Yat Hei Asher Hon Portfolio

T H E R I B A YORKSHIRE ARCHITECTURE A N D T OUR I ST C E N T R E

170753470

YAT HEI ASHER HON

STUDIO 8 CURATING THE CITY

2 0 2 0 - 2 0 2 1 S T A G E 3 A C A D E M I C P O R T F O L I O

CONTENTS

Illustrated Reflective Diary Project Framing

Thematic Case Study Report

Project Testing and Synthesis

4 8

42 50

Bibliography

146

Appendix

149

List of Illustration

147

ARCHITECTURE A ND TOUR I ST C E N T R E

CONTENT

T H E R I BA YORKSHIRE

This year is a year that I have learned a lot. I start gaining architectural ideas while I am writing my dissertation. Although, dissertation writing does not seems to have any connection to the design project. The readings that I read during the research stage of my dissertation greatly influence me. My dissertation is about how architectural education forges the cultural swing between modern to postmodern architecture. I identify that education has a deep relationship with the future of the architecture profession through my readings. Myself as a part of the architectural education system, I felt the responsibility to be responsible for the future. These thoughts have then affected what I plan to do for the design module.

Through reading ‘Architectural Education’ in Educating Architects by Geoffrey Broadbent for my dissertation, Broadbent explains that architectural education has always been in tension with an architectural practice. Noting that architectural practice sometimes can be complacent, he suggests that education acts as a kind of conscience, trying to correct what seems to be going wrong in terms of practice. Inspired by Broadbent, indeed, education always correcting the failure of professions.

Yet, in my point of view, architectural education does not only refer to university education, education can be also referred to as ‘learning through exhibitions’ and ‘education to the public.

Therefore, while I am theorising the project, I set ‘Architecture about Architecture’ as the core idea. I want the building to be educational to the public and inspirational to the architecture profession. I believe can endow more means for tourist (Public) in tourism through educational exhibitions, enable the general to grow knowledge. And through the growth of architectural knowledge, hopefully, to increase the social state of architects through indicating the role of great architecture in the history of humans.

Hence, through enhancing the professional of architects to improve the architecture industry. In my points of view, I consider the current architecture industry is too repeat and simplification. Through promoting architecture through education, to expand the vision of the public. To promote the complexity and contradiction in architecture.

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After theorising my architectural idea in ARC3015, the project then needs to be more practical. While I am writing for the ARC3014, it is about to consider the design more practically after considering the project through theories. A lot more operational details need to be considered to make the project to be practical. Issue such as procurement, CDM regulations, and budgets has been developed. While I am dealing with these issues, the project gradually feels more solid. It reminds me that, what I am designing is for real people to use. What I need to consider were not simply a concept, architecture should be something more effective, which may affect the reputation of architects or even may be harmful to the public. This writing makes me realised that there is a lot more to learn before practice.

SYNTHESIS ARC 3013 SUBMISSION

ARC 3014 SUBMISSION

TESTING

ARC 3015 SUBMISSION

DISSERTATION SUBMISSION

FRAMING

FIGURE 0.1: Cover of my Dissertation

FIGURE 0.2: STAGE 3 Timetable and submission dates

To further consolidate the project with more practical details, more construction has been developed. While I am writing for the ARC3013 submission, because I am certain to mainly use bricks as the structure, I have a smooth start. Yet, until I dig into more details of traditional brick construction. I found out that it is extremely difficult to look for construction details about traditional brick constructions remotely on the internet. Most of the information’s about traditional brick construction was not certain, image about the constructions were blur. To get more information about traditional brick construction, I do my research by asking tutors and reference modern buildings with similar construction.

The issue of not finding any information about traditional brick construction confuses me a lot. I think that it is a sign that the beauty of traditional construction has been abandon by the mainstream, I criticize the mainstream for not being honest with materials, people nowadays seem to be scorning the traditional beauty of massing and use materials in the form of cladding on top of a steel frame. This experience further consolidates my idea to promote the traditional beauty of bricks through arches.

After considering the design in the terms of theory and practical, I then continue to develop my design ideas and details to further complete my theory and practice. After being through the writing and learning this year, I consider more about how the building works in real life and the mean of architecture should contain. I start to think over details that I never think about before.

Things such as stone footing, style of windows, the construction of railing, and the arrangement of brick arches take my attention.

Overall, although the whole academic year was affected by the worldwide crisis of the virus, I need to do everything remotely from Hong Kong. Learning throughout the year, makes me firmly believe that the beauty of architecture is developed through details.

The excellence of architecture was curate through the premeditation in details. I felt improvement throughout this year, for example, along with different development stages. While I have considered the project in more aspects, I have improved the program and brief better and better.

INTRODUCTORY CHAPTER

Introductory Chapter

I read books such as

Throughout this year, other than only leant from lectures, I have also read some ‘extracurricular’ readings.

-Architectural Education by Geoffrey Broadbent

Reading through a case study from Studio 5 ‘Weaving in Wallsend’, shows the quality of flexibility and adaptability in architecture. How space can be used in more ways.

Although the idea of using space with multi-purpose in my point of view seems a bit unplanned. But the idea of ‘Featherstone Young Architects(FYA) inspired me that architecture education not only starts from university education but can also be started way earlier since childhood.

I understand the theme of the other studio, I have read case studies from Studio 4 House of Memories and Studio 5 Weaving in Wallsend.

From reading through these 2 case studies from the other studios. I have recognised that every studio has a special service object.

-A net article by McCormack, Kirk, How do we learn to be Architects?

And other architectural education-related readers.

By reading these readers I develop both my thematic idea for design and dissertation idea (cause my dissertation were also education-related).

By reading Complexity and Contradiction in Architecture, and Learning from Las Vegas

by Robert Venturi.

I consider it is about educating the public, in general, to be more interested in architecture.

Especially Studio 4 ‘House of Memories’, I am really interested in the idea of how to design reminds users through textures and colours. How materials related to memoried, it inspired me a little to consider the memories of materials. I have then further developed this idea into using bricks to reminds the brilliant memories of the industrial era.

To further explore the educational side of architecture I have also read lots of readings about architecture education.

Netherlands

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16 people with dementia per 1000 population (all ages) in the Netherlands 2017 (Financial Times, 2019) 1.49% of total population of the Netherlands with dementia 2018 (Alzheimer Europe, 2020)

De Hogeweyk, Weesp MBVDA Architects Completed 2009

3.15% of total population of the Netherlands with dementia by 2050 (Alzheimer Europe, 2020) 1.94% of total population of Europe with dementia 2018 (Alzheimer Europe, 2020)

Ella Ashworth

FIGURE 0.3: COVER OF STUDIO 5 CASE STUDY

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FIGURE 0.4: COVER OF STUDIO 4 CASE STUDY

It inspired me the importance of Symbols in architecture, in my design, I use bricks and arches as my symbol of brilliant traditional architecture.

By studying the Complexity and Contradiction in Architecture, the beauty of not only praising one same style inspired me to built a brick building to recall the ancient quality of bricks and massing, instead of only building architecture with steel and other modern materials.

ILLUSTRATED CULTURAL BIBLIOGRAPHY

ILLUSTRATED CULTURAL ILLUSTRATED CULTURBIBLIOGRAPHY AL BIBLIOGRAPHY

PROJECT FRAMING

During the framing stage, after a series of research into Saltaire, I am fascinated by the industrial beauty of the site. Through curation, Titus Salt hugely improve the living quality of humans back then. Is a landmark in the history of urban planning. It makes me recognise that the importance of how a good architecture design and well urban planning improve people’s experience. Therefore, to praise the beauty of architecture and Urban Planning. Eventually, I decided to design a tourist and architecture centre in Saltaire.

To let me fur ther understand the idea of ‘Curation’, our tutors gave us some readings about ‘Visuality’.

Through these readers, although I do not fully agree with some of the readers, these readers inspired me to value ‘Visuality’ in tourism. The readers emphasise the idea of we are living in a martial world, and our senses and impressions were dominated by ‘Visuality’. Indeed, especially in the contemporary, due to the high development of the internet and technology, ‘Visuality’ can be presented through social media, movies, and even tv-series. It reminds me to face the importance of ‘Visuality’ in architecture.

After the framing stage, I have learnt the importance of framing a project well, especially we need to set our brief. Through framing the project, enable me to consider more about the site, what the site needs, and the thinkings of the users. Instead of only thinking about what I want to build, I should be designing something for the site.

Framing form the foundation for the follow-up stage.

Curating The City

This studio explores the ideas of ‘Curating’ as a method to critically engage a World Heritage Site – Saltire in West Yorkshire. Built in 1851-53, Saltaire was a model village/town comprising the largest and most advanced textile mills, with workers housing and communal facilities, all incoherent planning of townscape and landscape.

A culmination of industrial settlement development over a century, and a pioneer of ideas of town planning and the Garden City to come, Saltaire – now a World Heritage Site – commands a pivotal position in the Industrial Age and the forming of ideas that constituted the meaning of being modern – such as welfare society and city planning. Our task, within the studio and with our architectural instruments, is to develop a way of curating the site by contributing a design intervention, with creative ideas and perceptive studies, and a certain theorized agenda.

Our studio can be described with the following key specifications:

+ a research-led design exercise + duo-focus on the past and the present (history itself and our intervention with it) + using ‘curation’ as a key concept and method to address the two different concerns (history itself and our perspective and relations with it) + exploring a network of ideas using ‘curation’ as a central task – curating our seeing, reading, knowing, interacting, contributing and promoting values of the Site, Saltaire, as WHS (World Heritage Site) + tapping into the toolkit and conceptual armoury of ‘critical heritage studies’ + precedent case studies will be part of the process + a mixture of collective and individual work – where individual sites and designs contribute to a shared overall site (Saltaire WHS) + an emphasis on landscape and cityscape throughout the studio

FRAMING PROJECT

Framing Reflection

FRAMING PROJECT

Saltaire, Bradford

Bradford

Saltaire

FIGURE 1.2: MAP OF BRADFORD

Saltaire, Bradford

Saltaire. Heritage Site

Background Information of Saltaire

Saltaire is a Victorian model village in Shipley, part of the City of Bradford Metropolitan District, in West Yorkshire, England.

Salt’s Mill and associated residential district located by the River Aire and Leeds and Liverpool Canal is a designated UNESCO World Heritage Site and an anchor point of the ‘European Route of Industrial Heritage.’

United Kingdom FIGURE 1.1: MAP OF UK

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FIGURE 1.3: MAP OF SALTAIRE

Saltaire was built in 1851 by Sir Titus Salt, a leading industrialist in the Yorkshire woollen industry. The name of the village is a combination of the founder’s surname and the name of the river. Salt moved his business (five separate mills) across Bradford to this site near Shipley to arrange his workers and to site his large textile mill by the Leeds and Liverpool Canal and the railway. Salt employed the local architects Francis Lockwood and Richard Mawson for the whole Saltire project.

FRAMING PROJECT FIGURE 1.6: PHOTOGRAPH OF THE PEOPLE AND PROCESS EXHIBITION(PERMANENTLY CLOSED)

FIGURE 1.4: COLLAGE OF THE SALTS MILL IN THE PAST

Inside the Salts Mill

FIGURE 1.7: PHOTOGRAPH OF THE 1853 GALLERY

Saltaire was built around the Salts Mill, it is the most important architecture of Saltaire.

After the Salts Mill is closed and sold to Jonathan Silver, Silver reform and redecorate the Salts Mill.

The Salts Mill becomes a multi-purpose building. After the reformation by Silver, Salts mill is now providing some dining areas and galleries. Various shops such as art material shop, Cycling shop, and antique shops are located inside the Mill.

The Mill used to have a ‘The People and Process Exhibition’ about the historical side of Saltaire. After it is closed permanently, there is a loss of historical information about the industrial period that can be provided to tourists inside Saltaire.

FIGURE 1.5: COLLAGE OF THE SALTS MILL IN PRESENT

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FIGURE 1.8: PHOTOGRAPH OF THE CAFE INSIDE SALTS MILL

FRAMING PROJECT 1980s

FIGURE 1.9: HISTORICAL MAP OF SALTAIRE IN 1853

FIGURE 1.11: MAP OF THE CURRENT SALTAIRE

World Heritage Site

© Landmark Information Group Ltd and Crown copyright 2020. FOR EDUCATIONAL USE ONLY.

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© Landmark Information Group Ltd and Crown copyright 2020. FOR EDUCATIONAL USE ONLY.

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Oct 27, 2020 17:04 Yat Hei Asher Hon University of Newcastle

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Oct 27, 2020 16:59 Yat Hei Asher Hon University of Newcastle

Urban History of Saltaire

Saltaire is a complete and well-preserved industrial village of the second half of the 19th century. Its textile mills, public buildings, and workers' housing are built in a harmonious style of high architectural standards and the urban plan survives intact, giving a vivid impression of Victorian philanthropic paternalism. Due to the good urban planning of Titus Salt, the workers in Saltaire have enough entertainment and community support, the overall life quality of the worker increase, it makes Saltaire becomes a model industrial village.

FIGURE 1.10: HISTORICAL MAP OF SALTAIRE IN 1863

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Observe through the historical map, the map narrates the curation of Saltaire, from a field to an industrial village, then become a modern town.

Saltaire had been started constructing in the mid-1800s, the whole Saltaire urban planning cost Titus Salt over 30 years to establish his utopia vision in Saltaire.

The diagrams further reveal the timeline of the industrial urban development in Saltaire.

Figure 9: Diagram of Urban Development of Saltaire

Salts Mill built (1851-53) -Attached with a residential area

Working Area

Albert Terrace (1851-61) Edward Street (1854) Fanny Street (1854) Herbert Street (1854) William Henry Street (1854) Titus Street (1854) George Street (1854) Traffic & Transport

FIGURE 1.12: TIMELINE OF THE INDUSTRIAL URBAN DEVELOPMENT OF SALTAIRE

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Figure 10: Diagram of Urban Development of Saltaire

Residential Area

Community Facilities

Figure 11: Diagram of Urban Development of Saltaire

Mary Street (1857) Helen Street (1857) Ada Street (1857) Train Station (1856) Congregational Church (1859) Bath and Wash House (1863)

Figure 12: Diagram of Urban Development of Saltaire

Lower School Street (1868) Upper School Street (1868) Lockwood Street (1868) New Mill (1868) Methodist Chapel (1868) Hospital (1868) The Institute/ Victoria Hall (1871) School (1868)

FRAMING PROJECT

Urban Development

Scenes shot in Saltaire

Actual View in Saltaire

FRAMING PROJECT

Movie and TV Series

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FIGURE 1.14: THE LOCATION WHERE THE MOVIE AND TV SERIES ARE SHOT

Visualise Saltaire through Movies and TV series

Saltaire as a World Heritage Site, not only Salts Mill are worth visiting, other buildings in the heritage zone also communicated the industrial history of Britain.

It is amazing that how great the Saltaire has kept the historical facade. Because of this amazing historical atmosphere, it is often shown on different media, such as movies and TV series. On those media, Saltaire is visualised and described as a historical site, with lots of Victorian buildings. And this image will form the first impression of Saltaire for people who have never been to the site.

Therefore Saltaire is known as a very old and historical town in the public.

These locations as a view that used for filming by producer, can be further promoted to tourist as a viewpoint to stimulate tourism.

FIGURE 1.13: TABLE SHOWS TV SERIES AND MOVIES THAT FIND A VIEW IN SALTAIRE

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FRAMING PROJECT Roberts Park

SITE 2

FIGURE 1.16: 3D DIAGRAM SHOWS THE CONTEXT OF THE SITE

Church Salts Mill

Choice of Site

Train Station

I have chosen Site 2 as my site. Site 2 sits next to the Salts Mill, has a beautiful view of River Aire.

Shipley Collage Salt Building

Also, when visitors come to Saltaire by metro or from the south side of the site, they will pass through few main buildings of the Heritage site, such as the chapel, Mill and ‘Leed and Liverpool Canel’, they can saw the core historical building and landscape of the Saltaire before arrived the Site 2.

Victoria Hall

Additionally, Site 2 have high accessibility from and towards the site, while site 2 line up with Victoria road, which is the main path in Saltaire, the accessibility makes site 2 have a high potential to be an important strategic position of Saltaire tourism.

Victoria Road

Therefore I Choice Site 2 as the construction site.

FIGURE 1.17: DRAWINGS SHOWS THE SURROUNDING BUILDING NEAR SITE 2

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FIGURE 1.15: SITE PLAN SHOWS HISTORICAL BUILDING NEARBY VICTORIA ROAD

FRAMING PROJECT

Site 2 FIGURE 1.18: LONG SECTION CUT ALONG THE SITE, THROUGH VICTORIA ROAD

FIGURE 1.19:COLLAGE OF MAIN AND KEY BUILDINGS THROUGH THE HERITAGE SITE AND VICTORIA ROAD

Tourist Journey to Site 2: Victoria Road

To explore Saltaire's tourism possibility, I develop the tourist journey along victoria road, which tourist came by railway can get direct access to site 2.

In the readings about visuality, the tourist's experience is an important aspect of visuality. By visualizing the tourist's journey through a section along with victoria road, can overall located different key building and geographical level of the Heritage Site.

FIGURE 1.20: SKETCHING OF THE NEW MILL

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FIGURE 1.21: SKETCHING OF THE VICTORIA HALL

Enhance, to present the journey when visitors are walking in Saltaire, through show main buildings of the site by a collage. The collage also reveals the memories and activities of the victorian period through people with victorian dress up.

View North from Point (2)

View South from Point (3)

FRAMING PROJECT

View North from Point (1)

High Angle View Photograph

Site 2 3

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Low Angle View (1) Photograph 1

FIGURE 1.23: SITE PLAN OF SALTAIRE AND VIEWS' DIRECTION

Site 2 View Analysis

In ‘Appendix 7’(A really important document about Saltaire), Saltaire’s visual setting is then explored in depth to identify those elements that make a positive or negative contribution to the significance of the World Heritage Site.

Low Angle View (2) Simple From

The view from and to Victoria road is a critical view according to appendix 7.

FIGURE 1.22: A table shows views along Victoria Road

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Site 2 will have a direct view of Victoria Road. Therefore, the design should not only consider the view from site 2 but also should consider how my design interacts with the view when people look down victoria road. As an ending point? or a continue point of the view.

FRAMING PROJECT

Site 2 Long section

FIGURE 1.24: LONG SITE SECTION FACE NORTH

FIGURE 1.25: LONG SECTION FACE EAST

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FRAMING PROJECT

RIBA North East Saltaire

20-30 Mins Travel

RIBA Yorshire

RIBA Yorshire

RIBA North West Saltaire

RIBA East Midlands

FIGURE 1.27: MAP SHOWS THE DISTANCE FROM LEEDS TO SALTAIRE

RIBA West Midlands

RIBA Regional Offices in the UK

The RIBA is a global membership body providing support, events, and activities in places local to architects and architecture students.

RIBA East

RIBA West

RIBA South

RIBA London

The extensive network of the RIBA regional offices, branches, partnerships and International Chapters help the RIBA council connect with the community of architects and related professionals across the globe. To bring people together through their shared interests in architecture and the built environment. Therefore, the RIBA regional office sets around Britain. Which include: RIBA East, RIBA East Midlands, RIBA London, RIBA North East, RIBA North West, RIBA South/South East, RIBA South West/ Wessex, RIBA West Midlands and RIBA Yorkshire.

FIGURE 1.26: MAPPING OF RIBA REGIONAL OFFICE IN THE UK

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Specially RIBA Yorkshine, RIBA Yorkshire incorporates the cities of Leeds, Bradford, York, Hull and Sheffield, as well as many smaller market towns and villages.

The RIBA Yorkshire team are based in Leeds. Our region incorporates major cities, towns and rural communities across Yorkshire.

Although RIBA Yorkshire covers the largest county in the country, with a diverse landscape ranging from the East Yorkshire coastline and Humber estuary to the Yorkshire Dales and Moors. And has over 2,000 individual Chartered Members, Student Members, and Affiliate Members and 206 RIBA Chartered Practices.

The RIBA Yorkshire team are based in a 'shared office' in Leeds. To further provide better service, the RIBA Yorkshire office should own their own place for more flexibility to held events, student service, etc.

By integrating pieces of information mentioned above, to framing the ‘Brief’ and ‘Program’ of the project with more theoretical bases and thinking, I link 3 themes of our studio to develop the brief and program. (Details of the Studio Themes has been provided through appendix and in the ‘The Thematic Case Study Report’ Section).

And the 3 themes are ‘Visuality’,‘Urban Form’ and ‘Eco-assemblage.’ Due to Saltaire has transferred into a tourism village.

I decided to frame the whole project around the urban form of Saltaire, by making the ‘Urban Form’ as the core program, then be ‘Eco-assemblage’ through ‘visuality’.

I expect by using ‘Urban form’ as the core of the project. By visualising the urban history of Saltaire, to assemblage tourism, local information or even the local community.

FIGURE 1.28: TIMELINE OF THE SALTIRE URBAN DEVELOPMENT

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FRAMING PROJECT

Theoretical Focus : Visuality, Urban Form and Eco-Assemblage

To achieve the theories and issues mentioned above, I decided to design a regional office for RIBA Yorkshire that attached with an information centre for the public.

As the current Yorkshire Office was located in a rent share office in Leeds, to further improve the service quality and provide more working place. The regional office of RIBA Yorkshire will move to Saltaire. Although the regional office was located in Leeds, a city with higher popularity, Saltaire provides a better architecture-related environment and space for RIBA to build a privately owned building as the regional office.

The main service objects of the regional office will be architects and architecture students. Therefore, this building will also provide office space, hall, and rooms for RIBA ｍ embers to hold events or meetings.

To further benefit by the fact that Saltaire is a world-known heritage site and develop the potential of tourism. The RIBA regional office will also work with the local community to collect historical information about the urban development of Saltaire. To collect, sort out then analyse this historical information into an ‘industrial urban village planning exhibition’, which open to the public, specifically for tourists to have a deeper knowledge on Saltaire.

Attached to the exhibition, the exhibition will provide Saltaire tourism information such as local activities, events, or viewpoints to tourists, enable tourists to further enjoy the journey in Saltaire.

The program of the exhibition will be benefited from the location of the site, due to the site were located at the end of Victoria Road. To be accessible to the site, visitors must walk through victoria road, pass through historical buildings. Therefore, before tourists get into the exhibitions, they can have a seek into Saltaire first, then explore Saltaire further through the ‘industrial urban exhibition.’

These characteristics of the site bond a strong connection between site 2 and the world heritage site. And provide a strong reason for site 2 to be a RIBA Regional office and tourist information centre.

FIGURE 1.29: COLLAGE SHOWS THE IDEA OF THE PERLIMINARY PROGRAM

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FRAMING PROJECT

Preliminary Program

By sorting out the ideas that developed above, the preliminar y brief has been framed.

To further improve the working environment for the RIBA Yorkshire, to design a regional office for the RIBA Yorkshire in Saltaire.

The design should provide a working area(office) for employees of the RIBA and space for the office to hold functions and events for local architects, architecture students, and people who were interested in the architecture profession.

To further extend the local influence and educate the importance of architecture to the public, the RIBA Yorkshire office will work with the local community, to collect and sort out urban developing information, then present that info in an ‘industrial urban development exhibition’, to explain how urban development and well-designed architecture improved people’s life quality.

The building is expected to mainly design for the RIBA Yorkshire council to provide services to the public and RIBA Members.

Aim to build a RIBA office and Tourist Centre in Saltaire.

FIGURE 1.30: COLLAGE SHOWS THE HOW THE PERLIMINARY PROGRAM FIT INTO THE SITE

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FRAMING PROJECT

Preliminary Brief

FRAMING PROJECT View

View

View

Entrance

FIGURE 1.31: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

Precedent and Case Study

After establishing the preliminary brief and program. I decided to study how the tourist centre connects to the local context and the function of a RIBA regional office through case studies. I chose the Asakusa Culture and Tourism Center from Japan and the RIBA North architecture centre to be my precedent.

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Entrance

FIGURE 1.32: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.33: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.34: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.35: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FRAMING PROJECT FIGURE 81: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.36: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.37: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.39: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

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FIGURE 1.44: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.41: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.38: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.40: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.42: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

FIGURE 1.43: PHOTOGRAPHY OF ASAKUSA CULTURE AND TOURISM CENTER

Precedent and Case Study

The Asakusa Culture and Tourism Center designed by Kengo Kuma & Associates, the building was required to accommodate plural programs such as a tourist information centre, conference room, multi-purpose hall, and exhibition space. I am fascinated by how this building invited visitors.

The RIBA North architecture centre is a regional office in Liverpool, to study the design of a RIBA office, it is necessary to study this building, to further understand what a regional office do.

Temporary Exhibition

Area

Info Centre

Massing of Program

After having the preliminary brief and programs, I try to mass a draft form to fit the programs into the site.

Workshop

Toilet

Office

Vertical Circulation Pavilion

RIBA Reginal Office(Open for members Space)

FIGURE 1.45: PROGRAM ARRANGEMENT IN M2

I consider the programs can be separate by function, they can separate into programs use as 'office and working area', and programs such as Exhibitions and Tourist information desk. Which will be open to the public.

I plan to locate the space that opens to the public on the ground floor, and the office as a more private space, I arrange the office on the upper floor to provide better privacy.

RIBA Reginal Office

(Open for members Space)+(Working Place)

FIGURE 1.46: HAND DRAWING CONTEXT STUDY

Massing of Program

To further detail and extend the possibility of the brief and program, I frame the project through testing the site.

RIBA Reginal Office

I try to test what is the possibility of the site, considering things like, bridges and facilities that connect the river with tourism.

Also tried to set the overall space for each program in m2.

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(Open for members Space)+(Working Place) + Urban Planning Exhibition

FIGURE 1.48: MASSING THE PROGRAM FIGURE 1.47: MASSING IDEAS

RIBA Reginal Office (Open for members Space) RIBA Reginal Office (Working Space) Urban Planning Exhibition

FRAMING PROJECT

Pe Exhibition

Visuality, Memory, Eco Assemblage AND Urban Form(Group Work)

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THE FULL GROUP REPORT WAS ATTACHED THROUGH APPENDIX

Our studio separate the thematic study and case study, therefore we have two sets of study reports, all the thematic study and case study will be attached through the appendix.

For this section I only put the case study that produces by my sub-group, other thematic study documents have been attached through the appendix.

THE THEMETIC CASE STUDY REPORT

THEMATIC CASE STUDY REPORT

The Thematic Case Study Report

44 THE THEMETIC CASE STUDY REPORT

46 THE THEMETIC CASE STUDY REPORT

48 THE THEMETIC CASE STUDY REPORT

AND SYNTHESIS

Project Testing and Synthesis

After the Framing Stage in Semester 1, I then enter the testing and synthesis stage of the project, will need to test our ideas and eventually synthesise our design through our architectural thinking.

PROJECT TESTING AND SYNTHESIS

PROJECT TESTING

The RIBA Yorkshire Architecture and Tourist Centre

As a result of the ‘Testing and Synthesis’ section, I have developed the RIBA Yorkshire Architecture and Tourist Centre.

The RIBA Yorkshire Architecture and Tourist Centre (Henceforth referred to as The RIBA Yorkshire Centre) in Saltaire, organized by the regional office of RIBA Yorkshire.

This geometry building praises the beauty of bricks through a masonry arched structure. By using brick arches on a different scale to constructed the whole building. In the building, a series of towering brick arches create a solemn and elegant exhibition space to introduce the brilliant history of architecture and urban planning in the UK.

Its aim to be an Architecture about Architecture’.

FIGURE 3.1: ISOMETRIC DIAGRAM OF THE FINAL DESIGN

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PROJECT TESTING AND SYNTHESIS

The RIBA Yorkshire Centre consist of an exhibition area and information desk, provide information about tourism and architecture to visitors.

PROJECT TESTING AND SYNTHESIS

Timeline: design process

After framing the whole project in semester one, the project is then entered into the process of testing and synthesis. To test ideas, and combine those good ideas to gather to become the final design for the project.

Up to this project is a year-long project, this project has a long development process, to narrate the process from testing to synthesis, the project will be narrated in chronological order.

FIGURE 3.2: TIMELINE OF THE WHOLE DEVELOPING PROCESS

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Testing Reflection

TESTING

In this stage, I focus on testing as many Ideas that pop out, I spent a lot of time testing does that idea works out, most of them do not really work. I have been confused by some of my ideas, and not sure about which idea I should go ahead with. But at the same time, I do not want to deny any possibility. It cost me a lot of time to test every idea that I want to try.

Sometimes ideas that I thought will work well come out to be a disaster, some ideas that I initially thought will not work, works well with the site. Therefore, I have been through a cycle of the excitement of new ideas, struggling to combine them with current ideas and unconfirmed with the result. These cycles keep going around in this stage.

But I think this is what ‘Testing’ is about, it’s about struggling, choices and judgment.

I am satisfying that I have established a precise program and a theoretical meaningful material. The testing stages confidence my choices and decisions, while I have really spent time to tested whether the idea works well.

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PROJECT TESTING

After the framing stage, I further develop the project within the testing stage. During the testing stage, I find out that more details about the brief and program need to be considered and decided. Therefore, I tried to refine and complete the brief and programs while I am testing the form and materials.

Core Idea to Programs

During the framing stage, the initial program of the RIBA Yorkshire Centre has been set up, but more details can be further developed. In this stage, the office for RIBA Yorkshire and the Urban Planning exhibitions were quite comfortable for me, yet still not sure about what will be happening in the 'Open for members Space'. To establish a more feasible program with more clear function and purpose. The program is then been further developed through the process.

Up to the main program where work as a building for RIBA Yorkshire, I then explore the strategy and purpose of RIBA.

'The RIBA council have set a purpose to driving excellence in architecture. To serve members and society in order to deliver better buildings and places, stronger communities and a sustainable environment. Aim to be inclusive, ethical , environmentally aware and collaborative underpins all that we do.'

Core Idea to Programs

In terms of design architecture to be sustainable to the environment. The RIBA Council has developed a Guided line name '2030 Climate Challenge' to help architects achieve net zero in their building. RIBA set net-zero as a challenge for the architecture profession in the UK in the upcoming decade.

RIBA Yorkshire Regional Office

As construction for the RIBA council, the building needs to achieve the net-zero requirement.

Open for members Space

Net-Zero has 6 steps, as an architecture, the design should achieve reduction and offsetting of carbon.

Other than achieving Net-Zero through reduction and offsetting the carbon footprint, net-zero as one of the core strategy of RIBA for the upcoming decade, I would also like to promote the idea of netzero through programmes.

Working Space

'lead and support the highest professional and ethical standards. Attract and retain the best and most diverse talent.

Provide access to education, knowledge and skills.

Help our members engage with the challenges and opportunities of a changing world.

B u il d a bo dy of k nowl edg e a nd f a cil i ta te collaboration, research and innovation in practice'

RIBA Strategy and purpose To achieve the strategies of RIBA, I decided to set 'Architecture about Architecture' as the core idea of the RIBA Yorkshire Centre. By the core of 'Architecture about Architecture', the building aims to be educational to the general and even the professional itself. In which: 1. To educate the beauty and importance of architecture to the general, make them pay more attention to appreciate welldesigned architecture and value the work of Architects.

2. To stimulate improvement in the architecture profession and encourage architects to design architecture more sustainable to the environment.

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Tourist Centre Urban Planning Exhibition

FIGURE 3.3: DIAGRAM SHOWS THE PERLIMINARY PROGRAM

PROJECT TESTING

Also aim to

FIGURE 3.4:THE COVER OF THE RIBA 2030 CLIMATE CHANGE DOCUMENT

Net Zero Strategy

REDUCE

Building Materials -Recycled Brick and Timber (renewable materials)

Energy -Big opening, Natural Lighting, Reduce energy used

Traffic -Encourage visitors and employees to travel through public transport.

FIGURE 3.5: NET-ZERO STRAGAGIES IN THE BUILDING

OFFSETTING

Building Materials -Green Roof Energy -Solar Panel -Wind Turbine

To achieve the ideas above, the programed that were set during the framing stage will need to be further developed. The function of different space needs to be more carefully considered.

After various consideration, more reasonable programmes have been organised.

The programs of the project have been divided by service object.

For the general (Tourist and Visitors), a pavilion, a cafe, a workshop, a tourist information centre and a permanent exhibition about ‘industrial village: Urban development has been arranged.

I somehow imagine that what if Robert Venturi went to the Modern Architecture: International Exhibition and meet with Le Corbusier? Will they have a discussion on their philosophies on architecture, will they be inspired to create a system of building other than modern and postmodern?

Architecture and Tourist Centre RIBA and Members

For the architectural part (For RIBA members, Architecture Students and people shared interests in architecture), an office space work as the regional office for RIBA Yorkshire, a temporary architectural exhibition and open to the booked meeting area.

The idea of the temporary architecture exhibition was inspired by the Modern Architecture: International Exhibition, to provide a platform for architects to stimulate architectural thinking.

Public and Tourist

Meeting Area Pavillion

Cafe

FIGURE 3.8: CONNECTION BETWEEN FUNCTION, INTENTION, THEMES AND MATERIALS OF THE PROGRAME

Workshop Tourist Center Exhibition

Temporary

FIGURE 3.6: SERVICE OBJECT OF EACH PROGRAM

Permanet

Exhibition

Thematic Connection

During the development process of the program, to strengthen the programs, I have further connected the themes of our studio to the programs, to further achieve the brief of our studio.

In my project, I mainly focus on the theme of ‘ V isualit y’, ‘ Ur ban For m’ and ‘Eco-assemblage’.(More details have been revealed in the Thematic case study section).

In terms of ‘Visuality’, visuality is about the ‘tourist gaze’, by visualising things such as experience, history, or opinions, to improve the sightseeing experience of the tourist. In my building, I arrange 2 exhibitions to visualise and narrate the ‘history of the development of industrial village’, and the ‘future of architecture’ to tourist.

FIGURE 3.7: COLLAGE SHOWS MY HYPOTHESIS OF ROBERT VENTURI MEETING LE CORBUSIER

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In terms of ‘Urban Form’, as mentioned, Saltaire is a model village of industrial urban planning. By introducing the urban formation of Saltaire to visitors through exhibitions, and to clarify the importance and praiseworthy of great architecture and good urban planning. Hence, to draw attention to the significance of the work of professional architects.

In terms of ‘Eco-assemblage’, the thematic study points out the problems of the site, in which the lack of connections between viewpoints. To strengthen the relationships between different viewpoints, series of programs such as the pavilion and the tourist information desk has been set.

These programs aim to gather tourists by providing tourism information and viewpoints. By providing up to date tourism information about activities and events from different viewpoints, to connect viewpoints across the heritage site.

PROJECT TESTING

Core Idea to Programs

North Enternce

Bus Stop

West Enternce

Bus Stop

Enternece

Wind

Sun Path

Trees

To Residential Area

To Roberts Park

To River Aire To River Aire

View

To Heritage Site

FIGURE 3.10: CONTEXTURAL STUDY OF SITE 2

Contextural Study

To be more contextural, the context of the site has been further developed.

As mentioned in the framing stage, the site has a direct view of victoria road. And most of the viewpoints of Saltaire were nearby Victoria Road.

FIGURE 3.9: SITE MAP SHOWS THE LOCATION OF HISTORICAL BUILDING AND THE SITE

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To further explore the site, details such as expected entrance, views, wind directions and sun paths have been studied.

PROJECT TESTING

To New Mill

PROJECT TESTING FIGURE 3.11: TESTING FORM AND PROGRAMS

Massing with Program

After sort out a more detailed program, I then explored the project through massing upon the site.

Exhibition(A)

Exhibition(A)

Cafe

Cafe

Exhibition(B)

Exhibition(B)

Workshop

Workshop

Tourist Centre

Tourist Centre

Office

Office

Pavilion

Pavilion

Unlike most of the other site in our studio, site 2 is an open-field site. Although the openness provides a brilliant view in all diMeeting Area Meeting Area mension. The openness of the site rise the difficulty to design the massing and form to situated in site 2. to built-in site 2, nearly every side of the project can be the front facade.

Additionally, in such an open site, the arrangement of programs will require additional consideration as well.

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Massing with Program

I have continually developed the massing in this stage, although I have tried a different kind of massing, tried to create massing through considering the arrangement of the program. The result of massing just not work well.

The massing in this stage does not feel like communicating the relationship between the site and form.

FIGURE 3.14: TESTING IDEAS THROUGH PLAN, ELEVATION AND SECTION

FIGURE 3.15:TESTING IDEAS THROUGH PLAN, ELEVATION AND SECTION

FIGURE 3.16:TESTING IDEAS THROUGH PLAN, ELEVATION AND SECTION

FIGURE 3.17: TESTING IDEAS THROUGH PLAN, ELEVATION AND SECTION

FIGURE 3.18: TESTING IDEAS THROUGH DIGITAL MODEL

FIGURE 3.19:TESTING IDEAS THROUGH DIGITAL MODEL

FIGURE 3.20: TESTING IDEAS THROUGH DIGITAL MODEL

FIGURE 3.21: TESTING IDEAS THROUGH DIGITAL MODEL

PROJECT TESTING

The massing process has been stuck in this stage. To seek inspiration, I decided to temporarily abandon the development of massing.

FIGURE 3.12: TESTING PROGRAM

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FIGURE 3.13: TESTING MASSING IDEAS

While I am being struggled in the stage of massing, I started considering more about materiality at the same time.

In terms of materiality, to communicate the core idea of ‘Architecture about Architecture’ and the purpose and strategy of RIBA. I tried to look for a material that can narrate the architectural history in the Uk to communicate the idea of ‘Architecture about Architecture’ and to contain a sustainable future in architecture.

After various considerations. I decided to use bricks as the main materials. Bricks were used as the main construction materials in the UK since the 1st century, while the Romans introduce this ancient material to England.

In the modern era, bricks were still used in construction. Yet, in the modern time, instead of using bricks in a more traditional way (use bricks as the structure to carrying loads), contemporary architecture usually use bricks as cladding over a steel frame, to create a geometric modern form, bricks in a modern building usually not carrying any loads, were usually only used as a facade and not use as structure.

Due to the manipulation of bricks, lots of innovative materials have been created in the form of bricks.

Green innovative materials such as cigarette bricks, pollution absorb bricks and mushroom bricks has been invented.

These green innovative brick materials were usually made by recycled or renewable materials such as used cigarettes and planted mushroom.

Bricks is a widely used material from the past to the present in the UK.

Perhaps, more praiseworthy to this material as it is manipulative. Bricks are the form of materials, different materials can be used to manufacture bricks.

FIGURE 3.23: CIGARETTES BRICKS

Indeed, bricks communicate the core idea of ‘Architecture about Architecture’ and contain a sustainable future in architecture.

Under continuous development of bricks crafting and manifesting techniques in the UK, the function of bricks is then even widely used for constructions.

Overall, I select bricks not only because Bradford bricks can be locally produced to better achieve net-zero. Perhaps, more important is bricks contain architectural meanings from the past to the future.

The region of Bradford(include Saltaire), was also famous for producing local Bradford bricks.

FIGURE 3.24: POLLUTION ABSORBING BRICKS

FIGURE 3.25: MUSHROOM BRICKS

FIGURE 3.22: EXAMPLE OF TRADIONAL BRICK CONSTRUCTION - NEWCASTLE UNIVERSITY

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Although these innovative materials were not yet ready to use for the commercial environment, It is generally expected these materials has a bright future.

PROJECT TESTING

Materiality and Structure

Structure inform by Bricks

After choosing bricks as the main materials, the methodology of using brick has been then considered.

To decide the methodology of how to use bricks in the project, I then make more research on bricks construction.

During the research stage, I found an interesting conversation between Louis Kahn and bricks, Louis Kahn once ask his student to ask the material question whenever they desire inspiration.

- Louis Kahn. Transcribed from the 20 03 documentary 'My Architect: A Son’s Journey by Nathaniel Kahn'. Master class at Penn, 1971 This conversation inspired me to consider more about the characteristics and ability of the materials.

Influence by Louis Kahn, I want to be more honest with the materials. In the case of using bricks, instead of using bricks cladding on top of a steel frame to constructed something that normally bricks cannot do. I want to use bricks in a more traditional way, among numerous kind of methodology of brick, as Louis Kahn repeatedly emphasises in his conversation with bricks, the arch is one of the best ways to use bricks.

Therefore, I decided the project will mainly use brick arches as the dominant structure.

FIGURE 3.28: POSTER OF THE MOVIE ABOUT LOUIS KAHN

FIGURE 3.26: CONVERSATION TO BRICKS BY LOUIS KAHN

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To further understand the characteristics, tectonic and aesthetic of using brick arches as the main structure, I studied numerous precedents..

PROJECT TESTING

FIGURE 3.27:NATIONAL ASSEMBLY BUILDING BY LOUIS KAHN

''If you think of Brick, you say to Brick, ‘What do you want, Brick?’ And Brick says to you, ‘I like an Arch.’

And if you say to Brick, ‘Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that, Brick?’ Brick says, ‘I like an Arch.’ And it’s important, you see, that you honour the material that you use. [..] You can only do it if you honour the brick and glorify the brick instead of shortchanging it.''

Structural Case Study

To further study traditional brick structure, I research the National Museum of Roman Arts by Rafael Moneo.

Rafael Moneo creates soaring arcades of simple, semi-circular arches that merge historicity and contemporary design, creating a striking yet sensitive point of entry to the remains of one of the Roman Empire's greatest cities.

ArchDaily, 2015

By using traditional brick construction techniques used by the Romans, Moneo creates a modern touch to the hybrid structure of bricks and concrete.

Through towering arches and traditional bricks structure, the building reveals the ancient solemn quality of the Roman empire. This quality leads visitors to revisit back to the Golden age of Romans Art. Moneo recreates the context for the exhibits, enable visitors to have a deeper understanding of the beauty and meaning of those art pieces.

I want my building to communicate a similar quality to rewind the brilliant industrial history in the UK. To emphasise how valuable Saltaire is as an industrial model village.

FIGURE 3.29: INTERNAL OF THE NATIONAL MUSEUM OF ROMAN ART

FIGURE 3.32: PLAN, SECTION AND ELEVATION OF THE NATIONAL MUSEUM OF ROMAN ART

Therefore I decided to design my building with a brick arch structure.

By referencing the Nation Museum of Roman Arts, Moneo design the building under the grid of brick structure, the massing wall and arch construction lineup and composite the whole building.

FIGURE 3.30: INTERNAL OF THE NATIONAL MUSEUM OF ROMAN ART

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FIGURE 3.31: INTERNAL OF THE NATIONAL MUSEUM OF ROMAN ART

FIGURE 3.33: MAIN ENTRANCE OF THE NATIONAL MUSEUM OF ROMAN ART

PROJECT TESTING

Arches as the most important features of the National Museum of Roman Arts, Rafael Moneo create a quality exhibition space to be used.

Thinking Through Making

After exploring the overall construction, I then want to try to make brick arch constructions by a physical model. Before exploring the brick arch structure in a physical model, I explore the arch in digital drawings and models.

Header

FIGURE 3.35: DIGITAL MODEL PROCCESS(1)

FIGURE 3.37: DIGITAL MODEL PROCCESS(2)

English Bond

Flemish Bond

Stretcher

Stretcher Bond FIGURE 3.34: STYLE OF BRICK WALL

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FIGURE 3.38: DIGIRALBRICK ARACH MODEL

PROJECT TESTING

The arrangement of bricks has been considered in this stage. I tried various ways of brick arrangements, styles such as English bond, Flemish bond, and Stretcher bond. Although Englished bond and Flemish bond both including headers and look more decorative. I decided to use a stretcher bond, to provide a more concise form for the structure. To avoid over complexity while the buildings were full of bricks.

FIGURE 3.36: BRICK ARCHES IN THE BUILDING

FIGURE 3.39:THE WHOLE BRICK ARCHES IN THE BUILDING

Thinking Through Making

After exploring the arch structure through a digital model, I then try to explore more details about brick arches in a physical model. I first arrange the bricks to form the construction of arches, then connect and consolidate the bricks by the corn starch mixture.

Compare to the digital studies, some problems occur, the connection between the arch and wall has lots of gaps in the physical model. In the digital study, some brick is required to be cut diagonally or with a certain angle to adapt to the curve of the arch.

FIGURE 3.40: 1:16 BRICKS

Therefore, the angle of each brick that needs to be cut will be calculated carefully to maintain the bond between brick structures will be firmed.

This might not be a problem for the general building. But for a building design for the RIBA council, materiality matters. After further study into traditional brick construction, strength my idea to celebrate the aesthetic of the traditional brick building. I want to design a palace of bricks and arches. To praise the bricks, instead of putting any cladding on top of the building, I decided to purely use bricks to Interpret the glorious of brick architecture.

FIGURE 3.41: TESTING BRICK ARCHES

PROJECT TESTING

When I looking into more constructional details of these traditional brick constructions, not much solid and clear information has been provided through the internet.

Most of the online information about bricks were constructional details about cladding bricks on a steel frame. It seems that contemporary architecture abandons to promote the traditional massing of brick building, only prise the modern materials such as steel, reinforced concrete or cover the whole building with metal sheets to hide the original material of the building.

FIGURE 3.44: BRICK ARCH MODEL

FIGURE 3.42: TESTING BRICK ARCHES

FIGURE 3.43: TESTING BRICK ARCHES

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FIGURE 3.45: TESTING BRICK ARCHES

FIGURE 3.46: BRICK ARCH MODEL

Design for Testing Stage

To communicate my idea in the testing review, I have temporarily made a design with the language of arches. To summarise the result of testing during this stage.

PROJECT TESTING

FIGURE 3.49: STUDY OF THE PROGRAM

FIGURE 3.47: COLLAGE OF THE EXHIBITION SPACE

FIGURE 3.48: TESTING BRICK ARCHES

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FIGURE 3.50: ISOMETRIC MASSING

Testing Review

To summarise the work that I have done during the testing stage, I combine the piece that I have developed and test within this stage, and present my idea to tutors in the testing review.

PROJECT TESTING

After the Testing review, tutors advise me to try to push the limits of the brick construction further. And can start to get more into details of brick constructions. More details about the spacial quality need to develop.

FIGURE FIGURE1:3.46: 3.47: MIRO BOARD OF THE TESTING REVIEW FIGURE 3.51: TESTING REVIEW BOARD

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Synthesis Reflection

T h e s y n t h e s i s sta g e i s a sta g e t h a t integrates ideas from the stage of framing to the stage of testing. Along with this stage, the project is gradually formed.

This is the most exciting stage; I really felt the design and theoretical idea from the early stage has been complete step-bystep. The project is more visualise during the process of integration. While I have tried to test a lot of ideas in the testing stage through a digital model. In this stage, digital studies from the previous stage based my synthesis. I put more efforts to recreate and detailing the spatial quality that I have tested and expected in the previous stage. It is quite satisfying when the result looks as expected.

Therefore, I put more effort to study precedents, to study how other architects deal with these problems. I tried to add as much consideration to solve problematic design by putting more thought into detail.

In this stage, I learn that although the form of a building does matter a lot, what makes a building become an excellent architecture is details. It cost efforts to developed into details, details are the things that make architecture brilliant.

Overall, the synthesis stage is the most satisfying stage.

PROJECT SYNTHESIS

SYNTHESIS

Although, the digital model communicates the overall spatial quality that I expected.

During the synthesis process, lots more problems have been revealed. Things such as the details of windows, internal materials, arrangement of arches and constructional technology, etc., must be deal with.

Structure to Form

After the testing review, I confirm the construction will be dominated by the brick arch structure, I then start to return and developed the massing and form of the project.

To further push the limits of brick arch constructions, I started to develop the form through plans with a grid to ensure the location of the brick structure.

After various testing and development, plus combining ideas that have mentioned above, I then developed a brick structure lead construction upon the grid.

At the same time, the initial programs of the building have also been developed.

During the formation of the design, I use arches that were identically in the same size to form the internal space. While I use brick arches of the same size, the problem of over-repetitive has been revealed, the arches were overused in the early design, it cost the main exhibition space too narrow and packed for a space to display exhibits.

To solve this problem, I then play with the idea of using brick arches on a different scale to form the building and replace some arches through walls to arrange a better spatial quality and avoid the over-repetitive of brick arches. At the same time, creating arches on a larger scale, also provide a more open space for the main exhibition space to display exhibits.

PROJECT SYNTHESIS

FIGURE 4.1: BRICK ARCH STRUCTURE

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FIGURE 4.2: PLAN

FIGURE 4.3:BRICK ARCH STRUCTURE

FIGURE 4.4: ISOMETRIC MASSING AND PROGRAMS

Testing the limitation of brick construction

To test what bricks can further do and more techniques of brick construction, I tried to explore domes. I have created a system of brick structure that built around a dome.

Yet, the language of the dome does not match with arches and the site history, also, the connection of the dome and the other part of the building were not strong, some ‘awkward space’(Red dotted line) has been created. Therefore, I consider keeping the language and form simply with arches on a different scale. But the study of using different brick construction consolidate my idea and able me to focus on developing my current idea.

PROJECT SYNTHESIS

FIGURE 4.5: THE MASSING OF THE DOME CORE IDEA

FIGURE 4.6: INTERNAL OF THE MASSING OF THE DOME CORE IDEA

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FIGURE 4.7:PLANS

Study Structure through Precedent

After establishing the preliminary form of the design, informed by the project is a structural lead design. I then tried to further develop the construction details of the building. To seek inspiration from material by asking bricks questions.

I went back to explore the structural details of the National Museum of Romans Art by Rafael Moneo.

After looking more carefully into the constructional details of the National Museum of Romans Art, I find out that Moneo did not use bricks as the only material for the main structure.

Moneo references the ancient method of hybridising the bricks with concrete as the main structure, to create thinner brick walls.

FIGURE 4.8: ORTHOGRAPHIC DRAWING OF THE NATIONAL MUSEUM OF ROMAN ART

FIGURE 4.11: HYBRID STRUCTURE OF BRICKS AND ROMAN CONCRETE

The National Museum of Romans Art is a traditional brick construction, the buttress is used. Due to the modularity of bricks, bricks on the lower floor care more loads than bricks on the top. To deal with the loads, traditional bricks building use buttress to support more loads.

The Yorkshire architecture centre is a project that uses traditional brick construction, a buttress will also be required in my design to communicate the beauty of the brick structure.

FIGURE 4.9: BUTTRESS OF THE NATIONAL MUSEUM OF ROMAN ART

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FIGURE 4.10: THIN BRICK WALL OF THE NATIONAL MUSEUM OF ROMAN ART

FIGURE 4.12: ROMAN CONCRETE

PROJECT SYNTHESIS

The buttress of these traditional brick buildings not only use constructional support but also forms a special aesthetic for the external. The buttress reveals the internal construction and rhythms of the building.

Thinking Through More Making

Since more constructional details about bricks have been revealed, to explore deeper into the properties, characteristics and tectonics of bricks I decided to make a physical model to test the hybrid structure of bricks and concrete.

FIGURE 4.16: THE MIXTURE TO USE AS CONCRETE

To study brick construction, I used some pre-casted 1:16 bricks to test the hybrid construction of concrete and bricks.

To simulate the actual construction of a brick structure, I mixed a mixture of corn starch, water, and glue in 4:4:1 to simulate the properties, function, and texture of cement and concrete.

I add some grey colour for the mixture to simulate the colour of concrete that will be poured into. Then remain some of the mixtures in white to simulate the colour of cement that was used to connect bricks.

FIGURE 4.17: BUILT THE OUTTER SKIN

I built the brick formwork first to firm the form of the structure, the brick’s skin will be then glued and consolidate by the mixture of corn starch. After drying the ‘cement’, the mixture of concrete has been pour into the brick structure as a core.

FIGURE 4.13: MODEL OF THE HYBRID STRUCTURE OF BRICKS AND ROMAN CONCRETE

FIGURE 4.18: POURING IN THE CONCRETE

FIGURE 4.14: BRICK WALL

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FIGURE 4.15: CORN STARCH

FIGURE 4.19: WATINHG TO DRY

Although the construction of the building was not purely bricked anymore, the hybrid construction of concrete and bricks were still honest to the materials. Bricks still work as a construction for the building structure. It works as a formwork that holds the concrete core when it is poured in, and still carrying loads.

PROJECT SYNTHESIS

The model works well, the concrete and bricks were mechanically tied together, and create a strong supporting structure.

Exploring through Physical Model

To explore and develop the program of the design, I decided to make a physical model to experiment with the spatial arrangement and the lighting quality.

FIGURE 4.20: TESTING THE LIGHTING OF THE ROOF WINDOW

FIGURE 4.21: TESTING THE LIGHTING OF THE ROOF WINDOW

PROJECT SYNTHESIS

FIGURE 4.23: TESTING MODEL

FIGURE 4.22: THE MAIN ENTRANCE

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FIGURE 4.24: THE EXTERNAL CORRIDOR

FIGURE 4.25: THE EXTERNAL CORRIDOR

Locating Program

While the form was developing, the programme plays a huge role to interpret the internal of the building. The form has revealed the different functions of the internal programs of the building.

Therefore, while I have developed the form, I have also managed to provide a refined program of the building, to combine brick structure with the programs.

Context and Program

During the process of locating programs, I spot an external space by the north of the site. Is suitable to locate a program to show and test innovative materials to the public, therefore I plan an external yard space for the innovative materials showcase. to connect the internal and eternal space I arrange a corridor space to works as a transition between internal and external.

To make sure the programs have a strong connection to the context of the site. I have also considered the context during the development and location of programs.

The progr ams have be en develope d through parti diagrams, to clarify the primary spaces, to located circulations and other secondary spaces.

To Roberts Park

West Enternce

To River Aire To New Mill

To River Aire

View

Enternece

Bus Stop

Wind

Sun Path

Trees

To Residential Area

PROJECT SYNTHESIS

Bus Stop

To Heritage Site

FIGURE 4.26: CONECTION BETWEEN PROGRAMS

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FIGURE 4.27: TESTING HOW THE DESIGN FIT INTO THE SITE

Precise Brief

After more testing and consideration of the project, a more precise and refine brief has been developed based on the preliminary brief from the framing stage.

The RIBA Yorkshire Centre is built for the RIBA council and has 3 focus points.

1.

To replace the Regional office of RIBA Yorkshire in Leeds to Saltaire, which a place has a stronger connection to architecture and urban planning.

2.

Work as an Architecture Centre to promote excellence in architecture and the purpose of the RIBA council on the issue of sustainability. To stimulate the improvement of architecture in terms of quality and social responsibility (such as Net Zero). Aim to be educational to the public and even the profession itself.

PROJECT SYNTHESIS

3.

The third focus is to design a tourist centre for Saltaire, work as an assembly point of information for tourism, to complete and stimulate the local tourism industry.

FIGURE 4.28: THE DESIGN FOR THE SYNTHESIS REVIEW

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FIGURE 4.31: WINDOW FOR VERTICAL CIRCULATION

FIGURE 4.32: WINDOWSFOR THE END OF CIRCULATION ON THE SECOND FLOOR

Detailing Windows and Footing Windows

FIGURE 4.29: BRICK BUTTRESS

The windows are informed by internal functions.

Brick Buttress

The brick Buttress is an important structural feature of a traditional brick building, it becomes the external aesthetic of my building, and reveal the internal structure of the building through the buttress.

FIGURE 4.33: WINDOW OF THE OFFICE AREA

Windows for vertical circulation, to connect and reveal the construction of vertical circulation, I design a long narrow arch window for the staircase.

For windows in other places, such as offices and storage, to make the window communicate the language of bricks and arches, I try to put a flat arch on the windows.

Brick Footing

FIGURE 4.30: BRICK BUTTRESS IN 1:20 DIAGRAM

FIGURE 4.34: FOOTING

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The Footing not only works as a part of the foundation, but footing also outlines the building, but the footing on the ground floor outline the form of the building, the stone stripe on the upper floor also reveals the internal space of each level, forms a series of layering to the building.

PROJECT SYNTHESIS

The window for the cafe and meeting space was simply using big arches opening, big opening arches provide views, and let lights get into the building.

Detailing Net-Zero Strategies

To manage a realistic arrangement for the net-zero strategies, I develop more details about the net-zero strategies.

Internal Materials

Details such as the location of solar boards and the type of planets that will be on the roof.

Slate Slab

Slate Slab was used as the main floor finishing materials for the primary space, spaces such as exhibitions, cafes, meeting rooms, and workshops will use slate slab.

FIGURE 4.38: OPHIOPOGON JAPONICIUS

FIGURE 4.39: ORIGANUM VULGARE HIRTUM

For the green roof, I have chosen plants with stronger adaptability to resist the strong wind and cold weather of the site.

Concrete Block

Concrete blocks were used as the floor finishing in the secondary space, spaces such as storage, toilet, and offices use concrete blocks for the floor.

Frosted Glass

FIGURE 4.35: MATERIALITY OF PRIMARY SPACE

FIGURE 4.36: MATERIALITY OF THE ROOF WINDOW

FIGURE 4.37: MATERIALITY OF SECONDARY SPACE

PROJECT SYNTHESIS

Frosted Glass was used as the ceiling windows for the main exhibition space.

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FIGURE 4.40:NET ZERO STRATEGIES

Plan, Section and Elevation

PROJECT SYNTHESIS

After continuous development, the overall design of the 'RIBA Yorkshire Architecture and Tourist Centre' has come out.

FIGURE 4.41: 1: 200 PLAN IN A3

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PROJECT SYNTHESIS

Plan, Section and Elevation

FIGURE 4.42: 1: 200 PLAN IN A3

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Plan, Section and Elevation

0

0 5

5 10

10

20

20

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PROJECT SYNTHESIS

1:200 Scale1:200 Bar Scale Bar

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FIGURE 4.43: 1: 200 SECTION IN A3

FIGURE 4.44: 1: 200 SECTION IN A3

1: 200 Site Plan in A0

PROJECT SYNTHESIS

1: 500 Master Plan in A0

FIGURE 4.45: 1:500 MASTER PLAN IN A3

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FIGURE 4.46: 1: 200 SITE PLAN IN A0

Isometric Exploded Diagram

PROJECT SYNTHESIS

Show the internal and external construction of the building

FIGURE 4.47: ISOMETRIC EXPLODED DIAGRAM

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FIGURE 4.48: ISOMETRIC EXPLODED DIAGRAM

Perspective Section Drawing

An A0 drawing shows the activities outside and inside the building.

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PROJECT SYNTHESIS

FIGURE 4.49: LONG SITE PERSPECTIVE SECTION

Site and The Yorkshire Centre in Isometric

PROJECT SYNTHESIS

An A0 drawing shows the relationship between the building and the site.

FIGURE 4.50: LONG SITE PERSPECTIVE SECTION

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External Perspective

External Perspective

External of the project shows the facade and the relation of the building to the environment and site.

The perspective render shows a mushroom brick structure, it shows the quality of the garden space which also works as an external exhibition of innovative materials.

The mushroom brick construction not only work as an example of innovative materials, but it also works as a sculpture to be enjoyed, to provide a peaceful moment for visitors to appreciate the possibility and future of architecture.

FIGURE 4.53: NORTH FACADE

FIGURE 4.52: EAST FACADE

FIGURE 4.54: SOUTH WEST FACADE

PROJECT SYNTHESIS

FIGURE 4.51: SOUTH WEST FACADE

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Internal Perspective

Internal Perspective

Cafe

RIBA Yorkshire Regional Office

The cafe locates in the long corridor on the second floor, the cafe provides several seats towards the centre of the building, people seat in the cafe can look into the exhibitions and can provide a moment for visitors to meditate on the meaning of architecture through gazing into the exhibits.

An office Space for RIBA Yorkshire, the office space is separated into 2 floors and connect vertically by the void in the middle, enable more lights to get into the lower floor.

FIGURE 4.57: UPPER OFFICE SPACE

FIGURE 4.56: CAFE

FIGURE 4.58: LOWER OFFICE SPACE

PROJECT SYNTHESIS

FIGURE 4.55: CAFE

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Internal Perspective

Internal Perspective

Exhibition Space

Exhibition Space

As the core space of the project, the exhibitions were separated into 2 levels. The permanent exhibition will be located on the ground floor and the Temporary architectural Exhibition will be located on the First Floor.

More perspective Rendering shows the quality of the exhibitions and how can people use the space.

FIGURE 4.61: EXHIBITION

PROJECT SYNTHESIS

FIGURE 4.59: EXHIBITION

FIGURE 4.60:EXHIBITION

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FIGURE 4.62: EXHIBITION

Internal Perspective Exhibition Space

The Exhibition has a direct view towards to new mill and River Aire. The big arches space frame the most beautiful moment in Saltaire shows how architecture work with landscape, introduce the beauty of well-curated urban planning.

Internal Perspective

Main west Entrance

The main entrance for tourist, gate and the front desk of the exhibition will be located here, some poster about the exhibitions and local tourism will be located here as well.

FIGURE 4.65: WEST ENTRANCE

FIGURE 4.64: EXHIBITION

FIGURE 4.66: EXTERNAL CORRIDOR

Work as a transition from internal to external, to connect the garden with the internal of the building.

PROJECT SYNTHESIS

FIGURE 4.63: EXHIBITION

The North External Corridor

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Internal Perspective Meeting Space

Meeting Space that opened to be booked by architects, architects can book meeting rooms to meet with clients, for architects share architecture ideas with other architects after seeing the exhibition and architect can even book the meeting room to work.

Pavilion

Series of Experience

The pavilion locates by the south of the building, have a direct view along victoria road, which lots of the historical architecture were located next to victoria road.

To show the experience from outside the building, to the second floor of the building.

The Pavilion get a direct view towards most viewpoints in Saltaire, view points such as Roberts park, Mills and River Aire. It provides the best sightseeing point for tourist.

Overall the external perspective rendering communicates the external quality and the inhabitants of the design.

PROJECT SYNTHESIS

FIGURE 4.67: MEETING ROOM

FIGURE 4.69: SERIES OF JOURNEY FIGURE 4.68: PAVILION

124

To summarise the work and refine my work and thinking during the synthesis stage within a limited time, I put these diagrams on the board to communicate my ideas.

I will use excerpts from my synthesis presentation to strictly introduce the project,

1.

To replace the Regional office of RIBA Yorkshire in Leeds to Saltaire, which Saltaire is a place has a much stronger historical connection to architecture and urban planning.

2.

Work as an Architecture Centre to promote excellence in architecture and the purpose of the RIBA council on the issue of sustainability. To stimulate the improvement of architecture in terms of quality and social responsibility (such as Net Zero). Aim to be educational to the public and even the profession itself.

I have introduce my studio in the first place.

we’re in studio 8, Curating the City, our studio used ‘Curation’ as a key concept and method to address the different concerns of the duo-focus on the past and the present.

3.

The third focus is to design a tourist centre for Saltaire, work as an assembly point of information for tourism, to complete and stimulate the local tourism industry.

Our studio picks Saltaire, a World Heritage site, and a Model Industrial Village during the Victorian period as the study object and site. The inventional urban planning by Titus Salt in the 19th century provided housing, clean water, entertainment, etc., remarkably improves the public life quality, a monumental step in the making of the modern urban landscape.

The building site was located by the north of Saltaire, next to the River Aire and Roberts Park.

After various exploration, the property of the site benefits the site, endues a high possibility to developed programs for tourism.

I then Explain how I achieve the brief through program.

The programs can be separated by the service object. For tourist, a tourist information centre, and a permanent exhibition about the Urban development of industrial villages has been set on the ground floor to maximise accessibility.

A café and pavilion were set on the second floor, providing views to the main exhibition space as well as the historical core of Saltaire. And the pavilion provides a view towards Victoria road, the view narrates(ne-rate) the excellent urban planning of Titus Salts, Not only through view along Victoria road, the view toward River Aire and Roberts Park also communicate the wonderful landscape of Saltaire, that takes an important part in the planning as well.

I then introduce my brief to the audiance.

The name of my project is The RIBA Yorkshire Architecture and Tourist Centre.

Brief: The RIBA Yorkshire Centre is built for the RIBA council and has 3 focus points.

FIGURE 4.70: MIRO BOARD OF THE SYNTHESIS REVIEW

126

For the architectural part. The whole north block will be used as an office area for RIBA Yorkshire to mainly provide service for local architects and architecture students. The office was responsible to hold architectural events, such as lectures, competitions, or to published local architectural news. To further provide support for local architects.

Some meeting rooms were open for small firms to book; it provides a better meeting environment for some small name architects to meet with their clients. A RIBA Information centre will also be set on the second floor, was open to assist local architects.

Then , is the par t to connec t tourism with architecture. A temporar y exhibition about architecture will be set on the first floor. The E xhi bi t i o n will ma i nly d isplay i nnova t i ve architectural materials, building methods, and ideas. AIM to encourage conversations between the general public and the architectural profession. for professional architects to exchange concepts and insights, promote frontier eco-friendly building strategies, and in general, to promote excellence in architecture! It may encourage client to build more sustainable to the environment.

Other than exhibitions, to extend the tourists/ visitors experience, a workshop will be set on the ground floor, where functions such as architecture crafting courses or guest talks can take place.

PROJECT SYNTHESIS

Synthesis Review

Then about the chose of materials

As a building for RIBA to work as the regional office, the materials should be representative of British architectures and echo with RIBA’s strategies.

After various research, I decided to use bricks as the main materials. Bricks as an ancient building material, it contains the memories of the UK architecture from past to present. Perhaps more importantly, many innovative green materials were created in the form of bricks, such as pollution absorbing bricks, cigarette bricks, and mushroom bricks were created! Although those materials were not yet ready for the real-world environment, indeed bricks contain a bright sustainable future. Therefore, Bricks communicate the past, present, and even the future of architecture.

After selecting bricks as the main material, the next question is what bricks can DO!! During my research stage, I found an interesting conversation between bricks and Louis Kahn. Louis Kahn tells his students,

“you say to Brick, ‘What do you want, Brick?’ And Brick says to you, ‘I like an Arch.’ And if you say to Brick, ‘Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that, Brick?’ Brick says, ‘I like an Arch.’

Bricks want to be arches, as it is ONE of the best ways to reflect the beauty of this material. I want to use bricks honestly. Therefore, I’ve decided that the structure of my building would be dominated by brick arches.

I’ve chosen the National Museum of Roman Arts by Rafael Moneo as my precedent to study how arches form quality space and the hybrid masonry structure! Rafael used large continuous masonry arches to create a great museum space, that leads the visitors back to the past, to have a deeper understanding of the exhibits (Roman’s arts).

I then overall discribe my project.

In my design, the large continuous arches not only provide space for exhibition, it also framed the view across the river, towards the New Mill. The arches capture the most beautiful landscape of Saltaire, reinterpret the relationship between landscape with good urban planning and architecture. Through framing the most beautiful landscape of Saltaire, it connects the physical heritage of Saltaire back to the exhibits. Further, reveal the effect of urban planning and architecture on the actual world.

As you can observe from the section, different scale of arches cooperates with each other, although the plan of each floor was similar, through opening the building vertically, to strengthened connections between different programs. Not only maximize natural lighting, but it also let the whole building communicate the same atmosphere. People from upper floor can look into the exhibitions. Clients from the meeting room and visitors from the café can meditate through gazing the exhibits.

Regarding the possibility and future of architecture, the plan for RIBA in the next few decades is to radically improve sustainability in newly constructed and refurbished buildings. The building aims to be environmentally friendly. As a building for RIBA, this project also takes action to achieve net-zero. The big arch opening and the frosted glazing roof of the main exhibition space maximize natural lighting.

The green roof and solar panel will be placed on the roof, they can offset and reduce the carbon footprint produced by the building to achieve the Net-zero commitment. Bricks as the main materials will be produced by local bricks factory, To further lower the building’s carbon footprint.

FIGURE 4.71: MIRO BOARD OF THE SYNTHESIS REVIEW

128

Finally to summarise the core of the project

Overall, while my design as a building aim to bring frontier architectural thinking to the public through exhibitions and workshops. From the design, materials, programs to purposes, ALL communicated the idea of curating the future, through learning from the past.

-Excerpts from my synthesis presentation

PROJECT SYNTHESIS

In the north of the building, a garden area was provided. Is use as an external exhibition to display innovative bricks. This rendering shows a structure made by mushroom brick, the bricks not only work as an example of innovative materials, but it also works as a sculpture to be enjoyed, to provide a peaceful moment for visitors to appreciate the possibility and future of architecture.

Improvement After Review

PROJECT SYNTHESIS

After the review, I get some feedback from tutors (Attached in Appendix). Base on this feedbacks, I further improve my design.

FIGURE 5.1: FINAL DESIGN

130

External Rendering

To further connect the design with the site, I add some brick paving on the ground to reveal the structure of the building.

To improve the language of arches through windows, instead of using a flat bridge that I previously used, I change the windows into an arch window.

To improve the expression of the external exhibition. Instead of using photos from the internet(Like the previous render), I made my own sculptural construction as a showcase of mushroom bricks, which work as an example for the external exhibition to promote innovative materials.

Parapet has been adding to the roof, to keep the continuity of the facade, and provide protection for workers who work on the roof.

To better communicate how the solar panel seats on the roof, I have rendered the solar panels on the roof as well.

FIGURE 5.4: PERSPECTIVE VIEW OF THE ROOF

FIGURE 5.5: EAST FACADE

PROJECT SYNTHESIS

FIGURE 5.2: NORTH FACADE

I have added a brick construction between the building and river, the brick construction not only let the building to have a stronger connection to the river, but it also provides access for visitors and pedestrian to get near to the river, seats have also been provided, to let people have a peaceful moment to gaze ahead to River Aire.

FIGURE 5.3: SOUTH FACADE

132

FIGURE 5.6: EAST FACADE

External Rendering

To further communicate the connection between the environment and the RIBA Yorkshire Centre, I render an external perspective image to communicate the external quality.

134

PROJECT SYNTHESIS

FIGURE 5.7: VIEW TOWARD THE PROJECT

External Rendering

To better shows the external, I make an render for the main West entrance to communicate the connections between the surrounding and the building.

136

PROJECT SYNTHESIS

FIGURE 5.7: MAIN WEST ENTRANCE

PROJECT SYNTHESIS FIGURE 5.8: INHERBITATION

Inhabited Render

138

Long Site Section

PROJECT SYNTHESIS

To show the landscape and surrounding better, I’ve extended the section further longer.

FIGURE 5.8: LONG SITE SECTION

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1:200 Plans in A3

After various improvement, I have reproduced a proper plan.

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Saltarie

N/A, Salts Mill (N/A)<http://www.saltsmill.org.uk/>[Accessed 10 December 2020]

Saltaire Inspired Team, Saltaire Inspired art in Unique Sapce (N/A)<http://www.saltaireinspired.org.uk/ galleries/>[Accessed 10 December 2020]

Maguire, 'The Saltaire Village Website, World Heritage Site '(N/A) <https://saltairevillage.info/> [Accessed 10 December 2020] Flinty Maguire, ed., 'The Saltaire Village Website, World Heritage Site', <https://saltairevillage.info/>[13 February 2021] Bailey, D. Welcome to the Saltaire Village Website <https://saltairevillage.info/> [accessed 26 April 2021]

Precident

Ana Lisa, London's Striking Modern Tourist Information Centre Harvests Rainwater and Geothermal Energy(2011)<https://inhabitat.com/londons-geothermal-sharp-tourist-information-point-recycles-rainwater/makearchitectsgeothermal-city-of-london-tourist-information-3/>[Accessed 10 December 2020] Archi Daily, Asakusa Culture and Tourism Center / Kengo Kuma & Associates(2012) <https://www.archdaily. com/251370/asakusa-culture-and-tourism-center-kengo-kuma-associates>[Accessed 10 December 2020]

David Langdon, 'AD Classics: National Museum of Roman Art / Rafael Moneo' , Arch Daily (2015) <https://www.archdaily. com/625552/ad-classics-national-museum-of-roman-art-rafael-moneo> [13 February 2021]

Theorey Study

Educationg Archtiects, ed. by Martin Pearce and Maggie Toy (London : Academy Editions, 1995), p.10

Material Study

admin, Green Roof Plan. TIntensive vs Extensive Green Roofs: What's the difference? <https://www.greenroofplan.com/intensive-vsextensive-green-roofs/> [accessed 26 April 2021] Oliver Wainwright, 'Louis Kahn: the brick whisperer' , The Guardian (2013) <https://www.theguardian.com/artanddesign/2013/ feb/26/louis-kahn-brick-whisperer-architect> [13 February 2021]

N/A, 'Building history: bricks and mortar: One Brick at a time' (revisted May 2019), <https://www.isurv.com/info/390/features/11968/ building_history_bricks_and_mortar>[13 February 2021] Begona Uribe, '10 Innovative Materials That Could Revolutionize the Construction Industry' , ArchDaily (2016) <https://www. archdaily.com/800546/10-innovative-materials-that-could-revolutionize-the-construction-industry> [13 February 2021]

ALL DIAGRAMS, PHOTOS AND DRAWINGS WERE PRODUCED BY AUTHOR, EXCLUDE THE FOLLOWING ILLUSTRATIONS: FIGURE 0.1:

BY AUTOR, USED IN THE SUBMISION OF ARC 3060

FIGURE 0.2: APL, STAGE 3 GUIDE(NEWCASLTE: NEWCASTLE UNIVERSITY) FIGURE 0.3: THEMATIC CASE STUDY BY STUDIO 5 FIGURE 0.4: THEMATIC CASE STUDY BY STUDIO 4

FIGURE 1.12: GROUP WORK, FROM THE THEMATIC CASE STUDY FIGURE 1.28: GROUP WORK, FROM THE THEMATIC CASE STUDY

FIGURE 1.6: N/A, 1853 GALLERY AND ART MATERIALS l(N/A)<http://www.saltsmill.org.uk/>[Accessed 26 May 2021]

FIGURE 1.7: N/A, PEOPLE + PROCESS: SALTS HISTORY EXHIBITION (N/A)<http://www.saltsmill.org.uk/>[Accessed 26 May 2021] FIGURE 1.8: N/A, DINING - CAFE IN TO THE OPERA (N/A)<http://www.saltsmill.org.uk/>[Accessed 26 May 2021]

FIGURE 1.31-1.32: YAMAGISHI, TAKESHI, ASAKUSA CULTURE AND TOURISM CENTER / KENGO KUMA & ASSOCIATES (N/A) <https://www.archdaily. com/251370/asakusa-culture-and-tourism-center-kengo-kuma-associates> [Accessed 26 May 2021] FIGURE 1.34-1.35: YAMAGISHI, TAKESHI, ASAKUSA CULTURE AND TOURISM CENTER / KENGO KUMA & ASSOCIATES (N/A) <https://www.archdaily. com/251370/asakusa-culture-and-tourism-center-kengo-kuma-associates> [Accessed 26 May 2021]

FIGURE 1.36-1.43: AD EDITORIAL TEAM, AS THE RIBA'S LARGEST OUTPOST LAUNCHES IN LIVERPOOL, A NEW EXHIBITION SEEKS TO REVEAL THE CITY'S MAVERICK HISTORY (2017) <https://www.archdaily.com/873724/riba-north-opens-liverpool-uk-new-exhibition-revealsmaverick-history> [Accessed 26 May 2021]

FIGURE 3.4: RIBA, 2030 CLIMATE CHALLENGE(2019)<HTTPS://WWW.ARCHITECTURE.COM/-/MEDIA/FILES/CLIMATE-ACTION/RIBA-2030-CLIMATECHALLENGE.PDF> [Accessed 26 May 2021] FIGURE 3.22: NEWCASTLE UNIVERSITY, INTERNATIONAL STUDENTS (N/A)<HTTPS://WWW.NCL.AC.UK/INTERNATIONAL/> [Accessed 26 May 2021]

FIGURE 3.23: ARCHDAILY, RMIT RESEARCHERS DEVELOP A LIGHTER, BETTER BRICK MADE WITH CIGARETTE BUTTS (2016)<HTTPS://WWW. ARCHDAILY.COM/789249/RMIT-RESEARCHERS-DEVELOP-A-LIGHTER-BETTER-BRICK-MADE-WITH-CIGARETTE-BUTTS> [Accessed 26 May 2021]

FIGURE 3.25: KING, JAMES, PHIL ROSS USES FUNGUS TO MAKE BRICKS AND FURNITURE (2013)<HTTPS://WWW.SCMP.COM/PROPERTY/HONGKONG-CHINA/ARTICLE/1258559/PHIL-ROSS-USES-FUNGUS-MAKE-BRICKS-AND-FURNITURE> [Accessed 26 May 2021]

146

LIST OF ILLUSTRATION

FIGURE 3.24: SCHILLER, BEN, MIT STUDENTS CREATE A BRICK THAT COULD END POLLUTION FROM DIRTY BRICK KILNS (2015)<HTTPS://WWW. FASTCOMPANY.COM/3047345/MIT-STUDENTS-CREATE-A-BRICK-THAT-COULD-END-POLLUTION-FROM-DIRTY-BRICK-KILNS> [Accessed 26 May 2021]

FIGURE 3.26:

By Autor, Used in the submision of ARC 3014

FIGURE 3.27: PHAIDON, WHY LOUIS KAHN WOULD OFTEN TALK TO BRICKS (N/A)<HTTPS://WWW.PHAIDON.COM/AGENDA/ARCHITECTURE/ ARTICLES/2019/JANUARY/16/WHY-LOUIS-KAHN-WOULD-OFTEN-TALK-TO-BRICKS/>[Accessed 26 May 2021] FIGURE 3.28: AMAZON, MY ARCHITECT ( 2003 ) ( MY ARCHITECT: A SON'S JOURNEY ) (N/A)<HTTPS://WWW.AMAZON.COM/MY-ARCHITECT-2003JOURNEY-NON-USA/DP/B0017L3I46>[Accessed 26 May 2021]

FIGURE 3.29-3.31: LANGDON, DAVID , AD CLASSICS: NATIONAL MUSEUM OF ROMAN ART / RAFAEL MONEO(2015)<HTTPS://WWW.ARCHDAILY. COM/625552/AD-CLASSICS-NATIONAL-MUSEUM-OF-ROMAN-ART-RAFAEL-MONEO>[Accessed 26 May 2021] FIGURE 3.32: PINTRESTED, PLANS AND ELEVATIONS OF THE NATIONAL MUSEUM OF ROMAN ART, BY RAPHAEL MONEO.(N/A) <HTTPS://WWW. PINTEREST.CO.UK/PIN/117234396534719663/>[Accessed 26 May 2021]

FIGURE 3.33: LANGDON, DAVID , AD CLASSICS: NATIONAL MUSEUM OF ROMAN ART / RAFAEL MONEO(2015)<HTTPS://WWW.ARCHDAILY. COM/625552/AD-CLASSICS-NATIONAL-MUSEUM-OF-ROMAN-ART-RAFAEL-MONEO>[Accessed 26 May 2021] FIGURE 3.35-3.46:

By Autor, Used in the submision of ARC 3013

FIGURE 4.5: N/A , AD CLASSICS NATIONAL MUSEUM OF ROMAN ART RAFAEL MONEO (2018)<HTTP://NEW.RUSHI.NET/HOME/WORKS/DETAIL/ ID/216566.HTML>[Accessed 26 May 2021] FIGURE 4.6: ARCHITEKTURFOTO, NATIONAL MUSEUM OF ROMAN ART IN MÉRIDA, SPAIN (2015) <HTTPS://WWW.ZI-ONLINE.INFO/EN/ARTIKEL/ ZI_NATIONAL_MUSEUM_OF_ROMAN_ART_IN_MERIDA_SPAIN_2376887.HTML>[Accessed 26 May 2021]

FIGURE 4.8-4.10: MONEO, RAFAEL , NATIONAL MUSEUM OF ROMAN ART MÉRIDA, SPAIN 1980-1986 (N/A)<HTTPS://RAFAELMONEO.COM/EN/ PROJECTS/NATIONAL-MUSEUM-OF-ROMAN-ART/>[Accessed 26 May 2021] FIGURE 4.12: N/A, UNDERSTANDING ROMAN CONCRETE (2017) <HTTPS://BREWMINATE.COM/UNDERSTANDING-ROMAN-CONCRETE/>[Accessed 26 May 2021]

List of Appendix

Scanning of Process work (Attached with in this document)

Larger Plan, Section And Elevation (Attached with in this document)

Thematic Case Study (Attached with in this documentt and seperate document) Feedbacks From Each Stage (Attached with in this document) ARC 3013(Attached as a seperate document) ARC 3014(Attached as a seperate document) ARC 3015(Attached as a seperate document) ARC 3060(Attached as a seperate document)

Stage 2 Portfolio (Attached as a seperate document)

FIGURE 4.13-4.19:

By Autor, Used in the submision of ARC 3013

APPENDIX

FIGURE 4.30:

By Autor, Used in the submision of ARC 3014

148

Scanning of Process work

This were some hand draw process work that I consider not fit into the narration my project, but is worth to see.

APPENDIX

All draw by Author.

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186 APPENDIX

Feedbacks

ARC3001 FEEDBACK SHEET

STUDENT NAME:

Yat Hon (170753470)

STUDIO:

Curating the City

Portfolio Feedback DATE:

18.12.20

REVIEWERS:

NB/JZ

ASSESSMENT CRITERIA:

FORMATIVE LETTER GRADE

D

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

GRADE BREAKDOWN

0

Percentage teamwork

100

Percentage individual

Testing Feedback

PORTFOLIO DOCUMENT 5%

RECORD OF PEER/TUTOR COMMENTS:

GRAPHICAL QUALITY

How successful is the graphical formatting of the document. Is it clear, coherent and appropriate?

NARRATIVE & STRUCTURE

Within each chapter how well is the work structured to record and communicate the work? Is the narrative clear and engaging?

How well has the student cross-referenced between the design project, other modules and various process work?

REFERENCING

Has a full and complete bibliography been provided and does this reference all material from secondary sources?

Does it use a consistent and accurate referencing system?

‘Tourist Information and Local Community Centre’ / Site 2 (RIBA West Yorkshire Architecture Centre, Tourist Information and Festival / Arts Centre) + Portfolio reads as a set of disconnected ideas and content, - lacks sufficient substance and logical structure – it needs to be more rigorously structured with a much clearer relationship between the graphical content and the narrative. + Start with an abstract that very clearly states the title and overall aims of the proposal. The title of the project needs to be stated at the start of the document and the cover image should graphically convey the focus of the programme or its context. + The material up to page 21 is highly generalised and more or less taken directly from the group work. You need to reorganise this information through the lens of tourism and the festival/events organisation + architecture centre to justify the needs for the programme you are proposing and also how this addresses the main research themes/ideas explored in the group work. + Consider ways to enhance the analysis visually – develop visual narrative storylines

GRAPHICAL QUALITY Advanced

YOUR KEY NEXT STEPS: 1.

2.

Adv an

ING

NC

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Basic

ARC3001 FEEDBACK SHEET STUDENT NAME:

Yat Hon (170753470)

STUDIO:

Curating the City

3.

+ Restructure the start of the document and include a title page/image and an abstract. More introductory information is required to introduce tourist orientation and festival aspects of the programme and link this to the theoretical agendas (Gaze, Memory, Urban Form). Reinterpret the group work with a focus on Festival, Architecture, Tourist Information.

+ Strengthen the narrative and visualisation of this and provide a richer and more engaging way to introduce the programme

+ A closer understanding of the site and a deeper construction of the agenda/proposal is needed to improve your communication & documentation connection.

ARC3001 FEEDBACK SHEET

Framing Feedback DATE:

18.12.20

REVIEWERS:

NB/JZ

FORMATIVE LETTER GRADE

C

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

GRADE BREAKDOWN

60

Percentage teamwork

40

Percentage individual

FRAMING: 25%

STUDENT NAME:

Yat Hon (170753470)

STUDIO:

Curating the City

Synthesis Feedback 17/18.05.21

DATE:

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

DESIGN PROPOSITION FRAMING

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Visual, spatial and interactive relations to the Saltaire WHS and its primary landmarks and landscape(s)

STUDIO SPECIFIC 02

Clear conceptual framing (theorizing) and communication (verbal, graphic, tectonic), for the agenda of curating the Site towards a progressive conservation & embodied reading.

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

‘Tourist Information and Local Community Centre’ / Site 2 (RIBA West Yorkshire Architecture Centre, Tourist Information and Festival / Arts Centre)

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

DESIGN PROPOSITION SYNTHESIS

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

+ Programme very underplayed and not sufficiently justified in relation to Saltaire’s requirements or the theoretical research themes undertaken earlier – needs further development and justification. + Consider ‘tourist information’ and ‘festival events’ these are both linked and combine with Architecture Centre (with exhibition on industrial villages). Specific components of shared programme would be a multi-purpose events/performance space + workshop and a flexible exhibition space (with permanent exhibition on Ind. Villages). + How do the combinations of facilities provide new understandings of ‘engaged tourism’ and the role of Saltaire in relation to ‘urban form’ research themes. + You need to ground the programme from a much more rigorous understanding of the contemporary issues eg how are the festivals/events currently managed, how /what is currently provided in terms of tourist information/orientation, how is architecture represented in West Yorkshire? + Precedent case studies need to be expanded – currently apart from Kuma the others are very small and limited programmes – see architectur

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Visual, spatial and interactive relations to the Saltaire WHS and its primary landmarks and landscape(s)

STUDIO SPECIFIC 02

Clear conceptual framing (theorizing) and communication (verbal, graphic, tectonic), for the agenda of curating the Site towards a progressive conservation & embodied reading.

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STUDIO SPECIFIC CRITERIA 01

ST U CR DIO IT SP ER E C Ad va IA 0 IFI nc 2 C e Advanced

Advanced

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CO Ad va RE MM nc PR UN ed ES IC A EN T I TA ON TI & ON

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+ test design & site strategies, massing arrangements at scale and consider connections to surrounding context beyond immediate notional site boundaries, Carefully draw site sections and plans.

Advanced

+ develop a precise schedule of functions - develop an understanding of the various programme requirements, areas (m2), functional aspects of the programme.

Basic

Advanced

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

DESIGN PROPOSITION

STUDIO SPECIFIC CRITERIA 01

1.

+ make your brief/programme more precise

IN

3.

v

2.

Ad

Advanced

188

DESIGN PROPOSITION

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

1.

YOUR KEY NEXT STEPS:

AL K HIC OR ET MEW d A ce FR an

L K CA R HI O ET MEW ed A nc FR Adva

& ed S nc va ES Ad EN TY IV IVI NT AT VE CRE

IN

Advanced

side and outside)

PROCESS

YOUR KEY NEXT STEPS:

GRADE BREAKDOWN 76-100 66-75 56-65 46-55 36-45 0-35

0 100

SYNTHESIS 60% (inc testing)

Percentage teamwork Percentage individual

+ Develop, clarify and enhance the line of enquiry on the brick and brick architecuture - tectonic logi c, formal possilibity and aesthetic, semantic character. + Why bricks everywhere? Is it not possible to combine other materials? + So far, the exterior is underdeveloped, in terms of spatial design as well as ma teriality, such as paving, decking, garden / landscape design. + Roof edge t o be corrected by adding parapets. + Windows and skylights to be modified.

Advanced

Advanced

X A B C D E

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

Basic

B

Cara & Jianfei

REVIEWERS:

ASSESSMENT CRITERIA: ASSESSMENT CRITERIA:

FORMATIVE LETTER GRADE

2.

3.

See above

+ Perspectives are needed to describe more about how it is inhabited and used (in