Application Portfolio - Part 2 Architectural Assistant by Lawrence Wong

LIST OF CONTENTS

YEAR 6 THE RETROFIT HUB, PETERHEAD

YEAR 5

KELHAM LIVEWORKS, SHEFFIELD

YEAR 3 THE NEW BANK OF ENGLAND, LONDON

OTHERS COMPETITIONS WORK PORTOFLIO MASTERPLANNING ARCHITECTURE INTERIORS FREELANCE

OTHERS

4 11 13 3

5 6

PUBLIC COURTYARD

SHIPYARD FACILITIES

RENDERINGS LEGENEDS

PETERHEAD, SCOTLAND

THE RETROFIT HUB 9 SHIPYARD

AN UNCONVENTIONAL SHIPYARD

7 LEARNING CENTRE

Peterhead Retrofit Hub is a facility which advocates and supports sustainable marine activities for vessels in the sea. Engines which consume fossil fuels are high in carbon emission with pollutions across the ocean which hinders the progress of tackling climate change. As a result, this scheme aims to retrofit old vessels with eco-friendly fuel engines, as well as revising the design of other ship parts which would enable them to sail efficiently in the sea with less fuel being consumed. Moreover, the project also takes public awareness into account - by introducing a learning centre and a ‘live’ museum, this would also offer the visitors an immersive experience of understanding the latest marine engineering in retrofitting. Apart from retrofitting vessels as the major building programme, the architecture itself is also a retrofit project of an existing fish processing factory. Primary structural elements such as columns and beams are either retained in place or relocated and reused on site to reduce additional carbon footprint where possible; Internal courtyards and landscaping help to promote biodiversity within the harbour area.

Shipyard/ Retrofit Hall

Retrofit Learning Centre

Lobby and Casual Meeting Area

Courtyard with Seatings

Main Reception Desk

Self-Service Desk (Registeration/ Booking)

Staff Entrance to Shipyard (Controlled Access)

10 Viewing Corridor into Shipyard 11 Indoor Retrofit Facility 12 Shiplift and Transfer System

FOYER & RECEPTION

MUSEUM

NORTH FACADE 2

MUSEUM GROUND FLOOR // GENERAL EXHIBITION

MUSEUM FIRST FLOOR // PUBLIC VIEWING PLATFORM

SITE ANALYSIS // TRAFFIC & CIRCULATION

13 Drydock for Retrofitting Large Vessels

AERIAL AXONOMETRIC VIEW // PUBLIC BUILDING & SHIPYARD The site is occupied by an existing fish wholesaler building so scope of demolition is kept to a minimum due to the carbon emission involved. New building masses were proposed to house public programme such as the learning centre, museum, reception and cafe. By placing them adjacent to the shipyard, this has created a visual connection between the two masses, which allows the visitors to observe and be inspired by the ongoing retrofit operations inside the retrofit hall. Various environmental and sustainable strategies are also identified and adopted.

MASSING & SITE STRATEGIES KEY VIEWS

A 2

B 4

ENVIRONMENTAL STRATEGY

NOISE BARRIER

NOISE

BUFF

ER ZO

SOLAR BATTERY CHARGING POINT/ LARGE CARGO SHIP LOADING BAY

PUBLIC vs PRIVATE

WATE R

SOUR

CE HE

AT PU

VERTICAL EXTENSION

SECTIONAL AXONOMETRIC VIEW // CAFE, LEARNING CENTRE, FOYER AND LOBBY

GREEN SPACES & COURTYARDS

SITE ACCESS

BUILDING PROGRAMME

5 ADDITION & ALTERATION

PUBLIC AND PRIVATE THRESHOLD

Although the scheme aims to open up the view of waterfront to the public, the threshold between private and public sector still have to be strictly monitored. This is achieved by proposing a metal mesh security fence to prevent any trespasser into the shipyard, whilst maintaining the view towards the harbour.

4 4

ROOF TERRACE

The roof terrace may be accessed by general public, with a row of glazing on the east to give an elevated view into the covered retrofit hall from outside. The roof terrace can also be used to host special events - such as when the public celebrates the launch of a newly retrofitted ship or outdoor exhibition.

PARKING SPACES

Free on-site carparking spaces are only available for EV vehicles. This is an incentive to promote a more sustainable use of transport. Bikes are availabe to hire next to the parking spaces for general public and staff; staff may choose to park their cars here and travel to work elsewhere in the harbour. Free battery charging points are available for EV vehicle.

ENTRNACES & LANDSCAPING

Entrances are located in places to shorten the distance for pedestrians accessing the building after crossing the road, distincted with a multilevel glazing to emphasise its presence. Landscaping and greenery are to enhance biodiversity within the harbour and to redirect circulation.

CANTEEN & LEARNING CENTRE

The canteen is opened to both the public and shipyard’s staff, providing a brief view of the external shipyard. Learning and Training centre is directly above the canteen, offering courses to train people in ship retrofitting, such as learning to design energy efficient ship parts with the latest technology.

INTERACTIVE SPACES

Double-height corridor allows users on ground floor to interact or be aware of what activity is going on first floor, such as students leaving their classes or when a public talk takes place in the multifunctional space. Casual meeting spaces are also provided on the ground floor, offering brief consultation to those who is interested in ship retrofitting, whether they are potential clients or students. Existing beams are left exposed to contrast with the new CLT floor and timber finishes, retaining its industrial image but with a warm and welcoming atmosphere for the public.

B HOME-MAKING WORKSHOP

SITE STRATEGY NEEPSEND, SHEFFIELD

KELHAM LIVEWORKS

SITE CIRCULATION

The site is located in Neepsend, Sheffield, and the redevelopment scheme aims to provide workshops and training programme for locals to learn more about retrofitting their homes. These workshops will also become a ‘live’ programme and allow the public to watch as they work. The scheme also reactivates a neighbouring derelict building which will be used to house back-of-house facilities and offices. This will in turn allow the new building to become fully opened to the public. As an extension to the Kelham Island Museum, circulations are revised and a new bridge is proposed which allows visitors to seamlessly walk across the river instead of facing a dead end.

PROJECT NARRATIVE The newly introduced workshops hope to bring new skills necessary for domestic retrofitting or home-making to the locals who are suffering from the emerging housing crisis in the Neepsend district. Self-build methods will be taught at the workshops and provide new educational opportunities to the local young people. Material recycling and upcycling will also become part of the learning course’s agenda to help cutting down the carbon emission during the construction or retrofitting process. There will then be a exhibition space to display these self-build or retrofitted homes, and such event will be hosted in a reused warehouse next to the site which is currently abandoned and left empty.

NEW POINT OF ENTRY FROM KELHAM ISLAND MUSEUM

LEGENDS PROPOSED ACCESSIBILE ROUTE UNACCESSILBLE ROUTE PRIMARY SITE ACCESS ROUTE

SECONDARY SITE ACCESS ROUTE

MATERIAL RECYCLING

ELEVATION A

SECTION BB

LIVE MUSEUM + WORKSHOPS Green spaces are also key in this redevelopment scheme as Neepsend also suffer from a lack of greenery and public realm. A greenhouse with workshops are proposed next to the River Don to harness the water resources for plant irrigation. Multifunctional spaces are located in the main building which offer spaces for seminars and lectures about domestic retrofitting and food production. Cycling and pedestrian paths are clearly defined which hopes to advocate a sustainable way of traveling to and out of the site.

NEW MAIN ENTRANCE

The Threadneedle Street Entrance was modelled because the project’s objective was to publicise its new character - opening up partially for public visit and engaging with the new interactive programme inside the building. Instead of its existing facade which is quite enclosed, the new entrance portrays a more welcoming identity which aims to attract more public’s attention.

A BUILDING PLAN Circulation Corridors/ Spaces Courtyards/ Outdoor Areas Functional Spaces

LONDON, UNITED KINGDOM

THE NEW BANK OF ENGLAND SECTION AA

4 1

SECTION BB

A SHIFT INTO CRYPTOCURRENCY The project brief challenges the contemporary notion of heritage and preservation, revisualising the building’s long-lost spatial identities and experience achieved by Neo-Classical architect, Sir John Soane, through complimentation with a new building programme - Digital Currency. Due to digital currency does not require a central bank to approve any transaction, this new programme will instead, incoporate a learning centre, consultancy service and virtual trading platforms to help raising public awareness of its potentials and risks involved.

3D printed building model

NEW ROTUNDA

NEW BANK

MUSEUM

PRESERVATION INTERVENTION ADAPTATION

PRIMARY SKYLIGHTS

SECONDARY SKYLIGHTS

CHAMBERS The museum space is split into two levels, changing in height at different intervals for a more dramatic experience throughout the journey. The voids allow visitors to interact what is down below much like inside a vertical chamber, further emphasising the sense of enclosure. By preserving the existing structure by Baker, the objective was to mimic the spatial atmosphere Soane which he introduced in his original design. Such is achieved by skylights highlighting trasitions between spaces and by defining their spatial characteristics with lights and shadows.

ROOF LEVEL

NEW LIBRARY GROUND LEVEL

SEMICONFINED OPENED CONFINED OPENED

CONFINED

VOID

CHAMBERS

NEW MUSEUM VOID

FIRST LOWER GROUND LEVEL

TRANSITION Curved partitions are placed below the dome skylights and giving these spaces a confined environment, whereas the semi-cylindrical skylight grant the area below an opened and spacious area. There is also a semi-confined space upon arrival to first welcome the visitors with an introduction about what is ahead to be explored. Curtain walls on the side provide clear view towards the internal courtyard, which help to guide visitors across different zones and sectors inside the Bank due to its enormous size.

KID-RESEARCH INSTITUTION

THE AQUATIC DREAMS

A KINDERGARTEN WHICH EMBODIES THE CULTURE OF POTTERY MAKING

STIMULATING SPATIAL EXPERIENCE BY INTERACTING WITH EXISTING STRUCTURE AND WATER THE AQUATIC DREAMS

PALACE EXPLORATION II : ‘PALACE AS A

AD0852

An Open Architectural Journey N

MEMORIES ARCHIVE 0.00

0.00

-300

0.00

-300

-150

DN -300

DN 0.00

THE STREET LEVEL 1:250

0.00

THE AERIAL VIEW OF THE CISTERN AND THE TOWNSCAPE OF BACOLI

0.00

1. Reception 0.00

2. Main Exhibition Space

-1200 -1200

3. Restaurant PS: Bookshop Underneath

0.00

-300

STREET LEVEL

Programme:

-300

-1200

4. Storage

-150

-1200

-1065

5. Restroom 6. Basement Exhibition Space

DN -300

7 DN

DN 0.00

7. Lecture Hall -1200

8. Office

STREET LEVEL

BASEMENT LEVEL 1:250

THE ROOF TERRACE LEVEL FRAMING THE CHURCH OF ST. ANNE JESUS AND MARY

BASEMENT LEVEL

SHORT SECTION

he Piscina Mirabilis has witnessed the most glorious years of the Roman Empire and is one of the most important reservoirs during the Augustan Age when it was used to supply water to the military fleet. The cistern, being very close to the neighbourhood area of Bacoli, is unfortuntately left abandoned and unused, and is waiting for the rediscovery of its inherent values and the transformation into an inspirational public space. So how can new life be incubated in this historically significant reservoirs? Which element of the cistern should be extracted, reimagined and manifested in the new design? With it being transformed into a contemporary art museum, how can contemporary art, often embodies unfixed and open-ended meanings, be exhibited in this gigantic structure?

LEFT ARROWS FRAIME THE HISTORICAL BUILDINGS; THE RIGHT ARROWS FRAME THE NATURAL LANDSCAPES

The cistern has become functionally obsolescence with water no longer being used by the royal fleet. Rather than being hidden or controlled as it used to be a thousand years ago, water can become an agent for the revitalisation of the reservoirs and reframe the contemporary exhibits placed within. With the ambiguous nature of contemporary art, the museum narrative does not have to be programmed and fixed but open to interpretation. Visitors will be immersed into an “aquatic dream”, a dream where they will easily get lost in the lattice of pillars, view an abstract piece of art from multiple perspectives and leave the museum with astonishment and reflection. The intervention aims at leaving gaps, rooms for imagination, obscurity and indeterminacies with the visitors rather than the curators controlling the narrative. Water, therefore, will be reintroduced in a way to connect the cistern, visitor, exhibits and the city to produce a holistic museum journey to visitors who are provided with the freedom to navigate, explore and decipher meanings.

LONG SECTION The strategy for the intervention is to free most of the cistern space as the main exhibition area, with other programmes such as the restaurant, bookshop and lecture hall placing on the sides and at the basement. There will be two intertwined ramps descending into the cistern, creating multiple encounters between the guests and exhibits. The striking interplay of water and light will add another dimension to the intense spatial experience which will prompt visitors in unexpected ways through unfolding a journey of mystery and uncertainties. Different aquatic expressions will be introduced in a way to reshape the flow of visitors. The velocity of water is manipulated to create diverse aquatic expressions that can influence the flow of people. Visitors are given two very different entryways and museum circulations, with a top-down circulation of first reaching the roof terrace and then heading inside the cistern, and a bottom-up one of first entering the cistern then the rooftop. After going through the reception, they will first be given two routes, either an entrance directly entering the ruin or a flight of stairs reaching to the rooftop area. They will experience the tranquillity of water and then mysteriously walking down to the more exciting reservoir space if they have chosen the top-down route, and vice versa for the bottom-up, thus providing the chance for visitors to become the narrative planners. The pool of water on the rooftop will wash the parapet walls and gradually flow into the water channel of the stairs descending to the main exhibition area, and water will continue to move along the ramps. Visitors walking along the ramps will experience close proximities with water and in turn unconsciously reshaping their movement. Introducing water in the cistern will not merely be a gesture of historical symbolism or the creation of drama and theatricality. It will be interwoven into the museum experience by adding another layer of meaning to the exhibits which will be

reframed and opened to more imaginative interpretations. It may be a dramatic skylight waterfall falling on top of a sculpture of a couple under an umbrella; it may be a thin layer of water acting as a filter of the physical display in front; it can even be a visual distortion of exhibits through the refractive qualities of water on the ground floor pool. Water, therefore, may be intangibly framing, subtly altering or twisting visitor’s perception on exhibits which will become more intriguing than placing it inside a “white cube” with control lighting and static conditions. In the end, it is about creating more diversity and vibrancy within museum spaces and shifting the production of meaning from the museum curator to the reader. Situating within the neighbourhood areas of Bacoli, this new contemporary art museum will provide a place to enjoy a panoramic view of this city and become part of the public realm by bringing citizenry together. Visitors can sit on the rooftop terrace and enjoy their cup of coffee here. Two concrete walls are standing on the pool of water, and orienting and opening in such a way to frame the church as well as the natural landscape. Historical preservation is now entering a new era of not treating ruins and ancient buildings as static qualities and untouchable monuments, but of extracting its essentials and reimaging new ways of reusing the space and reframing it to create values and provoke meanings. That is what the “aquatic dreams” is all about: water as an element to be reused and as an agent to create a “dream” of exhibition encounters that are unfixed, unprogrammed and uncertain. Water has now become a “bridge”, a bridge between the existing and the contemporary, the tranquility and vibrancy, and between the people of bacoli and tourists, whose stories will be interwoven, exchanged and transcended into a higher level of cultural and intellectual discussion between architecture, art, people and place.

Diagonal pathway as secondary route to rooftop lounge area

Water falls along the parapet wall into the cistern space

Ramp from cistern space to rooftop terrace

ROOFTOP

Ramp from rooftop terrace to cistern space

Water channels descending along the ramp to shape visitor’s movement

The vaults and arches are partially removed to allow the decending stairs to connect with the two interlocking ramps

Water channels finally flows into the pool of water in the ground level of the cistern

One of the connects the upper exhibition space to the basement one, while the other connects to the office and lecture hall

MIDDLE LEVEL

New steel structure wraped with reflective metal cladding being placed under the existing pillar structure

Basin exhibiting largescale exhibits with water dripping from the pool above

EXPLODED AXONOMETRIC OF CISTERN INTERVENTION

COMPETITION ORGANISER YOUNG ARCHITECTS COMPETITIONS

BASEMENT

COMPETITION ORGANISER REUSE ITALY

SKYPARK BUSINESS CENTRE SOUTH

MAKKASAN TOD

A FUTURE VISION: TYPOLOGY OF CO-WORKING SPACE FOR THE TRANSIENT

A SUSTAINABLE MASTERPLAN FOR REGIONAL TRANSPORTATION

In collaboration with HHDFUN studio, we earned the opportunity to enter a design competition organised by the Luxembourg Airport Authority to design a financial hub next to the airport. With strong competitors like BIG, MVRDV and other renowned practices, our design made reference to the aesthetics of a spacecraft which symbolises the evolution of aerial technology, whilst offering transparent working spaces, cafés and a range of amenities including the VR suite. My role was mainly 3D modelling, rendering and plan drawings.

A masterplanning project which was a Transit-Oriented Development based in Makkasan, Bangkok, Thailand. With comphrensive research and studies of the city’s culture, nearby amenities, transportation systems and other backgrounds, we have designed a series of residential complexes along with service apartments, offices, malls and landscape parks as part of the scheme; various height of each building blocks helps to spice up the skyline.

THE GLORIA

TIANDING 218

CONVERSION OF MALL INTO CREATIVE & CULTURAL DISTRICT

We wanted to create a striking spatial experience upon arriving at this office lobby, with a combination of warm and high end design elements. Timber fins on both sides help to create an illusion of increased height, along with the white marble skirting and reception desk to balance out the hue. On the upper floors where offices are located, we adapted black mirrors for the entrance partitions of each units which accomplished both privacy with a sense of subtleness.

A renovation project in Beijing which seeks to preserve the roof feature originally designed by a Russian architect; each of these ‘buns’ represent a specific ethnicity at the time. Our approach was to have the interior filled with offices and co-working spaces, a gallery and multi-functional space for events. We also designed transparent partitions which allow the users to appreciate its preserved roof feature. Multiple types of units were provided to serve different sizes of enterprise.

FIGHTERS CLUB III

FOREST BY K

A HIGH END BOXING CLUBHOUSE

A FAIRYTALE-LIKE FLOWER SHOP

The Fighters Club Hong Kong III was their third branch established in Wan Chai, Hong Kong. Slightly different to their previous designs, this time the client would like to pusue a luxury and mindblowing design which would impress their customers upon first arrival at their ‘clubhouse’. Brass, grey-toned laminate, white and black marble tiles were our major selection of materials, whereas the ceiling light above the boxing ring was designed with reference to the club’s logo.

Since our client’s most favorable colour is navy blue, thus we have decided to have a few shades of grey and a gentle touch of gold to go with it. A 6-metre wide lightbox with frosted glass not only intended to offset the dark colour tones, but also to display the dried flowers in a mysterious way. Apart from operating as a flower shop during the week, the client also lend the place out for video shooting and photography which helps to generate additional revenue.

MR. TEA AUTHENTIC TAIWANESE BUBBLE TEA SHOP IN LEEDS

GROUND FLOOR DINING AREA

FIRST FLOOR DINING AREA

SHOPFRONT & ENTRANCE

This was the very first project in the UK which I had handled it all by myself, started from briefing the client to handover in the end. I had worked closely with other consultants and building control to ensure that the fit out work is up to standards. With a limited budget from the client, I was looking for inexpensive ways to make the 2-storey space a homey bubble tea shop. With a simple yet subtle colour palette and a thoughtful selection of proprietary loose furniture which help to reduce the overall cost, the space ended up to be what the client was after - a light industrial style interior, a touch of biophillic elements and an open kitchen on ground level to attract passerbys and raise publicity. SITE PROGRESS

SITE MEETINGS