Jyhew portfolio

JIA YING HEW Master of Architecture (prof) + Bachelor of Architectural Studies in Victoria University of Wellington

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CONTACT phone:0220744078 email: jiaying910823@hotmail.com address: 7C, 57, Manners Street, Te Aro, Wellington, 6011 personal website: http://cargocollective.com/hew

WORK EXPERIENCE

EDUCATION

July - November 2015 ARCI 312 (Architectural Design Integration) Tutor in Victoria University of Wellington

2014-2016Master of Architecture (Professional Degree) in Victoria University of Wellington, New Zealand

March- June 2015 SARC 222 (Structural System) Tutor in Victoria University of Wellington

2011-2013Bachelor of Architectural Studies in Victoria University of Wellington, New Zealand

2015 Trainee supervisor in Wellington City New World [gain management and leadership skills] November 2014- January 2015 Full-time Internship in Kenneth Tan Design Architecture firm, Sabah, Malaysia [involved in vila design, building construction drawings, sales and purchase brochure, patterns design]

REFEREES Daniel K. Brown +6444636129 [Supervisor for Master Thesis] Andrew Charleson 463-6222 [Lecturer for SARC 222 and ARCI 312] Kenneth Tan +60122319520 Director of Kenneth Tan Design Architecture firm

2009-2010International Education Center, University Technology Mara, Malaysia 2004-2008Sekolah Menengah Kebangsaan Pei Yuan, Kampar, Perak, Malaysia (High School)

PROGRAMS Revit Sketchup Autocad Rhinoceros 3D Studio Max Photoshop Indesign Illustrator Maya

LANGUAGES English Chinese Cantonese Malay

AWARD Included on the Dean’s List for academic excellence in 2013

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CONTENTS

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The Dam Archive The Hybrid of Light Office Facade New Zealand School of Music Forgetful Earthquake Museum

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Fig. 1.1

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Different site characters of the eight dams along Waikato River.

01 The Dam Archive Master of Architecture Thesis

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Perhaps more than any other technologies, massive hydro dams embody and impact upon many different aspects of local history: industrial, social, landscape and ecological. For this reason, hydro dams can be considered as important mnemonic devices reflecting important periods of a nation’s heritage. The mnemonic qualities of dams is often not recognised due to their image as solitary machines most often in rural locations. The heritage value of dams is often overlooked once their construction is completed; they are perceived as engineered machines, with their social meaning hidden. The eight hydro dams along New Zealand’s Waikato River are an important example of such dams. As a sequence of eight, these dams form the backbone of the New Zealand electrical grid and currently supply 13% of the electricity in the country.

Each of these dams has significantly transformed its New Zealand context, while also contributing an important chapter to the region’s ongoing industrial, social, landscape and ecological history.

This thesis argues that the addition of new architectural interventions in association with these dams can help reveal their hidden mnemonic qualities and increase people’s awareness of their heritage value as architecture, not just as machines. The metaphoric programme of an ‘archive’ will be used to help increase visitors’ awareness of some of the dams’ unique history that reflect their mnemonic qualities, in terms of industrial, social, landscape and ecological. The concept of archival processing will be applied to the Waikato River hydro dams in order to investigate how new architectural interventions can dissect, record and present the heritage narratives and increase our recognition of the mnemonic qualities such dams represent.

The dams’ heritage narratives are multi-layered and interwoven. The thesis argues that these multi-layered heritage narratives were initiated by the dynamic interrelationship between each dam and its unique setting; the acts of construction and the subsequent transformations of the landscape add to these narratives. These multi-layered heritage narratives are revealed through four main design tactics: multiplicity of layers, revealing, friction and on-going discourse. By reawakening and preserving awareness of these heritage narratives, the mnemonic qualities they represent can be safeguarded for future generations. The final design experiment explores how new contemporary architectural layers can be added, to help transform people’s perception of the dams as mnemonic architectural devices reflecting important aspects of New Zealand heritage.

1947 Karapiro

1929 Arapuni Ar Waipapa 1961 Waipa

1953 Maraetai Marae

1956 Whakamaru

1958 Atiamuri

7 1961 Ohakuri

1964 Aratiatia

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) F J H I U B C P W F T F B

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Taupo Lake 300

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Hamilton

Port Waikato

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Distance from Taupo Gates (km)

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populated places and electricity distribution Waikato River human activities electricity grid

dam

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History of power supply in North Island, New Zealand unstable power supply

the eight dams along Waikato River are constructed and provide sufficient electricity supply

increase speed of life, improve living standard and industrial development (mass production capabilities of factories, telecommunication and electrical transportation) human aactivities

electricity

Fig. 1.2

Dynamic quality of the eight dams.

v traces of construction path

vehicle road

vehicle road

vehicle road

vehicle road vehicle road

footpath bridge

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abandoned town from dam construction project

vehicle road

vehicle road vehicle road

traces of construction path

trace of construction path

traces of construction path

traces of construction path

vehicle road vehicle road

vehicle road

Fig. 1.3

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Electricity distribution map in North Island, New Zealand.

Fig. 1.4

The architecture acts as framing device of Atiamuri Dam.

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Karapiro

Arapuni

Waipapa

Maraetai Whakamaru

Ohakuri

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Fig. 1.5

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The corten steel screen frames the views toward the power station from public areas, create threshold between machine and architecture.

This semi-open space allow the machine operation noise penetrates into the “Dam Archive” to promote reflection and contemplation of the electricity generation process.

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Fig. 1.7

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Arapuni

Waipapa

Maraetai Whakamaru

Ohakuri

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The bridge acts as a viewing platform to observe the interior of the power station, which is normally hidden from the visitors.

Design sketches of ‘documenting’ dam construction process in the ‘Dam Archive’ through spatial experience.

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Fig. 1.8

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Karapiro

Arapuni

Waipapa

Maraetai

Atiamuri

WhakamaruOhakuri WA

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The â&#x20AC;&#x2DC;Dam Archiveâ&#x20AC;&#x2122; in Whakamaru act as corner framing of station and directs attention toward the power station, g visitors a distant view.

the power giving the

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Fig. 1.9

Building section.

C r e a t i n g unique visiting experience in different levels.

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Arapuni

Waipapa

Maraetai

Atiamuri

WhakamaruOhakuri WA

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Fig. 1.11

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Using corten steel screen to create threshold that connect bridge and reception area.

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Fig. 1.10

The view of Whakamaru Power Station is offered again from the bridge through a diagonal view.

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Fig. 1.12

Exterior view of â&#x20AC;&#x2DC;Waipapa Archiveâ&#x20AC;&#x2122;

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Fig. 1.13

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Arapuni

Waipapa Maraetai

Atiamuri

Whakamaru

Ohakuri

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Narrative journey of the geological history in Waipapa Dam

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Fig. 1.14

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< Fig. 1.16 Karapiro

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Arapuni

Waipapa

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The retaining gabion wall is framed by the staircase, revealing the relationship between the landscape and the architecture.

Thermal pool creates punctuation in the narrative journey and provides angled view of Arapuni Power Station.

The wooden screen creates threshold of architectural spaces and machine, visually connecting the visiting corridor and the machine of water heater devices.

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02 The Hybrid of Light This design experiments how the play of light and shadow in architecture can evoke immaterial sensory quality, in order to create a threshold condition to integrate the two contradict building programs- butchery and art gallery.

â&#x20AC;&#x153;Light as an architecture form.â&#x20AC;? ~Bruno Zevi

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Fig. 2.1

Design tests of creating spaces through light and shadow.

Fig. 2.2

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Physical models. Design tests of creating different atmosphere through manipulating light from different angles.

Fig. 2.3

Exterior of the â&#x20AC;&#x153;Hybrid of Lightâ&#x20AC;?. The butchery/ art gallery turned into the artwork of the city at night due to the interior light effect.

03 Office Facade

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Fig. 3.1

Exterior view of office facade.

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Fig. 3.2

Detail plan of the office facade.

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Fig. 3.3

3D view of the facade detail.

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04 New Zealand School of Music

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Fig. 4.1

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Main entrance of the New Zealand School of Music

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Being a music school located in the city centre of Wellington, the architectural design of the music school responds to the city context in order to allow the students to get inspiration from the vibrant city life and offers an opportunity to the public to engage with the music culture.

The public is first impressed by the dynamic pattern of the building facade, which is formed by curved columns, symbolising a piece of frozen music. As the public approaches closer to the building, they engage the music through hearing and seeing the music practice by the students in informal stage and practice areas. The apertures of the facade also allow the public to watch the music learning process from outside.

Spatially the music school is anchored by the large auditorium and small auditorium. The educational spaces and staff blocks are designed to surround the auditorium, according to the busy and quiet sides of the site.

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Fig. 4.2

Ground floor plan of New Zealand School of Music.

Fig. 4.3

Rear entrance of the building with informal performance stage.

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Fig. 4.4

Informal practice area for the students.

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Fig. 4.5

Library of the New Zealand School of Music.

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Fig. 4.6

Third floor plan.

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Fig. 4.7

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Section of the New School of Music The large auditorium music school.

Zealand

of

the

The auditorium is designed facing the street in order to integrate the music performance with the city. The city becomes the backdrop of the music performance while the public able to watch the music performance from the street.

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05 Forgetful Earthquake Museum

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Fig. 5.1

Site plan

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Bird eye view of the Forgetful E a r t h q u a k e Museum

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New Zealanders tend to forget about the fact of New Zealand being part of the Pacific Ring of Fire and active in earthquake activities. This is shown by the trend of construction method in the architecture history in New Zealand. The one storey timber buildings, which are stronger in resisting earthquake, are slowly substituted by brick and concrete buildings because of the fire resistance structure and economical reasons.

Thereby, this earthquake museum is designed to create awareness about the importance of earthquake resisting structures.

Formally, the museum is anchored by visually unstable stacking concrete blocks, leaving a lot of voids between the concrete blocks and function as â&#x20AC;&#x153;absence memorialâ&#x20AC;?. The concrete blocks are supported by the strong and rigid concrete columns, representing how the earthquake resisting structures enhance the building stability.

Fig. 5.4

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Fig. 5.3

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B u i l d i n g section of the museum.

E n t r a n c e o f the Forgetful Earthquake Museum.

Fig. 5.5

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Outdoor cafe of the museum.

Fig. 5.6

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Corridor to the entrance.

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Fig. 5.7

Memorial of the Forgetful Earthquake Museum.

Fig. 5.8

Rooftop memorial of the museum.

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Fig. 5.9

Short section of the museum.

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Fig. 5.10

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Exhibition hall with timber elements.

Absence of timber elements allows the weather elements penetrate into the exhibition hall and disrupt the visitorsâ&#x20AC;&#x2122; circulation, in order to reflect the importance of the earthquake resistance structures

The forgotten process is illustrated by the absence of the timber elements in the exhibition spaces. The erasure of the timber elements in the space will eventually alter the atmosphere in the space and disrupt visitorsâ&#x20AC;&#x2122; activities. The absence of the space (the void) is used to memorize the losses, which is mainly caused by the collapse of the earthquake prone buildings.

Fig. 5.12

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Ground floor plan. Timber elements gradually absent in the exhibition halls and create different atmosphere

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Fig. 5.13

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The rain water from the exhibition hall flows to the memorial and fill up the void in the centre of the courtyard. This reflects how the absence of the earthquake resisting structures can change the spatial experience.

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Fig. 5.14

Reception hall of the Forgetful Earthquake Museum

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JIA YING HEW Architecture Portfolio + Curriculum Vitae