Academic portfolio Stage 3 Newcastle University

ACADEMIC PORTFOLIO 2016/17 STAGE 3 / ENCLOSED ORDER

WING KEI SO

Academic portfolio (Stage 3) submitted in partial fulfilment of the degree of BA in Architecture (Hons), 2016/17.

Name Student number Module code Stage Year Studio

Wing Kei So Coco 140007121 ARC 3001 3 2016/2017 Enclosed Order

Date printed: 27 May 2017 Wing Kei So @ 2017 All rights reserved

CONTENTS Semester One

Semester Two

PRIMER

ATMOSPHERES ATMOSPHERE IN MODELS PROTAGONIST ARTEFACTS

Final

GRADUATION PROJECT 10 12 25 40

BRIEF SITE ANALYSIS DESIGN CONCEPT FINAL DESIGN INTEGRATED TECH PART 2

APPENDIX 48 51 54 74 82

CHARRETTE WORK IN PROGRESS REFERENCE NON-DESIGN WORK

90 92 96 98

“The sacred needs architecture if it is not to wither and that, similarly, architecture needs the sacred.”

– Karsten Harries, Prof. of philosophy

PRIMER Semester One In semester one, we are asked to define the individual character and the community that will inhabit the suggested complex. It will be required to imagine, formally explore and design the unit (monastic cell) that this character is going to inhabit, emphasising on its atmosphere (intangible qualities & character). By the end of the first stage, the students will be asked to produce a small complex of 4-6 of these units combined around a communal space of a monastic complex (either a praying space, refectory, library, etc).

In the first week, we are asked to find images that express the monastic atmospheres and here are the highlighted photos of four aspects that would make a space spiritual.

DEVELOPMENT

ARTEFACTS

PROTAGONIST

ATMOSPHERE

SEMESTER ONE

ATMOSPHERES

8

SACRED SPACE

REFLECTION SPACE

Connection with god / Assembly / Public uses

Self-realisation / Meditation / Spirituality

This photo gives a new perspective to see light differently as the space in the hall defines the light at a certain direction instead of using light to shine through the space. This inspires me in the later design.

For reflection space, it is generally darker and stronger contrast in light and shadow because it would give a deeper feeling to people and darker space reflects on yourself more than brighter space.

SEMESTER ONE ATMOSPHERE PROTAGONIST ARTEFACTS

LANDSCAPE

Endless / Repetition / Uncertainty

Nature / Peace / Sustainability

The shadow casting on the ground in the corridor forms a repetitive pattern and it changes from time to time. I want this to reflect the confusion experience while walking from one room to another.

Landscape provides a connection of people and nature.

However, this is not the main focus for the first few weeks so this will be explored in the later session.

DEVELOPMENT

CORRIDOR

9

SEMESTER ONE ATMOSPHERE PROTAGONIST ARTEFACTS DEVELOPMENT 10

ATMOSPHERE IN MODELS After we discussed the photos of atmosphere, we need to develop the photos in models and explore more possibility of light and space. I got inspired form the sacred space of Mario Botta’s Santo Volto in Turin, Italy which I found as the atmospheric photos in the first week.

Therefore, I created a similar atmosphere for the sacred space where only reflected roof light would be seen and light would fill in the gaps as the space creates. I first used clay to make the model and its texture shows the material atmosphere then I refined the model by using card boards to create the roof angles that I want.

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12

DEVELOPMENT ARTEFACTS

PROTAGONIST ATMOSPHERE

SEMESTER ONE

SEMESTER ONE ATMOSPHERE PROTAGONIST ARTEFACTS DEVELOPMENT

CONGREGATIONAL SPACE

Harmony / Soft light / Space defining the light

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14

DEVELOPMENT ARTEFACTS

PROTAGONIST ATMOSPHERE

SEMESTER ONE

SEMESTER ONE ATMOSPHERE PROTAGONIST ARTEFACTS DEVELOPMENT

INDIVIDUAL SPACE

Reflection / Sprial lighting / No boundary

15

Confusion / Lost / Finding yourself ‘Confusion’ is a starting point of the whole ‘Self-realisation’ journey. People would begin with a corridor which gives them an illusion of perspectives by the displacement of window openings and the changes of space volume. People enter from a wide and big space to a small and narrow space while walking up on a gentle gradient. This difference would change people’s sense of distance and spatial perspectives so as to create a feeling of confusion and lost.

PROTAGONIST

ATMOSPHERE

SEMESTER ONE

CORRIDOR

DEVELOPMENT

ARTEFACTS

Sketchup model of the corridor

1:50 Paper model 16

Sketch showing corridor on plan

Corridor

Reflection

Motion

Moment

(Confusion)

(Understand)

Communal (Sharing) Motion

17

SEMESTER ONE DEVELOPMENT

ARTEFACTS

PROTAGONIST

ATMOSPHERE

HOMEMADE CLAY DOUGH

Homemade clay dough: Flour, salts, water, color 18

ATMOSPHERE

SEMESTER ONE Reflection Space

Corridor

DEVELOPMENT

Communal Space

ARTEFACTS

PROTAGONIST

This is a clay model showing the connection of spaces in general. It shows the layout of the whole scheme and the roofscape of the whole monastery. It devides two main parts where the experiences space is for public and the dwelling is for monks.

Entrance 1:250 Clay model

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20

SEMESTER ONE ATMOSPHERE PROTAGONIST ARTEFACTS DEVELOPMENT Before getting into the protagonist, this scheme is more like a development stage of exploring the spaces. Therefore, the layout has changed at the end to suit the protagonist’s needs and rituals.

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“It is in the nature of things that joy arises in a person free from remorse.�

- Buddha

After the lunch, monks take time to do meditation and they are off to do their duties if assigned, for instance, serving visitors, cleaning up spaces or doing maintenance for the building.

Otherwise, the monk can be in the sharing space and carry on studying. The monk needs to gather up at 4 and start to do a group chant for memorising the Buddhist’s text for another hour and followed by an hour of meditation. They gather back at 7 and have the evening pray and the monks go back to their room.

Monks meditate in their room before they sleep.

For special occasions, like Buddha’s birthday and funeral, they will gather and use the sacred space which is mainly for visitors or Buddhists to pray. But still, the active areas for monks are usually the prayer hall and the learning space.

SEMESTER ONE ATMOSPHERE PROTAGONIST

Thus, their beliefs are easily shown in their daily rituals as a Buddhist monk. A monk wakes up at 5 in the morning and has a morning pray with all other monks before the breakfast and then follows an hour or two of meditation. He can have breakfast in between the meditation time. He then chants for memorizing Buddhist’s text and rituals for 2 hours. All of these activities are done as a group in the prayer hall. He then goes to the sharing space to read books or share ideas with other monks so as to learn more about the Buddhist’s text or philosophical studies.

There is a straight ritual for monks about food which they need to finish their lunch before noon and after that they cannot have solid food until the next day. Therefore, monks usually have their lunch at 11 and pray before they eat.

ARTEFACTS

My protagonist is a Buddhist monk who believes desires and cravings are the main reasons of human suffering since we are born into this world. The only way to get freedom from this endless cycle of life and death is to achieve ‘Spiritual enlightenment’. In order to achieve the ultimate goal, they need to purify their spirits and take away all the sensual desires and even become selfless. That is why they do meditation most of the time because when they meditate, their body and mind form a strong bonding with the nature. They then realise they are not the centre of the world and they are just as little as an ash in the world. This is from one of the concepts of Buddhism that Buddhists divide the nature into four main elements which are also closely related to our human body. This comes to a conclusion that all our formation of human body is actually borrowed from the nature; none of the parts belongs to us. Therefore, by achieving to the level of self-less, they will be free from endless sufferings just like Buddha.

DEVELOPMENT

PROTAGONIST Manifesto

23

Simple / Meditation / Rest

PROTAGONIST

ATMOSPHERE

SEMESTER ONE

INDIVIDUAL CELLS

DEVELOPMENT

ARTEFACTS

Development of the individiaul cell's layout

24

1:50 Individual cells

SEMESTER ONE

Reference

Semi-transparent partition wall

ARTEFACTS

Cube shape solar power

PROTAGONIST

ATMOSPHERE

'Kezmarke Hut' by Atelier 8000 - Competition

Concrete hot tub below ground

25

DEVELOPMENT

I wanted to keep the simplicity of modern style of the dwelling, therefore, the form of the cell is a cube shape but rotates with a bit of an angle so it forms a pitched roof and more lights can be entered to the space from the rooflight. The life style of monks is simple and non-materialistic, so they do not have many advanced furniture or technology in their living.

They used to sleep on a blanket or mattress and only hand-wash their clothes. The individual cell consists of an open bedroom, a meditation space and a bathroom.

SEMESTER ONE ATMOSPHERE PROTAGONIST DEVELOPMENT

ARTEFACTS

1:100 Individual cells plan

26

1:50 Individual cells model

Meditation space

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28

DEVELOPMENT

Showering space Shaving space

ARTEFACTS

PROTAGONIST ATMOSPHERE

SEMESTER ONE

Handwashing laundry in bathroom

29

SEMESTER ONE

COMMUNAL SPACE

DEVELOPMENT

ARTEFACTS

PROTAGONIST

ATMOSPHERE

Sacred / Praying / Sharing

30

For the communal space, monks have a prayer hall and a sharing space with a reading corner. The lighting quality in the prayer hall is mainly focused on the Buddha’s statute and make the statue shines through the space. I would like to keep the idea of having visitors to observe the monk’s daily rituals, therefore, the hall is semi-opened and monks are entering or leaving through the back of the hall.

Visitors can observe the monks around the fences, however, this Primer project only focuses on the protagonist, so I will continue develop the routes and spaces for visitors after Primer. Spaces on both sides or in the front of the prayer hall is left for the sacred space for visitors and a common space for monks and visitors.

The top floor of the communal space is the sharing space for monks where is more silent and private. The lights will get the side of the light well from the prayer hall. This space provides a reading corner for monks to read and share knowledge.

Designing the prayer hall in sections

SEMESTER ONE ATMOSPHERE Prayer hall with low fences for visitor's observation

DEVELOPMENT

ARTEFACTS

PROTAGONIST

Sketchup model of the monastery for Primer

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32

DEVELOPMENT ARTEFACTS

PROTAGONIST ATMOSPHERE

SEMESTER ONE

Ground floor plan

33

DEVELOPMENT

ARTEFACTS

PROTAGONIST

ATMOSPHERE

SEMESTER ONE

34

DEVELOPMENT ARTEFACTS

PROTAGONIST ATMOSPHERE

SEMESTER ONE

First floor plan

35

DEVELOPMENT

ARTEFACTS

PROTAGONIST

ATMOSPHERE

SEMESTER ONE

36

DEVELOPMENT ARTEFACTS

PROTAGONIST ATMOSPHERE

SEMESTER ONE

DEVELOPMENT

Section

37

ARTEFACTS

PROTAGONIST

ATMOSPHERE

SEMESTER ONE

ances and conferences.

The two entrances, at the northern and south664 areZentrum ern ends of the development, of equalfür zeitgenössische Kunst in Cordoba weight. Each leads to a foyer, from where there is access to the museum shop in one case and to a cafe in the other. The labyrinthine heart of the building is flanked by two clearly articulated rectilinear tracts. The twostorey western strip contains offices, work14 shops and studios. The eastern tract houses the media library and an elongated gallery Schnitte • Grundrisse space for exhibitions.

Maßstab 1:1000 15 Internally, the structure is distinguished by its Sections and • Floor plans raw, exposed concrete surfaces the masscale2013 1:1000 ¥ 6 features ∂ cc sive, funnel-shaped roof lights.

These reinforce the factory-like character of this centre for art and at the same time create a strikb ing contrast to the white facades clad with glass-fibre-reinforced concrete panels.

A further significant element of the outer skin is the media facade, which is oriented away from the city centre and set parallel to the river. Here, the hexagonal motif recurs 12 in a the form of the many perforations with LED light fittings incorporated round the edges.

Computer-controlled signals create changing images and textual messages, so that at night, the eastern facade is transformed into a lighting installation, the forms of which are reflected in the river.

ARTEFACTS

The Contemporary Art Centre, Cordoba in Spain

The analysis of this precedent focuses on the unique roof with hexagonal openings. I chose this building because the spatial quality of the interior space is very dynamic and it is hard to imagine how the exterior looks like just by looking at the interior. In order to understand both exterior and interior, the first model for the artefact is made in layers to see the built form and shape of the building and then the layers give transparency to understanding the roof light, such as the depth of each roof light and the sizes.

ATMOSPHERE

SEMESTER ONE

toric city centre on a bend in the River Guadalquivir. The development seeks to be more than just a museum: it serves as a meeting place as well as providing space for exhibitions, workshops, research and debates about modern – and above all digital – art.

Instead of planning a multifunctional, neutral volume with an indeterminate appearance, the architects deliberately designed a building that is characterized by its bold and highly individual formal language. This, in turn, is closely linked to the history and traditions of the location. The starting point for the planning was a repetitive, geometric module based on a hexssische bb Kunst in Cordoba agonal form, a motif that plays an important role in the artistic and architectural history of Cordoba. It can be found, for example, in the Mezquita, the former medieval mosque that is now the cathedral of the city. The idea also bears a certain relationship to Arabic literary structures in which one story is woven into another. Here, modules in three different sizes 5 strung together and interlocked. are playfully The hexagons, 150, 90 and 60 m2 in area – together with courtyards of the same form – can be combined in ever new arrangements, allowing the creation of sequences of exhibition zones with different dimensions and variaa spatial qualities. The largest of the hexaous gons – the so-called “black box” – was con-

b

aa c

Recently a completed, the centre for contemporary art in Cordoba has not yet been taken into occupation. It is situated opposite the historic city centre on a bend in the River Guadalquivir. The development seeks to be more than just a museum: it serves as a meeting place as well as providing space for exhibitions, workshops, research and debates about modern – and above all digital – art.

Instead of planning a multifunctional, neutral volume with an indeterminate appearance, the architects deliberately designed a cbuilding that b is characterized by its bold and highly individual formal language. This, in turn, is closely clinked to the history and traditions of the location. The starting point for the planning was a repetitive, geometric module based on a hexagonal form, a motif that plays an important role in the artistic and architectural history of Cordoba. It can be found, for example, in the Mezquita, the former medieval mosque that is now the cathedral of the city. The idea also bears a certain relationship to Arabic literary structures in which one story is woven into another. Here, modules in three different sizes 5 strung together and interlocked. are playfully The hexagons, 150, 90 and 60 m2 in area – together with courtyards of the same form – can be combined in b ever new arrangements, allowing the creation of sequencescof exhibition zones with different dimensions and various spatial qualities. The largest of the hexagons – the so-called “black box” – was con-

1:1000 Section A (from DETAILS)

ARTEFACTS

PROTAGONIST

Recently completed, the centre for contemporary art inb Cordoba has not c yet been taken into occupation. It is situated opposite the his9 toric city centre on a bend in the River Guadalquivir. The development seeks to be more than just a museum: it serves as a meeting 4 place as well as providing space for exhibi10 Entrance tions, workshops, research and debates Foyer a about modern – and above 3 Museum shop all digital – art.

Auditorium, Instead of planning a multifunctional, 3neutral “black box” volume with an indeterminate appearance, the 7 Media library Exhibition gallery architects deliberately designed a building that Courtyard 2 is characterized by its bold and highly individExhibition space 1 7 is closely ual formal language. This, in turn, Deliveries 8 Store linked to the history and traditions of the locaWorkshops tion. The starting point for the planning was a Mechanical services 5 repetitive, geometric module based on6 a hexCafe Office agonal form, a motif that plays an important Studio role in the artistic and architectural history of b c Cordoba.

EG/Ground floor It can be found, for example, in the Mezquita, the former medieval mosque that is now the cathedral of the city. The idea also bears a certain relationship to Arabic literary structures in which one story is woven into another. Here, modules in three different sizes 5 strung together and interlocked. are playfully The hexagons, 150, 90 and 60 m2 in area – together with courtyards of the same form – can be combined in ever new arrangements, allowing the creation of sequences of exhibition zones with different dimensions and various spatial qualities. The largest of the hexagons – the so-called “black box” – was con-

b

DEVELOPMENT

1:1000 Ground floor plan (from DETAILS)

b

5 6 7 8 9 10 11 12 13 14 15

c

5

9

OG/Upper floor 4 Entrance Foyer Museum shop Auditorium, “black box” Media library Exhibition gallery Courtyard Exhibition space Deliveries

ceived as an auditorium and multipurpose space that can be used for audio-visual exhibitions, for film showings, theatrical performances and conferences.

The two entrances, at the northern and south12 11 ern ends of the development, are of equal weight. Each leads to a foyer, from where there is access to the museum shop in one a case and to a cafe in the other. The labyrinthine heart of the building is flanked by two clearly articulated rectilinear tracts. The twostorey western strip contains offices, work8 1 14 shops and studios. The eastern tract houses 13 the media7library and an elongated gallery 7 2 space for exhibitions.

15 Internally, the structure is distinguished by its raw, exposed concrete surfaces and the massive, funnel-shaped roof lights. These features reinforce the factory-like character of this centre for art and at the same time create a striking contrast to the white facades clad with glass-fibre-reinforced concrete panels.

A further significant element of the outer skin is the media facade, which is oriented away 14 from the city centre and set parallel to the river. Here, the hexagonal motif recurs 12 in the form of the many perforations with LED 15 light fittings incorporated round the edges.

Computer-controlled signals create changing 1 Eingang images and textual messages, so that at 2 Foyer night, the eastern facade is transformed into 3 Museumsshop a lighting installation, the forms of which are 4 Auditorium »Black box« reflected in the river.

11

Mediathek Ausstellungsgalerie Innenhof Ausstellungsbereich Anlieferung Lager 12 Werkstätten Technik Cafeteria 12 Büro Atelier

10 1:1000 Top floor plan (from DETAILS)

a

a

3 3

38

7

b

1

8

2 c

7

8

7

1 13

c

a

b

c 9

4 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Entrance Foyer Museum shop Auditorium, “black box” Media library Exhibition gallery Courtyard Exhibition space Deliveries Store Workshops Mechanical services Cafe Office Studio

10

a

3 3 b 1

c

2 7

5

b EG/Ground floor

6

c

Dokumentation

663

Dokumentation

663

240°

240°

SEMESTER ONE

ner Kunstfabrik und steht im den weißen Fassaden des Zent glasfaserverstärkten Betonkleidet sind.

Bestandteil der Gebäudehülle e Medienfassade, die sich s orientiert und das Flussufer ch hier taucht das SechseckmoForm von die Fassade perforieungen auf, in die seitlich LEDgebracht sind. Computergenale erzeugen wechselnde Bile und lassen die Ostfassade chtinstallation werden, die sich seroberfläche des Guadalquivir t.

2 60°

4

ATMOSPHERE

3

240° 240° 240° 240°

The Contemporary Art Centre, Cordoba, Spain (from Fernandoalda) 240°

5

2 60°

PROTAGONIST

6

Alternative layouts for exhibition spaces Sequence of spatial modules

60° 240°

2 3

60°

4 60°

4

3

ARTEFACTS

5

240° 240° 240° 240° 60°60° 60° 240° 240° 240°

60° 240° 6

5 1

60°60° 60°

DEVELOPMENT

« Ausm e Module

60°

Patterns of roof openings (from DETAILS)

5

39

Interior photos (from OpenBuildings)

40

DEVELOPMENT ARTEFACTS

PROTAGONIST ATMOSPHERE

SEMESTER ONE

SEMESTER ONE

BUILT FORM IN LAYERS

DEVELOPMENT

ARTEFACTS

PROTAGONIST

ATMOSPHERE

This concept model is to understand the building form and its mass in a transparent way. Each layer shows the changes of roof size. This is mainly to understand the roof form from big to small openings.

1:200 Tectonic model 41

SEMESTER ONE

Positive & Negative spaces

DEVELOPMENT

ARTEFACTS

PROTAGONIST

ATMOSPHERE

This is my analysis of this precedent about the roof of both positive and negative spaces.

I see the exterior of the roof as the interior of my imaginery space which is built by the black frame.

42

DEVELOPMENT

1:200 Tectonic model

43

ARTEFACTS

PROTAGONIST

ATMOSPHERE

SEMESTER ONE

“The foot feels the foot when it feels the ground.”

– Buddha

CONTEMPORARY BUDDHIST MONASTERY Semester Two The brief of my studio is to design a Buddhist monastery which can accommodate 30 people to stay with the provisional of communal spaces. This Buddhist monastery is for both monks and visitors running as retreat centre for local people so as to enhance the understanding of this religion. The location of this project is in Ouseburn, Newcastle where is reforming from an industrial to a cultural and creative district. The site boundary for this project is from the metal scrap yard to the adjacent Christian church. My design is to keep the remaining church but reform the metal scrap yard into a Buddhist monastery in order to enhance the social integration through a religious building under the urban context.

SEMESTER TWO BRIEF

BRIEF

Buddhist monastery / Modernism / Social Integration *refer to ARC 3015 Theory into Practice

FINAL DESIGN

DESIGN CONCEPT

SITE

Sacred Architecture & Social integration The influence of Eastern-religious architecture on social integration in the Western world

46

The brief of my studio is to design a Buddhist monastery which can accommodate 30 people to stay with the provisional of communal spaces. This Buddhist monastery is for both monks and visitors running as retreat centre for local people so as to enhance the understanding of this religion.

The design creates a level of enclosure such that the transitional zones connect the space from public to private.

The transitional zones such as semi-public and semi-private zones are public accessible. Seating areas are provided in the semi-public zone (see diagram).

The people Buddhist monks, visitors who stay & regular prayer Key spaces to achieve social integration Corridor, Individual cell & Main Hall

Level of privacy diagram

FINAL DESIGN

Social integration

47

DESIGN CONCEPT

SITE

BRIEF

SEMESTER TWO

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FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

SEMESTER TWO BRIEF SITE The site is in Ouseburn, Newcastle where has a rich historical background during the industrial period. Therefore, a strong sense of industrial atmosphere remains there. Following the transformation of industrial image to a cultural and creative region, religious element is a great enhancement of the livelihood of Ouseburn valley. Therefore, reforming the Christian church into part of the Buddhist monastery is the primary idea.

Secondly, reusing the existing brick wall along the Ford street as for responding to the site. So, the main building material would be heavy material like brick and concrete because of the surrounding building.

DESIGN CONCEPT

Ouseburn, Newcastle / Metal scrapyard & Christian Church

FINAL DESIGN

SITE ANALYSIS

In terms of the roofscape, the buildings around the site are usually pitched roof. Therefore, the monastery would have a subtle single pitched roof.

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FINAL DESIGN

1:500 Massing model

Form and shape

50

DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

SEMESTER TWO BRIEF SITE DESIGN CONCEPT

1:200 Testing model

FINAL DESIGN

Internal couryard / Low pitched roof

51

Monk & Visitor’s circulation / Clean facade / Atmosphere The corridor is the main key space that relates with the concept of simplicity.

The concept would show on facade of the building. Perforated brick is placed alongside the corridor to have a lighting atmosphere. This corridor is a seating area for monk internally. The level differece from the outside street creates a certain privacy to the monks but the perforated brick acts as a permeable wall that allows light and sound to pass through. This would encourage the people’s insterest to explore this monastery.

FINAL DESIGN

DESIGN CONCEPT

SITE

BRIEF

SEMESTER TWO

CORRIDOR

Facade model

Clean facade

52

Level difference

Level of privacy 53

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Corridor 55

SEMESTER TWO BRIEF SITE DESIGN CONCEPT FINAL DESIGN 56

INDIVIDUAL CELL

Monk & Visitor’s circulation / Clean facade / Atmosphere The individual cell is changed from primer that they have to share the bathroom. The space of the monastic cell provides them a meditation space according to their rituals and needs.

1:50 Concrete model Individual Cell

DESIGN CONCEPT

SITE

BRIEF

Balcony

FINAL DESIGN

Render

57

SEMESTER TWO

58

FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

FORD Ford STREET Street

SEMESTER TWO

SEMESTER TWO BRIEF

Section with context

FINAL DESIGN

DESIGN CONCEPT

SITE

Individual cell

Elevation

Facing Ford Street 59

Ground floor plan

Individual cell

60

FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

First floor plan

Individual cell

61

FINAL DESIGN

DESIGN CONCEPT

SITE

BRIEF

SEMESTER TWO

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FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

Section with context Individual cell

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Individual cell

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SEMESTER TWO

MAIN HALL

Coffer structure / Lighting & Atmosphere / Monastery hierarchy The main feature of the main hall is the concrete coffer structure. Coffer structure is a popular ceiling structure that is widely used in traditional Buddhist temple.

Since most of the traditional temple are in timber form, their coffer ceiling are usually timber as well. In this case, concrete coffer ceiling creates the contrast of the heaviness of material while still providing large span support for the structure.

This structure also contributes to natural lighting with monastic atmosphere when light casts repetitive shadows on the ground.

showing the colourful coffer structure that are often used in traditional temples.

SITE

BRIEF

Timber coffer structure (Traditional)

DESIGN CONCEPT

Rumtek Monastery, Sikkim, India

FINAL DESIGN

The Bongeun Temple, South Korea

66

The Buddha Tooth Relic Temple, Singapore

Concrete coffer structure

respond to the local context with heavy material Central Lecture Theatre, Brunel University, Uxbridge, London, 1966

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68

FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

Main Hall

Level of hierarchy

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Card board Model

Coffer structure

70

FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

Ground floor plan

Main Hall

71

FINAL DESIGN

DESIGN CONCEPT

SITE

BRIEF

SEMESTER TWO

72

Main Hall

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Ground floor plan

1:500 rendered plan

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FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

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First floor plan

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1:500 rendered plan

FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

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Section A

1:200 rendered section

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FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

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Section B

1:200 rendered section

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FINAL DESIGN DESIGN CONCEPT

SITE BRIEF

SEMESTER TWO

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SEMESTER TWO

Part Two - Reflection

This section is to reflect on the improvement of technology that has integrated into my project throughout my design process. The integrated technology part one helps to identify the opportunity of making the most use of the site as well as the site limitation and precaution that may affect my design. For instance, the site is on a metal scrapyard where would contaminate the soil that requires site strip to remove the substandard soil. Besides, the reuse of material from the existing site not merely for environmental and cost benefits but also for responding to the site context since the site is in Ouseburn where has remained a rich historical legacy and industrial atmosphere. Therefore, the heavy materials such as concrete and brick are used in this project.

Project Site in Osuburn, Newcatle

FINAL DESIGN

DESIGN CONCEPT

SITE

BRIEF

INTEGRATED TECHNOLOGY

Cut & Fill diagram *refer to ARC 3013 Technology report part 2 82

SEMESTER TWO BRIEF SITE DESIGN CONCEPT FINAL DESIGN

Site re-landscaping diagram *refer to ARC 3013 Technology report part 2 83

SEMESTER TWO BRIEF SITE DESIGN CONCEPT FINAL DESIGN

Structural diagram REVISED VERSION

84

*refer to ARC 3013 Technology report part 2

Apart from the above changes, the rest of the technology remain unchanged since it has a good reflection in terms of solar design and air ventilation by designing cantilevered roof and cross air ventilation to improve air quality. From the technical side, it shows the self-sustainability that utilises more natural resources instead of electricity. Part of the reason contributes to the monk’s simple living and strong rituals, so they do not rely on electricity for their laundry for example.

However, in terms of the integrated technology, the changes affects not just on the structure technically but with a greater integration with the design concept. It also relates to the atmospheric studio theme and explore the main brief at a wider context.

SEMESTER TWO BRIEF SITE DESIGN CONCEPT

2. CHANGES ON BUILDING SERVICES Another major change of the integrated technology is the use of the cladding void.

Originally, the cladding void is used as louvre that improve the air ventilation of the seating area on the ground floor. However, this has a contradiction with the perforated brick along the seating area on the below floor. Since the perforated brick has the same function of introducing natural air, creating a louvre above the seating area seems unnecessary. Therefore, the use of the service void has changed from louvres to lighting services. In this case, the artificial light becomes the media to interact the outdoor from indoor during night time.

FINAL DESIGN

1. CHANGES ON STRUCTURE In terms of the structure, the concrete frame structure is remain the same but the structure of the roof is changed from glulam structure to concrete coffer structure.

The idea of using glulam structure in the first place is because of resolving the large span problem of the Main Hall. Despite the technical side of the glulam structure, it does not echo with the design concept potentially. Therefore, more research is undertaken to seek for a better roof structure to interact with the whole design idea, which is extracting the Eastern architectural quality into the Western local context. Coffer structure is a popular ceiling structure that is widely used in traditional Buddhist temple. Since most of the traditional temple are in timber form, their coffer ceiling are usually timber as well. In this case, concrete coffer ceiling creates the contrast of the heaviness of material while still providing large span support for the structure. This structure also contributes to natural lighting with monastic atmosphere when light casts repetitive shadows on the ground.

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SEMESTER TWO

Dotted green line shows the concrete column.

Noted that it should be hidden by walls

BRIEF

Individual Meditation Balcony (Outdoor with roof)

Bedroom & meditation space (Indoor; Door access to the balcony)

SITE

Louvres

Seating area (Indoor with natural air ventilation)

Shared Washroom (Indoor with louvre)

Perforated brick & Glazing

FINAL DESIGN

DESIGN CONCEPT

Beam (300 width; 650 depth)

1:50 Detail Section (Before)

*refer to ARC 3013 Technology report part 2 86

Concrete Coffer structure

SEMESTER TWO

1

Bedroom & meditation space (Indoor; Door access to the balcony)

BRIEF

Individual Meditation Balcony (Outdoor with roof)

SITE

2

Lighting services

FINAL DESIGN

DESIGN CONCEPT

Seating area (Indoor with lighting)

1:50 Detail Section (After) REVISED VERSION

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APPENDIX CHARRETTE WORK IN PROGRESS REFERENCE NON-DESIGN WORK

My idea of the 'Newcastle & Metro' theme

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NON DESIGN REFERENCE

WORK IN PROGRESS CHARRETTE

APPENDIX

Wallpaper making

Charrette

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NON DESIGN

REFERENCE

WORK IN PROGRESS

CHARRETTE

APPENDIX

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NON DESIGN

Thinking through making

Concrete casting

REFERENCE

WORK IN PROGRESS CHARRETTE

APPENDIX

Model making through designing

NON DESIGN

Main hall

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REFERENCE

WORK IN PROGRESS

CHARRETTE

APPENDIX

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NON DESIGN REFERENCE

WORK IN PROGRESS CHARRETTE

APPENDIX

APPENDIX CHARRETTE WORK IN PROGRESS REFERENCE 1:50 Main hall section *FAIL*

NON DESIGN

Model making through designing

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APPENDIX

LIST OF FIGURES *Only reference online pictures* Santo Volto Church in Turin, Italy

https://petapixel.com/2012/12/14/photographs-of-modern-daychurches-and-their-non-traditional-designs/

CHARRETTE

Neanderthal Museum, Spain

Bell-lloc Winery, spain

http://www.archdaily.com/536508/bell-lloc-winery-rcr-arquitectes/53c9dc43c07a80c64a000254-bell-lloc-winery-rcr-arquitectes-photo

WORK IN PROGRESS REFERENCE

Rumtek Monastery, Sikkim, India

The Bongeun Temple, South Korea

http://www.singapore-guide.com/attractions/buddha-tooth-relic-temple.htm

The Buddha Tooth Relic Temple, Singapore

Zen garden

http://kimcheetimes.blogspot.co.uk/2009/08/buddhist-temple-in-south-korea-bongeun.html

Buddhist monk

Central Lecture Theatre, Brunel University, Uxbridge, London, 1966

http://aboutvirus.info/ccabinfo-buddhist-monk-wallpaper.html

Kezmarke Hut’ by Atelier 8000 - Competition

http://www.designboom.com/architecture/atelier-8000-kezmarska-hut-slovakia-10-12-2014/

Cube shape solar power, Norway

http://inhabitat.com/the-cube-shaped-flotane-is-a-solar-powered-rest-stop-for-hikers-in-norway/

Semi-transparent partition wall

http://www.wardrobedoorsdirect.co.uk/help-advice/oriental-sliding-wardrobe-doors

Concrete hot tub below ground

https://www.homeyou.com/images/media/ComingClean15/ Bathtub-Sunken.jpg

The Contemporary Art Centre, Cordoba, Spain (from Fernandoalda) http://www.archdaily.com/354500/contemporary-arts-center-cordoba-nieto-sobejano-arquitectos

NON DESIGN

https://uk.pinterest.com/pin/564990715722860156/

https://www.tripsavvy.com/buddhist-monasteries-in-inhttp://alwaysinstudio.tumblr.com/post/35203164502/n-architek- dia-1539714 tur-neanderthal-museum-spain

https://uk.pinterest.com/pin/95560823319204440/

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Buddhist monk (sem2 cover page)

The Contemporary Art Centre, Cordoba, Spain (from DETAILS) http://inspiration.detail.de/startseite.html

Interior photos (from OpenBuildings)

http://openbuildings.com/buildings/contemporary-art-center-cordoba-profile-45143

https://uk.pinterest.com/pin/51791464437221958/

Akama, Y. (2012). A ‘ Way of Being ‘ in Design: Zen and the Art of Being a Human-Centred Practitioner. Design Philosophy Papers, 10(1), pp.6380.

APPENDIX

BIBLIOGRAPHY

Blundell Jones, P. (2016). Architecture and Ritual. 1st ed. Bloomsbury Publishing Plc. Britton, K. (2011). Constructing the ineffable. 1st ed. New Haven, Conn: Yale University Press.

Harries, K. (2010). On the Need for Sacred Architecture: 12 Observations. Design Philosophy Papers, 8(1), pp.7-10.

CHARRETTE

Birch, R. and Sinclair, B. (2013). Spirituality in Place: Building Connections Between Architecture, Design, and Spiritual Experience. The Visibility of Research, 1(1), pp.80-87.

REFERENCE

McGuire, R. and Schiffer, M. (1983). A theory of Architectural Design.

Journal of Anthropological archaeology, 2, pp.277-303.

NON DESIGN

Lipe, W. and Hegmon, M. (1989). The Architecture of social integration in prehistoric pueblos. 1st ed. Cortez, Colo.: Crow Canyon Archaeological Center, pp.5-11.

WORK IN PROGRESS

Kim, S. (2007). Buddhist architecture in Korea. 1st ed. Elizabeth, NJ: Hollym International Corp.

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