ChiJung Lee Portfolio by PDF Uploads

PORTFOLIO

2020/2021

NEWCASTLE UNIVERSITY

STAGE

SCHOOL OF ARCHITECTURE

CHI JUNG LEE

Group Works New Works 2

TABLE OF CONTENTS

Illustrated Reflective Diary

Project Framing

3 Studio Leaders Jack Mutton Harriet Sutcliffe

p.6 / 7

Ruin Lust

p.10 / 21

City Grain

p.22 / 31

Project Testing & Synthesis Testing Synthesis Thematic Case Study Report

p.34 / 53 p.54 / 89

p.92 / 96

Appendix Bibliography 3

Illustrated Reflective Diary

Illustrated Reflective Diary Since there is still pandemic taking place this year, all courses were delivered remotely. Therefore, it has made a great impact on me in terms of teaching style, n o r m a l l y, I w a s q u i t e e n j o y i n g t h e f a c e - t o - f a c e d i s c u s s i o n w i t h t u t o r s a n d g r o u p mates because the ideas can be expressed more distinct and livelier. Comparing to the works that I have done last year, most tasks were finished digitally this year such as the exploration and the developments, although some developments were archived through model making, I was limited to the materials and facilities, I can only create models with the material that is easy to acquire; thus, it is quite hard for me to reach the stander that I was expected. This year I was allocated to the studio called City Ruins which the studio is the priority in my list. The studio “is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider intelligibility. Working through a process of research, rather than invention, looking to create architecture that is rooted in place and explores the experiential potential of materials, carefully pieced together in a celebration of craft.” After the participating the studio, I have changed my perspective of viewing things in terms of abandon architecture, I started to appreciate things by understanding their stories first instead of from the appearance and the studio helps me understand that the importance of being an architect, architect has the ability to bring back the value of forgotten things and promote the development of community. The development of the project can be divided into three phases such as framing, testing and synthesis. During the framing phase which occupies semester 1, the works were created in a more artistic way. The project was begun with exploring O u s e b u r n v a l l e y, a n d cr e a te p r in t a n d scu lp tu r e b a se on the expl orati on. B efore making print and sculpture I have viewed several works from different artist. Among the artists, Roger Hirons is the artist that reminds me the most, he is famous for coating crystal on different objects even a room, and I was interested in his concept of exploring the transformation of two material which the idea of my sculpture was derived from that. After the individual task, we were asked to do a site research as a group, thus it was a decent chance for us to share the information and opinions to each other. While in the second phase, I test out the initial massing by sketching, however, in order to achieve a thorough testing, I also made sketch models to develop the ideas. From my perspective, using sketch model to explore the ideas is relatively effective because it is much clear to see the spatial configuration or perhaps some potential problems. Moreover, while I was making models, it was the time we were asked to do ‘Theory into Practice’ project, thus, part of the ideas was influenced by the readings and theories when doing the project. Lastly, in the synthesis phases, there was not a clear separation between testing and synthesis since there was still things that I want to develop further. Therefore, in the last phase, I finalise my proposal multiple times in order to present the works that I feel satisfied. To sum up, it was quite a tough year to me since the pandemic has made an interference, some works was not achieved my expectation, however, I was having many interesting and memorable discussions with my tutors Jack Mutton and Harriet S u t c l i ff e , I a p p r e c i a t e t h e y p r o v i d e d s u p p o r t s w h e n I w a s h a v i n g d i ff i c u l t i e s a n d useful advice in terms of design. 6

Project Framing Ruin Lust City Grain 8

RUIN LUST

Ouseburn, Newcastle

Ruins are the remnants of architecture that once complete have destroyed due to natural disaster or calamity of human in terms of wars and revolutions, thus ruination can be described as the image and the reflection of the past. The ruination is a process of returning back to nature, and the process was seen as a natural phenomenon. It seems that ruin is the result of nature being victorious, but not, ruination is a transitional moment, a balance of fragment between insistence a n d d e c a y, i t i s a n e x p r e s s i o n of ruinous effect of time and a tangible representation of the past, thus the defective quality of ruin should not be erased. 11

SITE VISITING

The defective quality and the equivocal status of ruin can be clearly o b s e r v e d i n O u s b u r n v a l l e y. I n m y observation, I noticed that there are buildings and abandon structure coexist with nature which achieves its unique value, thus, I created a collage to express my thought about ruins and it was present based on the concept of fragment. In the collage, I view Ousburn as a jigsaw puzzle, the image of place can be decomposed into fragment pieces, each piece contains its own value and unique story, in other words, in order to tell that it is Ouseburn all pieces are irreplaceable.

PRINTS & SCULPTURE

The project was began with exploring the surrounding city of O u s e b u r n Va l l e y a n d t r a n s f o r m the exploration into picturesque and expressional works: printmaking and sculpture. In terms of the printmaking, I have made a series of prints to express m y e x p l o r a t i o n o f t h e c i t y. T h e techniques that I used are using the materials that contain their unique texture and arranging them to deliver the information. On the other hand, the fascination of ruins is also achieved at the sculpture, the intention of the work is trying to present the time and the process of decaying, capturing the transitional moment.

1st Prtint

Sculpture - Revival

2nd Prtint 15

PRINT - RETURNING

Ta k e t h e l a s t m a d e p r i n t f o r example, the overall composition of the print is shaped by series of blocks and voids followed the grid lines. The geometric grid lines evoke the influence of modern revolution in Ou se b u rn, the pattern of the soci ety was changed and determined towards a new formation. The blocks are filled with distinct textures which they reveal the diverse community in the area. Furthermore, some blocks are overlapped together to present different degree of density which creates an optical rhythm within the composition, assembling at the centre and fades to the side. In addition, the interference of the green mass i m p l i c a t e s t h a t t h e r u i n o u s e ff e c t i n terms of everything will eventually return back to nature. Therefore, the coloured mass is appeared in organic shape to associate the vegetation.

3rd Print

Water Colour, Ink , Cork & Cardboard 17

SCULPTURE 1 - REVIVAL

Fungus

The overall conformation of the sculpture is created asymmetrically to evoke the unpredictable property of ruination. There is no exact principle for the ruination, everything has their unique pace and intensity of decaying which reminds me of the wild fungus, it is a reverse association, the fungus are grown together but in their own pace and shapes.

The brick is used directly to represent the manufacturing environment in the period of industrial evolution, the defective quality of the appearance is preserved to prove that it is a manmade object. Brick, Grey card & Wire

1. 2.

Whereas the grey flakes with rough fringe, they represent the new built structures fall into ruins again, ruination can be seen as an infinite loop, everything cannot avoid this inevitable procedure. At the same time, they look as if they are growing up from the surface instead, thus, they can also represent the life of structures are continued and revival.

Detail views 1 & 2 19

SCULPTURE 2 - LAYERING

In the sculpture - layering, the concept was derived from the idea of capturing the transitional moment of decaying. I believe that our environment is consisted of decayed objects but in different level, and the objects are layered together to shape the environment where we live today.

The sculpture consists of grey cards and form block as the base. The technique of shaping the grey flakes is similar to that in making the sculpture – revival, the rough edges were created by tearing into different shapes. The flakes were attached vertically on the foam base; thus, the looks are distinctive in different angles which correspond to the environment where we live, people with different background and experience are likely to have different understanding and perspective to the place although the true appearance of the place does not change. 20

Grey card & Foam

Detail views 1 & 2 21

CITY GRAIN

The Industrial Past

The Ouseburn valley is situated at the eastern part of the Newcastle upon Tyne which the area is often regarded as the origination of the industrial revolution in Newcastle and b r o a d e r r e g i o n o f Ty n e s i d e . The industrial development i n t h e Ty n e a n d W e a r r e g i o n was progressed slowly in the first place, but later in time, it became one of the forces of the industrial evolution in Ty n e s i d e , d e v e l o p i n g s e r i e s o f heavy industries in which they motivated the urbanization and social changes of the Newcastle. A c c o r d i n g l y, t h e a r c h i t e c t u r a l typology in Ouseburn Valley was determined and enriched by the industrial activities. 23

URBAN CONTEXT The selected site is l o c a t e d a t A l b i o n R o w, which is in the eastern side of Ouseburn. The site is surrounded by a mixture of residential buildings and business units such as Byker wall, the Malings and Wa r d B r o s S t e e l L td ( WBS Ltd ). Fu rth e rmo re , th e re is a metal scrap yard sitting right next to the site which it was once using by WBS L t d c o m p a n y, h o w e v e r, c u r r e n t l y, i t w a s n o l o n g e r using.

Albion Row, Ouseburn

Metal Scrap Yard 24

Bycker Wall The Malings 25

HISTORY

“Until the 1960s, it was a working-class area of densely built Victorian terrace and slum housing, after which it was redeveloped by the local council, who had condemned the houses as unit for human habitation. Demolition began in 1966 replacement: the now Grade II listed Byker wall estate, which was constructed between 1969 and 1982. In 1969 Knottinen moved to B y k e r, w h e r e s h e l i v e d f o r six years until her house was demolished. She returned over the next decade to continue to document life in the community.”

Kendal Street, 1969

Domestos factory and surrounding terrace housing

1870s

1910s

Mostly agriculture landscape

1980s

Housing beginning to be demolished

Mass terrace housing production Industrial landscape - shipbuilding & Bycker Bridge

Terraced housing made way for 'improved' Bycker Wall & metro bridge constructed

Surrounding terrace housing demolished to make way for Bycker Wall

Present

Industrial landscape mostly abandond Old factories converted into other functions - housing, offices & studios

COMPOSITION

I used printmaking to exp l o re th e i n i ti a l ma ssin g a n d the composition of the design. Each blocks represent the specific function of the space, some are intertwined to each o t h e r, s o m e a r e p r e s e n t e d i n d e p e n d e n t l y, h o w e v e r, I intended to make several blocks d a r k e r, n o t o n l y t o c r e a t e a n optical rhythm but also to locate the significant spaces such as workshop, gallery space and studios

1st Print

2nd Print 28

3rd Print

4th Print

Ink , Cork & Cardboard 29

MASSING

The massing model was made based on the thought of Ricardo Bofill, creating a contradiction in the industrial context but in a figurative means. I try to explore the spatial configuration by making a series of cuboids which arranged based on the grid system. The intention is to present a strict division of space, each cuboid represents the spaces in different characters and functions such as workspace, studio, living space and communal space. This spatial concept is quite contrast to the community of Ouseburn Valley.

Massing model

White Card 31

Project Testing & Synthesis Testing Synthesis 32

Massing model

Cardboard 33

TESTING

During the testing phase, the exploration of the design was started from a reginal perspective, the development was continued based on the understanding of the context. As for the programme, it was planned out to achieve the goal of preserving the forgotten part of city and creating a sense of belonging. While defining the programme, the development was further progressed by creating sketch models to explore the potential of the site and the application of the buildings. 35

SITE

Newcastle City 36

Site Plan

SITE PHOTOS

The abandon building

Western view of the site

View of wearhouses from street

Albion Row street

Metal scrapyard

Sun path

Circulation 40

Vegetation

Surrounding buildings 41

STRATEGY

The site is surrounded by the residential buildings so started the design by studying the planning of the buildings. For example, the planning of Malings is presenting a scattered movement, whereas the planning of the Byker Wa l l h o u s e s , t h e m o v e m e n t performs a paralleled and neat lining movement. Therefore, I determind the movement of the planning first, then I combined the initial planning with the idea came out from the printmaking in terms of geometric grid lines.

Sketches of initial massing 1& 2

Ruins

The Malings

Bycker Wall

PROGRAMME

The objective of the project is to create a mix-use complex for a metal recycling company and local artists who dedicated to use recycled metal to make artworks. The architecture will perform as a centre for people to participate the making process with the local artists, to popularise the craft of metal casting works and preserve the forgotten industrial past and the loss of cultural piece of the place. The proposal can be simply divided into two parts such as working and living area, this approach is to achieve the clear separation of working and living emotion. The programme of the space in the working area was developed based on the procedure of the recycling metal in terms of collecting, storing, processing (shredding metals), melting, purification and solidification, moreover, the focus on each level is distinctive. For example, on the ground level, the workshop and the creative studio are the foremost, the level above, 1st level is focusing on creating public spaces for the visitors, on the top level, the office is the dominant space. On the other hand, in living area, the programme is more focus on the living quality, therefore, the programme was developed surround the residential space.

2 Level

1 Level

G Level Spatial diagram 45

MASSING & VOLUME

The volumetric model indicates that the idea of separation of public and private space. Since there are abandoned warehouses, the design will present a combination of new-built architecture and refurbished buildings to create an innovative place while carrying the historic memories for the visitors. The volumes at the public area are presented with m o r e c h a r a c t e r, t h e v o l u m e s were not only designed differently in height but also i n d i m e n s i o n . H o w e v e r, t h e division of the spaces are still followed a geometric grid line.

Sketches of initial massing

1. 46

Sketch model 1,2,3&4

PUBLIC AREA

Working space Storage Office Circulation Entrance hall Cafe Gallery space Library

DEVELOPED IDEA

At the private area, the warehouses will be converted to residential spaces since the location p r o v i d e m o r e i n t i m a c y. Therefore, the identity of the warehouse will be transformed, from working environment to living e m o t i o n . H o w e v e r, t h e transformation does not mean to destroy every existing structure, instead, roof is the only element will be removed, the walls and the structure will still be persevered since the trace on the surface expresses the industrial past of the place. After removed the roof, new structure will be added advisably into the place which will then create some voids and the voids will be designed as courtyards to harmonise the intense emotion.

PRIVATE AREA

Terraced house Cafe Common space Entrance hall Mezzanine

SYNTHESIS

After testing and exploring the initial massing and volume, the proposal at the public area is a threestory height building. Since there are three significant level differences at the site which they all connect to the street, the entrance level is designed at the first level, the movement of the people is likely to be moving start from the middle level of the building. In order to make the contrast between public and private area more significant, the overall volumetric forms are distinctive, the volumes of public area are more assembled, whereas the volumes of private area, they stand independently. Therefore, there are different spatial quality when visiting two areas. In addition to the materiality, the buildings consist of bricks and the recycled metal as the cladding material. The intention of using bricks and metal is trying to reference the background of the place in terms of industrial revolution and the typology of the context. 55

20m 61

GROUND LEVEL

1. Caffe 2. Common Space 3. Laundry 4. GYM 5. Terraced House

20m

FIRST LEVEL 16 15

6. Common Space 7. Entrance Hall (Residential) 8. Meeting Room 9. Creative Studios 10. Storeroom 11.WC 12. Meeting room 13. Common Space 14. Workshop 15. Working Space 16. Storeroom (Scrap Metal)

20m

14 11 12

10 9

7 8

SECOND LEVEL 22 23

17. Mezzanine 18. Storeroom 19. Office 20. Library 21. Gallery Space 22. Entrance Hall (Public) 23. Cafe

20m

18 17 17 17 17

THIRD LEVEL

24. Meeting Room 25. Office

20m

24 25

FOURTH LEVEL

20m

FIFTH LEVEL

20m

20m 75

PRODUCED BY AN AUTODESK STUDENT VERSION

SHORT SECTION

10m

ESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTO

PART ELEVATION

DETAIL SECTION

2m 79

KEY SECTION

WORKSHOP

The space of the workshop is based on the making possess of recycling scrap metal; thus, having a directionality is important which it defined the spatial quality of the workshop. In the making process, melting is the activity that requires a well-ventilated space, therefore, there is a treestory height skylight located at the area where furnaces are placed.

CREATIVE STUDIOS

The status of the studio space is different from that in workshop space, workshop delivers a more restrict expression, whereas the studio space, I want the space to be more characteristic and creative; thus, there are five individual working units designed in different dimension for artists, as well as a big, shared space when they are working on large-sale art works.

TERRACED HOUSE

Terraced house provides a more luxurious living experience for the people, it contains three bedrooms, a living room and a kitchen. Since the terraced houses are designed along the edge of the existing wall, the light s o u r c e i s l i m i t e d . H o w e v e r, in order to compensate the issue, the courtyard is design at the centre of the building.

Thematic Case Study Report Sergison Bates Architects Suburban Housing 90

Zurich

Section 1

Section 2

Section 3

Section 4

Section 5

APPENDIX

'Home Work' - Photograpgy Studio

100

101

BIBLIOGRAPHY Byker Wall - https://en.wikipedia.org/wiki/Byker_Wall

102

103