ESALA MArch2 Academic Portfolio PeitongLiu by Peitong Liu

ACADEMIC PORTFOLIO 2

1921.

Peitong Liu s1989999 MASTER OF ARCHITECTURE ESALA 2019-21

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

unit stamp

Design Report

unit name

GA 1

unit stamp

unit details & synopsis Studio-C

3 4 5 7

semester 1

click to jump to the unit

ATR

1 2 3

GA/GC quick searching system

UNIT NAME

Studio-D

YEAR 1

learning outcomes

subheading

semester 2

Tutors: XX credits

SCAT

8 9

synopsis

LO1

individual / group work

In dividual

Studio-G

LO2

general criteria

2.1 2.2 2.3

ARB criteria mapping

LO3 AMPL

semester 1

Gr oup

2.4 2.5 2.6 2.7

1.2

1.3

2.1 2.2 2.3

student predicted mapping

Studio-B

1.1

YEAR 2

graduate attributes

3.1 3.2 3.3 4.1 4.2 4.3 semester 2

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

unit

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

GA/GC

General Critera & Graduate Attributes

General Critera

Graduate Attributes

GA 1

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. GC1 The graduate will have the ability to: .1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; .2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; .3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

2 3 4 5 6 7 GC 1 2 3 4

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC2 The graduate will have knowledge of: .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

5 6 7 8 9 10 11

In dividual Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1 1.2 1.3 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

GC3 Knowledge of the fine arts as an influence on the quality of architectural design. GC3 The graduate will have knowledge of: .1 how the theories, practices and technologies of the arts influence architectural design; .2 the creative application of the fine arts and their relevance and impact on architecture; .3 the creative application of such work to studio design projects, interms of their conceptualisation and representation. GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. GC4 The graduate will have knowledge of: .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. GC5 Understanding of the relationship between

people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC5 The graduate will have an understanding of: .1 the needs and aspirations of building users; .2 the impact of buildings on the environment, and the precepts of sustainable design; .3 the way in which buildings fit in to their local context. GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC6 The graduate will have an understanding of: .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities. GC7 Understanding of the methods of investigation and preparation of the brief for a design project. GC7 The graduate will have an understanding of: .1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; .2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation. GC8 Understanding of the structural design, constructional and engineering problems associated with building design. GC8 The graduate will have an understanding of: .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. GC9 The graduate will have knowledge of: .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project. GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. GC10 The graduate will have the skills to: .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. GC11 The graduate will have knowledge of: .1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry. GA2 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have:

.1 ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations; .2 ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; .3 ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; .4 critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; .5 understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; .6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and .7 ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

semester 1

semester 2

semester 1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

semester 2

ECSTATIC OBJECT Studio / the Barn / Tutors: Mark Dorrian + Ana Bonet Miro

CONTENTS

GA 1 2 3 4

Studio-C

6 7

Studio-D

GC 1

page:5

YEAR 1

2 3

ATR

ATR ANIMATE MATTER Studio / Parasitic in Beijing / Tutors: Mark Dorrian + Ana Bonet Miro + Paddi Benson

4 5

SCAT

Studio-D

6 7 8

SCAT

Studio-G

ARCHITECTURAL TECHNOLOGY RESEARCH Tutor: Grigor Mitchell Membrane structure

10 11

page:31

Gr oup

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY Tutor: Mark Dorrian Reading [...Virilio]

page:40

page:48

YEAR 2

In dividual

Studio-B

Studio-G

AMPL

2.1 2.2 2.3

2.4 2.5 2.6 2.7

AMPL

GC 1.1

1.2

A CHAIR, ANOTHER STORY WORKSHOP Tutors: Hélène Binet Architectural Phtotgraphy Workshop

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

ARCHITECTURAL MANAGEMENT, PRACTISE & LAW

ACADEMIC PORTFOLIO

Studio-B

page:91

page:79 DESIGN REPORT Tutors: Mark Dorrian + Ana Bonet Miro + Paddi Benson

page:87

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-C

GA 1 2 3 4

Studio-C

5 6

semester 1

ATR

1 2

YEAR 1

STUDIO-C

ECSTATIC OBJECT SANTIAGO DE COMPOSTELA Reliquary / Field Trip / Project Development

semester 2

Studio-D

SCAT

Tutors: Mark Dorrian + Ana Bonet Miro 40 credits

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

Studio-G

In dividual Gr oup

Böhme suggests a different way of considering objects. He is critical of modes of thinking about things that characterise them in terms of closure and inertia, as if they are encapsulated and sealed within themselves.Instead, he proposes to talk about objects in terms of their ecstasies, by which he means the ways in which things move outward from themselves, producing effects in the space around. So, he writes that ‘a thing’s form is … effective to the outside. It radiates into the surroundings, as it were, takes way the homogeneity of the surrounding space and fills it with tensions and movement suggestions’

LO2 -The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3–A critical understanding of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

AMPL

LO1 -The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

semester 1

YEAR 2

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-C

“五行，一曰水，二曰火，三曰木，四曰金，五曰土。” ——《尚书·洪范》

"Five elements, first water, second fires, third wood, fourth metal, fifth earth." -----Shang Shu - Hong Fan (Ancient Chinese philosophy book)

2 3 4 5

Studio-C

semester 1

ATR

1 2

In dividual

Sulfur Fire Fishing

Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3

8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

semester 2

SCAT

WOOD Function / Cause

"It was a magical moment: A sudden flash of bright light sparked on the sea and, like a crazy dance, fish jumped out of the water. The whole atmosphere is so mysterious and full of charm against the darkness and the flames." Existing for more than one hundred years, fishermen in Jinshan District, north of Taiwan, took advantage of this unique traditional technique to fish at night all over the world. In the darkness, fishermen took a small boat to reach the specific area and put the bamboo with sulfire stone into the water and pulled it out of the water surface. The stone gave out intense light when it met water and the fish which had the character of phototropism would jump towards the sparks and fishermen took the opportunity to catch fish on board with nets.

6.1 6.2 6.3 7.1 7.2 7.3

METAL Solidification

Studio-G

With the advancement of fishing technology, such a unique and ancient culture facing the dilemma. Just like the fishing vessels in boundless dark, the culture was glorious but going to disappear in history.

AMPL

Studio-B

土火金木

semester 1

FIRE Energy

EARTH Dissipate

YEAR 2

WATER Flow / Circulation

semester 2

The Five Elements Theory is a spontaneous and spontaneous dialectical thought of the ancient Chinese materialistic philosophy. It believes that the five basic conditions of wood, fire, earth, metal and water are indispensable attributes of the world. These five characteristics are mutually dependent and mutually constrained, and are in constant movements. This doctrine has a profound influence on later ancient philosophy, such as Chinese astronomy, meteorology, chemistry, mathematics, music and medicine. Thus the extreme forms of empiricism and mysticism run through the entire ancient Chinese scientific theory system. But many scholars believe that the ancient Chinese concept of nature, especially the five elements of therapy, hindered the advancement of science, so it is gradually disappearing.

Chinese FIVE ELEMENTS

Studio-D

水

4 5

YEAR 1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-C

GA WATER: Flow / Circulation

1 3 4 5 6 7

Studio-C

semester 1

Studio-D

YEAR 1

METAL: Solidification

ATR

semester 2

6 7

SCAT

EARTH: Dissipate

Studio-G

2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

The reliquary enshrines an almost-extinct fishing technique, which uses sulphur to create a flare in the sea. Based on Chinese philosophy, which believes that five key elements complete the circle of life, the reliquary – whose glinting metal pins symbolize the burning sulphur – commemorates the interaction between fishermen, fish, and the sea.

AMPL

2.1 2.2 2.3

Reliquary

YEAR 2

FIRE: Energy

semester 1

In dividual Gr oup

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

In dividual

Studio-B

AMPL

Clay Cracking Experiment

The texture of the clay inside the reliquary affects the upper device. This experiment explored the fluid and crack texture of clay.

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-C

GA 1 2 3 4

Studio-C

5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

6 7

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

YEAR 2

2.7

GC 1.1

1.2

1.3

4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

Reliquary Reliquary has multiple layers, which can be opened step by step, and the texture between each layer affects each other. Connected with the lid, The fishing line in clay acts as the bone of it.

semester 2

3.1 3.2 3.3

Studio-B

2.1 2.2 2.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

In dividual SCAT

Studio-D

Studio-G

ATR

AMPL

Studio-C

Studio-B

2 1

Gr oup

Filed Trip The main task for the field trip to Santiago de Compostela is to identify and record locations that will form the sites for the projects to be developed during the rest of the year in the MArch studio. But this is a too-simple way of putting it, for the visit is also importantly about the complex experience of being in the place, about beginning to frame a personal response to that and, at the same time, about developing an insight into its cultural conditions and the contemporary issues that it faces.

Site: the Allotment

Just to the west of the cathedral of Santiago de Compostela, the destination of the Way of St. James and one of the most popular tourist European destinations, is a quiet area of agricultural allotments ringed by housing. Wandering through it, it is half-deserted and half full of life.

1 2 4 5

Studio-C

6 7 GC 2

ATR

Studio-D

6 7

SCAT

In dividual

Studio-G

Studio-B

AMPL

Gr oup

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-C

GA 1 2 3 4

Studio-C

5 6

semester 1

ATR

1783

YEAR 1

3 4

Studio-D

1907

semester 2

1968

SCAT

8 9 10

1984

Studio-G

In dividual Gr oup

semester 1

2014

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

1.3

3.1 3.2 3.3 4.1 4.2 4.3

Starting from the research of history mapping, the research is about the transforming of the road in the allotment and the relationship with the height difference and surrounding housing. Expanded its only remaining road into the allotment and introduced additional paths of the entrance, the project includes a kindergarten, a walking system in the allotment and a free local market.

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

The project proposes a 24 hours/ weekly/ seasonally-cycled complex, where cultures of care (children, elderly people) and of production (vegetables, fruit, honey, etc.) intertwine.

Studio-B

1.2

2.1 2.2 2.3

1.1

semester 2

Start from History Map

YEAR 2

2.7

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-C

GA 1 2 3 4

Studio-C

5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

6 7

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

YEAR 2

2.7

GC 1.2

1.3

3.1 3.2 3.3

Studio-B

2.1 2.2 2.3

'BARN'

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

The project, a delicate linear building that floats above the allotments, follows the line of an existing path, providing accommodation for a kindergarten and community activities. Ecstatically, it both connects out into the surrounding landscape, and receives from it as a kind of collective and communal ‘barn’. Weaving into the landscape, it also plays its part in weaving together the lives of the community who use it in accordance with rhythms of life and of cultivation.

semester 2

4.1 4.2 4.3

40M

1.1

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

AMPL

Using acrylic, different history maps are stacked under the model, and the relationship between the model and the history map and surrounding housing can be observed. Clay gave materiality sense of the allotment. The Tracing paper manual can be used to stack any layer to dig the relationship between them, including historical maps and paths, contours, water flow, etc.

Studio-B

Semaster Exhibition

In SCAT

Studio-D

Studio-G

ATR

AMPL

Studio-C

Studio-B

2 1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-D

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

3 4

STUDIO-D

Studio-D

semester 2

ECSTATIC OBJECT SANTIAGO DE COMPOSTELA Resolution: the Barn

SCAT

Tutors: Mark Dorrian + Ana Bonet Miro 40 credits

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

LO2 -The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 –The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 –A critical understanding of, and development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques) to explain a design project.

AMPL

Gr oup

Each student needs to push their project forward on several interconnected fronts – to do with the programmatic ideas that drive the work (what the project will be for, what it does, who it addresses, the kinds of spaces it needs, etc.); the response to the site (how it is constituted, how the project takes up a position or positions within it, how the project transforms the site and shifts its relationship to its context, etc.); and the representational tools and techniques deployed (choosing the best way to study and evolve the developing project – through drawings, models, other kinds of construction, etc.). These will be in a dynamic relation with one another, and the balance will be different for various projects in their current state and is likely to shift over time.

semester 1

In dividual

YEAR 2

Studio-G

LO1 -The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

Studio-B

AMPL

Isometric: 'Barn', Allotment, and Cathedral

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-D

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

3 4 5

Studio-D semester 2

6 7

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6 2.7

City Mapping 1.3

Architecture

3.1 3.2 3.3

Studio-B

1.2

2.1 2.2 2.3

Vegetation Ancient Citywall

5.1 5.2 5.3 6.1 6.2 6.3

Santiago Cathedral

7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

semester 2

4.1 4.2 4.3

1km

Site DR

1.1

YEAR 2

Santiago de Compostela GC

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

MasterPlan In

Studio-G

Long Section

Studio-B

AMPL

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-D

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

3 4 5

Studio-D semester 2

6 7

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

The project uses a light steel structure, which is easy to assemble and disassemble with transportation through the narrow path. Along the path, an overhead floor allows the building to float on the field. The design of the column minimizes sight obstruction. The tool shed scattered in allotment organizes the entire site. Meanwhile, the tool shed structure is also used on the facade of the main project to store books and sundries in the kindergarten, as well as control the light.

Studio-B

1.1

semester 2

Resolusion

YEAR 2

2.7

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

Studio-B

AMPL

Development Paper Model Testing the different functional space and walking circulation

In SCAT

Studio-D

Studio-G

ATR

AMPL

Studio-C

Studio-B

2 1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-D

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

Ground Floor

YEAR 1

3 4 5

Studio-D semester 2

6 7

SCAT

8 9 10 1

Studio-G

In dividual

semester 1

Gr oup

Basement

AMPL

2.4 2.5 2.6

YEAR 2

2.7

GC 1.3

Legend:

3.1 3.2 3.3 4.1 4.2 4.3

1.Activity Room 2.Common Room

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Studio-B

1.2

2.1 2.2 2.3

semester 2

1.1

20m DR

2.1 2.2 2.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-D

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

3 4 5

First Floor

Studio-D

semester 2

6 7 4

SCAT

8 9

Studio-G

In dividual

semester 1

Gr oup

AMPL

2.3 2.1 2.2 2.3 2.4 2.5 2.6

YEAR 2

2.7

GC 1.3

4.1 4.2 4.3

3. Classroom / Multifuction 4. Kitchen 5. Dining Room

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Studio-B

Legend:

3.1 3.2 3.3

20m DR

1.2

2.1 2.2 2.3

semester 2

1.1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-D

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

3 4 5

Studio-D semester 2

6 7

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

DETAIL The structure is mainly composed of a concrete base embedded in allotment, a light steel structure and a flexible facade-furniture system. The design of the column minimizes sight obstruction. The flexible furniture system can adapt to the change of the space for different functional needs between weekdays and weekends.

Studio-B

1.1

semester 2

YEAR 2

2.7

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-D

GA 1 2 Studio-C

3 4 5

1 2 3 4

ATR

In order to reactivate the full function of the allotment, tool sheds scattered in the allotment organizes the entire site. The components are also used in the facade system of the centre barn for books storage, seats, and sundries for the kindergarten, as well as control the light.

YEAR 1

semester 1

DETAIL: Tool Shed-Facade

Studio-D semester 2

6 7

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

GC 1.1

1.2

1.3

YEAR 2

2.7

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

Studio-B

AMPL

Allotment, Barn, Market and the Cathedral

In SCAT

Studio-D

Studio-G

ATR

AMPL

Studio-C

Studio-B

2 1

JUST BEFORE COVID The Last Physical Exhibition in the two years Cross Studio Review 11 Mar 2020

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Technology Research

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

YEAR 1

5 6

Studio-D

ARCHITECTURAL TECHNOLOGY RESEARCH

semester 2

Research on membrane structure

SCAT

Course Organiser: Kate Carter Project Tutor: Grigor Mitchell 20 credits

9 10 11

Studio-G

LO1 -An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg. sustainable design.

In dividual

2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

LO3 –An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4 -An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

AMPL

2.1 2.2 2.3

LO2 -An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

semester 1

This course emulates the role of the researcher- practitioner, recognising that most architectural projects necessitate a level of technological investigation as a prerequisite to successful integrated design. The course runs throughout Semester 1 with a series of trigger lectures on contemporary architectural technology and environmental issues. Students are required to develop and research a particular technological theme. The output from this will be prepared and presented as a report to be shared with all students on the M.Arch programme through the LEARN the online student environment.

YEAR 2

Gr oup

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Technology Research

1.1 Contect of Research

01 Introduction and Background

1.1 Contect of Research

01 Introduction and Background

6 7

300℃

150℃

PC PA 6-3-T

This increase in architectural usage has much to do with the relatively low carbon footprint of ETFE, compared with conventional building materials. Used for building envelopes, the material reduces the (adverse) environmental impact of the construction industry from the following two points of view:

100℃ PMMA PVC PS,SAN,ABS

i. Embodied Energy ETFE foil is produced by transforming monomer TFE into polymer ETFE via polymerisation, a process that is relatively quick, low energy consuming, and water-based that involved no solvent (Wilson, 2013).

Weighing less than 1/10 of glass (Table 1-1), the amount of supporting structures reduces significantly (Monticelli et al., 2009). And with its low density, it can be transported efficiently to site and requires no large storage on site (Morris in Craven, 2018).

High performance plastics

ii. Operational Energy One of the biggest advantages of ETFE is its high degree of transmittance for radiation, which can be up to 90% for light in the visible light spectrum and 70% of the total UV spectrum (Schiemann and Moritz, 2010) as shown in Fig. 1-2. Making it an optimum choice for the building envelopes oFf stadiums, swimming pools, greenhouses, botanical and zoological gardens, etc., reducing considerably the amount of artificial lighting for these places.

Technical plastics POM PA 11,PA 12 PP Standard plastics

Glass PVC

Mass (kg/m 3 ) 12 - 48 0.2 – 2.0

Melting Point (°C) 600 – 700 185 - 205

Properties Durability (Years) > 20 15 – 20 (Indoor)

PTFE ETFE

0.4 – 1.6 0.05 – 1.0

327 – 342 300 – 330

> 25 > 30

Material

At the end of a building’s lifespan, ETFE can be recycled almost 100%, through the process of downcycling where ETFE granules from recycled foil are mixed back into the production of ETFE for other applications (Schiemann and Moritz, 2010).

TPI PTFE ETFE PVD

Transparency Recyclability (%) 90 Good 90 (decrease Good drastically after degeneration）

30 96

ETFE is both solvent- and alkali-resistant (Schiemann and Moritz, 2010), making it a very enduring material with some existing projects lasting well over 30 years (Table 1-1).

ATR

The material is anti-adhesive, as well as water- and oil-repellent (Schiemann and Moritz, 2010), reducing the frequency of cleaning needed as compared to glass and other plastics, thus reducing the amount of detergent and water used in maintenance. As such, it is fair to say that ETFE foil has been advanced in the building industry to reduce the environmental burden of building envelopes while achieving new architectural possibilities in terms of aesthetics and comfort.

Not Sure Excellent

Studio-D

semester 1

Since its first architectural use in 1982 by Vector Foiltec on the roof of Mangrove Hall at Burgers’ Zoo in Arnhem, the Netherlands (Schiemann and Moritz, 2010), Ethylene Tetrafluoroethylene (ETFE) has been widely researched and developed, leading to its current popularity as an alternative to glass glazing where structural lightweight, high solar translucency, and complex geometry are required of the space (Moritz, 2007).

YEAR 1

Studio-C

Fig. 1-1 : The plastic pyramid Table 1-1 : Properties of glass and plastics used in construction

semester 2

6 Fig. 1-2: Spectral transmittance of glass and plastic membranes (Knippers et al., 2011)

2.1 Thermal Principles of Air Cushions

02 Thermal Properties and Performance of ETFE

2.1.2b Fluid Dynamics within Cushions

SCAT

8 02 Thermal Properties and Performance of ETFE

2.1.2 (a) Separated Air Chambers

Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

Stated in Number of Method layer in ETFE DETR(2003), Three-layer The guarded Robinsonhot box and Gayle(2003) ANSYS Mainini el al. Twc-layer in-situ (2014) Salz and Twc-layer Schepers Three-layer (2006) Four-layer -

Table 2-2 : U-value of ETFE foil cushion

Horizontal (W/m2K) 2.73

As the inclination of cushion increases, however, convection within increases (Fig. 2-5). Gas particles move greater distance across the membrane and thus transferring more heat energy from the warmer surface to the colder one. Secondary flows fill the cushion, and a larger thermal bridge at the clamped end. Moreover, with a negative temperature difference across the membranes(Fig. 2-6), i.e., warmer on the outside than the inside, a very stable temperature layering is resulted due to the lack of buoyancy driving force. This reduces the amount of convection heat exchange, and heat gain/loss occurs mainly through surface radiation. However, like the positive temperature gradient case, convective heat loss occurs very near the clamped edges.

Vertical(W/m2K) 2.59

In conclusion, the principles and mechanisms stated in section 2.1 demonstrate the two conditions with the greatest impact on heat transfer within air cushions:

2.748 2.9 1.9 1.4

Studio-G

In a horizontal position with a higher temperature on the interior, an effective mixing of temperature is achieved because temperature increases parallel to the direction of gravity. The way buoyancy moves the air leads to relatively uniform temperature across the entire cushion, temperature gradient exists very close to the membrane layers. Only at the clamped edges we see heat plumes rising from the inner to the outer membranes, causing heat flux and loss of heat to the exterior.

As the incident solar radiation reaches the outermost layer of cushion, shortwave radiation will be transmitted, absorbed and reflected. The temperature of the foil increases due to absorption. Whereas longwave radiation will be partly transmitted, and very little absorbed as compared to glass. The same mechanism applies to the 2nd and 3rd layers. With multiple air chambers, the temperature gradient between one layer and the next will be much smaller as compared to single chamber, thus the amount of convective heat loss decreases with smaller convective current. The detailed mechanism of heat flow within cushion had been studied by Antretter et al. (2008) in a Computational Fluid Dynamics (CFD) model, and summarised in the following section.

AMPL

In dividual

Ethylene Tetrafluoroethylene (ETFE) foil has gained popularity in recent years among architects and engineers as an alternative to glass glazing, due to its relatively low carbon footprint both in terms of its embodied energy and operational energy. Air cushions made up of multiple foil layers is the most common form that the material takes when used for building envelopes. As a pneumatic structure, the system depends on trapping and manipulating air inside the cushions to provide for thermal insulation. However, research done in the air build-ups within the cushions and their thermal performance had been limited. This report presents a detailed study on the heat transfer mechanisms within air cushions, as well as proposing two new types of cushion configurations that have shown better thermal performance in testing. It is hoped that this short project can be of help to designers interested in energy optimised designs involving membrane cushion structures.

Based on a CFD modelling done by Antretter et al. (2008), it’s been shown that with a temperature difference of 30K across the two membranes, 70% of the total heat flux is caused by radiation while 30% by convection. As temperature gap increase, heat flux by convection increases.

As mentioned in 2.1.1, ETFE foil in itself has very low thermal resistance. As such, the fact that increasing the number of layers increases the thermal resistance of the cushion has much to do with separating the air into different chambers. The process is illustrated in fig.2-4.

Solar radiation Shortwave radiation Longwave radiation Convection current

Fig. 2-4 : Solar transfer mechanism within a double-chamber ETFE cushion

(1) Average air gap thickness within cushion (2) Amount of convective current within cushion

Studio-B

Projects in recent years have seen the use of two or three air chambers within individual cushions, and such modifications have shown an improvement in U-value of of the cushions as shown in table 2-2 below:

semester 1

GENERIC STUDY

YEAR 2

Fig. 2-5 : Temperature variations for different cushion inclinations (Antretter et al., 2008) Fig. 2-6 : Cushion air flow with different external conditions (Antretter et al., 2008)

semester 2

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Configuration

HOT BOX

Architectural Technology Research

U-Value

GA 1 2

3.33 (3 s.f.) Studio-C

3 4 5 6

semester 1

2.63 (3 s.f.)

ATR

YEAR 1

3 4

Studio-D

2.17 (3 s.f.) 5

Electric Heating Met semester 2

6 7

SCAT

Suggested Configurations and their Corresponding U-values

9 10

Thermometer

BS EN 672-2011 (2011) described a steady-state method of calculating U-value of single, double and triple glass glazing with uncoated surfaces based on the equation below, and the same equation is used to estimate the U-values of proposed cushion profiles. Studio-G

Double Styrofoam Board In dividual

hb is the thermal conductance coefficient of the air trapped inside the ETFE cushions, and is calculated by:

2.4 2.5 2.6

Lid1

AMPL

2.1 2.2 2.3

semester 1

Where he and hi are the exterior and interior heat transfer coefficients respectively.

Gr oup

GC 1.1

1.2

1.3

Lid 2

Where Rb is the thermal resistance of air, given by:

YEAR 2

2.7

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

Lid 3

Where l is the average thickness of air within a cushion, and k is the conductivity of air which is temperature dependent, and we take it to be 20 °C for the purpose of our calculations.

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Technology Research

HOT BOX EXPERIMENT

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

YEAR 1

Studio-D

4 5

Lid1

Lid 2

semester 2

Lid 3

SCAT

8 9 10

Studio-G

In dividual

Procedure:

GA 2.1 2.2 2.3

1.3

3. A FLIR infrared camera is used to monitor the hotbox (fig. 3-3) until the internal temperature reaches equilibrium with the external temperature, and a timer is set to time the entire process.

3.1 3.2 3.3 4.1 4.2 4.3

4. Steps 1-3 are repeated for Lids 2 and 3.

6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Photo of Lid 1/2/3 Experiment setup&process

5.1 5.2 5.3

semester 2

1.2

2.1 2.2 2.3

Studio-B

2. The box is placed with the air cushion in a vertical position as shown in fig. 3-3.

YEAR 2

2.7

AMPL

1. An electric heating pad is placed inside the hot box and heated to 28.6°C. Lid 1 is placed on top to seal the box.

2.4 2.5 2.6

1.1

semester 1

Gr oup

Experiment vedio, click to play

1 2

Studio-C

3 4 5 6 7 GC

ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

also in this link: https://youtu.be/iyj34gxqUkk

Studio-B

AMPL

Stills from experiment video GA 1 3

While the steady-state calculation in table 2-5 shows the separated air chamber (Lid 2) insulates better than the air-joint (Lid 3), the Hot Box experiment has shown the reverse. This could be due to a number of factors which affects the accuracy of the results:

4 5 6

Studio-C

Result Analysis

TIME 0

At time = 0 min Internal temperature: 28.6℃ External temperature: 20.6℃

3 4 5

ii) The construction of a multi-chamber air cushion for Lid 2 was not entirely successful. While in theory it’s one cushion comprised of overlapping air chambers, what was actually built is a number of individual cushions stack together in two layers. This resulted in some unwanted air gaps in between through which hot air can escape.

Temperature loss of Lid 3 occurred in a very steady manner, whereas in Lids 1 and 2, we can see more or less of temperature jump at certain points of the process (~ 10 mins for Lid 1 and ~ 5 mins for Lid 2). Lid 3 has cushion build-up that best eliminates thermal bridges, whereas in in Lids 1 and 2, thermal bridge could occur where the membranes are clamped together. And this renders the internal temperature of Lids 1 and 2 vulnerable and responsible to external temperature changes.

6 7

Studio-D

GC 1

i) While every effort had been made to keep the room temperature as constant as possible, we still see a small fluctuation in the external temperature as captured by the infrared camera. Lid 3 is shown to have started off with a higher room temperature than Lid 1 and 2, which could have contributed to its slower loss of internal heat.

ATR

As such, the experiment shows that air-joint cushions (Lid 3) are best at maintaining a steady internal temperature, whereas multi-chamber cushions (Lid 2) in theory are the most insulating, provided that they are properly constructed to prevent the potential problem of thermal bridges.

9 15

It was established at the beginning that the main aim of this research was to investigate how changing the ETFEfoil cushion configuration will affect its thermal performance. The expected outcome was to propose alternative cushion build-ups which perform better than the commercially available ones used in existing projects, in terms of energy conservation. Two morphologically different air cushions were designed based on two ruling principles of heat transfer mechanism within pneumatic cushions. And their insulating capacity compared with the most commonly used double-layered, single chamber membrane cushion.

20:24

25 26:51

Time taken for internal temperature to reach equilibrium with external temperature

30 (min) Lid 1

Lid 2

Lid 3

Even though it’s been demonstrated that the proposed build-ups perform better than the benchmarking unit in this project, the implication for their applications in buildings is still complex and requires further studies. For instance, the 25x25x25cm insulated box does not in any way represent the real environment enclosed by a building envelope, nor does the balsa wood joints imply the technical feasibility of the system on a building scale. However, this project can be treated as a pilot study in an area not yet explored in regards to using ETFE as a building material. And given the current climate situation, its application in the industry is bound to grow because it harnesses one of the most readily available elements on earth -air, which is free and recyclable.

Studio-G

AMPL

Conclusion

17:45

Studio-B

SCAT

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Technology Research Climate Context – East Scotland

Ethylene tetrafluoroethylene (ETFE) foil has become popular among architects and engineers as a substitute for glass in recent years due to its relatively low carbon footprint, both intrinsic and operating energy. Moreover, ETFE also popular in the refurbishment of old buildings due to its lightweight and flexible structure, short construction period and excellent energy-saving performance. However, it is currently used in public buildings and roofs. By developing an intervention proposal of the Case of Martello Court, which is a council housing in Edinburgh, and evaluating the results. This report explores the possibility of refurbishments in apartment architecture.

1 2 3 4 5 6 7 GC 1 2

4 Intervention Strategy

2.1 Climate Context – East Scotland

2 Contexts

Cloud coverage is high in Edinburgh, as shown in fig. 2.1.3, and experiences only mild seasonal variation over the course of the year. The period from April to October forms the clearer part of the year, with 50% of the time categorised as overcast or mostly cloudy. October to April forms the cloudier part of the year, with an overcast or mostly cloudy sky for 68% of the time.

The overarching strategy is to turn the unused continuous balcony into a thermal buffer zone for the households, thus creating a kind of double facade for improved energy performance.

As such, it would be a reasonable assumption to make that in Edinburgh, the thermal property of ETFE could potentially be put to best use.

Cushion modules from previous study are incorporated in the design

Studio-C

4. Intervention Strategy

semester 1

CONTEXTUAL STUDY

As such, it would be a reasonable assumption to make that in Edinburgh, the thermal property of ETFE could potentially be put to best use.

ATR YEAR 1

3 4

Fig. 4.1 Turning the unused balcony into an environmental buffer zone

Fig. 2.1.3 Cloud coverage of East Scotland across the year

Fig. 4.2 a cushion module from Generic Study

Fig. 2.1.4 Sky condition of Edinburgh across the year (WeatherSparks, 2019)

Studio-D

4.1 Prototyping

4 Intervention Strategy

4.1 Prototyping Ventilation Consideration

4 Intervention Strategy

semester 2

SCAT

8 9 10

Studio-G

In dividual TPYE 1

TPYE 1.1

TPYE 1.2

TPYE 1

TPYE 1.1

TPYE 1.2

TPYE 2

TPYE 2.1

TPYE 2.2

TPYE 2

TPYE 2.1

TPYE 2.2

semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

GC 1.2

1.3

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3

Fig. 4.1.1 six prototypes to create a buffer zone

Fig. 4.1.2 ventilation measures of prototypes

7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

semester 2

4.1 4.2 4.3

1.1

YEAR 2

2.7

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Technology Research

Human Factors

In respect of the autonomous nature of each household, the design is devised as a unit-based intervention. Meaning that one household's choice of whether or not to carry out the ETFE retrofit has no consequence on the neighbours' units.

1 2

5 6 7

semester 1

Studio-C

Each household has the freedom to choose whether or not they want ETFE cushions outside their home, and how much of it they want. I.e. whether to have normal glazing for windows or ETFE cushions for even better energy performance.

When two adjacent units on the east/west side booth choose to implement the ETFE refurbishment, their private balconies can be transformed into additional sun spaces suitable for both indoor uses and open air activities.

ATR

An interesting outward character can be resulted from the choices of the residents as shown in fig. 5.1.

YEAR 1

Studio-D

4 5

semester 2

6 Martello Court isometric, typical floor

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

YEAR 2

2.7

GC 1.2

1.3

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 semester 2

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Martello Court

Final intervention model

Final intervention model DR

1.1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Technology Research

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

YEAR 1

Studio-D

4 5

semester 2

6 7

SCAT

8 9 10

Conclusion 11

The introduction ETFE cushion system can definitely improve certain indicators of the EPC for a dwelling, such as Fabric Energy Efficiency. However, the energy saving appears to be meagre compared to the increase in initial cost. Therefore, it may take a long time to offset the initial cost.

GC 1.1

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Cost ETFE cost: 23m*2.5m*2*1.4=322 ㎡ ETFE area: 23m*2.5m=57.5 ㎡ Estimated construction cost : 10350£ - 17250£

The feasibility of this research in real life projects depend very much on the further advancement of ETFE technology. Steady air pressure needs to be maintained within the ETFE layers to form the inflated cushions, a system which is currently too complex to use in small residential projects. However, with research and innovations developing at the current fast pace, it is highly probable that a breakthrough will be achieved in the near future.

AMPL

2.7

Studio-B

2.4 2.5 2.6

2.1 2.2 2.3

YEAR 2

semester 1

The cushion system is capable of creating strong visual impact, and can potentially transform a derelict building into an urban landmark. With ETFE’s high transmittance, views out of the window can be preserved as much as possible, although the curved surfaces can cause slight contortions at times. As a modular system, each individual cushion can be designed to be openable, allowing for easy management of air circulation.

Gr oup

semester 2

In dividual

Studio-G

This research was carried out to investigate the thermal potential of ETFE cushion system, while exploring the architectural possibilities that the material offers.

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Studies in Contemporary Architectural Theory

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

5 6

Studio-D

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

semester 2

Reading [...Virilio]

7 8 9

SCAT

Tutors: Mark Dorrian 20 credits

10 11

2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

LO2 -An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture. LO3 -An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media.

AMPL

2.1 2.2 2.3

This seminar option will explore the writings and ideas of the cultural theorist of space, technology and velocity, Paul Virilio. Virilio is unusual in that he is a widely influential critic and theorist whose background lies in architecture. This makes him particularly interesting for us as it allows us to see how a kind of architectural thinking can develop in an expanded way into a broader cultural critique.

semester 1

YEAR 2

In dividual Gr oup

Studio-G

LO1 -A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame.

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Studies in Contemporary Architectural Theory

GA 1 2 Studio-C

3 4 5 6 semester 1

7 GC

ATR

1 2

YEAR 1

3 4

Studio-D

4 5

semester 2

6 7 8

SCAT

9 10

In dividual

Studio-G

Reading Notes semester 1

Gr oup

GA 2.1 2.2 2.3

AMPL

2.4 2.5 2.6

1.2

Produce a set of weekly journals to record ongoing crisical reflecsions and responses to the weekly reading and seminar discussions. Based on the throey of Paul Virilio, reports and claborate upon the significant of some aspect of the readings for contemporary architecture and urbanism. Entries should be at least 500 words and illustrated as appropriate.

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3

6.1 6.2 6.3 7.1 7.2 7.3

Studio-B

1.1

semester 2

JOURNALS

YEAR 2

2.7

8.1 8.2 8.3 DR

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Studies in Contemporary Architectural Theory

GA 1 2 3

Contents of Journals

Bunker and Ecological Warfare

Week2 Monday 27 January

Bunker / Archaeology Paul Virilio, ‘The Monolith’ and ‘Albert Speer’, in Bunker Archeology (New York: Princeton Architectural Press, 1994): 37–47; 55–61. Peter Sloterdijk, ‘Gas Warfare – or: The Atmoterrorist Model’, in Terror from the Air, Foreign Agents Series (LA: Semiotext[e], 2009): 9–46.

2 3

However, what is henceforth called "ecological warfare" existed from ancient times, and the invention of modern weapons only extends and amplifies a long generation of combat means. (P.42 Bunker Archeology-Monolith)When the concept of "ecological warfare" is mentioned, the discussion of bunkers rises from the physical aspect to the

Unlike the Atlantic Wall, the Great Wall of China is also a linear fortification for farming culture against nomads. In the era of cold weapons, it did have its military significance objectively. Up to now, the Great Wall still means a lot to Chinese people. As one of the seven wonders of the world, it is not only a landmark of China but also a symbol of cohesion for Chinese nation, which often appears in various graphics and lyrics. As a fortification that has lost its military significance, it provides a continuous perception supply to Chinese society. The Allied air fleet put into practice a new tactic of destruction: zone bombing with a view to destroying not precise objectives but whole regions. (P.58,59 Bunker Archeology-AlbertSpeer)In 1943, the turning point of World War II appeared due to the change of the Allies' bombing strategy. Furthermore, nuclear weapons were employed in battlefields, and eventually, the Nazis surrendered unconditionally. Destroying the entire city does not have much benefit in the political and military

In the book "Terror from the Air" (Peter Sloterdijk, 2009), the author introduced the emergence of gas warfare and terrorism. He referred to the concept of "second artillery": Instead of aiming at the soldiers and their emplacements, it targeted the air surrounding the enemy body, fuzzing the notion of a "hit." (P.18 Terror from the Air) Air is an essential material for human beings, and no one can resist this blow by stopping breathing; thus, a terrifying atmosphere is created. Of course, gas masks are invented at the same time. Because of the colorless and odorless gas, soldiers always had to wear gas masks, which enhance this terror. Philosophically, one could speak of a rephenomenalization of the aphenomenal. (P.32 Terror from the Air) For instance, during the current COVID-19 epidemic, most people do not be infected or see the infection of people around them. But to control its outbreak, the media needs to create and render this atmosphere of terror. For such behaviors as wearing masks and even goggles, no matter if there is a real effect in preventing viruses, what is the most significant may be the appearance of such protective equipment in every public space. It does create a terror for the epidemic and let everyone pay more attention to prevention, to control the outbreak. From gas warfare to nuclear weapons, the advancement of weapons of mass destruction has made defense almost impossible. Compared with the actual lethality it may cause, the "lethality" of this weapon comes more from the terror it can bring. The bunker has witnessed the transformation of war space from 2D to 3D, and the ecological war has witnessed it from 3D space to the loss of physical dimensions. Trade wars, information wars ... The war may never stop, nor will it stop.

Oblique

ATR

If man has no need for the machine to live in his natural environment, he needs the machine to survive in a hostile one. (P.41 Bunker ArcheologyMonolith) The bunker is not for a dwelling; it is a survival machine in Warfare. It is to provide conditions for performing specific actions at specific times, like armor in the battlefield or raincoat in the rain. The thick and sturdy outer wall of bunkers was not intended to last for a more extended period, but to be transformed into a force that resists the impact from artillery shells. He compares a bunker to a shipwrecked submarine on a beach. The shape of the submarine, the windows, the periscope, seems anachronistic without the deep-sea context, just like bunkers in World War II. However, the bunker also conveyed a message to us-just like the inscription on the monolith. Modern weapons range from polymer weapons to nuclear weapons. The human world is a world of particle movement, which is the inscription on the monument.

1-Bunker and Ecological Warfare 2-Oblique 3-Film 4-The City 5-Big Data and Everyday Life 6-Bibliography/Images

aspects. Here more is to destroy the perception of the whole country through regional bombing. The battlefield is the perception field.

Week3 Monday 3 Febuary

Week6 Monday 2 March

The City

Big Data and Everyday Life

Architecture Principe and the ‘Function of the Oblique’ Pamela Johnston, ed., The Function of the Oblique: The Architecture of Claude Parent and Paul Virilio 1963–69, AA Documents 3 (London: AA Publications, 1996). ‘Time Bunker: Archeology’, in Paul Virilio and Sylvère Lotringer, Crepuscular Dawn, Foreign Agents Series (LA and New York: Semiotext[e], 2002): 21–45.

The City Paul Virilio, ‘The Overexposed City’, in The Lost Dimension (New York: Semiotext[e], 1991): 9–27. Scott McQuire, ‘The Politics of Public Space in the Media City’, First Monday, Special Issue no 4, Urban Screens: https://www.firstmonday.org/articleview/1544/1459 John Armitage, ‘In The Cities of the Beyond: An Interview with Paul Virilio’, 1 November, 2009. 2020:War Zone Amsterdam. onlineopen.org

A Detour Through Perec Georges Perec, ‘Approaches to What?’ (from L’Infraordinaire), in Species of Spaces and Other Pieces (London: Penguin Books): 209–211. Georges Perec, An Attempt at Exhausting a Place in Paris (Cambridge, MA: Wakefield Press, 2010). Paul Virilio, ‘Tabula Rasa’, in City of Panic (Oxford and New York: Berg, 2005): 1–24. Scott McQuire, ‘Virilio, the “Infra” Urban and the Logic of Big Data’, Media Theory, 11 October, 2019.

Week7 Monday 9 March

Studio-D

GC 1

Ideology aspect. Virilio believes that the battlefield is the perception field, and various fortifications have not only their physical meanings but also a psychological, perceptual supply. At that time, there were many regions other than Germany. The languages and cultures were very different among different areas. The Atlantic Wall runs through Europe, and its construction took plenty of time and effort.[Fig.1] Coupled with vigorous propaganda, it gave civilians and soldiers a sense of security and cohesion. The intense propaganda around the construction of the Second World War's fortifications (the Maginot Line as well as the Atlantic Wall) reveals their theatrics, their necessarily spectacular side. (P.47 Bunker Archeology-Monolith) The entire line of defense ranges from the old-style wooden stake obstacles to the advanced electronic means. Rather than being a fortification, it is more like a theater, revealing the ambitions of the Nazis.

semester 1

With the new possibilities of not only horizontal but vertical destruction and invasion, a metamorphosis in the game of war took place once again. (P.40 Bunker Archeology-Monolith) In Virilio's perspective, Atlantic Wall, the most extensive line of defense in European history, was doomed to failure from the beginning of its construction. In the aspect of war space, at that time, warfare not only occurred in two-dimensional battlefields anymore with the emergence of aircraft, which led this linear defense lost its physical significance. Space was at last homogenized, absolute war had become a reality, and the monolith was its monument. (P.40 Bunker Archeology-Monolith)

YEAR 1

semester 2

Studio-C

Fig.1 Bundesarchiv_Bild_101I-259-1379-24A,_Südfrankreich,_Atlantikwall,_Bau

9 10

… Clay is fashioned into vessels; but it is on their empty hollowness, that their use depends… Therefore, what has a (positive) existence serves for profitable adaptation, and what has not that for (actual) usefulness. (Chapter11, Tao te Ching) Take the example of vessels in ancient Chinese philosophy. Clay provides benefits for people, and hollowness is actually used. You just have to accept that there are no useless surfaces in the "oblique function." (P.33 Crepuscular Dawn) In "Oblique Function", there is no concept of a wall, only surface and sub-face, all surfaces can be combined

with furniture for human use; meanwhile, the other sub-faces are enclosed and provide shelter, forming a space. The introduction of the VECTORS of tiredness (ascent) and euphoria (descent) combats the neutrality of the users of a place and gives 'direction' to its occupation. (P.69 The Function of Oblique) Virilio holds the view that under the action of gravity, the human body's weight is a crucial element of architecture. However, when the floor slab is sufficient to bear the weight, the problem of weight does not exist. Inclined plane makes humans aware of the relationship between their bodies and buildings. Since people are used to movement on a flat plane, actually, it is difficult to perceive that they are in a three-dimensional world if they only have the vision. However, even if people lose their vision, they can sense the spatial status such as direction while walking on an inclined surface. Climbing or descending diagonally are different again; and walking laterally is different as well. (P.36 Crepuscular Dawn) This can be well reflected in parkour. Through the relationship between the body and planes of various angles and heights, the potential of human body functions can be maximized. The

latest convention of parkour philosophy has been the idea of "human reclamation". [1] Andy Tran of Urban Evolution clarifies it as "a means of reclaiming what it means to be a human being. Parkour players are fast and free across all obstacles Sports, measuring the city or building with your body. In a trailer that was shot in Casa De Musica building in Porto, Portugal, [Fig.2] free runner Chris Lodge tries to run through space and maximizes the relationship between every plane in the building and his body. For conventional, floors, stairs, doors and railings; for unconventional, walls, tops of walls, and seatbacks. In normal demonstrations in architecture, it is difficult to achieve the real expressiveness of this space, but it is much better when observers follow the parkour. Unfortunately, because almost no customers can accept living on slopes, they are eventually forced to abandon the design of oblique architecture. Then Virilio's focus of research shifted from TOPOLOGY to DROMOLOGY. But I think that with the informatization of space in the post-industrial era, this is better Non-Euclidean research, instead.

[1] "Two Theories on Parkour Philosophy". Parkour North America. 7 September 2007. Archived from the original on 12 July 2012. Retrieved 16 April 2008.

"Does the metropolis possess its own facade? At which moment does the city show us its face?" Virilio holds the view that the dimension of the city has disappeared with the development of high-speed transportation since the 20th century. Entering the city through the city gate is no longer necessary, but through the railway station or airport. The border inspection originally set up at the city gate has been moved into the interior of the station and transformed into cameras, radars, and detectors on restricted passageways. The phrase "to go into town," which replaced the nineteenth century's "to go to town," indicates the uncertainty of the encounter, as if we could no longer stand before the city but rather abide forever within. (THE LOST DIMENSION, p .12) For people in citys, countryside seems to be farther away than another city. Thanks to the great transportation network formed by the airportrailway-metro, the masterplans of cities are always expanded around the transportation center. It is difficult for people to escape from cities. Conversely, the city's transportation also promotes the city's expansion. This can be witnessed in many cities in China. By the end of 2018, the total mileage of high-speed railways in China reached

35,000 kilometers, ranking first in the world.[1] Different from ordinary railway stations, highspeed rail stations are mostly planned on the outskirts of the city- the area where the city will start a frantic expansion.The entire high-speed railway network is directly under one department, who determines the architectural design of the railway stations.. For efficiency, in cities of the same size, the internal of high-speed rail stations are almost identical. The only difference is the facade of each station, and the giant characters above. Between two moments from inbound to outbound, nothing can make you feel that you have left the city.(Except for the movie-like scenery outside the windshield, it gives you the "illusion" of being in the suburbs.) The only change is the shift of the station façades, or in other words, the city facades.[Fig.4,Fig.5] The cities on the entire continent have contracted within 24hours' spacetime because of the high-speed rail. However, the contraction of geography is much more than that. The acceleration is accelerating further. With the interfacing of computer terminals and video monitors, distinctions of here and there no longer mean anything. (The Lost Dimension, p.13) The real space of cities lags behind the

real time information and communications technologies. On many occasions, it is not necessary to go through physical travel. Humanscreen-human information exchanges are characteristic of the most cases now. Compared to the speed of transportation, the speed of faster information transmission speed is more closely related to our lives today. "With the mobile phone revolution, then, cities are now us." Virilio said," And cities have become something like a snail shell on our bodies." (In The Cities of the Beyond, p. 4) The role of geographic cities is diminishing, or transforming. The relationship between humans and cities(world) has partly become the relationship between humans and mobile transmission technology, and the trend may continue and accelerate.

[1] "I rode China's superfast bullet train that could go from New York to Chicago in 4.5 hours — and it shows how far behind the US really is". Business Insider. Insider Inc. 2018-10-27. Retrieved 2018-10-27.

Fig.6 Place Saint-Sulpice, Paris (1948). Photograph by Edouard Boubat.

"We are confronted with the imminence of this metamorphosis." Virilio wrote in his own journal, "Architecture Principe." Limited by the Euclidean form, only the architectural forms shift according to the trend, and there is no essential change. My particular concern was to enter into topology, in other words, into non-Euclidean spaces, to use vague forms, including at the level of the floor. (P.29 Crepuscular Dawn). In the Oblique Function proposed by him and Claude Parent, instead of using horizontal floors and vertical walls, they used the continuous oblique plane to create space. On the one hand, the used area is enlarged under the same circumstances; on the other hand, due to the effect of gravity on the body, it reflects the fundamental design element of the physicality of the building space.

Fig.4 Xi'an North High-speed railway station | Fig.5 Yongning Gate, Tang dynasty, Xi'an

fig.2 Screenshots of the official trailer for ‘REM’ documentary, in Casa De Musica building in Porto, Portugal, direct by Tomas Koolhaas.

7 In An Attempt at Exhausting a Place In Paris, Georges Perec documented what he saw in Place Saint-Sulpice for three days in an attempt to "exhaust" the place. This book looks like a detailed list of things and people. Perec attempted to use this method to awaken people to observe and question their everyday life. "Question your tea spoons." As he mentioned in another book L’ Infra-ordinaire. Virilio is very interested in Perec's project, and he even appeared in Saint-Sulpice on the second day's description in the book. He was later moved to equate Perec's observational approach with the machinic gaze of a camera. So, he [Perec] attempted to record everything, as would a surveillance camera: to record the ordinary, the banal, the habitual. That is, the signs of an event to which we may not have paid any attention, that we may not even have perceived.[1] However, different from Perec's motivation, Virilio paid attention to the relationship between people and technology. In 1994, he argued in the lecture "the Vision Machine" that what he calls the 'vision machine' arrives when the image is no longer made by a 'photographer' nor addressed to a human observer. Neither operator nor witness, the human has become incidental to the machinic image.('Virilio, the "Infra" Urban and the Logic of Big Data') In my perspective, in this process,

humans have changed from active to passive in the relationship with the machine. For instance, after the monitor has played its role in social life (such as crime prevention and obtaining evidence), the vision machine dominates. Moreover, humans give it a function of searching, for watching all the videos takes massive time. This is the prototype of artificial intelligence. Although humans can view these images and videos, the truth is that humans have become objects of surveillance. It is the same when this applies to big data. As of the end of 2018, governments in twelve provinces in China have established Big Data Administration[2] to centralize the supervision and use of data. This confirmed that China had entered an information society. In a socialist country, big data is as important as land and property, and it has become an essential part of public social daily life, which is collected and managed by governments. However, what differs from the visual machine is that the collection of big data no longer depends on a fixed device; it has been "transplanted" into the human body. Virilio argued that the third revolution of speed is "transplants revolution," a part of which is the mobile phone revolution, which is a part of the mobile phone revolution. The latest largescale practical application is in China. During the

COVID-19 epidemic, a digital health code, which determines whether a person is at risk of infection, is required to enter public places. Through the real-time recording of location information, the spread of the epidemic can be controlled at the fastest speed. At this time, citizens' location information becomes public. It is separated from the three-dimension space and the two-dimension screen, and it has become pure big data. The selfprocessing of information is inevitable with the development of information technology. Hawking Stephen stated that "the potential benefits are huge... Success in creating AI would be the biggest event in human history. It might also be the last, unless we learn how to avoid the risks."[3] The guards‘ refuse of people's entering is only the phenomenalization of the fact that the human has become incidental to the technology.

SCAT

[1] Walker, E. and Virilio, P. (2001) ‘Paul Virilio on Georges Perec: Interview by Enrique Walker’, AA Files 45/46, pp. 15-18. [2] The basic situation of China's Big Data Administration. (2018) http://www.echinagov.com/info/244106 [3] Hawking, Stephen; Tegmark, Mark; Wilczek, Frank (1 May 2014). "Stephen Hawking: 'Transcendence looks at the implications of artificial intelligence – but are we taking AI seriously enough?'". The Independent. Archived from the original on 2 October 2015. Retrieved 3 December 2014.

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

1.2

Week4 Monday 10 Febuary

1.3

Machines of Vision Paul Virilio, ‘Cinema Isn’t I See, It’s I Fly’, in War and Cinema: The Logistics of Perception (London and New York: Verso, 2000): 11–30. Friedrich Kittler. ‘Film’, in Gramophone, Film, Typewriter (Stanford: Stanford University Press, 1999): 115–133.

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

In "War and Cinema", Virilio compares the camera with the automatic gun and the camera shutter with the aircraft launch weapon button. Camera, as a machine that can create perception, is also a kind of weapon. Pastrone showed that the camera's function was less to produce images (as painters and photographers had long been doing) than to manipulate and falsify dimensions. (I See I Fly, p.21) From Pastrone's point of view, different from images, movies are a means of creating visual hallucinations. Advances in modern film technology have made this hallucination feel like real. There are several elements in cinema, the realism of each image (including color, sharpness, 3d film), the Frame per Second(FPS) of the film, and the movement of the lens. 35 mm format with twenty-four times a second is a common standard for movies for a long time. In order to obtain a more realistic visual experience, a larger film and screen mean a larger field of view, and more information. 70mm film IMAX and 3D films are now standard equipment for many movies. What is more controversial is the lens movement and the FPS.

Cinema-truth may be produced twenty-four times a second by the motor of the camera, but the first difference between cinema and photography is that the viewpoint can be mobile, can get away from the static focus and share the speed of moving objects. (I See I Fly, p.21) Since Etienne-Jules Marey invented the chronophotographic rifle,[Fig.3] continuous shooting of moving objects has become possible. After that, the movie's montage narrative became commonplace. However, Long Take is still a popular shooting trick that is sought after by many directors. Appearing as two continuous shots, the film "1917" directed by Sam Mendes, received widespread praise and numerous accolades in 2019. In the movie, the camera followed the two young British soldiers continuously, as if the observer was also a member of the action. The reason why Long Take is more real is that in this kind of shot, it seems that time is uninterrupted. But actually, time is still manipulated (as a commercial movie is limited by time, it is necessary to compress time to obtain more substantial content) Compared with the recognition of long take,

there is much controversy on the issue of frame per second. Literally, more frames in one second mean coherence and more information. However, some people think that this will lose the slightly blurred texture of movement in movie art, making the picture look like a video game or live sports. The director, Ang Lee, who filmed two 120-frame movies,[1] explained that the audience could see someone's face: in the closeup, you can see the subtle details of facial muscle twitching, the movement of the eyeball, which cannot be displayed in 24 frames. This kind of details enhance our true feelings, and changes the audience from "voyeur" to "participant." In other words, when we go to the film from outside with the help of high frame rate technology, what is on the screen is no longer a "movie," but a kind of "reality."

[1] Refer to Billy Lynn's Long Halftime Walk(2016) and Gemini Man(2019)

Format Design Relating to virilio's idea of creating an infinitely continuous inclined plane for oblique space, the format idea of journals is that this is a cube that can be assembled into a oblique cube and can be folded into a booklet.

Studio-B

Film

1.1

Fig.3 DEC 29, 1881 - Etienne-Jules Marey - Chronophotographic gun

semester 2

YEAR 2

2.7

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Studies in Contemporary Architectural Theory

GA 1

The City

2 4

Studio-C

Week6 Monday 2 March

6 7 GC

ATR

semester 1

YEAR 1

Studio-D

4 5

semester 2

6 7 8

2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

However, the contraction of geography is much more than that. The acceleration is accelerating further. With the interfacing of computer terminals and video monitors, distinctions of here and there no longer mean anything. (The Lost Dimension, p.13) The real space of cities lags behind the

Studio-G AMPL

2.1 2.2 2.3

The phrase "to go into town," which replaced the nineteenth century's "to go to town," indicates the uncertainty of the encounter, as if we could no longer stand before the city but rather abide forever within. (THE LOST DIMENSION, p .12) For people in citys, countryside seems to be farther away than another city. Thanks to the great transportation network formed by the airportrailway-metro, the masterplans of cities are always expanded around the transportation center. It is difficult for people to escape from cities. Conversely, the city's transportation also promotes the city's expansion. This can be witnessed in many cities in China. By the end of 2018, the total mileage of high-speed railways in China reached

SCAT

Studio-B

semester 1

In dividual Gr oup

Fig.4 Xi'an North High-speed railway station | Fig.5 Yongning Gate, Tang dynasty, Xi'an

YEAR 2

semester 2

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

6 7 GC 1 2 3 4 5 6 7 8 9 10

4 Technology

5 City

6 Conclusion

7 Bibliography/Images

Studio-C

3 Spacetime

ATR

2 Non-Euclidean

Studio-D

3 4

1 Abstract

SCAT

GA 1 2

According to the interview with Sylvere humans can control devices by touching the Lotringer, Virilio notes three revolutions in screen directly. Touching, as a natural gesture between the "transmission revolution" space will become a stage-like visual existence. speed, each with their Living exemplary technologies people, further makes people and devices In Virilio's descriptionwe ofof the function of oblique, of four-dimensional space and "transplant revolution," cannot deny is This kindprojection of architecture no longer exists in a in three(Virilio and Lotringer,2002, p.96). The first is closer, which one of the reasons why Apple theworld "wall"of is dimension weakened, in and continuity is dimensional space can besimultaneously seen. The geometry that in this speed, some single space and time, but exists transportation revolution, movement acrossBut now there company has achieved success in the emphasized. is nospace. more inside ingreat in the four-dimension cannot appear in virtual of reality has replaced some2010s. reality multiple spacetimes, and is space expressed territories. It isAccording the exemplar the engine, However, this is just the beginning. to the interview with Sylvere humans can control devices by touching the and outside. You have sur-face and sub-face, the three-dimension space. However, it shows a Recently, at the beginning of 2020, because theas adevices through the "narration" of various media. Under Lotringer, Virilio notes three revolutions in screen directly. Touching, natural gesture which has a geopolitical strand. The second Various wearable suchcontinuous as VR glasses, but no more wall. (Virilio and Lotringer,2002, space without a wall in the concept speed, each with their exemplary technologies people, further makes and devices spread of the virus takes description placeof in real space, the this context, the boundaries of space architecture In Virilio's of the function ofpeople oblique, projection of our four-dimensional in three- will complicates standard notions of time and smartwatches come out in life.function Contents (Virilio and Lotringer,2002, p.96).InThe first is closer, which is one of trying the reasons whycontinually Apple drawing p.33) my opinion, this is a thought to of "the of oblique," which has the "wall" is weakened, and continuity is success dimensional space canproduct be seen. The geometry outbreak of COVID-19 worldwide has promoted beinrelate impacted again. The of this is the transportation revolution, movement across company has achieved great the space, which is the transmission revolution, These everyday devices to each physical Living between the "transmission revolution" space will become a stage-like visual existence. approach higherFor dimension space. thefour-dimension same character tesseract. emphasized. But now there isofno more inarchitecture. the spacewith cannot appear in [Fig.1][Fig.2] territories. Itthis is thetrend exemplar of the engine, 2010s. However, this justinside thearchitecture beginning. immediately. the control vision andterritory "transplant revolution," we cannot deny This kind of no longer exists in a the movement independent from made movement ofissub-face, humans, and thus "occupy" outside. You have sur-face the three-dimension space. However, it Spacetime shows a Spacetime which has a geopolitical strand. Theand second Various wearableand devices such and as VR glasses, City City Conclusion Technology Technology Non-Euclidean Non-Euclidean Abstract that in this world of dimension in speed, some single space time, but exists simultaneously virus diseases using airmore as awall. medium of come possible by communication This human's body. It seems be just a matter but no (Virilio and Lotringer,2002, continuous space without a wall in the concept complicates standardtechnologies. notions of time and smartwatches out continually into ourand life. virtual reality has replaced some reality space. in multiple spacetimes, is expressed In 1755, Lagrange wrote in his Mécanique On the other hand, because of human's transmission, it seems that only spatial isolation Second, infrastructure, which is functional which is the revolution, These everyday devices relate totoeach physical p.33) In my opinion, is a thought trying of "the function of oblique," which has Recently, atto the beginning of 2020, because the through the "narration" ofdrawing various media. Under moves us fromspace, localized realtransmission space globalized ofthis time for electronic devices to "occupy" analytique that mechanics be viewed of their body, people may be transmission, it is more difficult to movement independent from territory made movement of humans, and thusthe "occupy" the of the virus takes place in real space, the this context, boundaries architecture will Human beings live in time and character space. Time information approach higher dimension space. the same with tesseract. [Fig.1][Fig.2] is the spread best means of prevention andcan control. space, isofawareness related to the maintenance, cyberspace. These transmission technologies the human brain further. At the launch event possible by communication technologies. human's body. It seems to be just a matter outbreak of COVID-19 This worldwide has promoted be impacted again. The product of this to is the as operating in a four-dimensional space — closer the high dimensional consciousness. and live space have been critical determine the view Human beings in time space. Time dimensions information transmission, it is more difficult to of time and space now. What we may overlook, production, information, and supplement Virilio, intoand part materialist, humanist, and trend immediately. For however, the control of is vision architecture. moves us localized real space to globalized of time forwithout electronic devices "occupy" are getting smaller allfrom of thethis time (Virilio, of Neuralink company inaJuly, Musk In 1755, Lagrange wrote infor hisone Mécanique OnElon the other hand, because ofview human's three dimensions of space, and of time. introduction of the VECTORS of space now. and space have been critical dimensions determine the of time and people their activities and virus diseases using air as a it medium of human cyberspace. These transmission technologies the brain further. Atto thedetermine launch eventisThe information technology, is impossible for of human's lives, such as airports, hospitals, phenomenologist, negative in advanced 2005, p.162). are These lead us that to only presented their latest research, ofbody, people that can be viewed awareness of their may be (descent) for people to determine their and transmission, it analytique seems spatial isolation Second, infrastructure, which is insertion functional gettingmobile smaller alldevices of(Bell,1965,p.154) the time (Virilio, of Neuralink company inexists July, Elon Musk amechanics space that only inactivities tiredness (ascent) andofeuphoria existential meanings since ancient times. Instations, Paul Velilio's "dromology" discussion of the this globalAsin isolation, from the distribution centers, data factories, technology. He argued that question as apresented four-dimensional space —ancient thethe high dimensional consciousness. is the best means ofoperating prevention and control. space, is related to thetimes. maintenance, existential meanings since In to Paul Velilio's "dromology" discussion of the 2005, p.162). These mobile devices lead us to their latest research, insertion ofcloser the third revolution, that ofunprecedented transplantation, their N1 SENSOR into the human brain through the human imagination, four-dimension space combats the neutrality of the users of a between my perspective, there are three kinds of time relationship What we may overlook, however, is without production, information, and supplement dimensions ofperspective, space, andinto one ofare time. The introduction of the VECTORS of Industrial information and three management of theSENSOR epidemic agricultural facilities, After the the third revolution, that of transplantation, their N1 the human brain through modernity and post-modernity is etc. superseded my there three kinds of time relationship between time-space and speed has time-space and speed has movement into the body. the "sewing machine" for minimally invasive information technology, it is impossible for of human's lives, such as airports, hospitals, has been controversial until now. The main ones place and gives 'direction' to its occupation. movement into the body. the "sewing machine" for minimally invasive (Bell,1965,p.154) As a space that only exists in tiredness (ascent) and euphoria (descent) and space views in human history. The first great origins from Einstein's theory. At the same and space views in human history. The first great origins from Einstein's theory. At the same to thethis transformation ofisolation, working methods. Inthat of Revolution, partInof ourway, urban space was by reality and post-reality. We are living unprecedented global from theDiaz-Botia, distribution centers, factories, (Hanson, Diaz-Botia, Kharazia, 2019). this (Hanson, Kharazia, 2019). Indata thisstations, way, the human imagination, four-dimension space combats the neutrality of the users of complexity abetween aresevere Charles Howard Hinton's four-dimensional (Johnston,1996,p.69) If force particles one is as Newton's view of time and space; the time, uncertainty and are brought to one is Newton's view of time and space; the time, uncertainty and complexity are brought to information and management of the epidemic agricultural facilities, etc. After the Industrial cities with outbreaks, such Wuhan occupied by wider roads, transportation a system of technological temporality, in The first two revolutions have penetrated human beingsnow. canin control theircontrol device through The first two revolutions have penetrated human beings can their device through has been controversial The main ones place andwas gives 'direction' to from its occupation. other isuntil view of space time; the the extreme a postmodern perspective. the transformation of working methods. InEinstein's Revolution, part of and our urban space Euclidean andthe Hermann Minkowski's nondisappears intime; thenetworks, higher dimensional space, all a postmodern perspective. our everydayin lifeChina for to a long time. Here space my brainwaves. Humans' body is overexposed other is Einstein's view of space and the the extreme from and Rome in Italy, public space of stations, urban pipeline and other which duration and material support have been are Charlessuch Howard Hinton's four-dimensional (Johnston,1996,p.69) If force between particles cities with severe outbreaks, as Wuhan by is wider roads, third is the kind of time and space view that our everyday arguments life for afocus longontime. Here my brainwaves. Humans' body istransportation overexposed the third revolution. to technology; anyoccupied motivation monitored. Euclidean spacetime (the basis for Einstein's substances will no longer exist. Human vision is the kind of and space view that in China and Rome in Italy, the public space of third stations, urban pipeline networks, and other cities became empty. The function of urban facilities. Nowadays, the network's occupation space and Hermann Minkowski's nondisappears in the higher dimensional space, all from supplanted as criteria individual retinal and we are experiencing now, which istime difficult toby The neologism "dromo" is derived the According tothe Virilio, technology and Euclidean military After the spatial and temporal distances, speed arguments focus on the third revolution. to technology; any motivation is monitored. thetheories cities became empty. The function of urban facilities. Nowadays, the network's occupation of special and general relativity). In will no longer exist as well; only consciousness Euclidean spacetime (the basis for Einstein's substances will no longer exist. Human vision we are experiencing now, which is difficult to The "dromo" is derived from the determine. Greek, dromos, denoting bothneologism rapid movement are inseparable, whichconcentrated could be reflected distance obliterates the notion instants. of physical space on the screen of electronic of urban space has been reflected in delivery auditory (Virilio, 1991, p.84) spaceand concentrated on the screen of electronic of urban and space has been reflected in delivery speed According to Virilio, technology military After the spatial temporal distances, theories of special and general relativity). InHere no longer exist as well;(Liddell only in computer technology.works The firstof electronic dimension. (Virilio, 1991, p.14) humanwillexists. andwalking races andinclined Scott, 1996, p.450). fiction and philosophy blurring the When onconsciousness an plane, thedenoting both rapid movement determine. Greek, dromos, devices. This gives us inspirations to speculate vehicles and stations, which will continue to devices. This gives us inspirations to speculate vehicles and stations, which will continue to are inseparable, which could reflected distance obliterates the notion of physical general-purpose digitalbe computer, ENIAC, contact with electronic devices goes from point works of fiction and philosophy blurring exists. When walking an inclined plane, thedimensions Before classical mechanics humans Virilio's argument is that If the Fig.3 Two-dimensional projection of a threeabout future cities. expand inthe thecame future.out, Infrastructure construction distinction, this separation was less clear in the consciousness ison more complicated than(Liddell thatofonand Scott, 1996, p.450). and races future cities. in the future. Infrastructure construction In my perspective, the relationship between dimensionalabout analogy of spacetime curvature was designed and primarily used to distinction, calculate to plane, then to space, and finally through this separation was less in1991, theexpand consciousness isthe more complicated than that onits exploitation lived under Newton's absolute space and time, physical world resulted from in computer technology. The first electronic dimension. p.14) Here human is(Virilio, theclear foundation of human civilization. described in general relativity popular imagination. The four-dimension space flat planes. Inhuman other words, due to theargument existence artillery firing tables In forthe theinterview United States Thehuman between thethe process Before classical came Virilio's is foundation of civilization. with Johnimagination. Armitage,consciousness. VirilioThe likens and technology is like that of aofboy and popular four-dimension space flat planes. Inout, other words, due to the which regards thespeed universe as mechanics stationary, fixed, aspoint ahumans field action, andexistence if speed resulted in the is that If the dimensions of general-purpose digital ENIAC,[Fig.4] electronic devices goes from Army's Ballisticcomputer, Research Laboratory. Its first in our andcontact response iswith getting faster andasfaster, and only exist imagination, but some of non-sensory-supported consciousness, the themay city after themay "transplant revolution" to a lived Finally, as long human beings do notspace abandon under Newton's absolute and time, the physical world only exist in our imagination, but some of non-sensory-supported consciousness, the stable, and orderly. According to Newton, negation of these dimensions, what then is a resulted from its exploitation In the interview with John Armitage, Virilio likens his spinning top. Tofinally begin with, the rotation was a studyused of the feasibility of the dimension eventually was designedprogram and primarily tooncalculate to plane, then todisintegrates. space, and through snail shell ourfragments bodies.(Virilio andthe Armitage, theirappear physical body, the living spaceperception will exist for on the inclined plane is of four-dimension space spatial absolute time and space respectively are dimension? (Virilio, 2005, Heof believes fragments ofhere four-dimension space appear spatial perception on thedo inclined isaction, and if speed resulted in the which regards the universe asturn stationary, fixed, asp.112) a plane field thermonuclear weapon.(Richard Rhodes, the city after the "transplant revolution" to a Finally, as as human beings not abandon needs the boy's force to it up, and it 2009, p.4) However, my argument is sure. However, the attributes of long residence have artillery firing1995, tables forThe the United States consciousness. The speed between the process atwas "the function of oblique" mathematically, consciously a higher dimension thansociety, Euclidian's independent aspects of objective reality. that in postmodern time Euclidian's is more p.251) personal computer made Another crucial point in mobile devices isapplication the "the function ofreplaced oblique" mathematically, consciously awill higher dimension than thatat although post-reality has reality dramatic changes. The of network stable, and orderly. According to Newton, negation these dimensions, what then is a Fig.4 Glen Beck (background) and Betty Snyder snail shell on our bodies.(Virilio and Armitage, their physical body, the living space forof requires itinterfere for aThe period in case it slow down physically, and philosophically. three-dimensional space. Humans canwill feelexist (Newton, 1846) They do not with each important than space. The increase of speed possible by major advances in semiconductor speed of digital mobile data networks. Army's Ballistic Research Laboratory. Its first and response is getting faster and faster, and in some context, the urban space will not enables payment and logistics to eliminate the (foreground) program ENIAC in BRL building physically, and philosophically. three-dimensional space. Humans can feel absolute time and space respectively are dimension? (Virilio, technology. Until the early 1990s, IBM engineer speed of information transmission determines 2009, p.4) However, here my argument is sure. However, the attributes of residence have or stop suddenly. However, once the speed the space with the oblique surface on a nonother. They are independent out of human helps to eliminate the difference in space and 2005, p.112) He believes disappear but transform. I speculate that, necessity for direct contact with the outside Fig.4 Glen Beck and Bettywas Snydera study of the feasibility of the 328. (U.S. Army photo, ca.(background) 1947-1955) program the dimension eventually disintegrates. the space with the oblique surface on a non- phones, that chip-and-wireless what seeanalogy on theirphysical mobile devices (foreground) ENIAC in BRL building Frank Canova realised typologically, there will be three kinds of people space independent world, autism and virtual socialization aspects oflevel, objective reality. that to inof postmodern time is more consciousness. makes it increasingly difficult distinguish the society, According tohas the dimensional used by physical level. Unknown author - U.S. program Army Photo that although post-reality replaced reality dramatic changes. The application of network reaches a certain it will break away from revolution mobile is happening and Starting from the research on bunker and "the 328. (U.S. Army photo, ca. 1947-1955) thermonuclear weapon.(Richard Rhodes, technology was becoming small enough tothe use and how long theyoccur wait. In synchronization the 3G era, the at the in our future city, which are vision architecture, in same time.level. space from time. This can be reflected in three Edwin Abbott in the book Flatland, there is no Fig.3 Two-dimensional projection of a threeAccording to dimensional analogy used by physical (Newton, 1846) They do not interfere with each important than space. The increase of speed Unknown author - U.S. Army Photo in some context, the urban space will not enables payment and logistics to eliminate the the external force and rely on its internal force accelerating. With the mobile device updated function of oblique," Virilio gives his critical residential space, and infrastructure. We have experienced qualitative changes in in handheld devices (Sager Ira,2012), which transmission time of text was hardly noticeable, 1995, p.251) The personal computer was made Another crucial point in mobile devices the dimensional analogy of spacetime curvature Since Einstein discovered the theory ofIfrelativity aspects. Firstly,space the spatial dimensions and "inside" "outside" in theoffour-dimension creatures in is high dimension can see the Edwin Abbott inand the book there no the dimension ofindependent information transmission smartphones, a kind of multi-purpose just thinking likeFlatland, that pictures and is low-definition other. They are out of human helps to eliminate difference in space and disappear but transform. I speculate that, necessity for direct contact with the outside described in generalmakes relativity to maintain the state rotate steadily. Virilio every year, even everythe season, it becomes of modern architecture inimages, the Euclidean Fig.6 CoRoma Virus, By m ft (the Special Relativity), the human view of and their speed become space. As we canvideos see the inside and outside outside and inside of propagation an enclosed space at the orinseparable. possible by major advances in semiconductor speed of digital mobile data networks. The With the "transmission revolution" and in the latest 20 years, from texts, to mobile computing devices, becomes possible. in the 4G era. In the 5G technology Fig.6 CoRoma Virus, By m ft by Paul Fleet/Shutterstock "inside" and "outside" in the four-dimension If creatures in high dimension space can see the consciousness. makes it increasingly difficult to distinguish architects typologically, there kinds of space world, physical autism and virtual socialization describes atransmission non-three-dimensional spacetime space has been completely changed. Second, gradually subdued the distance. relevant to question how his theory adapts to the reference frame. Relevant to dimension of anwill enclosed figure ofand thetime two-dimension same time, architects arespeed the closest to it, for "transplant revolution," at be first,three the space video. This makes working no longer only beand architects Thus, thirtyof years later, as theIBM necessities of era, no matter where you are, real-time hightechnology. the early 1990s, engineer speed of information determines Fig.1 Until The Function Oblique Fig.1 The Function ofthe Oblique space. As we can see inside and outside outside and inside of an enclosed space at the for information exchange was replaced. done in offices, and residence will no longer space from time. This can be Einstein's theory made us realize that the Speed became the real dimension of space and world in our three-dimension world, the same they can "see" the interior and exterior of their everyday life today, the former war device was definition videos take no time. However, the Architecture Principe (Claude Parent, Paul Virilio) in our future city, which are vision architecture, occur in synchronization at the same time. with the dimension of speed, which is the same Architecture Principethat (Claude Parent, Paul Virilio) the most advanced technology, andreflected how thein three spacetime, his arguments are always challenging Frank Canova realised chip-and-wireless what see oninformation their mobile Grand dessus, s. d. significance Furthermore, with rapid development ofcreatures only contain the function of living. Through "set up"s. in pockets, orthe more of extremely high universe ispeople not absolute and constant, but a devices gradually engulfed the three-dimension reality. of an enclosed figure ofwhen the two-dimension same time, architects are the closest it, for thing will happen observe architecture at the same time. It very ischanges impossible to to Grand dessus, d. each of human's Since Einstein discovered the theory of aspects. Firstly, the spatial dimensions and Drawing, sur papier, 26 x 20 cm reality residential space, and infrastructure. We have experienced qualitative in as the spacetime in movie Inception. At the the of our world. In his "Dromology" relationship between humans and devices theinto express industry, the space for substance aniselectronic screen, living space becomes technology was becoming enough tothree-dimension use and how long wait. In 3G era, the precisely, transplanted the body. transmission speed farthey more than itthe Drawing, sur papier, 26 x 20small cm Donation Claude Parent, 997space 01 257 c continuum. spacetime Time andthat; space are Third,the speed has created aexterior world of images that our from the foursee theoffice, real four-dimensional space. However, world our three-dimension world, the same they can "see" interior and ofand their exchange hasinalso been replaced. Victor ainsists sophisticated space integrating relativity(the Special Relativity), the human their propagation speed become inseparable. the dimension of information transmission end of the movie, will the technology spinning provides more possibilities for virtual reality Donation Claude Parent, 997 01 257 c arises, develops, limits each other. theory, he that speed is the key element noIntransmission longer because of thewas relativity confused designed in time and space. In other words, dimension space. other separated words,commercial, tesseract intext ashardly a criticism of are architecture in the in handheld devices (Sager Ira,2012), which time ofinformation Hugo once through said that typography would kill exchange, andnoticeable, even thing will happen when creatures observe architecture atinfinite the same time. Itspeed istoimpossible to On the early With computer screen, the technology. With the interfacing of computer view of space and time has been completely Second, speed gradually subdued the distance. the "transmission revolution" and in the latest 20 years, from texts, images, top finally slow down not?… Will "Cobb" be of simultaneity. (Rafeal Ferraro, 2007) In the the increase of the leads to the of does this; the physical dimension will disappear space not have internal orthogonal Euclidean reference frame, the architecture, butfour-dimension now, speed/technology substance exchange. Never has aor residence makes smartphones, a kind of multi-purpose just like that of pictures and low-definition typewriter-like keyboard, people moved the terminals and video monitors, distinctions our three-dimension space from the foursee the real four-dimensional space. However, changed. Einstein's theory made us realize that Speed became the real dimension movement closer to the speed of light, space dissolution of visual space. will kill architecture as well. The information in such an era relied so heavily on advanced and external. Human beings, as no alost creature living function of oblique is a subversive revolution "transplant revolution," at first, the space video. This makes working no longer only be in the spacetime… In addition, due to Virilio's identity of anof space and in the dimension of speed. This essay will gain cursor through the arrow keys, which was pointof here and there longer mean anything. mobile computing devices, becomes possible. in the 4G era. In the 5G technology transmission and screen took In overother the function technology, and itwhere has a high-frequency andvideos time are more integrated, space dimension space. words, tesseract in as a criticism of architecture designed in the in three-dimensional space, cannot see the due to the changes in the aspects of definition the universe is not absolute and constant, but gradually engulfed the three-dimension to-point movement. Then from the 1960s, (Virilio, 1991, p.13) Now the physical interfacing exchange wasis replaced. done in important offices, and residence will no longer urbanist, it is also crucial to understand his reality. an perspective upon views of physical space. As construction theera, coreexternal connection with the outside world statically. Thus, thirty years later,for asofinformation the necessities no Electromagnetic matter where you real-time highshrinks and time expands, and space expansion Compared with the pre-information era, in four-dimensional space, but the and consciousness. the movement the human's wristgeometry canof be space disappeared. waves existare, like four-dimension does not have internal orthogonal Euclidean reference frame, the a spacetime continuum. Time and space are Third, speed hasurban created a world of images that of the modern architecture discipline, these There has never been an era in which electricity with the rapid development of ofmore only contain the function of living. Through from the perspective. andtime. theories mathematicians, physicists, shrinks humans are now arguments in an era of rapid expansion traced on-screen with thewar invention of the air. Humans are getting dependent on everyday life today, theFurthermore, former device was definition videos take no time. However, the functions are the legitimacy of it. However, theas and WIFIseparated signals have become as important as and external. Human beings, a creature living function of oblique is a subversive revolution no longer because of the relativity are confused in time and space. In other words, computer mouse. Thanks to the rapid scaling higher information transmission speed. Humans the express industry, the space for substance an electronic screen, living space becomes and replacement of knowledgetoand information. According Virilio's The Lost Dimension philosophers, and novelists upon the notion of of legitimacy does not cause architecture airof and water. Everyone's private conversations, "set up" in each of human's loss pockets, or more significance extremely high information and miniaturization of transistor are supposed tosimultaneity. have a sense of "suffocation" in has three-dimensional cannot see the due to the changes in the aspects of definition With the emergence of general relativity, the The amount of information is massive, and the of (Rafeal Ferraro, 2007) In the the infinite increase of the speed leads to the toMOSFET withdraw from the publicreplaced. space.space, Instead, it images, and even breathing and heartbeats are exchange also been Victor a sophisticated space integrating office, (1984), the question of reality and post-reality dimension and spacetime. precisely, transplanted into the transmission speed farandmore than it technology(Shubham andbody. Jagadesh, 2019), a scarce medium while the loading icon is rotating. the architecture thatof collected into data become partconsciousness. ofthat; a vast concept spacetime finally broke information gaps are narrowed. This leads to an space. geometry in four-dimensional space, but theis and movement closer tothrough the speed of light, space dissolution ofaspect visual Hugo makes once said that typography would kill commercial, information exchange, and even is the point in the of city space. In conforms to the logic of communication. Public "cloud." more possibilities virtual reality theprovides limitations. The concepts such as for disorder, extreme compression of time and space, and and time are more integrated, where space but now, substance exchange. has athis residence context of traditional advanced technology and our In Virilio's context, technology thecomputer vehicle of transmission temporality, relativity, andthe chaos were is of theNever rapid leads to the On the early computerarchitecture, screen, through the speed/technology technology. With interfacing shrinks and time expands, and space expansion Compared withthis theessay pre-information era, will kill architecture as well. The information in such an era relied so heavily on advanced developed to the extreme. Moreover, with the spacetime structure eventually lost. urban environment, clarifies what speed. In the interview with Sylvere Lotringer, typewriter-like keyboard, people moved the terminals and video monitors, distinctions great development of visual technology and shrinks time. humans are now in an era of rapid expansion transmission and screen the function technology, and it has a high-frequency Fig.2 Perspective cavaliére des seize octaédres in our future typologically, hehere mentioned thatnothere aremean threeanything. speed changes may happen cursor through the arrow keys, which was point-took over of and there longer fondamentaux and replacement of knowledge information. Esprit Jouffret, 1903, Traité élémentaire de of physical space. As construction is the core connection with the outside world statically. revolutions, which are transportation revolution, and proposes the possibility of futureand urban to-point movement. Then from the 1960s, (Virilio, 1991, p.13) Now the physical interfacing géométrie à quatre dimensions (p.153) With the emergence of general relativity, the The amount of information is massive, and the of the modern architecture discipline, these There has never been an era in which electricity development. transmission revolution, and revolution in like the movement of the human's wrist can be disappeared. Electromagnetic waves exist concept of spacetime finally broke through information gaps are narrowed. This leads to an functions are the legitimacy of it. However, the and WIFI signals have become as important as transplants. Thegetting latest one, shown on as the Fig.7 Daraku room, by traced on-screen with the invention of the air. Humans are morepartly dependent Shiorikawamoto the limitations. The concepts such as disorder, extreme compression of time and space, and loss of legitimacy does not cause architecture air and water. Everyone's private conversations, computer mouse. Thanks to the rapid scaling higher information transmission speed. Humans Fig.5 UCthe Berkeley’s Neural installed in a rat neural fiber temporality, relativity, andand chaos rapid transmission leads to the traditional Fig.2 Perspective cavaliére des seize octaédres withdraw from the public space. Instead, it to have evenwere breathing and heartbeats areDust and miniaturization of to MOSFET transistor are supposed aimages, sense of "suffocation" fondamentaux developed to the extreme. Moreover, with the spacetime structure eventually lost. makes the architecture a scarce medium that collected into data and become part of a vast Esprit Jouffret, 1903, Traité élémentaire de technology(Shubham and Jagadesh, 2019), while the loading icon is rotating. great development of visual technology and géométrie à quatre dimensions (p.153) conforms to the logic of communication. Public "cloud." Fig.7 Daraku room, by Studies in Contemporary Architectural Theory ESSAY Virilio's Spacetime Dimension, Technology, City Fig.5 UC Berkeley’s Neural Dust installed in a rat neural fiber Shiorikawamoto 2

Virtual Format In this COVID context, different from the hard copy submission, a kind of immersive reading on the screen is looking forward. Relating to the topic of three-dimensional space to four-dimensional space discussed in the essay, the reading process of the essay simulates the human consciousness going through a folded four-dimensional cube. Peitong Liu S1989999 2020.4

Studio-B

Write an essay that explores a chosen issue as arising from the siminars and reading. The essay is not to be simply a comprehensive analysis or overview of the material covered. but rather an investigation into a specific topic with in or connected to it that is of particular interest to you. The essay should be approximately 3000 words (+abstract, references and captions), illustrated as appropriare. Virtual submission.

AMPL

ESSAY

In Gr

Studio-G

GA 1

3 4 5

According to the dimensional analogy used by Edwin Abbott in the book Flatland, there is no "inside" and "outside" in the four-dimension Fig.1 The Function ofthe Oblique space. As weArchitecture can see inside and outside Principe (Claude Parent, Paul Virilio) Grand dessus, s. d. of an enclosed figure of the two-dimension Drawing, sur papier, 26 x 20 cm Claude Parent, 997 01 257 c world in ourDonation three-dimension world, the same thing will happen when creatures observe our three-dimension space from the fourdimension space. In other words, tesseract in four-dimension space does not have internal and external. Human beings, as a creature living in three-dimensional space, cannot see the geometry in four-dimensional space, but the

In 1755, Lagrange wrote in his Mécanique analytique that mechanics can be viewed as operating in a four-dimensional space — three dimensions of space, and one of time. (Bell,1965,p.154) As a space that only exists in the human imagination, four-dimension space has been controversial until now. The main ones are Charles Howard Hinton's four-dimensional Euclidean space and Hermann Minkowski's nonEuclidean spacetime (the basis for Einstein's theories of special and general relativity). In works of fiction and philosophy blurring the distinction, this separation was less clear in the popular imagination. The four-dimension space may only exist in our imagination, but some fragments of four-dimension space appear at "the function of oblique" mathematically, physically, and philosophically.

On the other hand, because of human's awareness of their body, people may be closer to the high dimensional consciousness. The introduction of the VECTORS of tiredness (ascent) and euphoria (descent) combats the neutrality of the users of a place and gives 'direction' to its occupation. (Johnston,1996,p.69) If force between particles disappears in the higher dimensional space, all substances will no longer exist. Human vision will no longer exist as well; only consciousness exists. When walking on an inclined plane, the consciousness is more complicated than that on flat planes. In other words, due to the existence of non-sensory-supported consciousness, the spatial perception on the inclined plane is consciously a higher dimension than Euclidian's three-dimensional space. Humans can feel the space with the oblique surface on a nonphysical level.

According to the dimensional analogy used by Edwin Abbott in the book Flatland, there is no "inside" and "outside" in the four-dimension space. As we can see the inside and outside of an enclosed figure of the two-dimension Fig.1 The Function of Oblique world in our three-dimension world, the same Architecture Principe (Claude Parent, Paul Virilio) thing will happen when creatures observe Grand dessus, s. d. Drawing, sur papier, 26 x 20 cm our three-dimension space from the fourDonation Claude Parent, 997 01 257 c dimension space. In other words, tesseract in four-dimension space does not have internal and external. Human beings, as a creature living in three-dimensional space, cannot see the geometry in four-dimensional space, but the

If creatures in high dimension space can see the outside and inside of an enclosed space at the same time, architects are the closest to it, for they can "see" the interior and exterior of their architecture at the same time. It is impossible to see the real four-dimensional space. However, as a criticism of architecture designed in the orthogonal Euclidean reference frame, the function of oblique is a subversive revolution due to the changes in the aspects of definition and consciousness.

Non-Euclidean

The first two revolutions have penetrated our everyday life for a long time. Here my arguments focus on the third revolution. According to Virilio, technology and military are inseparable, which could be reflected in computer technology. The first electronic general-purpose digital computer, ENIAC,[Fig.4] was designed and primarily used to calculate artillery firing tables for the United States Army's Ballistic Research Laboratory. Its first Fig.4 Glen Beck (background) and Bettywas Snydera study of the feasibility of the program (foreground) program ENIAC in BRL building 328. (U.S. Army photo, ca. 1947-1955) thermonuclear weapon.(Richard Rhodes, Unknown author - U.S. Army Photo 1995, p.251) The personal computer was made possible by major advances in semiconductor technology. Until the early 1990s, IBM engineer Frank Canova realised that chip-and-wireless technology was becoming small enough to use in handheld devices (Sager Ira,2012), which makes smartphones, a kind of multi-purpose mobile computing devices, becomes possible. Thus, thirty years later, as the necessities of everyday life today, the former war device was "set up" in each of human's pockets, or more precisely, transplanted into the body.

Fig.2 Perspective cavaliére des seize octaédres fondamentaux Esprit Jouffret, 1903, Traité élémentaire de géométrie à quatre dimensions (p.153)

On the early computer screen, through the typewriter-like keyboard, people moved the cursor through the arrow keys, which was pointto-point movement. Then from the 1960s, the movement of the human's wrist can be traced on-screen with the invention of the computer mouse. Thanks to the rapid scaling and miniaturization of MOSFET transistor technology(Shubham and Jagadesh, 2019),

Another crucial point in mobile devices is the speed of digital mobile data networks. The speed of information transmission determines what people see on their mobile devices and how long they wait. In the 3G era, the transmission time of text was hardly noticeable, just like that of pictures and low-definition videos in the 4G era. In the 5G technology era, no matter where you are, real-time highdefinition videos take no time. However, the significance of extremely high information transmission speed is far more than that; it provides more possibilities for virtual reality technology. With the interfacing of computer terminals and video monitors, distinctions of here and there no longer mean anything. (Virilio, 1991, p.13) Now the physical interfacing disappeared. Electromagnetic waves exist like air. Humans are getting more dependent on higher information transmission speed. Humans are supposed to have a sense of "suffocation" while the loading icon is rotating.

Technology

Fig.4 Glen Beck (background) and Betty Snyder (foreground) program ENIAC in BRL building 328. (U.S. Army photo, ca. 1947-1955) Unknown author - U.S. Army Photo

The first two revolutions have penetrated our everyday life for a long time. Here my arguments focus on the third revolution. According to Virilio, technology and military are inseparable, which could be reflected in computer technology. The first electronic general-purpose digital computer, ENIAC, was designed and primarily used to calculate artillery firing tables for the United States Army's Ballistic Research Laboratory. Its first program was a study of the feasibility of the thermonuclear weapon.(Richard Rhodes, 1995, p.251) The personal computer was made possible by major advances in semiconductor technology. Until the early 1990s, IBM engineer Frank Canova realised that chip-and-wireless technology was becoming small enough to use in handheld devices (Sager Ira,2012), which makes smartphones, a kind of multi-purpose mobile computing devices, becomes possible. Thus, thirty years later, as the necessities of everyday life today, the former war device was "set up" in each of human's pockets, or more precisely, transplanted into the body. On the early computer screen, through the typewriter-like keyboard, people moved the cursor through the arrow keys, which was pointto-point movement. Then from the 1960s, the movement of the human's wrist can be traced on-screen with the invention of the computer mouse. Thanks to the rapid scaling and miniaturization of MOSFET transistor technology(Shubham and Jagadesh, 2019),

Technology

ATR

Non-Euclidean

humans can control devices by touching the screen directly. Touching, as a natural gesture of people, further makes people and devices closer, which is one of the reasons why Apple company has achieved great success in the 2010s. However, this is just the beginning. Various wearable devices such as VR glasses, smartwatches come out continually in our life. These everyday devices relate to each physical movement of humans, and thus "occupy" the human's body. It seems to be just a matter of time for electronic devices to "occupy" the human brain further. At the launch event of Neuralink company in July, Elon Musk presented their latest research, insertion of their N1 SENSOR into the human brain through the "sewing machine" for minimally invasive (Hanson, Diaz-Botia, Kharazia, 2019). In this way, human beings can control their device through brainwaves. Humans' body is overexposed to technology; any motivation is monitored. After the spatial and temporal distances, speed distance obliterates the notion of physical dimension. (Virilio, 1991, p.14) Here human contact with electronic devices goes from point to plane, then to space, and finally through consciousness. The speed between the process and response is getting faster and faster, and the dimension eventually disintegrates. Another crucial point in mobile devices is the speed of digital mobile data networks. The speed of information transmission determines what people see on their mobile devices and how long they wait. In the 3G era, the transmission time of text was hardly noticeable, just like that of pictures and low-definition videos in the 4G era. In the 5G technology era, no matter where you are, real-time highdefinition videos take no time. However, the significance of extremely high information transmission speed is far more than that; it provides more possibilities for virtual reality technology. With the interfacing of computer terminals and video monitors, distinctions of here and there no longer mean anything. (Virilio, 1991, p.13) Now the physical interfacing disappeared. Electromagnetic waves exist like air. Humans are getting more dependent on higher information transmission speed. Humans are supposed to have a sense of "suffocation" while the loading icon is rotating.

Abstract

Fig.5 UC Berkeley’s Neural Dust installed in a rat neural fiber

8 9 Living between the "transmission revolution" and "transplant revolution," we cannot deny that in this world of dimension in speed, some virtual reality has replaced some reality space. Recently, at the beginning of 2020, because the spread of the virus takes place in real space, the outbreak of COVID-19 worldwide has promoted this trend immediately. For the control of virus diseases using air as a medium of transmission, it seems that only spatial isolation is the best means of prevention and control. What we may overlook, however, is without information technology, it is impossible for this unprecedented global isolation, from the information and management of the epidemic to the transformation of working methods. In cities with severe outbreaks, such as Wuhan in China and Rome in Italy, the public space of the cities became empty. The function of urban space concentrated on the screen of electronic devices. This gives us inspirations to speculate about future cities.

10 11

Spacetime Human beings live in time and space. Time and space have been critical dimensions for people to determine their activities and existential meanings since ancient times. In my perspective, there are three kinds of time and space views in human history. The first one is Newton's view of time and space; the other is Einstein's view of space and time; the third is the kind of time and space view that we are experiencing now, which is difficult to determine.

In Gr

Since Einstein discovered the theory of relativity (the Special Relativity), the human view of space and time has been completely changed. Einstein's theory made us realize that the universe is not absolute and constant, but a spacetime continuum. Time and space are no longer separated because of the relativity of simultaneity. (Rafeal Ferraro, 2007) In the movement closer to the speed of light, space and time are more integrated, where space shrinks and time expands, and space expansion shrinks time. With the emergence of general relativity, the concept of spacetime finally broke through the limitations. The concepts such as disorder, temporality, relativity, and chaos were developed to the extreme. Moreover, with the great development of visual technology and

information transmission, it is more difficult to determine the view of time and space now. Paul Velilio's "dromology" discussion of the relationship between time-space and speed has great origins from Einstein's theory. At the same time, uncertainty and complexity are brought to the extreme from a postmodern perspective. The neologism "dromo" is derived from the Greek, dromos, denoting both rapid movement and races (Liddell and Scott, 1996, p.450). Virilio's argument is that If the dimensions of the physical world resulted from its exploitation as a field of action, and if speed resulted in the negation of these dimensions, what then is a dimension? (Virilio, 2005, p.112) He believes that in postmodern society, time is more important than space. The increase of speed helps to eliminate the difference in space and makes it increasingly difficult to distinguish the space from time. This can be reflected in three aspects. Firstly, the spatial dimensions and their propagation speed become inseparable. Second, speed gradually subdued the distance. Speed became the real dimension of space and gradually engulfed the three-dimension reality. Third, speed has created a world of images that are confused in time and space. In other words, the infinite increase of the speed leads to the dissolution of visual space. Compared with the pre-information era, humans are now in an era of rapid expansion and replacement of knowledge and information. The amount of information is massive, and the information gaps are narrowed. This leads to an extreme compression of time and space, and the rapid transmission leads to the traditional spacetime structure eventually lost.

Fig.3 Two-dimensional projection of a threedimensional analogy of spacetime curvature described in general relativity

Before classical mechanics came out, humans lived under Newton's absolute space and time, which regards the universe as stationary, fixed, stable, and orderly. According to Newton, absolute time and space respectively are independent aspects of objective reality. (Newton, 1846) They do not interfere with each other. They are independent out of human consciousness. Since Einstein discovered the theory of relativity(the Special Relativity), the human view of space and time has been completely changed. Einstein's theory made us realize that the universe is not absolute and constant, but a spacetime continuum. Time and space are no longer separated because of the relativity of simultaneity. (Rafeal Ferraro, 2007) In the movement closer to the speed of light, space and time are more integrated, where space shrinks and time expands, and space expansion shrinks time. With the emergence of general relativity, the concept of spacetime finally broke through the limitations. The concepts such as disorder, temporality, relativity, and chaos were developed to the extreme. Moreover, with the great development of visual technology and

Fig.6 CoRoma Virus, By m2ft architects

Fig.7 Daraku room, by Shiorikawamoto

In the interview with John Armitage, Virilio likens the city after the "transplant revolution" to a snail shell on our bodies.(Virilio and Armitage, 2009, p.4) However, here my argument is that although post-reality has replaced reality in some context, the urban space will not disappear but transform. I speculate that, typologically, there will be three kinds of space in our future city, which are vision architecture, residential space, and infrastructure. With the "transmission revolution" and "transplant revolution," at first, the space for information exchange was replaced. Furthermore, with the rapid development of the express industry, the space for substance exchange has also been replaced. Victor Hugo once said that typography would kill architecture, but now, speed/technology will kill architecture as well. The information transmission and screen took over the function of physical space. As construction is the core of the modern architecture discipline, these functions are the legitimacy of it. However, the loss of legitimacy does not cause architecture to withdraw from the public space. Instead, it makes the architecture a scarce medium that conforms to the logic of communication. Public

space will become a stage-like visual existence. This kind of architecture no longer exists in a single space and time, but exists simultaneously in multiple spacetimes, and is expressed through the "narration" of various media. Under this context, the boundaries of architecture will be impacted again. The product of this is the vision architecture.

Living between the "transmission revolution" and "transplant revolution," we cannot deny that in this world of dimension in speed, some virtual reality has replaced some reality space. Recently, at the beginning of 2020, because the spread of the virus takes place in real space, the outbreak of COVID-19 worldwide has promoted this trend immediately. For the control of virus diseases using air as a medium of transmission, it seems that only spatial isolation is the best means of prevention and control. What we may overlook, however, is without information technology, it is impossible for this unprecedented global isolation, from the information and management of the epidemic to the transformation of working methods. In cities with severe outbreaks, such as Wuhan in China and Rome in Italy, the public space of the cities became empty. The function of urban space concentrated on the screen of electronic devices. This gives us inspirations to speculate about future cities.

City

Second, infrastructure, which is functional space, is related to the maintenance, production, information, and supplement of human's lives, such as airports, hospitals, distribution centers, data stations, factories, agricultural facilities, etc. After the Industrial Revolution, part of our urban space was occupied by wider roads, transportation stations, urban pipeline networks, and other facilities. Nowadays, the network's occupation of urban space has been reflected in delivery vehicles and stations, which will continue to expand in the future. Infrastructure construction is the foundation of human civilization. Finally, as long as human beings do not abandon their physical body, the living space will exist for sure. However, the attributes of residence have dramatic changes. The application of network enables payment and logistics to eliminate the necessity for direct contact with the outside world, physical autism and virtual socialization occur in synchronization at the same time. We have experienced qualitative changes in the dimension of information transmission in the latest 20 years, from texts, images, to video. This makes working no longer only be done in offices, and residence will no longer only contain the function of living. Through an electronic screen, living space becomes a sophisticated space integrating office, commercial, information exchange, and even substance exchange. Never has a residence in such an era relied so heavily on advanced technology, and it has a high-frequency connection with the outside world statically. There has never been an era in which electricity and WIFI signals have become as important as air and water. Everyone's private conversations, images, and even breathing and heartbeats are collected into data and become part of a vast "cloud."

Fig.7 Daraku room, by Shiorikawamoto

With the "transmission revolution" and "transplant revolution," at first, the space for information exchange was replaced. Furthermore, with the rapid development of the express industry, the space for substance exchange has also been replaced. Victor Hugo once said that typography would kill architecture, but now, speed/technology will kill architecture as well. The information transmission and screen took over the function of physical space. As construction is the core of the modern architecture discipline, these functions are the legitimacy of it. However, the loss of legitimacy does not cause architecture to withdraw from the public space. Instead, it makes the architecture a scarce medium that conforms to the logic of communication. Public

City

Starting from the research on bunker and "the function of oblique," Virilio gives his critical thinking of modern architecture in the Euclidean reference frame. Relevant to dimension and spacetime, his arguments are always challenging the reality of our world. In his "Dromology" theory, he insists that speed is the key element of this; the physical dimension will disappear in the dimension of speed. This essay will gain an external perspective upon important views and theories of mathematicians, physicists, philosophers, and novelists upon the notion of dimension and spacetime. In Virilio's context, technology is the vehicle of speed. In the interview with Sylvere Lotringer, he mentioned that there are three speed revolutions, which are transportation revolution, transmission revolution, and revolution in transplants. The latest one, partly shown as the revolution of mobile phones, is happening and accelerating. With the mobile device updated every year, or even every season, it becomes relevant to question how his theory adapts to the most advanced technology, and how the relationship between humans and devices arises, develops, and limits each other. In addition, due to Virilio's identity of an urbanist, it is also crucial to understand his arguments from the urban perspective. According to Virilio's The Lost Dimension (1984), the question of reality and post-reality is the point in the aspect of city space. In this context of advanced technology and our urban environment, this essay clarifies what changes may happen in our future typologically, and proposes the possibility of future urban development.

Studio-D

According to the interview with Sylvere Lotringer, Virilio notes three revolutions in speed, each with their exemplary technologies (Virilio and Lotringer,2002, p.96). The first is transportation revolution, movement across territories. It is the exemplar of the engine, which has a geopolitical strand. The second complicates standard notions of time and space, which is the transmission revolution, movement independent from territory made possible by communication technologies. This moves us from localized real space to globalized cyberspace. These transmission technologies are getting smaller all of the time (Virilio, 2005, p.162). These mobile devices lead us to the third revolution, that of transplantation, movement into the body.

SCAT

GC 1

projection of four-dimensional space in threedimensional space can be seen. The geometry in the four-dimension space cannot appear in the three-dimension space. However, it shows a continuous space without a wall in the concept drawing of "the function of oblique," which has the same character with tesseract. [Fig.1][Fig.2]

Studio-G

In Virilio's description of the function of oblique, the "wall" is weakened, and continuity is emphasized. But now there is no more inside and outside. You have sur-face and sub-face, but no more wall. (Virilio and Lotringer,2002, p.33) In my opinion, this is a thought trying to approach higher dimension space.

AMPL

Studio-B

4 5

Studio-C

fig.a CoRoma Virus, By m2ft architects fig.b Daraku room, by Shiorikawamoto

Fig.6 CoRoma Virus, By m2ft architects

1 2

Fig.7 Daraku room, by Shiorikawamoto

City

Fig.7 Daraku room, by Shiorikawamoto

Studio-C

4 5 6 7 GC

ATR

1 2 3

10 11

In Gr

Finally, as long as human beings do not abandon their physical body, the living space will exist for sure. However, the attributes of residence have dramatic changes. The application of network enables payment and logistics to eliminate the necessity for direct contact with the outside world, physical autism and virtual socialization occur in synchronization at the same time. We have experienced qualitative changes in the dimension of information transmission in the latest 20 years, from texts, images, to video. This makes working no longer only be done in offices, and residence will no longer only contain the function of living. Through an electronic screen, living space becomes a sophisticated space integrating office, commercial, information exchange, and even substance exchange. Never has a residence in such an era relied so heavily on advanced technology, and it has a high-frequency connection with the outside world statically. There has never been an era in which electricity and WIFI signals have become as important as air and water. Everyone's private conversations, images, and even breathing and heartbeats are collected into data and become part of a vast "cloud."

SCAT

Studio-G

exists simultaneously in multiple spacetimes, and is expressed through the "narration" of various media. Under this context, the boundaries of architecture will be impacted again. The product of this is the vision architecture.

AMPL

Studio-B

City 5

Studio-D

Mobile devices lead us to the third revolution, that of transplantation, movement into the body.

UC Berkeley’s Neural Dust installed in a rat neural fiber

At the launch event of Neuralink company in July, Elon Musk presented their latest research, insertion of their N1 SENSOR into the human brain through the "sewing machine" for minimally invasive (Hanson, Diaz-Botia, Kharazia, 2019). In this way, human beings can control their device through brainwaves. Humans' body is overexposed to technology; any motivation is monitored. After the spatial and temporal distances, speed distance obliterates the notion of physical dimension. (Virilio, ‘The Overexposed City’, p.14)

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-G

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

STUDIO-G

ANIMATE MATTER Film Project /Site/Development

semester 2

Studio-D

In dividual Gr oup GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1 1.2 1.3

The usual approach of the MArch studios in ESALA is to identify a location and leave the programme open for students to develop propositions. In the current situation, for this year without the possibility of field trips, we propose to reverse this by defining a programme but leaving its location unspecified. ...The project will be for a double (or doubled) house for identical twins who animate matter using stop-motion animation techniques on celluloid film. As well as living spaces for them, there will be an animation studio, spaces and machinery for the developing and editing of film, and a public screening theatre where the films are shown..."

Studio-G

LO3 –The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 –A critical understanding of, and development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques) to explain a design project.

AMPL

semester 1

LO1 -The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

YEAR 2

Tutors: Mark Dorrian + Ana Bonet Miro + Paddi Benson 40 credits

SCAT

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-G

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

In dividual Gr oup GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1 1.2 1.3 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

Sound, as an important part of the film, takes a very important proportion in the atmosphere. Especially in stop motion animation, sound cannot be recorded at the same time. The combination of sound and picture together constitutes the viewer’s understanding of the film, such as The scenes of people and the sounds of machines in Jan Švankmajer's Breakfast (Food 1992), make viewers think that the role of people in the scenes is actually an automatic retail machine. Reversing this idea, if the sound is matched with different pictures, it will give people different feelings. For example, the various sound effects we hear in the movie actually come from the props of the sound designer. Our initial interest was in the animate matter of sound. Inspired by the soundtrack of a horror film, we conceived a sound machine that covers different ways of sounding, including different kinds of vibrations: friction, plucking, and beating. But then we thought that, from the aspect of visual, recording different vibration methods would make the picture too monotonous. Rather than making sounds, we decided to collect sounds. Based on this idea, we collected and arranged sounds from handle scale to scale of landscape, forming different senses of atmosphere. Just as sound effects artists use various props to make sounds, we use various materials, shapes of objects and changing light environment to arrange visual effects for the sound.

Studio-G

AMPL

Studio-B

What if the process of animation making is reversed ...collect sounds first and "dubbing" sounds with vision.

The workspace was set up in our accomodation, using separated stands frame for multiple function and table/chair in the kitchen, together with a camera, a laptop and a tripod.

semester 1

kitchen-workshop

YEAR 2

FILM PROJECT Dubbling Sounds

semester 2

SCAT

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

Film, Click to Play. The Full film also in this link: https://youtu.be/TJ8sMSIhGOQ

SCAT

Studio-D 5

Studio-G

ATR GC

AMPL

Studio-C 4

Studio-B

2 1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-G

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

6 7

SCAT

8 9 10 11

Studio-G

In dividual semester 1

Gr oup

Vision GA

GC 1.1 1.2 1.3 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

AMPL

Our core idea is to have a circular object in the centre of the picture doing periodic movement-this represents the flow of time. At the same time, in this way, it is easier for us to control the number of frames of the stop-motion animation. It can also bring periodic reflections of light, which interact with different other objects to form a variety of sounds. Regarding the background, we were trying to create a different atmosphere and look and feel through the background of different textures. In the end, we chose warm wood planks to bring a warm atmosphere, cracked dark wood planks bring a gloomy feeling, glass can be penetrated by light, mirrors can reflect light and appear pure black without diffuse light.

Studio-B

2.7

YEAR 2

2.4 2.5 2.6

Relating to the sounds collection, various sets of objects animating on various of background flats and luminous environments.

semester 2

2.1 2.2 2.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

9 10

Scene 1 Warm atmosphere, bright light on top, soft sound generated by friction between wood, human body/ furniture object scale

Studio-G

SCAT

Scene 2 Gloomy atmosphere, dark oblique light, harsh metal hitting sound industry sound, city/building scale 1 4

Scene 3 An ethereal atmosphere, a transparent background and objects, emits light, sounds in nature, the scale of landscapes

Studio-B

Scene 4 An atmosphere that exists in shallow consciousness flows out of imagined space, a mirror background, a rotating light source creates the illusion of a cup rotating DR

AMPL

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

Studio-B

AMPL

Film Script Drawing DR

Loop The essential structural idea of the film is a loop; the film could start at any point and play endlessly, as well as the soundtrack.

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

Studio-B

AMPL

Script drawing of film project (Scene 2) Printed tracing paper/ Mirror background/ Photography at bedroom

GA 1 2 Studio-C

3 4 5 6 7 GC ATR

1 2 3

Studio-D

4 5 6 7

SCAT

8 9 10

Studio-G

Studio-B

AMPL

Script drawing detail periodicity, organization and randomness of animate.

With tracing of movement, this detail shows the

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-G

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

Beijing’s city wall was huge in scale. The total length of the city wall is 24 kilometres, and it has gone through three dynasties. It was lost its meaning in modern cities as a powerful linear fortification in ancient times. In the early era of New China, the city wall was demolished because it was defined to limit the efficiency of the city. The removed bricks were used for construction or even erection. Only a small part of pieces was left because it did not obstruct the road, but the bricks were taken, leaving only the internal rammed earth. After the 1980s, the country realized the value of the city wall as a cultural heritage, and began to use new bricks to seal the rammed earth and restore it to the city wall relics park. However, the city wall itself was not used, and the relics were frozen, more just a symbol, and still splitting the site. This project is parasitic to a piece of the refurbished city wall, aiming to reactivate the city wall to use the space inside and outside as well as both sides of the city wall. At the same time, the inside of the city wall is also an excellent space for a darkroom for the filming workshop.

3rd

In dividual Gr oup

4th

GA 2.1 2.2 2.3 2.4 2.5 2.6

Studio-G

AMPL

2nd

semester 1

9 10

SCAT

SITE Beijing City Wall

1.1 1.2 1.3 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

6th

Outer rings - the ring roads - accelerate After the establishment of new China, Beijing City was defined as a city of production. As the first highspeed road without traffic lights in China, 2nd Ring Road speed up the city from the central area. Together with the other five rings, in the following decades, they form the frame of Beijing's traffic system.

Studio-B

semester 2

Inner rings - the city wall - decelerate The 2nd Ring was traced along the edge of otter city wall. For defence, there are three more rings inside, which are the Inner City, Imperial City, and the Forbidden City. The four-layer rings together constituted the defence system of ancient Beijing.

5th

YEAR 2

2.7

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-G

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

3 N N E R

Studio-D

5 ine

L ro

I P

o1 Tw

semester 2

I A

8 I

SCAT

C I

nw ay

nti

ltu

ra l

re e

nn ing

20 35 :

Es se

gC ity

Pla

Studio-G

ijin

In dividual

semester 1

Gr oup GA 2n ing dR

2.1 2.2 2.3

AMPL

a Ro

2.4 2.5 2.6

2.7

I T

YEAR 2

1.1 1.2 1.3 2.1 2.2 2.3

a Ro 2 99

Studio-B

To solve the different kinds of city issues happening in the massive Beijing city, the centre is moving to the far south, Xiongan District. In Beijing City Planning 2035, 2nd Ring is defined as a circled essential cultural and historical greenway.

semester 2

ing

11.1 11.2 11.3

10.1 10.2 10.3

9.1 9.2 9.3

sty

8.1 8.2 8.3

na Dy

7.1 7.2 7.3

ing

6.1 6.2 6.3

5.1 5.2 5.3

ing

4.1 4.2 4.3

Post - Beijing - 2nd Ring

3.1 3.2 3.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-G

GA 1 2 Studio-C

3 4 5 6

1 2

ATR

2nd Ring Road from 1992

semester 1

YEAR 1

Studio-D

4 5

semester 2

6 7

SCAT

8 9 10 11

Studio-G

In dividual

2nd Ring Road 1980

GC 1.1 1.2 1.3 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

Studio-B

2.7

The reason why the Xibianmen city wall can survive is because it is located at the corner of the intersection of the old and new 2nd ring road. The difference between the large turning radius of the express road and the right angle of the city wall allow this city wall to survive. Similarly, the construction of the subway also requires a large turning radius, and this piece of the wall was not affected as well when the Metro Line 2 was constructed. As result, different kinds of infrastructure shaped the site.

YEAR 2

2.4 2.5 2.6

semester 2

Metro Line Two from 1984

AMPL

Location In the City: the Survivor

GA 2.1 2.2 2.3

semester 1

Gr oup

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

In SCAT

Studio-D

Studio-G

ATR

AMPL

Studio-C

Studio-B

2 1

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-G

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

6 7

SCAT

8 9 10

Parasitic Architecture Experiment

2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1 1.2 1.3 2.1 2.2 2.3

The four selected infrastructures are city walls, moat, high road and metro. In the experiment, I also got inspiration about spacial quality and materiality, which influenced the following entire, such as the section of the moat to the cistern, the section of the metro to the inner space of the city wall, the section of the highroad to the public space under the roof.

AMPL

Studio-B

Gr oup

Studio-G semester 1

In dividual

This experiment is based on the hypothesis: with the centre of Beijing moving out, different types of linear infrastructures along Beijing 2nd Ring Road will be abandoned like city walls in the future. In this context, like the twin house in this project, housing, workshop and art facilities would parasite on different kinds of liner infrastructure as well. Just like the plan in Beijing City Planning 2035, the 2nd Ring is defined as a circled essential cultural and historical greenway, providing a large amount of green space and art-history relating programme.

YEAR 2

3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-B

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

Tutors: Mark Dorrian + Ana Bonet Miro + Paddi Benson 40 credits

9 10 11

In dividual Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1 1.2 1.3

Last semester we worked through the theme of ‘animate matter’, moving from Bruno Schulz and the Quay Brothers to the development of our own experimental animations, to the identification of sites for the projects (real or imagined), and the beginnings of an elaboration of the architecture. In this semester’s course we continue to pursue this toward the full development and completion of the work, including its technical aspects. In doing this, we split the semester into four components, two either side of Flexible Learning Week.

SCAT

LO1 -A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (e.g. the built, social, historical, technological, urban and environmental contexts). LO2 -A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants.

Studio-G

LO3 –An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies. LO4 –A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (e.g. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

AMPL

ANIMATE MATTER Parasitic in Beijing

semester 2

semester 1

STUDIO-B

YEAR 2

Studio-D

2.1 2.2 2.3

Studio-B

3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

4 6

8 9

I In G Gr Studio-D Studio-D

SCAT SCAT

ATR ATR

Studio-G Studio-G

Studio-C Studio-C

5 4 6

AMPL AMPL

Studio-B Studio-B

2 2 3

DR DR

GA GA

1 3

4 2

7 6

10 10 9

11 11

Reflecting Back to Film

2 2 3 34

5 4 6

Studio-C Studio-C

GA GA 11

Structurally, similar to the four scenes of the film project has, the architectural project is also developed in four parts: the base(secret screen), roof and public space on the top, the public screen, and the inside of the wall. These four parts are inspired by the materials, light, and atmosphere of the four scenes in the Film. Like the Loop in the Film, the 4 parts also form a circulation together.

57 GC

ATR ATR

GC 3

35 4 6

Studio-D Studio-D

4 2

5 7 6

8 9

SCAT SCAT

9 10 10

AMPL AMPL

Studio-B Studio-B

DR DR

I In G Gr

Studio-G Studio-G

11 11

4 6

8 9

I In G Gr Studio-D Studio-D

SCAT SCAT

ATR ATR

Studio-G Studio-G

Studio-C Studio-C

5 4 6

AMPL AMPL

Studio-B Studio-B

2 2 3

DR DR

GA GA

1 3

4 2

7 6

10 10 9

11 11

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-B

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

6 7

SCAT

8 9 10

Studio-G

In dividual semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

As the extension of the foundation of the city wall, the concrete base bears the main load of the architecture, and the counterweight of the cistern part makes the base more stable. The roof and the top of the city wall are mainly made of wood structure, and are connected to the concrete base. The rest is mainly made of steel structure, and the rammed earth is wrapped together with the metal mesh to make it observable and touchable.

Studio-B

1.1 1.2 1.3

Development from Section

semester 2

YEAR 2

2.7

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-B

GA 1 2 4

Studio-C

3 4

5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

6 7 8 SCAT

5 9 10

Studio-G

In dividual semester 1

Gr oup

GA 2.1 2.2 2.3

3 AMPL

2.4 2.5 2.6

YEAR 2

2.7

GC 1.1 1.2 1.3 2.1 2.2 2.3

Studio-B

4.1 4.2 4.3

LEGEND

5.1 5.2 5.3

1 Movable Facade 2 Archaeological Garden 3 Secret Theater 4 Twin's Tea shop 5 Twin's Living Space/Workshop 6 Public Screen

6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

semester 2

3.1 3.2 3.3

GA GA 11

Studio-C Studio-C

2 2 3 34

5 4 6 57 GC

ATR ATR

71 2

GC 3

Studio-D Studio-D

4 2 35 4 6 5 7 6

SCAT SCAT

78 8 9 9 10 10

Studio-G Studio-G

11 11

Roofacade

Studio-B Studio-B

AMPL AMPL

I In G Gr

DR DR

The large but lightweight roof can be moved according to different weather and timing to achieve the ideal light environment on the top of the city wall.

GA GA 11

Studio-C Studio-C

2 2 3 34

5 4 6 57 GC

ATR ATR

71 2

GC 3

Studio-D Studio-D

4 2 35 4 6 5 7 6

SCAT SCAT

78 8 9 9 10 10

Studio-G Studio-G

11 11

Circulation System

Studio-B Studio-B

AMPL AMPL

I In G Gr

DR DR

The interior of the wall is connected to double sides and top of the wall in the form of a ramp, lift, and stairs, forming a circulation system.

Public Screen

GA GA

The large screen is structurally connected to the lift, and there is a staircase leading directly to the top of the city wall. It hides the corridor at the bottom of the wall, which is the entrance to the secret theatre.

2 2 3 34

5 4 6

Studio-C Studio-C

57 GC

ATR ATR

GC 3

35 4 6

Studio-D Studio-D

4 2

5 7 6

8 9

SCAT SCAT

9 10 10

AMPL AMPL

Studio-B Studio-B

DR DR

I In G Gr

Studio-G Studio-G

11 11

GA GA 11

Studio-C Studio-C

2 2 3 34

5 4 6 57 GC

ATR ATR

71 2

GC 3

Studio-D Studio-D

4 2 35 4 6 5 7 6

SCAT SCAT

78 8 9 9 10 10

Studio-G Studio-G

11 11

Base

Studio-B Studio-B

AMPL AMPL

I In G Gr

DR DR

The base is also the rainwater circulation system and the secret theatre. There is a screen that can be opened or hidden. The concrete corridor at the bottom of the city wall linked to the other side.

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-B

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

YEAR 1

Studio-D

4 5

semester 2

SCAT

8 9 10 5

Studio-G

In dividual semester 1

Gr oup 6

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

YEAR 2

GC 1.1 1.2 1.3 2.1 2.2 2.3

LEGEND

3.1 3.2 3.3

1 Exhibition / Ticket Office 2 Public Seat 3 Archaeological Garden 4 Twin's Tea shop 5 Bedroom 6 Workshop 7 Darkroom

4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3

8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

N 0

20M DR

7.1 7.2 7.3

Studio-B semester 2

2.7

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-B

3 GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

Studio-D

4 5

semester 2

6 2 7

SCAT

8 9 10

In dividual

Studio-G

1 semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

YEAR 2

2.7

GC 1.1 1.2 1.3 2.1 2.2 2.3

Studio-B

3.1 3.2 3.3 4.1 4.2 4.3 1 Secret Theater 2 Cistern 3 Public Screen

6.1 6.2 6.3

8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

N 0

20M DR

7.1 7.2 7.3

semester 2

LEGEND

5.1 5.2 5.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-B Movable Facade

GA 1 2

1 Studio-C

3 4 2

5 6

3 Movable Screen

Studio-D

YEAR 1

ATR

semester 1

5 6 semester 2

6 7

SCAT

8 9 10

Studio-G

Moveable Facade & Screen semester 1

8 7

2.7

GC 1.1 1.2 1.3 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

note 1. metal pulley connected with roof structure 2. metal slide rails 3. foldable metal mesh floor 4. metal mesh wraps rammed earth and plants 5. Concrete with embedded wood structure 6. Concrete with embedded stell components 7. screen rotation axis 8. rainwater recycled ditch 9. rammed earth foundation of city wall with embedded wood structure 10.wrapped rammed earth metal mesh 11.storage cistern

AMPL

2.4 2.5 2.6

YEAR 2

2.1 2.2 2.3

Studio-B semester 2

In dividual Gr oup

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Design Studio-B

Moveable Furniture

2 4

Slide Furniture

Studio-C

3 Light Control

5 7

semester 1

6 1

GC 2

Studio-D

YEAR 1

ATR

5 4 semester 2

6 7 8

SCAT

9 10 11

Studio-G

6 In dividual

semester 1

Gr oup

AMPL

2.1 2.2 2.3 2.4 2.5 2.6

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

1. Movable wooden sliding door 2. Metal sliding rail 3. Metal node linked with brick and wooden structure 4. Controllable light shield board 5. Metal mesh structure wrapped with rammed earth 6. Liftable light source 7. Sliding Animation table

Studio-B

1.1 1.2 1.3

note

semester 2

YEAR 2

2.7

I In G Gr Studio-G Studio-G

8 9 SCAT SCAT

4 6 Studio-D Studio-D

AMPL AMPL

2 ATR ATR

Studio-B Studio-B

5 4 6 Studio-C Studio-C

2 2 3

DR DR

GA GA

1 3

4 2

7 6

10 10 9

11 11

Upper and Inner of the Wall

View From Workshop

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Management, Practice&Law

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

3 4 5

Studio-D

ARCHITECTURAL MANAGEMENT, PRACTISE & LAW semester 2

6 7

Exam/Contract Game/Regulatory Drawing

SCAT

Course Organiser: Iain Scott 20 credits

9 10

2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

2.1 2.2 2.3

LO2 -An understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. LO3 -An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

AMPL

Studio-B

2.1 2.2 2.3

LO1 -An understanding of practice management and codes of professional conduct in the context of the construction industry.

semester 1

Architectural Management, Practice and Law is a lecture, tutorial, workshop and seminar based course aimed at developing student’s knowledge and understanding of the management of architectural practice. It is delivered through a series of previously recorded lectures presented by architects and related professionals involved in the creation of the built environment. The lectures are intended to present the student with a range of knowledge which can then be built on and developed by further reading. Further teaching vehicles include an on-line contract simulation exercise and a regulatory drawing project supported by on-line tutorials.

YEAR 2

In dividual Gr oup

Studio-G

3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Management, Practice&Law

GA 1

Architectural Management Practice and Law 2020-21

Learning Outcome 1 Coursework Submission Student Answer Paper

Student Names …………………………………………… Matriculation numbers……………………………………...

Coursework Questions (Delete the Question you do not answer)

8 Question 1: Form of Business

Note from Practice Formation meeting:

We need as a fledgling practice to consider clearly our form of business options. Our accountant has suggested three potential business forms for us to consider, without particularly going into detail on any. Limited Liability Partnership, Limited Company or a Co-operative. Can you investigate the above 'form of business' options and provide a brief critical appraisal of their advantages and disadvantages. Should we be considering a hierarchical or flat organisational structure? Are there any ethical issues we should consider in deciding on a form of business? Look at key factors, such as business structure, professional liability, tax and administrative duties etc. A suggestion for an analytical framework might be Overview/ Ownership-Legal Structure/ Risk/ Tax/ Perception and Future development, feel free to add any other critical terms you might think appropriate. Conclude by making a recommendation as to which 'form of business' we should adopt and how this might shape the future direction of the practice.

In dividual Gr oup

ANSWER BELOW….

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Perception and Future Development Although a LLP gives the impression of professionality, potential clients, suppliers or investors may see a Limited Company as more credible as LLP is still a relatively new form of practice structure. Forming a Limited Liability Partnership will allow competitors to find out more about you via Companies House. Because of the different definition between ‘partner’ in Partnership Act in and ‘members’ in the Limited Liability Partnerships Act, it is technically possible to form an LLP on an individual by having a dormant company as the second member, but sacking a partner can still be difficult. Advantages and Disadvantages The partnership structure and ethos can be retained, yet the LLP also has the all-important protection of limited liability, which means that the partners will not all risk losing their homes and other assets in the event of a successful claim against the practice that exceeds the level of insurance cover. Thus, partners can maintain professional and efficient collaboration while spreading the risk. However, in the between of Partnership and LTD, LLP is not as credible to the public as LTD in general, and Banks’ reaction to LLPs is less positive than that of a partnership. In addition, the degree of flexibility to change partners is quite low. Limited Company Overview and Legal Structure The traditional alternative to working as a sole practitioner or partnership was to form a limited company. Shareholders could be directors, directors and staff, or separate individuals or companies. A memorandum of association and articles of association need to be prepared to cover some essential issues, and registration documents must be submitted along with the standard fees. Companies with limited shares are more easily to set up employee ownership. Risks Directors and shareholders are only responsible for the assets of the company. Limited liability is a layer of protection between the company and individual directors, which means directors will not be personally liable if the company is unable to pay its debts.

GC 1.1

Tax Partners are self-employed and owe annual income tax. They must register as self-employed with HM Revenue & Customs within three months of commencement. Income tax is due on each partner's share of any profits, whether or not allocated to the member.

1.2

1.3

2.1 2.2 2.3

Tax Employees and directors employed by the company pay income tax on their salaries and benefits through Pay

However, “unless you have a shareholders agreement in place that deals with all of the eventualities, some very difficult issues can arise that revolve around the methods used to place a value on the shares held” (Brian, 2008,p.12). The liability of shareholders and directors is limited and they are only responsible for the assets of the company, so it may be more difficult for banks to lend to the company. Moreover, forming a Limited Company will allow competitors to find out more about you via Companies House. Co-operative Overview and Legal Structure A Co-operative is owned and controlled by its members. “It is democratic – this means every member has an equal say in how it’s run and how profits are used” (Poppy, 2021). A co-operative business may be formed under any legal form, including companies and partnerships, whereas an Employee-owned Business will most likely be a company. In a Co-operative, the minimum of 51% of the ownership should be held by the employees, directly or indirectly via an employee benefit trust, and a majority of the board directors should be employees. Risks Risk is more equal. All members are treated the same unless there is some other agreement in place. All members of a Co-operative will have equal rights and one aspect of this is equality of personal risk. This is quite easy to achieve in a corporate body. “Internal contracts can aim to share liability equally, but they are unlikely to produce a positive result as members may have to go through the courts to enforce them” (Cooperatives UK, 2017, p.15).

ATR

As we are three recently qualified Part 3 students, the company is more likely to be on a small scale in the beginning. In this context, a flat structure seems to make more sense to us. Ethical Issues Generally, many ethical issues are necessary, such as honesty loyalty. Different issues may need to be addressed for different organizations of structure. For flat structures, fairness is important, with particular attention to discrimination on grounds of race, age, gender etc. As for hierarchical structures, harassment due to differences in power is possible. In the context of technology, employers can now monitor their employees’ activity on their computers and other company-provided electronic devices. So the ethical issues relating to privacy is also a point.

Studio-D

Advantages and Disadvantages As the assets and liabilities of the company are separate from the shareholders, there will be no risk of seizure of the shareholders' assets if the company faces a financial crisis due to normal business activities. Shares can offer very useful flexibility, as circumstances change with time. The more senior directors can sell or transfer their shares to the next generation on a gradual basis.

Conclusion In summary, I would recommend a Co-cooperative with Limited Liability Partnership legal form based on the following reasons. Firstly, When compared to other companies, figures show that cooperative startups are almost twice as likely to survive their first five years. “Reportedly, only 44.1% of new companies make it through those difficult opening years, co-ops on the other hand have a survival rate of 80.4%” (Poppy, 2021). Second, registration is “fairly straightforward and relatively inexpensive” (Co-operatives UK, 2017, p.30). For us three newly qualified part3 student, Co-cooperative with Limited Liability Partnership legal form is good for the company's survival at the beginning, but also avoids certain risks and has a certain credibility. The equal relationship between our three students dictates that a flat structure is the better choice. This business form that fits well with a flat structure and it maintains professionalism while keeping a productive cooperation model from our student era. But at the same time, it somewhat limits the future scale of the company.

SCAT

Risks Liability in this legal structure is not joint and several, limited to capital held within the business. LLP has the most important protection of limited liability, as it is being conveyed through its separate legal personality. Unless a Partner can be proved to be personally at fault.

Studio-G

A flat structure helps employees feel more responsible to the business while minimizing the times of decisionmaking and communication. However, as the division of labour cannot be stable over time, it tends to produce more generalists rather than specialists, and the flatness of the structure will easily lead to unnecessary power disputes in the company.

Tax Partners are treated as self-employed for tax purposes so there is no employer’s National Insurance to pay and people’s income tax is not collected until the end of the financial year (Co-operatives UK, 2017, p.18). Perception and Future Development As the ownership of the company is equally shared between the members in Co-operative, it has some advantages towards some sort of project. All employees are paid the same salary and have the same rights, responsibilities and liabilities. However, it is difficult to hire professional technicians and managers who earning high salaries because of the impact on members' income. It would be a limitation to development and expansion. Advantages and Disadvantages The togetherness aspect of a co-op and a distinct lack of hierarchy leads to increased performance and creates an environment conducive of collaborative problem-solving. The concept of democracy is appealing to members and means that there isn’t an owner dogmatically ruling with an iron fist However, investors can be put off by the fact that a greater contribution will not equate to greater shares. It can also be difficult to secure a bank loan. The democratization of the co-operative can ensure the fairness of every decision, but it cannot guarantee correctness, which is“inefficient when snap decisions need to be made” (Poppy, 2021). The co-operative may eventually fail because of poor management and organization.

References Brian Pinder-Ayres, 2008. Good Practice Guide: Painless Financial Management, London, RIBA Publishing. Co-operatives UK, 2017. Simply Legal - For co-operatives and community owned enterprises. Manchester: Cooperatives UK Co-operatives UK, 2020. 5.2 Choosing your legal form. [online] Investopedia. Available at: <https://www. uk.coop/start-new-co-op/start/choosing-your-legal-form> [Accessed 30 January 2021]. Poppy Mortiboys-Harrison, 2021. What is a startup cooperative business? [online] Investopedia. Available at: <https://startups.co.uk/analysis/startup-cooperative-business/> [Accessed 30 January 2021].

AMPL

Simon Foxell, 2015. Starting a Practice, 2nd edition, London, RIBA Publishing.

Studio-B

CONTRACT LAW EXAM

Perception and Future Development Limited Companies are more credible for potential clients, suppliers or investors. Limited Liability Companies are more flexible as they are entities in themselves and can continue despite changes in shareholders and directors, making it easier to create directors, sack them, or for directors to leave. Only Limited Companies can sell or pass on shares in the business. There will be an option for employees to own shares in the business, which tend to be a more flat open structure.

semester 1

GC 1

Based on a ‘Members Agreement’ or ‘LLP Agreement’, an LLP is regarded as a separate legal entity from the individual partners and externally will be treated as such. Annual accounts must be available for public inspection. “At least two designated partners (‘members’ in the Act) will be required to act in roles similar to those of company secretary and director” (Simon, 2015, p.40).

YEAR 1

Organization Structure A hierarchical structure can motivate employees to win promotions and be fiercely loyal to their department. They narrow down their works to become specialists in specific aspects. But the communication with clients or across departments tends to be less effective, and the competition between teams is likely to intensify, salaries for multiple layers of management increase practices cost.

semester 2

LLP is an approach between a partnership and a limited liability company and combines the two in a new legal structure since 2000. For architects, the key aspect that makes it a relatively popular trading structure is the liability of the partners for the total amount invested by each or personally guaranteed to be raised.

As You Earn. Profits and dividends of the company are subject to corporation tax and dividend tax respectively. Higher-income earners may be able to obtain tax advantages by retaining the profits of the limited company or by pension payment.

semester 1

Limited Liability Partnership Overview and Legal Structure

4 5

YEAR 2

Studio-C

3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Management, Practice&Law

GA 1 2 Studio-C

3 4 5 6

semester 1

01_ PROCUREMENT ROUTES

Traditional Procurement

Design&Build Procurement

Deciding on a Contract

COST

C3 5

01_ PROCUREMENT ROUTES

ATR

In dividual Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

However, according to factors of cost, quality and time, in reality, other procurement methods are also taking place, such as Design and Build. This report would be compared and contrasted two different procurements. The advantages and weaknesses of both Traditional procurement and Design and Build would be analyzed through specific scenarios in the contract game. Further, comparing with procurements in the UK, this report will combine personal practice experience outside the UK as an additional reflection.

Fig.2 Traditional Contractual Agreement and Roles Relationship in scenarios

control

Messrs R W Pipe&Son Messes Hardwall Ltd. Pentland Decorators Ltd.

appointment

CLIENT

CONTRACTOR

contract

Charles Chore Ltd.

COST CONSULTANTS

EMPLOYER'S AGENT

D E Strut Ltd.

t en

tm in

contract

SUB-CONTRACTORS BILL PAGE&PARTNERS Bean and Coll

constructors team

YEAR 1

5 4 3 2 1

An examination profile in the form of radar chart or similar diagrammatic analysis could be build from the assessment of the priority of time, quality and cost. This chart includes the level of priority from 0-5 according to the three key considerations which could be helpful to focus on the balance of these priorities. Fig.7 shows a profile that suited traditional procurement of the project while the Fig.8 shows the Design and Build contract from the example profile in Which Contract? 6th Edition (Sarah Lupton and Manos Stellakis, 2019: 54, 56)

Contract Type

Risk Client

Design and Build Complete 'package' by supplier

Contractor

Fig.8 Design and Build procurement contract profile

Design and Build Design input by contractor Traditional measurement Fixed fee prime cost Traditional measurement Percentage fee prime cost

Fig.6 Speculative risk Fig.4 Design&Build Contractual Agreement and Roles Relationship in scenarios

TIME

T1 Earliest possible start on site T2 Certainty over contract duration T3 Shortest possible contract period

COST

C1 Lowest possible capital expenditure C2 Certainty over contract price, no fluctuation C3 Best value for money overall

QUALITY

Q1 Top quality, minimum maintenance Q2 Sensitive design, control by employer Q3 Detailed design critical

SCAT

E TIM

design team

Fig.5 Extent of contractor design responsibility 0

CONSULTANTS

COST

Studio-D

Group 10 (lead consultant)

JCT ICD/JCT SBC

TIM

ARCHITECT

novation

(client architect)

Contractor

Consultants

semester 2

appointment

For the contractor, the level of input and responsibility of design is much higher on D&B projects than a traditional contract. While D&B provides cost certainty and time assurance, overall quality of the construction can be compromised as it is to the contractor’s advantage to make substitution or alternation as long as the proposal achieve the requirements of the client. Thus, it is difficult for the client to control design and quality once the agreed contract is passed on to the contractor; the client loses the direct control over the detailed design There would be less space for design flexibility at the same time. The quality is supposed to be compromised compared with the traditional procurement.

ARCHITECT

istr ati o

BILL PAGE&PARTNERS Bean and Coll

two stage

Fig.7 Traditional procurement contract profile

Design Responsibility

Contract Type

JCT DB

02_ SCENARIO ANALYSIS

03_ COST CONTROL

04_ CONTEMPLATION

Scenario 12 - Efficiency

Scenario 10 - Quality

In scenario 12 (Appendix II), there is a differentiation in the space of steel reinforcing bars between the works on site and the structural engineer's drawing. Under the Traditional Procurement, the architect should instruct the contractor to stop concrete pour immediately and issue AI for remedial work. Because of the fragmented relationship, every parties trend to lower their own risks, which leads to a time&money-consuming result.

In scenario 10 (Appendix I), the contractor installed the wrong fireclay drain pipes and quality of that was not as high as the quality described in the Bills of Quantities. In the traditional procurement, the client retained the design control during construction so that client and architect keep the right to reject or accept the pipes depends on the specific situation. As a contact point, the architect would know and inform the client once the construction is not meet the described quality. The client is protected by the contract from the risk of quality through the whole process and the contractor takes the whole responsibility for taking over the quality on site. Thus, quality gets controlled.

In contrast, having applied Design and Build procurement, such differentiation might not have emerged, as both architect and structural engineer are consultants for the contractor. They would have reached a consensus at the beginning of the construction. In such a procurement route, if an error had been made during the operation, the contractor could have redressed the circumstance quickly on-site without counselling the architect, setting aside both time and money.

Whereas in the contract under the Design and Build procurement, the separation between client and consultants would cause quality control unresolved. In scenario 10, as the contractor held the design responsibility, they could choose to keep the pipes, as long as the changes still meet the employers’ requirements. The architect could not carry out the inspection in the first place. In this contract, to clarify the detail in the contract requirement become the only method to control the quality. The client do can employ an agent to have the access to the works but the passive state for the client still can not be changed. So in the method of Design and Build, the client has more risk in the quality control.

Conclusion

Design and Build procurement has a significant advantage of efficiency. Taking the responsibility of both design and construction, the contractor could make the process becomes more fluent as a more integrated system to avoid delays and conflicts between different parties, which would reduce the uncertainty of time and cost in the whole project process. However, not as traditional procurement, the design control of the client is not retained in the construction phasing so the flexibility over the design is limited.

In the Design and Build procurement, the contractor takes the responsibility of both design and construction ‘under a single lump sum contract’ (Lupton and Stellakis, 2019), which means the contractor agrees to complete the project under a reasonable certainty contract cost. Different from traditional procurement, Design and Build method reduces the financial risk for the client, but the client has less control to the project. Take scenario 28 as an example (Appendix III), if this scenario is under Design and Build contract, as long as the door ironmongery meet the requirement in the contract, the contractor has right to keep it and there will not be any influence on time and cost. But the client loses the control of design and quality of the ironmongery in this way.

Studio-G

Different types of procurement methods result in different focal points on cost, quality and time. In the contract game relating to the traditional procurement route (Standard Building Contract with Quantities in Scotland), the client plays the role of the employer, and the architect and contractor are both direct employees of the client.

CONSULTANTS

Fig.3 Project Process Under Design&Build Procurement

D&B gives possibilities for faster construction process since the contractor has sole management of both design and construction for parallel execution. A programmed process including both design and construction can significantly shorten the time spent, for the construction could begin before the completion of the detailed designs. From the beginning of the project, D&B facilitates better integration and thus more integrated teamwork and less room for confrontation. The contract is likely to be awarded for a fixed-price, but cost certainty is dependent on no subsequent changes being made.

Due to the difference in Project Process (Fig.1&3) and Contractual Agreement and Roles relationship (Fig.2&4) between different parties, different procurement route also leads to the different result of design responsibility and risk (Fig.5&6). An approach is to decide on a contract is to examine the risk profile of the contract and how it balances time, quality and cost. (Sarah Lupton and Manos Stellakis, 2019: 33) Traditional procurement gives better control on design quality but takes a longer period of time whereas the Design and Build could take the advantages of delivery time and cost.

semester 1

design team

control

Architect Contractor

Personal Practice Experience

Moreover, in the Design and Build method, the design team is regarded as a part of the construction team, which means the experience and suggestion of construction can be provided to design team efficiently, so that cost&time-consuming could be avoided.

From my practice experience, in my country, efficiency is the first point in most projects. For procurement method, most cases are like Traditional procurement but slightly different. Because of the different social form from the UK, there is one state-owned design and build institutions in each part of the country, each of which has departments including almost all parts in a construction process. This kind of institutions works for both government and personal client. Though the contract they provide is kind of like the traditional way, they work in a more integrated way, as the architect and the contractor belong to a same institution. This would be an examplar between Traditional and Design&Build procurement.

AMPL

YEAR 2

CONTRACT GAME INDIVIDUAL REPORT

ARCHITECT

Group 10 (lead consultant)

Architect

Use

appointment

Messrs R W Pipe&Son Messes Hardwall Ltd. Pentland Decorators Ltd.

Construction

CLIENT Charles Chore Ltd.

SUB-CONTRACTORS

Pre-construction

act ntr

control

D E Strut Ltd.

Design

appointment

construction team

CONTRACTOR

Preparation

appointment

Fig.1 Project Process Under Traditional Procurement

Architect Contractor

The structure of the tradition systems is shown(Fig.2). Nevertheless, this way is more fragmented so that this involves risks in monitoring the project’s activities as the client has to deal with many points of responsibility, which is time-consuming. Moreover, the contractor can only be selected through a bid process after the completion of the detailed design. For these reasons, traditional procurement tends to be less efficient than Design&Build.

Use

QU ALI

Construction

Architect

In the contract game, the simulation is from Pre-construction to Use stage(Fig.1) under traditional procurement method. Cooperated different parties, the architect plays the role of an administrator and a contactor rather than a designer. In this context, the architect is a significant contact point between client, contractor and consultants the client employed. Thus, both client and architect have greater control upon the whole team.

Pre-construction

appointment

Design

project administration

Preparation

In the construction industry, the traditional procurement is the most common procurement process that separates the design portion from the construction part. Under this procurement method, the responsibility and risk are shared between client, contractor, and architect. The architect takes the responsibility for design, cost control and contract administration; the contractor takes the role of carrying out all workmanship and materials, and the works for sub-contractor in the respect of complying with the standards of the contract. As quality was clearly stated in the tender package, the client has very high-quality control from design to construction of the whole project.

QU ALI

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Preparation

Design

Pre-construction

Construction

Architect

Use

Preparation

Architect

Design

Pre-construction

Construction

Architectural Management, Practice&Law

Use Architect

Contractor

Contractor GA 1

Fig.1 Project Process Under Traditional Procurement

Fig.3 Project Process Under Design&Build Procurement Studio-C

3 4 5 6

semester 1

two stage

CLIENT 8

Charles Chore Ltd.

appointment

ARCHITECT

Group 10 (lead consultant)

control

CONTRACTOR D E Strut Ltd.

contract

Studio-D

contract

Charles Chore Ltd.

YEAR 1

appointment

CLIENT

design team

SUB-CONTRACTORS BILL PAGE&PARTNERS Bean and Coll

CONSULTANTS BILL PAGE&PARTNERS Bean and Coll

COST CONSULTANTS

EMPLOYER'S AGENT

constructors team SCAT

int

o pp

semester 2

str ati

design team

appointment

act ntr

Messrs R W Pipe&Son Messes Hardwall Ltd. Pentland Decorators Ltd.

ini

project administration

Messrs R W Pipe&Son Messes Hardwall Ltd. Pentland Decorators Ltd.

CONSULTANTS

D E Strut Ltd.

SUB-CONTRACTORS

appointment

control

Group 10 (lead consultant)

appointment

CONTRACTOR

ARCHITECT

novation

(client architect)

ATR

ARCHITECT

construction team

2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

In the contract game, the simulation is from Pre-construction to Use stage(Fig.1) under traditional procurement method. Cooperated different

Design&Build Procurement parties, the architect plays the role of an administrator and a contactor rather than a designer. In this context, the architect is a significant contact point between client, contractor and consultants the client employed. Thus, both client and architect have greater control upon the whole team. The structure of the tradition systems is shown(Fig.2). Nevertheless, this way is more fragmented so that this involves risks in monitoring the project’s activities as the client has to deal with many points of responsibility, which is time-consuming. Moreover, the contractor can only be selected through a bid process after the completion of the detailed design. For these reasons, traditional procurement tends to be less efficient than Design&Build.

Opposite to Traditional procurement, Design and Building procurement works on the basis that the main contractor takes the responsibility for carrying out both the construction and design work on the project. Instead of having different points of contact as the traditional method, the Design and Build provide a single point of contact for the whole project. Without a completed design proposal before the contract, ensured price certainty and time assurance lead the contract(Fig.3). Instead of employed by the client, the architect is employed as a consultant by the contractor, but the architect still works as an administrator along with other sub-consultants as how it works in the traditional procurement (Fig.4). D&B gives possibilities for faster construction process since the contractor has sole management of both design and construction for parallel execution. A programmed process including both design and construction can significantly shorten the time spent, for the construction could begin before the completion of the detailed designs. From the beginning of

the project, D&B facilitates better integration and thus more integrated teamwork and less room for confrontation. The contract is likely to be awarded for a fixed-price, but cost certainty is dependent on no subsequent changes being made. For the contractor, the level of input and responsibility of design is much higher on D&B projects than a traditional contract. While D&B provides cost certainty and time assurance, overall quality of the construction can be compromised as it is to the contractor’s advantage to make substitution or alternation as long as the proposal achieve the requirements of the client. Thus, it is difficult for the client to control design and quality once the agreed contract is passed on to the contractor; the client loses the direct control over the detailed design There would be less space for design flexibility at the same time. The quality is supposed to be compromised compared with the traditional procurement.

AMPL

Studio-B

Traditional Procurement

2.1 2.2 2.3

Fig.4 Design&Build Contractual Agreement and Roles Relationship in scenarios semester 1

Fig.2 Traditional Contractual Agreement and Roles Relationship in scenarios

YEAR 2

In dividual Gr oup

semester 2

appointment 11

Studio-G

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Architectural Management, Practice&Law

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

REGULATORY DRAWING Portal Between City and Sea

YEAR 1

In dividual Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.2

1.3

The city of Dundee has a very close relationship with the Tay River, and thus with its waterfront. V&A Dundee sits on the banks of the River Tay and forms the anchor to the transformation of the city’s waterfront. There are many challenges needed to be solved during the construction phase. For example, how to build the part of the building from the sea. The drawings trying to articulate how those conflicts were deal with and how those were accordant to the CDM Regulations.

semester 1

AMPL YEAR 2

Studio-G

In the 20th Century, the most significant factor which determined Dundee’s relationship with its Waterfront was the siting of the northern landfall of the Tay Road Bridge. Although the engineer, Ove Arup, actually preferred a site further east at Stannergate in order that the bridge could join directly into the Kingsway, the city chose to land the bridge right into the heart of the city centre. As a result, the historic central dock complex was in-filled in the 1960s to accommodate the necessary ramps and road system. The Olympia Leisure Centre and Tayside House were then built in the 1970s as the only completed elements of an intended multi-level, civic and commercial centre. The resultant effect was the loss of the harbour and the severance of the waterfront from the city.

1.1

SCAT

semester 2

Studio-D

Dundee waterfront was strategically positioned, controlling the entry into the heart of Scotland. By the medieval period, Dundee was second only to Edinburgh in terms of commercial prosperity. Most early trade was by sea and Dundee was ideally located on shipping routes to and from the Baltic and North European ports due to it being closer than Edinburgh by two days sailing. However, since the end of last century, Dundee faced the issue of industrial transformation.

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

8.1 8.2 8.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

PLANNING National Planning Framework for Scotland 2 (2009)

The area of Dundee is the only place having a most serious level of population and household decline. The redevelopment of the waterfront area needs a new centre to connect the city center and the waterfront while improving the quality of city life and creating job opportunities.

"206. Dundee has made great strides in improving the quality of the city centre, enhancing cultural facilities and establishing new centres of expertise in key areas of the knowledge economy. Many young people come to the city for further education. A key challenge is to create the opportunities which allow a higher proportion of them to stay. The strategy for the Dundee city region is to promote regeneration, neighbourhood renewal and further improvements to the quality of urban living within the city boundary. A masterplan has been prepared for the regeneration of the Central Waterfront and the City Council and Scottish Enterprise are promoting high amenity business and residential development in the Western Gateway."

Dundee Local Development Planning (2005)

National Planning Framework for Scotland (2004)

"POLICY 16: CENTRAL WATERFRONT The City Council will support, in principle, development proposals which comply with the Dundee Central Waterfront Development Masterplan 2001- 2031. Proposals conflicting with the Masterplan will not be in conformity with the Local Plan."

"35. In Dundee, many traditional industries have had difficulties in adapting to new technologies and markets. This has led to a fall in population, high unemployment, social deprivation, and significant areas of vacant and derelict land."

3 4 5 6

"162. The challenge for Dundee is to reverse population loss. The strategy for the Dundee city region will be to promote regeneration, neighbourhood renewal and further improvements to the quality of urban living within the city boundary. Priorities include the redevelopment of the Waterfront and the further development of knowledge

7 GC

Dundee started to change the population loss problem (NPF2004) with the strategy of promoting university education and creating job opportunities. For the central waterfront, an engine is needed to bring more attraction and reputation to Dundee. Dundee V&A plays a good role in this.

The waterfront redevelopment masterplan in 2000 was written in Dundee LDP policy 2005, which revealed the ambitions of Dundee government for the redevelopment of this area.

ATR

Architectural Management, Practice&Law

Studio-C

"The Development Masterplan for the Central Waterfront area includes certain key components; The extension of the city centre’s built form down to the waterfront; improved provision of facilities for walking, cycling & buses;The provision of a new rail station & arrival space at the western edge of the area."

economy clusters."

semester 1

The Development Masterplan for the Central Waterfront 2001- 2030 (2000)

YEAR 1

3 Design competition (2011) 4

Studio-D

Site Allocation (Fig.3) The existing context surrounding the site radically changes as a result of the approved masterplan and therefore provide a very different backdrop to the site of the V&A Museum at Dundee.

Fig

tio

ite

cat

ion

(20

)

Fig

RWP

08 RRWP 08 RWP

The masterplan includes the demolition of the Olympia Leisure Centre, the demolition of the former Dundee City Council office tower block and demolition of the Hilton Hotel and Casino. The reshaping of the current traffic road layout enhances the relationship between the City Centre of Dundee and the River Tay. The masterplan significantly improves accessibility to the riverfront.

04 RWP 07 RWP

eti

02 2

1100L

RWP

01 1

1100L

RWP R RWP 03 06

ca l

In dividual Gr oup

rfr on

tP rom

Fig

Sit

GA 2.1 2.2 2.3

Wa te

ati

(20

fro

Ar ea

1. Olympia Leisure Centre 2. Tayside House 3. Hilton Hotel 4. Train Station Entrance (2

2.1 2.2 2.3

25 50

3.1 3.2 3.3

4.1 4.2 4.3 5.1 5.2 5.3

6.1 6.2 6.3

9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Legend Urban Axis Views Out Central Waterfront City Centre Boundary Waterfront Promenade Site Boundary Coastline

)

Dundee Local Development Planning (2014)

National Planning Framework for Scotland 3 (2014)

"Policy 4: Ancillary Services within Economic Development Areas Within Economic Development Areas, appropriate small scale ancillary services which, can be demonstrated to meet the needs of employees and complement existing businesses, will be supported. "

A successful, sustainable place;National Developments;25 Dundee Waterfront (P3). "2.22 The redevelopment of the Dundee Waterfront, also a national development, demonstrates the way in which planning can effectively deliver large-scale transformation."

The Waterfront Project, for which a Masterplan has been prepared, and the establishment of the V&A at Dundee will significantly boost the tourist and business appeal of the City and bring major benefits to the local economy. With the progression of the Dundee Waterfront and the V&A there is the need to ensure that these integrate with the City Centre and strengthen its shopper and visitor appeal. To change the previous situation of the severance of the waterfront from the city, In the design proposal, along the axis extending from the union street, the train station, the commercial centre, and the V&A Museum are merged together through the Waterfront Promenade. (Fig.4)

"The redevelopment of Dundee Waterfront encompasses 240 acres along 8km of the River Tay, in five distinctive areas – Central Waterfront, Seabraes, City Quay, Dundee Energy Parks and the Port of Dundee. This project includes the V&A at Dundee, improvements to the railway station and port and industrial development. It is facilitating growth and regeneration in the city and the wider region. As part of this, significant improvements to the public realm will strengthen the city’s appeal to investors and reinforce civic identity." (p17) In NPF3, Dundee waterfront is listed as national developments and is

AMPL considered to be an obvious success case. It demonstrates the way in which planning can effectively deliver large-scale transformation. V&A Museum has brought high attention through international competitions, which in the engine of this transformation. Current situation Although the city centre and the waterfront are better connected than before, the traffic light intersection in the front square is too complicated. Due to the heavy traffic, the train station and the V&A Museum still have a sense of separation. The eastern projects' complement can improve this situation in the future.

Studio-B

1.3

8.1 8.2 8.3

W at

7.1 7.2 7.3

als

YEAR 2

1.2

semester 2

Fig

GC 1.1

ro p

2.4 2.5 2.6 2.7

Studio-G

V&A is organised to have construction access clear of the ongoing Central Waterfront road works although site access across an infilled Craig Harbour would be required. The V&A construction is independent of the Olympia demolition programme and on completion would have no access restrictions as the adjacent roadworks are scheduled to be completed before the proposed opening date. The establishment of a safe construction site in the River Tay, the fastest flowing estuary in Britain, presents significant challenges and risk. The site is within control of DCC although works to Craig Harbour and on the river bed requires the approval of Crown Estates.

Fig

semester 1

en tP

lan

Competition Site (Fig.2)

De ve lo

SCAT

semester 2

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

CDM (Construction, Design and Management)

6 7 GC

CDM Regulation 19 Stability of structures "(1) All practicable steps must be taken, where necessary to preven danger to any person, to ensure that any new or existing structure does not collapse if, due to the carrying out of construction work."

1 2

CDM Regulation 20 Demolition or dismantling "(1) The demolition or dismantling of a structure must be planned and carried out in such a manner as to prevent danger or, where it is not practicable to prevent it, to reduce danger to as low a level as is reasonably practicable."

3 4

4000 2500

Construction Site Access

Whilst the additional site area is predominantly located onshore an additional site area is also required offshore. The extent of the offshore area is to comprise a land claim within a temporary river wall. According to CDM Regulation 17, there must, so far as is reasonably practicable, be suitable and sufficient safe access and egress. Access to the offshore site elements can be taken to via Riverside Drive and the existing service access to the rear of Discovery point.

6 7 8

Studio-C

Pre-cast Facade Elements Installation ATR

Elevation Installation Details

The land claim remains in place for the majority of the 120 week construction period with removal commencing when the building roof and external precast cladding above and below ground level are completed. According to CDM Regulation 20 Demolition or dismantling, the removal of the temporary cofferdam and associated granular infill material include for the restoration of the river bed to the pre-construction levels.

According to (2) (a) in Regulation 13 of the specification, "if different kinds of work are performed on the site at the same time, the principle contractor must ensure the safety of all kinds of work."

In this case, the precast concrete panels in the V&A Dundee were one of the most important elements of the design, and their assembly involved deliberate planning and preparation before installation on site. The concrete is cured in a controlled environment and transported to the construction site for assembly. Hooks are cast into the back of each precast plank to fit them into position. As walls and forms are assembled on-site, precast allows efficient, economical construction that takes on a variety of shapes and forms. The adjacent drawings indicate the method of construction of the articulated pre-cast facade elements onto the reinforced concrete structure. Stacking the facade contours will produce the form of the building.

Studio-D

Elevation Installation Process

Detail, Section

SCAT

CDM Regulation 17 Safe places of construction work "(1) There must, so far as is reasonably practicable, be suitable and sufficient safe access and egress from— (a) every construction site to every other place provided for the use of any person whilst at work; and (b) every place construction work is being carried out to every other place to which workers have access within a construction site."

semester 1

1 2

The offshore piling and infill required to complete the tied cofferdam are therefore be undertaken by land-based plant progressively advancing a six to eight metre wide tied cofferdam from the east and west side of the site. Sheet piled cross walls would also be at 12m to 15m intervals to allow any soft silts to be removed and the granular infill to be placed in a controlled manner within a cell. When each cell is infilled to finished level the cofferdam would be capable of resisting the static loads from the retained granular material and the loads imposed by plant and equipment at the finished surface level.

YEAR 1

CDM Regulation 13 Duties of a principal contractor in relation to managing health and safety in construction "The principal contractor must plan, manage and monitor the construction phase and coordinate matters relating to health and safety during the construction phase to ensure that, so far as is reasonably practicable, construction work is carried out without risks to health or safety;"

Architectural Management, Practice&Law

Offshore Pile Installation and Removal Programme

semester 2

Construction (Design and Management) Regulations 2015

9 10 11

In dividual

Studio-G

The precast panels ranged between one and two 4000 tons, and higher level planks were fitted using 2500 mobile cranes.

semester 1

Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6

AMPL YEAR 2

2.7

GC 1.2

1.3

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 Temporary Offshore Areas

6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Facade Installation Strategy, Section

semester 2

4.1 4.2 4.3

1.1

Transforming of Dundee Waterfront 2001 - 2018

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Design Report

GA 1 2 Studio-C

3 4 5 6

semester 1

ATR

1 2

YEAR 1

DESIGN REPORT

ANIMATE MATTER Parasitic in Beijing

semester 2

Studio-D

SCAT

Tutors: Mark Dorrian + Ana Bonet Miro + Paddi Benson 10 credits

9 10 11

Studio-G

LO1 -The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed document

In dividual

2.4 2.5 2.6 2.7

GC 1.1 1.2

1.3

LO3 –The development of transferable design skills and techniques through the preparation of a sophisticated graphic documents

AMPL

2.1 2.2 2.3

LO2 -Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context.

semester 1

This course, taken in the final semester of the programme, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the programme. The design report sets out the research and design development undertaken, incorporating images including the key representations of the project itself.

YEAR 2

Gr oup

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Design Report

GA 1 2 Studio-C

3 4 5 6 semester 1

7 GC

DESIGN REPORT studio ANIMATE MATTE

8 9 10 11

In dividual Gr oup

Studio-D

YEAR 1 PARASITE IN BEIJING Project for Bohemian Twin Brother

北京寄生 ——波西米亚孪生兄弟计划 Design Report 设计汇报文本

DESIGN REPORT

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1 1.2

SCAT

1.3

The design report adopts the Chinese format of back-tofront and the Chinese titles under the Beijing context, telling the background of the twin brothers based on the east village artists.

Studio-G

Peitong Liu s1989999 May 2021

MArch Mudular PathWay ESALA University of Edinbutgh Peitong Liu s1989999

AMPL

semester 2

semester 1

YEAR 2

北京京寄寄生生北

ATR

Studio-B

2.1 2.2 2.3 3.1 3.2 3.3

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

semester 2

4.1 4.2 4.3

8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Design Report

Studio-C semester 1

1 2

ATR

fig.1 Rong Rong, Untitled. 1993-1998, the Beijing East Village

波西米亚孪生兄弟计划 ——

PARASITE IN BEIJING Project for Bohemian Twin Brother

北京寄生

Abstract

To experience as the identical animator twins, this project initiated through the making of a film project -a stop motion animation, working with one partner. The film project reversed the traditional shooting-dubbing production process, attempting to use visual language to "dub" existing sounds, which is relating to animating, materiality, light, organization and randomness. Similarly, this parasitic architectural project is parasitic on the existing artificial landscape in Beijing -a piece of the refurbished city wall. With the massive brick surface and frozen, rammed earth inner, animatedly, the city wall is redefined by the project. Together with the big screen, the newly parasitized wall becomes collaborating and touchable instead of separating and defending. Based on the matter of animate, this project seeks to transform and create different spatial qualities with architectural language, as well as respond to cultural and urban issues.

摘要

studio ANIMATE MATTE

GA 1 2

孪 Twin

6 7

10 11

fig.4 Rong Rong, Untitled. 1993-1998, the Beijing East Village

fig.2 Étienne-Jules Marey, from the series ‘Mouvements de l’air’ (1901)

Bohemianism in Beijing

For the film project, my collaborator (Yifei Huang) and I tried to simulate the twin roles similar to those in the project. We are studio mate, living in the same flat, and come from the same region in China, which gives us similar life experiences and cultural backgrounds.

Studio-D

Taking stop-motion animators Quay Brothers as the prototype, the twins of this project have been redefined in China. In the past few decades, due to the one-child policy(1978-2015), most people have no brothers or sisters except for twins, which deepens the special situation of twins in this era. In this context, twins attract more attention, and the personalities in their character are difficult to be stifled by collectivism. They influence and intensify each other. Living together since childhood has allowed them to have a good understanding of each other. They look like the same person, but at the same time the differences will be magnifiedconflicts can sometimes happen, but they will reach consistency. Because of the strong family concept in Chinese culture background, they are even more inseparable.

北京的波西米亚主义

This project is based on animate matter, to think about the spatial quality. The excavation and transversal of the earth in the city wall gives new spaces. The animating architectural elements change the function of the space. The animating furniture in different positions changes the circulation in the architecture. The facades, doors and windows of different angles and positions change the light together with the weather and solar angle. Air flows transformed in different seasons of the monsoon. Rainwater and solar energy are collected by the roof- base system and circulated in the architecture.

"Bohemianism is the practice of an unconventional lifestyle, often in the company of like-minded people and with few permanent ties. It involves musical, artistic, literary, or spiritual pursuits." (Wikipedia, Bohemianism)

fig.5 Zhang Huan and Beijing East Village performers, To Add One Meter to an Anonymous Mountain, May 22 1995

(Prof. Mark Dorrian+Ana Bonet Miro+Paddi Benson, Animate Matter Guidebook)

fig.3 The Brothers Quay, with the set of Street of Crocodiles (1986)

‘Who better than identical twins could feel at home with the other?’ (Atkinson, ‘The Night Countries of the Brothers Quay’, 37)

The term bohemianism is from in France in the early 19th century, when artists and creators began to concentrate in the lower-rent, lower class, Romani neighbourhoods. In the last century, villages on the edge of Beijing was once a great breeding ground, just like Romani, for contemporary Bohemian artists. They were young and struggling. Living in the refuse area on the edge of the city, they expressed themselves enthusiastically and freely. Their works are provocative or playful, but never lacking in inspiration. The artists from East Village in the 1990s (fig.5) are among the most influential representatives. They created many radical and subversive performances and were considered highly disruptive by political authorities. However, with the expansion at an extreme rate of Beijing, in recent decades, area like East Village have disappeared in the process of urbanization. Beijing’s political and economic power is getting much stronger, as well as the power of cultural supervision and censorship system. The twins in this project are encased as Bohemian artists like the East Village artists. Inspired by the atmosphere in the photos of the former East Village, this project seeks to create a similar free but hidden artistic creation atmosphere.

SCAT

Animat "On one hand, ‘animate’ is an adjective describing matter – matter is animate, it has force, it moves, it transforms. But on the other, ‘animate’ is a verb and it becomes an imperative phrase – the challenge is to animate matter, to set it in motion, and to reconceptualise what architecture could be thought in those terms."

semester 2

动

YEAR 1

5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3

AMPL

semester 1 YEAR 2

Studio-B semester 2

4.1 4.2 4.3

This project takes parasitic architecture as a design method. Similar to "dubbing" sound with vision in the film project, the project will be adapted and parasitized on a piece of the city wall in a park. Parasitic architecture needs to coexist with the host while forming its own language and achieve a symbiosis system between materiality and tectonic. In the initial stage of the architectural project, it is assumed that different types of linear infrastructures in Beijing 2nd Ring Road will be abandoned like city walls in the future and the experiment of parasitic architecture. Based on the typology of parasitic architecture on different infrastructure, in which way the design of parasitic architecture on the city wall was promoted.

fig.8 A Corner of Xibianmen city wall relics park

3.1 3.2 3.3

fig.7 Digital composite photo of the current site of Beijing Yongding Gate with the ancient city gate (Beijing City Record, Jun Wang, 2003)

1.3

2.1 2.2 2.3

fig.6 Kitchen-based Film Workshop

1.1 1.2

Film

The production process of the film and the film itself not only promoted the following project, but also gave us a basic understanding of the stop motion animation production process, the technical requirements and the stop motion animation workshop environment.

影片

2.7

Parasitic

2.4 2.5 2.6

The film project -a making of stop motion animation is the starting point of the whole project. We attempted to reverse the traditional film production mode, collecting and arrange sounds firstly, and then use objects in different materials and transparent, with the different light environment, to complete the vision part of this video. In order to experience the creation situation of East Village artists as much as possible, we collected discarded objects to complete the production of the film in our kitchen.

寄生

2.1 2.2 2.3

City Wall

城墙

In dividual Gr oup

Studio-G

Abstract

8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

Rong Rong, Untitled. 1993-1998, the Beijing East Village

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Photography Workshop

GA 1 2 3 4 5 6 7 GC 1 2 3 4 5

A CHAIR, ANOTHER STORY WORKSHOP

Photography workshop by Hélène Binet

7 8

Tutor: Hélène Binet

9 10

A chair in a space is always bringing us poignant images and associations full of references and ambiguity. Are they reminders of a past attendance or an invitation to a new event? Are they the personification of an inhabitant or a relic?

In dividual Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

GC 1.1

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

The passing of time and a sense of isolation are also associated with the view of a chair in a space. The chair can be moved by us in a space allowing different narratives to be created. But in a wider sense, the way we place and use a chair in our surroundings is very much part of our cultural background. Chairs are made to be pleasant to the touch when they are held in our hands. We can see our bodies in them as they respond to our forms.

ACADEMIC PORTFOLIO PEITONG LIU ESALA 2019-2021

Photography Workshop

A chair, another story.

Photography workshop by Hélène Binet Peitong Liu 19/02/2021

1 2 3 4 5 6 7 GC

Lisboa is a city which has a relationship with the visible world like no other city. It plays a game. Its squares and streets are paved with patterns of white and coloured stones, as if, instead of being roads, they were ceilings... ...Their crackly white ceramic surfaces, their vivacious colours, the mortar joints around them, the repeated patterns, all insist upon the fact that they are covering something up, and that whatever is behind them or beneath them, will remain, thanks to them, invisible and hidden for ever!

---John Berger - Here is where we meet

2 3 4 5 6 7 8 9 10 11

In dividual Gr oup

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Stacked Chairs in COVID

GC 1.1

1.2

1.3

2.1 2.2 2.3 3.1 3.2 3.3

Chairs is undetected in daily life. But now, the space is blocked, the chair occupies the space and becomes the protagonist...

4.1 4.2 4.3 5.1 5.2 5.3 6.1 6.2 6.3 7.1 7.2 7.3 8.1 8.2 8.3 9.1 9.2 9.3 10.1 10.2 10.3 11.1 11.2 11.3

This set of photos focuses on the chairs stacked behind the window during the COVID lockdown.

A chair, another story.

Photography workshop by Hélène Binet

Final notes on COVID and Distance Learning We have lost too much because of COVID: face-to-face lectures, physical exhibitions, physical lectures and reviews, studio spaces, workshops... However, although we can no longer work in the studio and see the works development from each other, we can focus more on our original ideas; although we cannot review face to face, we can have more critics located in different time zones; we can face the screen front us more attentively, some details can get more attention; we can put the energy of presenting in the expression into the design and thinking. The shifting situation that may change at any time bring us more thinkings about the world we live in.