Portfolio stage 2 by Max Mingxuan Ge

Architecture Portfolio

Mingxuan Ge ARC 2001 2019-2020 Stage 2 Architecture Newcastle University 180255856

Mingxuan Ge

180255856

Max Ge mingxuan

A+

A / AA-

68 82

Contents.

p 2.3 - At home in the city

p 2.3.1 - Study Type p 2.3.2 - Glasgow 2030 Apologia I p 2.3.3 - Dwelling Plus p 2.3.4 - Inhabit

p 2.4 - Engineering Experience

Apologoa II

p 2.5 - Exploring experience

Appendix

Non - Design Modules

106

ARC 2009 Architectural Technology ARC 2010 Environmental Design ARC 2024 About Architecture ARC 2020 Dissertation Studies Charrette Week : An Emotional Highstreet

Semester 1 At home in the city

P 2.3.1

Study Type

Y:Cube, Rogers Strik Harbour + Partners, London

The case study we analysed is the Y:cube housing by Roger Strik Harbour + partners, built for the YMCA London South West in Mitcham, London. It consists of three-storey block of 36 one-bedroom affordable housing flats targeted for low-income young people. The scheme consists of 36 modular units that constructed off-site in Derbyshire before being transported to London. The contruction method saves a large portion of the construction costs and speed up the construction proesss. This allows the apartments to be rented out at 65 per cent of the market rate in the area, which bring great benefits to the inhabitants.

The case study gave us insights into modular housing units and how modular housing and construction methology can save the construction cost significantly. The study and analysis of Y:cube also gave me a better understanding of what is social housing and some of the essential aspects of what is needed to be equipped for this type of housing units. The external walkway and balconies of Y:cube also inspires me on my design in Dwelling Plus, where it is a place to serve social integration and functions as circulation routes.

Model and analysis diagrams

Detail of the threasold

P 2.3.2

Glasgow 2030 Laurieston, Glasgow

In order to understand the site better.The glasgow 2030 symposium foucus on thorough analysis of the site 7 in Laurieston, Glasgow. A series of mappings and observations was done as a group to understanad the history, social, ecnomic, and rhythms of the neighbour. The site experienced ‘slum removal’ during the 1960’s and 1970’s. High rise blocks had been built in place of previous buildings.Those high rise buildings were demolished because they did not fit living standards. Now the area undergoes Laurieston Urban regeneration plan.The regeneration of the area aims provide economic growth and better living conditions.

The Site

Site reading and mapping

Site map

New BridgeStreet

Gorbals Street

Cleland Street

Cathcart Road

Comberland Street

Ballater Street

St Lukas Pl

Laurienstan Road

atmospheric sktches and site drawings

Fixed Boundaries Adaptable Boundaries Analysis of the possible boundries at the site: physical vs psychological boundries.

Analysis of the noise level and level of activities at the site.

Total Floor Area Area 1 - 20900m2 Area 2 - 14000m2 Area 3 - 4600m2

Useable area (includes area abovebridge) 15400m2 19700m2 5300m2 Plus 450m2 for overroad connections Total Area = 40850m2

Analysis of the shadow and area of luminosity.

Analysis of the rhythm of the people and circulation of the site

Scale 1:2500

Final proposal:

renderings and models

After analysing all the mappings and obseravations, the idea of the ‘‘Living Bridge’’ finally surfaced. We have noticed the abandoned railway track and church ruins on the site gave great opportunity for new urban extension and serve as a place to connect the people around the neighbourhood. The railway track seperates the Gorbals area into two parts, the east and the west. However, this physical boundries, on the other hand, can be resolved if we transform the railway track as a main source of connecting point between the two parts. Not only will the physical boundries are eliminated, it promotes social integration and a sense of community.

Our proposal includes, a total transformation of the railway bridge into multiple residential units and a pathway for the public to access, as well as transforming the spaces at the arches into shops and workshops for the rensidential at the area. We also included a space outside of the arches for the workshop owners to promote and sell their products during the Sunday Laurieston Market. Lastly, the abandoned Church area is transformed into Art gallery for the residents to display their products and artworks, building a space for exchange of ideas and showcase their talents.

Renderings for the new housing scheme

Model for the new urban extension

Model of the Market

Section of the Market place 26

Apologia I

Both the Study Type and Glasgow 2030 are very insignful and beneficial to my understanding of different Social Housing schemes and the whole site 7 in Gorbals, Glasgow. The Study Type case studies allows me to have a deeper understanding of the economical and psychological aspects of social housing. The various schemes and designs that have been covered provided me insights on the needs for a holistic social housing design. Social housing is a type of housing scheme that is humble and modest and has comon areas that can foster community spirit and advocate social interactions. I also really like the idea of a walkway in front of the flats from the Y:cube housing. The walkway not only serves as a circulation path but also a balcony for the residents. This not only provides multi-functional spaces but also promotes social interactions which is the key for social housing. The glasgow 2030 also allows me to understand the site better in order to know what context better, the opportunity of working in a group also allow me to gain different views and thoughts from the groupmates, which sparked interesting ideas and debate on the future regenration of the site and new urban extension for the site. These takeaways benefited me and influenced me in my personal approach for the Dwelling Plus project. The Dwelling Plus Project has been very much built upon the research and studies from both the Study Type and Glasgow 2030 projects. The Study Type project gave me various ideas to take on to explore. Such as the common walkway on Y:cube housing, which has inflenced my design greatly in terms of circulation and the overall scheme. The Glasgow 2030 projects provided me with great understanding for the site, such as the different communities living in the neighbourhood and the rhythm of the people. These information is essential for me to plan out the schemes. The Dwelling Plus Project has also taught me to deal with difficult site situation. Which gave me opportunities to make the design more interesting and coexist with the original site conditioin.

P 2.3.3

Dwelling Plus Laurieston, Glasgow

The aim of the project is to design a six-unit social housing for 6 families. The site is located at Laurieston, Glasgow. Laurieston overlaps the area known as Gorbals ,a place which became densely populated of factories and tenements during the nineteeth century expansion of city. Much of the urban fabric here was cleared out during the 1960s to make way for multi-storey towers and slab blocks, the good intentions for total urban trnasformation and modernisation has casued social and envirmental issues over the years. Many of these buildings have now been demolished to make way for smaller scales apartments and residential units that serve the place better.

Feedback from reviews: â&#x20AC;˘ Improve drawing conventions on plans â&#x20AC;˘ Inhabit the details

Serial Vision of the site

Site Map

Design development

initial concept, massing and experiementations

The proposed idea of the â&#x20AC;&#x2DC;living bridgeâ&#x20AC;&#x2122; from the Glasgow 2030 symposium highly influened the overall scheme for the social housing design strategies. Keeping the idea of building houses upon the railway track and opening a path for the public accessibility was the starting point for the whole project. The chosen site will be on the abandoned railway track, where most of the exploration and transformation happen.

My concept was influenced from the railway bridge, where I noticed the rhythms of the solid masonary arches is constantly break by the metal truss bridges. The intersection of these two very different combination of materials and structual integrity sparks an interesting topic for further exploration. Hence, I would like to celebrate the unique character of this combination of materials and structures in my projects.

Initial ideas and realisation

To go beyond the initial idea of building houses upon the existing railway bridge, I attempted to excavate a portion the railway bridge. In a sense that half of the full arch tunnel is removed to create an in between space between the workshop area at the arch and the residential apartments above. The alteration not only change the spatial qualities of the arch tunnel, but also open up new ideas and planning strategies. A series of models and sketches are done to test out the concept and manisfestations of the overall form of the social housing. After several testings and rationalisation, I would like to seperate the building into two distinct forms: A solid and modest block that erect from the railway bridge and a framwork with cross-bracing that cuts through the arch vertically. The overall form allows the building to integrate and respond to the context, as well as forming a three-way dialogue between the material, forms and structures.

Process drawings and models

Design development

Final design and analysis diagrams

After the overall form is confirmed, I produced a series of visualisations of the final design I envisioned. I started to dwell deeper into the details and spatial planning of the buildings. I began to imagine how my clients and the people interact with the scheme I proposed, and question the possible areas for social interations and foster a more coherent community.

I have also done facade studies of the buildings and consider the windows opening carefully so that the overall solidity of the main residential block is retained as well as following a similar rhythm with the stairs and the metal-frame walkway.

Facade studies, atmospheric drawing and rendering

circulation diagram

Solid vs frame, private vs semi-private space

Public spaces

Final Design

Plans, sections, elevations and models

Fourth M floor

Fourth floor

First floor to Third floor

M floor

Plans

Section from the west side

Elevation from East side

Elevation from North side

Model with site context

Model showing window openings

Model showing metal-frame walkways

Model showing materiality and window openings

Model in explode

ed view

Axo diagram showing how people interact with the space and the relationship between the building and context.

P 2.3.4

Inhabit Laurieston, Glasgow

Living room, First floor

Common Walkway, First floor

Furniture workshop, ground floor

First floor plan with context

Details, axo view

Detail section

Semester 2 Experience

P 2.4

Engineering Expeience Mirroring / Reflection

Movie analysis

The theme for our studio for this project is ‘Mirroring/Reflection’ and the movie we have been assigned to watch is Orpheé (1950) by Jean Cocteau. Our key scene analysis is when Orpheé was trying to look into the mirror and desperately trying to get into the underworld.

We have broke down the scene into a few key points that we would like to take on and explore further: 1. The transition between the real world and the underworld 2. The atmospheric quality during the transition 3. The ease and struggle the individual faces when they are travelling into the underworld.

Exploration & Curation

Our storyline consists of the experience of travelling from the real world to the underworld. In order to achieve the atmospheric qualities of being in the mysterious sapce, a series of lighting experienemnts was conducted to represent the space during the transition.

Our storyline consists of the experience of travelling from the real world to the underworld. In order to achieve the atmospheric qualities of being in the mysterious sapce during the transition, a series of lighting experienemnts was conducted to represent its spatial qualities.

Filming techniques

Before the filming process took place, various filming techniques were discusses and implemented throught the film, such as cameraâ&#x20AC;&#x2122;s movements, stability and apperture. The lightings and reflective index of the locations were carefully selected and examined as well.

Our main storyline revolves around a reinterpretation of the transitional proces of crossing into the underworld, a series of footages showing contrasting effects of panic vs calm so that the two persepctives are portrayed within the same locations but with different atmosphere and experience. Maquette is also used in the flim to depict the seperation from the real world and the other dimensions.

Storyboard

Maquette process

The maquette represents the transition between reality and underworld, the more bent over each of the rings got the closer to the underworld, wires that flows freely in an organic way, entangling all the elements to show the harsh process while transiting between the two dimensions. This maquette is then enhanced further by the effect of strobe light and reflections/shadows from the bottom to the viewing box to bring out the the momentary and infinite nature of the transitional space.

The viewing box is constructed with MDF and cardboards, with white paint on the inside inorder to reflect the lights better, a various peepholes are also constructed in sequence so that the viewers can experience the full maquette phase by phase.

Strobe light

lid

Main maquette

Viewing box

Peephole

Tray for the oil

Final Maquette

Apologia II Semester two focuses primarily on “experience”. Experiential quality has always been an important focus in architecture. As we know architecture is about people, not buildings. People and users of the buildings become the centre of design considerations. Hence, these semester main intention is to focus very much on the experiential quality in the design with results in our “ intereaction with other people, architecture and natural landscape”. The theme of my studio is Mirroring / Reflecting, it is a very interesting theme to explore and learn from. The design principle revolves around the idea of a mimetic design process, which are used by contemporary architects such as Lynch Architects. Patrick and Claudia Lynch describe a mimetic process as: ‘ Past architecture, transformed via imaginative interpretation’. In Engineering Experience, this project may not seemed very architecture related, but definitely introduced new ideas and thoughts that could be further used in architecture projects. Analysing the cinematic qualties of films makes me pay more attention to the spatial qualities, sound effects, technologies and atmospheres in the movies which then can be used in further application in architectural exploration. I have also learnt that the curation of the visual effects also needs to be complement with quality sound effects, where certain atmospheric qualities could not be achieved only with visual contribution. This highlights the importance for the use of the various senses in architecture, and proven to me that visual qualities may be the most important aspect in architecture, but also we cannot neglect the existence of other senses but to search for a perfect balance in all the senses. In Exploring Experience, the lessons we learnt from Engineering Experience played an important role in focusing on the experiential quality of the design. Together with the main theme of the studio a series of mimetic design process has been conducted to understand the site better that involves in the tactility of the materials on site, the characteristics of the site, the history of the place. These qualities are “reciprocally connected” and being transcended into the main design to enhance the experiential quality. When people enter the building that I have designed, not only they are impressed with the spatial qualities, but together with the architectonic details infused with expression of materials, the space should tell a story, aroused emotions and evoke memories.

P 2.5

Exploring Expeience Bishop Auckland, England

‘Architects don’t invent anythng; they transform reality’ Alvaro Siza

In this project, each studio is asked to work with a theme, that could convey the main idea of the project through the use of materials and the experience it engages. The aim of this project is to design a multi-purpose building for an art-practice or a crafting-practice connected to the qualities and processes of building, making, crafting and inhabitation. In Studio F, we explore the theme of mirroring / reflecting through the idea of mimesis. In Greek, mimesis means “imitation” in the sense of “representation “ rather than “copying”. The usefulness of the mimetic design processes is widely used by many architecture practices today to ground designs deep into the context and its surrounding.

Feedback from reviews: • Think about the placement and hierarchy of windows ( recessed, flushed, pop-out ) • Develope the interior material choices to the same clarity of the exterior • Develope a drawing that sells the scheme

The Site

introduction and analysis

Located in - between Darlinton and Durham and sitting above the river Wear, Bishop Auckland is the largest town of the south of County of Durham. The town is living palimpset of British history. In the main street, Newgate Street, runs along an orignal Roman Road, around which the town has been gradually developed. The site is located between Peel Street and Chester Street in Bishop Auckland. This site could be a potential place to hold the annual Hypothetical festival since it is very close to the main street, Newgate Street in Bishop Auckland. Study of material study has been done around the site, so better understand the key materials and textures that is present at the site.

Site sketches and photographs

Site map and analys

et te Stre Newga

Peel Street Site 1

Chester Street

sis

Hypothetical festival

Crafting practice & festival route

Festival route

Site Building Study

Typology, Materials, rhythms and interactions

The theme of the Hypothetical festival is “Pottery, ceremics and making” this annual festival will hold annually in Bishop Auckland that gathers professional pottery makers and hobbists around the UK. This festival act as a platform to showcase their works and exchange new knowledge and ideas in the field of pottery making. To get a better understand the theme “Mirroring / Reflecting” of the studio I began to rationalise the mimetic design process through the study of some existing buildings on the site. The abandance of warehouses from the site inspired me to study the warehouse typology, in terms of materiality, structures, pattern and rhythms.

light metal cladding

Heavy brickwork base

Design Development

Initial concept, massing and experiementations

The general form of the building revolves around an interpretation of the coventional warehouse typology. A distinct feature that seperate the materials into two main parts. The heavy bottom that is build using bricks and a lighter top part that is cladded with metal sheets. The idea of seperating material properties into heavy and light weight gave a clear direction for me in this project. Various rough plans and sections is drawn to study the organisation of the spaces and spatial programmes. In order to understand what pottery studio needs. More research is done to understand the needs and process of pottery making which will provide important information to design a functioal and practical spaces for the craftmen to use.

While it is important to study the design in 2D with plans and sections. Various models are also constructed at different scales to understand the concept, forms, arrangement and details better in 3D. (More sketches could be found in the appendix section.)

Model making in architecture to me is very helpful and essential. I like to make models that can be disassemble, this allows me to understand the architectonic quality of the design and to see the spatial relationships clearly.

Building originally on site 1

Reinterpreted typology for the design

Final design and decisions

Transformation diagrams

Design development

Exploring materials and forms through models

Pigmented concrete base

light metal cladding

Design development

Spatial exploration through model making

Design development

Facade, structure & details exploration thorugh model making

Inner wall

Steel beams & reinforced concrete strucutre wall

outer cladding

Window frame

Flush

Recessed

Exterior view showing combination of cladding materials and window openings

View showing sectional components

After exploration through model making, the hierarchy of window placements is derived. The window openings at the ground floor through the concrete wall would be recessed while the windows on the First floor would be flush with the cladding. The recessed windows could create more 3 dimentional openings which emphasise on the heaviness of conrete material itself. While the flush windows at on the metal cladding emphasise on the light-weight quality of the cladding that envelope the top part of the building.

Final Design :

Plans, sections, elevations and perspectives

Ground Floor Plan

2 3

1. Entrance

5. Dry Workshop

2. Reception

6. Courtyard

3. Toilets

7. Exhibition space & circula-

4. Wet Workshop

tion

8. Cafe & shop

35m

Wet Workshop Perspective Rendering

Dry Workshop Perspective Rendering

First Floor Plan

10 9 11

9. Exhibition space

12. Classroom

10. Outdoor exhibition space

13. Office

11. walkway

35m

First Floor, Exhibition hall

Ground Floor, Circulation space

Axonometric View

North Elevation

Section AA

Section BB

Exterior perspective

Roof

Structures

First floor

Ground floor

Exploded axonometric diagram

1. sinusoidal metal cladding 2. timber studs 3. mineral wool insulation 4. vapur control membrane 5. osb board 6. service void with studs 7. plaster board

1. Solid reinforced concrete wall 2. cavity gap 3. rigid mineral wool insulation 4. vapour control membrane 5. service void with double layer plywood boards

Appendix Dwelling plus and Exploring Experience

The appendix includes extra process works such as sketches, drawings, renderings and models that are at experiential stage of the design.

Appendix

Dwelling Plus

Appendix

Exploring experience

100

101

102

103

104

105

Non-Design Modules ARC 2009 : Architectural Technology 2.1

106

107

Contents

A. OVERVIEW

B. CONSTRUCTIONAL DETAIL RESEARCH

C. CONSTRUCTIONAL DETAIL REALISATION

D. DWELLING PLUS PROJECT COMPARISON

E. LIST OF ILLUSTRATIONS

F. BIBLIOGRAPHY

CONSTRUCTIONAL PRECEDENT REPORT ARC2009 SEMESTER 1 ASSESSMENT

Student no. 180255856

Precedent Building: Krøyer’s Square, Krøyers Plads, 1401 DK-Copenhagen K. Architects: COBE Architects, Vilhelm Lauritzen Architects

A hyper-democratic approach

Krøyer Square Roof / COBE Vilhelm Lauritzen Architects Chosen Detail: to+ external wall junction

Neighbours were invited to

A. OVERVIEW

Student: 180255856

help define the height of

Located at the heart of the Copenhagen harbor area, the

the buildings and to select

award-winning and Nordic Eco-labelled project is based on

the materials. Dialogue was

a hyper-democratic and contextual approach, consisting

organised with the local

of 3 five-story housing units, corresponding to the historic

community in order to

warehouses along the harbour. The design aimed to translate

strive for a meaningful and

all significant characteristics of the old warehouses, such as

Fig 1.5

comprehensive design.

the harbour facing gables, the heavy expression, building height and materiality, into modern design parameters that fulfill both functional and climatic demands. Fig 1.1

Spatial arrangement and planning

Fig 1.6

Reinventing the typology Fig 1.2

Instead of designing a

Fig 1.3

new building typology, The ground floor of the buildings

Krøyers Square is a modern

houses restaurants, shops and a

reinterpretation of the 300-

supermarket. The rest of the floors

year old industrial warehouses

are used to accommodate 105

found parallel to the site.

apartments starting from 80 to 250 m2 in size. Fig 1.7

Student no. 180255856 Fig 1.4 Student no. 180255856

108

The unconventional roof design

The folded roofs

The folded roof is not

and architectural

only an intervention

heaviness spark a

to the existing pitch

dialogue between

roofs from the

the existing old

warehouses but also

warehouses and new

increases the surface

KrĂ¸yers Square.

area to capture

Roof

Timber frame structure, clay tile cladding

Intermediate level

Concrete strucure, clay tile cladding

ground level and below

Concrete slab and concrete foundation

sunlight and natural Fig 1.13

light. Fig 1.8

Movement

The structural walls are made of reinforced concrete. Internal materials

Which is stronger than plain concrete in order to withstand tensile and shear stresses caused by

Wall - Plaster board, Concrete walls

earthquakes, wind loading , vibrations, and other forces. In reinforced concrete, the tensile strength of steel and

Floor - Douglas fir plank

the compressive strength of concrete work together to withstand these stresses.

Fig 1.10

Fig 1.9

External materials

The flats have generous window

Control joints are also essential in large in-situ ground bearing floor slabs so that it allows the concrete slabs to

Cladding - Flat clay tile, Bricks

openings to let life

expand and/or contract without transferring forces to

into the rooms -

other structures so as to prevent cracks within the slabs

natural light from the

and structures. Window - Black frames

sky and street life.

Student no. 180255856

Fig 1.11 Student no. 180255856

Fig 1.12

Waterproofing

B. CONSTRUCTIONAL DETAIL RESEARCH Roof strucutre analysis

The roof and external walls uses materials such as twoply bitumen sheeting, water resistant plywood panel and

The chosen detail shows the junction between

vapour barrier to ensure that it is fully water- resistant.

the roof, external wall and the window. The junctions use two different types of the structural systems and a diverse range of materials which interest me the most.

Thermal Performance

a. Mineral wool is used as the main source of insulation in the external walls and internal walls. Mineral wool is naturally moisture-resistant and retain the insulating qualities even if it is wet.

Concrete is a good thermal mass material which able to absorb and store heat energy before releasing it later on when necessary. They also act as heat sinks during the day and as heat sources during the nighttime. This allows the building to reduce energy consumption.

b. Fig 1.14

1. 185/380/39 mm flat clay roof tile

2. 70/38 mm battens

3. 25 mm hat profile - steel, galvanised

3. 100/150 mm hat profile - galvanised steel

4. 9 mm gypsum fibreboard panel

4. two-ply bitumen sheeting

5. 250 mm mineral wool

5. 18 mm water-resistant plywood panel

reinforced concrete slab and the flooring panels. This

6. insulation between 250/50/1.5 mm steel sheet channels

6. 45/45 mm battens

7. vapour barrier

system provides effective isolation for airborne noise

7. 360 mm mineral wool thermal insulation between 450 mm

8. 70 mm thermal insulation between metal profiles

8. timber web beams

9. 2 x 12.5 mm plasterboard panels

9. 18 mm plywood panel

Sound insulation Acoustically decoupled bearings are used between the

through the incorporation of an air layer between the

10. vapour barrier 11. 45/45 mm battens

structural slab and the floating slab. Student no. 180255856

12. 2 x 12.5 mm plaste-board panel

acoustically decoupled bearing

Fig 1.15

Fig 2.1

Student no. 180255856

109

External wall structure analysis

Roof strucutre analysis The roof consrtruction consists of steel frames and timber frames. The timber frame

The external wall of the building is not

construction allows the architect to overcome

load-bearing, however there are still steel

the challenging folded roof shape as timber

profiles inside to hold the insulation,

is light and easy to install so as to fulfill the

window frames and external cladding in

endless design possibilities. The steel framing

place.

is also used for area with longer span. Fig 2.2

Timber I-joists are used as the beams acorss the roofs, as I-joists has stronger dimensional and structural stability which able to cover the

Fig 2.6

long continuous spans across the folded roofs at different angles. I-joists is also very easy to

150/75/1 mm Parallel Flange Channels

handle and more environmentally friendly as

(C-section) are used inbetween the external wall insulation in order to

conpared to traditional lumber. Fig 2.3

secure the whole external wall to the reinforced concrete slab and concrete

The timber i-joists are hung on to the steel

wall on the intermediate level.

i-beams and are placed on the load bearing wall, i-beam is needed as steel beams are stronger and able to take the loads from the roof. Fig 2.7

Fig 2.4

Fig 2.8

Student no. 180255856

Fig 2.5

Thermal performance analysis

The wall has a total of 350mm Mineral wool insulation, the insulation is Being one of the first Swan-labelled residential developments in Denmark.

seperated into 3 layers ( 250mm for

KrĂ¸yerâ&#x20AC;&#x2122;s Square is about 40% more energy efficient than current Denamrk

external wall, 30mm+70mm for internal

regulatory requirements. Which well surpassesd the Swan-labelled standard.

wall ). The thick insulation provides the building a high thermal performance standard.

In order to achieve such a high Fig 2.11

standard of energy perforamnce, triple glazed windows are used. Triple

Fire protection

glazed windows has lower U-value than Double glazed, which retains heat much better. Insulations are also used

Although there is no specific mention for fire

in the window frames and areas with

protection, but the choice of fireproofing

potential thermal bridge.

materials was carefully considered before installation.

Fig 2.9

The double layer 12.5mm plaster-board panel, Gypsum fibre board panel and coated galvanised steel profiles provides at least 60 minutes fire resistance.

The mineral wool insulation is also has Euroclass A1 fire rating which is non-combustible. Lastly, the nature of concrete construction also very

Fig 2.12

good for fireproofing as the components of concrete and aggregate materials are chemically inert and therefore effectively non-combustible.

Student no. 180255856 Fig 2.10 Student no. 180255856

110

The 25mm hat-profile and the the 70/38mm timber

Waterproofing

battens combined to form a 63mm ventilation cavity so that water that seeps through the claddings or any consdensations can get dry it is imperative for the architects to

out.

consider the waterproofing in building construction as water penetration may result in damage of building structures and/or any fixtures and fittings.

Fig 2.13

In the case of KrĂ¸yerâ&#x20AC;&#x2122;s Square, the position of the clay tiles caladding overlaps one another to allow most of the rain water to drain off the cladding without seeping into the wall components. Fig 2.15

The 9mm moisture-resistant Since mineral wool insulation is

Gypsum fibreboard behind the

moisture resistant, vapour barrier

hat-profiles also act as another

is placed behind the insulation

layer of water-proofing to the

layer.

external wall. Fig 2.14

Student no. 180255856

The gutter is also

C. CONSTRUCTIONAL DETAIL REALISATION

hidden and placed at

1:10 physical modelstep by step process

the back of the facade. This is to improve the overall asthetic quality of the facade appearance. Since the roof is a cold roof, ventilation air gap is also needed above the insulation layer to remove any condensations.

Fig 2.16

Fig 3.1

Conclusion

Fig 3.2

Firstly, I started with making the concrete structural

Then I added in I-beam and i-joists for the roof

wall and floor slab of the chosen junction

structures.

To conclude this section, i realised that the decision for the details are closely related to the overall aesthetic of the building. For example, the architects has to figure out the framworks and structures for the chanllenging folded roof shape they planned to install. They also have to choose the right materials, steel profiles and beams for construction as they have to take into consideration of the overall roof weight and load bearing capacity for area with longer span. Additionally, They also have to consider the methods to practically install the facade and sequence of the wall components so that waterproofing is achieved. Details like ventilation air gaps are also resolved so that chances for condensations are greatly reduced. Lastly, smart choices of materials not only help with the aesthetic of the building but also to improve building performance and improve fireproofing standard.

Student no. 180255856

Fig 3.3

Fig 3.4

Mineral wool insulation, battens, plywood panel,

External wall are made seperately since it is

two-ply bitumen and hat profiles are installed.

not load bearing.

Student no. 180255856

111

Additional photographs

Fig 3.5

Fig 3.6

the completed external wall with cladding are

Tripled glazed window and window frame is

then joint with the roof and structutral wall.

made to slot into the window opening.

Fig 3.7

Fig 3.9

Fig 3.10

Fig 3.11

Fig 3.12

Fig 3.8

Tripled glazed window is installed with flashing.

Two-layer plaster boards are installed with insulation on battens and c profiles for internal walls.

Student no. 180255856

flat clay tiles

hat profile

timber batten two-ply bitumen layer water resistant plywood panel

D. DWELLING PLUS PROJECT COMPARISON I-beam i-joist mineral wool insulation

continuous cleat

plywood panel

ventilated gap

flashing

timber batten

gutter

hat profile

vapour barrier

gypsum fibreboard panel

steel c profile

Fig 4.1

reinforced concrete slab

For my dwelling plus project the construction techniques and structure and materials are similar to the

Fig 3.13

sill window flashing frame

Krøyer’s Square. Although there is no complicated roofs or shapes in my design, but there are junctions

triple glazed window

between concrete and steel profiles which is essentials to undertand the junction techniques in this

Conclusion

precedent study. The site for the dwelling plus project is based in Scotland, hence it is also essential for

Working on the 1:10 model is challenging as vast amount of time is needed to think of the representation of

us to learn the techniques and technologies Krøyer’s Square’s use to achieve the high standard of energy

materials and source for the materials with the correct thickness. Planning is also required as it is important

performance. Low consumption of energy is not only beneficial for the environment but also save the bills

to know the sequence of making the different parts inorder for all the parts to come together and fit nicely.

for the residents who are living in social housing.

Precision is needed in all the calculations and measurements so that the junctions between the slope roof and external wall will fit perfectly. It was a good experience in making the model as it made me realised the difficulties in junctions of different building parts, especially when there is a complicated roof or shape. It is essential for us to learn and understand how other architects deal with junctions and resolve all the details inorder to fulfill their design decisions. If I were to do it again, I will probably make more models at even larger scales to understand the minor details especially in the windows area. Student no. 180255856

Student no. 180255856

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Fig 3.10 - own model photograph

E. lIST OF ILLUSTRATIONS

Fig 3.11 - own model photograph Fig 3.12 - own model photograph Fig 3.13 - own model photograph

Fig 1.1 - site map taken from

Fig 2.1 - cad drawing edited from https://

http://www.cobe.dk/project/kroyers-plads-0

www.detail-online.com/artikel/successful-

Fig 1.2 - own drawing and analysis

compromise-kroeyers-plads-housing-

Fig 1.3 - photo taken from

development-in-copenhagen-32403/

http://www.cobe.dk/project/kroyers-plads-0

Fig 2.2- own drawing and analysis

Fig 1.4 - ground floor plan taken from

Fig 2.3 - own drawing and analysis

http://www.cobe.dk/project/kroyers-plads-0

Fig 2.4 - own drawing and analysis

Fig 1.5 - height of surrounding architecture taken

Fig 2.5 - own drawing and analysis

from http://www.cobe.dk/project/kroyers-plads-0

Fig 2.6 - own drawing and analysis

Fig 1.6 - photograph taken from

Fig 2.7 - own drawing and analysis

http://www.cobe.dk/project/kroyers-plads-0

FIg 2.8 - own drawing and analysis

Fig 1.7- facade analysis taken from

Fig 2.9 - own drawing and analysis

http://www.cobe.dk/project/kroyers-plads-0

FIg 2.10 - own drawing and analysis

Fig 1.8 - own drawing and analysis

FIg 2.11 - own drawing and analysis

Fig 1.9 - own drawing and analysis

FIg 2.12 - own drawing and analysis

Fig 1.10 - photo taken from https://www.wood-database.com/douglas-fir/

FIg2.13 - Drawing from https://www.vla.dk/en/project/kroeyerssqaure/

Fig 1.11 - photo taken from

Fig 2.14 - own drawing and analysis

https://www.vla.dk/en/project/kroeyers-sqaure/

Fig 2.15 - own drawing and analysis

Fig 1.12 - photo taken from

Fig 2.16 - own drawing and analysis

http://www.cobe.dk/project/kroyers-plads-0

Fig 3.1- own model photograph

Fig 1.13 - own digital drawing

Fig 3.2 - own model photograph

Fig 1.14 - diagram taken from

Fig 3.3 - own model photograph

https://www.yourhome.gov.au/passive-design/

Fig 3.4 - own model photograph

thermal-mass

Fig 3.5 - own model photograph

Fig 1.15 - diagram taken from https://www.farrat.

Fig 3.6 - own model photograph

com/vibration-control/cinema-acoustic-isolation/

Fig 3.7 - own model photograph

lightweight-floating-floor-systems#1483712063830-

Fig 3.8 - own model photograph

4f765036-92b9d63b-fe9dcb4b-b6b0

Fig 3.9 - own model photograph

Student no. 180255856

Fig 4.1 - own rendering, dwelling plus

Student no. 180255856

F. BIBLIOGRAPHY

- Cobe.dk. (2019). COBE - Krøyers Plads. [online] Available at: http://www.cobe.dk/project/kroyersplads-0 [Accessed 13 Dec. 2019]. - Vilhelm Lauritzen Arkitekter. (2019). Krøyer’s Square – Vilhelm Lauritzen Arkitekter. [online] Available at: https://www.vla.dk/en/project/kroeyers-sqaure/ [Accessed 13 Dec. 2019]. - ArchDaily. (2019). Krøyer Square / Vilhelm Lauritzen Architects + COBE. [online] Available at: https:// www.archdaily.com/803510/kroyer-square-vilhelm-lauritzen-architects-plus-cobe [Accessed 13 Dec. 2019]. - Designingbuildings.co.uk. (2019). Cold roof. [online] Available at: https://www.designingbuildings.co.uk/ wiki/Cold_roof [Accessed 13 Dec. 2019]. - Anon, (2019). [online] Available at: https://www.british-gypsum.com/technical-advice/faqs/050-what-isthe-fire-resistance-performance-of-gyproc-plasterboard [Accessed 13 Dec. 2019]. - Thermal mass for housing. (2006). Camberley, England: The Concrete Centre. - Steelconstruction.info. (2019). [online] Available at: https://www.steelconstruction.info/images/d/d6/ SCI_P102.pdf [Accessed 13 Dec. 2019]. - Pringle, T. and Trevor Pringle ANZIA, B. (2019). Durability and exposed steel beams | BRANZ Build. [online] BRANZ Build. Available at: https://www.buildmagazine.org.nz/index.php/articles/show/durabilityand-exposed-steel-beams [Accessed 13 Dec. 2019]. - Johnson, G. (2019). I-joists, purlins, joists, building timber, roofing timber : Timberlink.co.uk. [online] Timberlink.co.uk. Available at: http://www.timberlink.co.uk/i-joists/ [Accessed 13 Dec. 2019]. - Beaumontforest.co.uk. (2019). 4 advantages to building with LP SolidSmart I-Joists. [online] Available at: http://www.beaumontforest.co.uk/news/advantages-to-building-with-lp-solidsmart-i-joists [Accessed 13 Dec. 2019]. - Architects’ Journal (2019). 06.19: Walls, ceilings & partitions. -Hacker, S. (2019) ARC2009 Architectural Technology 2.1 Lecture Series, October-December 2019

Student no. 180255856

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Non-Design Modules ARC 2010 : Architectural Technology 2.2

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CASE STUDY

National Museum of Roman Art MÉRIDA, SPAIN RAFAEL MONEO

Fig. 1 - Parti Plan Diagram

Fig. 2 - Parti Sectional Diagram

UNI ID: 180255856 ARC2009 / ARC2010 Semester 2 assignment 2019 SITE SUMMARY

National Museum of Roman Art

Basement

SPATIAL SUMMARY

Ground floor

First floor

3 5

10m

50m

Fig. 3 - Site Analysis Plan

Second floor

10 7

1. Ruins exhibition hall 8. exhibition space 2. Entrance/exit 9. exhibition rooms 3. Main entrance 10. lecture room 4. Main exhibition hall 5. office 6. exhibition space 7. study room

Fig. 5 Floor Plans

Fig. 4.2 Roman Arena

Fig. 4.1 Natioanl Museum of Roman Art Fig. 4.3 Roman Theater of Merida Site Analysis Plan

The site for National Museum of Roman Art is located in Mérida, Spain which has rich history in Roman culture. Not far away from the site is the Roman Theater of Mérida and Arena which are important pieces of Roman Architecture dated back to 24B.C. Even on the actual site, it consists of ruins of a buried Roman town. The Museum of Roman Art commissioned by Rafel Moneo in 1979 serves the purpose to display Roman artefacts and archaeological ruins.

Fig. 6 Key Section

116

National Museum of Roman Art SPATIAL SUMMARY

PROGRAMME SUMMARY

National Museum of Roman Art The programmatic strategy is to divide the building into two main parts, the exibition spaces and other functional spaces. From Fig 15.2, we can observe that the exhibition spaces are mainly localised on the left side while other functional spaces are localised on the right side. The division of such spaces is sensible in a museum typology since exhibition spaces require a more controlled environment, such as lighting, cirulation and spatial arrangement. Therefore, a higher hierarchy (Fig 14) is given to the exhibition spaces becuase that should be the main focus for museum typology.

Fig. 7 View towards the main exhibition hall

The exhibition spaces are seperated into 4 levels, and most of the spaces have consistent lighting through out. The exhibition spaces are divided into repetitve units, with similar skylight openings (Fig 15.3) within every unit. The consistency in lighting serves a better job for displaying artefacts accurately.

Fig. 8 - View of the Ruins at the basement

From Fig 15.1, we can also observe that the public spaces decrese as it moves up the levels, more semi-public spaces such as office, educational space, and auditorium are placed on the second and third level.

Fig. 9 Massing Diagram

Fig. 10 Plan to Section diagram

Fig. 13 - Circulation To Use Diagram

Fig. 11 - Additive Subtractive

PROGRAMME SUMMARY

Fig. 12 - Symmetry & Balance

National Museum of Roman Art

Basement

Circulation space Fire escape stiars Stairs Office Lecture room

First floor

Main Entrance Courtyards Second floor

Fig. 15.1 Public and Private spaces

National Museum of Roman Art

LANGUAGE SUMMARY

The National Museum of Roman Art by Rafael Moneo, truly brings out the historical and cultural importance of the Roman past in Merida, Spain. The elegant building manifests an extensive presence of bricks and arches. Without being too literial in reviving the Roman past, Moneo reinterpreted the traditional Roman brick work ( Fig 18.1) and the Roman arches in a contemporary sense.

Exhibition space

Ground floor

Fig. 14 - Hierarchy Diagram

Fig. 15.2 space allocation

The brick work present in the building has similar dimensions to the traditional roman brick sizes, however the difference lies in the mortar used between the old Roman brick work and the brick work in Moneoâ&#x20AC;&#x2122;s National Museum of Roman Art. As seen in Fig 18.2, the bricks in Rafael Moneoâ&#x20AC;&#x2122;s building has no gap between the bricks, this is because Rafael Moneo has decided to use dry joint instead of wet joint inorder to keep the brick in a more pure state. (Moneo, 1988) This enhances the importance and materiality of bricks while keeping a new and comtemporary look that redefines the tradition. The arches that present in the building is also very interesting. In Fig 18.4, it shows the comparision between the traditional Roman arches situated in the Roman Theatre of Merida which is just a opposite the building and the Arches that are in the Muesum. Instead of just projecting the arches as decorative purposes, the arches are actually load bearing. Scale of the arches are also expanded into a much larger and taller representation which placed parallel to each other that divide into zones which results in an interesting typology for museum. In the basement level, stilts and arches are placed in irregular pattern( Fig 18.3) so that it avoids area that may damage the existing Roman ruins that is on the site.

Fig. 15.3 Zoning and lighting

Fig. 16 - Parti Diagram

Programme Analysis Diagrams

Fig. 17 - Geometry Diagram

117

National Museum of Roman Art

LANGUAGE SUMMARY

Fig. 18.1 Old roman brick work

National Museum of Roman Art One aspect that integrates both the design and technology is the structure in National Museum of Roman Art. Although the building envelopes itself in bricks, the load bearing structure is actually the reinforced concrete in the middle of the wall ( Fig 22.1). Due to large size of the building and complexity of the site topography, reinforced concrete is preferred as the primary structure since it can withstand heavier loads and easier to shape the large scale arches. Moneo also wants to interweave old Roman brick work with new concrete construction technique to aviod possibility of the museum being literally â&#x20AC;&#x153;Romanâ&#x20AC;?. ( Moneo, 1988)

Fig. 18.2 Brick work in National Museum of Roman Art

Fig. 18.3 Structural elements in Basement

DESIGN INTEGRATION

The skylight in the National Museum of Roman Art also presents design and technology intergration. From internal view ( Fig 21.1 ), the skylight runs horizontal from one end of the building to the other with consistent diffused natural light flsuhed down from the top. Externally, the roof with the skylight is actually pitched at an angle. ( Fig 22.2 ) Pitched roof has higher surface area than flat room, hence this allows more light into the building which could result in reduction in electrical usage. Concrete fins (Fig 22.3 ) are used to shade excess light and diffuse direct sunlight into the space. Diffused light work better in a museum space as it is less harsh and more consistent for display and exhibition purposes. The skylight also correspond to the spaces within the building and almost all the exhibition spaces could receive light from above as well as having a sequence of visual connections ( Fig 22.4 ) to one another.

Fig. 18.4 Section of the arch

Language Drawings and Diagrams

Fig. 21.1 View of skylight internally

Fig. 19 - Unit to Whole Diagram

Fig. 20 - Repetitive Diagram

Fig. 21.2 View of skylight internally

DESIGN INTEGRATION

National Museum of Roman Art

ARC2009 FOCUS

Access for All ( Part M)

The Entrance to the museum is also clear and direct, which could be easily found and identified. Ramp with suitable gradient is also provided at the entrance for wheelchair users and hadicapped people for easy access into the building ( Fig. 24.1 ). Weather protection such as shelther ( Fig 24.2 ) is provided at the entrance and antislip materials are also used to ensure the safety and comfort for these disadvantaged users. Based on the annotated measurements, the width of the doors, depth of the entrance lobbies and the type of doors used are all in compliance with the Approved Document M Volume 2. The entrance consists of a external sliding door which is always open during opening hours and a manually operated non-powered double leaf door ( Fig 25.2 ) at the entrance lobby. Although the non powered swing door may satisfy M1 or M2, it actually disavantage handicapped people with weak upper body strength and those who are in the wheelchair. Fig 25.3 shows that by using automatic powered sliding door instead of a manual double leaf door, it could potentially opens up the entrance lobby which could accomodate more flow of people and easier for handicapped and wheelchair users to access.

Fig. 22.1 Cut away view of wall

Fig. 22.2 Exploded Axonometric

The National Museum of Roman Art is situated in a conservation area declared by UNESCO which has historical and architectural importance. Hence, the design of the building is very contexural based, which promote the cultural importance of the site and the city. Similar materials and build techniques are used such as Roman brick work and Roman arches. Ruins at the sites are also preserved and protected despite the complexity and challenging site condition.

Direct natural light

Overall, the building is situated in Spain with a different set of building regulations. However, after much study and comparison with the UK building regulation Part M, most of the parts are in compliance with the UK standard.

Diffused natural light

Fig. 22.3 Roof detail and light source

Fig. 22.4 Visual connection diagram

Design Integration Illustrations

Fig. 23 Extract from Aprroved Document M vol. 2

118

National Museum of Roman Art ARC2009 FOCUS

ARC2009 FOCUS

National Museum of Roman Art Doors to accessible entrance

Accessible Entrance Ramp for wheelchair users to access

Mat well flush with floor

Fig. 25.1 Extract from Approved Document M vol.2 150mm leveled platform

Fig. 24.1 axonometric view of Entrance

Weather protection provided

Fig. 25.4 Space allocation

Fig. 25.2 Entrance with double leaf door swing door

Fig. 24.2 Section of Entrance

Fig. 24.3 View of Entrance

Ramp gradient = 150/2000 =0.075 0.075 < 0.083 (maximum ramp gradient for going of flight 2m) , therefore the ramp graident is acceptable for wheelchair users to access.

Ramp with anti-slip strips

Fig. 25.3 Entrance with sliding door

Fig. 25.5 View of entrance from outside

ARC2009 Focus Illustrations

ARC2009 FOCUS

National Museum of Roman Art

STRUCTURE

The structural system for the National Museum of Roman Art is carefully considered with regards to its design intergration and design language. In order to amplified the prescence of the Roman culture in the building, the materiality of the Roman brick wall needs to be the most important feature in this building. ( Moneo, 1986) The brickwalls are cladded on massive infilled reinforced concrete blocks sandwiched in between for load bearing purposes.

Historic Buildings

Reinforced concrete is used as primary structure due to the complexity of the site and topography. In order to preserve the exisiting Roman ruins on the site, the basement level needed careful planning and execution. Arches with minimum contact points and minimum area for foundation are used so that most of the ruins are preserved and uncompromised. In the case of reducing contact points, concrete construction is preferred due to its flexibility in construction even in challenging sites and its ability to withstand heavy loads. Brick masonary wall is used as secondary structure as they are presented as an aesthetic reinterpretation of the existing Roman brickwork. Dry joints without the use of motar was the decision to keep the brick work in the purist state and portray it as an abstract architectural element. ( Moneo, 1988) Bricks without a strong motar will therefore unsuitable for load bearing purposes.

Fig. 26.1 Extract from Aprroved Document M vol. 2

Fig. 26.2 Site to Historical architecture

The roof consists of concrete and steel construction( Fig 28.3 ). I-beams are used as tertiary structure to hold the roof tiles and skylights. Concrete fins are situated below the I-beams as a solar shade to block out some of the direct sunlight into the exhibtion space.

Fig. 26.3 Historical ruins near the site

Second floor

First floor

Ground floor

Basement

Fig. 26.4 Building process and ruins preservation ARC2009 Focus Illustrations

Fig. 27 - Structure Diagram

119

National Museum of Roman Art

STRUCTURE

ENVIRONMENTAL DESIGN

National Museum of Roman Art The building began construction in the 1970s and opened to public in 1980. Hence due to the age of the building the technology that was used could be outdaded today. Also, the location of the building has a very different climate to UK, this also resulted in different approches to ventilation, heating and insulation comapre to UK buildings. Although the building may seem lacking in advanced building technology, this does not mean that the building is not energy efficient. Simple method such as increasing in Skylight openings, and with almost 64% glazing to roof surface ratio, the museum is primarily lit by natural light ( Fig 30.1 ). Thoughtful consideration such as adding concrete fins below the skylight ( Fig 30.2 ), not only they can diffuse the direct light which could give a more consistent lighting environment, the fins can also block out excess direct light that may result in overheating of the building.

Fig. 28.1 Primary, secondary and tertiary structure

The building walls does not have any insulation included, which will fail the building regulations in UK. However, Merida in Spain has average 26 Degree Celsius through the year with very small diviation of temperature through the months ( Fig 29.3 ). The climate present does not require the building to have very low U-value and high insulation properties such as UK standard.

Fig. 28.2 Primary structure

Ventilation and heating systems are also very energy efficient as the building is mainly driven by natural ventilation. Also due to the climate and environment, additional heating is not required. Therefore, although the building may seem low in advance technology, it actually has features that lead to cut down to CO2 emission and energy consumption. Additionally, Rafale Moneo high standard in resolving details and his sensible contextural based design laid a very strong foundation for his later career which in the end won himself the Pritzker Architecture Prize in 1996.

Fig. 28.4 Wall section

Millilitres

Degree Celsius

180

Fig. 29.2 Sun path

Fig. 29.1 View

Fig. 28.3 Tertiary structure - Roof

Jan

Dec

Fig. 29.3 Temperature and Rainfall

Environmental Design Illustrations

Fig. 28.5 Foundation

Structure Illustrations

ENVIRONMENTAL DESIGN

National Museum of Roman Art

National Museum of Roman Art Heat Loss Form Factor ( HLFF)

ENVIRONMENTAL DESIGN Floor area = (118+103)x40x1/2 - 6.5x30 20x20 = 3825 m 2 Treated floors area = 3825+ 65x8x2 + 30x20x2 = 6065 m 2

Ceiling area = (4x40)x20+ 30x30 + (34+28)x17x1/2 = 4672 m 2

Walls area = 40x20 + (118-6-10)x20 + (103-15)x20 + 30x20 + 27x20 + 4x20 + 37x20 + (30+30+6)x20 + (25+20+15)x20= 9080m 2

Fig. 31.1 - Overall building form

Fig. 30.1 Lighting analysis

118m

Fig. 30.2 Light direction 40m

30m

27m

37m 103m

Fig. 31.2 Dimension of the ground floor

The HLFF is calculate for the overall bulding. The ratio lies between 0.5 and 5, in which the building achieved 2.90 proving the building have good energy efficiency.

Overall Glazing area to facade surface area

Total surface area = 3825 + 4672

+9080 = 17577m 2

Volume = 3825x 20 = 76500 m 3 Surface area to volume ratio= Sa/V = 17577/76500= 0.23 m2 /m 3 Heat Loss Form Factor (HLFF) = Surface Heat Loss Area Treated Floor Area

= 17577/6065 =2.90

Glazing area at north facade= 5x2.8x10 + 2.3x4.3x10 = 238.9m2

Fig. 31.3 Glazing at north facade Fig. 30.3 Sunpath and window openings

Total surface area of north facade = (100+100)x20x1/2 = 2000m2 % glazing/total facade surface area = 238.9/2000 = 11.9% Glazing area at Roof =

(63+63)x36x1/2 + 12x18 = 24842 Fig. 31.4 Glazing at roof

Fig. 30.4 Topography

Fig. 30.5 Roof and gutter

The glazing area to facade surface area is generally low for all the facades, however value is high for the roof, indicating that most of the light source comes from the roof skylights openings.

Environmental Design Illustrations

Total surface area of Roof =

(118+103)x40x1/2 - 6.5x30 - 20x20 = 3825 2

% glazing/Roof surface = 2428/3825= 64%

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National Museum of Roman Art ENVIRONMENTAL DESIGN

National Museum of Roman Art

References

U-value calculation External brick wall

Ventilation cavity

Insitu Reinforced Concrete

Internal brick wall

Material

Thickness Thermal conductivity Thermal Resistance 2

(m)

(W/mK)

(m k/W)

External brick wall

0.100

0.72

0.139

Ventilation cavity

0.0300

Insitu Reinforced Concrete

0.350

1.80

0.194

0.100

0.72

0.139

Internal brick wall

U-value= = = =

Fig. 32.1 Wall section

BIBLIOGRAPHY

Moneo, R., 1986. Museum for Roman Artifacts, Merida, Spain. Assemblage, (1), p.72. Moneo, R., 1988. The Idea of Lasting. A Conversation with Rafael Moneo. Perspecta, 24, p.146. Centre, U., 2020. Archaeological Ensemble Of Mérida. [online] Whc.unesco.org. Available at: <https://whc.unesco.org/en/list/664/> [Accessed 27 March 2020]. Rafaelmoneo.com. 2020. NATIONAL MUSEUM OF ROMAN ART – Rafael Moneo Arquitecto. [online] Available at: <http://rafaelmoneo.com/en/projects/national-museum-of-roman-art/> [Accessed 27 March 2020].

1/Thermal Resistance 1/(RSi + Rso + R1 + R2 + R3) 1/(0.12 + 0.06 + 0.139 + 0.194 + 0.139) 1.50

The U- value calculated above did not meet the regulations of a wall with a value of 0.28w/m2 K. The calculated value is much higher since the wall does not have any insulation present. However, we should note that this building is situated in Spain with a different climate to UK, hence regulation may be different.

Heating and Ventilation

low pressure

High pressure Mechanical ventilation pump with humidity control Fig. 32.2 Ventilation flow diagram

Due to the nature of tropical climate in Merida, Spain and the large percentage glazing area at roof. The main source of the ventilation comes from natural ventilation and aided with mechanical ventilation in order to control humidity and air quality within the building. Active heating in the building is not required since the building is situated in a tropical climate, instead ventilation is needed for cooling purposes.

ILLUSTRATIONS

National Museum of Roman Art

Illustration Fig 1 , 2 , 9 , 10 , 11 , 12 , 13 , 14 , 15.1 , 15.2 , 15.3 , 16 , 17 , 18.3 , 18.4 , 19 , 20 , 22.1 , 22.2 , 22.3 , 22.4 , 24.1 , 24.2 , 25.2 , 25.3 , 25.4 , 26.2 , 27 , 28.1 , 28.2 , 28.3 , 28.4 , 29.1 , 29.2 , 29.3 , 30.1 , 30.2 , 30.3 , 30.4 , 30.5 , 31.1 , 31.2 , 31.3 , 31.4 , 32.1 , 32.2 - Own drawings, diagrams and sketchup models.

ArchDaily. 2020. AD Classics: National Museum Of Roman Art / Rafael Moneo. [online] Available at: <https://www.archdaily.com/625552/ad-classics-national-museum-of-roman-artrafael-moneo> [Accessed 27 March 2020]. Pritzkerprize.com. 2020. Rafael Moneo | The Pritzker Architecture Prize. [online] Available at: <https://www.pritzkerprize.com/laureates/1996> [Accessed 27 March 2020]. Area. 2020. Merida Classic/Anti-Classic - National Museum Of Roman Art | Area. [online] Available at: <https://www.area-arch.it/en/merida-classicanti-classic-national-museum-ofroman-art/> [Accessed 27 March 2020].

ILLUSTRATIONS

National Museum of Roman Art

Fig 18.1 - Picture taken from Roman Brick Texture Wallpaper Stock Photos - Download 300 Royalty Free Photos. 2020. Roman Brick Texture Wallpaper Stock Photos - Download 300 Royalty Free Photos. [online] Available at: <https://www.dreamstime.com/photos-images/ roman-brick-texture-wallpaper.html> [Accessed 27 March 2020].

Fig 3 - Picture modified from google map

Fig 18.2 - Picture taken from Flickr. 2020. MUSEO NACIONAL DE ARTE ROMANO | NATIONAL MUSEUM OF ROMAN ART. [online] Available at: <https://www.flickr.com/photos/ gonzalomauleon/15504542067/> [Accessed 27 March 2020].

Fig 4.1 - Picture taken from Architectuul.com. 2020. National Museum Of Roman Art. [online] Available at: <http://architectuul.com/architecture/national-museum-of-roman-art> [Accessed 27 March 2020].

Fig 21.1 , 21.2 - Picture taken from Rafaelmoneo.com. 2020. NATIONAL MUSEUM OF ROMAN ART – Rafael Moneo Arquitecto. [online] Available at: <http://rafaelmoneo.com/en/projects/ national-museum-of-roman-art/> [Accessed 27 March 2020].

Fig 4.2 - Picture taken from En.wikipedia.org. 2020. Roman Theatre (Mérida). [online] Available at: <https://en.wikipedia.org/wiki/Roman_Theatre_(M%C3%A9rida)> [Accessed 27 March 2020].

Fig 23, 25, 26.1 - Regulation copied from Assets.publishing.service.gov.uk. (2020). - Available at: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/ file/540330/BR_PDF_AD_M1_2015_with_2016_amendments_V3.pdfP

Fig 4.3 - Picture taken from En.wikipedia.org. 2020. Roman Theatre (Mérida). [online] Available at: <https://en.wikipedia.org/wiki/Roman_Theatre_(M%C3%A9rida)> [Accessed 27 March 2020].

24.3 - picture from empire, R. and Main Entrance to the National Museum of Roman Art. Merida, S., 2020. Main Entrance To The National Museum Of Roman Art. Merida, Extremadura, Spain Editorial Photo - Image Of Ancient, Current: 123978546. [online] Dreamstime. Available at: <https://www.dreamstime.com/main-entrance-to-national-museumroman-art-merida-extremadura-spain-museum-was-designed-famous-spanish-architectimage123978546> [Accessed 27 March 2020].

Fig 5 , 6 - Diagrams modified from Architecture CAD Drawings Download CAD Blocks,Details,3D Models,PSD,Vector,Sketchup Download. 2020. World Famous Architecture CAD Drawings National Museum Of Roman Art -Rafael Moneo. [online] Available at: <https:// www.designresourcesdownload.com/products/world-famous-architecture-cad-drawingsmuseum-of-roman-art> [Accessed 27 March 2020]. Fig 7 - picture taken from AEWORLDMAP.COM (2,900+ posts). 2020. National Museum Of Roman Art – Mérida, Spain. [online] Available at: <https://aeworldmap.com/2018/10/10/ national-museum-of-roman-art-merida-spain/> [Accessed 27 March 2020]. Fig 8 - picture taken from Area. 2020. Merida Classic/Anti-Classic - National Museum Of Roman Art | Area. [online] Available at: <https://www.area-arch.it/en/merida-classicanti-classicnational-museum-of-roman-art/> [Accessed 27 March 2020].

25.5 - picture from Mutuli, I. (2017). The National Museum of Roman Art: Rafael Moneo’s Magnificent Touch Expressed in Roman Brick. [online] Archute. Available at: https://www. archute.com/national-museum-roman-art-rafael-moneos-magnificent-touch-roman-brick/ [Accessed 27 Mar. 2020]. Fig 26.3 , 26.4 - picture from Arquitecto, M. and Moneo, J. (1990). Museo de Arte Romano. [online] Available at: https://www.coam.org/media/Default%20Files/fundacion/biblioteca/ revista-arquitectura-100/1981-1986/docs/revista-articulos/revista-arquitectura-1984-n248pag23-45.pdf [Accessed 27 Mar. 2020]. Fig 28.5 - picture modified from Rafaelmoneo.com. 2020. NATIONAL MUSEUM OF ROMAN ART – Rafael Moneo Arquitecto. [online] Available at: <http://rafaelmoneo.com/en/projects/ national-museum-of-roman-art/> [Accessed 27 March 2020].

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Non-Design Modules ARC 2024: About Architecture: Cities, Cultures and Space

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Introduction “There is the paradox: how to become modern and return to sources; how to revive an old, dormant civilization and take part in universal civilization.”1

Moving forward with Critical Regionalism: Selected works from Yung Ho Chang

Critical Regionalism was first appeared in the essay “The Grid and the Pathway” by Alexander Tzonis and Liane Lefaivre in 1981 and then further discussed and pieced together by Kenneth Frampton in his papers. Critical Regionalist architecture seeks to resist the placeless uniformity that Modern architecture brings about but at the same time roots itself to the modern tradition with manifestations of cultural and geographical context. Critical Regionalism is not an architectural style but a conceptualised idea that goes beyond a specific style.2 Critical regionalism focuses on the practice of “high consciousness” which means interpretations may be varied by different architects. This essay will focus mainly on discussing the Critical Regionalism framework that was proposed by Frampton and making a two-way comparison against a series of selected architecture outputs by Chinese-American Architect, Yung Ho Chang, in relations to the usefulness of Frampton’s Critical Regionalism theory. While there is no conscious intention to pursue the idea of Critical Regionalism, Chang’s works show a variety of creative solutions and personal approach to keep the cultural identities of the region alive and move forward with the rapid Urban development and modernisation.3 Chang’s works not only raised new insights to understand the culture from an architectural point of view but also gave meaningless architecture an implicit value of cultural articulation.

1. Yung Ho Chang

Wutopia Lab, Models in Model, Fengyuzhu Headquarter, Shanghai, 2019.

Student Number: 180255856 Question attempted: Question 4

of composition. Chang is thoughtful and research-driven in the process of designing and always focus on building user experience with his architecture and forming a series of relationships with his architecture to the context of the site, the culture of the place and lives of the people.5 This critical and reflective approach to his architectures is an example that current practising architects and architecture students can learn from and emulate.

Yung Ho Chang, founder and principal architect in Atelier Feichang Jianzhu (FCJZ), Pritzker prize jury member from 2011-2017, current professor at Tongji University and former Head of the architecture department in MIT, is one of the most influential architects currently in mainland China. Chang founded Atelier FCJZ in 1993 with his wife Lijia Lu, the first private architecture practice in China where he began a series of interdisciplinary research on architecture, urbanism, planning, interior, landscape, furniture and a variety of products. Chang has completed his architecture degree at Southeast University in China and went on to pursue his Master degree in UC Berkley in 1984. 4 Being able to have experience in both countries, Chang’s works are influenced by both the western and eastern architectural ideas and seeks to mediate and intertwin the two contrasting and intricate architectural thoughts into a coherent piece Paul Ricoeur, “Universal Civilization and National Cultures”, in History and Truth, trans. Chas. A. Kelbley (Evanston: Northwestern University Press, 1965), p.277. 2 Kenneth Frampton “Ten points on an Architecture of Regionalism: A provisional Polemic”, Center volume 3, (Texas: School of Architecture, The University of Texas at Austin) 3 ASA EXPO 2020, ASA Forum 2018 Yung Ho Chang, Atelier Feichang Jianzhu, 2018 <https://www.youtube.com/watch?v=gcIlGu0jcBI> [ accessed 07 Jan 2020 ] 4 The University of HongKong Faculty of Architecture, 2019 < https://www.arch.hku.hk/staff/arch/chang-yungho/> [ accessed 20 Jan 2020] 1

the memories of the qualities and atmosphere of the vernacular form of courtyard spaces, Chang made discreet references to some of the traditional materials and forms to rationalise his idea, such as the slightly slanted roof towards the central of the courtyard space as well as the use of Terracotta tiles in courtyard roof, claddings and solar shading that gives the overall conventional ‘box-like’ modern building a sense of memories of the traditional Chinese architecture. Chang also creatively manipulated the internal spaces and inserted a series of open ‘living-rooms’ that serve as common spaces for the workers. These spaces are located at the central atrium and they are intended to increase the chances for social interactions and exchange of ideas in the building. The concept also makes correspondence with the outdoor courtyard, which builds conjunction between outdoor and indoor spaces. Other projects that embedded the idea of ‘yuan’ include his well-known residential project the Split House, where the theory of ‘yuan’ is manipulated and explored with the surrounding nature; the UFIDA R&D centre where ‘yuan’ is used as connecting points to several office buildings that improve social interactions and well-being of the workers. Chang never stops exploring the theory of ‘yuan’, and his articulation of ‘yuan’ in different projects is manifested with different interpretations and at multiple scales. Other interesting characteristics from traditional Chinese architecture that he has explored include ‘Lang’ (廊) and ‘Ting’ (亭).8

Figure 1 Yung Ho Chang, Picture by Florian Heilmeyer, Uncube Magazine, 2014.

1.1 Lessons from vernacular One important designing principle that manifests in many of Chang’s work is to encourage outdoor living. He believes that by creating outdoor areas in architecture can influence sustainable living, foster social integration and respond to the climate better. One of the concepts that highly influenced Chang in his career is the idea of a ‘Yuan’ (园)6, a courtyard space. The particular courtyard space he specified was from the traditional courtyard houses that prominent in most parts of China. The implementation of such idea in his architecture outputs was partly due his personal experience in the courtyard house in his early age as well as his intention to continue this traditional and sustainable style of living in contemporary architecture. Figure 2. Feichang Jianzhu, Laborartory Building,Novartis

In one of the most recent works by Chang, the Laboratory Building, Novartis Shanghai Campus exemplifies the concept and theoretical findings of a ‘Yuan’. Unlike to our usual understanding of ‘yuan’, where most of the cases are manifested through smaller-scale residential projects, Chang embraced the challenge to recreate the similar courtyard from the traditional Chinese courtyard house in a larger scale commercial office building.7 The campus is divided into a six-story laboratory building along with a onestory building that functions as a restaurant, separated by a central courtyard. To subtly bringing back

1.2 Expressing locality and region through materials

Zhu Likang, A meeting with architects, Yung Ho Chang/FCJZ, translated (Shanghai, 2019). ASA Expo, ASA Forum with Yung Ho Chang. 7 Yung Ho Chang, ‘the laboratory Building Shanghai Campus’, Architectural Journal 8 th issue, translated, 2017.

Shanghai Campus, Shanghai, 2018. Courtyard view.

How materials are selected and portrayed is always an important question for Chang in his architectural refinement and process. In Chang’s works, a variety of materials is used not only as a source for stylistic purposes but to foster an intrinsic relationship between the users and space. 9 Chang highly regards the

5 6

Yung Ho Chang and FCJZ, Graphic FCJZ, (Shanghai: Tongji University Press, 2014), p.246. Zhu, A meeting with architects, Yung Ho Chang/FCJZ.

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interactions of people with his architecture and hence through material as a medium, it could be used as a source to connect people with the surrounding as well as to evoke feelings and to retrieve memories. In one of Chang’s notable projects, The Museum Bridge, materials are carefully selected and presented to promote tactility and user experience. The overall design follows a very modernist and classicist idea, it was highly influenced by Le Corbusier’s brutalist expression and from the western classicism development in China back in the mid-20th century.10 Not only western architecture ideas are being included, Chang also reinterpreted the form of ‘Lang’ and ‘Ting’ from Chinese vernacular to promote outdoor activities and social interaction in the Bridge Museum. The perfect balance of old and new ideas makes the Bridge Museum a two-way timeless expression of being in the past and present at the same time.11 The Bridge Museum Although the conventional concrete is used as the main materials in this project, Chang creatively embedded the local context and the observations from the surrounding to the appearance of the concrete. A vast amount of river pebbles was added as aggregate into the concrete mixture for the pavement and bamboo panel casted concrete walls externally and internally. These materials are sourced locally and would seek to relate the Bridge Museum to the context. Furthermore, the focus on the tactility of the materials over the visual appearance makes the Bridge Museum more approachable and experiential for the users. Visually the bridge museum reflects the nature of the surrounding; Physically it reflects the tactility of the materials and the closeness it links to the people visiting the place.

Figure 4. FCJZ, The Bridge Museum, Si Chuan, 2012. Materials and tactility.

Figure 3. FCJZ, The Bridge Museum, Si Chuan, 2012.

The other project that worth mentioning is his Split House, a reinterpreted form of courtyard house outside of the densely populated city in Beijing. The plan and form of the house follow the topological condition of the terrain site to form a semi-enclosed courtyard that can spark a dialogue and relationship with the context. Rammed earth is used for wall construction which is an unusual technique that in not widely used in China.12 Chang learned the technique through experts from construction companies in Korea, France, Germany and Switzerland and made his own recipe through a series of testing and research. Rammed Earth is specifically used in order to integrate the building into the terrain site and to build an intimate relationship with nature and the users.

Chang, Graphic FCJZ, p.245-246. 11 House Vision, Beijing Exhibition, (Beijing: GWC great wall association, 2018) 10

ASA Expo, ASA Forum with Yung Ho Chang.

collective world cultures. Despite Frampton’s assertion on the successful balance between the “universal civilization and world cultures” through the example of Bagsvaerd Church by Jorn Utzon. The example did not justify the key issues of solving “universalisation” and besides the eclectic combinations of “world cultures” may seem too hypothetical and alien to the context. This may also plausibly influence the users to subconsciously accept the phenomenon of “universalisation” and “modernisation” instead of “resisting” it. This contentious idea may seem ambiguous and vague which in the end may be a double-edged sword that brings repercussions to Critical Regionalism if it is not applied carefully.

Figure 5. FCJZ, The Split House, Beijing, 2002. Rammed earth wall.

Frampton has reiterated in the papers that Critical Regionalism should not be sentimentally linked with the vernacular and “nothing can be further from the vernacular in the initial sense of term”.15 Frampton’s view on vernacular is stern and possibly prejudiced. He overly stressed that the “hypothetical forms” of vernacular should not be superficially revived. The stress over forms and stylistic aspects of vernacular may diminish the other learnings. Frampton did not consider other qualities in vernacular such as its materials and deeper cultural and traditional habits in relations to the lifestyles of the people. In a sense, the reinterpretation of vernacular qualities in a contemporary way could be associated with Critical Regionalism and may post new insights that work with rather than work against Critical Regionalism.

A critical and comparative evaluation

K. Frampton’s Critical regionalism Among all other theorists that discussed Critical Regionalism, Frampton’s essays under the titles of “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” and “Ten points on an Architecture of Regionalism: A provisional Polemic’’ are among the most extensive and provocative. From these papers that he proposed, Frampton responded to the Paul Ricoeur’s view on the “phenomenon of universalisation” and mainly revolved around his paradoxical question on “ how to become modern and return to sources; how to revive an old, dormant civilisation and take part in universal civilisation.”13 Critical Regionalism is presented as a “self-conscious” process that architects should respond to the “global modernisation” that advocated the “proliferation of a universal, privatised, placeless domain”. Frampton’s view on Critical Regionalism is more process orientated rather than the product itself, hence it should not be associated with a specific style and should “lie beyond style”. Crucially, Frampton’s take on Critical Regionalism is stern and considered it as “architecture of resistance”. Both of the “Six Points” and “Ten points” essays are articulated through a series of “points” that are both particular and general, persuasive and polemical. A few of his theoretic points will be further discussed and analysed. Frampton’s take on the expressions of “world cultures”14 on Critical Regionalism raised controversial debates and possible confusions: how Critical Regionalism should be expressed in pertaining to its region? What is the boundary of the region? It seemed that Frampton’s idea on reviving cultures did not necessarily relates to the locality and regional aspects of the place but also a border interpretation of Ricoeur, History and Truth, 277. Kenneth Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance”, Postmodern culture, (London, Ploto Press, 1983) p. 21.

By comparing Yung Ho Chang’s theories and architecture outputs with Kenneth Frampton’s notable essays on Critical regionalism, a rational amount of points that aroused from Frampton can be manifested on Chang’s work. However, not all of Frampton’s theories are applicable in Chang’s work and not all Chang’s design principles follow the general framework of Critical Regionalism as well. Perhaps Frampton’s view on Critical regionalism is too focused on western societies and cultures and he could have missed some of the key issues that are local and prevalent in Chinese societies. Furthermore, the essays he has written more than 30 years ago may seem too outdated and there may be new insights that can add on to his Critical Regionalism theory. This puts Frampton’s Critical Regionalism worth analysing and comparing with other theorists or architects. The ideas of ‘Yuan’, ‘Lang’ and ‘Ting’ from Chang’s work are sentimentally and consciously linked to the traditional values of the courtyard houses and its vernacular qualities. This rings an important view that was raised by Frampton in his essays where he objects the sentimental relationship of CR and the vernacular. I would like to challenge his reference to Adolf Loos writing: “Peasants builds a roof. It is a beautiful roof or an ugly roof? He doesn’t know – it is the roof. It is the roof of his father, grandfather, and great grandfather had built the roof before him.”16 Loos writing is not totally wrong, but he has missed some of the other qualities that exist within vernacular that we can learn from. Contrastingly, in Chang’s work vernacular is well respected, utilised and represented in a more contemporary way, vernacular in Chang’s perspective goes beyond its aesthetic value, but the critical evaluation of its functional and cultural values. He believes that the

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15 16

Frampton, Ten Point, p.24. Adolf Loos, “On Architecture”, (Austria: Ariadne Press, 2002), 73.

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vernacular is the essence and refinement from many generations of ancestors to their intellectual understanding of the local climate and context of the place. The idea of a generation blindly imitating the former generation that raised by Loos is discriminating and diminishing the lessons and findings we can learn from the vernacular architecture. Besides, Loos’ view on vernacular is narrow and distorted, where he only focused on the stylistic and ornamentations of vernacular architecture but not as an overall evaluation at a larger picture. Chang’s work and his critical approach in revitalising traditional Chinese architecture in a contemporary way may encourage sustainable livings and foster cultural identities of the place. Furthermore, the revival of such spaces unconsciously evokes feelings and memories of the way of lifestyles and interactions that is at the stake of losing in modern societies. Frampton should not suppress the revival of vernacular, instead, he should promote a critical and selective approach to not just the styles and ornaments of vernacular but a deeper evaluation of its functional, cultural and philosophical aspects.

To judge Chang’s works against Frampton’s point on “world cultures”, we may see an interpretation of “world cultures” by the two scholars. From Frampton’s point of view, cultures may not be local and regional they can be from any part of the world, where there is no need to have a necessary boundary or control.17 However, from Chang’s point of view, most of his projects seek to relate to the context of the place and region, which puts a boundary that limits his expressions for collective cultures. In most of Chang’s work such as the Split house, the Bridge Museum and the Laboratory Building, Novartis Shanghai Campus, we can see a strong manifestation of Chinese cultures that rooted to local tradition whereas the other western cultural ideologies such as modernism and classicism only act as a catalyst to influence his design on the overall forms and plans and construction techniques of the buildings. These comparisons do not necessarily suggest a better direction for Critical Regionalism but Chang’s works seem to proclaim a better solution to address the problems of rapid and unprecedented development in China that is desolating the cultural identity of the regions.18 Chang’s take on Critical Regionalism is harmonious and embracing. While having great respects for both the traditional Chinese architectures and western architectures, Chang shows a delicate balance in both regional and modern ideas and cultivating “place-form” and addressing the issues of “palcelessness”. His ultimate intention may not be necessarily a form of “resistance” to “universalisation”, instead it is an act of embracement to the current status quo in China.

cultivate a “place-form” and reconnect the people to the architectural environment. Similarly, Chang also places importance on the tactility, quality and closelessness of the materials in relation to the users and the architecture. Chang’s relentless pursuit in tactility and its manifestation can be justified by his long-term research on building materials such as the multiple testing of the ram-earth external wall in the Split house and the bamboo-panel casted concrete in the Bridge Museum.

Conclusion To conclude, Critical Regionalism is still an ongoing process which should be still well respected and emulated. Although Frampton’s papers on Critical Regionalism is contentious, there are still relevant and useful points that are instrumental for the architecture developments today in reviving the local culture and tradition. The focus on process rather than the final product makes Critical Regionalism a “highconscious” approach that requires architects’ personal interpretation to challenge the phenomenon of “universalisation”. By comparing Yung Ho Chang’s works against Kenneth Frampton’s Critical Regionalism framework, we can see an overlap of similar ideas such as tactility and addressing the issue of “placelessness”. On the other side of the coin, there are also differences in their thoughts in the expressions of vernacular and world cultural identities. This does not necessarily suggest a wrong interpretation of either side but more of a personal interpretation of the region, culture and tradition to their own understanding. On one hand, Chang’s works pay great respect to the modernist and classicist ideas from the West; On the other hand, Chang’s enlightenment from the traditional Chinese architecture and his implicit and seamless inclusion of these ideas in his works perhaps is his own understanding of the paradoxical question on “how to become modern and yet return to sources.” Furthermore, every societies or country has their own history, culture, political, social and architectural influence, hence it is unfeasible to fit a framework that will suit most or all the countries. Most importantly, there are no right or wrong answers to articulate Critical Regionalism; Architects should always be critical in using Frampton’s Critical Regionalism framework and filter out what is essential for them to make their architectural place-form more humane, experimental and close to the users and the context.

To put aside all the differences and polemics between Frampton and Chang on Critical Regionalism. There is a rational amount of points that both scholars agree on. One such idea is the focus on “tactile range of human perceptions”. Frampton believes the reinforcement of the tactility through materials could attempt to solve the “loss of nearness” that was proposed by Heidegger.19 Contrastingly, by focusing too much on the visual appearance may result in the suppression of other senses and hence loosing the “direct experience of the environment”. This could be a paramount steppingstone to Frampton, Six Points, 20. Christina Bechtler, A Conversation between Ai Weiwei, Uli Sigg and Yung Ho Chang, moderated by Peter Pakesch, in Art and Culture Policy in China, (Vienna: SpringerWienNewYork,2009), p.45. 19 Martin Heidegger, “Building, Dwelling, Thinking,” in Poetry, Language, Thought (New York: Harper Colophon, 1971), p.154. 17 18

Reference 1. Ricoeur, Paul, “Universal Civilization and National Cultures”, in History and Truth, trans. Chas. A. Kelbley (Evanston: Northwestern University Press, 1965) 2. Kenneth Frampton “Ten points on an Architecture of Regionalism: A provisional Polemic”, Center volume 3, (Texas: School of Architecture, The University of Texas at Austin) 3. Kenneth Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance”, Postmodern culture, (London, Ploto Press, 1983) 4. ASA EXPO 2020, ASA Forum 2018 Yung Ho Chang, Atelier Feichang Jianzhu, 2018 <https://www.youtube.com/watch?v=gcIlGu0jcBI> [ accessed 07 Jan 2020 ] 5. Adolf Loos, “On Architecture”, (Austria: Ariadne Press, 2002) 6. Yung Ho Chang, ‘the laboratory Building Shanghai Campus’, Architectural Journal 8th issue, translated, 2017. 7. Zhu Likang, A meeting with architects, Yung Ho Chang/FCJZ, translated (Shanghai, 2019). 8. Yung Ho Chang and FCJZ, Graphic FCJZ, (Shanghai: Tongji University Press, 2014). 9. Christina Bechtler, A Conversation between Ai Weiwei, Uli Sigg and Yung Ho Chang, moderated by Peter Pakesch, in Art and Culture Policy in China, (Vienna: SpringerWienNewYork,2009) 10. Martin Heidegger, “Building, Dwelling, Thinking,” in Poetry, Language, Thought (New York: Harper Colophon, 1971)

Image reference 1. Wutopia Lab, Models in Model, Fengyuzhu Headquarter, Shanghai, 2019. Accessed 26 Jan 2019, http://www.wutopialab.com/worksinfo.aspx?id=61 2. Yung Ho Chang, Picture by Florian Heilmeyer, Uncube Magazine, 2014. Accessed 25 Jan, 2019, http://www.uncubemagazine.com/blog/14641399 3. Feichang Jianzhu, Laborartory Building,Novartis Shanghai Campus, Shanghai, 2018. Courtyard view. Accessed 25 Jan, 2019, https://www.archdaily.com/908456/i-failed-to-be-an-artist-but-ibecame-an-artistic-architect-interview-with-yung-ho-chang-of-atelier-fcjz 4. FCJZ, The Bridge Museum, Si Chuan, 2009. Accessed 25 Jan 2019, https://www.archdaily.com/274329/1966-1976-museum-in-anren-atelier-feichang-jianzhu 5. FCJZ, The Bridge Museum, Si Chuan, 2009. Materials and tactility. Accessed 25 Jan 2019, https://www.archdaily.com/274329/1966-1976-museum-in-anren-atelier-feichang-jianzhu 6. FCJZ, The Split House, Beijing, 2002. Rammed earth wall. Accessed 25 Jan 2019, https://www.archdaily.com/908456/i-failed-to-be-an-artist-but-i-became-an-artistic-architectinterview-with-yung-ho-chang-of-atelier-fcjz

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Non-Design Modules ARC 2020: Dissertation Studies and Research Methods

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Brut’ expressions became a widely accepted idea3 that led to full bloom on brutalist architectures development in the 1960s.

Dissertation Elective 17 - War, Geopolitics and Architecture Group leader: Professor Jianfei Zhu

Dissertation outline by Max Ge Mingxuan

Topic & Question: The aim of this dissertation revolves around the question on how the WWII defensive infrastructures (Bunkers, Towers, Fortifications) has influenced the post war Brutalist architecture.

Fig 2.1 unité d'habitation, Marseille

Fig 2.2 Church of St. Bernadette, Banlay

Approach methods: Research methods includes a thorough studies of key research papers and books by architecture theories such as Paul Virilio, Paul Hirst and Le Corbusier. As well as old archives journals from various sources such as the German Committee for Reinforced concrete and old magazine archives from Concrete Quarterly which includes various typologies and kinds of Brutalist architectures. Firsthand study would also be possible should there be visit to any of the military infrastructures and brutalist architectures in Britain. Literature survey:

Fig 1.1 Atlantic Wall Bunker

Fig 1.2 Flak Tower, Vienna

Defensive infrastructures are indeed a very interesting field to explore and understand. They are not only known for their functional values to the war but also aesthetic and architectural values that brought great influenced to the post-war architecture development.1 The steady acceleration in construction techniques and material understanding during the war certainly brought new technology and construction methods2 as well as fresh ideas and perceptions on aesthetic quality of material and tactility. The first part of the essay dwell deeper into the evaluation of defensive military infrastructures in WWII such as its aesthetic quality as well as the properties of concrete that was intensively used during the construction of such military infrastructures. The second part of the essay would be focus more on the relationship of such military infrastructures to the later post-war Brutalist architecture that has become an architectural significance from 1950s-1970s. A handful of pioneer Brutalist architects would also be discussed and their works would be evaluated. Architect such as Le Corbusier played an important role in curation of brutalist expression architectures after the WWII. His works and his ‘Beton

First key book to read would be Paul Virilio’s Bunker Archeology. Unlike other books that talk about functions and tactile aspects of bunkers, Bunker Archeology documented a very personal study of the German Bunkers in Atlantic Wall by Virilio over a period of 30 years. Interesting discussions such military space and the nature of such military infrastructures and the aesthetic quality of the haunting yet beautiful expressions of the abandoned bunkers.4 Other key texts that are helpful includes third party interviews with Virilio, such as the After Architecture: A Conversation by Paul Virilio, Sylvère Lotringer and Michael Taormina. Virilio suggested that there might be a link between Le Corbusier’s works with the concrete nature of the bunkers. Le Corbusier’s Villa Savoye and the Chapel of Ronchamp, or Chandigarh. La Tourette itself has certain aesthetic nature with the bunkers. Other architect such as Erich Mendelsohn's Einstein Tower also has certain dynamic forms that echoed with the bunkers. These interesting findings left Virilio to think about the Originality of such architecture forms since they have nothing to do originally with the history of modern architecture.5 In order to have a deeper understanding of the Bunkers, we also need to read Inside the Third Reich, documented by Albert Speer the Nazi Minister of Armaments from 1942 to 1945. The book dwells deep into the Nazi Germany on four different levels: Hitler’s inner circle, National Socialism as a whole and Stewart, Jessica. 2020. "Brutalism: What Is It and Why Is It Making a Comeback?", My Modern Met <https://mymodernmet.com/brutalistarchitecture/> [accessed 20 May 2020] 4 Virilio, Paul. 2009. Bunker archeology (New York: Princeton Architectural Press) 5 Virilio, Paul, and Sylvère Lotringer. 2001. "After Architecture: A Conversation" 3

Virilio, Paul, and Sylvère Lotringer. 2001. "After Architecture: A Conversation", Grey Room, 3: 32-53 <http://dx.doi.org/10.1162/152638101300138530> 2 Trout, Edwin A.R. “The Deutscher Ausschuß Für Eisenbeton (German Committee for Reinforced Concrete), 1907-1945. Part 2: Between the Wars.” Construction History, vol. 29, no. 2, 2014, pp. 83–102. JSTOR, www.jstor.org/stable/43856074. Accessed 20 May 2020. 1

most important and relevant to this dissertation, the wartime production and Speer’s personal difficulties and struggles.6 This personal account of Speer will gain us even better understanding of his decisions and influenced during the war time to build such military defensive infrastructures.

2. Trout, Edwin A.R. “The Deutscher Ausschuß Für Eisenbeton (German Committee for Reinforced Concrete), 1907-1945. Part 2: Between the Wars.” Construction History, vol. 29, no. 2, 2014, pp. 83– 102. JSTOR, www.jstor.org/stable/43856074. Accessed 20 May 2020.

One other useful book that could be used would be Fortress Third Reich, it is the only comprehensive study of the Atlantic Wall and its fortifications. Supplemented by sources of detail drawings and in-depth study of various type of fortifications and defense.7 The wide variety of resources could be useful to analysis and understanding the functions of such fortifications and the plans and drawings provided could also be used to understand the bunkers from an aesthetic and stylistic point of view.

3. Stewart, Jessica. 2020. "Brutalism: What Is It and Why Is It Making a Comeback?", My Modern Met <https://mymodernmet.com/brutalist-architecture/> [accessed 20 May 2020]

Other than studying the bunkers, we also need to understand the post-war period, particularly the rise of brutalist architectures. Le Corbusier is essential for us to understand the origin of the brutalism. Some of the key buildings to study would be his unité d'habitation de Marseille and The Chapel at Ronchamp. Both buildings by Le Corbusier are built in the early 1950s which has great influence in Beton Brut expression later classified as Brutalist architecture by British Architects Alison and Peter Smithson. Useful resources such as Concrete quarterly magazines from 1947 and Construction History Journals by German Committee for Reinforced Concrete 1907-1945. These are very useful to understand some of the key decision by the architects and engineers during the war time and post-war period. The Concrete quarterly magazine includes useful information on concrete research and innovative ideas and solutions to concrete construction, issues that particularly relevant to this research would be from the archives 1947-1960 issues. Construction History Journals by German Committee for Reinforced Concrete 19071945. These exclusive journals provide informative documentation of war time production and usage of concrete, which provides a deeper understanding of war time concrete construction and information. Which potentially laid the steppingstone for post-war concrete construction.

Essay Structures: 1. 2. 3. 4. 5.

Introduction WWII Infrastuctures – forms, material and aesthetics Brutalist architectures – origin, material and expressions Link and relationship between WWII infrastructures and the post-war brutalist architectures Conclusion

Short Bibliography 1. Virilio, Paul, and Sylvère Lotringer. 2001. "After Architecture: A Conversation", Grey Room, 3: 32-53 <http://dx.doi.org/10.1162/152638101300138530>

6 7

Speer, Albert. 1969. Inside The Third Reich, 1st edn (Orion Publishing Group) Kaufmann, J. E, Robert M Jurga, and H. W Kaufmann. 2007. Fortress Third Reich (Cambridge, Mass.: Da Capo)

4. Virilio, Paul. 2009. Bunker archeology (New York: Princeton Architectural Press) 5. 1 Virilio, Paul, and Sylvère Lotringer. 2001. "After Architecture: A Conversation" 6. Speer, Albert. 1969. Inside The Third Reich, 1st edn (Orion Publishing Group) 6. Kaufmann, J. E, Robert M Jurga, and H. W Kaufmann. 2007. Fortress Third Reich (Cambridge, Mass.: Da Capo)

Long Bibliography (Bunkers & defensive war infrastructures) 1. Leach, Neil. 1999. "Virilio and Architecture", Theory, Culture & Society, 16: 71-84 http://dx.doi.org/10.1177/02632769922050872

2. Garrett, Bradley, and Ian Klinke. 2018. "Opening the bunker: Function, materiality, temporality", Environment and Planning C: Politics and Space, 37: 1063-1081 http://dx.doi.org/10.1177/2399654418816316

3. Virilio, Paul, and Sylvère Lotringer. 2001. "After Architecture: A Conversation", Grey Room, 3: 3253 <http://dx.doi.org/10.1162/152638101300138530> 4. Virilio, Paul. 2009. Bunker archeology (New York: Princeton Architectural Press) 5. Speer, Albert. 1969. Inside The Third Reich, 1st edn (Orion Publishing Group) 6. Kaufmann, J. E, Robert M Jurga, and H. W Kaufmann. 2007. Fortress Third Reich (Cambridge, Mass.: Da Capo) 7. Paul Hirst. 2005. Space and power: Politics, War and Architecture. (Cambridge Polity Press) C.10: pp 198-223. (War time Concrete usage & Construction history) 1. Trout, Edwin A.R. “The Deutscher Ausschuß Für Eisenbeton (German Committee for Reinforced Concrete), 1907-1945. Part 2: Between the Wars.” Construction History, vol. 29, no. 2, 2014, pp. 83–102. JSTOR, www.jstor.org/stable/43856074. Accessed 20 May 2020. 2. Slaton, Amy E. 2015. "Concrete and Culture: A Material History. by Adrian Forty", Technology and Culture, 56: 279-281 <http://dx.doi.org/10.1353/tech.2015.0034>

3. Sutherland, James, Dawn Humm, and Mike Chrimes. 2009. Historic concrete (London: Thomas Telford Ltd.)

4. Collins, Peter. 1959. Concrete (London: Faber and Faber) (Post-war concrete construction & Brutalist Architecture) 1. Concrete Quarterly 1947-2020 (The Concrete Centre) 2. Calder, Barnabas. 2016. Raw concrete 3. Beanland, Christopher. 2016. Concrete concept (London: Frances Lincoln Limited) 4. García Rafael. 2012. Concrete Meccanos: Precast Constructions after the Second World War in the Netherlands

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5. Rodrigo, Russell. 2015. "Aesthetics as a Practical Ethic", Fabrications, 25: 234-261 http://dx.doi.org/10.1080/10331867.2015.1032481

6. Garrett, Bradley, and Ian Klinke. 2018. "Opening the bunker: Function, materiality,

temporality", Environment and Planning C: Politics and Space, 37: 1063-1081 http://dx.doi.org/10.1177/2399654418816316 7. Morten Gjerde Andrew Charleson. The aesthetic of Recent Concrete Architecture. (School of

Architecture Victoria University) 8. Jones, Nick. 2017. The World Recast (London: Artifice Books on Architecture)

List of illustrations: Fig 1.1 taken from https://themorningnews.org/gallery/the-frightening-beauty-of-bunkers Fig 1.2 taken from https://war-documentary.info/vienna-flak-towers-flakturm/ Fig 1.3 taken from https://archpaper.com/event/a-house-for-paul-virilio/ Fig 1.4 taken from https://shihlun.tumblr.com/image/83014728801

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Non-Design Modules Charrette Week: An Emotional Highstreet

Emotional Highstreet

The inspiration for the Charrette came from their interdisciplinary approach to design and a fascination with the psychology behind human behaviour within space. As the highstreet develops, shops are focusing on customer experience to reinforce brand identity that in turn facilitates online sales. This means the high street is no longer just about us spending money but making us feel things. We will investigate online brands or physical shops in Newcastle and conclude what emotion each brand is trying, failing or succeeding to evoke in their customers. The brand logo will be redesigned as a graphic design task using just the word of the emotion. We will go on to redesign the shop based on the physicality of that emotion. The final piece will be a 1:50 model card model of an Emotional Highstreet. Each shop will be beautifully modelled in card & paper . The final exhibition will invite viewers to guess which brand matches up to which shop

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