Donald Leung Academic Portfolio 2007-2011

University of Edinburgh Academic Portfolio 2007 - 2011 MA (Hons) Architectural Design

Contents

Year 1 2007/08

Year 4 2011

Year 2 2008/09

Year 3 2009/10

Architectural Design 1 Technology and Environment 1 Architectural History 1

Architectural Design 2 Technology and Environment 2 Architectural History 2

Architectural Design Option 2 Placement Report Architectural Design Dissertation

Architectural Design Option 1 Technology and Environment 3 Architectural Design Theory Placement Working Learning

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Typical Layout 1. Progression through document 2. Title of project and main body of text 3. Course subject and level, date 4. ARB Criteria 5. Learning Outcome

Learning to become aware of the built environment: learning to search for and then critically look at a place.

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Architectural Design 1 2007/08

Design a ‘dot’ The brief calls for the design of a single, black and white dot. It is to be a two-dimensional composition which explores the dot’s inherent qualities such as behaviour under differing circumstances. Many ideas must be taken into account to capture the nature of the dot. Some are more important than others which include symmetry/ asymmetry, balance, scale and positive & negative space.

The composition was to be presented on a 20x20cm piece of mount board and produced from the use of professional draughtsman tools – triangles, compasses, mechanical pens – and black Indian ink. Freehand drawing and computer outputs were strictly prohibited.

From this early process of creativity, I managed to gain an understanding of abstract reasoning. I learned how to approach and explore a design idea through a variety of directions that would inform the rest of my academic career in architecture.

Point, Line, Plane...

As preparation for this project, students are asked to take photographs of architectural interest. Out of 20 photographs, two are chosen by the tutors as subject of the project. Areas of exploration that are furthered include 2D abstraction, drawing techniques and understanding of key themes (positive/negative space, solid/void, point, line and plane).

From the 2D abstraction, we are then introduced to 3D spatialisation.

The result will in turn be taken back to 2D representation.

As with the dot, the 2D abstractions of the photographs were of 20x20cm format. The same constraints applied with the use of architectural drawing tools and materials. Following this, the drawing was explored in 3 dimensions, and then presented through strict architectural drawing etiquette as well as a more informal qualitative representation also.

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This was my first encounter with model making – a practice I found captivating and of particular enjoyment which will be notably evident throughout my work. My ability of abstraction was tested and built upon. Drawing techniques were also gained and improved. I experienced a confidence in public speaking which will prove beneficial for the entire academic process.

TE C Final 2D abstraction and Cartesian drawings

Final Model

Learning to communicate through two and three dimensions

CC MPL

Architectural Design 1 2007/08

Casting Fisher’s Close on the Royal Mile of Edinburgh acts as the basis for this project. The brief aims to challenge the way of thinking of spaces – the difference between solids, interfaces and boundaries. Through an analysis of the architectural and emotive properties of the close, the space will be cast with a variety of materials and methods.

The close was analysed through a series of photographs, sketches and exploration of the space. Experimentation of formworks and different materials was of great concern so that the final cast would convey the feeling and qualities of the space most effectively. The outcome consisted of a composite cast of wax and plaster with dark colouring.

This project was solely concerned with “making” and it gave me a chance to fully embrace different ways of doing so. An understanding between solid and void was clear - it was becoming evident that the learning curve of architecture would progress with smaller components such as casting to build up to a larger whole.

Fisher’s Close verticality

Fisher’s Close entrance

D TE C

Final Cast

CC Learning to become aware of the built environment: learning to search for and then critically look at a place.

MPL

Architectural Design 1 2007/08

ASPM - Avian Sustenance Provision Machine ‘Architecture in Miniature’. The intention of the project is to build a structure which offers birds nutriment. It introduces building tectonics as well as an awareness of material connection and detailing.

The project consists of two parts: the design competition phase and the design realisation phase. Students are asked to design a proposal which is then critiqued and potentially eliminated at competition phase. The remaining proposals are then realised through a construction process within a group. Key points to consider are support of the machine, provision of the food and material qualities.

The winning proposal was elaborated through a rigorous process of maquette making, sketching and exploration of materials. The agreed proposal resulted in a planar structure which made use of varying thicknesses and colours of wood as well as steel plates. The connections of the planes were self-supporting so that the structure appeared clean and simple. The armature consisted of rotating arms which accommodated to differing widths of trees and secured together with a long slender steel thread.

Test maquette

Choice of materials - oak, cedar and steel

Working effectively in a group was a major learning outcome which was successful in this project. I was able to work efficiently as an individual as well as provide valuable input to group when obstacles were encountered throughout. Additionally, this experience with making offered an insight to the potentials of 3D representation for later projects.

D TE C CC Final construction

Gaining an ability to create through a process of free and open exploration

MPL

Architectural Design 1 2007/08

Retreat for a Bird Watcher This is the first intrinsically architectural project thus far, in terms of designing a building. The brief requires a proposal for a client who wishes build a small cabin in Aberlady Bay of East Lothian, Scotland.

The area is culturally rich and has a balanced ecosystem for migratory birds, therefore the approach to site must be cautious and respectful.

It will be a small space where electricity is absent, but bare essentials are required such as a hearth and seating.

Precedent examples of small designs were fundamental in our own proposals. Of utmost importance was the way in which we would address ground, wall, roof and canopy – connected with this was the way in which these elements would meet, which builds upon skills learnt in the ASPM project. My retreat reacted to the temporality of the site. This concerns the changing tide throughout different times of the day. As the retreat is positioned near the water, there will be times when access to the cabin is restricted. This creates a specialised functional quality to the building and makes the experience more unique.

Aberlady Bay (January 2008)

This was an intriguing project which tested my own abilities as potential designer. This is in regards to architectural drawing, understanding of space and site context and ultimately the materialisation of a building from concept to actual proposal.

D TE C CC Learning to appreciate the relationship of buildings to their physical and cultural context

MPL

Architectural Design 1 2007/08

The design underwent a rigorous process of change whereby the location was moved from being completely on the water to simply being placed at the side, but still being affected by the changing tides.

As a result of this, the dynamism of the design was subdued, and therefore the shape became more angular and clean cut.

Architectural Design 1 2007/08

Living and Working in the Old Town As the title suggests, the project is to design a building with dual programmatic ability – one of public, professional life, and one of private, personal life. The objectives of the brief is to investigate the relationships of interlinking spaces and places which offer similar, separate and overlapping functions. The idea of threshold is also of major importance whereby transition of street to building, or building to garden creates an intended experience of the space itself.

Details to consider include articulation and complexity of spaces, light, materiality and construction.

The design process in this project is emphasised on progression. A sequential, rigorous and thorough method is encouraged through maquettes, sketches and experiments. My design consisted of boxing spaces as an initial starting point. As the work progressed, spaces were opened out so that subtle separations of spaces were evident e.g. through the use of a level change. However, more deliberate methods were also used to segregate public from private such as the use of sliding doors and staircases. The idea was to create a public realm on the ground floor and the transition to private was through an upward movement of the building.

Geddes Garden

Site elevation - from Grassmarket

I gained much experience in this project with conceptual thinking.

This incorporated considerations of interface, inside and outside, movement through/in/out/past and developing an understanding of fundamental architectural issues – public and private, back and Final Sectional Model front.

D TE C CC Learning to investigate the dialectic of individual and collective, particularly through the lens of the ‘participant in the urban setting’.

MPL

Architectural Design 1 2007/08

Architectural Design 1 2007/08

Architectural Design 1 2007/08

Design Elaboration This phase is an additional follow-up to the Living and Working project where a specific part of the design proposal is chosen for further study. The format will be one drawing whereby all aspects of the first year learning outcomes are considered. This will result in an architecturally rich, detailed output that captures materiality and tectonic issues.

My elaboration study sectioned a small part of the live/work proposal through the stair and adjacent windows and walls. It was presented as an exploded axonometric drawing which illustrates the details of window frames and the spaces that one experiences when travelling up or down the stairs.

The learning objectives built upon the previous project, but also introduced an opportunity for me to explore my project in a new way. An axonometric drawing best conveyed construction and material qualities of the proposal.

D TE C CC Gaining an ability to use conventions of architectural representation to clearly convey architectural and tectonic intent.

MPL

Technology and Environment 1 2007/08

Construction systems This short exercise aims to challenge the student’s ability to survey and analyse the effectiveness of a building or a particular part of a building.

I decided to perform a survey on my home. It was documented in A4 format and made use of photographs and drawings. Attention was paid mostly to the structure of the house as well as ventilation systems, thermal performance techniques and drainage.

This was a good way of engaging independently with a building and understanding the way in which it works through analysis of parts that would not usually be seen.

Flashing to prevent water seepage

Evidence of damp proof course

Universal Access This exercise asks the student to consider a building within Edinburgh in terms of its universal access – this includes anyone with a particular handicap that would inhibit their efficient use of the building.

The project was conducted in pairs and key factors were focused on: entrance, movement, facilities and architectural design. The output was on 2 A3 panels in landscape format. The building chosen for my analysis was the Virgin Megastore on Princes Street. The results showed a generally accessible building to all members of the public.

The store incorporated wide aisles, well lit signs, an accessible lift and an expansive entranceway that all contributed to a building that adhered to universal access criteria.

What was learned from this brief project would become a valuable part of future considerations for my building designs. It was an interesting and effective way of analysing a building in terms of its inclusive design. It was a real life example of how architecture not only considers aesthetics, but fundamentally practicality as well.

D TE C CC

Learning through “doing” where meticulous analysis was challenged

MPL

Technology and Environment 1 2007/08

Building Design and Thermal Performance A small holiday cabin is to be designed in rural Scotland. In the vicinity, there are surrounding lochs and hills. A stream also runs close by. The obstacles of the design are budget and cost of heating. The design must incorporate methods of reducing energy consumption and keep within the client’s budget.

Plans and sketches were drawn up for a cabin of no more than 25m².

Calculations for exposed surfaces and U values of all elements were processed so that a list of statistical data for the cabin was realised.

From this, the efficiency (or inefficiency) of the building was analysed and tweaked so that the final outcome was a building which had good thermal performance and at a reasonable cost. The cabin was primarily a larger volume which required more insulation. After some minor alterations, the cabin was reduced in size to accommodate the budget and efficient energy consumption.

The process of calculations was an effective way to understand how systematic a building design can be. Along with the mathematical experience of architecture, I was also able to come to basic terms with building construction.

D TE C CC To gain understanding and the ability to design environmental systems in respect of simple building envelopes.

MPL

Architectural History 1 2007/08

Precedent Study As part of the history course, a selected historical building is to be examined and researched to a thorough and thoughtful standard. It aims to immerse the student in different cultures and lifestyles.

My chosen precedent was the Certosa del Galluzzo monastery. The building is situated in Florence, Italy in the village of Galluzzo. For the output, plans, sections and elevations were required as well as qualitative drawings and a model. The monastery was studied as a building in its entirety, but also scrutinised at a smaller scale, namely an individual monk’s cell.

Throughout the precedent study, it was clear that because of the type of building it was (a self-contained one), everything was concentrated into one space. It was almost a fortified building.

Learning from a precedent enabled me to seek influence from not only contemporary architects, but also from ancient architecture.

D TE C CC Learning from a given precedent and analysing architectural styles

MPL

Architectural History 1 2007/08

Architectural History Essay

Architectural History Presentation

Discuss the contribution of Charles Rennie Mackintosh to Scottish Architecture

Sources of Brunelleschi’s architecture

Of all Scottish architects, Charles Rennie Mackintosh (born 1868) is arguably the most renowned for his work. Ironically, he was not appreciated in his home country, but rather more so in the rest of Europe to begin with. Amongst Mackintosh’s various projects are the Glasgow School of Art, the Hill House and the House for an Art Lover. The Glasgow School of Art was his first success (and possibly greatest success).

Mackintosh would innovate and revolutionise the façade of the school. It boasts massive windows which most of the upper floor, an attribute that was fundamental to the studios which occupied that level. It was a north facing façade, therefore northern light would be a welcoming feature to students working there. The clean and simple quality of the building is overlooked it seems. The depth of intricacy is far greater than the first glance at the building. It accomplishes Mackintosh’s title as an art nouveau architect with the usual motifs of organic and female forms, found mostly in the ironwork of the railings and details of tiles and smaller textiles.

In relation to Scottish architecture, it is amazing that Mackintosh started out with little regard in Scotland, but ultimately triumphed in his designs that were based and built in the country. His contribution to Scottish architecture is indeed a great deal, with the Glasgow School of Art being considered his “masterwork”, but on a larger context, it is fair to say that Mackintosh has affected the entire world of architecture.

Brunelleschi employed a number of techniques and took inspiration from other works of architecture to achieve his masterpieces: - his use of the Gothic pointed arch is evident in the Florence Cathedral dome where the dome is not semi-circular, but arched in profile. This was used to accommodate the massive span and so that armature would not be required for the construction process.

- he was influenced by the Pantheon dome where he realised the skylight itself was a self supporting ring that did not cave in – a ring that was supporting (and supported by) a void. This gave him the ingenious idea to use a concentric double ring support system.

Florence Cathedral dome

Glasgow School of Art

Gothic pointed arch

Pantheon Selected Bibliography

Selected Bibliography

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Blake, Fanny. Essential: Charles Rennie Mackintosh Bath: Parragon, 2001

Moffett, Marian., Fazio, Michael. and Wodehouse, Lawrence.

A World History of Architecture London: Laurence King Publishing Ltd, 2003

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Grigg, Jocelyn. Charles Rennie Mackintosh Glasgow: Richard Drew Publishing Ltd, 1987 Harris, Nathaniel. The Life and Works of Rennie Mackintosh Bristol: Parragon Book Service Ltd, 1996

Prager, Frank D. and Scaglia, Gustina. Brunelleschi: Studies of his Technology and Inventions MIT: The Colonial Press Inc., 1970

C CC MPL

Architectural Design 2 2008/09

Practices of Technique This is a short exercise to reinvigorate the student’s architectural drawing techniques from first year. Strict modes of drawing are enforced such as use of guidelines and correct architectural drawing tools. The project consists of 6 moves which incorporates 2D representation with 3D model making.

Students were required to draw a series of plans and sections as well as chosen personal objects. These were presented on A1 sheets and orientated North – following correct drawing procedures. Two of the drawings were drawn as aides for future projects. As well as 2D, 3D model making was involved whereby 1:100 architectonic elements were created as an introduction to the following project.

This exercise helped me to work at an intense and exciting pace, but at the same time effectively producing beautiful and detailed work. Through this quick learning process, it was challenging and rewarding to be able to quickly evaluate and to represent graphic information.

Holepunch D TE C CC Tugendhat House, Mies Van Der Rohe

Exercising analytical skills in reading and evaluating graphic information

MPL

Architectural Design 2 2008/09

Practices of the Periphery: Place/Non-Place The brief asks for a resolution of a public setting in Granton– a peripheral condition of Edinburgh. There is nothing fundamentally intriguing or marked about the scenery, therefore rendering it an area coming to terms with identifying itself as a place.

The method of design was through the use of certain architectonic elements that could and would constitute a feeling of place. These consisted of columns, plinths, ramps and stairs. My design worked with the conceptual understanding of the site as a public route with a specific direction. This was a “diagonal space” which counteracted the perpendicular quality of the site. The design is not realised as an obstruction or obstacle, but rather as an alternative or even preferred route of movement.

This exercise allowed a very abstract and conceptual way of thinking to materialise at the beginning of second year. Through this way of design, I developed a new appreciation of how architecture could “speak”, and not simply “look nice”.

D TE C CC Developing an understanding of material and social conditions that make up a peripheral urban site

MPL

Architectural Design 2 2008/09

A 1:1 site mapping of the design proposition was executed so that the actual spatial qualities of the intervention were better realised. The footprint occupies much of the site, therefore it was would become a dominant feature for users passing by – a potential landmark to define the area as a “place”.

Architectural Design 2 2008/09

Practices of Place: Between Sedentary and Nomadic This is a restoration project where the derelict church building on Blackfriars Street in Edinburgh is to be converted into a hostel for asylum seekers. The aim is to create an architecture that is sensitive to the needs of the residents. Because of this, an understanding of the lifestyle habits, dwelling customs, spatial/temporal rhythms need to be taken into account.

The method of design stems from analysis of a given public profiling (in my case it is Afghanistan) and the type of intervention (parasite).

The public profiling of vernacular Afghan dwellings reveals details such as moving from small entrance spaces into large central courtyard areas (the living spaces centre around this space).

As the design is based on a parasitic intervention, it complies with the understanding of a parasite by breaking the bounds of the building skin. The walls do not inhibit its nature to link inside and outside.

Furthermore, materiality plays a part in the parasitic form – the design makes use of very different materials to the church building, therefore creating an obvious distinction between parasite and host.

The form of the building was aided with zoning studies which determined where specific functions would take place. These were categorised into: receiving zone, administrative zone, service zone, leisure zone and residential zone.

Wozoco, MVRDV

D TE C

Contrasting materialities - parasitic nature To creatively articulate the conceptual, pragmatic, and social aspects of a design proposal for a semi-public facility

CC MPL

Architectural Design 2 2008/09

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Architectural Design 2 2008/09

The hostel design is largely influenced by the initial site analysis of Blackfriars Street. The design proposition is based on moving from a small, compressed space to a vast , open and overwhelming one. This takes shape as the courtyard space which extends upwards towards the sky as a funnel of light. The site inspired the use of verticality and inclination to look up. Because of this, the funnel structure becomes the most dominating structure of the building and against the Edinburgh skyline. This marks the hostel as an iconic landmark within the city - this in turn gives significance to the asylum seekers which they would not have experienced in their home countries.

The difference with this project was the method of design where it was mostly designed from the inside out. As a restoration project, it was very important to create something innovative, but at the same time, not completely damaging the original form which holds all the cultural memories that are striving to be preserved - especially in Edinburgh as a World Heritage Site.

Architectural Design 2 2008/09

Practices of Curation: Between the Critical and the Commercial The ambition of this project is to create an archive building which will house the works of German intellectual Walter Benjamin. It will be based in the foreign context of Paris and driven by a series of seminars and readings. What is paramount here is the unique responses to the unique demands of the site: topography, existing urban fabric, site history. As well as this, the Parisian context must also be carefully considered such as climate, demographic mix, light.

Allocation of the Marginal Site: the site chosen for my archive building is situated on the Quai de la Tournelle which is predominantly long and thin. Through the group analysis, it was established that there were several key users of the site – in particular focus are the everyday walkers. Since the site is part of the promenade along the River Seine, the project concentrates on Walter Benjamin’s idea of the “flaneur” – the walker. This details their attachment to the streets of Paris as if they were a continuation or an extension of the internal world.

Further connected with the idea of the flaneur is the seminar topic of Situationist Paris. Andrew Hussey talks about creating something “that had the power to disrupt the routine and function of everyday life…As the familiar becomes unfamiliar, the new and old meanings of buildings, roads, street signs, squares and open spaces are revealed”.

Through this train of thought, the design aims to create an architecture which will engage the user from all accesses and intrigue the public with something new containing something old.

D TE C CC Developing an understanding of environmental and cultural conditions of an urban site

MPL

Architectural Design 2 2008/09

Architectural Design 2 2008/09 Conceptual section showing views within and out of building

Architectural Design 2 2008/09 Conceptual section showing horizontal elements colliding with vertical ones

Architectural Design 2 2008/09 The main elaboration poster shows a seamless transition from street to quay level and vice versa.

Architectural Design 2 2008/09

Technology and Environment 2 2008/09

Adapting Environments As an extension of the Hostel project, the technological and environmental issues of the design are to be considered as well. Key aspects of concern include structure, materiality, thermal performance, ventilation and lighting. All of this must contribute to a design which is feasible and efficient in its construction.

The output was presented on 3 A3 panels that were categorised under separate titles: The Constructed building (structural concerns), The De-Constructed Environment (detail connection concerns) and The Conditioned Environment (ventilation, lighting and heating concerns).

D TE

This exercise tested my ability to clearly and concisely explain a myriad of details in a limited scope of presentation. It was another chance to explore the practical side of architecture and to engage with the design from a different perspective, i.e. from an engineer’s view rather than an architect’s.

C CC MPL

Structural Model and Competition A bridge is to be produced as a means of understanding structural stability. The structure is to be made predominantly from timber and steel and to be as a light as possible, but still able to withstand a double point load over a span of 1500mm. Analysis of the success and failure of the structure is to be documented accordingly.

In groups, the bridge is conceived through a series of test maquettes and sketches. Areas of maximum compression and tension were predicted so that the placement of timber, string and steel were appropriate. The report of the experiment was presented through tables, diagrams, detail drawings and photographs.

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This was a very hands on project and the theme of “making” is emphasised heavily here. Careful consideration was imperative for a structure that was effective. Our group model won the competition of withstanding the heaviest load.

TE C CC Gaining skills in the clear graphic presentation of analytical and design information

MPL

Technology and Environment 2 2008/09

Design of Timber Structures The project is based in Edinburgh and intends to add a new circulation platform in the Tron Kirk on the Royal Mile. This will be for the visitor centre hosted inside the disused church. The platform will be of exposed timber construction.

The platform is to carry loads of pedestrians and possible historic artefacts, therefore design loads needed to be calculated in terms of the materials used and the design itself. Along with the calulations, plans, detail sections and connection details were also required.

This was an effective exercise to utilise skills gained in first year of load calculations and bending moment diagrams and apply them to a simple design of our own. It is also good experience of detailing connections, a practice which will be used often in future years.

D TE C CC Acquiring analytical skill in the critical appraisal of programme and their immediate contexts

MPL

Technology and Environment 2 2008/09

A Well Tempered Environment A simple pavilion building is to be situated in George Square, Edinburgh that must take into account programme, structure and services. The building skin is to be adaptable, elegant, responsive and appropriate to the specific scenario of the site, i.e. climate.

My building programme was museum gallery. Through research and concept proposals, the result was a streamline shape to accommodate for the windy conditions and a building skin made of ETFE. This would insulate the building efficiently and prepare for the flexibility of the building - especially on a temporary basis. The presented output consisted of a site plan, key plans, sections and elevations, a digital model of the design and diagrams.

Throughout this exercise, I was able to learn through analytical thinking of appraising a site and appropriating a design proposal in accordance to the appraisal. It gave me a sense of real life conditions that would surely become obstacles that are so often disregarded in architectural design.

D TE C CC Gaining an ability to formulate effective and appropriate strategies in response to building programme, the design of the building skin and the environmental services

MPL

Architectural History 2 2008/09

Architectural History Essays Describe the problem and solution of Florence Cathedral’s dome

The Florence Cathedral dome was a revolutionary feat of engineering realised by Filippo Brunelleschi in the Renaissance period of architecture. The done was new and exciting and therefore is seen as one of the major icons in Renaissance architecture. The dome may be seen as Brunelleschi’s greatest work because the construction of the dome was down to his methods in achieving an unprecedented piece of architecture.

The problems encountered by the designers and citizens of Florence were only solved when Brunelleschi stepped up with his innovative techniques. This included vaulting without armature for the wide span dome through the imaginative use of a Gothic pointed arch sectional profile. This gave the dome a proportional advantage. Another technique used by Brunelleschi to construct the dome is the use of concentric rings supporting herringbone pattern masonry.

The dome exceeded the public’s expectations of an overwhelming piece of engineering, spanning over 130 feet in diameter and reaching a phenomenal height. It was achieved with much diligence and rigor, although not without problems along the way. However, Brunelleschi managed to bypass all the problems with new and improved ways of construction – and with this, he has established himself in history as one of the greatest Renaissance architects.

How useful is the term “Battle of the Styles” in evaluating Glasgow Architecture in the middle decades of the 19th century?

Throughout the early 18th century and into the 19th century, reviving past architectural styles was the dominating idea. As a result of this, there lacked a definitive style to generalise this Victorian era and therefore architects clashed in what they saw as “correct”. This melting pot of architectural approaches was termed the Battle of the Styles – namely revival of the Greek/Classical and the Gothic. Although occurring in much of Britain, Glasgow is a prime example to physically showcase the result of this “battle”. To exemplify this, two main architects can be mentioned. Alexander ‘Greek’ Thomson fronting the Greek Revival style and George Gilbert Scott using the Gothic Revival style.

When using the term “Battle of the Styles”, it is useful to understand that there was a disagreement in methods of architecture.

Thomson preferred the Greek method of regularity which went against Scott’s style which was criticised as being unstructured and irregular. The Battle of the Styles was harder to realise in a small context of Glasgow.

It was a more important debate throughout the whole of Britain and even into European architecture where there was competition between various architects and not just one or two like that of Glasgow. Looking at architecture in the Victorian period, the term is used very well since it was a time when there was a search for a style to characterise the era, but all that was achieved was eclecticism from antiquity and medieval times – this is not a negative remark, but rather one to point out that the use of the word “battle” may not be the most effective. It is established that there was a conflict between architects as to what style is or is not right, but in the end, buildings of varying styles were constructed despite the criticism.

These were great pieces of architecture that are made more special being in a time of transition from one style to another.

Florence Cathedral dome sectional profiles

Holmwood House, Greek Thomson

Selected Bibliography Battisti, Eugenio. Filippo Brunelleschi New York: Rizzoli, 2002 King Ross. Brunelleschi’s Done: The Story of the Great Cathedral in Florence London: Pimlico, 2001 Strickland, Carol. The Annotated Arch: A Crash Course in the History of Architecture Canada: Andrew McMeel Publishing, 2001

Selected Bibliography Crook, Joseph Mordaunt. The Dilemma of Style University of Chicago Press, 1987

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Lewis, Michael J. The Gothic Revival London: Thames and Hudson, 2002

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Macleod, Robert. Style and Society RIBA, 1971 Watkin, David. A History of Western Architecture London: Laurence King, 1986

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Glasgow University, G.G. Scott

CC MPL

Architectural History 2 2008/09

The Parisian Hotel The aim of this exercise is to enhance the student’s understanding of the aristocratic townhouse. Groups are to be trusted with the task of producing a design for a particular client in the 18th century.

Research will primarily rely heavily on precedents and from this, plans and elevations will be drawn up to suit the needs of the client.

Design teams were assigned different tasks such as architects and garden designers. The outcome of the design reflected the considered research undertaken to reach the final conclusion.

The process of this history project was interesting. It was captivating to understand the relationships between inside and outside that were created as a result of social status and functionality. The plans revealed a flawless hierarchy of spaces that were coherent in design that architects nowadays are still striving to achieve.

D TE C CC MPL

Architectural Design Option 1 2009

Art, Space, Network This unit of the Junior Honours course focuses on the creation of an art gallery in Edinburgh. As architecture is typically seen as being simply a container for art, the design project aims to break away from this assumed position. Instead, the students are asked to expand the knowledge and understanding of art production and the accommodation of art through a number of catalysts - art, space and network.

To arrive at a rich and resolved design proposal, we were asked to engage ourselves in seminars that corresponded to art - analysis of selected contemporary artists, space - exploring the specific oeuvre of an artist and network - documentation of existing art galleries within the city. Through this rigorous process of working and re-working, art galleries were created that were more that just simple buildings that housed art.

Site: Waverley East Art: David Hockney Space: Kirchner Museum, Gigon and Guyer Network: Ingleby Gallery Learning between seminars and the design studio helped me obtain a working method which hovered between “working by thinking” and “working by doing”. I was able to grasp an understanding of producing architecture where there is a fine line between concept and reality. Each of these informs the other, but are both inherently within a design proposal.

D TE Deconstruction of the cube C CC Demonstrating different architectural design approaches grounded in specified theoretical, cultural and physical contexts

MPL

Architectural Design Option 1 2009 Art - David Hockney Hockney is described as a humanist artist because of his tendency to scrutinise the world and people around him. He has an intense curiosity in the human face and body therefore mostly recognised as a portraitist, however has produced works like landscapes. A very intriguing fact about Hockney is his rapid development in style and the way he works.

Through his works, especially portraiture, he explores themes such as personality, self image and sexuality - his love for men is evident through paintings such as Peter Getting Out of Nick’s Pool (1967).

Kasmin (1982) shows use of cubism where squares of photos at differing perspectives and scale create an unrealistic composition.

The idea of cubism becomes a concept for the gallery design.

Space - Kirchner Museum, Gigon and Guyer Swiss architects Gigon and Guyer created a museum that consists of a 4 orthogonal volumes. There is extensive use of glazing at varying levels of opacity to accommodate privacy issues. Each gallery space is self-contained - there is no direct access from space to space, but rather through an adjoining corridor which separates the internal world of the gallery space from the circulation space which is concrete in material connoting a feeling of being outside. Spaces are contrasted further with the lighting schemes - galleries are lit luxuriously whereas the corridors are low and dim.

Contrasting materialities and experiences is evident in subtle space changes throughout the gallery design.

Network - Ingleby Gallery, Edinburgh This is a 3 floor gallery space which was a former nightclub. There are large windows that give a view to the rest of Edinburgh - a visual connection that is not immediately recognised. The design is very open and clean. This was a carefully considered design intention so that the art pieces being exhibited were not overshadowed in any way by the architecture. The ground floor offers more expansive space, but subdivided into smaller sections. The basement houses a small library and reading area.

Allowing an open plan and clean design to showcase art is a main aim of the final design proposal.

Architectural Design Option 1 2009

Deconstruction

Displacement

Reconstruction

Desired form

Architectural Design Option 1 2009

A-A

1. Entrance area - small exhibitions 2. Small exhibitions and video room 3. External exhibition area 4. Artist’s studio 5. Main gallery space 6. Glass circulation - exhibits in GPO 7. Maintenance facilities 8. Storage and small office space

B-B

Architectural Design Option 1 2009

Architectural Design Option 1 2009

Architectural Design Option 1 2009

Technology and Environment 3 2009

Sustainable Building Construction This project will undertake an analysis of current state of the art technologies in creating sustainable building construction. The assessment should be informed and make reference to products, improvements, innovations, and applications. Some issues that should be considered include installation (pre-fabrication or on site construction); speed of construction and complexity of construction (buildability); technical performance (what are the most important aspects of technical performance, e.g. structural performance, environmental control, weather tightness etc).

The output consisted of A3 panels which was described as “an illustrated essay�. It was to be objective and factual and presented as a technological guide. The case study that I chose to focus on was Slateford Green - a sustainable housing estate in Edinburgh.

Sustainability issues are always a hot topic for architects, so this was a good opportunity to fully understand the methods and ideas of the construction industry to achieve successful green architecture.

1. Solar panels on roof for hot water and lighting 2. Conservatories for solar gain 3. Rainwater collection for toilet flushing 4. Ground floor constructed from recycled masonry 5. Roads closed to all but emergency and service vehicles 6. Pond with aquatic wildlife 7. Reed beds for purifying waste water 8. Allotments for residents

D TE C CC Becoming familiar with current technology, current products, improvements, innovations and applications

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Technology and Environment 3 2009 Slateford Green is nestled in between Gorgie Road and Slateford Road giving it good access to transport links. Sustainability features which make Slateford Green a successful project include: - a car free development - being located on a brownfield site - use of ecological methods like reed beds - use of a super insulation - passive stack ventilation It is near enough the city centre for easy accessibility, but far enough away from the hustle and bustle.

The design was adapted from the traditional Edinburgh tenement block (mostly 3 or 4 storeys in height) with a sheltered courtyard form which accommodated its shape to the site to allow for maximum solar gain – a teardrop shape in plan.

In competition with other major cities in the UK, Edinburgh had to overcome the fact that easing congestion meant not having an inner city ring road, but instead to utilise bus routes which had priority over other vehicles (use of green lanes), introduction of cycle lanes which meant road layouts were friendly to cyclists and much of the central area was pedestrianised.

Site plan

Cycle lanes and bus lanes

The reed beds are used to process grey water (used water from the house like sink water and also surface rainwater) which is filtered and. The function of the reed beds is a complex one. It employs the simultaneous use of microorganisms, the physical and chemical properties of the wetland and obviously the reeds themselves. Most important in this system are the microorganisms which survive in the reed bed with the high oxygen production of the reeds which are transferred to their roots. The grey water is filtered through the reed bed by aerobic and anaerobic processes – which also give way for a multitude of microorganisms being present.

In terms of heating the housing estate, it was the intention to use the reject condensate from a local distillery. This proved to be an inconvenience and also cost issues. Although it is still being arranged and worked through, the meantime sees the apartments being heated through 4 on site communal boilers that run on natural gas.

Reed bed system

There is the inclusion of “sun spaces” in living rooms and main bedrooms which act as a solar collector for the individual apartments.

The maximum solar gain is optimised by placing these sun spaces on both sides of the block. As a sustainable building construction, natural ventilation is used quite appropriately. Passive stack ventilation is utilised through the common stairwells which draws air up from the bottom and takes it through open rounded turrets at the top of each apartment block

Turret spaces above sun rooms

Location: Gorgie, Edinburgh Completion date: 2000 Architect: Hackland & Dore Number of apartments: 120 Mixed tenure: Largely 2 bedroom or 4 person apartments 4 apartments for wheelchair users 14 apartments sheltered for Edinburgh Deaf Society Other facilities: Community centre, nursery, communal open space, allotments Density: Approx. 94 dwellings per hectare.

Forms of tenure: 26 are owner-occupied 25 in shared ownership 55 in rental with social housing subsidies 14 as part of disability housing scheme Key targets/ issues: A car-free residential development Emphasis on environmentally friendly design.

Green features: Timber from low environmental impacting sources Partly prefabricated construction Recycled newspaper insulation - Warmcel Design for passive solar gain Passive-stack ventilation Proposed scheme of heating by reject waste Re-use of surface water Biodiversity encouraged by native planting Transport issues: No dedicated parking for residents 16 parking spaces for disabled, essential visitors and shared use including 4 allocated to car club Bus route within 5 minutes walk Station on proposed light rail system next to site.

Architectural Design Theory

Architectural Design Theory Essay In what sense can architecture be described as a language?

This was an intriguing and challenging task which revealed a new found appreciation of architectural discourse. I was able to see a different side of the architecture world that was not solely concerned with design, but intellectual debate instead.

“apparently most architectural objects do not communicate (and are not designed to communicate), but function”

Architecture is an art form which is in so many ways purely visual.

However, in describing architecture, there is a clear link between building and language. The way in which we talk about such constructions is crucial in conveying what we perceive to be good architecture. Because of this, an analogous narrative exists between the verbal side of the matter and the visual. One may argue that this debate is obvious and somewhat redundant – clearly architects make use of language and apply it to their works through words and speech and other communication. This account will detail just to what extent architecture can be presented as a language.

In arguing that architecture is in fact a language makes sense to translate words like “vocabulary” into the system of describing architecture to mean such things as columns, friezes or windows. It is just the same as a sentence requiring nouns, verbs, commas and apostrophes. In context of classical buildings, the Greek Orders (columns) as an architectural element is extremely necessary – primarily as a structural support, but then also visually impacting. In this way, a building is able to “speak” to us. Each Order had its own style which was made to be exact for temples in Ancient Greek architecture. Applied to language, the Orders can be described as being the “grammar” of antiquity. If a column serves as a structural component, then it is imperative to be precise in its construction, otherwise the structure will fail. In a sentence, if there is bad grammar, then it may fail to make sense. There is a clear connection here and the analogy of architecture as language is more evident.

Saussure reckons that language itself has to be interpreted and analysed as a “whole” rather than a synchronic study or diachronic study.

Individual units such as “words” as each word in itself carries a meaning and will come together in a sensible manner to create the foundations of a “language”, therefore it is better to see it as a “unified field”. Within this unified field, Saussure again identifies two separate dimensions which have been coined langue and parole. Put simply, langue is concerned with the fundamental system of words, and in English we basically just call this “language”. Parole is the day to day (possibly banal) verbal interactions that we as people are most familiar with – we call this “speech”. In regards to these terms, it seems language itself has no real solid existence except in a fragmented form when it emerges in abstracts of speech – applied to architecture as a language, this seems to ring untrue. Therefore, architecture can be seen as being something which is part of a larger concept. It is an occurrence in everyday life which is inevitable with rules that govern its existence – like that of everyday verbal interactions.

An argument put forth by Semiotician Umberto Eco backs up the idea that architecture is a language as opposed to the more common assumption that language is seen to be a metaphor for architecture or vice versa: “apparently most architectural objects do not communicate (and are not designed to communicate), but function”

This implies that everything that makes up a piece of architecture has a sole use and no other secondary aspects to them. However, Eco suggests also that elements can possess other functions that would allow architecture to speak. These secondary functions (in terms of architecture) can serve as symbols or connotations to something else. Gothic cathedrals convey this secondary meaning. The architecture has all the default elements of a building (walls, roofs, floor, windows) that will render it functional. However, in a Gothic cathedral, the verticality of the structure denotes the will to elevate ourselves toward God. Evidently, this belongs to a “language” of sorts or code which lets this certain building type speak more than a generic house in a city.

It has to be sufficiently established that architecture only holds a certain bearing on being concretely called a “language”. Throughout this outlook on the connection between two seemingly vastly different ideas, it is clear there are very relevant links. However, what is most obvious is the fact that it will always remain difficult to impose an abstract nonphysical concept such as language onto something much more concrete and tangible like architecture. Looking at architecture as a means of self-sufficient communication is possibly too farfetched to comprehend, however one cannot deny that a building (especially in history of religious buildings) can somewhat “speak” to the viewer and elements of the structure can denote a greater meaning than a simple sentence.

Selected Bibliography

Clarke, Georgia., Crossley, Paul. Architecture and Language Cambridge: Cambridge University Press, 2000

Hawkes, Terence. New Accents: Structuralism and Semiotics London: Methuen and Co Ltd, 1977

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Jencks, Charles., Baird, George. Meaning in Architecture London: The Cresset Press, 1969

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Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory London: Routledge, 1997

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Working Learning 2010

Placement Working Learning The placement period requires a number of assignments to be completed that have thematic associations with the workplace. These are divided into 3 sections: short essays, workplace health and safety audit and a reflective essay.

With the placement work, I gained an overview of the litigious and practical side of architecture. Rules and regulations were emphasised about the construction industry that would never have been covered in the design studio.

Assignment 1: Short Essays

Discuss why it is considered necessary to regulate the conduct of an architect and how this is regulated.

Describe the various ways in which an architect can charge for his/ her services.

Logically, it makes sense that an architect’s conduct is regulated, especially from the point of view through a client. Reasons for this regulation come from a number of issues, one being on a social level.

The image of an architect is reputable and is striving to be upheld. Any work that an architect accepts will be expected to be executed in a manner which is thorough, rigorous, yet swift and decisive.

The conduct of an architect is regulated with the Architect’s Code: Standards of Conduct and Practice which is issued by the Architects Registration Board (ARB) which is in accordance under Section 13 of the Architects Act 1997. The document consists of the actual standards that architects should be following which is comprised of two sections. The first section is titled “Conduct and Competence” and the second section is titled “Client Service and Complaints”. There are twelve standards in total.

To generalise these points, architects are expected to perform their tasks in an organised fashion and in a sensitive manner to those around them. The standards also detail the architect’s own capabilities and that any project that may be unsuitable or too expensive for the architect should not be undertaken. The most important point made in the standards is for the architect to maintain his/her professionalism – in all aspects of the work.

Noting all this, it is clear that to regulate the conduct of an architect will not only benefit the architect, but also the client. This will make for a steady project that can be finished in the shortest amount of time.

The prospect of cost to hire a professional whom you must trust to carry out your construction well can be daunting. The charge of the architect’s services is one of the primary topics that would be discussed between client and architect. There are different ways of settling a fee.

There is the method of “bidding”. An architect or contractor is “auctioned off” so to speak.

Another method which is quite common, especially translated to everyday life is the idea of stage payments. This may be used when the client is not as rich as some or do not have the access to bulk sums at once. A fee is already worked out at the start so the client may pay through monthly instalments. Surely, the exact total of the design and build can only be accurately calculated at the end of the construction process. There may be unexpected obstacles along the way that inhibits the work of the architect, or may even add to the workload – this means that from an agreed and fixed cost at the start of the project, it may fluctuate up or down by the end of the project. In times when this is definitely not the case, then lump sum charges can be introduced where all the services the architect may be providing are calculated meticulously and there is little risk of this charge wavering. If there is uncertainty for the requirement of services then the method of time charge may be put into action whereby an agreed time is set to each day or week of work and so the work rate will be lower. Finally, there is the ad valorem method of payment which, like the time charge scheme, it works on a reimbursement system. However, the ad valorem structure reimburses in proportion to the final total of the project itself. This seems to encourage the design of bigger, more expensive projects by the architect as opposed to projects that are designed for value for money.

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Working Learning 2010

Write brief notes on what you understand by: a. Design and Build b. Traditional building procurement

Design and Build is one of the oldest methods of construction.

This is where the designer and the builder is the same person. This method is used for a number of reasons including the construction being higher quality, faster in process and being cost-effective. For what was once being used for only smaller constructions and specific types of building like agricultural, the design and build method is quickly spreading out to all types of construction. The design process and the construction process is an ongoing process – so this means that the building may start being constructed when it is still being designed. As a result of all this, there are obvious downfalls to the design and build scheme. One of these is the need for reiterating work. Another is the inaccurate cost estimation of the design-build. As unexpected additions or subtractions may occur along the design and build process, usually there is a different cost at the end. As there is so much responsibility on the design-builder, a loss of control may include compromises between design and construction which will have an end result of a design which is not up to par.

Procurement is the process an architect’s client has to go through to acquire their building. The most common of these methods is Traditional building procurement. It is also known as a “design-bid-build” method.

As the name suggests, there are three main stages to this building delivery.

The client will discuss with the architect at the design stage to clarify the needs and specifications of the project. At this point, the architect can appoint other qualified professionals such as engineers and contractors.

The bid stage sees the initial costing of the project where contractors bid on sub-contractors. The client and the architect review the bids and a decision is made to whether the design should go ahead and commence build stage. Throughout this stage, instructions are given and changes may be made.

How has the architect’s role in the building industry evolved in the last 25 years?

Looking at the last 25 years, it is very clear that the building industry has evolved and developed vastly. One of the key factors that contribute to this fact is the introduction and rapid advancement of computer aided design software. For the most rudimentary of tasks such as drafting a plan, there is the use of a computer program. This has made the need for an architect’s own personal drafting skills seem redundant. The role of the architect now seems to be one of delegation and decision making. This may be an over-generalisation. Different architects work with different methods. The traditional role of an architect is indeed to design, but also to manage the project. If that means the duties he is expected to fulfil are handed to another professional in order for the process to be more efficient and reliable, then it is not fair to criticise the suggested diminishing role of the architect. It makes sense for the architect to be a client’s first port of call; therefore the initial design decisions are still part of the fundamental role of an architect. The architect can then appoint who he thinks would be best to carry out the required tasks in order for the client to be satisfied.

If the architect’s role includes all the responsibilities within a build, there is more chance of his loss of control which would result in a lower quality construction.

Why are teams important in the construction industry?

To construct a building, it is very obvious that it is not a process that occurs through individuals. In fact, it is an activity which has an emphasis on collaboration. If only individuals were to be burdened with tasks, it would be a massive hindrance to the construction project. Working in teams provides a platform for tasks to be disseminated equally.

However, simply having teams within the construction industry is not enough to assume a project will run smoothly. Many experiences with teamwork have revealed that there may be a distinct lack in organisation resulting in a breakdown of the group dynamic. Following from this, it could also mean that communication is an issue along with members of the team not pulling their own weight. For a team to be successful there are some important criteria to follow. These include knowing what your team is doing. It is also important to have mutual understanding with other members of the team which is based on good communication.

Teamwork within a construction project is especially important. With a successful team, a project can be completed smoothly and efficiently within the minimum amount of time. Other positive points that come from a good team are the personal benefits of each member. It will boost their confidence and motivation to work harder for the team. The needs of others will also be clearer from everyone else’s perspective. The management of time and resources will be more efficient, therefore the team will work as a machine, completing tasks with minimal problems.

The range of ideas will also be wider as opposed to individuals working on their own. Overall, the team will be able to trust each other and adapt to other situations quickly.

Selected Bibliography Demkin, Joseph A. The Architect’s Handbook of Professional Practice, 2004, John Wiley and Sons Joyce, Raymond. CDM Regulations Explained, 2001, Thomas Telford Nicholson, M. Paul. Architects Guide to Fee Bidding, 2002, Taylor and Francis

Working Learning 2010

Assignment 2: Health and Safety in the Workplace In this exercise, I found myself being able to survey a workplace meticulously in a short amount of time and document the findings in a legible and effective manner.

CDM Regulations

The Construction Design and Management Regulations (CDM) is the governing framework for the matters of health and safety in the industry. It applies to most construction projects, with a small number of exceptions – very minor works. The term ‘construction’ not only includes erecting buildings or larger structures, but also covers such activities like installing windows and mezzanine floors. Generally, the CDM Regulations apply to construction projects where there are five or more workers involved in the process. Although, it is a very significant part, it is actually a small component of a larger network of legal statutes which all contribute to the health and safety of individuals in a construction project. It is important that the regulations are put into action because as statistics show, the construction industry is still the most dangerous in terms of hazards and risks (it is important to note the definitions of these terms. A hazard is the source of any potential damage or cause ill-effect on a person. A risk is the chance of actual damage or ill-effect on a person once being exposed to the hazard).

The CDM Regulations are part of a large legal framework that is set out to maintain the standards of health and safety within the construction industry since the risks involved in a construction process are undeniably great. Prior to the Regulations being put into action in 1995, there was little emphasis on the management of the hazards and risks that were involved. For example, if a building were to be constructed before 1995, the client was not required to employ a planning supervisor or a principal contractor until 1996 . By enforcing the compliance of the CDM Regulations, there are more people involved and more people that have the knowledge and authority to maintain a construction site to the standards of a safe and healthy environment. By having certain professionals that are strictly required and following certain methods of action, each and every person involved in the project can work with a more informed outlook, therefore feeling safer. However tedious and laborious it seems, it is best procedure to consider safety first.

Selected Bibliography Hughes, Phil., Ferrett, Ed. Introduction to Health and Safety at Work Oxford: Butterworth Heinemann, 2009 Joyce, Raymond. CDM Regulations Explained

Stranks, Jeremy. Manager’s Guide to Health and Safety at Work London: Kogan Page, 2006

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Working Learning 2010

Assignment 3: Contemporary Architectural Practice A Personal View The reflective essay gave me a chance to fully evaluate my time spent in my academic studies and weigh up the pros and cons of the education system. It was a good opportunity to take a step back from the institutionalised frame of mind and make a decision about my academic future.

Imperial War Museum, Manchester, Daniel Libeskind Selected Bibliography Fazio, Michael., Moffett, Marian., Wodehouse, Lawrence. A World History of Architecture London: Laurence King Publishing, 2003 Powell, Kenneth. Richard Rogers: Architecture of the Future Michigan: Birkhauser, 2006 Price, Bill. Great Modern Buildings: Spectacular Architecture of the World UK: Canary Press, 2009

The issue which I feel is appropriate to explore from my own point of view is the theme of Concept versus Reality. Throughout my academic career in architecture so far, there has not been any instance where concept is omitted from a design brief. From this perspective I suppose it would be fair for one to say that a building cannot emerge from an absence of a concept – but it is not fair to say that all of a building’s work thereafter is purely based on the foundation of the concept. It makes it more difficult to realise the initial concept when influences begin to creep into the work throughout the design process. The point being made here is that a concept should be used as a starting point to any design and does not necessarily dictate the whole duration of the design.

On the opposing side of reality, when it comes to understanding the concept of a building, I find it usually helps for an onlooker of a design to either be educated of (or at least aware of ) the architecture profession or simply to be adequately informed about the design. It is hard to immediately see a concept presented to you in the form of architecture. Some works may be easier to arrive at a concept than others, for example through atmosphere, colour, sound or materiality. The architect may try to achieve the realisation of the concept through a literal method to communicate with the user. In other instances, it may not be so obvious and in saying so, I acknowledge that sometimes concept is lost in reality. Take Daniel Libeskind’s Imperial War Museum (2000) as an example. The building is based on the concept that the world is fragmented into shards because of conflict – shattered because of war and chaos on land, air and sea. This constitutes three parts to the building – the air shard, the water shard and the earth shard. As mentioned before, one needs to be informed about this concept to truly understand and appreciate Libeskind’s intentions for the building. To refer to the literal materialisation of the concept, Libeskind has designed the spaces to emulate their proposed nature – the air shard is heightened and open to the elements. The earth shard is largest and rounded and the water shard looks out over the ship canal of the site. I am sceptical as to how successful Libeskind is without specific explanation of the architecture.

Libeskind is a 21st century example of structuring a concept into a piece of architecture. Studying Architectural History, I understand that there is the idea of conceptual thinking towards the built environment, albeit not in such an explicit manner such as Libeskind’s work. Works I am referring to are those associated with religion or worship buildings. An ancient example of this is the Pyramids in Egypt. The Pyramids were built to house the pharaohs that had passed away and lead them into the sky to follow the sun God. This dictated the height and shape of the Pyramids to be as high as possible and pointed to emulate the rays of the sun. This could be loosely termed a “concept”, whereby the building is performing a secondary function other than simply acting as a shelter. The same can be said for Gothic architecture where cathedrals are seen to be elevated as much as possible. Much of the early Gothic cathedrals seemed to have the governing principle of being as high as can be built. My personal views towards the aims of these buildings are more sympathetic than that of

crude transfer of concept into reality by 21st century architects. This is simply because of the sheer monumentality of the religious connotative elements of a cathedral or a Pyramid. They are awe inspiring which communicates the nature of Godliness much better than a concept of a fragmented world.

My own difficulties with translating a concept into reality can be shown here to explain the points made earlier. In a particular project, the concept of mine was taken from several sources and created a solid basis for my design. However, the concept was slowly lost throughout the process, but still remained in the form of a notion behind the design – this did not restrain me from still trying to bring out physical qualities of the concept in my actual design through such techniques as circulation, architectonic elements and lighting. Though this was the case, throughout the final review of my project, I was somewhat penalised for the lack of distinct transition of concept to reality. The critics simply could not grasp the concept from initial stages to the final product, although I was assured it was in fact rather explicit However, I realise it is not about what is right, or what is wrong – it is simply a matter of opinion. What occurred to me afterward was that the whole world of design is in the eye of the beholder.

As I study architecture, I understand that the opinions raised by one can be completely opposed and judged by another. In seeing matters from this standpoint, I think there is never a right or a wrong in defining a piece of architecture. If that is the case, then this account should be detailing concept in reality rather than concept versus reality. As mentioned, the concept serves its function as the starting point to any design. Speaking subjectively, the concept is something that is up to the designer to decide how weighted it is within the design of their project. If the concept is the ultimate idea of the architecture, then it would be a wise move to emphasise the concept throughout and be determined to acknowledge it whenever possible. However, a different approach may be that the concept is simply a starting point to get a design off the drawing board and into reality – this is not wrong, and yet the reality of the situation is that the way of teaching encourages that the concept must be evident all the time.

An initial concept could be lost in reality, but a person could be finding a different concept in their reality through their own thoughts and opinions that communicates something more meaningful to them. In reality, why can a building not simply concern aesthetics and function? The answer is that it can. If one were to ask an average member of the public why they had a favourite building, answering “because it looks nice” is adequate for me. Sometimes, art need not achieve any more than that.

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Placement Period 2010

Design Competition - Daylight Spaces Submitted projects and design concepts should show a sensitive, unusual, new or unexpected use of natural light and highlight its influence on structures of architectural space. Sustainability, design quality, user needs and positive effects on the environment should also be considered.

My design proposal abstracted daylight to a conceptual level. What resulted was a building with 3 distinct sections, each corresponding to different times of the day, thus carrying differing functions. The top part (morning sector) is used as a coffee bar for business workers walking past. The middle part (afternoon sector) is a cafe for lunch hour. Finally, the lowest piece (evening sector) can be used as a bar or chillout zone for people winding down after a day of work.

This was a competition that I submitted independently out-with academic studies. This was to challenege my own initiative and to work within my own parameters. I took it upon myself to learn new programs such as AutoCAD and manage my time efficiently.

D TE C CC Demonstrating an ability of rigorous self-directed learning

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Placement Period 2010

Work Placement

Agence Ouvray, Hong Kong Throughout my placement period in Hong Kong, I had the pleasure of working with Agence Ouvray - a small multi-disciplined practice in Sheung Wan. Work includes architectural projects as well as landscape design, interior design and masterplanning. I was fortunate enough to dabble in all areas of the work and as a result gained valuable experience in the architectural field.

Projects I worked on included: Samui Twin Villas - a small residential development in Thailand for a client who was looking to rent it out for half the year at a time.

Chang Le masterplan - a large scale project that was based in China on an old fishing village. It is to be converted into a small metropolis that contains a wide variety of amenities - schools, shopping centres, multiplexes etc.

In such a short amount of time, much knowledge and experience was gained through working in an office. I was able to work on architectural drafting, photoshop skills, presentations, masterplanning and technical detailing. I gained an outlook on what the professional architectural world is like in contrast with academia. As a result, I was able to understand WHY things are done and not simply HOW.

D TE C CC Demonstrating effective work within a team

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Placement Period 2010

Design proposal for a residential extension Hong Kong

During my stay in Hong Kong for work placement, my aunt requested a design proposal for an extension to her house to accommodate for the maid and a guest. The roof terrace was to be converted so that the house would become a 3 storey structure altogether.

Requirements: Bedroom for guest Bedroom for maid Bathroom Movement of air conditioning system Isolate boiler room 3D views Plans and sections This was an intriguing experience as it was a project that was realised quite quickly. Again, it was a piece of work which needed to be done in my own time and therefore it was required of me to be efficient and organised.

Construction of the project began in Spring 2011.

D TE C CC Showing one’s motivation, enthusiasm and initiative in creating a viable architectural project

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Architectural Design Option 2 2011

Between Rhetoric and Terror Situating an Urban Venue

Essence Study In the folds of a collar, there can be more pathos than fools imagine The senior honours unit of Between Rhetoric and Terror works on the assumption that the creation of architecture is a result of the sum of its parts. Because of this, the aim of situating an urban venue is accomplished through a series of components that will influence and inform the final design.

- The first component of the unit; Essence Study will work with given precedents to explore a specific aspect of the architectural language of the precedent, in abstraction and re-appropriate it as a starting point for a new architectural language - The second component; Tectonic Studies will explore the use of this language to design building elements of given constraint but free from the requirements of programme or context. These individual building elements will be developed on a week by week basis to produce an evolving tectonic.

- The final component; Situating an Urban Venue will be concerned directly with the design of a Small Urban Venue within a given context in Edinburgh. The final building proposals will be expected to provide a full technical and qualitative description of the venue as a serious architectural proposal in the city.

Studying the precedent of Casa Guiliani Frigerio by Terragni reveealed key concepts that were carried throughout the design phase. From this, a language of Proportions, Solid/Void relationships, absences and presences manifested. This informed a design that was rich with tectonic language and meaning.

This unit was very different to anything I have ever experienced before. It was challenging to work from a set of ideologies rather than concrete building forms that simply dealt with form and function. However, I gained a new working method that proved to be efficient - learning from the consequences of a previous iteration and using that to develop an architectural language further.

D TE C CC Integrating a knowledge of drawn and modelled (analogue and digital) strategies for site analysis, architectural design and presentation and their relationship to verbal and written modes of communication

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Architectural Design Option 2 2011

Tectonic Study 1 - Elevation

Tectonic Study 2 - Roof

Tectonic Study 3 - Skeleton

Architectural Design Option 2 2011

Architectural Design Option 2 2011

Architectural Design Option 2 2011

Concept axonometric showing proportions, absences, presences

Architectural Design Option 2 2011

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Upper Plan 1. Foyer 2. Secondary space Lower Plan

Capturing the void of the building

3. Toilets 4. Bar/Kitchenette 5. Mezzanine 6. Service/secondary space 7. Primary venue space 8. Garden/terrace

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Architectural Design Option 2 2011

Architectural Design Option 2 2011

Architectural Design Option 2 2011

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Architectural Design Option 2 2011

Architectural Design Option 2 2011

Architectural Design Option 2 2011

Placement Report 2011

Methods of Architectural Learning Placement Report

Upon studying architecture, it has become evident that the whole concept is relative. Architecture requires one to view it objectively, but also subjectively. As a result, teaching the subject becomes a topic of debate, in particular the methods of how it is taught. Certain methods will produce different results for everyone. Another factor which has a bearing on this is the fact that architecture has many vocational branches that do not constrain themselves to design. Examples of these are advertising, marketing, business and engineering2. With this in mind, the report looks at the education of an architect through different platforms, namely in a formal education environment (universities and colleges) and in professional practices in the context of Britain.

1. Changes in Architectural Education

lead to the most original ideas which is a detriment to the student’s own credibility as a designer. The situation is similar when working in a practice. Design decisions are fundamentally made by the architect and the young learner merely does what is needed of them without any input. Working in a professional office offers the real world experience of architecture, rather than the conceptual and hypothetical side of education. Despite this, in recent years, students have been encouraged to develop a more individual way of thinking and their judgement will most likely have an impact on their own designs.

Architecture is a subject that is a world apart from any other area of study. It incorporates many different disciplines and rigorous efforts to arrive at a good result. Contrasting it with subjects such as chemistry, it is completely different. Chemistry is externally constructed. For instance, a water molecule will always consist of two hydrogen atoms and one oxygen atom. This fact is absolute and will never change. Noting this, it seems chemistry is appropriately termed a teaching-centred subject as it simply requires the transfer of knowledge from one teacher to a group of students – and there are indeed right or wrong answers. If we contrast chemistry with architecture, the students themselves become their own teacher. If we take this into consideration, it may seem that the relationship between teacher and student has become irrelevant, almost redundant. However, that is not the case since the learning process only occurs through a reflectance of oneself and with the other person. Put simply, a student will be able to see which way to move forward by seeing how their teacher would work. This does not necessarily mean the student will emulate the teacher’s methods, but instead can make a design decision based on what is being discussed – to go one way, or to go another way – thus, they are learning.

First and foremost, it is important to discuss how the education of architects has changed throughout time. Architectural design has developed through history because of the advancements in technology. It is obvious that with the rapid advancements, the need for manual design is fast becoming obsolete. Because of this, it has brought a significant change in the way of architectural learning and the profession of an architect. The speed at which buildings are taken from the drawing board to completion implies the lack and disregard of actual artistic design, but is rather replaced by functionality and practicality.

Since we have such an extensive knowledge base of architecture, it is already an overwhelming load for young students to learn. Couple this fact with the idea that architectural technology is always advancing, it is no wonder that education of this subject must also advance. Aspiring architects are now being taught to become more adaptive and flexible to the newer world of the 3. Weighing up the Differences construction industry.

There are key differences between working and learning – 2. The Student-Teacher Relationship these differences will clarify the distinction between the two and explain why they are not the same. In a university environment, there

In Britain, up to the early 1960s any aspiring architect need is a solid structure and routine that involves lectures, crits, workshops only work with a professional architect in a practice for a certain and tutorials. This makes it stable and sometimes predictable to an number of years and also sit external examinations set by the extent. One of the most significant aspects of working in a practice Royal Institute of British Architects (RIBA) to become a registered that can only be obtained from real life working is the presence of architect in their own right. In the academic environment, there a client. It is very hard to imagine a relationship between architect are often one-on-one working relationships in the form of student and client simply in the educational field where you are given a brief and tutor. The student who is eager to learn will hang onto every which states the client’s requirements and criteria. In reality, the word the tutor has to offer, complying with design decisions and specificity of a client may fluctuate between meetings which results following the succinct advice given from them, doing their best to in a design being reiterated dozens of times (image a). satisfy the tutor’s approval. However, this form of learning may not Following on from this, a crucial matter which seems to be

“We do not know if architecture can be taught, but we know that it can be learned” Charles Correa

D TE C Image a: Plans reiterated time after time to satisfy the needs of a client

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Placement Report 2011 omitted from a lot of briefs at university is that of cost. Sometimes, cost may be translated to volume or floor area, but that is the extent of boundaries for an educational institution. Working with a client, there will always be a budget and this will obviously restrict the freedom of design for the architect. In comparison, when designing at school, extravagant buildings may be modelled and drawn up regardless of cost, but also regardless of simple construction feasibility.

There needs to be the question in the back of every architect’s mind that asks if the design can genuinely be built.

lectures and crits. However, it seems an office environment will give one a more practical education. What is less emphasised is that of a wholly design approach. Interns are simply told to draw up a plan or to model a building without much design input. It is as if the opinion of the student is less valued than that of the registered architect. This is understandable depending on levels of experience.

However, the point of the working period is also to learn and what is not gained in design is gained in experience with different scales of projects as well as other related fields such as interiors, graphics, master planning and landscape (image c). There is a nuanced purpose 4. Methods of Learning of working in an office which may not be immediately evident for a student of architecture and that is to become grounded42 and aware

To discuss more specific methods of learning, we shall look of the realities of the professional architecture world. Compared at the structure of a university in contrast to that of an office. A with education in a university, there is a similarity with working university curriculum can be predictable with weekly lectures and in an office and that is the student-teacher relationship, although tutorials that create a stable routine for students. It all comes down taking the form of architect-assistant/intern respectively. Since the to one’s own attitude towards the career of architecture. Their own learning process never ends, the continuation of education in the will and thirst for the knowledge will indeed produce better results, office makes it hard for the student to practice their own design but that only goes as far as subjects with a fact based learning skills in the real world as established firms often have an ingrained curve such as architectural history or technology and environment. style to their work, many of which call it the “company philosophy”.

Design may produce results that are spectacular in your eyes, but rather banal to another. When discussing how architects learn to design, a questionnaire reveals a variety of answers. Some said they In reviewing all that has been discussed, one factor that simply went ahead and started to design from their own thoughts, has to be emphasised (from a personal perspective) are the rapid or copying other peers. It ranged from this to designing by trial changes that surround architectural education. The knowledge that and error (image b) and through one’s own discovery, and also exists within an education of architecture is constantly requiring reading books. Others admitted following their teacher’s advice and adjustments to suit the specific social needs as well as the place and looking through design magazines to see what was being produced time in which it is being taught. Architecture itself is so diverse worldwide. which requires new knowledge to be fed into the system at all times so that the profession can be sustained, but also move forward.

Indeed, these seem like valid methods of design learning, however this again results in variants of unoriginal ideas – maybe this will be the extent of our generation’s originality. Despite this, Selected Bibliography architects still hold onto hope that students will benefit from these methods. Learning in the academic environment involves a design Crinson, Mark., Lubbock, Jules. studio. This may be conducive to a good working atmosphere where Architecture - art or profession?: many ideas and designs are produced. Despite saying this, the design three hundred years of architectural education in Britain studio culture usually becomes a very isolated scene. Students are Manchester University Press ND, 1994 solely communicating with other students, whereas in a practice many other areas of expertise are involved in any project. The result Nicol, David., Pilling, Simon. of this is that while academies are striving to mould students into Changing Architectural Education: incredible architects, what they are neglecting to acknowledge is that Towards a New Professionalism they also need to be team players.

Taylor and Francis, 2000 5. To Work or to Study

In the history of architectural education and becoming a qualified architect, learning was more commonplace in the office rather than at a school. So it would be fair to say that learning in an architect’s office is much more effective than that of attending

Image b: Design plan sketching through trial and error and experimentation

Pollak, Martha.

The Education of the Architect MIT Press, 1997 Image c: Plan showing multiple disciplines including architectural design, graphics, landscaping and interiors

Design Dissertation 2011

Hong Kong: In Search of an Identity Design Dissertation

One of the main intentions of this dissertation is to throw the spotlight back onto Hong Kong after being placed on the backburner for the past decade. Hong Kong has become a place that is filled with processes of destruction and renewal, which is in constant movement, thus creating an urban landscape of change.

This ambivalent situation is described best through the medium of architecture. Flux plays a role in how Hong Kong is perceived in the present, but also on how it has shaped the infrastructure of Hong Kong throughout the past. The nature of flux is of particular concern for Hong Kong’s identity. How does a city create an identity when it is always changing? Because of this, architecture is appropriate to represent a city’s identity as it is always seen to exist.

Questions of “what does it want to be?” and “what has/will it become?” will drive the discussion to a conclusion that aims to weigh up Hong Kong’s strengths as an ever-lasting thriving metropolis, but also its weaknesses as a potentially diminishing icon of architecture – with this assumption, there is an implication of its future. Has Hong Kong reached its peak or is there more to give? We must engage ourselves with Hong Kong in its absolute entirety from its inception as an independent colony to the present day and also to its unforeseen future.

The Rise of a Colony

As time moved on, Hong Kong became increasingly populated – a fact which countered foreign secretary Lord Palmerston’s initial reaction of Hong Kong being “a barren island with hardly a house upon it.” As Hong Kong was on the receiving end of the large waves of immigrants crossing the border, it helped labour and capital. As this continued to happen, it was predicted that in the future, China would be dependent on Hong Kong and not the other way around.

As an early British Colony, Hong Kong continued to prove its worth as a thriving port that would become a commercial success for imports and exports. Factories were being constructed for newly booming industries. Although there was much coinciding working relationships between the Chinese and foreign expatriates, the housing circumstances were still rather precarious. The two communities were physically divided, living apart in different districts of Hong Kong. At the later period of John Pope Hennessy’s time as governor of Hong Kong, he had allowed the Chinese to move into Queen’s Road Central and other nearby districts.

Expansion of Hong Kong

Beginnings of Hong Kong

Hong Kong is a place that can rarely be compared with anywhere else in the world purely based on the fact that it is not a country, and loosely termed a city. It has affiliations with China throughout history, marked significantly by the cession of Hong Kong to the British in 1842. This was a result of the First Anglo-Chinese War. A fundamental change - which gave Britain a major advantage in capturing Hong Kong - was the Industrial Revolution. There were great advancements in technologies such as communication which enabled Britain to project its great power over such an expanse of distance.

As Hong Kong had become a British Colony, it was essentially the beginning of its international status growth. One of the reasons it began to flourish was simply because of the fact that it was politically free of China. In the early days of Hong Kong as a British Colony, it became a sanctuary for Mainland Chinese refugees who needed to flee in times of internal crises.

Hong Kong was solidified as a crucial connection for China to the rest of the world. There was much influence from foreign countries such as India with which Hong Kong had a trade connection. With Hong Kong steadily growing in population as well as social and political status, there was a local call to expand the colony. The need for more land and open space was evident.

As Hong Kong was becoming overcrowded, a bubonic plague spread in 1894 which alerted the government to put into action an expansion plan. The Kowloon peninsula (image a) of Hong Kong was expanded to accommodate this change. The area was named the New Territory (now New Territories) which was leased by China to the British for 99 years in 1898. From this period onward, the process of economic growth in Hong Kong was slow and gradual.

The beginnings of Hong Kong as a centre of economy saw the manufacturing trades take off as the biggest source of income.

The manufacturing industries are undoubtedly closely linked with the tourist industry which acts as main consumers for the output.

Both these components of Hong Kong have created a stable economy which has subsequently enabled the creation of massive works of architecture.

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Image a: Expansion of Hong Kong

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Design Dissertation 2011 and therefore Hong Kong is becoming latently unrecognisable to the external viewer. Because of this fact, it is interesting to speculate Throughout the late twentieth century, Hong Kong became if the familiar Hong Kong skyline panorama will in time become increasingly affluent in terms of architectural richness, thus creating unfamiliar and essentially an icon which is no longer current (image this image of Hong Kong as a symbol, an emblem, an icon. The d). question of Hong Kong as an “icon” is an area of critical discussion.

In the context of Hong Kong, the question at hand concerns a collective entity rather than individual pieces of architecture. Each Architecture of Economy piece of architecture in Hong Kong contributes to a collective whole, one therefore must consider Hong Kong as one space in its entirety.

With specific works of architecture, we shall look at some What makes Hong Kong an icon? The validity and the implied examples which helped shape Hong Kong’s worldwide status as a assumptions of this question could easily be countered with centre of economy and innovation. Hong Kong has undeniably different questions – is Hong Kong still an icon? Was it ever an icon? emerged as a booming region of capitalism. The idea of mass What makes an icon, an icon? An answer that suitably creates an economic growth and wealth in Hong Kong is mirrored in its iconic aura that surrounds Hong Kong is in regard of architectural architectural representation of financial success in the form of banks. quantity. At present, the Hong Kong skyline consists of 7,685 Two famous icons which are classic images of the advertised version buildings. This statistic in itself is astronomical in comparison to of Hong Kong are the Hong Kong Shanghai Bank Building (1986) other cities of the world. It is interesting to contrast this view (image by Foster and Partners and the Bank of China Tower (1990) by b) with Zaha Hadid’s competition paintings for The Peak in 1982 - I.M Pei. Although they are both equally symbolic of Hong Kong’s one in particular depicts the urban landscape of Hong Kong (image success, there is a spatial and political tension that exists between the c). The painting reveals a different interpretation of Hong Kong, two. Foster’s building boasts the innovative use of new technology, yet still uncovers details that are relevant to the topic of identity. while Pei’s tower accentuates on a triangular segment form.

The mass collection of skyscrapers that characterises stereotypical views of Hong Kong is still present, but the emphasis of uniformity and blandness is evident. The only differentiating attribute that Striving to be one or the other separates building from landscape is the odd dashes of colour which do not correspond to the real-life qualities of the scene. Because of There are other aspects of Hong Kong’s identity that are this fact and the abstract nature of the painting, Hong Kong is not attempted to be acknowledged with the banks. Hong Kong is still recognisable as itself. Despite this, Hadid still conveys effectively the very much a place of “Chineseness”. However, throughout these idea of a dense cityscape. buildings there are coinciding elements of China and Britain that

The expansive panoramic view of the Hong Kong harbour when read together, are not the most successful in conveying a skyline has become one of the most recognised vistas in the past Chinese identity for Hong Kong. Ackbar Abbas gives an example few decades. What entails is an issue of identity – something which of the bronze lion statuettes at the bottom of the Foster building Hong Kong has struggled with throughout history. The region which are residual elements left over from the old bank building has been forced to become an icon. The visual is so emphatically that stood on the same site. In context of the new building, their impacting that the world’s population is bombarded with familiar function as guards is lost as there is no longer a formal entrance. imagery of Hong Kong through the media. Hong Kong’s identity Not only are the statuettes a stark contrast to the new, and therefore has been somewhat sculpted and moulded by external perceptions unfitting, they have also been demoted to a mere decorative status of the territory. The fact that it has this presence means it is all as the result of an afterthought. Similarly, the Pei building features too easy to recall the stereotype that has been so often replicated a fundamentally Western architectural style, but an effort has been through postcards, books, the news – all of which act as propaganda made to incorporate a local vernacular of Chinese motifs at the lower to disseminate this artificial image of Hong Kong to the rest of the part of the building. These minor architectural moves made in order world. to capture a part of historical Hong Kong and its roots are rather

It now seems the effort to solidify an identity for Hong unsuccessful. They act as downplayed ornamentation, adopted only Kong is not an internal operation, but rather is being governed by to contextualise the buildings as being part of Hong Kong. external. It is an exceptionally difficult circumstance considering the ever-lasting fluctuations in buildings. There is a constant oscillation between Hong Kong being a built environment to the non-built Mitigation of the Visual – the Hong Kong urban fabric is riddled with construction/ demolition sites. The urban landscape is fundamentally mutating What Hong Kong has in common with large contemporary The Iconic City

Image b

Image c

Image d

Design Dissertation 2011 cities is a saturation of the visual imagery. Even with the two buildings discussed, there is already a rivalry of images - the Bank of China Tower winning the verticality competition, but the Hong Kong Shanghai Bank building provides a visual stimulation in terms of detailing and structure. Unlike the showpieces of architecture such as the aforementioned Foster and Pei buildings, Hong Kong is dominantly populated with commercial and residential buildings that characterise its urban landscape. However, the irony lies in the fact that these typologies usually convey little character. Coinciding with these constructions are the filigree elements such as neon signs, giant outdoor television screens and other forms of advertisements that are so often superimposed onto buildings. Because of this, the public are insistently bombarded with objects so that eventually, the visual aspect of Hong Kong will no longer be effective resulting in the loss of its iconic identity.

The analysis of Hong Kong’s architecture leaves one with a feeling of uncertainty. It is clear that Hong Kong is confused about what it wants to be. The idea of gaining an identity in the context of architecture seems difficult especially in Hong Kong. Many ideas and concepts collide which counteract one another in terms of what Hong Kong (as a collective whole) is trying to achieve. One can suggest that perhaps Hong Kong will not benefit from defining a single identity, but instead multiple ones.

Hong Kong International Airport

Other than the architecture of banks, Hong Kong as the centre of economy and wealth is further emphasised with the new Hong Kong International Airport (HKIA) built at Chek Lap Kok on the northern coast of Lantau Island (figure 31). It is important to mention the airport as it is a crucial part of Hong Kong’s success story.

In saying that, there are aspects of the airport which are advantageous as well as damaging to Hong Kong’s identity imbroglio.

The HKIA cost a vast sum of 20 billion US dollars. The building was designed by architect Norman Foster who was already a famous name in the construction industry. This was one of the largest construction operations ever. What makes the airport a key point of discussion is its intended functional purpose – it is Hong Kong’s literal connection to the rest of the world. According to projected statistics, the airport will handle 80 million passengers a year by 2040. Along with these figures of cost and users, the massive piece of architecture also boasts details of engineering which creates an iconic status in terms of sheer scale. People are immediately confronted with the awe-inspiring features upon arrival in Hong Kong.

The Airport City

Chek Lap Kok was on the periphery of activity. Because of

this, an intricate, yet efficient planning scheme was called for to tie the airport back into the urban fabric of Hong Kong. This entailed a master-planning project that aimed for a seamless transition from arrival to the airport through to entering the Central business district of Hong Kong. The means of achieving this was through a series of new railway stations. What was recognised was that fundamentally, a new city was being built within another. This massive change in infrastructure is another example of the flux occurring in Hong Kong.

However, the evident difference here is the element of necessity. The airport needed to connect to the city. The people needed to get from the city to the airport with ease.

The Hierarchy of Visuals

With the airport city now complete and functioning, the question needs to be acknowledged about the implications on identity. As this newly integrated pathway of travel from airport to city has been introduced, one may still experience a degree of continuing uncertainty. This uncertainty lies in the fact that the identity of Hong Kong may be illegible from different perspectives, thus creating multiple identities. 3 key demographics will be taken as examples to illustrate this point: the tourist, the professional and the resident.

As mentioned previously, Hong Kong is saturated with visual imagery – imagery that is overly vibrant and ubiquitous.

These images are primarily directed at the tourist as a method of advertisement to lure travellers from all over the world to visit Hong Kong. From this, it makes sense that the visual imagery experienced by the resident is generally quite the opposite. The tourist does not see the dirty, grimy side of Hong Kong which is an unavoidable part of life for the resident. In context of the airport and the transportational attributes of Hong Kong, the professional’s point of view is manifested. Between the two extremes of visuals of the tourist and the resident, the professional experiences only what they want or need to experience. Their main aim of being in Hong Kong is to work, and therefore the sole objective of “getting the job done” negates the need to see any other part of Hong Kong other than the restricted route of airport to the central business district.

All of this creates a layering of imagery (image e) that is specific to specific groups of people, therefore Hong Kong could possess multiple identities depending on who you are. The layers consist of a superficial layer, a transitory layer and an imperfect layer which correspond to the tourist, the professional and the resident respectively. These multiple identities of Hong Kong are definitely not all presented, but instead are kept apart carefully by specific governing activity. One could argue that this is the case for every contemporary city, however to counter this point it has already been established that Hong Kong is vastly different from other cities. This is because the different versions of Hong Kong that have manifested

Image e: A hierarchy of visuals is embedded within Hong Kong. Each layer is catered to a certain demographic, thus creating multiple identities depending on who you are.

Design Dissertation 2011 are intentional results of the functions of Hong Kong. It functions as a world financial centre which leads the professional to experience the transitory layer. Connected with finance and economy is the function of Hong Kong as a consumer market which then attracts the tourist to the superficial layer. The resident is both a catalyst and consequence of the former layers. They will feed the system with labour and capital, but more people will be attracted to live in Hong Kong because of its success.

A Confused Hong Kong

As Hong Kong has become a piece of land where architecture is reduced to mundane typologies of commercial and residential, it indicates a certain concern for its iconic status. On many occasions, buildings are being torn down to create room for newer constructions to earn a profit. Despite older buildings providing little functional use, their value lies in the cultural memories that exist inherently within. Central District of Hong Kong best shows this act of erasure where there are virtually no remaining indications of historical architecture. Through this way of thinking, it seems reasonable to infer that the future of Hong Kong will become a uniform canvas of contemporary architecture – perhaps losing its ever tentative Chinese identity.

The future of Hong Kong has been the subject of speculation ever since the handover period. Since Hong Kong suffers from a perennial identity crisis, the handover to China only exacerbated this fact. The problem that exists now which was not a factor before is the relationship with China. The future of Hong Kong is now inherently tied with the future of China. It is not entirely independent, yet there is a distinct segregation of politics which sees the Hong Kong population declaring themselves as being a separate – somewhat superior - branch of Chinese than Mainland Chinese.

There is the question of being Chinese, or being Hong Kong. The fact that Hong Kong has become a separate region of China has thus created a distinctive social identity too. However, it seems with the handover of power, there is an opportunity for Hong Kong to be a number of characters – to be Hong Kong, British or Chinese.

It can be said quite definitively that Hong Kong is an icon of the world. It stands out in many ways that attracts tourists from all over. This is an intriguing accomplishment considering the complexities that occurred through a century of events such as war, influx and outflows of population, disease and economic crises which threatened to cripple the colony time after time. Despite this, Hong Kong was able to recover itself each time with accelerated rates of development. To this day, Hong Kong can still be interpreted as being “a work in progress”.

Taking architecture as a method of securing an identity, in the

context of Hong Kong it seems futile or at least the conclusion would hold very temporary truth. However, there are definitive pieces which characterise Hong Kong, although only to an extent of stereotypes or kitsch. The Bank of China Tower, the Hong Kong Shanghai Bank building and the Victoria Harbour view are a few examples of the typical postcard images which are duplicated throughout the world’s perception of Hong Kong. From an advertising point of view, this is undoubtedly effective. The aim of the familiar imagery is to entice tourists to flock to Hong Kong as a sparkling destination. However, one may see this as a hierarchical layering of visuals directed at different demographics. Put simply, the tourists see the bright lights and the superficial qualities of Hong Kong. What is neglected is the grimy and flawed side which exists in domains that are obviously not commercially advertised. This “version” of Hong Kong is unavoidably experienced by the residents. This is the layer which relates to Hong Kong’s nature of professionalism. In this circumstance, Hong Kong reverts to its primary function of acting as a port. Professionals in particular utilise this by only stopping off in the city for a short time for business. Because of the specificity of route movement from the to the central business district of Hong Kong, there is a restricted experiential opportunity. Coupled with this fact is the mindset of the business workers. Although somewhat generalised, it is acceptable to suggest that most professionals arriving in Hong Kong will have a main objective of work. They are not there to act as tourists or to live, therefore do not realise the other situations. What is illustrated here is the idea of obtaining and retaining multiple identities.

“What does it want to be?” and “what has/will it become?”

– These questions were aimed to be answered throughout this discussion. Hong Kong is undoubtedly a competitive city. Every move made is a step towards the economic goal which it will never reach – that is, to be the best of the best. Hong Kong’s need to achieve this superlative status is cogently illustrated in its architecture. Buildings such as the Bank of China Tower, the HSBC Bank building and the Hong Kong International Airport boasted features and attributes that were (at the time) unprecedented. Hong Kong revelled in the fact that it had the tallest, the longest, the most detailed and most innovative buildings in the world. What it comes down to is Hong Kong being a capitalist territory. Instantly, what could be argued here is that Hong Kong has created an identity of Wealth and Pride in its most positive light, or on the flip side, an identity of Greed.

Hong Kong was, is and always will be in flux. The world is based on change. For anything to remain relevant – whether that is a city, a country, a fashion, a celebrity, an identity – change must occur. The future of Hong Kong’s identity will be as Hong Kong is – in flux. However, through works of literature, key opinions as well as subjective and objective interpretations, Hong Kong has been solidly identified as being a global city. The idea of flux will forever be an obstacle for Hong Kong, just as it is for every major destination of the world.

Selected Bibliography Tsang, Steve. A Modern History of Hong Kong. London: I.B Tauris & Co Ltd, 2007.

Abbas, Ackbar. “Building On Disappearance: Hong Kong Architecture and the City” Public Culture 6 (1994): 441-459. Accessed 04/03/2011. doi: 0899-2363/94/0603-01.

Fry, Tony. “The ‘Futurings’ of Hong Kong” Design Issues Vol. 19, No. 3 (2003): 71-82.

Accessed 25/02/2011. http://www.jstor.org/stable/1511966.

Reflections

Through the archival process of compiling a portfolio, I have been able to identify key thought processes and thematic ideas that run throughout my entire academic career in architecture. The intended and unintended outcomes of the projects surely reflect a latent frame of mind that is embedded within my work.

One of the most evident concepts is between my junior honours years and my senior honours where the idea of deconstructing a cube shines through significantly in both design studio projects. Further realising this idea comes through in a seminar topic in junior honours where study of the Kirchner museum revealed a cubic form that also seemed deconstructed on plan. Although not an explicit influence for my design, the images and ideas were obviously imprinted on my mind to create the end result. Through this way of working, I have realised a method of design that is effective for me and will definitely serve as a platform for my future designs.

The 4 years of studying design has given me a wide range of skills that I feel confident in showcasing, whether that be in the architectural field or not. This is a positive remark as I have realised the study of architecture can lead onto many different fields and not restricted to the one path of architectural design.