2018 CUHK MArch Graduation Show XXII by CUHK ARC 2018

MASTER OF ARCHITECTURE GRADUATION SHOW XXII SCHOOL

ARCHITECTURE,

THE

CHINESE

UNIVERSITY

HONG

KONG

This publication accompanies the exhibition: “Master of Architecture Graduation Show XXII”, organized by the 22 nd Master of Architecture Graduation Committee, School of Architecture, The Chinese University of Hong Kong For more information about the graduation show, please visit: https://www.facebook.com/CUHK.MArch.GradShow/ http://instagram.com/cuhk.march.gradshow/ All rights reser ved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronics, mechanical, photocopying, recording or other wise without the prior approval of the publisher.

School of Architecture The Chinese University of Hong Kong AIT Building Shatin, New Territories Hong Kong SAR, China T: +852 3943 6583 F: +852 3942 0982 E: architecture@cuhk.edu.hk W: www.arch.cuhk.edu.hk

436p., 176.0 x 250.0 mm ISBN 978-962-8272-34-1 First published in June 2018 Printed and bound in Hong Kong © School of Architecture, CUHK

CONTENT

Director ’s Address - Prof. Nelson CHEN

Foreword - Mr. Patrick HWANG

Preface - Ms. Karen KWOK

Acknowledgement

Theme - Make Some Noise !

Our Noises !

Dialogue - Prof. Fumihiko MAKI

Dialogue - Prof. Nader TEHRANI

Dialogue - Ms. Marisa YIU

Thesis Projects Index

DMP

Design Methodology and Practice

HCCD

Histor y, Culture and Conser vation Design

167

UDLU

Urban Design and Landscape Urbanism

207

BTSD

Building Technology and Sustainable Design

287

DTCD

Digital Technology and Computational Design

327

Organising Committee

370

Sponsors

376

Appendix

421

Professor Nelson CHEN

Di re ct or, Sch ool of Arch i t e ct u re

My warmest congratulations to all the graduates of the Class of 2018 Master of Architecture professional degree programme. This is the 22nd class of graduates in the histor y of the School of Architecture of the Chinese University of Hong Kong who have organized an annual public exhibition and published a book of their final year thesis projects.

world population is projected to grow by an additional 2.5 billion people – how do we feed that many more people without harming the land that sustains us? And, build liveable, sustainable cities that will be home to more than two-thirds of the world’s population? Here in Hong Kong, can we really claim to be a world-class city when more than 1 million of our 7 million residents live below the poverty line? And, when housing is so unaffordable that developers are marketing housing flats that occupy the same footprint as only a carpark space? What is the response of the architect in the face of these realities?

Remarkably, each year manages to surpass previous benchmarks, and this year ’s Grad Show is no exception with its impressive exhibition and publication as a summation of the outstanding talents and dedication of the graduates, as well as current design issues and discourses in our School and the architectural profession.

If critical thinking can be described as the analytical process of breaking down ideas and design thinking as the creative process of building up ideas, the dialectic between the two – as an interactive, iterative and integrative process – enables us to make sense of the complex connections between people and places, environment and technology, theor y and practice, in order to lead us to design and innovation.

This year ’s theme of “Make Some Noise” is an expression heard at rock concerts or variety shows for the audience to welcome loudly and enthusiastically the next act to come on stage: “Let’s make some noise for….!” I must confess, with my generational gap, that my mind makes unexpected connections. So, this colloquial saying reminds me not of David Bowie or Prince, but instead of Mahatma Gandhi, who said, “Be the change you wish to see in the world.”

To all our graduates – this fusion of critical and design thinking has been embedded in the DNA of your architectural education to be both competent and creative, both pragmatic and poetic, both grounded and visionar y. Thus, in your eventual designing of buildings and cities, I have faith that your generation will be able to shape a better world for the future we all want. May God bless you all.

For our graduating students, “Make Some Noise” is not simply about having their voices heard, but expressing their commitment to making social impact, making a difference, and being the change they wish to see in a world that faces urgent, unprecedented challenges: global warming, depleting natural and energy resources, economic imbalances, social injustices, broken politics. By 2050, the

Prof. Nelson CHEN, FHKIA FAIA FRIBA Professor of Practice in Architecture Director, School of Architecture The Chinese University of Hong Kong

D i re c to r ’s A d d re s s

Patrick HWANG

T h e si s C oordi n at or, Sch ool of Arch i t e ct u re

MOMENT OF TRUTH

FICTION

The truth is rarely pure, and never simple. Oscar Wilde, 1891

Architect Mark Rakatansky suggests that architects don’t just make things, but also make up things. Too often architects forget the second, and often the equally if not the more important part – that architectural fabrication involves stories, scenarios and situations through which they can communicate to a larger audience. This is part of the narrative necessarily conveyed through the proposed architecture. Isn’t the architectural studio part of the process in educating how to “make up things”? That in order for the project to mesmerise an audience, it must possess qualities like those in a captivating work of fiction, qualities that appeal to the soul, intellect and the emotion? Such as focus (the power to bring an issue into clear view); logic (a coherent system for making your points); a sense of connection (the power of personal involvement); simplicity (clarity and focus on a single idea); imager y (the power to create profound spaces with architecture); creativity (the ability to invent); excitement (design energy that infects an audience with your own enthusiasm); provocation (architecture that makes people think or act); a sense of Wow! (the wonder your architecture imparts on an audience); transcendence (architecture that elevates with its heroism, justice, beauty, honour). This, to me, is the highest form of architecture.

WHAT TO SAY? I have been coordinating the Thesis Projects at CUHK since 2012 – the longest ser ving faculty member for this post to date – which means that I have been invited to write the Foreword section of the Graduation Book five times before. What else can I say about the “thesis projects” that I haven’t already written in my past attempts? Perhaps through the lens of an (attempted) academic/ intellectual? Done that. What about from the role of a (somewhat) seasoned practitioner? Done that also. Maybe as a compassionate teacher who discourages students from falling into tremendous self-doubt? Tried that last year. Perhaps to craft a coherent argument for continuing with the optimism for believing in this thing called “architecture”? Yes, did that as well. After a long struggle, I have decided to write down snippets of provocations as my “gift” to you all but also as a reflection on what I do as an architectural educator. The order in which they appear bears no intentional or hierarchical agenda.

typically organised linearly with pictures and drawings of their designs, annotated with their words. The simple fact is, it is precisely because of their visual difference that we recognise their work in the first place. Therefore, as an audience, we go to the lecture expecting to be enlightened by a narrative, to discover a revelation of a rigorous process, and perhaps a unique methodology of design. But in reality, we tend to learn about their non-transferrable intuition, a particular feeling to react, an eureka moment, and we hear an exhaustive use of metaphors. Therefore, we leave the lecture room knowing nothing more than when we entered it 60 minutes ago. POSITION Dutch architect Michiel Riedijk describes position as the ground on which the work is operated. Not only is he articulating the physical grounding of the project, but also the origins through which the work is conceived and rooted from, ethically, socially and technically. The position an architect adopts with regard to a given assignment is fundamental to the design of architecture. For example, should an architect work with any commission that comes her way, regardless of social, political and ethical considerations? Should an architect work in ever y part of the world because she is able to? What is the financial condition under which the architect is working? Should the architect be a ser vice provider to the client, accommodating the client’s demands as best as possible? What role should the architect play in the construction process, be an obser ver or provide fantastical imager y without inter vention to the production of the

FAME “ To be different” is what architects who have achieved notoriety say of their projects. It is the aim of what they hope to do and accomplish. It is also why their lectures are usually less inspiring than anticipated,

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building? These are not rhetorical questions; the nature of the position is utterly important particularly due to the permanence of the building and its impact to the city and society at large.

have a white canvas, a brush and a palette of colours and you look at this white canvas and now you’ve got to make a mark. And I call that moment of truth. It’s clean and pure. It’s direct. It’s hand-eye coordination, it’s the brain, it’s your thoughts, it’s millions of years of histor y of art packed into your brain, and it’s what you had for breakfast and whether your kids were a pain in the ass, and all kinds of stuff. So that first moment is a moment of truth. And I kept looking for the analogy in architecture, because in architecture you can hide behind so many things. You can complain: ‘Well, the client wanted this. I didn’t want to do it but I had to’ or ‘ The building department wouldn’t let me do this’ or ‘ The budget wouldn’t let me do this.’ So you have an excuse mantra that’s two miles long if you want to use it to explain why the building looks like it does. I was looking in my own psyche and in my own life for the moment of truth where you’re clean of all that; where you can’t hide. I don’t want to hide. I just want to get out there. I don’t want to have any reasons. I’ve got to keep the rain out, maybe, but I only want ver y simple reason, so it’s not cluttered. And Philip Johnson gave a lecture in which he talked about one-room buildings being the greatest buildings of all time. And that’s it! ‘You gotta just make the one room.’ And so I started thinking of that as the moment of truth in architecture. And I still think about things that way. The rooms are discrete and they’re objects in their own right, but then they’re part of a continuum, part of a bigger picture.”

AUTHORITY The critic assumes the role of the judge which exudes an aura of authority – an authority whose command and master y of the subject matter tower above the students. Commentar y and advice all come with an absolute and definitive undertone, plus an occasional hint of mysticism. Sometimes the authority is an elderly gentleman with a suit and tie who speaks with a deeply accented voice. Other times it is a young man in his early 30s. Despite his appearance, the critic is someone of a particular expertise and knowhow – so thinks the motivated yearone student. For why else would the critic be there in the first place? The student soon learns by year-three that the critic is not always the authority he is assumed or projected-to-be but in fact, someone who wishes to be away from the mundane of the ever yday architectural practice. To return to the crit room is for him, a rekindling with the naiveté he once felt, that fuzzy feeling of optimism which propelled him to study architecture in the first place. So, in order to regain that nostalgic urge of making the world a better place, the critic accepts the invitation to attend the review. MOMENT OF TRUTH

i. Mark Rakatansky, “Fabricators”. Tectonic acts of desire and doubt, p12 – 27. ii. Michiel Riedijk, “ The Drawing”. The architect’s raison d’être , P 42- 48. iii. Frank Gehr y, “ The Pritzker Architecture Prize acceptance speech, 1989.

What is your moment of truth? What is mine? It is the search that most of us are still looking for. To the 22nd class of MArch graduates, my best wishes to you. Having said all of this, I will have nothing else to say.

In the words of Frank Gehr y , he describes the act of coming into being with himself when confronting the question of the beginning: “but what interests me – and I’ve talked about this before – is the moment of truth. Take the simplest example of a painter : you

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Karen KWOK

P re si de n t , M ast e r of Arch i t e ct u re Gr adu at i on Sh ow XXI I Sch ool of Arch i t e ct u re

This ye ar, the C U HK M ast e r of Arch i t e ct u re Gr adu at i on Sh ow re ach e s i t s 22n d an n i ve r sar y. For more t h an t wo de cade s, ou r Sch ool of Arch i t e ct u re h as produ ce d man y de di cat e d gr adu at e s wh o are bot h ski l l e d an d passi on at e abou t arch i t e ct u re , soci al l y commi t t e d an d we l l pre pare d f or prof e ssi on al pr act i ce . I n 201 8, we se e k t o bu i l d on t h e su cce ss of ou r pre de ce ssor s, at t h e same t i me boost i n g i magi n at i on , i n n ovat i on an d i mpact t o f re sh n e w h e i gh t s. Arch i t e ct u r al st u de n t s are of t e n con si de re d as a grou p of “ re be l l i ou s” st u de n t s si n ce we are n ot sat i sf i e d wi t h t h e e xi st i n g e n vi ron me n t . Rai si n g qu e st i on s an d aski n g “ wh y?” an d “ wh y n ot?” be come ou r u su al pr act i ce wh e n we de si gn or e ve n i n ou r dai l y l i ve s. T h e re f ore , wi t h t h i s ye ar ’s t h e me of “ M ake Some Noi se ”, we are n ot on l y voi ci n g con ce rn s abou t soci e t y bu t al so provi di n g con cre t e su gge st i on s wi t h ou r t h e si s proj e ct s. O u r arch i t e ct u r al proposi t i on s may n ot ye t of f e r t h e be st sol u t i on s; h owe ve r, we h ave t r i e d ou r be st i n t h i s on e - ye ar re se arch an d de si gn e xpl or at i on t o con si de r “ wh y n ot?” T h u s, t h e t h e si s de si gn proj e ct s of f e r u s a me an i n gf u l con cl u si on t o ou r acade mi c st u di e s an d re mi n d u s t o st ay cu r i ou s t o t h i s wor l d an d car r y on t o t h e n e xt ch apt e r i n re al - l i f e pr act i ce .

P re f ac e

Class of 2018

M ast e r of Arch i t e ct u re T h e C h i n e se U n i ve r si t y of Hon g Kon g

O u r f i ve - ye ar acade mi c j ou rn e y h as f i n al l y come t o an e n d, af t e r ove rcomi n g t h e most ch al l e n gi n g mi l e st on e f or u s so f ar – t h e “ t h e si s” – a t e rm u n t i l l ast ye ar we h ave n e ve r h ad t o prope r l y de al wi t h . O n e ve r y l e g of t h e j ou rn e y, we h ad f ace d i n cre di bl e di f f i cu l t y, con st an t l y dou bt i n g ou r own abi l i t i e s, qu e st i on i n g wh e t h e r t h e di re ct i on we we n t on was r i gh t or wron g, re de f i n i n g t h e me an i n g of “st re sse d” t o a wh ol e n e w l e ve l … B u t wh e n i t was al l don e an d du st e d, i t was l i ke t aki n g a de e p bre at h of f re sh ai r. Havi n g st e ppe d ou t of ou r comf or t zon e an d e n du re d t h e t ou gh e st f i gh t of ou r l i f e , we are re ady t o gr adu at e f rom sch ool an d e n t e r a wor l d of possi bi l i t i e s.

Ng C h u n M an Arch i t e ct s & En gi n e e r s Lt d. , an d Han g L u n g P rope r t i e s Lt d. as ou r Di amon d Spon sor s t h i s ye ar.

T h e Gr adu at i on Sh ow an d t h i s pu bl i cat i on mar k t h e e n d of a j ou rn e y bu t ope n t h e door t o an ot h e r. T h e t h e si s was on ce i n - a- l i f e t i me adve n t u re wh e re we h ad t h e ch an ce t o f i gh t f or some t h i n g we we re t r u l y passi on at e abou t , t o se e i t t h rou gh f rom i n ce pt i on t o vi si on , f rom a h ypot h e si s t o a f i n al proj e ct . O n t h i s n ot e , we wou l d l i ke t o e xpre ss ou r si n ce re gr at i t u de t owards ou r advi sor s f or t h e i r u n e n di n g pat i e n ce an d su ppor t , con si st e n t l y of f e r i n g de di cat e d h e l p an d re assu r an ce wh e n e ve r we e n cou n t e re d probl e ms, an d ye t , n ot di mi n i sh i n g ou r voi ce s an d vi si on s. W i t h ou t t h e m, n on e of u s wou l d be h e re t oday.

Spe ci al t h an ks t o M r. L e o Dai , M r. L ai W i n g Kai an d M r. M ax L e e f rom t h e wor ksh op an d f abr i cat i on l ab f or t h e i r t e ch n i cal advi ce an d h an ds- on assi st an ce .

T h e gr adu at i n g cl ass of C U HK M ast e r of Arch i t e ct u re 201 8 wou l d al so l i ke t o t ake t h i s oppor t u n i t y t o t h an k t h ose wh o h ave gi ve n t h e i r i n val u abl e su ppor t du r i n g ou r t i me at sch ool . T h i s book an d t h e e xh i bi t i on wou l d h ave be e n i mpossi bl e wi t h ou t t h e i r h e l p. A bi g t h an k you t o t h e Sch ool ’s admi n i st r at i on t e am, an d e spe ci al l y t o M s. Jan i ce L e u n g, M s. I sabe l Won g, an d M s. I re n e Yu e n , f or coordi n at i n g t h e Gr adu at i on Sh ow.

We wou l d al so l i ke t o ackn owl e dge M r. M i ch ae l L aw an d M r. O l i ve r Tsan g f or t h e i r prof e ssi on al se r vi ce s as t h e of f i ci al ph ot ogr aph e r of ou r Gr adu at i on Sh ow an d Fi n al Re vi e ws re spe ct i ve l y. M an y t h an ks t o al u mn u s M r. L u k Tsz Ki n ( M Arch 201 6) as we l l , f or h i s won de r f u l ph ot ogr aph i c su ppor t . L ast bu t n ot l e ast , we owe mu ch gr at i t u de t o ou r f ami l i e s an d f r i e n ds f or t h e i r e n cou r age me n t s, an d f or sh ar i n g al l t h e u ps an d down s wi t h u s; we wou l dn ’t be wh o we are wi t h ou t you al l . Now, l e t u s t h an k ou r de ar cl assmat e s on e l ast t i me f or h an gi n g on i n t h e re t h rou gh ou t t h e past t wo ye ar s, be f ore we l ook f or ward t o ou r f u t u re care e r t oge t h e r.

Al l t h e se re su l t s are brou gh t t oge t h e r wi t h the full su ppor t f rom ou r ge n e rou s spon sor s an d f r i e n ds f rom t h e arch i t e ct u r al prof e ssi on . We are e spe ci al l y gr at e f u l t o h ave 30+ Al u mn i P r act i ce s & C UAAA , De n n i s L au &

A c k no w l e d g e m e nt

MAKE SOME

NOISE !

“Make Some Noise” is an expression used in live performances to motivate the audience to react, bringing out the energy and enthusiasm in a crowd. Through imaginative ideas and innovative designs, we address different issues of society in our architectural projects, with the hope to raise awareness and eventually make lasting, real-world impact on the environment. The thesis design projects exhibited are the “noises” we make, aiming not only to have our voices heard and presence felt, but ultimately to encourage society to express their needs and aspirations. We believe architecture can be a driving force for real social change. Our visual identity is derived from the Roman numeral 22 (XXII), in which each stroke eventually becomes a layer of noise. These layers represent the ideas and efforts from ever yone of us. As a whole, our visual identity is sending a message that even noise and irregularity have the potential to mean something.

T he m e - Mak e S o m e N o i s e

NEVER STOP MAKING NOISE NEVERS TPOM AKIN GONISE NEVER STOPM AIKGN NOEIS NEVERS TO PKAMNI OGNEIS EVEN SRTP AONMKGIO NEIS VNEREO KPSMTI AINSG ONE EOSVENTRMG AN PKOISINE ERN VMOPAK ESTGIIONS NE VE ES RTONNIPEN KMIAGSO REPNEIKN NVOSSGMA EOT I NSVERTAPNME OSKEI NGIO EVNM KGN ESO NIROPTSAEI NS EPRN TINVEAGOOKM ESI EON VGSEAKPNSIRM T NIOE NEVR EOAT N MNESIGOIPSK VE NSEOP MRIKNTAEISN GO N RE VMTEOASPGONN KIIES EVNSPERAO NTK MNISGOIE NEVERT SPO MGIAKNN SOIE NEEVRS TOPMAIKN GNOSIE NVERE STPOMA NKINGI OES ENVER SOTP MAKING NIOES NEEVR STOP MAIKNG NOISE NEVER STOP MAKING NOISE

Nelson CHEN Make Some Noise Make Social Impact Make a Difference

1. Write/ draw in the box above. The message could be about your thesis topic and words to your team.

“Be the change you wish to see in the world.”

2. Thoughts or responses on our Grad Show Theme “Make Some Noise” in one sentense.

MAKE SOME

Mahatma Gandhi

Kristof CROLLA Noise is unwanted sound, judged to be unpleasant, loud or disruptive to hearing. This judgment takes place from within the established norm, the status-quo. Unless challenged by noise, evolution is impossible and decline unavoidably. Catalytic noise is the music of the next generation.

Clover LEE Silence is golden But my eyes still see... Talking is cheap people follow like sheep Silience is golden But my eyes still see... (Song by Bob Crewe & Bob Gaudio)

Peter FERRETTO

NOISE !

In our environment of hyper density – the quality of design could be the creation of places for making noise and finding quietness in closest proximity. Hendrik TIEBEN

Make Noise. Make More Noise.

Francesco ROSSINI

8SJUF ESBX JO UIF CPY BCPWF Never Stop Making Noise. 5IF NFTTBHF DPVME CF BCPVU ZPVS UIFTJT UPQJD BOE XPSET UP ZPVS UFBN “The tricks of today are the truths of tomorrow.” - Man Ray

Yutaka YANO

5IPVHIUT PS SFTQPOTFT PO PVS (SBE 4IPX 5IFNF i.BLF 4PNF /PJTFw JO POF TFOUFOTF

Simon HSU Make some noise... and make some music too!

Print on A4 paper.

ARCHITECTURE is about … N O I S E

Make Some Noise and Create Your Own Voice TC YUET

Patrick HWANG

Niche OMG ! Innovation Space Expression

Adam FINGRUT

Noise can be great when surrounded by large spans of

Jingxiang ZHU

Sebastian LAW

1SJOU PO " QBQFS

Our Noi s e s !

O ur N o i s e s !

Voice Up or Shut Up Our live begin to end the day we become slient about things that matters

Jasper CHAN Ching Nam Benedict CHAN Man Chung

Adrian LAU Ted Him Katherine LEE King Yee

The Loudest Noise in the World is Silence White Noises?

NICE

Zion CHAN Tik Chun

Derrick LEONG On U

:.?.!

Oh child, listen to the “Sound of silence”

Sam CHAN Wai Sum

Fred LEUNG Kwok Kit

Quiet noise

Stay Noisy, Stay Healthy No Noise, No Architecture Best Noise: hahahahahahaha

Annie CHAN Wing Yan

LI Paul Jun

Albert CHAN Yau Hin Wendy CHEUNG Hon Ting

MAKE SOME

Make Some Noise: Hey, Hey, Yeah

Ashley CHIU Mei Ying

Out Loud, Pour Out

Kyle CHU Cheong Kei

LIE Cheuk Lam

Stay tuned with your hertz, even if it is 52 underwater

Winnie FAN Wing Sze

Hyman NGAI Hiu Fung

Matthew FONG Tsz Kin

Marco SO Chun Pong

https://www.youtube.com/watch?v=DLIF2FMv968 Breaking Down the Stereo Flooding with noise .. And you will know who you are Thieves and Hypocrites! It all starts here- Numb/Encore @ Collision Course 2004. A tribute to Chester Bennington. Never Get Used to the Noise We are not just voicing our opinions but providing concrete solutions I’m staying noisy cos man you annoy me Go placidly amid the noise and the haste, and remember what peace there may be in silence Noise is mere euphony of a disjunct genre I am the most annoying noise to Mr. Tin but I do not care There’s no noise, only people who aren’t ready to listen Believe in your noise, little but strong

As architects, we have to make some noise to leave a mark in society!

Gloria HA Chui Ying HO Yuen Ling Brian HUI Chong Hei Woody HUI On Yu Angelica KWOK Chun Tung Karen KWOK Nga Lam Owen LAM Ho Wang

Sonia SO In Man Andy TAM Ting Pong Winnie TAM Wing Yee TAN Song Ric TO Wai Kin Vincent TSANG Xiang Han Peter TSE Tat Hing

NOISE !

... To Care For Those Who Cared For Us Noise. The Pioneer. The Revolutionar y.- The Architect of Future. I Like the Noise You Make When You Shut Up I don’t know Make some new noise as catalyst to inspire the rest of the world 噓...... Noise is VOICE :) Vox Populi No More than 75dBA

Diane LAM Jeun

Woody VONG Ting Hin

It’s Really Good, But I Don’t Understand

LAM Joshua Wai Hon

Selina WANG Wei Hang

One man’s noise is another man’s music. Stay tolerant. Stay open-minded.

Shita LAM Ka Wai LAM Long Tat Milly LAM Man Yan

Bryan WANG Yi Ivan WENG Yu

圖像無聲勝有聲 Be Yourself in the Ocean of Noise

Arthur WONG Fai Nam

Finding Music In the Noise

Winnie LAM Wai Han

Ben YIM Yu Ching

Noise is crucial in an environment with confined definition of architecture

Jason LAU Kin Keung

Jasmine YUE Ka Hin

Make a noise that belongs to nowhere, but ever ywhere Do It Now and Do It Loud

Our Noi s e s !

O ur N o i s e s !

Towards Humane Architecture Prof. Fumihiko MAKI March 16, 2018

“Your product must satisfy not only your client’s desire but also the user’s ... Besides the user, it is for the building to be respected by the general public.” “There is no one recipe that meets all social expectations.” This year, the theme of our Graduation Show is “Make Some Noise”, through which we tr y to address different social issues in our architectural projects, hoping to raise awareness and make lasting impact on the environment. What do you think about the social function of architecture? We see that many of your works have a social dimension, such as the Aga Khan Museum in Toronto and Hillside Terrace Complex in Tokyo. Your product must satisfy not only your client’s desire but also the user ’s. The product does not meet the social function if the user does not like it. Besides the user, it is for the building to be respected by the general public. It is the result of my long-term experiments. There is no one recipe that meets all social expectations. Did you develop your social sensibility in university or later in your career? Having studied and taught in Japan and the US, how do you think their educational environments differ from each other? They are more or less the same and provide the same kind of architectural tools. Rather, it depends on the individual. Every student has certain desire to learn from the school / institution.

“Group form” is rare to be asked unless under special circumstances. At the Kinoshita Lecture yesterday, I showed you the Republic Polytechnic in Singapore. That is the sort of case I could use my idea of “group form” and “collective form”, but this opportunity comes roughly every 20 years.

How was architectural education back in the 1950s? Did it play a different role in society comparing with nowadays? I don’t know about your education system at CUHK. Yesterday, I had a chance to see the models in the studio. I tend to agree with what you are trying to make, without any complex or strange forms. Some schools depend more on 3-dimensional computation. They don’t make models. I appreciate that you guys are still making models. The reason is that architectural design is a collaborative effort. As a team, we make models as they are very important and an easy way to discuss all the issues rather than via drawings. Appearance should not be a high priority in architecture. Spatial entity is more important, which is examined through spatial study. Through this process, we begin to understand what kind of form will appear. It is good to see that your concern in architecture is similar to mine.

How do you see Hong Kong compared to the image of Tokyo? This is a good question. My first visit to Hong Kong was in 1959… long before you were born! The reason why I came here was that I was interested in visiting places I hadn’t been. But being so young then, it was difficult to travel as it was expensive… Fortunately, I received a grant and used it for places I hadn’t been, such as Asia, Middle East and Europe. I had only been to Japan and the United States at the time. Back then, there were not as many high-rises as there are now. It was a much quieter place with smaller buildings. I still keep a few pictures of the city I had taken at that time. I then visited Singapore after Hong Kong, followed by a trip to the Middle East. This was almost 60 years ago. I had the chance to visit Hong Kong several times later and have seen it develop. I had the chance

A lot of your projects were developed in the notion of “group form”. How do you see Hong Kong from the perspective of “group form”? In reality, I still think that 99 percent of the time, our client would ask us to design a single building.

Di al ogue - Prof. Fu mih ik o M A K I

D i al o g ue - P rof. F um i hi k o MA KI

“My ideal social function is for the building to be free rather than accommodating only performing arts and museums.”

to witness the opening of Norman Foster ’s HSBC Building. I enjoyed very much the building and various places as well.

In your opinion, what is the major obstacle that inhibits young people and makes us confused? I like to give two examples. The first is a kindergarten designed by a young architect called Takaharu Tezuka of Tezuka Architects. He designed this kindergarten with a roof garden. It creates a central hall. After he designed this building, he became well-known internationally. It is not an iconic building but he knew what the kids wanted to have. It is a case from which we can learn. The second example is an apartment, where each inhabitant has a small room but the living room and kitchen are shared together.

How do you strike a balance between ser ving different clients and achieving your architectural ideal in your projects? In the beginning, you have to study your client and discover what he or she likes. Oftentimes, Japanese clients are not interested in what the building is going to be, but they are more interested in the budget and schedule. However, as I mentioned yesterday, my clients for Aga Khan wrote a five-page letter of what they expected for a museum in Toronto. When we designed the Novartis building in Basel, the CEO was also very interested in architecture. This does not happen often in Japan. When we do a large museum or concert hall, it is often financed by the local government. Governors are interested in meeting schedule and budget. I appreciate the concerns and talks about what the building would look like in the cases of Toronto and Basel.

There are people who are invested in new ideas. They are spending their own money to do that. Quite often, architects are limited by the market conditions. You have to find clients who are interested in new ideas. Back then, architecture was only broadcast through newspapers. Today, media play an important role in the process. For instance, Zaha Hadid won a competition to build an Olympic stadium in Tokyo for the 2020 games. I did a small gymnasium in Tokyo in 1990.

During that time, there was a strict regulation on the height and also the volume of the building you could build in this area as it was a very scenic place. The competition programme, however, was free [from such regulation]. I thought this was wrong. And Zaha’s scheme was accepted. From my perspective, the building is too big to be at the centre of Tokyo. I wanted to make a commentary but I couldn’t find a journal or any paper media to print out my long essay against Zaha’s building. Finally, JIA Magazine was willing to publish the article, but it could only reach subscribed members and therefore the effect of it was not so great. With social media such as Facebook and Twitter, I was able to get a lot of feedback against this particular project. A few days later, Tokyo was chosen as the host city for the 2020 Olympics, and People became more aware of my commentary. As a result, the government decided to forget about Zaha’s scheme a few years later. This kind of experience that I have regarding social media is very important. To young people, I suggest the wise use of social media.

height of 15 meters. I thought it should be free for anyone to enjoy. The large steps outside every two floors allows you to see the surroundings. I think 7,000 people visited the place on the first day of its opening to the public. We also created an indoor mall through which people can go to visit the museum, lecture hall, café, etc. You only pay the fee when you go to a particular museum, special exhibitions or other places. I like the idea of a place to be as open as possible. Usually, when you go to a museum, you have to pay first. It was the same with my concept of for the Aga Khan Museum. If you have to pay to go in, you cannot experience the open space at the centre of the museum. My recurring idea of social function is for the building to be free rather than accommodating only performing arts and museums. In the Aga Khan Museum, you have a chance for people to get together around the open space.

I have one small question regarding the Kazenooka project and the Shenzhen Sea World Culture and Arts Center, which you talked about at your lecture yesterday. I realised you were showing in a picture the view of people standing on the roof and looking at the sky and the landscape. Was it your intention to highlight the contrast of experience as you enter the building from the city and further to the rooftop where you are embraced by nature? Yes, it is. In China, people always come at the top even in political agendas. So I thought it should be a People’s Hill. And they are free to move around as they like. Also, as it was a big site, it was able to provide a lot of functions within the

Di al ogue - Prof. Fu mih ik o M A K I

D i al o g ue - P rof. F um i hi k o MA KI

“As architects, we have certain ideas and conviction of what we like to make. But until you complete the building, you never know whether your idea is right.” “I understand the anxiety of young people as the market in Hong Kong could be limited. You should go outside and be ambitious.” shouldn’t do to eliminate undesirable qualities or forms and spaces to come to the right solutions. As you don’t have that much experience, I suggest that you look at good buildings and learn out of them.

I have another question after attending your lecture, which is related to materials: What lessons can we learn from studying materials? Yes, definitely. Today, the use of wood has become very popular. Even skyscrapers can be made of wood. I haven’t done that but I have used many materials in my buildings. It is important to extract the strength of each material which architects need to express.

At the same time, many young people today ponder about what is coming in the future. I crossed the street from the opposite of my building and a young man came next to me and asked me: “What will be the future of architecture?” I couldn’t answer at the moment because we could be hit by a car! But then a few months later, young students from Harvard came to my office and asked the same question: “Mr. Maki, what will be the future of architecture?” I began to feel your anxieties and expectations for the future. Today in Japan, big offices guarantee that you won’t be fired for 40 years unless you do something wrong. Many talented architecture students try to get into these big firms instead of small firms, where you never know how long you can work. Of course, there are many young architects who want to be on his or her own. Those people would not choose large firms.

I remember you once mentioned that architecture is about creating the image of life. Also, you mentioned regarding the 4 WTC project in New York, that you tried to make a grand lobby to respond to the surroundings and create different images in the building, so that the process of people entering the building has these images surrounding them. I am tr ying to do this in my own project as I study atmosphere and “embodied image” in architecture. So, did you plan those images? Do they form a sequence or are they contrasting with each other? As architects, we have certain ideas and conviction of what we like to make. But until you complete the building, you never know whether your idea is right. As young people, you have no experience and therefore need to learn from existing buildings you have seen or been to. These buildings should have received good attention in society. In my case, I have 60 years of experience. The accumulation of my knowledge guides me to what I need to do. It is more about what you

Nowadays, attracting good young people to small firms is difficult. Once I had the chance to meet the head of a large firm. He mentioned he just had an interview with some applicants and he asked them why they wanted to join the firm. One young interviewee said his mother told him to work there. I understand that lifelong employment is attractive and sometimes it works out, but it is

like between a chain restaurant and a chef who runs a special small restaurant. If the food is good, people will come and you can keep on practising. Chain restaurants should also provide good food, but, statistically, they are more interested in what kind of food to be appreciated by the ordinary family. Somewhat this is a good comparison between a large architecture firm and a small architecture firm. You have to establish your own identity. Eating is much easier than practising architecture, because for the latter, you have to find good repeating investors and convince them. I understand the anxiety of young people as the market in Hong Kong could be limited. You should go outside and be ambitious.

US. I was interested in making my own drawings and testing them. I thought a peaceful way of exercising my interest was architecture. I was able to keep my passion as I started out in a very small firm with only a few people. Some of the people I hired had similar passion and together we were able to produce something good. Those people are gone now and have started their own practices, while new people have joined the firm. Some of them are very good, and with them we are able to develop what we are going to do next. This keeps my passion going and gives me the motivation to do better. It is not an easy profession, but at the same time you have unlimited joy. My only concern is age. When I was 50 or 60, I thought my future was limitless.

Lastly, how to keep your passion for architecture? You see, somebody asked me before when I wanted to become an architect. I was born in 1928. During the second world war, I was a high school student. I was interested in making small models of airplanes and testing how good the model planes could fly. At that time, I thought I would become an aeronautic engineer but then the war ended and no such activities were allowed by the

Inter viewers:

LI Paul Jun, TAN Song, Ben YIM Yu Ching

Photographer：

Woody VONG Ting Hin

Film maker：

Fred LEUNG Kwok Kit

Communication Officer : Janice LEUNG

Di al ogue - Prof. Fu mih ik o M A K I

D i al o g ue - P rof. F um i hi k o MA KI

The Tectonic Grain Prof. Nader TEHRANI March 12, 2018

“I think of teaching as a way of maintaining the possibility of speculation and the suspension of disbelief.” “[Practice versus education] is a dislodged cycle, so that they don’t always have to complete each other. They are allowed to be disjunctive.” This year, the theme of our Graduation Show is “Make Some Noise”, through which we tr y to address different social issues in our architectural projects, hoping to raise awareness and make a lasting impact on the environment. Engaged actively as both an architect and an educator, what do you think about the function of architectural education? I have been practising and teaching at the same time for over 20 years; to some extent, I’ve seen them as building up on each other, as if to naturalise the connection between them. And yet they are two very different things. I think of teaching as a way of maintaining the possibility of speculation and the suspension of disbelief. Alternatively, practice is often all too restrictive and unforgiving of the opportunity of experimentation. To this end, the academic environment can do much to challenge the conventions of practice, to advance research, and to speculate on issues that practice may never find of relevance. In turn, there are areas of building practice that can bring research back into pedagogy, and given the advancement in technologies, building practices and integrated design processes, there is much room for the academy to learn from what is going on out there. There is co-dependency between the two, and yet they maintain some level of autonomy in order to be able to do what the other cannot do on its own.

The legacy left behind by John Hejduk, which looks at foundational thinking and the elements of architecture as the basis of intellectual development; broadly speaking, even though the presence of Ysrael Seinuk, as engineer, was central to its teaching culture, questions of sustainability were not on the front burner as such. Where Cooper excelled in its day was in the arena of formal inquiries and a process-driven ethic that researched analytical representational strategies on the one hand, and a craft-driven construction research on the other. To this end, its workshop was not so much an addendum to the curriculum, but a foundational infrastructure whose facilities radicalised work in wood, metal and concrete. Its focus on building technologies was less driven by industry, but more by the bespoke nature of craft culture within the school.

May I say that practice and education work as a cycle, benefiting each other? Yes, but it is a dislodged cycle, so that they don’t always have to complete each other. They are allowed to be disjunctive. Sometimes when you undertake research, you tr y to translate it into practice. But somehow because of certain constraints, it is not always possible to move it for ward to the real world… I know the common sentiment, but we haven’t felt the constraints in practice in a negative way. In other words, you either naturalise the constraints as part of the positive set of parameters for speculation or elaboration, or work with constraints as liberating forces. I don’t see “constraints” as a pejorative; I think of design being able to operate within the space of legal parameters or corollary loopholes.

Today, we can revisit this history with a different lens. Questions of sustainability can be seen to be part of a larger Hippocratic Oath to the discipline, and in turn, we can begin to look at the scale of geography, region, urbanism and building with a renewed sense of urgency, given the global scale of challenges we face today. Having said this, our curriculum is in a state of dynamic transformation: we are looking carefully at its many elements to reconsider how its various streams of study can be brought into a critical conversation with each

The Cooper Union is world famous for its integrative approach, which combines aesthetics, technologies and environmental sustainability within a fundamental humanistic framework. Do you think there is any hierarchy among the three aspects above? I think that the pedagogies of the Cooper Union are the result of certain key moments.

Di al ogue - Prof. Na de r T E HR A NI

D i al o g ue - P rof. N ad e r T E H RA N I

“As a designer and educator, I am always reminded that [buildings of architectural schools] are not only spaces of learning, but they also serve as didactic instruments.”

other. This is anything but natural, as the many disciplines in different streams of study have to be brought out of their comfort zone in order to imagine a more integrative dialogue.

the urban stage. In this sense, art, science and the city may yet come into convergence in the discussion of architecture, not so much out of novelty, but as an inevitable imperative. Thus, I do not doubt that students can address these challenges. But to do so, they will need to attend to a more integrative dialogue within the design studio even in the foundational years, drawing in environmental and technological forces on the one hand, and the dynamic aspects of the urban condition on the other.

This is also a much larger initiative to bring the Schools of Art, Architecture and Engineering into a more inter-disciplinary conversation, and this is where we stand to radically reform our schools to step outside of their current silos.

My previous impression of Cooper Union was more an aesthetic approach, and you tr y to merge art and science to create a new trend. Do you think the students are prepared for this new approach of Cooper Union?

At the time of appointment as Dean of the Cooper Union in 2015, you talked about opening up conversations with other faculties such as Fine Arts, Engineering, Humanities and Social Sciences, to catalyse the broadening of architectural discourse within the institution as a whole. After three years, do you see any change in your philosophy of architectural design and education?

I challenge the idea that we might need to separate aesthetics from the multiple ways in which it engages programme, performance and

Yes, Cooper has reinforced this intuition about the need for an expanded terrain on which we might operate and learn from each other. In my practice, I am constantly reminded by the lessons I have learned from consultants of allied fields as well as clients, that with each commission, we end up becoming students of a new arena of study. I have also come to appreciate that other fields might ask similar questions as we do, but with a different bias, or that certain fields might have similar concerns, but they may not know how to ask certain questions. For this reason, we constantly need other fields in our midst to ask the questions we do not know how to pose ourselves.

the intuition behind it, integrating its structure into the idea of the design. To this end, my work with the Engineering school students on origami structures has been a productive one, bringing to them certain formal techniques which structural ramifications are somehow broader than what they are currently adept at investigating in purely mathematical terms. We know that your practice, NADAAA, has completed three architectural school projects, in Georgia Tech, University of Melbourne and University of Toronto respectively. What are the main concerns when you design an architecture school? How does your experience as an architectural educator influence your architectural design of an architecture school? Or vice versa?

Can you provide some examples of those questions? We might have structural intuitions even if we may not know how to calculate their forces [pointing to the atrium roof ]. We understand that the spanning of this atrium may require a different beam dimension than that of a wider atrium. Some courses may teach you the hard science behind this question, i.e., calculating the beam dimension; other courses are precisely not to teach you the mathematics, but rather

One thing that is important to note is that these are three schools of architecture: physically, culturally and intellectually. They are fundamentally different places… so their shared programmes are purely coincidental. But if you put them all together, they help to identify an interesting theme, that is: how to establish the reciprocity between a school of thought on the

Di al ogue - Prof. Na de r T E HR A NI

D i al o g ue - P rof. N ad e r T E H RA N I

“If you are thinking of going into the real world out there, find a way of making it unreal. ”

one hand, and the spaces of learning to which they correspond on the other. In other words, can you make a space that is able to influence the culture of a school and its mode of thinking?

entire building is suspended upside down from the roof so as not to touch the ground, where all the electoral infrastructure is concealed under foot. In Melbourne, a building with no dedicated studio space, we had to invent a studio space by expanding the circulatory spaces to create a vertical workplace, as the inner liner of the atrium. In Toronto, it was the attic space where we brought together structure, hydrology and illumination as its integrative and identifiable features. Even though the building has many programmatic complexities, the roof and studio space somehow synthesise the efforts.

As an example, the Architectural Association has been under very different administrations – Alvin Boyarsky, Mohsen Mostafavi, Brett Steele, among others. But because of the intimacy of its context, it has always been acting like an “urban club”. That intimacy has produced a kind of critical intersection for people who go to the “bar ”, which serves as a social space, a place of debate and exchange. That bar is central to its culture. In contrast, a place like the Harvard Graduate School of Design, composed of open trays terracing up, borrows its organisation from the typology of the theatre, making spectatorship a central part of the pedagogical process. When you are designing or teaching, you are literally in a theatre space: you are looking at others and others are looking back at you in this terrace configuration. This mis-application of the theatre is part of the culture it has produced. What is interesting is the power of these spaces, which are able to survive the ideological biases of the very administrations that oversee them, demonstrating the instrumentality of their organisation as catalysts for thinking, behaving and creating culture in different ways.

As a designer and educator, I am always reminded that these buildings are not only spaces of learning, but they also serve as didactic instruments, given the audiences they house.

work space that was effectively carved out of the net to gross area. In Georgia Tech, the need for flexibility on the ground drove the suspension of all systems overhead. Thus, each project gains momentum due to a key factor.

Was there anything you considered first in designing these three buildings?

Do you see any differences between Eastern and Western students?

We don’t start with anything first; we start with many things first. Design is rarely a linear process, and most often it is the result of varied forces that are in need of mediation or reconciliation. These three buildings are no different; they all had many different user groups, programmatic differences, various urban conditions and material restrictions, all of which came into conversation at key moments of decision making.

I am sure that there are certain differences, but I tend to downplay those stereotypes to give primacy to the thinking that plays itself out through the research and work of each student, irrespective of cultural heritage or origin. Obviously, we are all somehow beholden to the institutions that form us, and thus our collective traits are deeply culturally encoded; and yet, these differences do not overshadow the intellectual developments that each student undergoes.

So how do you decide the proportion of these “forces” you just mentioned?

It is interesting that for all these schools, what we had tried to do was to take advantage of a few salient conditions and turn them into paradigmatic conditions. Georgia Tech was primarily driven by the preservation of a building, and the repurposing of its main hall. As such, the

It all depends on what kind of questions you are posing, and how you prioritise issues. In Melbourne, the prospect of not having a studio space drove the imperative of creating a vertical

Do you want to do a project in Hong Kong? What kind of project would you like to have? I would love to do a cultural project of public significance, preferably on a steep site, between the mountain and the water. Is this because of your impression of Hong Kong being a hilly steep slope? No, it is because Hong Kong has this curious urban condition that you cannot find anywhere else in the world. Your urban consciousness is about sectional rather than planimetric design. Your understanding of Hong Kong can only be made legible through section. We cannot wait to see it! Thank you ver y much for your time!

In one word or one sentence, do you have any advice for our young graduates at CUHK?

Inter viewers:

Karen KWOK Nga Lam, Winnie FAN Wing Sze, Arthur WONG Fai Nam, Ben YIM Yu Ching

If you are thinking of going into the real world out there, find a way of making it unreal.

Photographer: Fred LEUNG Kwok Kit Film maker: Fred LEUNG Kwok Kit

Di al ogue - Prof. Na de r T E HR A NI

D i al o g ue - P rof. N ad e r T E H RA N I

Alternative Architectural Practice Ms. Marisa YIU March 26, 2018

As architects, we can contribute to a lot of aspects apart from designing buildings and working around building codes. Your multi-disciplinar y studio, ESKYIU, has been involved in a lot of curatorial projects integrating culture, community, art and technology, etc. Can you tell us more about the role of a curator? How is it different or similar to the traditional role of an architect as a building designer? For me, I kind of stumbled upon curation. Maybe it is much more about engagement with the community and how you communicate design with an active voice. Traditionally, the curatorial role has always been about museums or designing exhibitions or working with different artifacts. Yet, curating with an architectural background may encourage a new way to contribute to designing an experience in order to allow the public to be excited and inspired in different ways. When we got commissioned for the Hong Kong and Shenzhen Bi-city Biennale of Architecture and Urbanism in 2009, we were able to explore these issues head on. We had this vast piece of land which is now the West Kowloon Cultural District site. We wanted to rethink how architecture and curators can actually work to engage with the pubic and this is why we came up with this theme of BYOB – Bring Your Own Biennale (城市動員). Architecture often is seen as physical and heavy. But how can we look at architecture in a different way which is much more flexible and lightweight for an exchange of ideas and discussions? This is the tactics of our studio – we want to create not only architectural objects or spaces, but

“So this is our interest – in producing dialogue.” “[Curation] is much more about engagement with the community and how you communicate design with an active voice.” really engage the community through bringing people together and then creating collisions. It’s also what I’ve been consistently doing, exploring and experimenting with. There are no hard rules or answers to that question but it’s a continuing exploration of where architecture can play a much stronger role in the public realm. Curation is one of the aspects where you can voice and explain, not so explicitly, but frame questions, ask questions, and get people involved.

get the impact if you don’t understand and have a dialogue. So this is our interest – in producing dialogue. We are now preparing for our ESKYIU retrospective exhibition in November, so I invite all of you to join us. We are very excited to combine these ideas of publicness and public spaces with a curatorial approach. How do you find a balance between different disciplines? What is your favourite part of being an architect/designer/curator?

There’s a very famous curator called Hans Ulrich Obrist who is super inspiring. During the 2009 Bi-city Biennale when I was Chief Curator for the Hong Kong side, we had the opportunity to work with Shenzhen. In Shenzhen, they created this incredible activity called the “SHENZHEN MARATHON: The Chinese Thinking” with Hans Ulrich Obrist and Rem Koolhaas. This was more than eight years ago and it was actually fascinating to be sitting in an atrium being interviewed by Hans Ulrich Obrist and Rem Koolhaas. They invited different members from the communities to go on stage and it was a beautifully arranged circular space, so all the public and guests would sit around in a forum setting, while Hans and Rem Koolhaas would also sit on the stage. Other curatorial partners and I were being interviewed there. Spatially, it created a great, democratic and open sharing dialogue because of the spatial condition, and also intensity of questioning in a very short period of time to get responses and it’s very authentic. That experience was interesting for us to really learn from other types of curators and architects about the power of dialogue and conversation. Sometimes, architecture is very much focused on drawing, designing, painting but you don’t

You know I was also teaching at CUHK before and I loved it. I was very lucky to have the opportunity to teach and give back to the students. I am always continually fascinated. It doesn’t matter whether it is for Design Trust or running the design studio, or even now as a mother as I have my family and my little wonderful children to take care of. It is a balance. It is about continuous learning and challenging yourself. I think it is not easy. But to really engage, you have to keep learning new things and trying to make an impact in a positive way. It is not about the focus being my private practice or Design Trust, but about pushing boundaries. We are planning our exhibition for next year and we have just finished some small programmes. Design Trust Futures Studio is a new flagship programme that combines all my interests. It does not adopt the traditional teaching style in university but connect young designers to fascinating people like WOHA, Gary Chang, Stanley Wong, and Elizabeth Diller (architect of New York’s Highline), where participants are able to create new things, or challenge themselves, or create designs that have an impact on the community. It is a link between design, community and architecture.

Di al ogue - M s. M a ris a Yiu

D i al o g ue - Ms . Mar i s a Y i u

I see all that as one thing.

And if it is growing more and more complex, you need to find ways to manage and stitch ideas together and then make people continually invested in. So this is the biggest challenge.

I do believe that with a busy schedule and problematic manoeuvring, you do become more efficient. Of course, it does sometimes fail but this is only human nature as if there’s too much going on, the human condition might weaken and become sick.

Flying in Sam Jacobs, an architect designer in London, to conduct the workshop and align the time with someone else from New York was challenging, especially with my obsession to ensure that everything is gender balanced. We had women architects, male architects and then the mentees who were appointed – 12 of them as much balanced as possible in gender and coming from different disciplines. So it was not only architects talking to architects, but a dialogue between writers, makers and graphic designers. It is an ambitious project with very demanding administrative work.

Could you tell us one of your toughest or most unexpected experiences that you have encountered in the programme as Executive Director of Design Trust? Only one? Or a few? This one is tough but so rewarding. This is really something I am very invested in. There are a couple of agendas. I was lucky enough to have teaching experience from HKU and CUHK when I first came back. I had a couple of students similar to you. Thesis students who were just absolutely brilliant, winning awards, doing really well but then fast forward a few years, they are still working in the same companies, doing similar projects for seven, eight years. That actually made me think: well, ten or eight years ago they were doing really well with a lot of vision and collective ambition, perhaps a little utopic. Their ideas were challenging, provoking, brilliant. But then, how do you keep that spirit after you graduate?

I’m very lucky that we have great team members but the team changes all the time. As it is an NGO, it is tough to build the team. I welcome all of you to join us after you have graduated. The difficulty is building energy in the team to make something happen. This is exciting and rewarding but very tough. When we had the opportunity to do the pop-up show at the end of last year, we had four prototypes of micro-parks in Hong Kong being displayed. As they were prototypes, we played with them, tried them, tested them. We just launched a new 2018 programme and have been very lucky to work with some government and park agencies to have the potential of redesigning and transforming them, which is quite an amazing step forward. We are still continuously growing, fundraising and making sure that we have people involved. Not too different to your publication, I’m sure. Planning, discussions, behind-thescenes and maintaining a smile at all times. But it is great. Good question. Tough question.

One agenda was to seek out young architects, graduates and designers to join us as an extracurricular activity. One of the participants is working at Rocco Yim’s office. Others are from different companies or have their own studio. Getting members involved and committed is always a difficulty. Challenging notions of “Volunteerism”, you really do it because you believe in it and you get the chance to work with new people. It is also very tough to create that vision and then convince people to sponsor and get stakeholders involved. And this is the spirit of this programme, very much a communitybased project. We don’t just privilege academia or government or young designers; we also have grassroots and community members joining in.

As you mentioned before in TED x CUHK Creative Conversations, you encourage dialogue and crossdisciplinar y discussion. What do you do to generate meaningful conversations?

It has been very hectic the last two weeks especially with Art Basel coming. Recently, I was invited to moderate on the panel discussion on “reinvention”. Actually it was a clothing brand and they had pop-up stores. I usually don’t do this kind of super commercial things but for them it was not so much about branding their fashion clothing but really about bringing conversations together – a room to actually allow people to respond to “reinvention” and why “reinvention” is a critical process in thinking and making. On that panel, we had a really talented interior designer, Joyce Wang, who has done a lot of beautiful projects. And then we had Latitude 22N who are ceramicists and it’s incredible what they do – they take all the old discarded moulds from factories in Jingdezhen in Mainland China to make new ones. So objects are either falling apart or defining processes are being challenged. We reinvent traditions but in new ways. Joyce’s approach is also very similar – she takes very simple plumbing pipes with brass details and mixes them into new things. Aric Chen, Lead Curator for Design and Architecture at M+, is building a huge collection in the museum. We also think about how to reinvent new audiences, bringing in new communities to

get inspired. And then there was a professor from SCAD who has created the first small micro-unit that’s 3D printed through government labs. In these processes of reinvention, what’s very interesting was that the topic came back to how an individual can work with different aspects of the community to make change, either through materials sustainability or cultural identity, framing who we are. What does it mean to build a 21st century museum? How do you create soft content? It is a very interesting discussion that’s only possible by bringing the right people together, who have interesting critical backgrounds and are invested in really getting dirty and making things. I think it is meaningful that we could share and get inspired by each other ’s works and then it allows me to think about how we can improve ourselves in our design process next time to take in these design values. So I think that’s where meaning comes about – adding different values together even if it is something you haven’t seen before. For example, in the Futures Studio, we did the pop-up show for two weeks. One of the Construction Skip playgrounds became the most popular playground after 3:30pm. All the

Di al ogue - M s. M a ris a Yiu

D i al o g ue - Ms . Mar i s a Y i u

children came and played. I got very emotional after one of the mothers told me she could not afford to send her daughter to the indoor ballpool playground as it’s very expensive; so she was very touched and thanked us for providing this amazing public amenity for free. Then it became part of the community network. Just by creating something so small, a construction skip was transformed into a playground which made them and us realise something different. This is why we want to do more things that may be missing in the community. It is about getting people from diverse backgrounds – sometimes they don’t sit together. If you have a luxury interior designer like Joyce Wang – with clients like the Mandarin Hotel – speaking with local ceramicists, they can learn from each other.

My husband and I both teach in university. He has a lot of experience in the US, and we ran a studio together in London at the Architectural Association. It has a very different context. I always tell people what I love about teaching as the academic environment is a powerhouse of collaboration with the community. What I have noticed, which you can challenge me on, is that I find group work is a success in Hong Kong. But in the US or UK, the group work model does not work that well. I don’t know if that has something to do with Chinese culture with differences in terms of relationship communication and collaboration. The places we taught that were overseas were really much driven by individualism with the end result of winning an award. I don’t know if this is still true as I have been out of teaching for a few years now, but I always thought this was a major difference which is also something very optimistic and positive as it does prepare you for reality instead of individualism and singularity. It could be due to differences in pedagogy and studio environment. Maybe there are more singular projects but less group projects in the US or UK because of a lower teacher to student ratio.

We had this great event last July so I always use this photo as a representation of meaningful dialogues or bringing people together. Throughout the process, all the teams engaged in presentations to a diverse audience. For example, in your thesis review, I’m always curious about the academic setting you are presenting and the people who critique you – who are they? I love teaching but sometimes the possibilities are much interiorised. So I wanted to experiment with the concept of “Futures Studio”, which means to imagine going back to school again with the help of various critics, such as a chief editor of a magazine in town, a property developer such as Nam Fung, and also activists. In that event, we had Sara Wong who founded Para Site arts space, the CEO of West Kowloon Cultural District Authority, the Executive Director of M+ museum, as well as various expert architects coming together. These are the ideas we are always trying to test. Hong Kong is an international city and we get to work with people/students from different backgrounds. In your recent inter view with Perspective Magazine in October 2017, you have mentioned the differences between overseas students and local Hong Kong students. How do you think their differences can benefit each other?

“[The defining moment] is the moment where you get to create your own thesis, your statement, your challenge, your manifesto, or your process.” best outcome? Or if we have a talented architect to create a beautiful small park with his/her own design team but without working with any mentor or mentee, would it actually be better? That could be a very interesting case study. Maybe it’s something to note, about the self-confidence of being able to express and communicate.

apparels were actually all interconnected. These factory cities that were building. So in the mid- to late 1990s, I was very interested in urbanisation issues. To this day, I am still observing, watching the changes. And this affects how I think and what I do: questioning how I create foundations, or how we can co-found new strategies to think about urbanisation through content and research, or ideas of linking communities. So obviously when I visited the factories, a lot of underprivileged migrant workers were working in the benefit of commercial and corporate brands. But you need it hand in hand. Because it still is a kind of social ladder and welfare ladder you have to climb up. Some of these individuals have subsequently opened their own brands, doing really well in manufacturing.

The theme of our Graduation Show this year is “Make Some Noise”, which aims to address different issues through our architectural projects, with the hope to raise awareness and eventually make a lasting impact on society. We all have something that we care for, and, as recent graduates, many of us are still pondering what type of architects we want to be. In one of your recent inter views with Bai Xian Asia Institute, you talked about the “defining moment” in your career. Do you have any suggestions for our graduates as to how to find the “defining moments”, or in a sense, the “voice”, in our career development?

A lot of people ask us why Hong Kong does not have international-level architects and designers, whereas in Japan, for example, there is a long list of them. I don’t know if this is related to the education system or the process of freeing oneself to becoming more self-conscious. When you are more self-conscious, you would focus more on your own. Whereas here involves a lot of group work and sharing which may take away the excellence of self-building and individual drive. You need both, so who knows?

I think it goes back to what we were just saying. There is obviously no formula or pathway but I think what you have just said is having the interest and ownership of your work. This is something I feel very important. When I finished my graduate studies, my thesis in 2001 really stays with me all the time. That is the moment where you get to create your own thesis, your statement, your challenge, your manifesto, or your process. For example, if community issues or the waterfront of Hong Kong is important to you, you can always reenter your thinking and your work in your career. You can always check back. I think it is important to keep that energy and interest going.

These are the questions that can be the next topic of discussion in my next event! [laughter] The individualism and level of excellence versus collectivism. Usually, the question is, if you create a public space by design, by democracy, or by public consultation, is it always going to be the

When I did my graduate thesis, it was really about looking through the lens of factories. So I was documenting works in Shenzhen, in Dongguan, in Hong Kong and the change in industrial production through garment factories, labour conditions, and how fashion apparels and global

I am very interested in these networks and relationships to this day; the relationship between Hong Kong and China. It is really important to look beyond your project or your work. It is always interesting to see what other people and other cities are doing while keeping that curiosity. It helps to look at your programme or project or thesis in a totally different way. There is never really an answer. That is why architecture and design are so exciting. There is no one size that fits all solutions. As long as you are consistent, rigorous and open-minded with your research, the design process is a natural and important part. It is really important to keep the thesis simple, and expand to make it more complex. As part of your career journey, the “defining moment” is and should be your thesis. And I hope you continue to make not only “some” noise but “impactful” noise! Good Luck!

Inter viewers:

Diane LAM Jeun, LAM Long Tat, Adrian LAU Ted Him

Photographer： Woody VONG Ting Hin Film maker： Woody VONG Ting Hin

Di al ogue - M s. M a ris a Yiu

D i al o g ue - Ms . Mar i s a Y i u

Design Methodology and Practice (DMP) Nelson CHEN

Peter FERRETTO

Simon HSU

Patrick HWANG

Sebastian LAW

Clover LEE

Karen KWOK Nga Lam / Inhabitable Infrastructure

055

Derrick LEONG On U / Crossing the Thames Barrier

061

Winnie FAN Wing Sze / Reactivating Tai O: A Food Retreat

069

Milly LAM Man Yan / Repair (in) the City

075

Arthur WONG Fai Nam / A Wall to Connect

081

Ashley CHIU Mei Ying / Sex Worker Association in Hong Kong

089

LAM Long Tat / Fare.Well

095

Jasmine YUE Ka Hin / The Paper Sanctuary

101

Wendy CHEUNG Hon Ting / Revitalization of Public Heritage (Cinematic Approach)

109

Kyle CHU Cheong Kei / Taipei Train Depot

115

Katherine LEE King Yee / Shau Kei Wan Commons

121

Benedict CHAN Man Chung / From Brown to Green

129

Albert CHAN Yau Hin / Healing the Wound

135

Angelica KWOK Chun Tung / The Metropolitan Breather

141

Owen LAM Ho Wang / Street Machine

149

Adrian LAU Ted Him / Taikoo Hub: Interweaving the Community and the Harbour

155

Fred LEUNG Kwok Kit / “Street Life” Podium

161

History, Culture and Conservation Design (HCCD) Thomas CHUNG

Stanislaus FUNG

Sam CHAN Wai Sum / Rural City

169

Joshua LAM Wai Hon / Tidal Urban Architecture

175

Jason LAU Kin Keung / Towards an Architecture of Brownfield

181

Winnie LAM Wai Han / Reading Hub in Shanghai

189

TAN Song / Distance and Atmosphere

195

Ben YIM Yu Ching / Art.trade Heritage Hotel

201

Ind e x

Urban Design and Landscape Urbanism (UDLU) Francesco ROSSINI

Hendrik TIEBEN

Yutaka YANO

TC YUET

LI Paul Jun / Architecture of the Commons

209

Peter TSE Tat Hing / Noah’s Ark

215

Ivan WENG Yu / Education Matters

221

Annie CHAN Wing Yan / The Community Interchange

229

Shita LAM Ka Wai / Otherness in the City

235

Sonia SO In Man / Biophilic Acupuncture

241

Gloria HA Chui Ying / Creating Commons

249

HO Yuen Ling / Braiding with Networks

255

Woody VONG Ting Hin / Technology in Architecture as Human Body Extension

261

LIE Cheuk Lam / Underground Sociocultural Hybrid

269

Winnie TAM Wing Yee / Art as a Catalyst

275

Bryan WANG Yi / Incremental Regeneration of the Urban Villages in Guangzhou

281

Building Techonology and Sustainable Design (BTSD) TSOU Jin Yeu

ZHU Jingxiang

Hyman NGAI Hiu Fung / Re-Gener-Age

289

Marco SO Chun Pong / The “Home” for Communities

295

Andy TAM Ting Pong / Palliative Care

301

Ric TO Wai Kin / Small is BIG

309

Vincent TSANG Xiang Han / When Light Meets Heavy

315

Selina WANG Wei Hang / 3-Dimensional Exploration on Form and Space

321

Digital Techonology and Computational Design (DTCD) Kristof CROLLA

Adam FINGRUT

Zion CHAN Tik Chun / Concrete Design in the Post-digital Architecture Era

329

Woody HUI On Yu / Phenomenological Design of Space through Dematerialization

335

Diane LAM Jeun / Bending-active Structures

341

Jasper CHAN Ching Nam / Hyperbolic Coral Surfaces

349

Matthew FONG Tsz Kin / The Act of Browsing

355

Brian HUI Chong Hei / Deployable Performance Shell

361

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DM P DESI GN M ET HO DO LO GY AND P RAC T I C E

Nelson CHEN

Karen KWOK Nga Lam

Derrick LEONG On U

“Congratulations to our MArch graduates on your successful completion of the year-long thesis projects documented in this publication, the Graduation Book. You should be deser vedly proud of your achievements just as your professors are proud of you for your dedication and efforts throughout this past academic year. Having said that, please keep in mind that your thesis projects might not be over yet! While the thesis has been a capstone of your formal education as an architecture student, it is just the first stage platform of your critical thinking and social commitments as an architectural professional. Which may be why in some countries graduation ceremonies are called Commencement exercises. Not to focus on the culmination or end, but on the commencement – on new beginnings and going for ward with your future career and, hopefully, your lifelong continuing education along with it. Our best wishes and hopes for an improved future go with you and your generation.”

P M D

This thesis proposes a pedestrian network system as a prototype in connecting two districts both physically and socially. In Hong Kong, there are always mixed and maximised land usages due to lack of inhabitable land and dense population. However, transportation land use such as roads and footbridges are typically single land use. Footbridges, which should be the blurred, merging intersection area

Inhabitable Infrastructure Connection between Commuters and Community social infrastructure / volumetric pedestrian walkway / transition / destination / a pause in the dense / re-define the use of public space interconnecting two dynamic districts, always ser ve efficiency as the single function with a straight and heavily covered elevated walkway. Despite the uniform spatial experience, citizens start inhabiting the pedestrian walkway with their own activities due to the high accessibility and spacious environment compared to the on-grade pedestrian pavement. As the pedestrian walkway system is strategically situation between places, can it ser ve as a destination as well as a transitional space? In choosing Mong Kok as the testing ground, one of the most densely populated districts in the world, can the system not only ser ve the purpose of efficiency, but also provide an alternative as a slow-paced, community-led ser viced platform in stitching the fragmented nature of Mong Kok into a whole community? Karen KWOK Nga Lam E / kk0823aa@gmail.com T / 6482 7858

LOCAL CHARACTERISED STREET

NARROW SKY VIEW

POP-UP GATHER-ING

TOURISTS PHOTO TAK-ING

MONG KOK EAST STATIO N

SAI YEE STREET

NATHAN ROAD

left / urban design opportunities and self-initiated activities right / concept diagrams and hand sketches showing the dynamic urban context of Mong Kok bottom / longitudinal section showing intra-and inter- connection

MONG KOK ROAD TRADE AND INDUSTRY DEPARTMENT TOWER

FOOD AND ENVIRONMENTAL HYGIENE DEPARTMENT

MONG KOK MTR STATION

WATER SUPPLIES DEPARTMENT

ARGYLE STREET

middle left / node towards goldfish market bottom left / cultural garden 59

top / kitchen garden middle right / destination upper deck plan bottom right / transition lower deck plan

top left / 1:300 physical full model middle left / 1:300 physical full model

top right / 1:100 physical detailed model middle right / 1:100 physical detailed model bottom / 1:100 physical detailed model

P M D

“Adaptive reuse and architectural intervention can create a generative dénouement of expired infrastructure under climate change.”

Crossing the Thames Barrier Adaptive Reuse of Existing Infrastructure under Climate Change

expired infrastructure / climate change / afterlife

Completed in 1984, the Thames Barrier in London is the world’s second largest flood defence barrier and one of the most important infrastructural projects of the country. It prevents the floodplain of most of the Greater London, on which 1.25 million people are living, from flooding owing to the combination of high tides and storm surges from the North Sea in the past thirty years. Spanning approximately 500 metres across the River Thames, the Barrier ’s northern bank is the Silvertown of the London Borough of Newham, while its southern bank is the Charlton Riverside of the Royal Borough of Greenwich. Established by the Environment Agency, the Thames Estuary 2100 (TE2100) has suggested that Thames Barrier is going to be expired between 2030 to 2070 because of climate change. A new downstream barrier is planning to be built at Long Reach as a more secure choice.

Derrick LEONG On U E / onuleong@gmail.com

This thesis investigates how adaptive re-use and architectural intervention can create a generative dénouement of expired infrastructure under climate change. Through delineating its technological characteristics, it is suggested in my previous research that a more ambitious architectural intervention such as dismantling and re-constituting rather than traditional preservation can be considered in creating an afterlife for existing infrastructure.

While architects and designers focus on the design and potential of the future barrier, this thesis works on the old Thames Barrier in 2050: an expired infrastructure responding to the future regenerations at the two sides of the River Thames.

top / transportation study of site bottom / longitudinal section of the centre: walking with the process

left / atrium for exhibition: celebration of infrastructure top / overview of the centre bottom / museum & machinery

It concludes by using my design project as the Centre of Climate Change, a proposed re-use and extension of the expired Barrier as an illustration of an experiential typology for adaptive re-use of infrastructure relevant to three scales (City, Region, Communities), three agendas (Community, Recourse, Policy making) and three elements (Old Barrier, New Machine, River Thames). It is an educational yet day-today intermedium for the public to re-visit the impact of climate change.

DM P DESI GN M ET HO DO LO GY AND P RAC T I C E

Peter FERRE T TO

Winnie FAN Wing Sze

Milly LAM Man Yan

Arthur WONG Fai Nam

P M D

Tai O, a fishing village with over 200 years of histor y, is one of the few fishing villages with spirit and culture still remaining. Yet, in the past 10 years, Tai O is facing decline in population and thus in culture as a fishing village. In the 1960s, it was one of the largest salt production areas in Hong Kong. Tai O is famous for salt and related food products, namely salted fish and shrimp paste. The thesis proposes to reactivate Tai O by designing

Reactivating Tai O: A Food Retreat ‘Linear time is a Western invention, time is not linear, it is a marvellous tangle, where, at any moment, points can be selected and solutions invented, without beginning or end’ - Lina Bo Bardi

Regeneration of Abandoned Salt Pan Traces Tai O/ fishing village/ food a food retreat in a site of abandoned salt pan. By regenerating the traces of the salt pan, movements and engagement with land and water are reintroduced. The food retreat is designed layer by layer, from Sun Kee village, across the former water reser voir of salt pan, to the first layer of activities of making, to the kitchen and eating platforms, and finally to the retreat living units near the mountain at the back.

Winnie FAN Wing Sze E / fansze2@gmail.com T / 9453 8511

The food retreat is a circuit, which allows people to flow through and at certain points and moments, things happen. The three zones of activities engage people in the village and people staying in the retreat, namely salt, salted fish, shrimp paste. The vernacular stilt houses in Tai O have different types and characteristics, which shape the beautiful scener y of diversity and horizontality. Similarly, three types of living units with different characters, namely the Introvert, the Extrovert, and the Ambivert, are designed for diversity in living experience. They interact at the Social Roundabout, and the Kitchen where different stories are overlaid.

left / mapping of Sun Kee; 1:300 plan; 1:50 section of the Social Roundabout; 1:50 section of the Kitchen and salt bath top / the making of salted fish bottom / 1:300 model with 5 scenes captured

It is a circuit where people can flow through: people making salted fish, shrimp paste and salt; people living in the Extrovert, the Introvert and the Ambivert; people from Sun Kee village and people from the city. Stories and moments are overlaid as a new version of Tai O stor y.

Smell the taste of the sea

From fish to salted fish

Let’s eat!

Hi, Sun Kee

Walk after a meal

The making of salt, salted fish, and shrimp paste engages both people living in Sun Kee village and in the retreat. The making of salt involves purification process, transiting from pool by pool for two weeks; while the making of salted fish and shrimp paste are transformation processes. Dr ying fish and shrimp are transformed into products that elevate the taste of dishes and the taste of Tai O.

top / the making of salt bottom / panorama

P M D

Repair (in) the City Application of Notion of Repair on Architectural Level residual / repair / Sham Shui Po

“It is now the moment to rethink how SSP blocks shall adapt to the current city development.” “On no account place buildings in the places which are most beautiful. In fact, do the opposite. Consider the site and its buildings as a single living eco-system. Leave those areas that are the most precious, beautiful, comfortable, and healthy as they are, and build new structures in those parts of the site which are least pleasant now.” - A Pattern Language (1979), 104. Site Repair Repair was once a skill of craft commonly known by ever yone, but now is a disappearing industr y in Hong Kong. The throw-away culture is common in the society that people have forgotten things could be fixed before throwing away. In this thesis, Repair is as a metaphor towards city development, to be applied on architectural level, with Sham Shui Po (SSP) as the experimental site.

Milly LAM Man Yan E / lammanmilly@gmail.com

The thesis started with obser vation of residual conditions in Hong Kong. In the middle of process, it was noted the industr y of repair is currently disappearing. Yet Sham Shui Po leaves the last trace of it. SSP now has come to a saturation point, in terms of density and housing provision. It is now the moment to rethink how the city blocks shall evolve and adapt to the current city development as how they used to be before, with application of notion of repair. The repaired city block would be a model of other blocks in SSP, influencing the future development of the district.

T / 6071 6144 76

Repairing is facing a disappearing condition in Hong Kong, in both physical and social aspects. Repair shops are found located at left-over gaps and residual pockets in the city, as narrow shops on street, shops under staircases of tenement house and footbridge, etc.

top / informal conditions in Hong Kong bottom / repair shops in Hong Kong

left / isometric view right / perspective view from street level

This thesis brings back the city block as a whole, considering the block and its buildings as one single living eco-system. The repaired block would work as an ecology, with new and old elements adapting to the changes altogether as one system.

P M D

A Wall to Connect

This thesis is plotted around a paradox – “connecting the city by building a wall”. The thesis revealed the hidden attributes of the wall as the connective agency and the architectural instrument to define. Often perceived as the device to divide, the potential of the wall in configuring the urban condition is explored through a series of research and experiments with the perspective of seeing the wall as architecture.

Activation of Residual Urban Fragment by An Inhabited Wall wall / residual / obsolescence

Departed from the conceptual ground, the hypothesis is examined in the activation of a residual condition in the city interior. Located at the East end of London, the site is an abandoned train station which has failed to reconnect to the rest of the city since its destruction by fire half a centur y ago.

Arthur WONG Fai Nam E / wfnarthur@gmail.com T / 9135 6822

The project proposes to enclose the entire site by an inhabited wall. Inhabited with the program of Art Warehouse, the wall standing on the ruins of the former station compresses the past and the present of the site, and offers the long-abandoned urban island a new identity in the city.

Berlin Wall

Palazzo della Ragione

Piazza Navona

top left / taxonomy : wall as architecture top right / study models bottom left / construction concept bottom right / section

top / permeable threshold bottom / violent conservation

top / defined public interior bottom / ruin revived

DM P DESI GN M ET HO DO LO GY AND P RAC T I C E

Simon HSU

Ashley CHIU Mei Ying

LAM Long Tat

Jasmine YUE Ka Hin

P M D

“Sex, like food, is an indispensable part of human life.”

Sex Worker Association

In Hong Kong, most of the prostitutes are facing problems such as poor policemen attitudes, customer violence, low selfesteem and discrimination. Prostitutes usually come from families of low economic class. They are nonskilled and earn a low income, relying on prostitution for a living.

Platform Providing Safety and Empowerment of Sex Workers

How can architecture help prostitutes in these situations? Hong Kong is a westernized and much more open-minded corner of China. When I compare the circumstances of prostitutes in Hong Kong to other developed places like the Netherlands, Osaka, Germany, Canada, Bangkok etc., I wonder why prostitutes here are facing so many more difficult situations. You may simply say it’s a cultural difference. But it’s not the case after my deep research in foreign cases. I realize that foreign brothels concentrate in one street or one district instead of being distributed into different buildings. Prostitutes group together for better protection. In Amsterdam, a secret staircase is even provided in prostitution buildings for the escape of prostitutes from violence or crimes. A neighborhood for the marginalized group of people is generated formally and informally, in an autonomous and intentional way.

feminist / sexual / platform

Ashley CHIU Mei Ying E / chiuying0104@gmail.com T / 9858 0072

My design strategy is to provide a platform for prostitutes to stay together, sharing experience of self-protection. Circulations are therefore crucial and carefully designed. Platforms are directly linked to the staircase for quick escape of prostitutes in case of any problem. Customer path is a long path that goes through all the brothels, with certain paths passing through some designated programs. Some of the customer paths are exposed on the facade of the existing building. And, the public would know who are getting into the brothels.

top / isometric drawing bottom / sectional perspective

top / isometric second floor plan bottom / elevation

top / brothels bottom/ gathering area

p M D

Fare.Well Vertical Healing: Funeral Tower in Hung Hom, HK mourning / vertical city / monumentality

“We might know who we’ve lost, but not what we’ve lost from them.” Mourning is an innate response at the time of loss. We go through a journey of intense, and at times unfamiliar, emotions. Studies have shown that these are normal and hold clues to our healing process. We should take time to experience these instead of suppressing them. In Hong Kong, funeral homes and parlours have been the primary venue for collective mourning for local Chinese since WWII, whose traditional rituals have become impractical under the constraints of dense, urban life. Yet, decades of changes in society compounded with a general negligence from the public as a taboo, funeral home looks increasingly falling behind the needs of the time. The recent trend to provide ‘Farewell Services’ in public hospitals (converted spare rooms to hold simple memorial) is a welcoming addition to cater for seemingly ‘simplifying’ needs of society. Yet is a ‘simple’ room all we need for expressing and experiencing our intense emotion at the time of loss? Does it highlight our collective failure to recognize our psychological and societal needs in mourning? We need to revisit the origin of why we mourn. Old conditions may no longer be relevant, at the same time new constraints and possibilities lie ahead. We should study the spatial practice of now and then, to understand how architecture can serve that purpose. Our dense urban environment necessitates a new way of saying farewell. By consolidating funeral programs, this thesis envisions a vertical healing journey in a nondenominational, public funeral tower in the heart of the city.

LAM Long Tat E / longtatlam@gmail.com T / 6680 3886 96

Coliseum

Becoming One: Memorial of Citizen

As a Human: Lodge

Healing Gardens

Open Lawn As a Member: Funeral/ Cremation Hall

Square & Pier

As if Living: Mortuary/ Visitation Room

Victoria Harbour

Right at Everyone’s Frontyard: Death is a normal part of life, it deserves the presence just as power, money and culture are manifested along the harbour. A tower makes a clear yet subtle presence on the city’s skyline, announcing the passage of life as night falls and it grows. This is never just a disposal facility, it is a monument for the lives lived.

A New City Amenity: The landscape completes a missing link in the promenade and opens up connection from the water to the inner Hung Hom district. A place for life education and life itself. A new node on the harbourfront and a funeral facility that enriches city life.

left / a farewell ascension: the funeral tower; n-s section right / a radiating vortex: the healing landscape; podium level plan

“If you are searching for his/her presence, look around” Inspired by the epitaph for Christopher Wren at St. Paul Cathedral

“I will not say: do not weep; for not all tears are an evil.” J.R.R. Tolkien, The Return of the King

“Grief does not change you, Hazel. It reveals you.” John Green, The Fault in Our Stars

top / memorial of citizen, montage middle / funeral & cremation hall, model bottom / ground level exit, montage

top / sky garden and lodge, exterior middle / funeral & cremation hall, montage bottom / ground level landscape, model

100

P M D

This thesis starts with an interest towards understanding infrastructures as tangible and intangible systems that support the city. With this interest in mind, the recent “paper crisis” in Hong Kong struck me. Waste paper is jammed in Hong Kong due to a ban from mainland China. Stakeholders, ranging from big recycling firms to scavengers, were all affected due to the chain effect. This bottleneck also suggests the hypocrisy of paper and other recycling. By putting waste paper into the blue recycle bin, citizens think that they have already done their job. Yet, it is only the tip of the iceberg.

The Paper Sanctuary An Integrated Paper Recycling and Community Facility Infrastructure / paper recycling / hypocrisy / rejuvenation This thesis strives to find an architectural solution that can make the whole paper recycling process more transparent, so that people can be more aware of the issue through introducing paper recycling and re-making back to the community setting. Moreover, through the process of recycling, it also elevates the status of paper – not being seen as trash, but as a natural resource that can transform and transcend over time. Drawing an analogy between paper and life, unwanted waste paper is being dealt with by disenfranchised people in the society, such as scavengers and cleaners, who are invisible in the society, just like our infrastructures. The study on rejuvenation of waste paper will be taken as a metaphor for the rejuvenation of the neighborhood and its disenfranchised people; aiming to create an authentic experience, embarking an enlightenment to transform people’s minds and their neighborhoods. Jasmine YUE Ka Hin E / jasmineyue127@gmail.com T / 9318 5792

101

102

left / perspectives top / sectional perspective - the paper congregation bottom / G/f, 1/f, 6/f plans & site plan

A paper congregation is created to facilitate the collaborative effort of scavengers and the general public to participate in the paper recycling process.

103

104

The main public circulation is integrated with the paper recycling process, such that the public can have a visual connection to the recycling process while travelling to their desired destinations.

105

right/ sectional perspective the intersection bottom / sectional perspective the paper trail

106

DM P DESI GN M ET HO DO LO GY AND P RAC T I C E

Patrick HWANG

Wendy CHEUNG Hon Ting

107

Kyle CHU Cheong Kei

Katherine LEE King Yee

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P M D

The city as a repositor y, archives the buildings and streets, while the artifacts anchor the memories of the past. The architecture of the city is the tangible elements which represents the past, the memories as well as the forgotten things and events. The physical entity is a form of desired anchor. Therefore, it is important to conser ve these heritage buildings. This thesis explores a way not only to keep it as an artifact but to reveal the hidden culture and heritage to the public, then generate future possibilities of the public heritage building.

Revitalization of Public Heritage using Cinematic Approach

CODA

- ending of the residential path as the epilogue of the residential pather, it leads towards the slit of gap in between the high dense housing.

A Case on State Theatre Building (1952) revitalization / cinematic / public heritage

CUBE

- residential use twisted and misfit at the corn of the rigid regular residential frame, the roatated block opens a new view towards the neighbourhood.

The thesis proposes a cinematic routing with different types of public spaces that reveal different hidden programmes, such as the temple, sauna, brothel and the elderly home; as well as encourage involvement and new narratives as a new method of conser vation. The building is used as a backdrop in the proposed narratives which offer a ver y different approach and insight to design. It unfolds the possibilities for different events to happen, intentional and unintentional. Different events and rituals will be developed over time, hence forming multiple narratives just like the State Theatre Building with different programmes and users. The three paths can provide continuous and fragmentar y experience that represents its era. By translating different camera movements and shooting methods, the paths can induce viewers’ emotions.

F O U R T H WA L L

- junction of all three paths located in between the residential block and theatre block, a small introvered open-air platform.

PEEPHOLE

- start of all pathsone can find wandering around the arcade of the State Theatre Building. It is a tiny myterious hole where the journey begins and unfold.

G S T

Wendy CHEUNG Hon Ting

B I T PA R T

- other programmesunintentional programme emerged over the years which gradually shape the State Theatre Building into its own character.

E / wendycheunghk@hotmail.com CAPSULE

- theatre use capsule review of the intervention behind, as if the living poster of what is showing inside the State Theatre Buidling.

S TAG E

- ending of theatre pathafter going through the cinema, foyer, back of house and the symbolic truss, the path ends on top of the sign of the State Theatre, facing the King’s Road which will recreate the famous scene in the Longest Summer.

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OAD KING’S R

T / 9820 2208

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left / cinematic sequence top / theater experience (1952-1997) bottom / perspective from the King’s Road on the tram

Different types of public spaces are inserted with relationship to the context and the setting within. By linking them, they will form various narratives intersecting with the existing programme, creating a cinematic effect which tells the stor y of the building.

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All begins with one entrance, the peeping, where one will find wonder in the ground floor arcade. After the entrance, swirling up to a tunnel space leads you to the restored cinema and brings you back in time to the ver y beginning of the development. After that, there is a choice of path, a moment of decision, whether the theatre stays or goes. The path splits into two main narratives, the theatre line where cinema space, back of house, roof truss are linked.

The other would be the residential stor yline, which emphasizes on the receptiveness and smallness of Hong Kong housing. Funnel-like view path exaggerates the scale of subdivided units, and vertical lifts cut through floor flabs showing repetitive homogenous units across the whole building. These two pathes also open to a byproduct, an alternative narrative leading to the unintentional programmes which loop within the building.

left / section right / perspective from Java Road

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P M D

Taipei Train Depot The Potentiality of Taipei Train Depot: The Role Of Industrial Heritage In A Rapidly Development City industrial heritage / rennovation/ craft and knowledge

“From industrial heritage to craft and knowledge hub.” This thesis started with a challenging task: to rethink the future solution needs to have a dialogue with the Taipei Train Depot - an abandoned industrial heritage archiving significant histor y, craftsmanship and culture of Taiwan and once ser ved the railway development of Taiwan since 1935. Being an alternative to economic prioritization, this thesis initiated a scenario for the depot with two time frames I To reshape the abandoned depot into a new configuration of public space through modifications and selective demolition. The re-development of the site is focused on improving the publicness for the local residents, both functional and spatial through the increasing of site permeability. II Injecting contemporar y programs within the historical context to prolong the evolution of the factories - a Librar y and a Workshop targeting to support the future of Taipei in terms of knowledge and craft industr y. The dual programs reinterpret both tangible (infrastructures, facilities) and intangible (movements, connectivity) contents of the train depot.

Kyle CHU Cheong Kei

The scope of this project is not simply examining the possibility to re-purpose or re-habitat the existing artefacts, but to overlap a new resonant layer to the old and support the future development of the city - through transforming the ruins into a place of production, imagination, and learning.

E / ke.cckei@gmail.com T / 6579 6334 116

top / historical significance of Taipei train depot bottom / demolition schedule

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top / the alignment and intersection of the library and workshop

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left / the interchange top / overall planning bottom / intervention strategies

A workshop and a librar y are injected to retrieve the tangible and intangible contexts of the depot, facilitating the participation of the public with the historical site.

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P M D

“Where there is nothing, everything is possible.”

Shau Kei Wan Commons Void and Boundary in Architecture in between the Definite and the Indefinite void / boundaries / traces

Void means emptiness and something experienced as a loss. This thesis tries to explore void in different urban and building scales. Moreover, this project investigates both the meaning of void and boundar y in architecture. The focus is on perception of emptiness, defining the boundaries and building’s connection with unoccupied space. The project is located across multiple urban voids in Shau Kei Wan in which a flyover creates empty, unoccupied space nearby as well as the seaside area. The project proposes a structure that would represent an interface between the busy part of Shau Kei Wan and the vacant part on the opposite side of the flyover. The proposed architecture defines, excludes, limits and marks but also consumes and connects.

Katherine LEE King Yee E / lkyee16@yahoo.com.hk T / 6130 0705

All public spaces and cultural programs have been infiltrated into the structure with a connection between the city and the waterfront. It has capacity for adaptation so this architecture as a volume continues to response to a new change. Activities inside the structure depend on activities in spaces it connects to. Architecture as volume presents reflection of the city while architecture as a flat surface presents reflection of emptiness. Not to fill the emptiness but to highlight it. Where there is nothing, ever ything is possible.

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Solid

top left / research top / void & boundary conditions bottom / view from Aldrich Garden Block; top view; view at main street eas; view along Eastern Corridor Expressway; main section

Void cutout from solid

NYC - TriBeCa: AT&T Long Lines Building

Aldo Rosi’s San Cataldo Cemetery

Berlin Wall

Wall

John Hejduk’s Wall house

Wall cut into volumn

Inbetween void

Volumn intersection

Boundary without wall

Tadao Ando’s Rokko House II

Functional wall

MVRDV’s Markthal in Rotterdam

Intersecting boundary & void

Louis kahn’s Scottish castle

Daniel Libeskind’s Jewish museum

Volumn cut away

Storefront for Art and Architecture, NY

Michael Webb’s Suitaloon

Successive walls

Bicuadro Architects’ Italian Pavilion, Shanghai Expo

Voids within walls

OMA’s tres grande biblitheque paris

Volumn within Volumn

Dogma’s Fields of wall

Volumn cut into walls

The Arch of Constantine

Eastern Corridor Expressway

911 memorial

Excavation

Void cut away

Thick wall become volumns

Diverging walls

Peter Zumthor’s Swiss Sound Box

Moshe Safdie ‘s Yad Vashem

Archizoom’s no-stop city

Repeated Volumns

Void & Boundary conditions Component & Attribute

Four levels and scales of void are explored: abstract visual, flexibility, repetition & subtraction and void as program.

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left / 1/ flexibility and variations of void 2/ isometric view of partial section of the communal hub 3/ view on the viewing deck framing view towards harbour, Tam Kung Temple and shipyards 4/ exploded isometric drawing top right / views at ground level & view looking up framing the sky bottom right / g/f plan and 1/f plan

Permeability of ground allows programs to fill in. Pure form is corrupted; the linear gesture connects the residual spaces and opens up the possibility for future development.

4 3 Ground Floor: 1. Main entrance 2. Entrance foyer 3. Market stalls 4. Existing Government Temporary shed 5. Outdoor performance area 6. Proposed nullah introducing seawater to the site 7. Carpark

First Floor: 1. Administration office 2. Common area/ Exhibition 3. Void/ atrium framing the sky 4. Library 5. Skylight from swimming pool above 6. Auditorium

4 2

Landscape: 8. EVA 9. Bamboo woodland with sculpture 10. Lawn with berm feature on grass 11. Piazza with feature wood deck pattern 12. Feature tree

18m

First Floor 1:300

Tung Hei Rd

5 2

11 4

eet ai Str

Oi L

Ground Floor 1:300 8

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DM P DESI GN M ET HO DO LO GY AND P RAC T I C E

Sebastian L AW

Benedict CHAN Man Chung

Albert CHAN Yau Hin

Angelica KWOK Chun Tung

To my Thesis students : There are no shortcuts to ARCHITECTURE. One must start from the basics and grow layer by layer through Learning, Exposure, Experience and Practice.

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P M D

“The overall strategy is to free up the ground space for communal programs, linking the river, the park and the community.”

From Brown to Green

Brownfield Sites are regarded as storage lands in the New Territories. The efficiency of land usage is ver y low. Meanwhile these lands have great potential to be developed. Brownfield Sites are closely related to the logistic industr y in HK. Because of the developing Pearl River Delta Logistics Terminals, the HK logistics industr y is declining. It can be deduced that the brownfield sites will decrease in number. The HK government realizes that there is a need to push local industr y to multi directional developments. Therefore, in 2010, they announced creative industr y as 1 of the 6 priority industries, which contributed even more GDP than the tourism industr y in HK. So, is it possible that we can release the brownfield sites and develop the creative industr y?

Creative Industry Working Hub on a Brownfield Site coexistence / community / coworking

In the thesis, it is proposed to build a creative industr y working hub in the boundar y between Tin Shui Wai (TSW) and Hung Shui Kiu (HSK). TSW has the highest unemployment rate in HK, while HSK contains the most brownfield sites. Also, the government is planning to have a new development area in HSK. The overall planning strategy is to free up the ground space for communal programs. The building also links the existing TSW community and the promenade to the park at the west. The containers cannot be wiped out at once because it would lead to relocation to another site. Phasing development is adopted. Phase 1 mainly consists of small start-up offices with communal space in the middle. Some of the containers are reused in the promenade for flexible uses.

Benedict CHAN Man Chung, E / benedict_chan3@yahoo.com T / 6196 0222

In Phase 2, as the industr y grows, more communal spaces, such as atrium seating spaces, play zones, cubicle think tanks, are added to the office spaces. In Phase 3, offices with communal mezzanine floor facing the park are added, increasing the visual connectivity between workers.

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Common Cores are particularly important in the design. These cores act as the linkage between phases, also as an outdoor deck for workers and public. The public can visually connect to the interior space of the office, but they cannot get into the private space.

Phase 3

- Mezzanine Communal Space Facing the Park

Common Core

top / flexible uses of containers bottom / sectional perspective

Phase 2

- Linking Phase 2 &3 - Outdoor Breakout Space for Workers - Linking the ground to the Roof Garden

Common Core

- Bigger Floor Plates for Growing Industr y. - Create more Communal Space for Interaction bet ween Workers - e.g. Atrium Platform Seating, Playroom, Stairs with Pocket Spaces. - Playroom and reading lounge are introduced to balance the worklife of workers, and to promote their creativit y and interaction bet ween each other. - Cubicle Think Tanks, Containers overlooking to the Atrium Space are introduced. - Quite Zone located on the upper floor for focused work.

Phase 1

- Linking Phase 1 &2 - Outdoor Breakout Space for Workers - Linking the ground to the Roof Garden

- Small Start-up Offices - Facing the River

22 16

Roof Garden

Roof Garden 9 15

Office

Event Space / Librar y

Public Walk way

Open Ground Space Performance Space

3 4 5 6 7 8 9

Carpark

Section A A 1:200

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1 Reception 2 Open Office Stepped Seating Kitchen Pantry Break out Space Team Lounge Common Lounge Event Space / Communal Dining

10 11 12 13 14 15 16

Think Tank Meeting Room Training Room Classroom Guest Room Video Conferencing Room Reading Lounge

17 18 19 20 21 22 23

Copy / Print General Storage BOH W.C. Shower Room War Room Quiet Zone

Communit y Hall

Cycle Arter y

Light Rail

Container Zone (Event Space, Meeting Rooms, Exhibition, Shops, Cafe)

Promenade

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top / atrium space bottom / quiet zone

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top / linkage to the park bottom / mezzanine floor

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P M D

“It is not to reveal the horror of wars, but as a reflection about its sin and guilt.”

Healing The Wound

This thesis aims to discuss the conflicts of aggression and cruelty of WWII, by the creation of sequential architectural volume of light and space, to reflect the dirt of sin and guilt in war crimes, thus allowing people to put down the pain for the past war-memor y. It is a memorial museum for the innocent and sacrificed under the wars of Imperial Japanese occupation “3-Year-8-month” in Hong Kong during WWII. It takes the challenges for capturing the Hong Kong architectural style, by confronting the compact travel sequence in high-dense urban environment. The tower design approach is implying that the soul of the deceased is to return to heaven and reach eternity. At the end, the knot between aggressors and victims is to be released by means of architectural spaces and sequential journey.

A Memorial WWII Museum for the Sacrificed in Hong Kong museum / art/ tourism

This thesis holds the concept of traditional Chinese philosophy of “ Twists and Turns” (起承轉合) (1) Start (起), (2) Continue (承), (3) Twist (轉) and (4) Eternity (合). This concept brings out the journey to overcome the miserable life during the war times in Hong Kong under Japanese Occupation, from the dark era to the bright liberation. It is captured in the museum complex, including education and exhibition spaces, memorial garden and chapel, in understanding the hidden histor y in Hong Kong.

Albert CHAN Yau Hin E / albertyh9@gmail.com T / 5164 5352 135

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136 BPM

合 Eternity

轉 Twist

轉 Twist 88 BPM

轉 Twist

承 Continue 68 BPM

承 Continue 承 Continue

承 Continue 起 Start 100 BPM

起 Start

The project is located in the district of Mid-Level Central, in between Aberdeen Street and Staunton Street and in adjacent to PMQ. The site is a former execution ground and this is the area where most of the war battlefields are concentrated. Another reason in choosing the project site in Mid-Level Central is the mixture of culture and vibrancy, with active tourism and cultural venues such as PMQ, Dr. Sun Museum, Former Central Police Station and SOHO districts.

Its richness of histor y would be a sparking idea for people from all walks of life to visit the memorial museum. Besides, the hill-slope landscape would be an interesting explorative point on layering and the spatial tectonics. This museum seeks the opportunity on the development with the playing of alternate levels, allowing visitors to travel through “ Twists and Turns” during their journey. left/ the heartbeat and its articulation corresponding to the philosophy of “twists and turns” right/ the structural diagram

top / the aerial view bottom / the bubble diagrams and strategies

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top / external perspectives bottom / view from the mid-level

top / journey of the museum

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P M D

When talking about environmental changes, people often find it distant, as it is not immediately exposed to us. This thesis is to explore how architecture can play a role to make the green crisis an immediate experience. When there is a deprivation of basic necessities, people will naturally rethink, reflect and remodel their lifestyle. Targeting three different major groups of audience: the offender of green crimes, people that are interested in green issues and the general public, the building includes three major programs with different level of control with the use of workshops.

The Metropolitan Breather Exposure of Environmental Consequences in Architecture rehabilitation centre / education centre / public integration Situated in a leftover site in the middle of the shopping district of Tsim Sha Tsui, it is intended to bring back the unused back to public and create linkage of the urban fabric. A sky bridge spanning across the Victoria Harbour to West Kowloon directly cut through the building so that visual connection is established between the public and the workshop. Sky deck with vertical farming constitutes a destination for the public. Connection to different major shopping centres nearby extends the ground beyond the site. The living blocks of the rehab and the education centre is cantilevered out above the main road to make a prominent statement. Visual connections were created across the building to maximize the exposure of environmental consequences. It is hoped that the metropolitan breather would bridge the public to the exposure of the hidden truth and incubate reflective awareness.

Angelica KWOK Chun Tung E / angelicakwok0213@gmail.com T / 9553 0988

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top / axonometric view middle / program concept bottom / concept diagram 143

1/ void between the living block and activity block 3/ education centre 4/ sky bridge

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2/ gathering ground of rehab 5/ view from Salisbury Road 6/ view form Kowloon Park Drive

With the living block is cantilevered out above the main drive, a prominent statement is made. Three different types of structural systems represent distinctive experience and awareness is developed through the interface.

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top / section of rehabilitation centre bottom / longitudinal section

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DM P DESI GN M ET HO DO LO GY AND P RAC T I C E

Clover LEE

Owen LAM Ho Wang

Adrian LAU Ted Him

Fred LEUNG Kwok Kit

VOICES LIKE THUNDER DECISIONS LIKE STEEL THE PAST & THE FUTURE THEY BELONG TO US ALL FROM EVERY MOUNTAIN THE WATER AND THE LAND THE WORLD THAT WE’VE CREATED (X3) BY WORKING HAND IN HAND (X2) mm-mm-mm-mm-mm (X2) (LYRICS FROM EMPIRE BY DAVID BYRNE ALBUM: LOOK INTO THE EYEBALL)

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P M D

Street Machine is a system that allow high density and flexibility to co-exist in large scale residential developments. Due to the growth of population, local developments tend to increase its density and level of program mix-use to fulfil the demand of the city, which the current high density developments are not flexible enough for space occupation, public activities and future changes. Street living quarters are repeatedly replaced by podium-tower type developments and flexibilities hence disappear in our city.

Street Machine Dense and Flexible City

Street was a common traditional urban element that form and connect communities in Hong Kong. The flexibilities of street space allow itself to provide a joyful living environment for the community. The street machine is a new typology of multi-level street living quarters, which provide certain levels of freedom for changes and allow the architectural elements grow along with the society. I believe that flexibilities and high density do not oppose each other. My project is tr ying to find a flexible way, by referencing the traditional local street, to create a sustainable and adaptable high density development.

Owen LAM Ho Wang E / owenhwlam@gmail.com T / 6155 1402

Scan the QR Code to read more

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HOLIDAY MARKET

DOUBLE LAYER STREET MARKET

left / street plan top / isometric and sections bottom / typical tower

SKYBRIDGE GARDEN

FROM LOWER LV TO LOWER LV

One important reason for the success of existing street communities is their flexibility. In my proposed street machine, the three dimensional street network is well connected by the primar y tower cores and the secondar y connections.

TO LOWER LV FROM LOWER LV

UP DN

DN DN

UP DN

DN DN

75m

73.5m

The street communities provide a flexible use of space which allow various of business and public activities exists. Every tenant are allowed to extend their business area within a regulated boundary to enrich the flexibilities of space occupation in certain level of order. For example, two layers of commercial activities, street market and fixed store like Fa Yuen street can be generated. Holiday market, mega size stores and small business alley with are also possible to sit on the street community.

TYPICAL TOWER

CONCRETE CORE

FLOOR SLABS & STAIRS

STEEL FRAME

UNITS INSTALLASION DETAILS

75m

TO UPPER LV

FROM UPPER LV

HIGH TENSION BOLTS

LEVEL 75m STREET PLANE PLAN

TRANSFORMABLE UNITS

MEGA STORE

SPONTANEOUS STREET ACTIVITIES

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EXTENSION OF SEATS AREA

152

Flexible street living quarters are created by stacking up multi levels plane plaforms. The community provides a certain level of freedom of the use of space in order to generate unique culture. It is also flexible enough for architectural components to transform in order to adapt to the social changes.

GROWTH OF THE COMMUNITY

2021

2031

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top / street market bottom / community growth

2046

2066

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P M D

“Connecting to the harbour is a means of revitalising the community.”

Taikoo Hub: Interweaving the Community with the Harbour A Community Hub for the Eastern District connection / community

The urban transformation of Quarr y Bay in the last 100 years is largely driven by Swire’s redevelopment of Taikoo Dockyard into Taikoo Shing and the incremental rezoning of the former Taikoo Sugar Refiner y to Taikoo Trading Estate and subsequently Taikoo Place. These developments respond to a particular need of the time: Taikoo Shing as a city for living and Taikoo Place as an office campus. Today, the Eastern District has the highest population density in Hong Kong Island, but the efficient urban fabric has left a void for communal activities to take place. The existing Quarr y Bay Park is separated from Swire’s developments by the Island Eastern Corridor and Eastern Harbour Crossing. These transport infrastructures built for unobstructed vehicular movements pose as visual and physical barriers to the harbour. The inaccessibility to Quarr y Bay Park and Harbourfront Promenade has deterred the local community who have retreated to the shopping malls of Cityplaza and Kornhill Plaza. The thesis explores how largescale building developments like Taikoo Shing can integrate a larger community presence with its prime location towards Victoria Harbour.

Adrian LAU Ted Him E / adrian.th.lau.2016@gmail.com T / 6298 6913

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top left / design intent bottom left / site plan top right / walkway to community hub bottom right / ground level plan

The site is a circular no man’s land above the Eastern Harbour Crossing which is currently occupied by the police and water supplies department.

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The proposal intends to design a community hub for local residents and office workers. The building extends from the efficiently planned Taikoo Shing and Taikoo Place, fillling the community void left by the developments in a leftover space whilst providing key connections between the inland developments, Quarr y Bay Park and the harbour.

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top / central plaza bottom / section through the community hub

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P M D

“Street Life” Podium New Typology of Podium-Tower in Sham Shui Po high dense / diversity / connection

“The Podium would be opened up to public and nature. ” This thesis seeks to inject the quality of street into a mega-podium that supports high-density residential towers without sacrificing the quality and fabric of street. As such, the proposal focuses on the design of podium and its relation to the residential towers. Design of residential towers would be beyond the limited scope of discussion. The mega-podium is structured based on grid and block size of existing Sham Shui Po block. Three courtyards within the grid bring outdoor space into the megapodium. Each courtyard is designed for different users. The slab of the mega-podium, where the towers sit on, is an extension of the old urban grid. Covered streets beneath the mega-podium connect the old and new neighborhoods while provide the ser vices supporting the towers above. Vertical circulations of the mega-podium are organized around the courtyards and the courtyards thus become multiple centers in the mega-podium. The programs of mega-podium support communities, of the towers and of the surrounding neighborhoods by: 1/ relating to the courtyards and their users, 2/ supporting the neighboring communities, such as retail along the streets in connecting old and new fabric; 3/ providing supporting program for the residents in the towers above.

Fred LEUNG Kwok Kit E / fredleung1827@gmail.com T / 9536 6283 162

T.R.

M.S.R. T.R. P.R. T.R.

T.R. T.R.

M.S.R.

T.R.

to carpark

T.R.

M.S.R.

T.R.

M.S.R.

T.R.

T.R. T.R. M.S.R. T.R.

There are three courtyards bringing outdoor space into the podium. Each courtyard is designed for different users related to the type of towers. For example, the first one is a park designed for the fast-growing elderly population, the second courtyard is a playground for children, and the third courtyard is a market space for local artists selling handmade products.

Vertical circulation of the podium is organized around the courtyards, creating multiple centers within the mega podium. There are several paths that can access the podium roof from the ground level.

left / ground floor plan right / options of vertical circulation

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164

Each shop inside the podium can design their own facade and the podium ser ves as a media to display the diversity and humanity from street life. The internal street façade will then connect to the Sham Shui Po street through the podium.

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top / internal facade of the courtyard bottom / external facade view from street

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HCC D HI STO RY, C U LT U RE AND CO NSERVAT I O N DESI GN

Thomas CHUNG

Sam CHAN Wai Sum

LAM Joshua Hon Wai

Jason LAU Kin Keung

credits: Huang Zongyu and Xu Bing

Dear Team, Thank you for an exceptionally rewarding year. Memorable in that we really forged new ground together, hope for a New Territor y? You guys set a benchmark for years to come. Warmest wishes, Thomas

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D C C H

“Everyday activities, commuting, working, relaxing, moving through sidewalk, despite being banal and repetitive, constitute the social realm and thus the very fabric and meaning of society.”

Rural City

Beginning with Henri Lefebvre’s concept of Ever yday Life against homogenized and commodified city life, this thesis project attempts to transform the leftover spaces along urban peripher y into small cities, through an alternative villagetype design inspired by existing urban villages. They have readapted to the urban context while developing a series of spatial settings, urban edge, spine, plaza, alley and courtyard, which illustrate Lefebvre’s vision of ever yday architecture - one that bridges between scales of the city with the dwelling, to reconnect the segregated private-public boundaries and enable diversified ever yday life.

Reclaiming Everyday Life along Urban Periphery village / everyday life / urban periphery

The ‘Rural City’ adopts such spatial system in a vacant peripheral site in Shatin, connecting the city to villages with a gradual transition of scales. Articulation with the slope allows free access of the site across different levels. Abundant sheltered spaces at ground level are designed to provide overlaps between inside and outside. A new prototype unit of ‘village house’ is proposed in a compact form of housing clusters, providing family units plus dormitor y units. Daily functions are scattered around the communal spaces, e.g. dining, laundr y, co-working spaces, to extend living from individual dwellings to the public realm. There are also public programs to ser ve the larger city context, such as libraries, elderly centres and kindergartens.

Sam CHAN Wai Sum E / samsc2008@gmail.com T / 6859 9854

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1957

1976

1980

1983

1993

left / research on Tin Sum Village top / five spatial settings bottom (from left) / everyday components; site model; section

The project resembles the spatial settings of urban villages in the Village Expansion Area of Chap Wai Kon Village, Shatin.

1983 H-Block Public Housing

1989 House Ownership Scheme Public Housing

1905 - 1972 G.N. Lot Houses

1972Ding Houses

Old Wall Gate

Shrine

Temporary Bamboo Scafolding

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top / lower ground floor plan bottom / upper ground floor plan

top / model

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D C C H

Tidal Urban Architecture

“Architecture can induce Nature in the Anthropocene.”

Inducing Anthropogenic Ecology in Deep Bay

Challenging the clichéd human-nature dichotomy, Tidal Urban Architecture envisions porous ‘ecological’ architecture and urbanism in inducing a ‘natural’ ecology. Incomplete in itself ; Architecture is completed by Nature. Anthropocene marks an unprecedented geological age of dominance of anthropogenic landscape, exemplified by reclamation and cultivation of Deep Bay. Paradoxically, Mai Po Ramsar Wetland, the best natural reser ve in Hong Kong, is situated on anthropogenic landscape and feeds on manmade origins, endorsing possibility of anthropogenic ecology. Threatened by accelerated sedimentation dr ying up precious ecological reser ve, Deep Bay necessitates our inter vention.

tidal urbanism/ building with nature/ anthropocene ecology/ landscape morphology/ nature-culture dichotomy

Tidal urbanism therefore envisions strategically placed parallel urban stripes inducing settlement of nutrient-rich sediment under tidal dynamic, creating new land of habitation for Nature and Human in concurrence. Nutrients are settled to support planktons, crustaceans, and eventually migrator y birds, enriching the bays’ benthic community and global aviar y ecology.

LAM Joshua Wai Hon E / joshua.waihon.lam@gmail.com T / 6203 9127

As a pioneer to urbanistic vision, tidal galler y-cum-laborator y is established to measure tide and ecology with scientific objectivity and experiential subjectivity. Tidal transience curates tidal galler y of ephemerality, whose spaces and shifting grounds register the tidal changes. Laborator y and landscape inter vention measure the growing sedimentation landscape induced by architecture, enabling dwellers to probe into the living landscape. When the sedimentation landscape thrives after decades, the architecture decays and returns to nature. Nature makes architecture, and continues to remake it until the end of its life. 176

left / morphogenesis, layout, aerial view; elements of Deep Bay regional anthropogenic ecology plan top / anthropogenic methodology in retaining sedimentation and nutrient bottom / tidal urbanism of anthropo-ecology habitation

5 km

Threshold of Mudflat

Oyster Archipelago and Pile Reorganized

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Tidal Urbanism

Induced Landscape

+ + +

Ecological Network

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10:00

11:00

12:00

13:00

14:00

15:00

16:00

50 m

top / tidal gallery of temporality middle/ landscape laboratory of succession bottom/ tidal architecture of ephemerality

top / architecture as measure of tidal temporality and landscape genesis

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D C C H

This thesis contends that brownfields have a far greater significance, meaning and utility than is commonly thought, and that an appreciation of their particular qualities is urgently required to inform a much more engaged and reciprocal approach to the planning, design and management of their complex ecologies. The project’s design inter ventions demonstrate the contribution of architectural imagination to develop a critical but playful ‘architecture of brownfield’ that creatively interprets local conditions to embody contemporar y concerns of New Materialism.

Towards an Architecture of Brownfield Playful Landscapes of New Materialism in Hung Lung Hang brownfield / new materialism / dark ecology / subnature The project attempts to extract inspiration from the composite material and aesthetic orders of brownfields. Four layers of infrastructure are proposed to transpose as-found brownfield experiences - Bypass, Illusion, Search and Confront - into differentiated horizons of flow, mobility and meaning. Reconfigured architectonic orders in the form of routes, enclosures and self-organized assemblages make tangible and intensify the interplay between existing brownfield operations and ongoing recreational activities. Further proposed programmes attempt to open up and transform public consciousness of these sites by creating a surprising variety of publicly accessible sequences and playful yet strangely familiar architectonics to co-exist with the continued presence of brownfields.

Jason LAU Kin Keung E / jasonlaukkhk@gmail.com T / 5171 8309

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left / 4 horizons of flow, mobility and meaning top / a growing brownfield with no defined ground bottom / mock-up of warehouse with new material are built above the workshop

Deep in the ambiguous terrain grew out a makerfield where heterogenous material made by leftover, contaminated soil that embodied both permanent and temporar y charactors are produced, exhibited and delivered to other brownfield.

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MOVEMENT

BYPASS

FRAGMENTED NATURE

ILLUSION

ISOLATION

UNFAMILIAR MATERIALITY

CONFRONT

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top / material transition & threshold between the old and new bottom / brownfield pre-development & the landscape imagination

top / material transition & movement along the alleys bottom / activation of brownfield as playground by warehouse plugins & the horizon of ‘search’

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HCC D HI STO RY, C U LT U RE AND CO NSERVAT I O N DESI GN

Stanislaus FUNG

Winnie LAM Wai Han

TAN Song

Ben YIM Yu Ching

“ The pretense of doing some social or moral good in a thesis project can be tempered by a call to show how architectural skills and sensibilities are evident in a final review.”

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D C C H

“The reading hub is hidden in an abandoned pocket space in city. It ser ves as a refuge for people who want to find solace in books.”

Reading hub in Shanghai

The thesis focuses on examining the experiential design, which emphasizes on real human encounters in space, in a rehabilitation project that transforms an abandoned market into a reading hub in Shanghai. The reading hub is designed to challenge the monotonous and boring reading experience in the ordinar y reading space in city. It is proposed for writers and book lovers who are seeking a platform for expression and communication. The mixed programs of bookstore, main librar y and writing studios encourage sharing of ideas among visitors from different backgrounds. Located in the centre of Shanghai, the reading hub is hidden in an abandoned pocket space. It ser ves as a refuge for people who want to find solace in books.

Envisioning a New Reading Space in City

reading / experiential design / abandoned space in city

Winnie LAM Wai Han

The methodology of taking photo from a large-scale model has been conducted throughout the entire research and design process to study how the interplay of material and light influence the spatial composition and the presence of atmosphere. It responds to the topic of experiential design, which aims to genuinely reflect the users’ experience in the space. The discoveries in the model photos of Villa Mariea inspire the idea of introducing a diagonal geometr y in the site. It shows the intention to break the regularity of the remains of the past.

E / lamwaihan12@hotmail.com T / 6763 9274

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Reading Hotel in Shanghai Reading Reading Hotel Hotel in in Shanghai Shanghai

Case Case Study Study Villa Villa Mairea Mairea Case Study Villa Mairea

Alvar Alvar Aalto, Aalto, Noormarkku, Noormarkku, Finland, Finland, 1939 1939 Alvar Aalto, Noormarkku, Finland, 1939

Reading Reading Hotel Hotel in in Shanghai Shanghai Reading Hotel in Shanghai

Inter-media of model making and photograph Inter-media Inter-media of of model model making making and and photograph photograph

Case Study Villa Mairea Case Study Villa Case Study Villa Mairea Mairea Alvar Aalto, Noormarkku, Finland, 1939 Alvar Alvar Aalto, Aalto, Noormarkku, Noormarkku, Finland, Finland, 1939 1939

Inter-media of model making and photograph Inter-media Inter-media of of model model making making and and photograph photograph

Case Study Villa Mairea

Reading Hotel in Shanghai

Alvar Aalto, Noormarkku, Finland, 1939

Reading Hotel in Shanghai

Site constraints Inter-media of model making and photograph

Revitalizing abandon space in city gyin

Jian

Alvar Aalto, Noormarkku, Finland, 1939 Intergrating the learning from case study and site analysis

INCOMPATIBLE PERCEPTION OF DEPTH Revitalizing abandon space in city

Roa

Site constraints

Case Study Villa Mairea

Design Mutation

Inter-media of model making and photograph

By varying the lightingPERCEPTION condition and materiality in spatial layering INCOMPATIBLE OF DEPTH Villa Mairea

Jiangyin road site 7200 3600

7000 3600

3600

6800 3400

3400

6350

4520

By varying the lighting condition and materiality in spatial layering

25m

3990

6350

buildin g view s

22m

25m

6350

Ground floor plan

6350

una

22m

ccepta ble

6350

B’

Ground floor plan

ac ce

ptab

21m

III

21m

IV C

Site constraints

A’ A

BREAKING SPATIAL REGULARITY 1

Design Mutation Intergrating the learning from case study and site analysis

21m

III

10.4m 10m 9.7m

Jiangyin road site

3600

6800 3400

3400

4520

3990

6350

By creating separate path of the eye and the body By creating diagonal focal point with indirect access 6350

6350

Ground floor plan

6350

By creating separate path of the eye and the body

Ground floor plan

A’

By creating separate path of the eye and the body

3600

6350

C’

BREAKING SPATIAL REGULARITY

7000

7200

BREAKING SPATIAL REGULARITY

10m

Existing structure plan 0

50m

view s

Villa Mairea

Existing structure plan

50m

10.4m 9.7m

acc ept

abl

e bui

ldin

g vie

ed view s

block

Existing structure and circulation

25m

B’

D’

Existing structure and circulation

22m

By By creating creating separate separate path path of of the the eye eye and and the the body body By creating separate path of the eye and the body

ing

By creating separate path of the eye and the body By By creating creating separate separate path path of of the the eye eye and and the the body body

BREAKING BREAKING SPATIAL SPATIAL REGULARITY REGULARITY BREAKING SPATIAL REGULARITY

build

integration of analysis from site and case study bottom / INCOMPATIBLE PERCEPTION OF DEPTH By varying thephotos lighting conditionof and materiality in spatial layering model the case study and the design mutation

50m

A’

BREAKING BREAKING SPATIAL SPATIAL REGULARITY REGULARITY BREAKING SPATIAL REGULARITY

Building height 54m - 90m Building height 119m - 283m

Road

ble

III

yin

Jiang

unac cepta

C’ 30

Building height 3m - 15m

top / By By creating creating separate separate path path of of the the eye eye and and the the body body

C’ 20

vie

blocke

left / BREAKING SPATIAL REGULARITY BREAKING SPATIAL site analysis REGULARITY BREAKING SPATIAL REGULARITY By creating separate path of the eye and the body

I 10

ing

d view s

D’

Road

ild

B’

D’

yin

Jiang

Making a 1:20 large-scale model allows us to revise the spatial qualities between model and photograph, optimise the scene and examine the spatial flexibility. light source

Building height 3m - 15m

Building height 54m - 90m

Building height 119m - 283m

3.7m

Existing structure plan 0

10m

10.4m 9.7m

0m 3.7m

Sig

htl in

Section AA’

Existing structure

3.7m

Reading Hotel in Shanghai Reading Hotel Hotel in in Shanghai Shanghai Reading

Section AA’

Existing structure

Section AA’

Case Case Study Study Villa Villa Mairea Mairea Case Study Villa Mairea

Jian Jiangyin R Jiangyin oad g Ro

Existing structure

Alvar Aalto, Noormarkku, Finland, yin ad 1939 Ro Alvar Aalto, Aalto, Noormarkku, Noormarkku, Finland, Finland, 1939 ad 1939 Alvar

13.7m

CREATING AMBIGUITY BETWEEN INDOOR AND OUTDOOR SPACE CREATING AMBIGUITY BETWEEN INDOOR AND OUTDOOR SPACE Jia yin Ro ng ad Jia yin Ro ng yin ad Ro ad

13.7m

11.3m 13.7m

11.3m

Hotel circulation 11.3m Reading Hotel in Shanghai

Revitalizing abandon space in city

Jia n Jia gyin n R Jia gyin oad ng Ro yin ad Ro ad

Inter-media of model making and photograph Inter-media Inter-media of of model model making making and and photograph photograph Jia

Public circulation 5.4m

5.4m

By overlapping inside and outside views in diagonal sightline Case Study Villa Mairea Alvar Aalto, Noormarkku, Finland, 1939

By overlapping inside and outside views in diagonal sightline Inter-media of model making and photograph

Jian

Section BB’

gyi

III

By creating diagonal focal point with indirect access

By overlapping AMBIGUITY inside and outside views in diagonal sightline CREATING BETWEEN INDOOR AND OUTDOOR SPACE nR

light source

oad

5.4m

Jian

g Jian yin R oad g Jian yin R gyi oad nR oad

Sigh tli

Section BB’

yin

Jia n Jia gyin n R Jia gyin oad ng Ro yin ad Ro ad

Ambiguity of indoor and outdoor, past and 0m present

III

Jia

4.6m

Section BB’

Oblique views create spatial continuity

Section CC’

III

gyin

Jian

Roa

14.8m

7.3m

Jia

ng Jia yin R oa ng Jia yin R d ng yin oad Ro ad

3.6m

4.6m

BREAKING SPATIAL REGULARITY BREAKING SPATIAL SPATIAL REGULARITY REGULARITY BREAKING By creating separate path of the eye and the body By By creating creating separate separate path path of of the the eye eye and and the the body body

0m 0

50m

Section DD’

4.6m 0m

Existing structure and circulation

BREAKING SPATIAL REGULARITY

by creating Indoor-outdoor-indoor spatial arrangement

By creating separate path of the eye and the body

Section CC’ 0m

Section CC’

14.8m

IV Sightline

14.8m

Jia

yin

Jia ng Jia yin ng Ro Jia yin ad ng Ro yin ad Ro ad

7.3m

Jia

ng Jia yin Ro ng ad Jia yin Ro ng yin ad Ro ad

Hotel circulation

7.3m 3.6m

Public circulation

Reminiscence of the spatial experience in old market

Jia

3.6m 0m

yin

Section DD’

Ambiguity of indoor and outdoor, past and present

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Oblique views create spatial continuity

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by creating Indoor-outdoor-indoor spatial arrangement

Public reading room Sequential experience along the walkway

Bookstore

Outdoor reading space

Main library

Writer’s studio

Sequential experience along the walkway

I use the ideas extracted from the case study, namely the separate path of the eyes and body and the indoor-outdoor-indoor spatial arrangement, to develop a continuous flowing space in the hub. The openings on the wall of the new insertion are aligned in linear direction to connect with the corridor of the past. Change of spatial depths is developed by the interplay of diagonal movement and the linear views to create surprises for visitors.

Instead of demolishing the old structure, the existing walls are transformed to bookshelves in the main librar y. Openings in the main librar y are connected to different programs, such as the writer ’s studio, restaurant and common area, in order to encourage the interaction between different users.

left / sequential experience along the walkway right / scenarios in the main library

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D C C H

The thesis project is a renovation of a historical mansion built in 1930s, located at French concession, Shanghai. Based on its existing situation and courtyard strategies, discussion of the relationships between distance and atmosphere is utilized to change its space topology,

Distance and Atmosphere Private Mansion Renovated as Public Hotel courtyard / indoor-outdoor relationships / distances optimizing its original atmosphere as a public hotel. The inter vention process focuses on four aspects: main courtyard, implanted courtyards, lobby, and guestrooms. Models with specific texture under simulated solar conditions, and model photos simulating humans are combined as a design media to test distances created in each vantage point.

TAN Song E / 18310651317@139.com T / 6570 4687

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top / site; courtyard entrance; main entrance bottom / site; courtyard; lobby

The historical mansion was built into seperated spaces and combined as compact volumes. Such layout as private living space wouldn’t suit for public hotel.

Main courtyard Distance and Publicity

Lobby Distance and Sequence

First floor (existing)

Second floor (existing)

First floor

Second floor

Ground floor (existing)

Implanted courtyards Distance and Orientation

Ground floor

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Guestroom Distance and Isolation

a-a section (existing)

a-a section

top / lobby; entry sequence middle / main courtyard bottom / guestroom and courtyard b-b section (existing)

Courtyards penetrate into compact volumes which develop different indoor-outdoor relationships. Distances in terms of sight line and circulation are created.

b-b section

courtyard entrance

courtyard strategy

courtyard entrance

inter-connected courtyard

199

lobby

public courtyard

semi-public courtyard

guestroom

guestroom observe courtyard

200

platform

SITE

French Concession Area

Heng Fu Conservation Area

ZONE 21-25

ZONE 21-25 Historical Heritage Museum/Institution

Impoverished experience of art in the trend of ‘museumized’ city

Art.trade Heritage Hotel

“Not Just a Trade Receipt, but a blended journey of sharing, inspiration and appreciation” This thesis discusses adaptive reuse of a heritage residence built in the Shanghai French Concession through drawing insights from ‘atmosphere’ to architectural profession. By investigating impoverished experience of art in the trend of ‘museumized’ city, the aim of the study is to suggest an alternative way of art appreciation and trade experience in the setting of historical heritage.

Alternative Way of Touristic Art Appreciation art appreciation / adaptive reuse/ atmosphere

Tourism consumes specificity of atmosphere. By linking Juhani Pallasmaa’s idea of haptic and peripheral experience with Gernot Böhme’s refinement of atmospheric corporeal space, the question is raised: how does architecture enhance our experience of art and involve beings concretely through unfolding of spatial experience.

After

Before

The question is answered through experimentation of physical modelling and taking photos of large physical models in order to acquire a comparative analysis among model photos, existing photos, drawings and diagrams. Based on research findings, the thesis suggests a proposal of ‘Art.trade heritage hotel’, a lived experience with art collection and trade program. On one hand, the intention is to prolong the time available for thorough art appreciation experience; on the other hand, trading program is intruded as an impetus of reactivating relations among site, object and people by generating a journey of appreciation and experience.

Ben YIM Yu Ching E / yuching_2008@hotmail.com T / 6739 0481 202

Covered Wa l k w a y

1 2

S e m i outdoor Garden

T e a House

Route from 2/f north building

Hotel Lobby

Route to 2/f

T r a d e Pavilion

Existing Arcade

1 9 3 0 heritage residence

I analyzed the composition of arches around the circulation through 1:30 large building model study. Arches were misaligned to create framed scenes of light, objects and layers of arches. It reminds us of some Renaissance paintings by Carnevale where arches are compositional devices that controls two different spatial depths, at the left flattened (middle left), at the right deepened (middle right).

Instead of defining the site statically as two buildings with a courtyard in between, I curate a journey by linking up the focal points between buildings through section: The existing arcade is preser ved; a new hotel lobby and tea house replace the temporar y settlements; a water garden with stairs provides connection to the second floor of both buildings; and a 2-stor y trade pavilion displays tradable artworks.

left / misaligned arches as frames right / curated journeys around the courtyard

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Compared with existing dead end condition of entr y, perspectival effect is achieved from series of arcades to columns, creating a force of leading you to move closer ; when we look around the courtyard, walls are punched with holes and arches, hiding part of spatial distance and making a collage of episodes, creating aperspectival effects. Variety of scenic composition enhances appreciation between heritage and new inter vention.

Part of the tradable artworks is arranged inside hotel rooms and the trade pavilion, prolonging the time available for appreciation before trade. We tr y not to duplicate the museum way of restoration where the place becomes merely a storage space of dead objects; we do hope the place becomes an active field that engages artists, hotel guests and visitors through living experience. left / axial extension of entry sequence creatng perspectival and aperspectival effects right / blended journey of sharing, inspiration and appreciation

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U DLU U RB AN DESI GN AND L ANDSC AP E U RB ANI SM

Francesco ROSSINI

(photo) LI Paul Jun

Peter TSE Tat Hing

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Ivan WENG Yu

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U L D U

Architecture of the Commons

Detail Section 1:20

Kitchen and Dining Interaction

“Drawing, not as a blueprint for realization, but as a blueprint for negotiation.” - Tom Avermaete This thesis investigates how to revitalise the slum area of Baseco through an onsite upgrading approach based on a continued engagement with the local community, government and NGO. Instead of focusing on solving the housing situation it aims to understand food and nutrition through an architecture standpoint and how to create a sustainable solution so that the population of Baseco are less dependent on the import from Metro Manila.

An Educational Agricultural Center on site upgrading / modular design / learning center

Due to the high density of residential homes and the scarcity of land, traditional agriculture is difficult to implement. Instead, this thesis investigates Micro-farming including Simplified Hydroponics intervention and how they can be incorporated into the lives of the inhabitants in an attempt to solve malnutrition. While slums are associated with chaos and poverty, the Baseco community is very tight with its own rules and order. Instead of imposing directly on their community I decided to build an educational agricultural school where through education, a platform can be created where the community can talk about the sharing of land, collective buying of fertilizers and other resources. Therefore throughout the duration of the thesis there is constant communication with the locals and experts including the Barangay, UPA (Urban Poor Association) and former students of Saint Thomas University. To ensure the successful integration of the agricultural system into the slum neighborhood, the project will take on several key stages of development as it is not necessary to introduce all types of farming at once. There are different phases of development. With each phase, there will be a permanent node “learning center” surrounded by the temporary node “Market area” with the farming space as a void in the middle.

LI Paul Jun E / lipauljun3@gmail.com T/ 6764 7554

Detail Section 1:15

School and Public Interaction Communal Tools

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MICRO FARMING AND SIMPLIFIED HYDROPONICS MICRO FARMING AND SIMPLIFIED HYDROPONICS

Floating System

Vertical Bottle System

Bag Cultivation System

Area Required:System 1.2m x 1m Floating Type of Plants: Lettuce, Leaf beat, Celery, Basil, Coriander, Parsley Area Required: 1.2m x 1m Type of Plants: Lettuce, Leaf beat, Celery, Basil, Coriander, Parsley

Area Required: to wall length VerticalAccording Bottle System Type of Plants: Lettuce, Spinach, Herbs, Medicinal Plants Area Required: According to wall length Type of Plants: Lettuce, Spinach, Herbs, Medicinal Plants

Area Required: According to size of recycled bags Bag Cultivation System Type of Plants: Spinach, Beets, Eggplant, Lettuce (Generally Leafy Vegetables) Area Required: According to size of recycled bags Type of Plants: Spinach, Beets, Eggplant, Lettuce (Generally Leafy Vegetables)

Stage 1

The first part of the project is to set up a base with NGO’s to supply food grown from using the Bag Cultivation method. Once the community is interested, then a small classroom is built to offer classes to teach them. 1

FIRST FLOOR PLAN 1:75

Is it possible to mitigate hunger through introducing urban farming? research attemptthrough to answerintroducing is whether iturban is possible to Is Ait key possible to question mitigateIhunger farming?

Box System

Area Required: 1.2m x 1m Box System Type of Plants: Tomato, Pepper, Cucumber, Eggplant, Chilli,Carrots, Spinach,1.2m Lettuce Area Required: x 1m Type of Plants: Tomato, Pepper, Cucumber, Eggplant, Chilli,Carrots, Spinach, Lettuce

The Second part of the project is to set up a base with NGO’s to supply food grown from using the Floating System method. Once the community is interested, then a small classroom is built to offer classes to teach them.

mitigate hunger through introducing urban farming. Due to the limited A key and research attempt to answer is whether it possible to spaces high question density ofI slum dwellers it is impossible toiscreate a large mitigate Due toI have the limited farm area hunger withoutthrough the costintroducing of precious urban living farming. space. Instead, directspaces and high density of slum dwellers it is impossible to create a large farm area without the cost of precious living space. Instead, I have direct-

Area Required: Length of wall/Hand Rail Area Required: Length of wall/Hand Rail

Stage 2

are dependent on the typology of the slum area. are dependent on the typology of the slum area.

SECOND FLOOR PLAN 1:75

Stage 3

The third part of the project is to set up a base with NGO’s to supply food grown from using the Box System, Vertical Bottle System and Modified NRT System. Once the community is interested, then a small classroom is built to offer classes to teach them.

Office Exhibition

Temporary Module

Market Module

Learning Center Module

Baseco Educational Agricultural Centerwith the Community Designing 1 2 3 4 5 6

Market Area Learning Center Exhibition Area Reception Office Meeting Room

7 8 9 10 11

“Drawing as not a blueprint for realization, but as a

blueprint for negotation” Pantry Toilet To ensure the successful integration of the agricultural system the slum neighborhood, the project will take on several Bagkeyinto Cultivation Farming Area stages of development as it is not necessary to introduce all types of farming at once. There are different Floating System Farming Areaphases of development. With each phase, there will be a permanent node “learnBox ing System Farming center” surrounded by theArea temporary node “Market area”

“Infrastructure” Learning Center 1 2 3 4 5 6

Lecture Area Locker Area Learning Area Balcony Dining Area Kitchen

7 8 9 10

Water tank Vegetation wall Interactive Dining Area Vegetation Wall/Commual Storage

with the farming space as a void in the middle.

ISOMETRIC LEARNING CENTER MODULE

The “permanent element” of the Agricultural Educational Center is a learning center that supports the flexible activities around it (growing and distributing the planted crops.) It is constructed using concrete similar to the major infrastructures in Baseco. The learning center contains four major programs: Dining, Kitchen, Learning area and Lecture area. By using a double wall system, I am able to extrude each of these programs to interact with the “temporary” elements surrounding it.

4 9

2 2

8 A

1 11 10 2

Master Plan 1:100

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top left / planning strategy top right / market and learning center module bottom / master plan

Each phase of development involves a open farming community a permanent node “Learning Center ” which is the infrastructure of the building and the temperar y supporting element “Market Module”. The infrastructure or permanent node “Learning Center ” contains four programs: Cooking Area, Dining Area, Lecture Area and Learning area. By using a double wall system the infrastructure aims to respond to its surroundings. The temporar y supporting element “Market Module” on the other hand is designed using local lumber (3x3m). By combining four modules together and playing with sub floor levels I am able to create “market module”.

top left / perspective from Baseco top right / model image bottom / sectional detail

Interaction between “Infrastructure” and the “Temporary” Section A Detail 1:20

+3.9m

+3m

+0.92m +0.45m

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U L D U

This thesis aims to investigate the possibility of using church and open space as catalyst for on-site upgrading in Baseco, the Philippines. Baseco is an informal settlement in Manila with ver y high population density, around 60 hectares with 59 thousand people living there. Church is chosen as the subject public building as the Philippines has 90% of Catholic population and it can instil faith to the slum dwellers. Religious affiliation is the primar y source of life meaning in informal settlement.

Noah’s Ark Church as Catalyst for On-site Upgrading of Baseco, the Philippines community / religion / resilience

Church is the city centre and also the social centre in the Philippines; while the real driving factor for the configuration of church is the geographical condition in the Philippines. As Baseco is facing frequent recurrence of flooding and under extreme risk of soil liquefaction, people there are always at risk. When it happens, people pray, believing God can help them overcome any hardship in life. This is the Faith in informal settlement. In the Bible, Noah once saved all the species by an ark where they helped each other and talked with God during the hundreds days of flooding. This thesis follows this metaphor, a floating church is proposed to ser ve as a social hub and a shelter during natural disasters.

Peter TSE Tat Hing E / petertseth@gmail.com T / 6479 8012

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left / religion and church research top / church as shelter bottom / axonometric of the whole complex

The church is an extension of the existing waterfront, creating a new place.

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left / design strategies top / “fixed” and “floating” bottom / communal spaces

Church as social centre in the Philippines. Church as pride for the slum community.

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U L D U

“Education is the most powerful weapon we can use to change the world.”

Education Matters

This design is exploring an applicable design strategy for an educational building which can be applied in different informal settlements. The study is based in Baseco, an informal settlement in Manila. Like many other slums, there are lots of problems, like bad housing conditions, lack of infrastructure, full of pollution and even drug problems. Besides, nearly 42% of the population are schoolage children, which means about 30,000 children and youth in Baseco. In contrast, there are only two elementar y schools, one high school and some kindergartens, which can hold at most 14,000 students, less than half of the children in this area. Schools are needed urgently here.

Community-based Small School in Slum of the Philippines informal / school / community

Ivan WENG Yu E / wengyuchu@outlook.com

Currently, the schools in Baseco or Manila are huge in size with thousands of students. Lots of research since 1990s have found that smaller school can improve the performance of students, especially in impoverished communities. (In brief, the upper limit of “small” had been set at 350 for elementar y schools and 900 for high schools). And this thesis design tries to imply the “small school” theor y in educational building design in Baseco, with the consideration of on-site conditions, and explore an applicable design strategy which can be implied on other informal settlements around the world.

T / 6742 2991

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The layout of the building group tries to form a harmony relationship with its surrounding. All the open spaces are derived and connected with the original contexture. And the space between buildings is a reflection of the various and interesting space inside the informal settlement.

223

top / master plan bottom / G/F plan

224

Translusent corrugate board t=10mm

Bent floouride resin copper t=5mm Translusent corrugate board t=10mm

left / detail section top / model elevation bottom / section Bamboo sticks 5~10mm x 30mm

Metal hoop t=20mm

Concrete t=50mm Rigid insulation foam t=10 Plywood board t=20mm

Classroom

The site has to face the risks of hurricane, earthquake, sedimentation, flooding, so timber structure is the perfect choice because it performs ver y well in disasters. And concrete raft foundation lifts up the wooden structure to protect it from flooding to a certain degree.

Hemp rope d=25mm

Bamboo tube d= 150~250mm each

Classroom

Concrete water apron

Raft foundation Water tank

Foundation Concrete slab t=200 mm Crushed Stone t=200 mm Compacted soil

0.5

1.5m

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U DLU U RB AN DESI GN AND L ANDSC AP E U RB ANI SM

Hendrik TIEBEN

(photo) Annie CHAN Wing Yan

Shita LAM Ka Wai

Sonia SO In Man

“Our team star ted with a collaborative research on selected community and commercial center s in public housing estates of the 1980s. The findings of the joint research were taken as points of depar ture to create a new generation of projects offering places for active aging, living with nature and moments of quietness in the high-density city Hong Kong.”

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U L D U

The Community Interchange Adaptive Reuse of Vacant School Premises community / inter-generation / public housing estate

“The community hub would become an interchange where people exchange ideas, skills and even care to the others in the community.” School premises have been an essential component in public housing estate in Hong Kong since 1950s. They have been playing a crucial role in passing knowledge and tradition from one generation to the next. However, with the change in the demography and living condition of the community, more than fifty of them are now vacant, becoming a waste of resources in the community. The thesis aims to reallocate the left-out community resources through adaptive reuse of vacant school premises in public housing estates, transforming the premises to a community hub, benefiting the grassroots community. Consisting of an elderly hostel, child day care centre, micro-economic market and social enterprise, the schools built in 1960s were reborn to promote intergenerational interaction for the young, the middle age and the senior, in a bid to create a vibrant yet liveable environment for the residents. With a new typology of public leisure and commercial space of different hierarchy of publicness, the community hub would become a magnet and an interchange where people exchange ideas, skills and even care to the others in the community.

Annie CHAN Wing Yan E / annieccwy@gmail.com T / 6274 1917 230

left / circulation and programs top / bridge park bottom / green avenue

Addition of the bridge park aims to enrich residents’ walking experience through overlooking different activities in the building as a view platform for leisure. The back alley space is transformed to a green avenue to attract residents to linger, increasing the accessibility of the community hub.

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Social interaction is promoted by the juxtaposition of the circulation and program space by mimicking the long corridor in the existing residential blocks, new addition and terrace along the edge of the building are the new space, allowing people to view different activities while they walk.

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top / living condition in the past bottom / activities in the community hub

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U L D U

This thesis proposes an alternative living experience through designing a meditative journey between the city and the urban void of Hong Kong. An existing and abandon water tank in Shek Kip Mei is adopted with the elements of nature. It is to provide a moment of calmness and a reflection on the fast-pace city life that we all get too familiar with – Life that is no more than moving efficiently between cubicles, surfing on the Internet, loading with wanted and unwanted information. Life seems contented and diverse with all these festivity and loudness. Yet, do we really have a choice of solitude?

Otherness in the City

A Meditative Journey between the City and the Urban Void space & journey / meditation / city The thesis is initiated by the awareness of youth living in Hong Kong. According to the statistical research, youth often undergo the most fluctuated and intensive emotional changes compare to other generations. Over 75% of them believe that they are living a stressful life and are over whelmed by the diverse but homogenous living experiences – unsurprisingly, they work and live in cubicles which always share the similar spatial quality. At the same time, most of the communal spaces provided in the estates are too generic to stimulate one’s self-reflection, which is an extremely important component in their transitional life period.

Shita LAM Ka Wai E / shitalam@gmail.com T / 9624 4436

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left / behaviour studies top / cities life comparisons and site future projections; life comparison of Hong Kong and Shikoku bottom / section

The design of a meditation space is not just about the space but the experiences throughout the entire journey.

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238

This meditative journey provides a moment of escape and places of alternatives. The tank is not the destination but a stopover. The journey can always continue as a loop. When life becomes unbearable, you and I could still have a place to take a pause before it forces us to move on again.

239

top / final model bottom / scences of journey

240

D L D U

“The art of nature is part of what it is to be a human.” “Biophilia”, 1987, Edward O. Wilson

Biophilic Acupuncture With the aim of re-envisioning lifestyle within public housing estate, the thesis will focus on improving life quality with natural inter vention. Public housing estate is a place for communal and commercial activities which create the heart of lifestyle. Healthy Consumption within public housing estate is proposed in this thesis which regenerates Mei Lam estate. ‘Field to Fork’ becomes a new tool which changes the focus center of public housing. Health form of consumption includes ‘eat’ and ‘use’. ‘Eat’ includes primar y food production to food that presents in front of you, from the ‘field to fork’. The first inter vention is a system of aquaponics farming which educate residents to have a ‘green mind’ through interactive learning. In order to re-create sense of community, new social spaces were ‘used’ on varies level. Sense of community, mental health and physical health constructed better life quality pyramid, together they are ‘Biopic’. This lifestyle can be adapted in other public housing as well as inspiration for the new buildings and becomes ‘Acupunctures’ nodes.

Re-envision Lifestyle by Natural Catalytic Intervention community store / Mei Lam Estate

Sonia SO In Man E / sosoniaim@gmail.com T / 6201 2126

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left / exploded isometric circulation and program ; section top / 1:200 model activities on varies levels bottom / sectional perspective of community store

POST AND BEAM STRUCTURE Exisitng structure, 8m x 8m grid

PA S S I V E TO A C T I V E D E S I G N O F N AT U R E Forest - Social Space

Route for live demonstration of community supports within public housing estate, it goes through 3 main fundamental principles to improve life quality, create sense of community, benefit on physical and mental. These elements are highlighted by tool of ‘field to fork’ and archived through varies architectural methods, horizontal to vertical design, passive to active design of nature and landscape within building.

H O R I Z O N TA L TO V E R T I C A L D E S I G N Root Librar y and feature cones

L ANDSCAPE WITHIN BUILDING Roof top farming

PA S S I V E TO A C T I V E D E S I G N O F N AT U R E Cooker y Laborator y - Physical improvment H O R I Z O N TA L TO V E R T I C A L D E S I G N Fa r m i n g d e m o n s t r a t i o n

PA S S I V E TO A C T I V E D E S I G N O F N AT U R E Fresh Market -

Social Space

PA S S I V E TO A C T I V E D E S I G N O F N AT U R E Aquaponic farm

Con

nec

t to

i Sh i

Cou

L ANDSCAPE WITHIN BUILDING Living wall

L ANDSCAPE WITHIN BUILDING improved journey

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244

top / communal activities happens in root library bottom / 1:200 model - view from Mei Yeung House

245

top / 1:200 model - view from main entrance bottom left / details of feature cones bottom right/ 1:50 conceptual model of feature cone

246

U DLU U RB AN DESI GN AND L ANDSC AP E U RB ANI SM

Yutaka YANO

(photo) Gloria HA Chui Ying

HO Yuen Ling

Woody VONG Ting Hin

“ I think the architecture students of this generation has exciting possibility for their future as technology and the new discover y seems to change almost daily our perception of architectural possibility and how we might live one day in the future. I hope you can use your time at university to explore what you want to do in your future career and develop the confidence to pursue what you want do next. “

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U L D U

Creating Commons The Modern Lyceum in Victoria Park archive / forum / education

“History of the City is written by its Individuals” The thesis is a re-appropriation of Victoria Park to a center of sharing common rights, experience and resources. In the cybernetic society, the crowd are fed up with perpetual floods of facts in the social media. It is masking the important truth and distorting the communication of the essential affairs. At the same time, there lacks an authority to document and study on our near past. The histor y is easy to alter and even wipe out under this circumstances. The city could lost its identity and culture easily. A modern Lyceum in the digital age questions the position of architecture in physical world to research, archive, educate and disseminate the timeline of Hong Kong. Treating the architecture itself as various forms of display, it becomes a background tools for citizen to discuss and bond together. Public is no longer a bystander. The new lyceum creates the common values and attachments of the city.

Gloria HA Chui Ying E / hachuiying@gmail.com

250

What is the position of architecture in the shifting media behaviour? Consumption of news shifted from single direction disperation to the emphasis of realtime discussion and chain- responses. When archive is not necessar y to housing physical objects anymore, it moves on to documenting the human interaction inside.

EXISTING PATH

left / research findings top / site forces and form finding bottom / 1:1500 site model

EDUCATION ARCHIVE FORUM

EXISTING FORUM

STRETCH TO CONNECT

!!!

(a)

(b)

Plaza/ School

Notiﬁcation: Car Accident at the Junction.

(c)

(The School of Athens)

(d)

Library

(The Library of Trinity College Dublin)

Telephone Operation Center (e)

(f)

Data Center

(ref. Internet Machine - Timo Arnall)

SPACE OF INTELLIGENCE

- postition of architecture in information exchange -

Incident Happened : (a) Witnesses Instant sharing of video footages and photos in social media, (b) Instant alert of news title in social media for the rough picture of the accident, News Articles/ Packages (Speed) : (c) Reporters Fill in context for the alert. Covered with footages from reports in field. Occationally adapting the source from netizens, (d) Netizens/ Interactions Sharing and reponsing to the incident in social media, Analysis and Reflections (Depth) : Control and alert to the affected parties of the incidents, After the report, comes to analysis of the incidents and set stage for the public discussions. (e) Value Adder Journalist, netizens, experts to share information and experience on the long term results in depth. Contribute to the society betterment. (f) Customization and Archive Database record of the incident. The ability for users to customise information to their own needs.

MEDIA BEHAVIOUR

- crowd process of information -

251

HONG KONG ARCHIVE - the fading history after 1945 -

252

MAJOR CIRCULATION FLOW

SITE FORCE

HISTORICAL AXIS ALONG STATUE OF VICTORIA

REFINE CONNECTION BETWEEN 2 BLOCKS

NEW FORUM

PARTLY SINK IN TO ALLOW OPEN AIR ACCESS TO WATER FRONT

top / section bottom / overview

253

top / platform for society movements bottom / fields of information walls

254

“Architecture is a tangible element with imperceptible influence that could shift our lives little by little when we pass through it day by days.”

Transition among the city by public transportation is ver y commmon nowadays. Most of us becomes a commutor and lives like inside a circuit, shifting among working place and living place. The regular and on-going contact in the public sphere like transportation hubs makes us become familiar stranger that we could recognise each others without knowing each other. As an important infrastructure of the city, what could it achieve beyond a simple get-on and off platform while becomes the cradle of our community?

Braiding with Networks Social Infrastructure of Mobility translocality / mobility / terminals

The thesis proposes a new typology of transportation hubs. In this age, when technology comes into our life, our habitations tranform rapidly so as the architecture. With the help of devices, it is no longer to queue for the vehicles while more activities are allowed within the transportation hubs. By extending the journey within on-and-off area, the architecture proposes multiple routines in between and encourages people to come across each other. It would make the transportation hub as a place of a social infrastrucutre, a place of relief and enjoyment, a place of where people meet and understand each other. Eventually, we can transform the place to a translocal community centre, a community beyond our place of living but bonded by our dynamic of daily routine and activities.

HO Yuen Ling E / linglyho@gmail.com T / 6131 7653

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left / plan and model journey top / perspective of alightments bottom / concept diagram

The transportation hub provides choices of your own path. Commutors could use their own way to feel and join into the community. No matter which way to go, it also, eventully, allows you to come across with people around you.

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258

Community is dynamic while each of us actually is isolated. The projects provides different conditions, from highly enclosed to open public space. Three routines provide special spatial quality with the vehicles and the outdoor interface and encourage the enjoyment of activities as well.

259

left / interface with highway top / relief corridor and gallery bottom / wall painting room

260

U L D U

“Will technology bring an end to architecture? No, human will still exist upon sensing the architectural space.”

Technology in Architecture As Human Body Extension To Envision the New Fishing Industry technology / human body extension / fishing industry

Woody VONG Ting Hin E / vong0420@hotmail.com T / 6608 9215

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262

Technological advancement in recent decades drastically changes architectural design. This thesis looks into how technology-architecture reciprocity changes our ever yday environment and lifestyle. Ubiquitous presence of devices as mobile phones, sur veillance equipment, sensor technology and Artificial Intelligence eventually revolutionize our perception in architecture and space. The idea of human body extension technology postulated in this thesis envisions technical object as extension of human body in form of supplement, replacement and enhancement. Innovative technology would make architecture to be more dynamic and fluid that architectural concept of time and space would be replaced by dynamic fluidity. This thesis then applies technology into archaic fishing industr y to envision a new generation of fishing industr y. Technology improves productivity of the industr y functionally, yet human loses the spatial sense of hand-on working. Can technology itself beget architecture? No. Even in the age of digital revolution, enjoyment of spatial experience still cannot be superseded by technology, as technology mere brings functional enhancement to our ability.

left / section of fisherman living unit top right / experience of fisherman living unit bottom right / fisherman living unit

“ Technology can enhance human ability but cannot replace all the activities.”

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264

When more technology influence architectural design, space becomes more and more functional and sacrifices our spatial enjoyment. Technology can replace most of the operational functionality of fishing industr y, yet sacrificing the spatial enjoyment of hand-on experience.

265

top / plan of fisherman community bottom / fisherman community with technology

266

U DLU U RB AN DESI GN AND L ANDSC AP E U RB ANI SM

T.C. YUET

(photo) LIE Cheuk Lam

Winnie TAM Wing Yee

267

Br yan WANG Yi

268

U L D U

MTR is the most popular transportation mode in Hong Kong. It contributes nearly half of the public transportation journeys and has become a significant part of the urban living experience. From the MTRC report, the amount of daily user is 4 890 000, which is a large amount of Hong Kong people. Based on this number, MTR station offers a huge opportunity.

Underground Sociocultural Hybrid Rethink the Relationship between City and Station MTR station / underground / To Kwa Wan

Compare to the station design from other countries, the design of stations in Hong Kong has a lack of public spaces. Most of the stations are designed based on the color, signage, etc and lack humanized experiences. And the most important point is the connection between station and city is ver y weak. There is not much relationship between the underground station and the city. My thesis is to rethink the interface between the station and the city, and to tr y to let the underground station provide a sense of place in the city. To Kwa Wan Station, which is one of the new stations of the Shatin-Central Link that will be completed in 2019, is selected. Through the experiment, a new kind of relationship between the underground station and the city will be designed.

LIE Cheuk Lam E / liecheuklam@gmail.com T / 6202 2346

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270

One of the exit of To Kwa Wan station is designed as a place for people to relax. The swimming pool is put in-between the underground and the city. It allows sunlight to enter the underground space through the swimming pool.

Different programs are located at different level (upper ground, ground, concourse and platform). The position of those programs are based on representation of the district, function and the variable of them.

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272

Library at platform level is designed as a ramp. People can walk to the upper part through the library. The void in the middle allows the sunlight to penetrate into the library.

Market at the exit connects to the existing To Kwa Wan street market. The void allows To Kwa Wan residents and passengers to see each other.

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274

U L D U

“Regenerating, as in awakening forgotten spaces to revitalize postindustrial fabric through art.”

Art as A Catalyst

There are industrial areas in Hong Kong with underutilized spaces that are currently used as different types of storage, and some vacant spaces being used by no one. These spaces have the potential to give opportunities for creativity to grow. Instead of changing these districts into a prosperous, bustling place, regenerating could mean making better use of these forgotten spaces, to benefit the community. As an artist, I am imagining an artistsbased community, somehow like an enclave or colonies.

Awakening Forgotten Spaces through Art network / post-industrial / artists work-live

Kwun Tong used to have artists colonizing the entire floor of factories, forming art community organically. However, these art colonies are lost due to various reasons. There are voices from the artists to reclaim the lost community, reconnecting artists back together. There is a group of artists who work and live within the community. Being part of the community, they somehow behave differently; they are expressive and creative to design and make things themselves, because it is unique and cheaper, but most importantly they enjoy the process of creating things which express their thought. Their characteristics could influence the community in a good way, bringing liveliness to this old district, creating interesting relationship between artists and the rest of the community.

Winnie TAM Wing Yee E / wing.winniee@gmail.com T / 9107 1678 275

276

“HIGH ART” purely aesthetic ﬁne art high-class

sculpture

opera

jewellery

orchestral music ballet ballroom dance

experimental theatrical play

classical music

photography

pop music painting

poetry

drama

jazz music

FRINGE

POPULAR

calligraphy folk music

beyond mainstream reaching less audience less artists in the ﬁeld

underground music

graffiti

pole dance

mainstream well-known more artists engage in

glass art

breakdance

pottery

origami

street music

knitting

tattoo

leather craft comics strip

textiles

wire art coin art

woodwork

“LOW ART” functional everyday art

Art Spectrum

Artists in Hong Kong are not gaining enough respect nor recognition, especially local artists like artisans and performers. Being one of these artists, I would like to create opportunities for artists and the public to casually communicate with each other.

By illustrating the art spectrum, I am defining the specific group of artists for this thesis: artists who are non-mainstream in a sense that they are reaching less audience at the moment, with potential to shift to mainstream, those that are desperate in seeking for a workplace with sense of belonging.

top / keywords in wire art

top / art spectrum

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GE STA CK BA

left / analysis of studio transformation, public communal scenario top / drama studio scenario bottom / sectional perspective

ATR HE

CK BLA

XT BO

E AG

R STO

B LO

The design strategy is to create a network of “public communal” and “artists common” to ser ve the public and artists within enclave respectively.

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U L D U

Incremental Regeneration of the Urban Villages in Guangzhou

“There will be a new approach to regenerate urban villages.”

In 2010, the traditional self-built mode of urban villages broke after the government introduced developers. The developer ’s mode is wholesale demolition and reconstruction. The developers’ mode not only undermines the function of low-rent housing provided by urban villages and expel large numbers of lowincome floating population. After renovation, it gives rise to extremely high density. The citizens and the government opposed this reform mode.

An Approach Based on Micro-community

incremental regeneration / migrant population / urban villages / micro-community

I propose a new incremental regeneration mode for the current situation of the general layout of the urban village. The principle of this regeneration mode is to maintain the normal operation of the urban village. In the preliminar y planning, the urban village will undergo a step-by-step transformation. In the updating process, the overall environment of the urban village will gradually improve and the competitiveness of the migrant population in the city will increase.

Bryan WANG Yi E / bryanw@foxmail.com T / 5404 2141

To achieve this goal, it will rely on a new type of residential housing. This new type of dwellings improves the living environment of residents, promotes exchanges among residents, increases their sense of belonging, and creates new micro-communities of different levels. This microcommunity scales progressively from the dwelling unit group to the building group.

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282

men n blish Tow esta ew The Jiang N Zhu

l iona Nat es xth Gam

Shipai

Tianhe

200

010 7 C2om

Rec Bega onst n to ruct Plot ion Rat io: 3~4

7 198

Plo t

Xian Yangji Tan

5 198

Rati

o: 0

199

Si The

Stage 2

Stage 1

Rur al indu stria liz

t of men t blish istric esta e D The Tianh the

0 198

Rec pleted onst th e Plot ructio n Rat io: 6.2

Stage 3

Stage 4

Regeneration Strategy

atio n

Yuan

Liede

197

Urban Villages in Tian He District

d m an efor

up ning y Ope Polic

The Changing Urban Form

A. Failed case B. Government: Try other transformation modes

Under Reconstrution for 8 years

buffer zone

The village in the city is a common 2000sphenomenon in China, especially social in relatively developed areas. The Pearl River Delta is one of them. The expansion of the city has attracted a large number of floating populations. The city landscape surrounds the 1980s surrounding natural villages. Many migrants are rushing into these villages to seek shelter. The villages’ building density also continuously increased after progressive rebuilding by the villagers and eventually formed 1960s the urban villages.

small parks

unit under regeneration

main road

SITE ANALYSIS

Third-party Funds

stimulated by the official funds

Government Projects

A B

Minimal Regeneration Unit

can be start the reconstruction when accepted by 10 villagers in the same area.

A B

Low-interest Loan

Migrant Population

Grassroots Labours + Intellectual Workers

7.32 million

in Urban Villages

14.5 million

over 80%

50.04%

Housing Rebuilded by Villagers

Government land

Proportion of

Total Guangzhou Population

Villagers

Collective Land (Perpetual use rights by all villagers)

Urban land

Village housing land

A. Lakeside Park

Most of the Farmland

Intellectual Workers Migrant Workers

left / the changing urban form top / master plan of regeneration bottom / sectional perspective

Proportion of Grassroots Labours in Urban Villages

Total Guangzhou Population

5.43 million

Migrant Population

0.56 million

over 66%

10.30%

Collective Land + (Perpetual use rights by all villagers)

State-owned land Urban land

Village housing land

Part of the Farmland

Housing Rebuilded by Villagers

Land expropriation

Total Guangzhou Population 2.91 million

B E

Grassroots Labors Migrant Workers

Farmland

A. Park on the Main Street

Proportion of Migrant Populaition in Urban Villages

N 0 10

Migrant Population less than 0.01 million

0.02%

State-owned land Urban land

0.00%

Collective Land (Perpetual use rights by all villagers)

A B C D E F G H I J K L M N O

Village housing land + Farmland Ancestral Hall (Public Space for Villagers)

Land Rights Change & the Change of Population Composition in Xian Village

Site Analysis

Before Reconstruction

Land owner/Funder

100 m

Ancestral hall Abandoned ancestral hall Original village house Demolished housing The old center for the villagers Lanes in the village Residential building on state-owned land Reconstruction office Resettlement building for the old villagers Sample houses First stage relocation housing Fishing Pond Stalls selling agriculture products Grocery Restaurant

1/3 of total population in Guangzhou Living in Urban village (occupied 1/5 urbanised territory of Guangzhou)

Residents Outside the Residents in the Urban Village Urban Village Villagers

Master Plan of Xian Village

Local Villagers Residents in Urban Village

After Reconstruction

Land owner

Government

more less than 10%

Regulator

Architects Designer

Village Committee

2010s

Developers (Firm)

Funder

Villagers

Land owner Middle Class or Above

User Intellectual Workers

User

Original Mode

Old / New Corridor

283

Stimulates

Main Lender Migrant Workers

User

Intellectual Workers + Grassroots Labors Lie De Reconstruction Mode

Develop Mode of Urban Village

Old / Old Corridor

Third-party Funds

National Bank

Migrant Workers Grassroots Labors

2020s

1980s-2010

Representative

Perspective Section Central Yard

Grassroots Intellectual Labors Workers Residents in Urban Village

Users more than 90%

N Incremental Regeneration Mode

GF Plan 1:150

New / New Corridor

284

8m 1

Roof Plan 1:150

8m 1

Intellectual Workers

indoor communal space 23:00 --- 00:00

outdoor space

Grassroots Labour

Public Space in the Roof

Perspective Section

left / living unit top / between old & new housing bottom / between new housing

The new type of housing also brings some positive effect on the neighbouring buildings.

Stage 4

3rd Plan 1:200

2nd Plan 1:200

Door Open

Active Door Closed

Communal Sp

Communal Space in the Unit

an 1:200

3rd Plan 1:200

A. Lakeside Park Public Space in the Roof

4th Plan 1:200

Public Space in the Roof

5th Plan 1:200

Sharing Space in the Housing Central Courtyard

an 1:200

Active Door Closed

5th Plan 1:200 Active Door Open

Active Door Closed

Sharing Space in the Housing

ark on the Main Street

285 N 100 m

286

B T SD B U I L DI NG T EC HNO LO GY AND SU STAI NAB L E DESI GN

Jin Yeu TSOU

Hyman NGAI Hiu Fung

Marco SO Chun Pong

Andy TAM Ting Pong

“Aim high, tr y hard, and keep the passion.”

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D S T B

“To care for those who cared for us”, This thesis is a regeneration community project based on revitalizing the old public rental housing(PRH) estate – Tai Hing Estate(1977- ). It argues that under the rapid demographic ageing in HK, physical structure of the 1st generation of PRH built under new town development in 1980s no longer fits the ageing community needs in both social and physical aspects. It results in greater suffering of older-adult residents from social isolation, labelling and discrimination. The physical structure should be rehabilitated and reactivated for future ageing community to prevent these situations, to create an age-friendly community, and to improve the liveability and social connectivity though revitalization.

Re-Gener-Age Community Regeneration for The Aged in Revitalizating Old PRH For Adopt Ageing Community Needs - Tai Hing Estate (1977 - ) revitalization / social connectivity / intervention /active aging / urban living room At the site of Tai Hing Estate, the oldest PRH in Tuen Mum, built at 1977. The Re-gener-age intends to nurture a community with strong social connectivity among residents and their neighbourhoods in 2030, including 114,000 people, in which 30,000 of them are elderly, together within Tai Hing district. “Rejuvenate”, “Reconnecting” and “Reintegrating” are three research findings and design strategies applied on Re-gener-age • “Rejuvenate”, to let the seniors always feel young. This prevents them getting into old-old by facilitating intergeneration activities and promoting active ageing concept. • The existing conditions of social exclusiveness could be improved by “Reintegrating” their communal spaces into urban living room. • “Reconnecting” residents to their neighbourhoods within the district by increasing mobility and creating multi-level social activities.

Hyman NGAI Hiu Fung E / hyman_ngai@hotmail.com T / 6123 9033

289

Therefore “Re-gener-age” as an urban district planning design of a mobility system which facilitates physical and social connection. It combines an elevated light rail station, bicycle and pedestrian networks that connect people to a central hub and activities nodes. Meanwhile, “Re-gener-age”, architecturally, is designed as a community hub for catalysing intergeneration social network and allowing both young and old to achieve social, physical and psychological well-beings.

290

4 7

4 8

6 5 6

Activities Nodes 1 Children Piazza

5 Performance

2 Intergeneration

6 Sport 02

3 Sport 01

7 Teen & Play

4 Green Park

Landscape & Piazza

Connectivity - Tai Hing Light Rail Station

left / mobility system , hub & landscape right / aerial view of hub & nodes bottom / section perspectives of light rail & hub

Green Hub for Community

Social Connectivity - Event Spaces & Connective Route

1 Central Piazza

Sport Fields 02

2 Leisure Park

Tai Chi Piazza

3 Urban Farming

Sport Fields 01

4 Teen Playground 9 5 Sunday Street

2 9

Reading Garden

10 Sunken Piazza

With the intention to create an iconic hub and activities nodes, an elevated bicycle and pedestrian level ser ve as a gateway to link adjacent communities to the hub and light rail station. Activities nodes are created on each intersection between the elevated system and landscape. Combined nodes and hubs together form four axes for socialization.

Urban Living Room for Community

Community Theatre

Market Street

Leisure Spaces

Event Spaces

Exhibition Spaces

Community Entrance

Elevated Gallery

Tai Hing Light Rail Station

Under Rail Event Spaces

2 3

L4 - Intergeneration Activities 1. 2. 3. 4. 5.

Roof Release Pressure Elevator Core Intergeneration Exercise Roof Boat Shaped Skylight To Roof Terrace Toilet

To Kin Sang & MRV

10 9

8 15 13

L3 - Chill & Leisure

6 8

6. 7. 8. 9. 10 .

Roof Release Pressure Social Center F&B Roof Retail Shop Roof Terrace Toilet

11. 12. 13. 14. 15.

Roof Farm Flower Garden Roof Playground E&M Elevator Core Tai Hing Light Rail Station

16.

Supermarket & Food Court

14 11

Mobility Network

5 26

Ngan Wai To Sport Fleid & Swim. Pool.

Local Lifestyle Hub

Local Garden For Residents

Roof Garden For Leisure

Urban Classroom Centre

Covered Gathering Ground

Event Piazza

Gallery Street For Local

Market Street

Flower Terrace

Gathering in Atrium Garden

Community Roof Garden

F&B

Local Market

F&B Balcony

Living Room For community

Intergeneration Center

Landscape Piazza For community

25 25 25

25 23

23 20

L2 - Social Activities and interaction

17. 18. 19. 20 . 21.

21 20

Library Local Exhibition Cinema Theatre & Art Exhibition F&B Toilet

22 23. 24. 25. 26.

Central Atrium Intergeneration Center Kindergarden Retail & Shop Social Center

27. 28.

Local Lifestyle Roof Farm

To Private Domestic

30 32 31

32 34

34 34

L1 - Free Grounds for events & Gathering

37 35

29. 30. 31. 32. 33.

Local Market Covered Playground F&B Entrance Piazza Local Theatre Toilet

34. 35. 36. 37. 38.

Retail Kindergarden Intergeneration Classroom Local Market Atrium Park

39. 40. 41. 42. 43

Wet Market Theatre Cinema & Gallery Library Local Exhibition

40 5

Private Mobile Devices

Node Elevators

Node Lifts

Elevated Connections

Mall Elevators

Mall Lifts

Community Hub , Activities Nodes & Circulation

Central Community Hub & Landscape Park

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292

HOS

Siu Hin Court

44.1

PRH

Median age

Leung King Estate

3,468 (>65yrs: 269)

41.9

Population

Median age

20,656 (>65yrs: 1752)

PRH

Population

Tin King Estate

39.5

Median age

10,321 (>65yrs: 542)

PRH

Population

Kin Sang Estate

42.1

Median age

8207 (>65yrs: 631) Population

HOS

Siu Kwai Court

44.3

Median age

4,115 (>65yrs: 300) Population

PRH

46.2

Median age

1 2 3

19,826 (>65yrs: 3,721)

Population | PRH population

The concept of Regener-age is to transform original massing expression into a green hub and extend the hub through street concept. It aims to circulate people into green hub atrium and landscape, extending the community to two streets theme as festival and intergeneration towards teenage industrial area and primar y school area respectively through inter vention.

Tai Hing Estate

Demograhpic Condition

115089 | 59010(51.3%)

Affluence Garden

43.9

Population

11007 | 9214(83.7%)

Median age

6,540 (>65yrs: 448) Population

>65 Population | PRH population

Data from 2011 Census

District Community 1

Sun Hui Market

Leisure & Gathering

left / communities on streets top / master layout plan of mobilities 1:16000 bottom / intergeneration streets & event streets

Urban Farming

Green Park For Kids

Ching Chung Koon

Tsing Tin Playground

Tuen Mun Tang Shiu Kin Sports Ground

The Jockey Club Yan Oi Tong Swimming Pool

Tuen Mun Riverside Park

37.3

Median age

37.4

2,063(>65yrs: 89)

Median age

Population

2,718(>65yrs: 117)

Tuen Mun Hospital

Tuen Mun Methadone Clinic

35.6

Median age

Population

PRH

Tai Hing Gardens

Shan King Estate

38.6

42.5

Median age

Tuen Mun, MTR Terminal

Ligthrail station

Chelsea Heights

4,469(>65yrs: 163)

Population

Infrastructure

Greenland Garden

Hong Tak Gardens

Industrial Area

Health & Medical

100

9,513(>65yrs: 407)

23,192 (>65yrs: 2,568)

Population

150

Plan 1:2000

1 9

Parent’s Hub

Senior Park

Inter generation Link Bridge

Inter generation Social Center

Senior hub & Tai Chi Piazza

Urban Farming Land

Residential Hub

Intergeneration Activities

Food Court & Sharing Ground

To Playground

Skills Exchanges and Life-Time learning

Exntrance view at intergeneration streets

Intergeneration Center

Inter-generation Street

Inter-Generation Care & Gathering

Urban Farming

Green Park For Kids

Parent’s Hub

E&M

Senior Park

Gallery

Festival Street

Roof Garden Farming

R&B Food Court

R&B

Inter generation Landscape Hub

Indoor Festival & Events

Theatre - Market, Culture & History

Community Kitchen & Food Court

Festival Street

Market & Hawkers

Festival Street (Indoor)

Sky bridge & Roof Garden

Green Park For community

Leisure & Market Street

Local Community Exhibition

Gallery

Social Event Hub

Roof For Reading & Exchange

Teen & Kid Library

Multimedia Library

Interactive Zone

Landscape Park for Reading

Outdoor Festival & Events

F&B Cafe / Bar

To Shek Pai & Shan King

Intergeneration Shop

Community Farming & Food Production

Festival Street (Outdoor) Social Event Hub

Weekend Market, Dai Pei Dong & Food Sharing

293

Multi-Media Library for Gathering

294

D S T B Community Roof Garden encourage greening activities at community level residents joined with visitors to learn how to grow fruits and vegetables and take home the harvest themselves

Additional Vertical Circulation

The “Home” for Communities

lifts added to facilicate barrier free access additional staircases as means of escape for fire safety issue

- Linda Lingle

lightweight supporting structure

Additional Structures supporting the connecting corridor

An Adaptive-reuse Architecture that Promotes Social Integration for Homeless Seniors in Sham Shui Po

corridors and bridges connecting the existing fabric without altering the existing structure

community support

homeless elderly / communal space / adaptive reuse / tenement building

exhibition bridge

outdoor workshop resident commual

Functional Buildings Buildings added for community support and homeless residents support

resident commual

resident support

“We have come dangerously close to accepting the homeless situation as a problem that we just can’t solve.”

residential & community support

residential

education

Existing Tenement House Cluster Adaptive reuse of abadoned tenement houses as homesless shelter street stalls

Tai Chi Court

Chronic senior homeless has been an issue in Hong Kong for years. Isolation and disassociation cause negative effects on both their physical and mental health. The loss of community bond is found to be the most dominant reason causing a repeated street wandering. On studying the homeless living condition, it was also discovered that communal living is a basic desire for the homeless people. Social connectivity is therefore the focal point to the solution of the social problem. What can architecture ser ve to get rid of the above circumstance? This thesis aims to answer this question - to bring the aforementioned marginalised group of people back into the society, i.e. rebuild the social connection by architectural means. By creating a Homeless-Community Center as a community hub, homeless people are given a shelter of protection and privacy while at the same time local residents gain their social need. Different groups of people converge at this node and interchange beyond communities is going to be established in architecture. Sham Shui Po, an old district with the greatest number of homeless people, is selected to be the testing ground. Abandoned tenement building cluster is reused in the design proposal instead of demolition in order to betterutilize its old living style – provision of communal spaces through street activities, balconies and back lane. The historical and cultural values are used to help restore the linkage between communities.

Marco SO Chun Pong E / cpso8919@yahoo.com.hk

open plaza

T / 9874 5523 296 Urban Park An open space favorable for community activities facilitate the communication between local residents and shelter residents

MEMORY

POTENTIAL

ABANDONED

[2]

Roof Large piece of open area Availible for community activities

Backyard Open air backyards account only for vertical volumes of free air space

[3] Tai Pai Dong Street of Tai Pai Dong Cuiltural memory of the Sham Shui Po comunity Existing Tai Pai Dongs inclined to a number of 3 from the peak as a whole street of Tai Pai Dongs

[1] Balcony

Structural Frame

Place outlook to the street Low building height provides a close neighbourhood between the up and down levels

Before

Walls can be altered or demolished for a flexibility in reconfiguration of function and programme

Existing Yiu Tung Street Tenanment Buildings Complex Axonometric

top left 1 / design principles top left 2 / existing site condition top left 3 / homeless study bottom left / proposed design top / 1:200 model bottom / floor plans

The surrounding context is vibrant with a daily cycle of activities. These activities are extended and introduced into the site to make the building as an integral part. Zoning is divided according to the surroundings as: community ser vices, food and education sessions.

R 3 2 1

After 297

298

left / perspectives top / sectional perspective along axis “the connecting plaza” bottom / sectional perspective along axis “the courtyard street”

Two axes are emphasized on the site as main circulation for activities in-and-out “the Courtyard Street” - the revitalized backlane “the Connecting Plaza” - an alternate route towards the adjacent food podium.

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300

D S T B

“Above all, what matters is not to lose the joy of living in the fear of dying.”

Palliative Care

One of the main issue Hong Kong is facing is the aging population, with around 10,000 people dying because of cancer in Hong Kong covering almost one third of deaths. Cancer is an illness which resulted in both extreme physical and mental pain for the patients as well as family members. This posed to be a striking issue to be tackled, a program and space is profoundly needed to address this issue.

A Healing Architecture palliative care / healthcare architecture / healing

This thesis argues that people who suffer from terminal illness require emotional and psychological support from all spectrum and architecture can play a crucial role in how those people perceive the world around them during the last phase of their lives. Studies show that architecture deeply affects people’s perception. This provides new opportunities for healthcare architecture to transit from engineered architecture built for efficiency and cost effectiveness to a holistic environment for rest and to calm people’s mind.

Andy TAM Ting Pong E / andytam1992@gmail.com T / 9438 1739

The project sets to provide a peaceful environment for those with life-limiting illnesses. The architecture aims to provide an idyllic and peaceful settings for the patients and provide a better quality of living in the remaining days of the patients.

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The aim is to provide architectural space to support the needs of people affected by life limiting illness. Therefore, three major findings are applied into the new palliative care compound in architectural aspects. First, space for patients should feel secure and welcoming in order to raise your spirit. Secondly, in order to make relatives and patients feel better, space should be able to release their anxiety through experiential lighting caused by different atmosphere.

303

Thirdly, space should calm the patients’ state of mind through the use of interior and exterior landscape relationship. Together, these elements combine to create a strong relationship between the internal spaces and the natural surroundings, offering views and light, calming the patients’ mind during their visit to the palliative care complex. left / overall view of the palliative care complex right / perspective view of garden relationship with building

304

top / ground floor plan bottom / elevation and section

305

top / perspective view of day care centre and hospice bottom / perspective view of day care centre

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B T SD B U I L DI NG T EC HNO LO GY AND SU STAI NAB L E DESI GN

Jingxiang ZHU

Ric TO Wai Kin

Vincent TSANG Xiang Han

307

Selina WANG Wei Hang

308

D S T B

Hong Kong is a relatively prosperous society and it does not lack resources. In fact, lots of people still live in such a small living space - subdivided unit or other similarly undesirable conditions. This thesis will explore the spatial opportunities of rearranging and redefining the living space by improving the efficiency of small flat units which can be made small to big. It is apparently shown that the normalization of small flats in Hong Kong from sub-divided unit to private housing.

Small is BIG Exploring Spatial Potential For Hong Kong Compact Living divide / living / flexible / small flat / subdivided unit It has potentials for the possibilities and various configurations hidden in providing a more desirable living environment. “Even a brick wants to be something.” said by Louis Kahn. The balance of the humanity and economic aspect is the critical part in this issue. This thesis does not aim at suddenly resolving the shortage of housing in Hong Kong, but it is an attempt to challenge the existing layout design of residential units and to examine flexible approaches to improve people’s living standard on top of just an accommodation, but also achieving their interaction and imagination, to make small be bigger.

Ric TO Wai Kin E / towaikin.ric@gmail.com T / 6705 2802

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310

top left / room types top right / exploded module bottom / form

The unit is combined with dr ywall partition framing system which consists of a single loft bed with foldable furniture.

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312

When some flats are vacant without tenants, the space can be opened for enlarging the communal space for the occupants. Due to the folding panels of the unit, it creates the opportunity to expand the flat size in a convenient way.

313

top / scenarios (extension of space) bottom / section

314

D S T B

“Lightweight Massive Volume at Minimal Weight.”

When Light Meets Heavy

This thesis explores the feasibility of using lightweight construction to add volume and space to an existing building. The basis is the principle that given a lightweight and heavyweight structure of the same physical weight, the lightweight structure can always yield a larger volume of space. The hypothesis is that this principle could be applied to an existing building, where certain redundant heavy elements are removed, and replaced with lightweight alternatives, therefore gaining a certain volume of space in the process, without altering the overall weight.

Lightweight Structures as Extensions in Hong Kong lightweight construction / weight / volume

This project demonstrates the power of lightweight construction, to create massive volume and space at minimal weight, in a world largely dominated by the use of reinforced concrete. The added volume is a result of what happens when lightweight structures clash with heavyweight, creating a new identity on top of what is existing. Its contribution can be huge, producing massive space almost for free, simply by removing some concrete and adding some timber. This project intends to be a basis for a mass transformation of the city. Imagine if ever y building in the city had some volume added to it. We can provide a massive contribution to the never ending land shortage crisis cities face.

Vincent TSANG Xiang Han E / vincenttsangxh@gmail.com T / 6011 5776

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316

left / back view from stadium top / flower market stalls bottom / street elevation

The extension aims to form cohesion with the existing context, following the density and creating an undulating pattern merging existing and new.

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318

left / structural model top / back view of model bottom / corner view of model

Timber is used as the main building element for its lightness as well as its low carbon footprint.

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320

D S T B

3-Dimensional Exploration on Form and Space with an Inspiration from M.C. Escher and an Initial Application Proposal

pattern / geometry / modular space

This research starts with the analysis of the “lizard drawing” from M.C. Escher. Hexagon grid and triangle grid are discovered after the axis are connected. New patterns are generated based on the grids. Next, some patterns are transformed into three-dimensional models. From the models, one is further developed into this project. The process of the development of the project consists of two parts, the plan organization and the vertical organization. In the plan organization, the “hexagon and triangle” layout is finally selected not only because it relates back to the grid discovered at the first stage, but also it implies the hexagon space for staying while the triangle space for ser ving. In the vertical organization, space, structure and opening are studied. The slab model is transformed into a cave model with the similar concept but different spatial quality. For the structure, first they are considered as tubes with openings at the end, because tube is strong in itself. Then the model is understood as three parts: support, overhang and balance, and they are treated differently. During the research, truss system is also considered. For the opening, rectangle and parallelogram opening are tried at the first. But later the triangle opening is finalized as it brings back the hexagon and triangle pattern into the façade. For the integration and the application, a pier of the Lamma Island in Hong Kong is proposed as the site. One module on the site works as a single family house, while another five modules consist of a larger building, sitting on the river and ser ving as the resort hotel.

Selina WANG Wei Hang E / selinawangweihang@gmail.com T / 6396 5760 322

left / model interior top / single family house rendering bottom / model development

Left, the photo shows great spatial potential of the pattern-transformed models. Bottom from left to right, is the plan organization starting point, the vertical slab model development, the cave model translation, and the structure and opening integration.

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324

a b

6900mm

a b

top left / single family house g-2f plan section aa, bb resort hotel 2f plan top right / resort hotel rendering bottom left / views of single family house bottom right / views of resort hotel

The program is selected as single family house and resort hotel because the modular space is appropriate for residential use. Starting from the ver y simple hexagon and triangle grid, the project ends with still hexagon and triangle grid from master plan to interior layout, from plan to elevation. It is a unified geometr y concept-based design.

9.0

0.0

325

326

DTC D DI GI TAL T EC HNO LO GY AND CO M P U TAT I O NAL DESI GN

Kristof CROLL A

Zion CHAN Tik Chun

327 Woody HUI On Yu Diane LAM Jeun

1. Write/ draw in the box above. 328 to your team. The message could be about your thesis topic and words

BUILDING COMPOSITION

THE MATRIX GEOMETRY

POW(X,2)*A+B 64.4M

Concrete Design in the Post-digital Architecture Era

51.4M

SURFACE EXTRACTION A

Length: 42 m Height: 7m Surface Area: 254 m2

Length: 40 m Height: 13 m Surface Area: 478 m2

Expanding Concrete’s Design and Construction Solution Space through Computation

Length: 37 m Height: 9.5 m Surface Area: 606 m2

Length: 39 m Height: 13 m Surface Area: 491 m2

Zion CHAN Tik Chun E / tikchunchan@gmail.com T / 5408 2770

Length: 38m Height: 7m Surface Area: 406 m2

A= 0.000013 B= 10000

“Architects are beginning to shift away from primarily designing the specific shape of a building to setting up geometric relationships and principles described through parametric equations that can derive particular design instances as a response to specific variables, expressions, conditional statements, and scripts.” “Concrete is modern. This is not just to say that now it is here, when before it wasn’t, but that it is one of the agents through which our experience of modernity is mediated”. This thesis research is found on an interest in casting as part of architectural production and focuses on mould making and how this affects the architect’s design solution space. The design and construction of concrete architecture relates to the craft of mould making. Architecture movements such as Modernism, Brutalism, Futurism, etc. evolved alongside the development of concrete construction technology; architectural ideas and building technology inspire one another. With recent advancements in digital design and fabrication, architects can in an unprecedented way control the processes through which moulds are made, expanding the feasibility of more complex geometries. This can affect both the design process and, more importantly, the economic realities of a project. By adopting a “design and built” mind-set, opportunities open up for architects that bring them closer to yesteryear’s position of the Master Builders. This thesis expands the definition of this “geometric relationship” to additionally include the operation on construction level. It looks into how robotic CNC mould making, more specifically on 5-axis hotwire cutter, can positively affect both the design and construction aspect within an architectural design project. By setting up a bespoke and computation driven tectonic system that involves both the design and construction process, the thesis illustrates how the design solution space for doubly curved concrete geometries can be expanded within a cost effective economic model. 330

left / hyperboloid diagram top / early prototype bottom / 5-axis hotwire foam cutter

This model aims to study a geometr y that can be generated with two cut surface. Both cut surfaces are twisted in an angle, with two input cur ves place at the top and the bottom of the cut volume.

This model aims to study a geometr y that can be generated with two cut surface. Both cut surfaces are twisted in an angle, with two input cur ves place at the top and the bottom of the cut volume. The study aims to test the idea of using the mould as a design tool. While two surfaces would give three off cut volume, it gives designers freedom to play around with the blocks with different combination and make different cast.

331

332

Architects would be able to team up with a contractor and an engineer to have a design and built approach on the project.

1. Cutting form block

2.Assemble required parts of hyperboloid

5. Tag the precast panels according for on site positioning

6. Scaffolding to hold up the precast panels

333

left / final model bottom / construction sequence

3. Make out required sub-surface area.

7. Assemble pairs of precast surface accordingly

334

4. Produce thin shell precast panels

8. In-fill cast in-between the two thin shell precast wall

D C T D

“Welcome to the White Parade.”

Phenomenological Design of Space through Dematerialization

Although nature doesn’t possess any of its geometries or shapes, we have grown accustomed to the rigidity and hard materiality of our built environment. In this environment, we rarely question what precisely defines a space and how we perceive it. This question is central to this design research thesis, which studies how, through the act of ‘erasing,’ space can be dematerialized and transformed into minimal sensual environments that challenge our ever yday perception. Dematerialisation involves the alteration of various aspects of perception, which can include depth perception, perceived massiveness, etc. With lighting being one of the most fundamental aspect in spatial perceptions, translucency is key to dematerialising architecture alongside transparency and opacity. The oftenmissing gradient between these two extremes is what broadens the play in perceptions. Subsurface scattering is the mechanism of translucency that involves light penetrating the medium surfaces, bouncing at irregular angles inside the medium and leaving the surface at a different angle. It differentiates translucent mediums from opaque and transparent ones similar to how glare can be softened in an image. Studies in translucency allow the further manipulation of light and can contribute to the rebalancing of lighting, privacy, and space definition.

dematerialization / perception / translucency

Woody HUI On Yu E / huionyu@gmail.com T / 9555 2503

We have accepted spatial experience to be defined primarily by the clear materialisation of reality. Hard edges and clear shades over whelm the built environment and determine how we perceive space. In nature, these clear edges and vibrant colour separations cannot be found. People lose the sense of space by accepting the daily rush of information from artificial shapes. This thesis questions the essence of space definition by erasing the excess and by framing indispensable elements. Taking dematerialization and translucency into consideration, this thesis explores the change in our daily spatial perceptions by questioning and exploring alternatives. In doing so, it enriches the language of light and spatial design.

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336

3/F 2/F 1/F

left / location, overview and sections top / exploration - the act of ‘erasing’ bottom / ground floor plan

G/F B1/F B2/F

We perceive space by edges, shades and colors, yet we seldom question what is left without these elements. By the act of ‘erasing’, this thesis is an exploration on the dematerialization of space into uncertainty. With the manipulation of lighting via Nga Cheung Road translucency, it is a step into the realm of dislocation and re-framing of space in architectural scale.

Overview

UP UP

Overall Section 0

VOID

10 15m Airport Express Check-in/out Counters

1480

3940

4500

Circulation Lobby to Tung Chung Line

345

+6.40

VOID

VOID VOID

VOID

4820

1935

3210

2135

+6.40

450

-1.20

4370

3000

11245

10250

300

-8.60

550

-8.60

Zoomed Section 01

Zoomed Section 02 0

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338

Ground Floor Plan

top / g/f circulation - transition bottom / b2/f circulation - white-out platforms

top / g/f entrance - diving within bottom / g/f entrance - before departure

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D C T D

Frei Otto talked about the difference between ‘what can be built’ and ‘what should be built’. In the 60s and 70s, he extensively researched bending-active structures of which the design centers on Form, Matter, Material system & Materialization, with the Mannheim Multihalle being the greatest example illustrating the economy and efficiency of this system as well as the elegance and beauty of its form. Bending active structures are a form of light-weight structure made up of individual elements that are ‘bendable’. Bending members can be made into a grid to create strong shell

Bending-active Structures A Contemporary Approach lightweight / matter / form structures (grid shells), or they can be individually bent onsite, creating a different type of unique geometr y. Bendingactive structures can provide a ver y large span with an extreme thinness relative to its span. Getting its strength from its geometric form, the structure can be ver y efficient and opens up the doors to a plethora of exciting forceeffective forms. Unfortunately, despite its merits, it has hardly been used since its inception mainly due to its difficulty in design with complex model making and its rather limited design solution space. A wider, more extensive research and exploration on it was inhibited due to the prohibitive amount of time and efforts required in the process of formfinding and engineering in the past. However, with the emergence and advances of digital 4 8 technology in recent years, it is worth to revisit bendingactive structures and advance the study through a contemporar y lens.

Diane LAM Jeun E / jeundiane@hotmail.com T / 9335 2316

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342

24m

Input topology & Grid construction

Applying anchors & calibrate the curves with curvature analysis tools

Extract diagrid from square input

Breaking down grid into pieces that can be built with flat bed method

This thesis attempts to examine and continue on the research study of bending-active structures with the help of virtual real-time physics simulation engines and large-scale physical model making as the tools in the process. With the help of these tools, fabrication and experimentation of the grid shell has become much easier. The main focus of this thesis is to expand the possible spatial solutions of bending active structures. From an architectural perspective, it aims to test its limits, the possible construction methods, as well as applying that to hypothetically redesign a flea market in Hong Kong.

With the help of digital tools, which allow architects to have access to not only form, but also the simulation of material systems nowadays, a door opens up for a new type of structure, which is hyper lightweight, more economical & ecological but also allows for exciting force-responsive forms. We now have the design opportunity of using extremely simple and standardized input to arrive in a much more complex and force-efficient architectural spaces.

left / designing with 4 ‘singularities’ & application of anchor points right / uniform input typology & easy grid construction method

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left / extended corridor between the station & the flea market right / master plan top / section across KSR flea market bottom / elevation of KSR flea market The research potential is tested in the re-design of the Kam Sheung Road Flea Market – a generic temporary market designed with efficiency in mind, rather than spatial or experiential quality. By introducing an intensely varied bending-active shell structure, the market is being shielded from the bustling public transport interchange across the road. Discovered design features suitable to the grid are integrated in the shell structure to increase the architectural qualities of market stalls. For example, vertical support columns that merge with the cupola structure are opened up and used to include courtyards and light wells. These amplify the possibilities of the public space and provide the diverse community in the Pat Heung area with a more integrated communal experience as well as a landmark for the area.

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DTC D DI GI TAL T EC HNO LO GY AND CO M P U TAT I O NAL DESI GN

Adam FINGRUT

Jasper CHAN Ching Nam

Matthew FONG Tsz Kin

Brian HUI Chong Hei

“The tricks of today are the truths of tomorrow.” - Man Ray

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348

D C T D

Corals such as the Leather corals embody a dynamic and undulated form that is hyperbolic. The thesis aims to emulate hyperbolic coral surface and translate it into a building system. By investigating the cellular alignment and emergent form of corals through mainly crocheting and computational methods, a hyperbolic surface formation tool is generated for further architectural surface conditions imagination.

Hyperbolic Coral Surfaces Emulation from Hyperbolic Surfaces found in Corals leather corals / hyperbolic architecture / emergent form / surface organisation The establishment of surface formation tool derives prototypes and simulations that act as conditional massing and surface moments. Incorporated with conventional structure and façade system, the methodology is tested on existing Hennessy Road playground. Considering constraints and specific site conditions, the implementation of the system aims at merging with the site in producing unique spatial experiences within such dense urban landscape.

Jasper CHAN Ching Nam E / jasperccn@gmail.com T / 6373 0851

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350

Original geometry



Perspectives 

Anchor point 

 

Springs branch out from knot

left / hyperbolic surface formation top / section along Hennessy Road playground bottom / plan of Hennessy Road playground

Springs branch out radially





 

 

Laterial springs

“Physical, biological and technical processes give rise to objects." - Frei Otto

Springs branch out forming a surface

Dis-equilibrium

Force sets in Equilibrium

Original geometry

Moments



The surface shrinks and undulate to reach force equilibrium between springs





 











Hyperbolic surface











Main structure layer





Original geometry



Application of force





Hyperbolic surface

 

Facade layer





Original geometry

Light well

Roof

Relationships between hyperbolic surface and flat surface

Slab

351

Structure

Building system

352

top / basketball court bottom / roof top space

353

top / view from street bottom / passage to staircase

354

D C T D

The Act of Browsing

The way people experience the built environment is overshadowed by visual perception and how space is perceived by the brain. Spatial perception is a response, not to individual elements found within space, but to a field of interrelated information. Human perception extracts environmental information and structures it for a reaction response.

Fluid Movement by Active Reading of Space for Expected Moments

Obstructed space is inferred through visual cues in the presented setting, in such a way that pedestrians navigate fluidly through the sequence of space. By manipulating the relationships of perception, form and movement, this thesis examines the mechanisms employed for constructing “space” that extend beyond our visual field, also known as the conjecture space. By expanding on the mechanics of fluidity and viscosity, the construct of conjecture space can be parameterized into a formula as the core of this study in space design.

adaptive reuse / bunker tunnel / traversal space

“what is seen perceived? ” when space is obstructed.

Matthew FONG Tsz Kin E / tsz-kin@hotmail.com T / 9770 9971

Movement in architecture intrinsically generates spatial sequence in architecture. Cur vilinear space has the imbedded potential of unfolding spatial sequence, due to the gradual field of vision and revealing vanishing points induced by movement. By articulating elements of cur vilinear form and space, movement and perception can be altered and manipulated. This potential for controlling perception through traversal of space yields a possibility for a variety of heightened moments through manipulation. This can create expected and unexpected scenes in architectural space. This study of architectural form aims to become a generator of fluid movement for expected moments. existing bunker tunnel under Kowloon Park

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top left / analytical diagram of articulation of point / line / surfaces / transparency top right / perceived perspective revealed bottom / unrolled section of west and north block ; unrolled section of south block

(t hre shold)

357

cont inuous

358

(re ve a l)

top / seen perspective centre / revealed perspective bottom / sectional perpective

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D C T D

Deployable Performance Shell Exploring the Architectural Potential of Two-way-fold Deployable Structures foldability / variable configurations / atmospheric space / deployment sequence

“New spatial experience for outdoor performance space” Deployable architecture often refers to structures that are temporar y, transportable and reusable. They are easy to transport, erect and store. It varies three-dimensionally when its mechanical, material and geometrical properties change, providing opportunities to create transforming spatial experiences. Its appeal can be demonstrated by a simple household device, an umbrella. It is capable of making large configuration change in an almost spontaneous manner. In addition, deployable architecture is mostly energy efficient lightweight structures, echoing the concept of sustainability. Its accurate prefabrication process implies that there is limited wastage of materials. The ease of transportation and construction means that the structure bears low embodied energy.

Brian HUI Chong Hei

In Hong Kong, there is no lack of inspirational deployable design, for instance, the hawker booth in open food market. It can triple its covered area and its usable space when it is deployed, while having innovative storage design to allow ever ything to be put back when business is closed for the day. Nonetheless, deployable design is rarely seen being used for outdoor performance purposes in public spaces. The existing outdoor performance venues in Hong Kong remain generic in form and spatial quality. And deployable structure bears the potential of improving their spatial qualities, while taking the ease of transportation, formation and disassembly into considerations.

E / brianhuich@gmail.com T / 6147 6047 362

left / 1:2 mock-up model top / deployment sequence of 1:2 mock-up model bottom / deployment sequence of scheme A

Scheme A - Enclosed, Intimate

3 schemes (A, B, C) of deployable designs are proposed to cater for 3 types of site conditions and performer/audience relationship: Scheme A (Enclosed, Intimate); Scheme B (Semiopen, Ambiguous); Scheme C (Open, Inviting).

Deployment Sequence

00 Components

Plan

01 Layout Components

04 Attach Support (Cont’d)

02 Deploy Modules

05 Combine Modules

1:3

03 Attach Supports & Bases

06 Lift & Combine Modules

Elevatio

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364

ombine Modules

06 Lift & Combine Modules Elevation

Daytime View

1:30

Night-time View Perspective View in Context

top / view of scheme B in context bottom / day view of scheme C

top / day view of scheme A bottom / night view of scheme A

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Organising Committee for Master of Architecture Graduation Show XXII P re si de n t C ore

Karen KWOK Nga Lam Sam CHAN Wai Sum Wendy CHEUNG Hon Ting Ben YIM Yu Ching

Tre asu re r

Annie CHAN Wing Yan

Gr aph i cs

Kyle CHU Cheong Kei Zion CHAN Tik Chun Woody HUI On Yu Owen LAM Ho Wang Jason LAU Kin Keung

P u bl i cat i on

Edi t or i al

P u bl i c Re l at i on s

Fu n d Rai si n g

Exh i bi t i on

Milly LAM Man Yan HO Yuen Ling LAM Long Tat LAM Joshua Wai Hon TAN Song Br yan WANG Yi Ivan WENG Yu Arthur WONG Fai Nam Adrian LAU Ted Him LI Paul Jun Vincent TSANG Xiang Han Derrick LEONG On U Winnie FAN Wing Sze Gloria HA Chui Ying Diane LAM Jeun Winnie LAM Wai Han Winnie TAM Wing Yee Ric TO Wai Kin Jasmine YUE Ka Hin Shita LAM Ka Wai Benedict CHAN Man Chung Hyman NGAI Hiu Fung Selina WANG Wei Hang Jasper CHAN Ching Nam Woody VONG Ting Hin Albert CHAN Yau Hin Ashley CHIU Mei Ying Matthew FONG Tsz Kin Brian HUI Chong Hei Angelica KWOK Chun Tung Katherine LEE King Yee Fred LEUNG Kwok Kit LIE Cheuk Lam Marco SO Chun Pong Sonia SO In Man Andy TAM Ting Pong Peter TSE Tat Hing O rg ani s i ng C o m m i tte e

370

Faculty & Staf f F u l l - ti m e Fa c u l ty School Dire c to r a n d Prof e sso r Prof e ssi o n a l C o n su l ta n t

Par t- t i me Facu l t y Nelson CHEN Kelly CHOW Chi Wai

Adj u n ct Associ at e P rof e ssor Adj u n ct P rof e ssor

Brian ANDERSON Essy BANIASSAD

Asso c i a te Prof e sso r

Thomas CHUNG Wang Leung

Adj u n ct Associ at e P rof e ssor

B. Christopher BENE

Assi sta n t Prof e sso r

Kristof CROLLA

Adj u n ct Assi st an t P rof e ssor

Billy CHAN

Asso c i a te Prof e sso r

Peter Winston FERRETTO

Adj u n ct Assi st an t P rof e ssor

Florence CHAN Lai Shan

Assi sta n t Prof e sso r

Adam FINGRUT

P T L e ct u re r

Jessica CHEUNG Tin Yan

Asso c i a te Prof e sso r

Stanislaus FUNG

Adj u n ct Assi st an t P rof e ssor

Anneli GIENCKE

Prof e sso r

Daqing GU

Adj u n ct Associ at e P rof e ssor

Sujata GOVADA

L e c tu re r

Man HAN

Adj u n ct Assi st an t P rof e ssor

Simon HSU Chung Wan

Patrick HWANG Cheng Chun

Adj u n ct Assi st an t P rof e ssor

Iris HWANG Se Young

Assi sta n t Prof e sso r

Seng KUAN

Adj u n ct Assi st an t P rof e ssor

Tat LAM

Assi sta n t Prof e sso r

Clover LEE Sze Wan

Prof e ssi o n a l C o n su l ta n t

Prof e ssi o n a l C o n su l ta n t Yao L i n g S u n Prof e sso r

Bruce LONNMAN Edward NG Yan Yung

Adj u n ct P rof e ssor Adj u n ct Assi st an t P rof e ssor Adj u n ct P rof e ssor

Sebastian LAW Sai Hung Sarah LEE Kwok Yan Bernard LIM Wan Fung

Asso c i a te Prof e sso r

Chao REN

Adj u n ct Associ at e P rof e ssor

Doreen LIU Heng

Assi sta n t Prof e sso r

Francesco ROSSINI

Adj u n ct Assi st an t P rof e ssor

Maggie MA Kit Yi

Asso c i a te Prof e sso r

Hendrik TIEBEN

Adj u n ct Assi st an t P rof e ssor

Sarah MUI Sze Wa

Jin Yeu TSOU

Adj u n ct Associ at e P rof e ssor

Daniel PÄTZOLD

Jingxiang ZHU

Adj u n ct Assi st an t P rof e ssor

Neil SANSOM

P T L e ct u re r

Darren SNOW

Adj u n ct Assi st an t P rof e ssor

Nuno SOARES

Adj u n ct Assi st an t P rof e ssor

Paul TSE Yi Pong

Adj u n ct Assi st an t P rof e ssor

Casey WANG Nai Huei

Prof e sso r Asso c i a te Prof e sso r

H o n o ra r y Fa c u l ty

Adj u n ct Associ at e P rof e ssor

Roger WU Tsan Sum

E m e ri tu s Prof e sso r

Tunney LEE

Adj u n ct Assi st an t P rof e ssor

Caroline WÜTHRICH

H o n o r a r y Prof e sso r

Peter ROWE

Adj u n ct Assi st an t P rof e ssor

Yutaka YANO

H o n o r a r y Prof e sso r

Rocco YIM

Adj u n ct Associ at e P rof e ssor

Alfred YEUNG Kwong Fai

Adj u n ct Associ at e P rof e ssor

Tsang Chi YUET

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372

CUAAA & 30+ Alumni Practices Warmest congratulations to the Class of 2018 from Chinese University Architectural Alumni Association and alumni who have their own practice. The practices specialize in diversified fields: architectural & interior design, exhibition, public art, graphics & branding, AP consultancy, building and interior contracting works, co-living solutions, event management, furniture design, fabrication and retail, as well as high-tech Photo-to-3D services and mobile solutions….. May your future be filled with adventures and unlimited possibilities!

1 Architectural Consultancy Company

t53165586@gmail.com

Aravia Design Limited info@aravia.com.hk www.aravia.com.hk

At Zero Design Limited www.zero-hk.com

AVT Design Contracting Limited www.avtcontracting.com.hk specialized in Retail, Institutional Fitting out works & A&A projects Registered General Building Contractor & Minor works contractor

39 Plus Limited www.39plus.com.hk

ADO CULTURE ka@adohk.com www.adoculture.com

COLLECTIVE

office@collective-studio.co

COLLECTIVE is an International Architecture Studio practicing Architecture, Interiors and Urban Design. We are a research and idea-driven practice that offer powerful concepts, insist on Clarity, Beauty and Function. COLLECTIVE has offices in Hong Kong, Madrid and New York.

IDA&BILLY ARCHITECTS info@idabilly.com www.idabilly.com

matter@mattero.com www.mattero.com

Edmond Wong Studio info@edmondwongstudio.com www.edmondwongstudio.com

MeMoment memoment.hk@gmail.com fb.com/memoment

Conneting People and Making Places

One Bite Design Studio Limited studio@onebitedesign.com http://www.onebitedesign.com

Executive Strategy Limited www.esltd.com.hk Exhibition design and fitting out works

40mm

154mm

ELSEDESIGN / FLY CONCEPT LIMTED philip.fung@xjtlu.edu.cn

Layout 1

PAS Consultants Co. pas.professional.services@gmail.com

Space By Case Design 築角設計 hello@spacebycase.com www.spacebycase.com

SYNERGY BIZ GROUP Co-space development info@synergypm.org www.synergybizgroup.org www.co-living.hk

Pixel i Production Limited pixeliproduction@gmail.com

PLY Union Limited www.plyunion.hk

Studioparti Limited (2013) Kiros NG BSSc 2008 info@studioparti.net http://studioparti-interior.com

TAO Freelance Designer nutmake.tao@gmail.com

Revival Heritage Consultants Limited (2017) May Ho | BSSc 1996 | MArch 1998 mayho@revival-heritage.com www.revival-heritage.com

TETRA Architects & Planners Ltd. info@tetra-arch.com www.tetra-arch.com

30+ Alumni Practices (year established) & alumni information

39 Plus Limited (2012) Leslie CHAN BSSc 1997 MArch 2000 www.39plus.com.hk

ADO Limited (2003) Karr YIP BSSc 2000 MArch 2003 www.adohk.com hi@adohk.com

APL Architects and Consultants Limited (2016) Eric LAM BSSc 1996 MArch 1999 eric.lam@aplam.com.hk

Aravia Design Limited (2015) Kan CHAN BSSc 2007 MArch 2013 cckan@aravia.com.hk

AVT Design Contracting Limited (2007) Sango WONG BSSc 1996 MArch 1999 Vitus MAN BSSc 1995 MArch 1998 vitus@avtdesign.com.hk

CalvertChan.com (2003) Calvert CHAN BSSc 1996 MArch 1999 lecouple.associates@gmail.com

COLLECTIVE (2015) Betty NG Candidate of BSSc 2003 Katja LAM BSSc 2006 MArch 2009 collective-studio.co

Ida & Billy Architects Limited (2013) Billy CHAN BSSc 1998 MArch 2001 Ida SZE BSSc 1998 MArch 2001 info@idabilly.com www.idabilly.com

IDEA Project (2012) Robert WONG BSSc 1998 MArch 2001 info@ideaproject.org.hk www.ideaproject.org.hk

Matter Design Limited (2012) Damian CHAN BSSc 2004 matter@mattero.com mattero.com

Colossus Architects Limited (2011) Derek CHAN BSSc 1999 MArch 2002 derek@colossus.com.hk ARCHITECTURE + DESIGN

1 Architectural Consultancy Company (2013) Ronald MAN BSSc 1995 MArch 1998 t53165586@gmail.com

(Listed in alphabetical order)

Domat Limited (2013) Maggie MA BSSc 2004 MArch 2007 www.domat.hk

ArchPie Design Limited (2014) Eric MOK BSSc 2000 MArch 2003 Phyllis LEUNG BSSc 1997 MArch 1999 info@archipie.com

Edmond Wong Studio (2014) Edmond WONG BSSc 2007 MArch 2010 www.edmondwongstudio.com

Architectural Project Unit Limited (2012) Oskar NG BSSc 2005 MArch 2009 info@a-p-u.hk

Executive Strategy Limited (2000) Ben POON BSSc 1997 MArch 1999 NG Lung Wai BSSc 1996 MArch 1999 ben@esltd.com.hk

At Zero Design Limited (2005) Brian CHAN BSSc 1997 MArch 1999 Fai WOO BSSc 1997 MArch 1999 Steven LI BSSc 1996 MArch 1999 www.zero-hk.com

FLY Concept Limited 非概念设计(深圳)有限公司 (2014) Philip FUNG BSSc 1998 MArch 2001 philip.fung@fly-concept.co www.fly-concept.co

PLY Union Limited (2014) Lucia CHEUNG BSSc 1995 Raymond CHAN BSSc 1996 MArch 1999 Thyne KONG BSSc 1996 MArch 1999 www.plyunion.hk

Revival Heritage Consultants Limited (2017) May HO BSSc 1996 MArch 1998 mayho@revival-heritage.com www.revival-heritage.com

Sim-Plex Design Studio (2017) Patrick LAM BSSc 2007 MArch 2010 www.sim-plex-design.com

MDD9 Design Studio Limited (2010) Daniel HUI BSSc 1994 MArch 1997 dhui@mdd9.com.hk Space by Case Design 築角設計 (2014) Samantha WAN BSSc 2008 hello@spacebycase.com www.spacebycase.com

A R C H I T E C T U R E . I N T E R I O R

ED Design Limited (2014) Edward LAU BSSc 2008 MArch 2011 ed.lau@ed-design.co www.ed-design.co

Pixel i Production Limited (2015) Duncan FOK BSSc 2006 MArch 2009 pixeliproduction@gmail.com

MeMoment Limited (2014) Patrick NG BSSc 1996 MArch 1998 patnyc@alumni.cuhk.net

One Bite Design Studio Limited (2014) Alan CHEUNG BSSc 2004 MArch 2007 Sarah MUI BSSc 2006 studio@onebitedesign.com www.onebitedesign.com

Studioparti Limited (2013) Kiros NG BSSc 2008 info@studioparti.net

Synergy Biz Group Limited (2016) Addie CHENG BSSc 2002 MArch 2005 info@synergypm.org

PAS Consultants Co. (2014) Dick WONG BSSc 1995 MArch 1998 pas.professional.services@gmail.com

Tao (2015) Freelance Designer Yuen Ting TAO BSSc 1997 MArch 2000 nutmake.tao@gmail.com

Passionists Limited (2014) Elizabeth LEE BSSc 1994 MArch 1997 info@thehongkongroom.com

TETRA Architects & Planners Limited (2011) Allen POON BSSc 1997 MArch 2000 allen@tetra-arch.com

fosterandpartners.com

Congratulations to the architecture graduates at CUHK. Foster + Partners is a global studio for architecture, urbanism and design, rooted in sustainability. Founded in 1967 by Norman Foster, it has a worldwide reputation for integrating architecture with engineering and other allied disciplines to establish an innovative approach to the design of buildings, spaces and cities.

Hong Kong has been the setting for many of the practice’s projects, from the Hongkong and Shanghai Bank building and the Hong Kong International Airport to more recent projects such as the Ocean Terminal Extension and the revitalisation of the Murray Building as The Murray Hotel.

Congratulations Students of the School of Architecture - CUHK Master of Architecture Graduation Show

www.lead-8.com Hong Kong | Kuala Lumpur | London | Singapore

Education is not the learning of facts, but the training of

THE MIND TO THINK - Albert Einstein

Platinum Sponsor: Professor Sebastian Law

With the compliments of Andrew Lee King Fun & Associates Architects Ltd.

Redevelopment of Block X, The Hong Kong Polytechnic University

Campus Expansion at Ho Man Tin, The Hong Kong Polytechnic University

CONGRATULATIONS TO CUHK GRADUATION SHOW

www.hok.com

Congratulations to CUHK Master of Architecture Graduation Show XXII

HKIA Merit Award of Hong Kong Commercial Building

iF Design Award 2018 Commercial Building

DISCIPLINE ARCHITECTURE

V Point International Property Awards Commercial building Asia Pacific Property Awards 2017 DESIGN 5 Star Award Best Commercial ARK Associates Ltd William Liu, Pui Har Lavinia Lau High-Rise Architecture Hong Kong

CLIENT / MANUFACTURER Choice Glory Limited Hong Kong

World Architecture Festival 2017 Finalist - Shopping

facebook.com/ark.com.hk

324-14-229212

www.ark.com.hk

HOK is a global design, architecture, engineering and planning firm. Through a network of 23 offices worldwide, HOK provides design excellence and innovation to create places that enrich people’s lives and help clients succeed. DesignIntelligence consistently ranks HOK as a leader in sustainable, high-performance design and technology innovation.

01. Beijing Topwin Center & Intercontinental Hotel 02. Atlantis Sanya 03. Jiangxi Commerce Union Center 04. Zhuhai Huafa New Town Phase 6 05. Hong Kong Government HQ Landscape 06. Singapore Mount Elizabeth Novena Hospital

HOK是一家全球性设计、建筑、工程和规划公司。通过我们遍布全球的23 间办公室和1,700名员工网络，HOK为世界各地客户提供创新而卓越的设计方案，创造丰富的人文空间，并与客户携手成功。《设计情报》连续多年将HOK列为可持续发展设计、高效能设计及技术创新型企业的行业领袖。

01. 北京三里屯通盈中心洲际酒店 02. 三亚亚特兰蒂斯 03. 江西商联中心 04. 珠海华发新城六期 05. 香港政府总部景观设计 06. 新加坡伊丽莎白诺维娜医院

“We are so prou d t h a t yo u h a ve achi eve d su c c e ss yo u r w a y t h ro u g h passi on an d pe r se ve r a n c e . T h e roa d to Arc h i te c t u re i s c e r t a i n l y n o t a n easy on e . Wi sh i n g a l l of yo u m a n y cong rat s o n t h i s s u p e r s h o w of you r s !”

CONGRATULATIONS to The CUHK Master of Architecture Graduation Show XXII

Congratulations on your well deserved achievements. Ryder is always on the look out for like minded people from all walks of life in search of a new challenge in architecture, engineering and construction. If you’re interested in joining us, please send your CV and a selected sample of work to info@ryderarchitecture.com

Everything architecture www.ryderarchitecture.cn Hong Kong Newcastle London Glasgow Liverpool Vancouver

CUHK_Ad.pdf

27/3/18

成為一間

11:03 AM

以推動建築業向前，以人為本並以港為家的企業。 With Hong Kong as the home base, to be a people-oriented company to drive the construction industry forward.

CR Construction Company Limited

華營建築有限公司

www.cr-construction.com.hk

對話 1）當你完成建築碩士後，有沒有從事建築設計相關工作？而又有什麼因由啟發你開始水泥創作？畢業後我在維持建築設計的工作的同時兼營倒模工作室，前者是為了吸取無盡的專業的知識,後者是為了尋找水泥設計的可能性,研究它的細節時亦能找尋設計的滿足感. 還記得最初欣賞水泥的質感與溫度, 到親手打造出滿意的水泥作品, 對混凝土美學的追求, 對形態上的突破, 每一個難題都是想做更好的水泥設計的原因。

2）水泥作為常見的建築物料，與建築總帶著不可分割的關係。你們以此作為主要創作媒介，手法和思維上與建築設計有何異同？在香港走過大街小巷, 每一座建築從戰前到現在, 水泥一直都在：有裝飾材料包裹的, 亦有少數建築和大量的橋墩以清水混凝土建造。但在大眾眼中, 它好像從沒被重視過, 所以我們決定親手去重新詮釋被遺忘的混凝土美學。我們重新定義水泥的尺度, 嘗試從建築延伸到更貼近生活的比例, 因為水泥對我們而言, 不單是冰冷的結構與外牆, 更可以跳入人體尺度的細節當中,成為生活的任何一部份。

3）有人認為水泥給人一種單調沉悶的印象，你們是如何透過設計把水泥作品的獨特性展現出來？單調用來形容顏色是很適合的, 但當我們去探討空間的層次和光影的灰度, 單一的色調就是最好的創作空間! 溫度, 濕度--所有最自然的因素都會令水泥每

倒模

一次有意想不到的效果, 難道這仍不算獨特? 當然, 這還要加上我們對設計的執著! 與其客套地探討如何運用form & space, solid and void, 不如說每一個設計我們追求的是由始至終地去完成一件作品：從概念, 到為它造模具, 灌模, 打磨--每一個步驟專心地處理細節--這就是我們的設計。至於能否造出美的作品? 我們會自信地說:由你來定斷。

4）製作水泥是一個不斷重複經歷嘗試和失敗的過程，當中有沒有比較印象深刻的經歷？倒模從第一年到現在, 一直都在嘗試與突破, 試過千百種不同的骨架材料, 也試過利用最天然的金屬氧化物作為調色材料。我們曾為做到了3 毫米厚的水泥而喝采，直到後來經過不斷嘗試成功挑戰到1豪米厚度。面對著曲面與一體成型的設計, 一開始我們也是束手無策, 但最後經過反覆挑戰後還是做到了。

5）我們應屆畢業生亦曾到訪工作室，利用水泥來製作紀念品，感受當中的樂趣。你能跟我們分享一下你們現在市面上的水泥設計產品嗎？從一開始倒模工作室的定位就是成為水泥手藝的專家, 我們不會規限去做甚麼類型的設計, 有趣的水泥案子我們就會去玩, 小至水泥貼紙, 水泥文玩, 藝術品, 傢俱, 水泥牆, 大至水泥installation, 空間設計我們亦有嘗試過。像這次與中大grad show 的合作，誰會想到可以用水泥製作心口針，掛在慶典中畢業生的禮服上呢？

Appendi x I - So u ve n ir

A p p e nd i x I - S o uv e ni r

421

422

The layout plan of our Graduation Show is divided into 4 zones showcasing projects from different Design Research Units. In order to better utilise materials, the backdrop panels of the Opening Ceremony are designed to be dismantled into 6 pieces and transformed into “XXII” as both a sculpture for phototaking and bookshelves for our Graduation Books. left / exhibition layout - phase 1 & 2 right / backdrop transformation

Appendi x II - Gr aduati on Show La yo u t a n d Ba c k dro p D e s ign

A p p e nd i x II - Gr ad uati o n S ho w Lay o ut and B ac k d ro p D e s i g n

423

424

Appendi x III - Th e s is Pro je c t s A p p e nd i x III - T he s i s P ro j e c ts

425 426

081 089 095 101 109 115

Arthur WONG Fai Nam Ashley CHIU Mei Ying LAM Long Tat Jasmine YUE Ka Hin Wendy CHEUNG Hon Ting Kyle CHU Cheong Kei

349 355 361

Matthew FONG Tsz Kin Brian HUI Chong Hei

275

Winnie TAM Wing Yee

Jasper CHAN Ching Nam

269

LIE Cheuk Lam

341

261

Woody VONG Ting Hin

Diane LAM Jeun

255

HO Yuen Ling

335

249

Gloria HA Chui Ying

Woody HUI On Yu

241

SO Sonia In Man

329

235

Shita LAM Ka Wai

Zion CHAN Tik Chun

229

Annie CHAN Wing Yan

321

221

Ivan WENG Yu

Selina WANG Wei Hang

215

Peter TSE Tat Hing

315

209

LI Paul Jun

Vincent TSANG Xiang Han

201

Ben YIM Yu Ching

309

195

TAN Song

Ric TO Wai Kin

189

Winnie LAM Wai Han

301

181

Jason LAU Kin Keung

Andy TAM Ting Pong

175

LAM Joshua Wai Hon

295

169

Sam CHAN Wai Sum

Marco SO Chun Pong

161

Fred LEUNG Kwok Kit

289

155

Adrian LAU Ted Him

Hyman NGAI Hiu Fung

149

Owen LAM Ho Wang

281

141

Angelica Kwok Chun Tung

Br yan WANG Yi

135

Albert CHAN Yau Hin

129

075

Milly LAM Man Yan

Benedict CHAN Man Chung

069

Winnie FAN Wing Sze

121

061

Derrick LEONG On U

Katherine LEE King Yee

055

Karen KWOK Nga Lam

Bending-active Structures: A Contemporar y Approach Hyperbolic Coral Surfaces: Emulation from Hyperbolic Sur faces found in Corals The Act of Browsing: Fluid Movement by Active Reading of Space for Expected Moments D e p l o y a b l e Pe r f o r m a n c e S h e l l : E x p l o r i n g t h e A r c h i t e c t u r a l Po t e n t i a l o f Tw o - w a y - f o l d D e p l o y a b l e S t r u c t u r e s

T h e N o a h 's A r k : Church as Catalyst for On-site Upgrading of Baseco, the Philippines Education Matters: Community-based Small School in Slum of the Philippines The Community Interchange: A d a p t i v e R e u s e o f Va c a n t S c h o o l P r e m i s e s Otherness in the City: A M e d i t a t i v e J o u r n e y b e t w e e n t h e C i t y a n d t h e U r b a n Vo i d Biophilic Acupuncture: Re-envision Lifestyle by Natural Catalytic Inter vention Creating Commons: T h e M o d e r n Ly c e u m i n V i c t o r i a P a r k Braiding with Networks: Social Infrastructure of Mobility Te c h n o l o g y i n A r c h i t e c t u r e : A s H u m a n B o d y E x t e n s i o n To E n v i s i o n t h e N e w F i s h i n g I n d u s t r y Underground Sociocultural Hybrid: Rethink the Relationship between City and Station Art as a Catalyst: Awakening Forgotten Spaces through Ar t Incremental Regeneration of the Urban Villages in Guangzhou: An Approach based on Micro-community R e - G e n e r- A g e : Community Regeneration for the Aged The “Home” for Communities: A n A d a p t i v e - r e u s e A r c h i t e c t u r e t h a t p r o m o t e s S o c i a l I n t e g r a t i o n f o r H o m e l e s s S e n i o r s i n S h a m S h u i Po Pa l l i a t i v e C a re : A Healing Architecture Small is BIG: E x p l o r i n g S p a t i a l Po t e n t i a l f o r H o n g K o n g C o m p a c t L i v i n g When Light Meets Heavy: Lightweight Structures as Extensions in Hong Kong 3-Dimensional Exploration on Form and Space: with an Inspiration from M.C. Escher and an Initial Application Proposal C o n c r e t e D e s i g n i n t h e Po s t- d i g i t a l A r c h i t e c t u r e E r a : E x p a n d i n g C o n c r e t e' s D e s i g n a n d C o n s t r u c t i o n S o l u t i o n S p a c e t h r o u g h C o m p u t a t i o n Phenomenological Design of Space through Dematerialization

Inhabitable Infrastructure: Connection between Commuters and Community Crossing the Thames Barrier : Adaptive Reuse of Existing Infrastructure under Climate Change R e a c t i v a t i n g Ta i O : A F o o d R e t r e a t : R e g e n e r a t i o n o f A b a n d o n e d S a l t P a n Tr a c e s Repair (in) the City: Application of Notion of Repair on Architectural Level A Wa l l t o C o n n e c t : A c t i v a t i o n o f R e s i d u a l U r b a n F r a g m e n t b y A n I n h a b i t e d Wa l l S e x Wo r k e r A s s o c i a t i o n : P l a t f o rm P ro v i d i n g S a f e t y a n d E m p o w e rm e n t of S e x Wo r k e r s Fa r e . w e l l : Ve r t i c a l H e a l i n g : F u n e r a l To w e r i n H u n g H o m , H K T h e Pa p e r S a n c t u a r y : A n I n t e g r a t e d P a p e r R e c y c l i n g a n d C o m m u n i t y Fa c i l i t y Revitalization of Public Heritage using Cinematic Approach: A case on State Theatre Building (1952) using Cinematic Approach as a Design Methodology Ta i p e i Tr a i n D e p o t : T h e Po t e n t i a l i t y o f Ta i p e i Tr a i n D e p o t : T h e R o l e o f I n d u s t r i a l H e r i t a g e i n a R a p i d l y D e v e l o p m e n t C i t y S h a u K e i Wa n C o m m o n s : Vo i d a n d B o u n d a r y i n A r c h i t e c t u r e i n b e t w e e n t h e D e f i n i t e a n d t h e I n d e f i n i t e From Brown to Green: C re a t i v e I n d u s t r y Wo r k i n g H u b o n a B ro w n f i e l d S i t e H e a l i n g T h e Wo u n d : A Memorial WWII Museum for the Sacrificed in Hong Kong The Metropolitan Breather : Exposure of Environmental Consequences in Architecture Street Machine: Dense and Flexible City Ta i k o o H u b : I n t e r w e a v i n g t h e C o m m u n i t y w i t h t h e H a r b o u r : A Community Hub for the Eastern District " S t r e e t L i f e" Po d i u m : N e w Ty p o l o g y o f Po d i u m - To w e r i n S h a m S h u i Po Rural City: R e c l a i m i n g E v e r y d a y L i f e a l o n g U r b a n Pe r i p h e r y Tidal Urban Architecture: Inducing Anthropogenic Ecology in Deep Bay To w a r d s a n A r c h i t e c t u r e o f B r o w n f i e l d : Playful Landscapes of New Materialism in Hung Lung Hang Reading Hub in Shanghai: Envisioning a New Reading Space in City Distance and Atmosphere: Private Mansion Renovated As Public Hotel Art.trade Heritage Hotel: A l t e r n a t i v e Wa y o f To u r i s t i c A r t A p p r e c i a t i o n Architecture of the Commons: An Educational Agricultural Center