CV Portfolio - RIBA Part I
Jason Tsang
Frontispiece Furniture Hub Long Sectional Perspective
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Profile
Jason Tsang
Address
Education
Employment
10 Goldby Drive, Wednesbury, Walsall, West Midlands
2011-2015 University of Bath
2013 April-July French Weir Affordable Homes LLP Architectural Assistant
BSc (Hons) Architecture 2.1
WS10 9LN E: j.h.c.tsang@gmail.com
• Gave regular well -received presentations to industry professionals and peers during the crit process, defending ideas whilst discussing further scheme developments. • Developed design skills and critical analysis techniques in the studio environment. • Worked to integrate fundamental engineering principles with architectural designs.
Key Skills Proficient with: • Adobe Software - Photoshop, Indesign, Illustrator • Google Sketchup • Autocad • Artlantis Renderer • Kerkythea Renderer • Microsoft Office Suite
• Improved visual communication techniques to ensure presentations are graphically compelling an concise. 2004-2012 Queen Mary’s Grammar School, Walsall • A levels: General Studies (A*), Design and Technology (A), Chemistry (A), Biology (A), Mathematics (B) • GCSEs: 10 A* Grades, 3 A Grades • Additional Qualifications : Advanced FSMQ Additional Mathematics (A), OCR Level 2 Certificate in Business Language Competence (French)
• Assisted with the design and planning proposal for two semi-detached residences in the Taunton area. • Completed the survey and subsequent CAD drawings for a historic farm house. • Completed and submitted drawings for a coach house conversion in the historic town of Codford. • Regularly liaised with other construction industry professionals.
2014 February - August Macgregor Smith Landscape Architecture Architectural Assistant • Assisted with the landscape CAD drawings of Silverstone Circuit. • Aided in the landscape master planning of a Primary School external environment. • Contributed to the masterplan landscape strategy of a major new development in the town of Lewes. • Contributed to the masterplan landscape strategy of a major new development in the town of Lewes.
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Academic Works
Film Institute
The first of my final year projects, the Basil Spence joint project provided the best insight into the careful integration of engineering and architecture. The project team included three architects and two engineers, all of whom provided pivotal input into the scheme progression from initial sketches to final detailed design proposals. The Film Institute involves the major replanning of the Parade Gardens site. The design weaves two new Public Realms - the ground level plaza and the activated river-front. In conjunction with the radical reorientation of the rugby stadium, the scheme seeks to re-establish the relationship between the city and the wider landscape of Bath across the River Avon. The scheme is primarily massed to create objects that seek to establish their own identify against the historical backdrop of Bath. Vital civic space is created between these strong elements, engaging the public with the building. Concept Massing
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Open Riverside
Reorientate Stadium
Connect and Enhance Park
Rugby + Cinema Together
1:500 Model The key concept of the scheme was to open up the activity of the rugby stadium to the city centre, bringing activity across the river Illustrated Masterplan The scheme involved the major redevelopment of the now derelict Bog Island to an urban plaza, providing vital amenity to the Rugby Stadium and the historic centre of Bath.
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Academic Works
Film Institute Due to the scope and scale of the building, much time was spent analysing the city and urban context of Bath. Though a major contributor to the local culture, the rugby ground is inadequate for current levels of attendance. Working with this need meant that the project had a clear direction and grounded the building to the requirements of the city.
Existing
Bog Island is poorly defined. The space is made hostile by the heavy traffic flow.
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Proposed
The current layout of Bog Island shows the alienation of the space by the traffic routes.
The space is clearly defined by the elevations of the Film Institute. An urban node is created.
The introduction of a shared surface will reduce the traffic accessing the centre of Bath
The entrance to the Film Institute immediately revealed to the public.
The cafe, shop and exhibition space are immediately accessible to the civic space, thus activating it with activity.
View from Rugby Stadium The radical reorientation of the rugby stadium opens up activity to the riverfront. In conjunction with the river level restaurants on the opposite bank a lively and vibrant riverside quarter will be created.
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Academic Works
Film Institute
Much time was spent considering the material qualities of the building. A ceramic facade system was chosen for its ease of construction and its relation to the site, where in the past pottery was produced. The faceted ceramic tile was chosen for the animation it brought to otherwise solid elevations, a key limitation of cinema buildings. Furthermore, the decision was made to completely wrap the building in the tile system to further emphasise the massive quality of the buildings, creating a strong destination point for the public in the city. The pattern of the ceramic tiles was inverted on the inside skin of the cinemas. Here, acoustic strips are added to mitigate sound reflection within the screens. The continuity of the wall finish, inside and out, adds an additional layer of interest to the scheme.
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Tectonic Models & Renderings Detailed proposals were worked up at a 1:5 scale to ensure the tectonic qualities of the wall were fully explored. Short Detailed Section A full section of the cinema and public realm interface was explored. Here, the idea of a smaller, more human scaled tile was implemented to give more visual delight at a closer scale.
Short Perspective Section The shared space created on the ground level is allowed to flow through the Film Institute to the activated riverfront level. Integrated river flood defences are part of a staged flood defence proposals which account for all instances upto a 1 in 100 year flood event.
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Academic Works
Furniture Hub
The last of my final year projects, the individual project sees the culmination of my academic studies and the practical knowledge gained over two work periods of work experience.
Envelopment
Link
Object
Instead of directly building into the quarry cliff face, the scheme sits itself directly in between the cliff walls.
The scheme is to connect and activate through to the back of the site, drawing people into the quarry site and reinvigorating the wildlife sanctuary.
From a human perspective, the vertical element directly relates to the cliff face. A bolder vertical element acts as a counterpoint to the strict courtyard typology, emphasising itself, and the surrounding cliffs.
The project seeks to engage the public with the lost art of making. Valuable workshop space places furniture making back into the heart of Weston-super-Mare. Flexible exhibition spaces permeate the scheme where both the craftsman and the buyer are bale to meet around the collective interest of furniture. The building skin is to display the craftsmanship and resourcefulness involved in the making of furniture. In addition, the project seeks to enhance the existing wildlife sanctuary of Old Town Quarry to create a functioning, usable landscape. The message of a continuous, sustainable approach to making is at the forefront of the project.
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Working Courtyard The courtyard was designed to provide a platform for the making process.
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Academic Works i
Furniture Hub q
t u
reception
+exhibition space
w
social workshop
e
metal workshop
r
+ associated finishing space and store
+ associated finishing space and store
r
biomass boiler
+associated storage
t
wood workshop
+ associated finishing space and store
y
upholstery workshop
u
cad room
i
offices
o
working courtyard
e
+ store
o
y
q
w
GROUND FLOOR PLAN 12
Main Entrance From the beginning of the visit, the building displays the essence of the scheme, that of subtle materiality and construction.
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Academic Works
Furniture Hub
Though utilising different materials, the majority of crafts will follow similar discrete individual steps in the process of making. Processes stem from making the raw refined, material properties are worked with in order to create order and complexity. Processes applied to the material used will become finer and more controlled as the making process happens. Typically, the most delicate and labour intensive parts of the making process happen at the end, during the finishing of the piece.
Roughing out
Woodwork
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Marking out
Cutting to size
Fine Metalwork
Assembly
Upholstery
Finishing
Main Woodshop The bespoke roof structure displays the importance of the craftsman within modern making. Ample roof lighting provides an ideal daylight factor within the workshop space.
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Academic Works
Furniture Hub
Research into the architectural uses of timber formed the basis of my tectonic explorations. The model created shows the use of unglued dowels which hold the joint together. Through the use of accurate machining, the friction between the dowels and the timber members is sufficient to hold the joint together. The housing joint as shown in the model holds a thicker transverse member that joins with other timber modules to form a truss system. The thinner member running perpendicularly through the joint simply prevents the truss system from racking. In reality, to reduce construction time and amount of skilled labour required to erect the structure, the dowels can be simply replaced with screws.
“To break down the construction of a building into its constituent parts and to use this articulation as a stratagem bestowing an appropriate character on the work in hand.� Kenneth Frampton, Studies in Tectonic Culture
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The basic floor module consists of a timber truss system The system is designed to utilise small members of timber, compared to tradition beam and post timber structures, this results in reduced overall timber usage.
The public element ceiling system
The workshop roof system
Here, the basis timber module is developed further to use structure steel in its full tension capabilities. The horizontal timber trusses are spaced out to allow vertical elements which span through the floor, such as elevators and stairs, to pass through without diminishing the structural integrity and visual rhythm of the timber truss.
Here the timber module varies in length to create a pitched roofscape. Again, steel members are used to strengthen and reduce the size of timbers necessary to erect the structure. The larger ceiling void preserves the feeling of openness within the workshops as well as providing a void for the placement of heating and ventilation ductwork as necessary.
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Academic Works
Furniture Hub
A
Cloister Detail Section The detailing is based on the want to display the timber structure internally. The regular spacing of the structural timber frame gives the cloister a rhythm which is pleasant when walking through. These bays are punctuated with informal exhibition spaces where the idea is for the maker to be able to interact with the public who may be interested in buying their work. The structure of the cloister is to act in conjunction with the main timber frame of the workshops, reinforcing the idea that the cloister unites these elements together.
B
A
Cloister Gutter Section
1. 2. 3. 4.
Black aluminium hot dipped steel gutter Black aluminium hot dipped steel flashing Timber facia DPM
B
Cloister Roof Section
1. 2. 3. 4. 5. 6. 7. 8. 9.
4mm Standing seam zinc roof 18mm Marine plywood board 18mm Plywood 25 x 50mm cross battens @ 600mm centres Rigid insulation (Minimum 100mm) 18mm Plywood 25 x 75mm Cross battens @ 600mm centres Electrical services area 18mm Plywood
C
Curtain Wall Detail Section
1. 2.
30 x 80mm Horizontal larch louvres @100mm centres Double glazed unit in larch timber box
D
Floor Detail Section
1. 2.
90 x 180mm Kolumba brick laid in running bond (Laid in herringbone externally and interally in workshops) Bedding layer 75mm in-situ concrete 100mm Rigid insulation DPM 200mm Hardcore
3. 4. 5. 6.
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C
1:20 @A3
D
A
1:100 Library Block Detail Section @ A2 The sections to the right shows how the timber structure of the roof and floor work in conjunction with the masonry walls to create a complete structure. The timber ceiling frame on Ground, First, Second and Third floor is supported on the load bearing masonry wall. The timber roof frame on the Fourth Floor is different as the timber joint extends to become a timber column, bearing onto the load bearing masonry wall.
A
Library Sill Section
1. 2. 3. 4. 5. 6. 7.
On end brick sill Flashing DPM Timber Double glazed unit in timber box Concrete blockwork Internal brick leaf
B
Library Floor Section
1. 2. 3. 4. 5.
25mm Timber flooring 100mm Insulation 50mm Brettstapel panel 50 x 210mm Exposed timber joists Timber joint structure
C
Library Wall Section
1. 2. 3. 4. 5. 6.
Kolumba brick in random courses in relief 70mm Cavity Wall ties at DPM 100mm Insulation Acoustic panel (Mounted on Z-clips directly to timber structure)
B
C
46mm sound attenuating fabric within steel frame 12mm permeable willow panel 24mm routed larch frame D
Library Window Head Detail Section
1. 2. 3. 4.
Cavity tray Steel box section lintel Brick slips Kolumba brick laid in random lengths.
D 1:20 @A3
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Academic Works
Furniture Hub
Landscape Experience gained from my placement at Macgregor Smith emphasised the need for strong design and placemaking within the external realm. The primary objective of the landscape was to rejuvenate the existing landscape to improve the local ecosystem and provide a suitable place for furniture making to take centre-stage.
Key Controlled Wild Boundary Swale Planting Willow Harvesting Zone
By bringing native tree species from Weston Woods into the site, the link between the two environments is re-established. This move enhances the wildlife value of the Old Town Quarry site, as well as providing a more vibrant visitor experience.
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The use of soft landscapes in-keeping with native woodland helps to create a more cohesive site experience. In conjunction with the massing of the buildings, a continuous loop is formed, creating a more holistic experience of the site and accentuating the place of woodwork within the woodland landscape.
Smaller specialised environments are created in order to facilitate the specific requirements of the program. The visitor is guided around these environments, allowing them a greater insight into the various processes involved in the making of furniture.
Productive Landscape The existing landscape of the quarry is to be maintained and enhanced to create an environment which educates visitors about the making process.
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Work Experience
Macgregor Smith
My second period of professional placement provided me with a wide variety of experience, from the detailed design process to large scheme masterplans.
Key responsibilities included: • Preparation of key documents for the purpose of public consultation. • Preparation of 3D visualisations • Production of CAD tender drawings • Responsibility for the 3D modelling of landscape proposals in conjunction with project architects. Key projects on which I worked were; • Silverstone Race Track • Lewes Masterplan • Brent Cross Cricklewood Masterplan • New Kings School
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Opposite - Lewes Development Visualisation for public consultation working in conjunctions with a rapidly evolving design. Left - Brent Cross Living Bridge Masterplan visualisation showing conceptual landscaping of a new Living Bridge Right - New Kings School Landscape masterplan showing detailed spatial planning of external classroom spaces
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both critically and succinctly and would be a real asset to any team he joins on account of all these qualities.
Additional Information
Academic Reference To Whom it May Concern 9th July 2015
Academic Reference; Jason Tsang I have known Jason for four years in my capacity as his 4th year studio leader and as the Director of Studies for the M.Arch degree at the University of Bath. Jason is both independently minded and personable. Throughout the course he demonstrated diligence and a strong sense of application to all the tasks facing him. These qualities manifested in a quite sense of determination, which is admirable. Jason’s work is characterised by both tectonic eloquence and subtle restraint. He clearly enjoys how buildings come together. He has a well-developed ability to interrogate his own work both critically and succinctly and would be a real asset to any team he joins on account of all these qualities. Jason’s group project undertaken at the beginning of the academic year was for a new film institute on a highly contentious site in the centre of historic Bath. The scheme organised the programme into a ‘syncopated grid’ the interval or ‘silences’ between which linked the site to its wider context (the city and the hills surrounding it) and including a radical reorganisation of the rugby ground beyond it. In this sense the proposal engaged with both macro and micro context. The models and drawings supporting the scheme were enchanting and the project was one of the high performing schemes of his year group. His placement within the office of a landscape architect clearly was influential upon him and this extended sensibility was particularly evident in the design Jason’s thesis project is set in the seaside town of Weston – super – Mare and examined our collective attitude to craft and making through the vehicle of a furniture workshops and associated support and exhibition spaces. The plan of the building was cleanly organised around a court and used a repeating section to house different aspects of the brief (such as upholstery). The rhythm that this sectional treatment imbued the scheme with was also the means by which natural light was provided and indeed a celebration of the act of making of the building itself through an inventive roof structure. The proposal was imaginatively located within a disused
Jason’s group project undertaken at the beginning of the academic year was for a new film institute on a highly contentious site in the centre of historic Bath. The scheme organised the programme into a ‘syncopated grid’ the interval or ‘silences’ between which linked the site to its wider context (the city and the hills surrounding it) and including a radical reorganisation of the rugby ground beyond it. In this sense the proposal engaged with both macro and micro context. The models and drawings supporting the scheme were enchanting and the project was one of the high performing schemes of his year group. His placement within the office of a landscape architect clearly was influential upon him and this extended sensibility was particularly evident in the design Jason’s thesis project is set in the seaside town of Weston – super – Mare and examined our collective attitude to craft and making through the vehicle of a furniture workshops and associated support and exhibition spaces. The plan of the building was cleanly organised around a court and used a repeating section to house different aspects of the brief (such as upholstery). The rhythm that this sectional treatment imbued the scheme with was also the means by which natural light was provided and indeed a celebration of the act of making of the building itself through an inventive roof structure. The proposal was imaginatively located within a disused quarry, the benefit of which was that it lay on (and contributed to) a public route to the adjacent woodland. Once again his understanding of landscape was brought to bear on the land surrounding the main building by making it a wildlife sanctuary. Here we see a wide range of architectural skills being unified in a delightful project. I very highly recommend Jason to your practice, as he is a great joy to work with both as a talented young architect but also as a mature and sensitive personality.
Martin Gledhill Director of Studies M.Arch 4th Year Studio Leader University of Bath mlg20@bath.ac.uk 01225 38664
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