UCL Master of Architecture Application

Portfolio

Yu L o ng Ting Ma ste r o f Ar c hite c tur e

Ma de for You A nd Me Loc a ti on: Mei F oo, Hong K ong D a te: F eb 2 020 - Jul 2020 A c a dem ic W or k I ndi v idua l W or k

The studio commences during the outbreak of COVID-19, and we studied Mei Foo, one of the largest private estates in the world built in 1960s, as a potential site for providing housing. My project envisions how putting two different groups of residence, Youth and Elderly, in a co-living setting, can be mutually beneficial to one another The pandemic is forcing us to rethink about the efficiency of our housing system. It is not just to provide more, but how to provide better as well. It should be seen as a question of typology on how architects can design better spaces that respond to our new normal mode of living, and how it can provide a framework to allow for more civic participation for the users to customize their spaces to suit their needs for work and life.

The project is inspired by Dogma and Residential and Studio Building at the Former Berlin Flower Market. My role in this project is research, all drawings and renderings shown in the portfolio unless stated otherwise.

Yu Long Ting │ Made for You and Me

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I’m soooooo lonely!

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El d e r ly Due to COVID 19 and an aging population, many elderly are living in prolonged soltitude and loneliness in Mei Foo

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I can’t focus with all that noise!

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Youth Many students and young workers find our domestic space incapable of adapting to working from home, resulting in a blurred division of work and life

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Mei Foo Housing Estate (Parking spaces)

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Mei Foo Housing Estate (Oil Station)

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School

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Transformer Station

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Community Centre

S ite The site is a piece of 4080 m vacant land located on a strip of amenities. The surrounding site, including Mei Foo housing estate and a steep slope, has limited pedestrian access and public spaces Yu Long Ting │ Made for You and Me

D e gre e of Co - L i v i ng

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Individual

Unit The kitchen and dining table bind young and old people together

Privacy of youth & elderly respected by customizable furniture walls and split levels apartment

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Communal

Work

Public

Interactions and encounters among residents in shared amenities and light wells along corridors

The communal program provides diverse working environment for the youth

Wellness centre, shops and courtyard draws the public in while satisfying health and leisure needs of the elderly.

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Yu Long Ting │ Made for You and Me

I nh ab i ta bl e Wa l l Fu r nitur e a s t he l i v i ng u ni t

Balcony Detail Mr Chan aged 70 Owns 2 cats

Holly, aged 24 Gym enthusiast

The inhabitable wall separates the communal and the private. It condenses the program of sleeping, storage and entrance as a large piece of furniture, so it can free up maximum bedroom space for other purposes. Plywood is chosen as the material for its ease of construction and fabrication. It provides a framework for more user-initiated design. Curtains can be installed to maintain connection to the communal living spaces.

The facade is designed as a repetition of solid (precast concrete panel) and void (Openable windows) so there is flexibility to reorganize room sizes based on users’ needs.

Yu Long Ting │ Made for You and Me

Y ou t h a nd E l d er ly C o-liv ing U nit Type #1

Unit section

Elderly unit plan

Youth unit plan

Inhabitable Wall Communal Kitchen

The kitchen becomes the center of the home, and brings the elderly and the youth, who have very different lifestyles, together to form relation over the dining table.

The spirit of the communal is further intensified by the double height living room.

The individuality of the youth and the elderly are respected by dividing the apartment to split level. the youth unit has a higher ceiling height to develop as a loft apartment.

Yu Long Ting │ Made for You and Me

Co mmuna l Co- l i vi ng Typ ic a l F loor

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Communal Kitchen

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Study Room

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Badminton Court

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Laundry Room

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Garden

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Light well

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Elderly & Youth Co-living apartment

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Elderly only Unit

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Youth only Unit

Even no. typical floors (Elderly)

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Odd no. typical floor (Youth)

The elderly level is designed for encounters. The communal program of the common kitchen, badminton court and laundry etc are places for interactions among residents, while the lightwell intertwining with the corridor maintain visual connection between the youth and elderly level.

Yu Long Ting │ Made for You and Me

Co mmuna l p r o g r am & L ig htw ell

Yu Long Ting │ Made for You and Me

Wor ki ng & L i v i ng U nit Typ e # 2

Shop

Home

Shop

Historical Tong Lau in Hong Kong

Inhabitable Wall Communal Kitchen

Shop

Chinese Herbal Tea shop / cafe & Pharmacy

Living

Communal Living, co-working spaces & bedrooms

Shop This unit aims to respond to the prolonged work from home situation by showing that the domestic can adapt to a diverse range of work situations. Inspired by the shop-house typology from Southern China, where the residents are shop owners on the ground floor, the shop on the ground floor is vertically connected directly to the living level. The inhabitable wall can also be appropriated to co-working spaces / workshop spaces.

Yu Long Ting │ Made for You and Me

Wor ki ng & L i v i ng Gr o u nd F loor Pl an : S hop & Wel l ness cent er

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Customers stand outside the Chinese medicine shop and drink the medicine, sits in sthe shop for entertainment or take medical consultation upstairs (Source: Gweilo)

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3 4 Attracted by the shop, pedestrians walking on the street slow down, and interact with the shop owner. (Source: HK01)

The shop is reactivates the site by encouraging pedestrians on the street to slow down. Shop entrances have transition spaces to foster interaction inside and outside the shop.

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Public Courtyard

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Chinese medicine cafe

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Pharmacy

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Clinic

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Fitness Center

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Shops

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Furniture Store

The welcoming courtyard brings residents , school children from the north, and pedestrians from the streets together.

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The traditional Chinese medicine shop inspires the design of the public wellness centre. First being a take-away beverage shop in 1950s, it slowly evolve to become unofficial clinics and public gathering spaces for watching TV. The project uses the Chinese medicine shop as a starting point to develop program related to health and wellness that can serve the elderly living above.

Yu Long Ting │ Made for You and Me

Wor ki ng & L i v i ng Fir st F lo o r Pl an: L i v i ng q u art ers & F abri cat i on workshop

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Young people can learn lost craftsmanship from skilled elderly (Source:Facebook)

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Although there are many wood shops in Hong Kong, there is limited wood workshop space.

(Source:Facebook)

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Wood Workshop

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Multi purpose room

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Communal Living

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Communal Kitchen

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Inhabitable wall

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Residents share a common kitchen and living area at the north and south ends of the workers unit. The residential units are connected to the wood workshop at the north. The workshop is designed with meeting spaces, production and prototyping spaces to build the furniture pieces for this housing residence. Not only this made customization of domestic spaces possible, it also encourages discussions and interactions among residents of the complex.

Yu Long Ting │ Made for You and Me

Ge tting it Back Loc a ti on: Hospi ta l Road Courhouse

“The right to the city is not merely a right of access to what already exists, but a right to change it after our heart’s desire. “

D a te: Sep 2 019 - Dec 2019

From climate strike to the occupy movement, we see how the string of civil movements in recent years challenge the norms of public activities in urban spaces. The collective effort of adapting to existing infrastructure to create of insurgent spaces and temporary structures is an experimentation in trnasforming planned urban space into a creative launchpad for public activites in an unpredictable scale. Spaces were given a new dimension of meaning; of uplifting solidarity, of collective sorrow, of hope and comfort, of unrest and fear. And we navigate the city with these memories.

A c a dem ic W or k I ndi v idua l W or k

The project departs with making a statement that public life should be pushed to the stagefront where the public are both the actors and the audience.

Located between the domain (park) and Martin’s Place (street) that are both important venues for public activites, the project aims to link the two places together by establishing a viewing relationship in an observatory tower, such that the users become the spectator of the public life in the park and the street. The project aims to provide a robust structure that can be adapted for a multitude of public activites and programs, providing an ideal backdrop for formal and informal encounters that imprints collective memory into the city.

Yu Long Ting │ Getting it Back

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Martin’s Pl ace (S t r e e t ) 1. Appropriation of urban furniture along the two sides of the street.

Form

2. Infrastructure pleasantly weaving into main access of passage to attract people to stop and interact

Circular form is chosen so it can be viewed from all directions

Access

Ground connection between the ampitheatre and the park, and the observatory tower creates a visual connection between the park and main street

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D oma in (Park) 3. Vast green space as the ideal venue to gather and 4. to mark own territory

Connection

Viewing deck connects the ampitheatre with the tower without loosing connection with the ground. Stacked program creates a meandering vertical street experience.

Street & Park

The ampitheatre and viewing deck inherits the open and free nature of the park, while the observatory tower is a vertical street with programs distributed around the circulation core Yu Long Ting │ Getting it Back

Martin’s Place

The Domain

tent city

Reserve Bank of Autralia Cenotaph

Ampitheatre

MLC Centre

Important gathering place in times for national significance before 1950s Marks the start of the development of Martin’s Plae

Popular destination for outdoor performance, polit-

Constructed podium is a popular resting and public space Connected to train station

ical assemblies, skating, resting

The Mint The Domain

Yu Long Ting │ Getting it Back

Dining

Exhibition & Playing

Let’s play hide and seek!

Cheeseburger sounds nice..or should I get sushi?

Market Place

Didn’t know GPO is so important back in the days

Speaker’s Corner

We nned to have better wages and worker’s right now!

I want to get the lavender scented candle

Yu Long Ting │ Getting it Back

A Re ve rse d J ourne y Loc a ti on: C a stle Pea k Dragon K iln, F a nl ing , Hong K ong

The project aims to revitalize the abandoned dragon kiln along a steep slope, which was the only surviving dragon kiln in the South East China, by proposing a living museum complex that includes but not limited to market, exhibition spaces, pottery workshop spaces, and artist residence.

D a te: Ja n 2019 - Ma y 2019

The kiln did not produce extravagant goods. Instead, it produces daily objects, such as bowls, pipes and wine containers. But I felt its monumentality in celebrating the lives of ordinary people, and I want to convey that sacred and quiet atmosphere in this project.

A c a dem ic W or k Gr oup W or k

Along the slope, we organizes programs of exhibition, workshop and housing on split levels as volumes of solid and void, such that the circulation is separated but the journey is deeply intertwined with one another. After meandering through a long journey of exhibition spaces, guests will arrive to the last stop - a large cantilever hovering above the existing kiln structure. It is a poetic spaces that allow them to ask themselves - how do we commemorate lost history and how does it connect to us.

Yu Long Ting │ A Reversed Journey

S i t e A na l ysi s

Underutilized open space near the kiln

View of kiln Spine, looking up from the kiln head

Market

Exhibition, Workshop & Artist Residence

Sunken courtyard creates an intimate atmosphere for artists and visitors to interact

Solids and voids inserted gently into the landscape allow for intertwined journey between visitors and artists without loosing visual connection

Sacred atmosphere inside the kiln

Museum

Existing Plan

Large cantilever hovering above the kiln creates a poetic and meditative atmosphere for visitors and artists alike

Existing Section

Yu Long Ting │ A Reversed Journey

I nt e rt w i ned J o ur ney of Ar tists a nd V i sitors Along the slope, we organizes programs of exhibition, workshop and housing on split levels as volumes of solid and void, such that the circulation is separated but the journey is deeply intertwined with one another.

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Overview of the complex

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Intertwining artist & visitor program and circulation

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Visitor Entrance

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Market & sunken courtyard

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Exhibition

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Artist Residence (Common area)

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Workshop space

Section B-B´ 1:100

Looking from entrance to sunken courtyard and market

Yu Long Ting │ A Reversed Journey

Co nt ro l l ed Ci r cula tion of Sol ids & V oids Departing from the welcoming sunken market, visitors pass through a controlled journey of workshop spaces and exhibitions hidden in the landscape and connected by courtyards opening up to the sky.

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Preserved Kiln

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Meditating & viewing deck

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Exhibition

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Audittorium

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Workshop space

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Market

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+17,4m

+14.6m

Same level with the kiln

+17.4m

Immediately above the kiln

+14,6m

Yu Long Ting │ A Reversed Journey

Fu t u r e h ov er i ng ov er l ost Hi stor y After a meandering journey, Guests will arrive to the last stop - a large cantilever hovering above the existing kiln structure. It is a poetic spaces that allow them to ask themselves how do we commemorate lost history and how does it connect to us.

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View from the entrance

Looking from the transitional courtyards between volumns

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Preserved Kiln

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Meditating & viewing deck

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Exhibition

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Audittorium

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Entrance

Sectional view of the cantilever

Yu Long Ting │ A Reversed Journey

Me d i t a ti ng & V i ew i ng Dec k a bov e Ki ln

collage

Yu Long Ting │ A Reversed Journey

Gr ow ing F r om De ad Roots Locat ion: Ngau Chi Wan C i v i c Theat re, Hong Ko ng Dat e: D ec 2020 - Mar 2021 P rofessional Work (T hea t r e)

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再興之華

The story is about a bitter love story in 1997 in a “cha chaan teng” (Hong Kong style cafe) which faces demolition 30 years later. I took upon the theme of how local culture and architectural environment forms the root of our identity. The imagery of the tree and the root is important in establishing the atmosphere and space The main challange of the proeduction is 1) a short period of scenary rigging of 1.5 hours in theatre 2) frequent scene changes transitioning from 1997 & 2020 My role in this design is concept sketch & design, research, communicating with stage crew , negotiating with stage managers in the theatre, construction drawing, and construction inspection Yu Long Ting│ Growing from Dead Roots

20 2 0 S et ti ng : R O OT & RUI N

Te c h ni c a l

Conc ept

2400 1” by 2 “

x4

2200 1” by 2 “

Wood module of varying height and fixed width of 1000, with tangled rope as finish

This scene occurs in a abandoned Cha Chan Teng in 2020. Dangling ropes form an imagery to the exposed wiring and MEP as the building deteriorates, and alludes to the theme of “root of Identity”.

x4

2000 1” by 2 “

x2

1700 1” by 2 “

x6

1200 1” by 2 “

x2

1000 1” by 2 “

x 22

Modules attached to one anotther vertically and horizontally in situ

The ‘root’ is a challenge to rigging due to the short on-site rigging session of 1.5 hour and its massive size. To tackle this, strategies of modular structural wooden component and prefabrication of the frame is adopted.

Yu Long Ting│ Growing from Dead Roots

19 9 7 : TR U N K & C HA C HAAN TENG

Te c h ni c a l

Conc ept S t ru c t u re

Plywood sheet of 2000, 1100, 2000 so it can be attached to the adjacent frame

Equidistant 1” x 2” wood frame of 1700 x 300

Fi ni shi ng

White texture paint

Solid wood of 50 thickness

Painted tiles guided by masking tape, finished with glossy varnish

The centrepiece of the Cha Chaan Teng is the 5m column with mosaic tile, a common interior finnishing used in Hong Kong in the 90s. It also provides an imagery of a tree trunk, where the character’s memories is sheltered and fostered under the ‘tree’

The sheer length of the “column” is makes production, transport and rigging a challenge. To overcome this challenge, I consider carefully the tectonics of the different components of the column. Finishing are considered carefully so the column is lightweight and realistic at the same time.

Yu Long Ting│ Growing from Dead Roots

2020: Ruin & Root

2020: Furniture detail of advertisement & acrylic sheet

Transition from 1997 & 2020 The abandoned ruin in 2020 is actually the same lively Cha Chan Teng in 1997. To strengthen this continuity, the same furniture that can be transformed are used in both scenes. It also makes scene changes quicker, and brings greater cohesion to the performance

1997: Cha Chaan Teng & Trunk

1997: Furniture detail of painted mosaic tiles Yu Long Ting│ Growing from Dead Roots

Th a nk y ou !