperature.

Due to the climate conditions, St. Sebastian Kindergarten kept the small openings only for ventilation purpose as large glazing would increase heat loss from the interior to the exterior in cold weather. The kindergarten provides in both outdoor and indoor play space for children but they tend to utilise the indoor play space as the environment is more controllable and relatively stable. Unlike the Fuji Kindergarten, all the sliding doors are opened almost throughout the year in order to provide ventilation and give more space for children to run freely in the building. Educational philosophy St. Sebastian Kindergarten wants to provide two distinct environments for the classrooms and the play space so as to ensure children would not be disturbed by the 9

good example of zoning different spaces as different purposes. For instance, the extension of the kindergarten is more public-welcoming and specializes for public event; the waiting area for parents at entrance of the kindergarten counts as a semi-public. This approach would increase the conversation between the school and the parents so as to improve two-way interactions. Sustainability of the design Both of the kindergartens have a sustainable quality in their design but they focus on their own ways. For the St. Sebastian Kindergarten, they installed a solar panel on the

S E M E S T E R

O N E determines the degree of enclosure of the building design. For instance, the weather in Germany is generally colder and the difference of the day-and-night temperature is relatively greater. In contrast, the weather in Japan is comparatively stable and is hot and humid in summer and mild weather in winter. Also, Japan has a longer summer time so the design of the Fuji kindergarten emphasizes on the natural ventilation and the approach of moderating the temperature (Figure 14).

T W O

Geographical context The two kindergartens were located in different countries and the weather condition

Having a complete opposite education philosophy, the principal of the Fuji Kindergarten believes that children should grow up in a natural environment with no boundaries to restraint them so that they can move freely around the building.

S E M E S T E R

layers. Their differences can be interpreted in geographical context, educational philosophy, spatial configuration and sustainability of the design these four aspects.

ARC 2011 20th CENTURY ARCH

environment for children in their own built form. Although both of them are in the round shape, St. Sebastian Kindergarten is relatively more enclosed and solid compared to the Fuji Kindergarten which is more exposed and highly transparent in

noise while having lessons in class. Thus, soundproofing panels are installed around the classroom to reduce the noise (ArchDaily, 2013). Besides, the use of different flooring also reflects the classification of the space functions. For example, they want to create a joyful environment for children and therefore the flooring of the play space is green in color whereas the flooring of the classroom is in light grey.

PROCESS + REFLECT

The above two examples both showed a well consideration of designing a learning

roof and reused the exterior from the old church so as to reduce energy cost and the amount of material production. 10

O N E S E M E S T E R T W O

In conclusion, both of the examples are having the same function of providing children a better learning environment whereas there are plenty of differences

trees. This minimizes the damage of the environment and promotes sustainable development. The way of showing the sustainability of this kindergarten has its own educational purpose whereas the St. Sebastian Kindergarten is lack of. As this kindergarten emphasizes on the natural quality, they use a lot a glazing and skylight in the design so as to maximize the use of natural sunlight and ventilation.

regarding the geographical context, their educational philosophy, their spatial configurations and the sustainability of the design. Despite of the different approaches of showing different qualities and aims behind the design, both of them did show the in-depth of conversation between architects and educationalists when designing a certain building for a specific user group.

References ArchDaily, (2013). St. Sebastian Kindergarten / BOLLES+WILSON. [online] Available at: http://www.archdaily.com/392652/st-sebastian-kindergarten-bolles-wilson/ [Accessed 18 Feb. 2016]. Bolles-wilson.de, (2013). BOLLES+WILSON. [online] Available at: http://bolles-wilson.de/projects/st-sebastian/ [Accessed 18 Feb. 2016]. Dudek, M. (2000). Architecture of schools. Oxford: Architectural Press. Dudek, M. (2000). Kindergarten architecture. London: Spon Press. Dudek, M. (2007). Schools and Kindergartens. Germany: The Deutsche Notionalbibliothek, pp.25-26. McManus, D. (2013). Kindergarten in MĂźnster: St. Sebastian church - e-architect. [online] e-architect. Available at: http://www.e-architect.co.uk/germany/kindergarten-muenster [Accessed 18 Feb. 2016].

ARC 2011 20th CENTURY ARCH

S E M E S T E R

On the other side, the building design of the Fuji Kindergarten adapted the original

Nagasawa Satoru, (2010). A Collection of Exemplary Design of Kindergarten Facilities. Takaharu, T. (2015). Takaharu Tezuka: The best kindergarten youâ&#x20AC;&#x2122;ve ever seen. [video] Available at: https://www.youtube.com/watch?v=J5jwEyDaR-0 [Accessed 17 Feb. 2016].

Figure Reference PROCESS + REFLECT

Fig. 1 to 5 BOLLES+WILSON, (2013). St. Sebastian Kindergarten. [image] Available at: http://bolles-wilson.de/projects/?orderby=year [Accessed 18 Feb. 2016]. Fig. 8 to 13 Tezuka Architects, (2008). Fuji Kindergarten. [image] Available at: http://www.architonic.com/aisht/fuji-kindergarten-tezuka-architects/5100019 [Accessed 18 Feb. 2016]. Fig. 6 to 7 & 14 Nagasawa Satoru, (2010). A Collection of Exemplary Design of Kindergarten Facilities. [image] 11

100

Wing Kei So (Coco) 140007121

material behaviour against the environment with time; the spatial organisation is studying about heterogeneous space which links with materials but not just about spatial experience of user. For the environment, it represents the nature and culture that usually stimulates the performance of spatial & material organisation complex (Hensel, 2010; Hensel, 2011). In the poster, I tried to present their relationships abstractly that 4 domains represents 4 different colors of gears and the image reveals the main focus of each domain. The transparent box represents the space whereas the yellow box represents another space with different material. Although the boxes are different in material, they are in the same shape which kind of respond to each other in spatial aspect. On the other hand, the different shape of yellow material reveals its transferable material behaviour that the smaller the circle yellow plate changes, the bigger the yellow box will be. In other words, the space will change accordingly. For the inhabit aspect, the little human model overlaps with all three other gears which shows the inter-relationships between domains. There is one human model at the centre of environment which I see this as a human is surrounded by the mother of nature. This means human and nature are inseparable.

REFERENCES

O N E ARC 2011 20th CENTURY ARCH

Inhabitant, material organisation, spatial organisation and environment are the four major variables of Performance-oriented Architecture. Analysing the relationships between the variables is the accelerator to establish a setting that helps the design to sit into the site locally and strategically. In this poster, I would like to show the interrelation between the four domains as gears. Their relationships are being explored in depth. For instance, the inhabitant is not only the user in terms of human being but it will also consider in a wider social and cultural context; the material organization is not only exploring the element itself but also the changes of

PROCESS + REFLECT

MAIN IDEA

S E M E S T E R

T W O

Performance-oriented Architecture by Michael Hensel (2010) published in article.

S E M E S T E R

PERFORMANCE-ORIENTED ARCHITECTURE

Hensel, M. (2010). Performance-oriented Architecture â&#x20AC;&#x201C; Towards a Biological Paradigm for Architectural Design and the Built Environment. FORMakademisk, 3(1), pp.36-46. Hensel, M. (2011). Performance-oriented Architecture and the Spatial and Material Organisation Complex Rethinking the Definition, Role and Performative Capacity of the Spatial and Material Boundaries of the Built Environment. FORMakademisk, 4(1), pp.3,7-8.

101

O N E S E M E S T E R

Materials from referenced to: --

U-value of door (W/m2K) U-value of ground floor (W/m2K)

2 0.25

1.8 0.12

Low U-value insulated door

U-value of wall (W/m2K) Thickness of hot water insulation jacket (mm) Primary Circuit loss (kWhr/year)

0.35 25 610 .

0.12 50 360

Daylight analysis (i.e.The maximum illuminance for double glazed window is 500 lx.)

Insulated aluminium profiles and double glazing units with a warm edge Thermal conductivity of the dense block infill 1.13 W/mK; insulant thickness 150mm Student number: 140007121 Insulant thickness 140mm Site identification: Leith, Edinburgh -Design Project Title: Dwelling plus Boiler with insulated primary pipework and Date: 28.1.2016 with cylinder stat

The daylight analysis on the left shows daylight distribution among the living room on the ground floor. The changes of daylight factor is from 4.1% to 2.47%. Although the daylight factor in the original design is in the appectable range, the contrast of light along the window is too strong and I decided to take away some windows. After the moderation, the daylight factor is still in the acceptable range and the reduced total window area can reduce the heat loss of the building which improves the quality of the dwelling.

Figure 1 Before moderation

T W O

Data after improvement 22.6 1.2

S E M E S T E R

Original data 29 2

ARC 2010 ENVIRONMENTAL DESIGN

SAP MODERATIONS SAP Changes Window area (m2) U-value of window (W/m2K)

PROCESS + REFLECT

ARC 2010 Co-housing project course work

Figure 2 After moderation

103

O N E S E M E S T E R

SAP Results Improvement of DER over TER % Credit SAP value Dwelling CO2 Emission Rate kg CO2/m2 Total energy cost (ÂŁ/year) Useful solar gain (Watts)

Before moderation -18% N/A 78.6 26.2 604 1364

After moderation 16 3 84.5 18.5 437.7 1149

The total result of the SAP has improved from -18% to 16% which is from none to 3 credits which is accounted as improved from rating C to rating B. Besides, by changing the lower U-value of doors, windows, wall and floor with thicker and better insulation, the sustainability of dwelling is greatly improved as lower U-value materials reduce heat loss of the dwelling. Also, heat loss can be reduced by thickening the hot water insulation jacket and adding insulations to the primary pipework. When reducing the heat loss, the electricity uses of heating system and the hot Figure 3 SAP rating water heating system are reduced. Although reducing the total area of windows would slightly increase the electricity use of lighting system, this still benefits the reduction of heat loss of the dwelling and the evenness contrast of daylighting entering the living space. Therefore, the carbon emission rate and the total energy cost per year of the dwelling are greatly decreased.

U-VALUE CALCULATIONS Timber frame construction wall Materials

Thickness (mm)

Brickwork outer leaf Cavity Plywood Timber frame filled with insulation Plasterboard

102 50 9 140 12.5x2

PROCESS + REFLECT

ARC 2010 ENVIRONMENTAL DESIGN

S E M E S T E R

T W O

sustainable homes. Referring to the SAP rating (Figure 3), the SAP value is changed from 78.6 to 84.5 which is

104

Thermal conductivity (W/mK) 0.84 -0.16 0.021 0.021

Thermal resistance (m2K/W) i.e.Thickness (m)/(W/mK) 0.121 -0.56 6.67 1.19

The total thermal resistance: 0.121 + 0.56 + 6.67 + 1.19 = 8.541 m2K/W The total U-value: 1/8.541 = 0.12 W/m2K

Figure 4 Timber framed wall

0.41

0.61

150 100

0.022 1.13

6.82 0.88

The total thermal resistance: 0.61 + 6.82 + 0.88 = 8.3 m2K/W

S E M E S T E R

The total U-value: 1/8.3 = 0.12 W/m2K

O N E

Thermal resistance (m2K/W) i.e.Thickness (m)/(W/mK)

S E M E S T E R

Floor screed Kingspan Thermafloor TF70 Block infill

Thermal conductivity (W/mK)

T W O

Suspended concrete ground floor Materials Thickness (mm)

ENERGY STRAGEGY

Figure 8 Flat-plate systems Figure 6 Chimney heat exchange system

Figure 7 Ground source heat pump

1. Chimney heat exchange system This system can fully utilise the excess heat from the fireplace and heat up the rest of the house. This can also reduce the condensation and dampness of the dwelling so as to reduce opportunity of timber decay due to the moist in the air. It saves the cost of heating as well. 2. Ground source heat pump This heat pump use the stable heat from the earth in the ground to provide energy for the whole dwelling. It has a low carbon emission and is a very sustainable heating system. 3. Solar water-heating systems - Flat-plate systems The flat-plate system can apply into the dwelling which can collect the sun heat and convert into water through a heat exchanger. It heats up the water system with very little energy use. Although the cost for maintenance may be a bit higher, it is still beneficial to the dwelling as in long term operation.

PROCESS + REFLECT

ARC 2010 ENVIRONMENTAL DESIGN

Figure 5 Suspended concrete floor

105

吀栀攀爀攀愀爀攀猀椀砀氀攀瘀攀氀猀漀昀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀椀渀琀栀攀瀀爀漀挀攀猀猀漀昀瀀爀漀搀甀挀椀渀最栀漀甀猀椀渀最⸀ 匀琀愀爀琀椀渀最昀爀漀洀琀栀攀䤀渀昀漀爀洀椀渀最氀攀瘀攀氀Ⰰ 琀栀椀猀瀀愀爀琀椀挀椀瀀愀琀椀漀渀氀攀瘀攀氀椀猀洀漀爀攀瀀愀猀猀椀瘀攀愀渀搀椀猀戀攀椀渀最琀漀氀搀琀漀昀漀氀氀漀眀琀栀攀栀漀甀猀椀渀最搀攀挀椀猀椀漀渀⸀ 吀栀椀猀眀漀甀氀搀渀漀琀瀀爀漀瘀椀搀攀愀渀礀甀猀攀昀甀氀椀渀昀漀爀洀愀琀椀漀渀琀漀琀栀攀愀爀挀栀椀琀攀挀琀眀栀攀渀搀攀猀椀最渀椀渀最琀栀攀栀漀甀猀椀渀最戀甀琀琀栀椀猀椀猀栀攀氀瀀昀甀氀搀攀猀椀最渀椀渀最昀漀爀瀀漀琀攀渀琀椀愀氀爀攀猀椀搀攀渀琀猀琀漀甀渀搀攀爀猀琀愀渀搀琀栀攀搀攀猀椀最渀瀀爀漀挀攀猀猀漀昀琀栀攀猀挀栀攀洀攀⸀

䤀洀瀀愀挀琀猀漀昀搀椀爀攀挀琀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀漀渀琀栀攀爀攀氀愀琀椀漀渀猀栀椀瀀戀攀琀眀攀攀渀琀栀攀搀眀攀氀氀攀爀愀渀搀搀眀攀氀氀椀渀最㄀⸀ 䔀渀栀愀渀挀攀琀栀攀焀甀愀氀椀琀礀漀昀琀栀攀眀栀漀氀攀猀挀栀攀洀攀鈡愀洀漀爀攀甀猀攀爀ⴀ挀攀渀琀爀攀搀愀瀀瀀爀漀愀挀栀椀渀戀漀琀栀搀攀瘀攀氀漀瀀洀攀渀琀愀渀搀瀀爀漀瘀椀猀椀漀渀漀昀猀攀爀瘀椀挀攀猀漀昀琀栀攀搀眀攀氀氀椀渀最挀愀渀椀洀瀀爀漀瘀攀琀栀攀焀甀愀氀椀琀礀漀昀氀椀瘀椀渀最漀昀搀眀攀氀氀攀爀猀⸀

䘀漀爀琀栀攀䌀漀渀猀甀氀琀愀琀椀漀渀氀攀瘀攀氀Ⰰ 琀栀攀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀椀渀琀栀攀搀攀猀椀最渀瀀爀漀挀攀猀猀挀愀渀最椀瘀攀愀挀氀攀愀爀攀爀瀀椀挀琀甀爀攀漀昀甀猀攀爀猀ᤠ 渀攀攀搀猀琀漀琀栀攀愀爀挀栀椀琀攀挀琀⸀ 䠀漀眀攀瘀攀爀Ⰰ 琀栀椀猀氀攀瘀攀氀漀昀椀渀瘀漀氀瘀攀洀攀渀琀椀猀渀漀琀愀挀琀椀瘀攀攀渀漀甀最栀琀漀琀愀欀攀昀漀氀氀漀眀ⴀ甀瀀愀挀琀椀漀渀愀昀琀攀爀琀栀攀挀漀渀猀甀氀琀愀琀椀漀渀⸀

㈀⸀ 䤀洀瀀爀漀瘀攀搀猀挀栀攀洀攀洀愀渀愀最攀洀攀渀琀鈡戀礀爀攀挀攀椀瘀椀渀最昀攀攀搀戀愀挀欀猀昀爀漀洀搀眀攀氀氀攀爀猀琀漀瀀爀漀瘀椀搀攀攀昀昀攀挀琀椀瘀攀猀攀爀瘀椀挀攀猀鈡漀昀琀栀攀搀眀攀氀氀椀渀最⸀ ㌀⸀ 䌀漀渀琀爀椀戀甀琀椀漀渀椀渀搀攀挀椀猀椀漀渀洀愀欀椀渀最鈡琀栀攀礀眀椀氀氀猀琀愀礀甀瀀搀愀琀攀搀眀椀琀栀琀栀攀搀攀瘀攀氀漀瀀洀攀渀琀瀀爀漀挀攀猀猀瀀甀琀琀栀攀椀爀椀搀攀愀猀椀渀琀漀瀀爀愀挀琀椀挀攀鈡最爀攀愀琀攀爀猀攀渀猀攀漀昀戀攀氀漀渀最椀渀最猀

倀氀愀挀愀琀椀漀渀倀氀愀挀愀琀椀漀渀氀攀瘀攀氀漀昀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀椀猀琀栀攀栀椀最栀攀猀琀氀攀瘀攀氀漀昀琀漀欀攀渀椀猀洀愀猀琀栀攀甀猀攀爀眀漀甀氀搀最椀瘀攀甀猀攀昀甀氀愀搀瘀椀挀攀猀琀漀琀栀攀猀挀栀攀洀攀戀甀琀琀栀攀礀猀琀椀氀氀栀愀瘀攀渀漀爀椀最栀琀猀琀漀洀愀欀攀愀渀礀搀攀挀椀猀椀漀渀甀渀氀椀欀攀琀栀攀挀椀琀椀稀攀渀挀漀渀琀爀漀氀氀攀瘀攀氀⸀ 吀栀攀椀渀瘀漀氀瘀攀洀攀渀琀漀昀琀栀椀猀氀攀瘀攀氀挀愀渀最椀瘀攀琀栀攀愀爀挀栀椀琀攀挀琀琀栀攀昀攀攀搀戀愀挀欀猀漀昀琀栀攀甀猀攀爀猀眀椀琀栀愀挀攀昀攀攀搀戀愀挀欀猀漀昀琀栀攀甀猀攀爀猀眀椀琀栀愀挀攀爀琀愀椀渀

㐀⸀ 䄀琀栀漀爀漀甀最栀甀渀搀攀爀猀琀愀渀搀椀渀最漀昀琀栀攀眀栀漀氀攀猀挀栀攀洀攀椀渀戀漀琀栀搀攀猀椀最渀椀搀攀愀猀愀渀搀栀漀甀猀椀渀最洀愀渀愀最攀洀攀渀琀椀搀攀愀猀愀渀搀栀漀甀猀椀渀最洀愀渀愀最攀洀攀渀琀鈡搀攀瘀攀氀漀瀀爀攀猀椀搀攀渀琀爀攀猀瀀漀渀猀椀戀椀氀椀琀礀㔀⸀ 䔀渀栀愀渀挀攀琀栀攀猀攀渀猀攀漀昀戀攀氀漀渀最椀渀最猀漀昀琀栀攀搀眀攀氀氀椀渀最鈡爀攀搀甀挀攀琀栀攀氀椀欀攀氀椀栀漀漀搀漀昀搀愀洀愀最攀猀漀愀猀琀漀洀愀椀渀琀愀椀渀愀挀漀猀琀ⴀ攀昀昀攀挀琀椀瘀攀猀攀爀瘀椀挀攀鈡椀渀挀爀攀愀猀攀猀攀渀猀攀漀昀猀漀氀椀搀愀爀椀琀礀椀渀琀栀攀挀漀洀洀甀渀椀琀礀

吀栀攀渀琀栀攀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀愀琀琀栀攀吀栀攀渀倀愀爀琀渀攀爀猀栀椀瀀氀攀瘀攀氀椀猀洀漀爀攀愀挀琀椀瘀攀琀漀愀挀栀椀攀瘀攀琀栀攀戀攀琀琀攀爀猀挀栀攀洀攀戀礀攀渀最愀最椀渀最洀漀爀攀椀渀琀漀琀栀攀搀攀猀椀最渀瀀爀漀挀攀猀猀⸀ 吀栀攀礀眀漀甀氀搀栀愀瘀攀琀漀洀愀欀攀搀攀挀椀猀椀漀渀昀漀爀琀栀攀猀挀栀攀洀攀愀渀搀栀愀瘀攀琀漀搀椀猀挀甀猀猀眀椀琀栀琀栀攀愀爀挀栀椀琀攀挀琀⸀ 䐀攀氀攀最愀琀攀搀䐀攀氀攀最愀琀攀搀瀀漀眀攀爀愀渀搀䌀椀琀椀稀攀渀挀漀渀琀爀漀氀氀攀瘀攀氀漀昀椀渀瘀漀氀瘀攀洀攀渀琀愀爀攀愀氀洀漀猀琀栀愀瘀椀渀最琀栀攀猀愀洀攀瀀漀眀攀爀漀渀琀栀攀搀攀挀椀猀椀漀渀洀愀欀椀渀最漀昀琀栀攀猀挀栀攀洀攀椀渀愀洀愀渀愀最攀爀椀愀氀愀猀瀀攀挀琀⸀ 䄀爀挀栀椀琀攀挀琀渀攀攀搀猀琀漀眀漀爀欀眀椀琀栀琀栀攀洀猀漀愀猀琀漀愀挀栀椀攀瘀攀琀栀攀猀愀洀攀爀攀猀甀氀琀琀栀愀琀琀栀攀礀愀氀氀眀愀渀琀 ⠀䄀爀渀猀琀攀椀渀Ⰰ㄀㤀㘀㤀⤀⸀ 䄀猀䄀猀愀爀漀氀攀漀昀愀渀愀爀挀栀椀琀攀挀琀Ⰰ 琀栀攀礀渀攀攀搀琀漀洀愀欀攀愀戀愀氀愀渀挀攀戀攀琀眀攀攀渀琀栀攀甀猀攀爀猀ᤠ 渀攀攀搀猀愀渀搀甀猀攀爀猀ᤠ 眀愀渀琀猀渀漀洀愀琀琀攀爀眀栀椀挀栀猀琀愀琀攀漀昀椀渀瘀漀氀瘀攀洀攀渀琀琀栀攀甀猀攀爀猀愀爀攀攀渀最愀最椀渀最椀渀琀栀攀瀀爀漀樀攀挀琀⸀ 䤀琀椀猀瘀攀爀礀椀洀瀀漀爀琀愀渀琀琀栀愀琀愀爀挀栀椀琀攀挀琀猀挀愀渀猀琀愀礀愀最漀漀搀挀漀渀瘀攀爀猀愀琀椀漀渀眀椀琀栀甀猀攀爀猀ᤠ 最爀漀甀瀀戀甀琀戀甀琀椀琀眀漀甀氀搀渀漀琀椀渀昀氀甀攀渀挀攀琀漀漀洀甀挀栀漀渀琀栀攀搀攀猀椀最渀戀愀猀椀猀⸀

䘀椀最甀爀攀刀攀昀攀爀攀渀挀攀

㘀⸀ 䘀愀猀琀愀搀愀瀀琀椀瘀攀瀀攀爀椀漀搀漀昀爀攀猀攀琀琀氀攀洀攀渀琀 ⠀攀⸀最⸀ 䐀眀攀氀氀攀爀猀眀栀漀洀漀瘀攀椀渀琀漀琀栀攀渀攀眀搀眀攀氀氀椀渀最昀爀漀洀琀栀攀椀爀漀氀搀瀀氀愀挀攀栀愀瘀攀琀漀愀搀愀瀀琀琀栀攀挀栀愀渀最攀猀⤀ 鈡搀攀瘀攀氀漀瀀琀栀攀椀搀攀愀猀漀昀 ᠠ栀漀洀攀ᤠ 焀甀椀挀欀氀礀匀漀甀爀挀攀㨀 ⠀䌀甀氀氀攀渀Ⰰ ㈀㄀㔀⤀

焀甀愀氀椀琀礀愀渀搀爀椀挀栀渀攀猀猀⸀

䘀椀最⸀ ㄀䐀攀最爀攀攀猀漀昀䌀椀琀椀稀攀渀倀愀爀琀椀挀椀瀀愀琀椀漀渀 ⠀䄀爀渀猀琀攀椀渀ᤠ猀䰀愀搀搀攀爀Ⰰ㄀㤀㘀㤀⤀

䄀爀渀猀琀攀椀渀ᤠ猀䰀愀搀搀攀爀 ⠀㄀㤀㘀㤀⤀ 䐀攀最爀攀攀猀漀昀䌀椀琀椀稀攀渀倀愀爀琀椀挀椀瀀愀琀椀漀渀⸀ ⠀渀⸀搀⸀⤀⸀ 嬀椀洀愀最攀崀䄀瘀愀椀氀愀戀氀攀愀琀㨀栀琀琀瀀㨀⼀⼀眀眀眀⸀瘀挀渀⸀戀挀⸀挀愀⼀挀椀琀椀稀攀渀猀ⴀ栀愀渀搀戀漀漀欀⼀愀爀渀猀琀攀椀渀猀开氀愀搀搀攀爀⸀瀀搀昀嬀䄀挀挀攀猀猀攀搀㈀㐀䨀愀渀⸀ ㈀㄀㘀崀⸀ 嘀䤀嘀䄀䄀刀䬀䤀吀䔀䬀吀䔀刀䄀瀀匀Ⰰ ⠀渀⸀搀⸀⤀⸀ 吀栀攀瀀愀琀琀攀爀渀猀漀昀琀栀攀眀椀渀搀漀眀猀漀渀琀栀攀昀愀挀愀搀攀⸀ 嬀椀洀愀最攀崀䄀瘀愀椀氀愀戀氀攀愀琀㨀栀琀琀瀀㨀⼀⼀瘀椀瘀愀愀爀欀椀琀攀欀琀攀爀⸀搀欀⼀挀漀搀攀⼀爀攀昀攀爀攀渀挀攀爀⼀刀䔀䘀开一夀䠀䔀䐀䔀刀⼀倀䤀堀─㈀一夀䠀䔀䐀䔀刀⼀愀攀戀氀攀氀甀渀搀攀渀⸀最椀昀嬀䄀挀挀攀猀猀攀搀㈀㔀䨀愀渀⸀ ㈀㄀㘀崀⸀ 吀爀愀渀猀瀀漀爀琀䰀漀挀愀氀䜀漀瘀攀爀渀洀攀渀琀刀攀最椀漀渀猀Ⰰ ⠀㈀㄀⤀⸀ 䈀攀琀琀攀爀瀀氀愀挀攀猀琀漀氀椀瘀攀戀礀搀攀猀椀最渀⸀ 䬀攀渀琀㨀吀栀漀洀愀猀吀攀氀昀漀爀搀倀甀戀氀椀挀愀琀椀漀渀Ⰰ 瀀瀀⸀㌀㐀ⴀ㌀㔀⸀

圀攀戀猀琀攀爀ᤠ猀夀愀爀搀 ጠ 刀攀琀椀爀攀洀攀渀琀⼀匀栀攀氀琀攀爀攀搀栀漀甀猀椀渀最

䄀攀戀氀攀氀甀渀搀攀渀 ⴀ 氀漀眀ⴀ挀漀猀琀栀漀甀猀椀渀最

䘀椀最⸀ 㐀吀栀攀瘀椀攀眀漀昀圀攀戀猀琀攀爀ᤠ猀夀愀爀搀昀爀漀洀琀栀攀爀漀漀昀 ⠀䌀漀洀洀攀爀猀漀渀ⴀ攀洀⸀挀漀洀Ⰰ ㈀㄀㌀⤀

䘀椀最⸀ ㌀吀栀攀猀琀愀渀搀愀爀搀昀氀漀漀爀瀀氀愀渀漀昀漀渀攀漀昀琀栀攀愀瀀愀爀琀洀攀渀琀 ⠀㘀㐀猀焀Ⰰ⸀洀⸀⤀ ⠀嘀䤀嘀䄀䄀刀䬀䤀吀䔀䬀吀䔀刀䄀瀀匀Ⰰ 渀⸀搀⸀⤀ 䘀椀最⸀ ㈀吀栀攀瀀愀琀琀攀爀渀猀漀昀琀栀攀眀椀渀搀漀眀猀漀渀琀栀攀昀愀挀愀搀攀⸀ ⠀嘀䤀嘀䄀䄀刀䬀䤀吀䔀䬀吀䔀刀䄀瀀匀Ⰰ 渀⸀搀⸀⤀ 䄀爀挀栀椀琀攀挀琀㨀吀䔀䜀一䔀匀吀唀䔀一嘀䄀一䐀䬀唀一匀吀䔀一夀攀愀爀漀昀挀漀洀瀀氀攀琀椀漀渀㨀㈀㠀䰀漀挀愀琀椀漀渀㨀䐀攀渀洀愀爀欀䐀攀猀挀爀椀瀀琀椀漀渀㨀吀栀椀猀氀漀眀挀漀猀琀瀀爀漀樀攀挀琀椀猀搀漀渀攀戀礀愀氀漀挀愀氀愀爀挀栀椀琀攀挀琀甀爀愀氀昀椀吀栀椀猀氀漀眀挀漀猀琀瀀爀漀樀攀挀琀椀猀搀漀渀攀戀礀愀氀漀挀愀氀愀爀挀栀椀琀攀挀琀甀爀愀氀昀椀爀洀椀渀䐀攀渀洀愀爀欀⸀ 吀栀攀愀爀挀栀椀琀攀挀琀洀愀椀渀氀礀昀漀挀甀猀攀搀漀渀琀栀攀甀猀攀漀昀挀漀渀猀琀爀甀挀琀椀漀渀洀愀琀攀爀椀愀氀猀愀渀搀昀氀攀砀椀戀椀氀椀琀礀漀昀椀渀琀攀爀渀愀氀猀瀀愀挀攀猀愀猀猀瀀愀挀攀猀洀愀礀挀栀愀渀最攀昀爀漀洀琀椀洀攀琀漀琀椀洀攀⸀ 䤀琀愀椀洀猀琀漀瀀爀漀瘀椀搀攀爀攀猀椀搀攀渀琀猀愀焀甀愀氀椀琀礀氀椀瘀椀渀最眀椀琀栀愀氀漀眀攀爀洀愀爀欀攀琀瀀爀椀挀攀戀礀氀攀琀琀椀渀最琀栀攀洀琀漀挀栀漀漀猀攀琀栀攀椀爀漀眀渀栀漀甀猀椀渀最挀漀渀昀椀最甀爀愀琀椀漀渀戀愀猀攀搀漀渀琀栀攀椀爀昀椀渀愀渀挀椀愀氀戀甀搀最攀琀⸀ 吀栀攀礀漀昀昀攀爀㔀搀椀昀昀攀爀攀渀琀氀攀瘀攀氀猀漀昀挀漀洀瀀氀攀琀椀漀渀愀渀搀昀甀爀渀椀猀栀椀渀最⸀ 吀栀攀氀攀愀猀琀攀砀瀀攀渀猀椀瘀攀漀渀攀漀渀氀礀栀愀猀琀栀攀戀愀猀椀挀欀椀琀挀栀攀渀愀渀搀愀渀漀瀀攀渀猀瀀愀挀攀眀椀琀栀瀀愀爀琀椀琀椀漀渀猀眀栀椀挀栀爀攀猀椀搀攀渀琀猀栀愀瘀攀琀漀搀攀猀椀最渀琀栀攀爀攀猀琀漀昀琀栀攀愀瀀愀爀琀洀攀渀琀猀戀礀琀栀攀洀猀攀氀瘀攀猀⸀ 吀栀攀猀攀挀漀渀搀椀渀攀砀瀀攀渀猀椀瘀攀氀攀瘀攀氀栀愀猀愀渀甀瀀最爀愀搀攀搀欀椀琀挀栀攀渀愀渀搀洀漀爀攀昀甀爀渀椀猀栀椀渀最猀⸀ 吀栀攀琀栀椀爀搀氀攀瘀攀氀栀愀猀洀漀爀攀昀甀爀渀椀猀栀椀渀最猀愀渀搀琀漀眀愀爀搀猀琀漀琀栀攀挀漀洀瀀氀攀琀椀漀渀漀昀愀渀愀瀀愀爀琀洀攀渀琀愀渀搀猀漀漀渀⸀ 匀漀琀栀攀洀漀猀琀攀砀瀀攀渀猀椀瘀攀漀渀攀椀猀琀栀攀挀漀洀瀀氀攀琀椀漀渀漀昀愀渀愀瀀愀爀琀洀攀渀琀愀渀搀眀栀椀挀栀栀愀猀琀栀攀洀漀猀琀渀甀洀戀攀爀漀昀爀漀漀洀猀 ⠀嘀愀渀搀欀甀渀猀琀攀渀⸀挀漀洀Ⰰ 渀⸀搀⸀⤀⸀

刀䔀䘀䔀刀䔀一䌀䔀匀

䘀椀最⸀ 㘀䄀渀愀氀礀琀椀挀愀氀搀椀愀最爀愀洀漀昀琀栀攀礀愀爀搀 ⠀吀爀愀渀猀瀀漀爀琀䰀漀挀愀氀䜀漀瘀攀爀渀洀攀渀琀刀攀最椀漀渀猀Ⰰ ㈀㄀⤀⸀

吀栀攀䤀洀瀀愀挀琀猀漀渀琀栀攀爀攀氀愀琀椀漀渀猀栀椀瀀猀漀昀琀栀椀猀愀瀀愀爀琀洀攀渀琀㨀䄀猀琀栀攀爀攀猀椀搀攀渀琀猀挀愀渀搀攀挀椀搀攀琀栀攀椀爀漀眀渀猀瀀愀琀椀愀氀挀漀渀昀椀最甀爀愀琀椀漀渀愀琀搀椀昀昀攀爀攀渀琀搀攀最爀攀攀猀漀昀挀漀洀瀀氀攀琀椀漀渀Ⰰ 琀栀攀椀爀椀渀瘀漀氀瘀攀洀攀渀琀琀漀琀栀攀猀挀栀攀洀攀椀猀攀砀瀀氀椀挀椀琀氀礀搀椀爀攀挀琀愀渀搀愀挀琀椀瘀攀⸀ 吀栀攀礀眀漀甀氀搀搀攀瘀攀氀漀瀀愀猀攀渀猀攀漀昀戀攀氀漀渀最椀渀最猀琀漀琀栀攀愀瀀愀爀琀洀攀渀琀愀渀搀琀栀攀渀琀漀琀栀攀眀栀漀氀攀挀漀洀洀甀渀椀琀礀⸀ 吀栀椀猀猀攀渀猀攀挀愀渀戀攀攀砀琀攀渀搀攀搀琀漀琀栀攀眀栀漀氀攀挀漀洀洀甀渀椀琀礀戀攀挀愀甀猀攀琀栀椀猀栀漀甀猀椀渀最挀漀渀猀椀猀琀猀挀漀渀猀椀猀琀猀漀昀瘀愀爀椀漀甀猀猀椀稀攀猀漀昀挀漀渀昀椀最甀爀愀琀椀漀渀猀漀愀猀琀漀挀爀攀愀琀攀愀搀椀瘀攀爀猀攀挀漀洀洀甀渀椀琀礀⸀ 伀渀挀攀愀搀椀瘀攀爀猀攀挀漀洀洀甀渀椀琀礀椀猀攀猀琀愀戀氀椀猀栀攀搀Ⰰ 椀琀氀攀愀搀猀琀漀愀挀栀椀攀瘀攀戀愀氀愀渀挀攀搀渀攀攀搀猀漀昀挀漀洀洀甀渀椀琀礀猀攀爀瘀椀挀攀猀愀渀搀昀愀挀椀氀椀琀椀攀猀⸀ 䘀漀爀攀砀愀洀瀀氀攀Ⰰ 猀挀栀漀漀氀猀Ⰰ 搀愀礀挀愀爀攀挀攀渀琀攀爀猀Ⰰ 爀攀挀爀攀愀琀椀漀渀昀愀挀椀氀椀琀椀攀猀愀渀搀洀攀搀椀挀愀氀挀攀渀琀攀爀猀昀漀爀攀氀搀攀爀氀礀⸀ 吀栀攀洀漀爀攀挀漀洀瀀爀攀栀攀渀猀椀瘀攀琀栀攀猀攀爀瘀椀挀攀猀愀渀搀昀愀挀椀氀椀琀椀攀猀愀爀攀Ⰰ 琀栀攀洀漀爀攀猀愀琀椀猀昀椀攀搀琀栀攀爀攀猀椀搀攀渀琀猀愀爀攀⸀ 䤀琀琀栀攀渀挀爀攀愀琀攀猀愀氀椀昀攀氀漀渀最渀攀椀最栀戀漀爀栀漀漀搀眀栀椀挀栀椀渀挀爀攀愀猀攀猀琀栀攀挀漀洀洀甀渀椀琀礀猀瀀椀爀椀琀猀愀猀眀攀氀氀 ⠀吀爀愀渀猀瀀漀爀琀䰀漀挀愀氀䜀漀瘀攀爀渀洀攀渀琀刀攀最椀漀渀猀Ⰰ ㈀㄀⤀⸀

䄀爀渀猀琀攀椀渀Ⰰ 匀⸀ ⠀㄀㤀㘀㤀⤀⸀ 䄀䰀愀搀搀攀爀漀昀䌀椀琀椀稀攀渀倀愀爀琀椀挀椀瀀愀琀椀漀渀⸀ 吀栀攀䄀洀攀爀椀挀愀渀倀氀愀渀渀椀渀最䄀猀猀漀挀椀愀琀椀漀渀Ⰰ ㌀㔀⠀㐀⤀Ⰰ 瀀瀀⸀㈀㄀㘀ⴀ㈀㈀㐀⸀ 䌀漀洀洀攀爀猀漀渀ⴀ攀洀⸀挀漀洀Ⰰ ⠀㈀㄀㌀⤀⸀ 䌀漀洀洀攀爀猀漀渀䔀猀琀愀琀攀䴀愀渀愀最攀洀攀渀琀⸀ 嬀漀渀氀椀渀攀崀䄀瘀愀椀氀愀戀氀攀愀琀㨀栀琀琀瀀㨀⼀⼀眀眀眀⸀挀漀洀洀攀爀猀漀渀ⴀ攀洀⸀挀漀洀⼀搀攀瘀攀氀漀瀀洀攀渀琀猀⼀眀攀戀猀琀攀爀猀ⴀ礀愀爀搀⸀瀀栀瀀嬀䄀挀挀攀猀猀攀搀㈀㐀䨀愀渀⸀ ㈀㄀㘀崀⸀ 䌀爀甀稀Ⰰ 倀⸀ ⠀㈀㄀㌀⤀⸀ 匀琀爀甀挀琀甀爀攀猀愀渀搀愀爀挀栀椀琀攀挀琀甀爀攀⸀ 瀀瀀⸀㌀㤀㘀ⴀ㌀㤀㜀⸀ 䌀甀氀氀攀渀Ⰰ 匀⸀ ⠀㈀㄀㔀⤀⸀ 匀栀攀氀琀攀爀㨀䤀渀瘀漀氀瘀椀渀最甀猀攀爀猀椀渀猀甀瀀瀀漀爀琀攀搀栀漀甀猀椀渀最 ⴀ 䄀最漀漀搀瀀爀愀挀琀椀挀攀最甀椀搀攀⸀ 圀栀愀琀椀猀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀㼀⸀ 䰀漀渀搀漀渀㨀匀栀攀氀琀攀爀Ⰰ 瀀瀀⸀㜀ⴀ㠀⸀ 䠀漀甀猀椀渀最䰀攀愀䠀漀甀猀椀渀最䰀攀愀爀渀椀渀最 ☀ 䤀洀瀀爀漀瘀攀洀攀渀琀一攀琀眀漀爀欀⸀ ⠀㈀㐀⤀⸀ 唀猀攀爀䤀渀瘀漀氀瘀攀洀攀渀琀椀渀䔀砀琀爀愀䌀愀爀攀䠀漀甀猀椀渀最Ⰰ 昀愀挀琀猀栀攀攀琀渀漀⸀㠀⸀

吀栀攀䤀洀瀀愀挀琀猀漀渀琀栀攀爀攀氀愀琀椀漀渀猀栀椀瀀猀漀昀琀栀椀猀愀瀀愀爀琀洀攀渀琀㨀䘀椀最⸀ 㔀吀栀攀椀渀琀攀爀渀愀氀挀漀甀爀琀礀愀爀搀 ⠀䌀漀洀洀攀爀猀漀渀ⴀ攀洀⸀挀漀洀Ⰰ ㈀㄀㌀⤀ 䄀爀挀栀椀琀攀挀琀㨀䜀攀漀爀最攀圀攀戀猀琀攀爀ᤠ猀昀愀洀椀氀礀夀攀愀爀漀昀挀漀洀瀀氀攀琀椀漀渀㨀㄀㤀㠀㤀䰀漀挀愀琀椀漀渀㨀䬀攀渀搀愀氀Ⰰ 䌀甀洀戀爀椀愀Ⰰ 唀䬀䐀攀猀挀爀椀瀀琀椀漀渀㨀圀攀戀猀琀攀爀ᤠ猀夀愀爀搀挀漀渀猀椀猀琀猀漀昀愀㐀㘀猀栀攀氀琀攀爀攀搀搀眀攀氀氀椀渀最昀漀爀爀攀琀椀爀攀搀瀀攀漀瀀氀攀愀渀搀愀挀漀洀洀甀渀愀氀最愀爀搀攀渀眀栀椀挀栀椀猀搀攀猀椀最渀攀搀愀氀漀渀最猀椀搀攀瀀爀椀瘀愀琀攀栀漀甀猀攀猀昀漀爀猀愀氀攀⸀ 吀栀攀搀攀瘀攀氀漀瀀洀攀渀琀漀昀琀栀椀猀挀漀洀洀甀渀椀琀礀椀猀瘀攀爀礀猀甀挀挀攀猀猀昀甀氀琀栀愀琀椀琀挀愀渀椀渀琀攀最爀愀琀攀搀椀昀昀攀爀攀渀琀琀礀瀀攀猀漀昀栀漀甀猀椀渀最眀椀琀栀猀瀀攀挀椀愀氀爀攀焀甀椀爀攀洀攀渀琀猀⸀ 吀栀攀洀椀砀攀搀搀眀攀氀氀椀渀最猀挀栀攀洀攀猀栀漀眀猀琀栀攀挀愀爀攀昀甀氀挀漀渀猀椀搀攀爀愀琀椀漀渀漀昀爀攀猀椀搀攀渀琀猀ᤠ 渀攀攀搀猀愀渀搀椀琀猀昀甀琀甀爀攀搀攀瘀攀氀漀瀀洀攀渀琀⸀ 吀栀攀氀漀挀愀琀椀漀渀漀昀琀栀攀礀愀爀搀戀攀挀漀洀攀猀琀栀攀最愀琀攀眀愀礀琀漀琀栀攀戀攀愀甀琀椀昀甀氀䰀愀欀攀䐀椀猀琀爀椀挀琀⸀ 吀栀攀猀栀攀氀琀攀爀攀搀搀眀攀氀氀椀渀最愀挀挀攀瀀琀猀愀挀挀攀瀀琀猀瀀攀漀瀀氀攀眀栀漀愀爀攀愀戀漀瘀攀㔀㔀礀攀愀爀猀漀氀搀⸀ 刀攀最甀氀愀爀猀漀挀椀愀氀愀挀琀椀瘀椀琀椀攀猀愀渀搀攀瘀攀渀琀猀愀爀攀栀愀瀀瀀攀渀椀渀最琀栀爀漀甀最栀漀甀琀琀栀攀眀栀漀氀攀礀攀愀爀⸀ 䤀琀琀栀攀渀瀀爀漀瘀椀搀攀猀愀挀漀洀昀漀爀琀愀戀氀攀攀渀瘀椀爀漀渀洀攀渀琀昀漀爀琀栀漀猀攀漀氀搀瀀攀漀瀀氀攀⸀ ⠀夀愀爀搀愀渀搀䰀琀搀Ⰰ ㈀㄀㘀㬀䌀漀洀洀攀爀猀漀渀ⴀ攀洀⸀挀漀洀Ⰰ ㈀㄀㌀⤀

吀栀攀吀栀攀眀栀漀氀攀猀挀栀攀洀攀挀漀渀猀椀猀琀猀漀昀琀眀漀洀愀椀渀甀猀攀爀猀⸀ 吀栀攀礀愀爀攀琀栀攀瀀爀椀瘀愀琀攀栀漀甀猀椀渀最爀攀猀椀搀攀渀琀猀愀渀搀琀栀攀最爀漀甀瀀漀昀爀攀琀椀爀攀搀瀀攀漀瀀氀攀氀椀瘀椀渀最椀渀琀栀攀猀栀攀氀琀攀爀攀搀搀眀攀氀氀椀渀最⸀ 䈀礀挀漀渀猀甀氀琀椀渀最琀栀攀猀攀琀眀漀甀猀攀爀最爀漀甀瀀猀搀甀爀椀渀最琀栀攀搀攀猀椀最渀瀀爀漀挀攀猀猀挀愀渀栀攀氀瀀琀漀甀渀搀攀爀猀琀愀渀搀琀栀攀愀挀琀甀愀氀渀攀攀搀猀昀爀漀洀搀椀昀昀攀爀攀渀琀甀猀攀爀猀愀渀搀攀愀猀攀琀栀攀挀漀渀昀氀椀挀琀猀戀攀琀眀攀攀渀搀椀昀昀攀爀攀渀琀氀椀昀攀猀琀礀氀攀猀漀昀琀栀攀猀攀琀眀漀最爀漀甀瀀猀⸀ 最爀漀甀瀀猀⸀ 䴀漀爀攀漀瘀攀爀Ⰰ 椀渀琀攀最爀愀琀椀渀最搀椀昀昀攀爀攀渀琀栀漀甀猀椀渀最琀礀瀀攀猀愀渀搀甀猀攀爀猀椀洀瀀爀漀瘀攀猀琀栀攀焀甀愀氀椀琀礀漀昀琀栀攀挀漀洀洀甀渀椀琀礀猀攀爀瘀椀挀攀猀愀渀搀昀愀挀椀氀椀琀椀攀猀⸀ 吀栀攀爀攀猀椀搀攀渀琀猀Ⰰ 琀栀攀爀攀昀漀爀攀Ⰰ 昀漀爀洀愀猀攀渀猀攀漀昀戀攀氀漀渀最椀渀最猀愀渀搀琀栀攀渀爀攀挀漀最渀椀猀攀琀栀攀椀爀渀攀椀最栀戀漀甀爀栀漀漀搀愀猀愀眀栀漀氀攀⸀ 伀渀挀攀愀挀漀洀洀甀渀椀琀礀椀搀攀渀琀椀琀礀攀猀琀愀戀氀椀猀栀攀猀Ⰰ 瀀攀漀瀀氀攀眀椀琀栀椀渀琀栀攀搀眀攀氀氀椀渀最愀爀攀洀漀爀攀氀椀欀攀氀礀琀漀栀攀氀瀀椀渀最漀甀琀漀昀攀愀挀栀漀琀栀攀爀愀渀搀愀渀搀椀洀瀀爀漀瘀攀琀栀攀眀栀漀氀攀挀漀洀洀甀渀椀琀礀猀甀爀瘀攀椀氀氀愀渀挀攀猀漀愀猀琀漀爀攀搀甀挀攀琀栀攀氀漀挀愀氀挀爀椀洀攀爀愀琀攀⸀ ⠀吀爀愀渀猀瀀漀爀琀䰀漀挀愀氀䜀漀瘀攀爀渀洀攀渀琀刀攀最椀漀渀猀Ⰰ ㈀㄀⤀

吀爀愀渀猀瀀漀爀琀䰀漀挀愀氀䜀漀瘀攀爀渀洀攀渀琀刀攀最椀漀渀猀Ⰰ ⠀㈀㄀⤀⸀ 䈀攀琀琀攀爀瀀氀愀挀攀猀琀漀氀椀瘀攀戀礀搀攀猀椀最渀⸀ 䬀攀渀琀㨀吀栀漀洀愀猀吀攀氀昀漀爀搀倀甀戀氀椀挀愀琀椀漀渀Ⰰ 瀀瀀⸀㌀㐀ⴀ㌀㔀⸀ 嘀愀渀搀欀甀渀猀琀攀渀⸀挀漀洀Ⰰ ⠀渀⸀搀⸀⤀⸀ 琀攀最渀攀猀琀甀攀渀瘀愀渀搀欀甀渀猀琀攀渀瀀爀漀樀攀挀琀琀攀砀琀 ⴀ 愀攀戀氀攀氀甀渀搀攀渀 ⴀ 氀漀眀ⴀ挀漀猀琀栀漀甀猀椀渀最⸀ 嬀漀渀氀椀渀攀崀䄀瘀愀椀氀愀戀氀攀愀琀㨀栀琀琀瀀㨀⼀⼀眀眀眀⸀瘀愀渀搀欀甀渀猀琀攀渀⸀挀漀洀⼀甀欀⼀倀爀漀樀攀挀琀猀⼀倀爀漀樀攀挀琀⼀䐀攀猀挀爀椀瀀琀椀漀渀⼀愀攀戀氀攀氀甀渀搀攀渀ⴀⴀⴀ氀漀眀ⴀ挀漀猀琀ⴀ栀漀甀猀椀渀最⼀㌀㠀ⴀ㌀㠀⸀瀀嬀䄀挀挀攀猀猀攀搀㈀㐀䨀愀渀⸀ ㈀㄀㘀崀⸀ 夀愀爀搀Ⰰ 圀⸀ 愀渀搀䰀琀搀Ⰰ 䌀⸀ ⠀㈀㄀㘀⤀⸀ 䠀漀甀猀椀渀最䌀愀爀攀⸀漀爀最簀圀攀戀猀琀攀爀猀夀愀爀搀簀㠀㠀䠀椀最栀最愀琀攀Ⰰ 䬀攀渀搀愀氀Ⰰ 䌀甀洀戀爀椀愀Ⰰ 䰀䄀㤀㐀䠀䄀簀匀栀攀氀琀攀爀攀搀栀漀甀猀椀渀最Ⰰ 爀攀琀椀爀攀洀攀渀琀栀漀甀猀椀渀最Ⰰ 猀甀瀀瀀漀爀琀攀搀栀漀甀猀椀渀最昀漀爀漀氀搀攀爀瀀攀漀瀀氀攀⸀ 嬀漀渀氀椀渀攀崀䠀漀甀猀椀渀最挀愀爀攀⸀伀爀最⸀ 䄀瘀愀椀氀愀戀氀攀愀琀㨀栀琀琀瀀㨀⼀⼀眀眀眀⸀栀漀甀猀椀渀最挀愀爀攀⸀漀爀最⼀栀漀甀猀椀渀最ⴀ挀愀爀攀⼀昀愀挀椀氀椀琀礀ⴀ椀渀昀漀ⴀ㄀㔀㠀㤀㜀ⴀ眀攀戀猀琀攀爀猀ⴀ礀愀爀搀ⴀ欀攀渀搀愀氀ⴀ攀渀最氀愀渀搀⸀愀猀瀀砀嬀䄀挀挀攀猀猀攀搀㈀㔀䨀愀渀⸀ ㈀㄀㘀崀⸀

O N E S E M E S T E R T W O

圀栀愀琀搀漀攀猀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀洀攀愀渀昀漀爀琀栀攀爀漀氀攀漀昀琀栀攀愀爀挀栀椀琀攀挀琀㼀

刀攀猀椀搀攀渀琀猀瀀愀爀琀椀挀椀瀀愀琀攀椀渀搀攀挀椀猀椀漀渀洀愀欀椀渀最漀渀琀栀攀瀀爀漀挀攀猀猀漀昀栀漀甀猀椀渀最搀攀猀椀最渀愀戀漀甀琀琀栀攀栀漀甀猀椀渀最挀漀渀搀椀琀椀漀渀猀愀渀搀猀攀爀瘀椀挀攀猀戀愀猀攀搀漀渀琀栀攀椀爀猀漀挀椀愀氀猀愀琀椀猀昀愀挀琀椀漀渀⸀ 吀栀攀礀挀愀渀攀瘀攀渀欀攀攀瀀戀攀椀渀最椀渀瘀漀氀瘀攀搀椀渀琀栀攀氀愀琀攀爀搀攀挀椀猀椀漀渀洀愀欀椀渀最猀琀愀最攀愀戀漀甀琀栀漀甀猀椀渀最洀愀渀愀最攀洀攀渀琀愀渀搀瀀漀氀椀挀礀⸀ ⠀䠀漀甀猀椀渀最䰀攀愀爀渀椀渀最 ☀ 䤀洀瀀爀漀瘀攀洀攀渀琀一攀琀眀漀爀欀Ⰰ ㈀㐀㬀䌀甀氀氀攀渀Ⰰ ㈀㄀㔀⤀

S E M E S T E R

䐀攀昀椀渀攀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀

ARC 2023 PLACE OF HOUSES

䐀椀猀挀甀猀猀栀漀眀搀椀爀攀挀琀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀椀渀琀栀攀瀀爀漀挀攀猀猀漀昀瀀爀漀搀甀挀椀渀最栀漀甀猀椀渀最椀洀瀀愀挀琀猀漀渀琀栀攀爀攀氀愀琀椀漀渀猀栀椀瀀戀攀琀眀攀攀渀琀栀攀搀眀攀氀氀攀爀愀渀搀搀眀攀氀氀椀渀最⸀ 圀栀愀琀搀漀攀猀甀猀攀爀椀渀瘀漀氀瘀攀洀攀渀琀洀攀愀渀昀漀爀琀栀攀爀漀氀攀漀昀琀栀攀愀爀挀栀椀琀攀挀琀㼀

PROCESS + REFLECT

䄀刀䌀㈀㈀㌀䄀倀䰀䄀䌀䔀伀䘀䠀伀唀匀䔀匀㈀㄀㔀ⴀ㈀㄀㘀簀圀䤀一䜀䬀䔀䤀匀伀䌀伀䌀伀簀㄀㐀㜀㄀㈀㄀簀㄀㄀㘀㜀圀伀刀䐀匀

107

O N E Sinclair, C. (2006). Design like you give a damn. New York, NY: Abrams. -------------------------------------------------------------------------------------------------------------------------------------Examples from Shigeru Ban: Onagawa Container Temporary Housing in Onagawa, Japan, 2011

Getting inspired by Shigeruâ&#x20AC;&#x2122;s work, the dissertation topic will focus on how architects bring humanitarian qualities into the post-disaster shelters and will compare and contrast this type of shelters with normal solution-oriented shelters to show how important these qualities are. These humanitarian elements will then be analysed in depths and the dissertation will finally discuss the impacts of having these qualities in the shelters would improve the quality of life after the disaster. The qualities that I have observed from now are colours, materials and human resource. Colour can make a psychological impact on the users when they see different colours. The use of colour in postdisaster shelters plays an important role to deliver a message of hope and faith to the people who have gone through a dreadful experience in the disaster. Colours can simulate peopleâ&#x20AC;&#x2122;s motivation to carry on their life but it can go terribly wrong if the colour is overdosed as no one wants the shelters to be a very joyful playground ironically. Therefore, an appropriate design approach in colour is important.

Paper Partition System, Iteration 4, 2011

Apart from colours, the use of material is very important as well. As I have mentioned before, the source of material need to take into consideration as logistic problem happens in the affected site area all the time. Considering the shelters are built temporary, the material is better sourced locally but ideally can be recycled afterwards. Shigeru Ban has built an emergency paper shelters in Rwanda in 1999. He used paper tubes to build the shelters and which is approved in durability test. This paper roll material has then been further developed and is used in other shelters due to its low cost and durability. The last quality is the consideration of getting the users involved in the construction process. This may depend on the local situation. If the circumstance is allowed, it would facilitate the whole construction process to be faster as more man power can be used instantly. But more importantly, it helps the disaster victims to get through this tough period by making contribution to their own situation. So I will be studying the designs with functional and humanitarian essences. For instance, Shigeru Ban is a Japanese architect who is famous in designing humanitarian architecture and has been participating many post-disaster projects in all around the world. His projects are special in the use of materials and colours. A few more good examples will be studied as well. Secondary research will be used in the dissertation.

Paper Emergency Shelters for UNHCR - Byumba Refugee Camp, Rwanda, 1999

S E M E S T E R

Moor, A. (2006). Colours of architecture. London: Mitchell Beazley.

T W O

Davis, I. (1978). Shelter after disaster. Oxford: Oxford Polytechnic Press.

S E M E S T E R

I am interested in post-disaster shelters because that type of shelters brings the nature of architecture back to its original basis. When a shelter only provides you the basic need of your living, you will realise how simple it can be but it does not mean people living in a shelter cannot have a quality of living. Architects who are willing to participate in post-disaster projects are public-spirited and they try to solve the situation quick and safe. Designing post-disaster shelters is very challenging as it needs to consider many practical situations like the use of material is very limited as the local situation may not allow transportation of material easily. Although those shelters are usually very functional and solutionoriented, qualities can still be added during the design process and I think it should. When looking at Shigeru Banâ&#x20AC;&#x2122;s work, a lot of humanitarian qualities are shown in his post-disaster projects that he cares about people who suffer from the disaster yet his works are both practical and thoughtful.

Aaronson, D. (2012). Design like you give a damn (2). New York: Abrams.

ARC 2020 DISSERTATION

A human side of post-disaster shelters - Wing Kei So Coco 140007121

References of books/examples will be looked at:

PROCESS + REFLECT

Dissertation proposal

109

O N E S E M E S T E R

DESIGN THINKING

I have documented all the process and all the reflection in a website that I have created. Here are some screenshots of my websites and pinterest. Create a

The page will show you all the process that I have done throughout the year and tutors feedback will be included as well. Therefore, I started revisiting to the site and tried to get some inspiration from it. Then I realise there are serveral elements I was missing out before. Then I came up with some ideas that I should try to relate my design to the site context more. There are four 'layers' I would like to apply into the scheme: 1. The rhythm & pattern of new narrow windows (Traditional VS New) 2. Different uses of materals 3. Man-made green landscape VS natural landscape 4. Intensity of natural sunlight and shadow

site!

REFLECTIVE JOURNAL WING KEI SO COCO | STAGE 2 | 2015.16

Home

Semester 1

Semester 2

S E M E S T E R

T W O

SEMESTER 1

FEEDBACK FROM TUTORIALS:

SEMESTER 2

Tutor found that some of my ideas are great and suggested me to keep developing them but the arrangement of that five houses can be improved by designing a better pavement and try to follow the shape of the site and lanscape. So in order to enhance the relationship between the site and the building, I got an inspiration from the Kitagata apartment that the open courtyards withnin the building connects the space from one side of the building to another side. So I kept the ideas that I have got from the previous tutorial and tried to work on the scheme that would fit into the site more.

N O N - D E S I G N

W O R K

This is the home page of the website and it consists of 6 projects that we have done so far. All you need to do is move your cursor onto the photos and you will see the name of the project and then click. For example, if you click on the Dwelling Plus project, this is what you will see. Create a

REFLECTIVE JOURNAL

PROCESS + REFLECT

DWELLING PLUS

WING KEI SO COCO | STAGE 2 | 2015.16 This site was created using WIX.com. Create your own for FREE >>

Home

Semester 1

DWELLING PLUS IDEA DEVELOPMENT

Semester 2

Thinking of the circulation, privacy and lighting conditions, I finally came up with this design of having a central communal courtyard for residents and a private open balcony within their own apartment but it can be seen through from one side to the other. Panels are added on one side to reduce the wind strength. The whole platform is rised at around 1m from the ground so it will create some privacy for the residents. Two main gates of entering the housing are provided. The zoning of privacy levels are clearly shown.

At the beginning of the project, I was working on the dimensions of the site and how many buildings I can design in the area. I was thinking to have a rised-up podium before the residents get in to the house because of the poor security. I then started to design the layout of a house as below:

OTHER INSPIRATIONS I have found some good inspirations from pinterest like the landscape of different housing schemes and the layout of external gardening. See more

FEEDBACK FROM TUTORIALS: My tutor said the dimension of the podium is too long that it may be too dark for people walking beneath it and suggested me to think the accessibility of the residents in a more flexible way. Perhaps I can think more relationships of the site and the housing. Therefore, I started to explore more different ideas. Therefore, I started revisiting to the site and tried to get some inspiration from it. Then I realise there are serveral elements I was missing out before. Then I came up with some ideas that I should try to relate my design to the site context more. There are four 'layers' I would like to apply into the scheme: 1. The rhythm & pattern of new narrow windows (Traditional VS New) 2. Different uses of materals 3. Man-made green landscape VS natural landscape 4. Intensity of natural sunlight and shadow

110

site!

FEEDBACK FROM THE REVIEW

O N E S E M E S T E R

Here is another examples from Exploring Experience.

Here is the screenshots from pinterest

Create a

site!

REFLECTIVE JOURNAL WING KEI SO COCO | STAGE 2 | 2015.16

Home

Semester 1

Semester 2

T W O

EXPLORING EXPERIENCE SITE FINDINGS IN BERWICK

W O R K

S E M E S T E R

In Berwick, I started to look at stuffs that with a connection around the site. I realised the buildings around the site are very traditional but they are matched with the beautiful landscape in their own way. The findings are arranged as below:

IDEA DEVELOPMENT

N O N - D E S I G N

How to Made Books in the Past With Traditional Bo...

Then I designed the things that I want the people to experience from printing to reading. I therefore have a modern printing machine placing right in the middle of the building surrounded by glass. There will be a journey of experiencing traditional books to digital books. I started to do more research on the details and interior experience.

FEEDBACK FROM TUTORIALS: Tutors generally liked the whole circulation and journey of experience concept and suggested me to think more about the materials and figure out the accessibility of the circulation.

WEBSITE

http://cocoswk8.wix.com/coco1516

https://uk.pinterest.com/beanmerry/

So I tried to improve it by showing the circulationand spatial quality in digital model and to show the functions of different area and make the concept more visible.

FEEDBACK FROM BETA REVIEW:

PROCESS + REFLECT

Learning more from the last design project Dwelling Plus, I began thinking the relationships of the themes and the book press. The themes are Creating, Producing and Consuming. So I started with the printing process of a book. I first got inspired by the YouTube video showing a traditional book binding method in which I think it should be kept and let people to experience such kind of beautiful hand binding technique.

111

REPRESENTING

O N E D E S I G N

D O I N G

N O N - D E S I G N

W O R K

S E M E S T E R

T W O

S E M E S T E R

DESIGN DOING

112

CONSISTENCY

Layout of a booklet or a presentation should be consistent with same style, font and size.

SELECTION OF MEDIA

I have learnt to think about the media that presents an idea or work the best and try to work on the connection of the media and the idea itself.

CONVEYING A MESSAGE

So overall a good layout or good presentation should be conveying a message or main idea and they cannot be seperated as if they are just a tool to represent the layout.

L E I T H A BRIEF HISTORY Leith is a relatively large urban conurbation which lies to the north of Edinburgh on the southern shore of the Firth of Forth. To date the earliest recording of Leith is in the Foundation Charter for Holyrood Abbey in 1128, which tells us that the main existing harbour and land on the north side of the river were given to the Abbots of Holyrood by David I. Later the lands which lay to the south were given to Peter, one of David I Anglo Norman friends. Leith was for a significant period of time the largest and most popular port of Scotland as the border trade of wool and skins came through Leith. Docks became known as the Port of Edinburgh and ship building here flourished. This continued until the 18th century when Glasgow port was opened by the Americans and became the prinicpal port in Scotland.

Leith was for many years separated from Edinburgh itself and was considered inferior but Leith was officially merged with Edinburgh city in 1920. Regardless of its inhabitants voting five to one against the move in a referendum Edinbugh coucil made the decision to merge the two. In spite of the merge Leith still retains its own identity and is perceived by its inhabitants as its own area. After WWII like many places around the United Kingdom, Leith degenerated into an undesirable area to live as it became widely associated with prostitution and low standards of living. The resulting state of the area after the war lead to extensive regeneration projects having been undertaken within the area which have transformed Leith into one of the most desirable residential locations in and around Edinburgh.

ST. NINIAN’S MANSE

‘ P E R S E V E R E ’ WING KEI SO COCO, ELLE-MAY SIMMONDS, LILY STREET

This is a one of the posters for LEITH 2025 and the layout of this poster has its consistency of font, size and style and the layout is clear for people to read.

This is the online reflective journal of semester one. I have considered the choice of media which I think digital documentation of my reflective journal would be the best to show and gather all the messy idea around in one platform.

This is one of the sheet of BETA project in the presentation. I have used a paper texture as a background that reflects to my studio theme which is a book press. So the presentation and layout is still related to the theme instead of just a sheet of paper with all the information in it.

Details of the model should be shown as well as conveying the idea but I realised that we do not need to make the model very realistic as modelling is to give people a clear concept of what I want to convey rather than making it as realistic as it can be. Therefore, picking the right details to show on the model is very important as well.

MATERIAL SELECTIONS

MODELLING

DETAILS

W O R K

I learnt not to put so much details on a model so that people can spot the key details immediately. So if there is too many details in the model, it loses the focus while consuming too much time with ineffective outcome.

S E M E S T E R

T W O

The use of crafting materials on a physical model is difficult as it is hard to find the exact same materials as we want. Then soon I realise it is not about to replicate the same materials but to find the best material to represent my ideas on materials as a whole. Therefore, the colour may come first of my priority when choosing the material for my model.

O N E

DETAILS

S E M E S T E R

DESIGN DOING

RENDERINGS Compare to physical model, a digital model can be done more realistic and the selection of material should be closer to the real material that I want to apply on the building. I have used V-ray to render my digital SketchUp model but then I discover another good extension which called Maxwell and that is even handier to render the light and shadow and make the model more realistic.

The photographs help to spot the details of the model very effectively. It creates depths of the model and make the details standing out. With a good condition of lighting, details can be shown nicely.

D E S I G N

This bit of brownish colour of the burn on a white board after laser cut gives a nice white timber texture for my model. Therefore, white card board would be better than a brown card board. Otherwise, that would be too brownish after the laser cut.

D O I N G

N O N - D E S I G N

The colour and texture of the crafting material needs to be picked carefully so the crafted grey board represents the polished concrete and the brown bit is just from brown marker so that it would not distract the main texture of the model but give the atmosphere and convey the material idea of my design.

This is rendered by V-ray which can do a very detail rendings if we input all the light factor and settings but this is too complicated for me at this moment and the testing time for getting the right renders is too long for me.

This is the rendering from Maxwell that gives a nice feeling of the building texture especially the shinny surface of polished concrete. Maxwell renders great in texture as well.

113

VIDEO

I use this iMovie to edit the films and try my best to present it in the way that we want. I have learnt some basic knowledge of video editing like trimming, joining and splitting.

O N E S E M E S T E R S E M E S T E R

T W O

DESIGN DOING

W O R K N O N - D E S I G N

BEFORE This is the unedited version of the film. They are all filmed seperately and I need to put all the video together and try to match this with the sound tracks.

D E S I G N

D O I N G

The research of the right resouce for the soundtrack is very time consuming. And I realised it is hard to get what I want so overlapping soundtracks is a good method to create the feeling of sound that I want. Then I have used this NCH wavepad to edit a single soundtrack and then edit multi-soundtrack together in NCH Mixpad.

EXPRESSING FILMING

This can edit single soundtrack in details

This is the layout of Mixpad which manages all soundtracks at a time.

AFTER Filters are added in the film and I have learnt to change the speed of every shot to match with the sound track and using different skills like reverse, fade out, filterings and getting seperate films together.

114

SOUND