Xiaoqian Zhou (Michael) Portfolio by PDF Uploads

PORTFOLIO

Name : Xiaoqian Zhou (Michael) Student number : 170737469 Studio : Curating the city Stage 3 Portfolio Newcastle University ARC3001

CONTENTS

Figure 1. Rendering done by author

Illustrated Reflective Diary

Project Framing

Thematic Case Study Report

Project Testing and Synthesis

Bibliography

114

List of Illustration

116

Appendix

118

ILLUSTRATED REFLECTIVE DIARY

This year is a unique, complicated, and challenging

contains everything - space, experience, memory...

year. We began to combine different sources, skill,

During the design process, what impresses me

and information to form critical thinking and design

most is that the quality of a building is its function

our project. This year, we have learned many things

or appearance and its significance to a large scale,

from different kind of courses. At the beginning

to a city culture or history. It is necessary to think

of this year, I began to write my dissertation. The

about the role of this architecture on a gigantic scale.

dissertation is also related to my design project both of them talked about the relationship between

In the theory and practice course, we also asked

space and history. It is a pretty exciting research point

to produce a personal analysis of specific thinking

for me to understand the meaning of "history" and

about our studio theme. I chose visuality and heritage

"heritage". As the carrier of space, architecture also

as the two main theories to discuss and show how

stimulates the people's experience of the space. For

to translate and use these two kinds of theories

me, the definition of heritage and history is not fixed;

in my design. The exploration and experimental

the evolution of the social environment changes its

focused on the visual concept in terms of the

meaning. The dissertation inspired me to explore the

architectural and physical element. We also tried

different possibility of the design in my project;- how

to make our project more practical, like what we

to find a balance between the modern and historical is

did in ARC3014 and ARC 3013. In ARC 3013 and

my theme of the whole design process - old or new. A

ARC3014, I started designing an actual building

question is always around me: how to do a contextual

rather than designing a building without any

building and respect the history. Is it essential?

practical meaning. I learned the whole vital process of building and some exciting construction details

In my dissertation, I act the Beijing Hutong (Beijing

from these two courses. That also helps me to make

traditional alley system) as a marginal space to

my building looks more professional and practical.

discuss how the marginal space came into being and evolved and provided personal critical thinking

Overall, although the whole academic year is

about this phenomenon, and discuss what we should

challenging for all of us because of the worldwide

do about this phenomenon. Interestingly enough,

crisis of the virus, we still try to present our best in

Beijing Hutong is also a "historical" symbol in

every course. The interesting point about learning

Beijing; it makes me look at historic preservation

architecture is you could learn everything from it and

firsthand and explore more about it. In the meantime,

stimulated everything to it.

design a building does not only design a building. Nevertheless, like design a system, a system that

Figure 2. Photo by author

CULTURAL BIBLIOGRAPHY

During this year and introductory lecture from

Then I also watched some documentaries about art,

university, I also studied architecture through different

regardless of the fact that they seemed to have nothing

sources in my spare time. These sources include not

to do with architecture. However, in observing, some

only reports, lectures from other group or school

artists' understanding of abstraction also stimulated

but also documentaries or books that related to

me to reflect on architecture - is architecture only

architecture or not. All of them have inspired my final

function first? Whether aesthetics should be pointed

design to some extent, although some seem irrelevant

out. At the same time, throughout this year, I also

with architecture. After passing the dissertation,

have read some other group's case studies and themes,

I watched some documentaries as a transition to

such as the Studio 4 House of Memories and Studio 5

the next stage course. First of all, I would want to

weaving in Wallsend. By reading through these cases

introduce a documentary I have looked at - Tadao

studies from the other studios, I realized that we still

and: from emptiness to infinity. This documentary is

have some fascinating studio themes this year, and

offering an exclusive glimpse into Japanese Architect

architecture is rich and full of possibilities. In-studio

Shio Ando. In this documentary, the author introduces

4, "House of Memories", the most attractive part for

Shio Ando's creative implementation of natural

me is how the architect creates a sense of memory

light, his deft interweaving of interior and exterior

to help dementia people by using a different method.

space, and designing structures that elegantly evoke

By reading through a case study from Studio 4,

the contours of the landscape in which they are set.

"House of Memories", I understand how to translate

Some understanding of architecture and light inspired

the initial idea into a helpful diagram and how space

me to the following buildings and made me rethink

can be used differently. At the same time, there still

architecture's meaning. Later, in my spare time,

be have some exciting point from Studio 5. In Studio

I also watched documentaries of other architects.

5, the public construction of the city was essential to

Such as "BIG TIME". In this documentary, I saw

note. What interested me most in this group was their

a series of growth of architect - Bjarke Ingels and

exploration of the social and architectural system

how did he resolve the different kinds of problem

and how to enhance the quality and activity of the

in this process. It is fun to see that his attitude

whole community experimentally. Some of the points

towards solving these problems. That recalls that

from this group have inspired me to further design

in my design process, the process is sometimes

development.

more important than the result. And it is essential to gain experience from the previous design process.

Figure 3. Montage done by author

COMPETITIONS 1. Lagos: city of water competition (Finalist) 2. Sculpting activators of Urban Space During the summer holiday, I also attend two

system in each unit, like people could grow their own

international architecture competitions with my

food (fruits, vegetables and herbs) on their balconies

friend Muhammad Shujaat Afzal (Tony) and

and outdoor public spaces and be self-sufficient, at

Dongpei Yue (Derek) and Guoyi Wang (Robin).

the same time, the ground floor providing a place for people to sell their food in the supermarket and

In the "Lagos" project (Derek Michael Tony), we

simultaneously work there. Although we just got a

aim to provide sustainable housing for low-income

"Finalists" at the end of the competition, it is still a

communities and simultaneously address three critical

very positive experience for the three of us to grow up.

issues of Makoko - rising water levels, lack of green

spaces, and pedestrian-friendly circulation spaces. The

In the sculpture competition ( Michael Derek Robin),

site is located at the edge of Makoko, a neighbourhood

we asked to design an Architectural Sculpture with

located across the third mainland bridge, on the coast

the intention to enliven a public square in the city

of 'Lagos' mainland. In our concept, the architecture

of Paris. The intervention would intend to combine

was designed into a modular system consisting of a

the functional qualities of architecture with the artful

series of communities placed together in a modular

qualities of a sculpture. In our final presentation,

method forming a grid-like structure, providing the

the appearance and form of intervention are the

communities to view each other. Each community

extensions of the fountain elements on the site, which

consists of four blocks joined together by an

also responds to the theme of Concorde Plaza. The

organically shaped bridge serving as a connection

waves are the main element, resulting in irregular

element but also as an outdoor public space. Each

curved surfaces. We then added "coral", randomly

block is designed to accommodate an average of

opening holes of different sizes on the surface to

6 families on the first and the second floor; hence,

create a variety of light changes, and at the same time,

each community can house up to 24 families, which

the transparent space was created, with a particular

roughly adds up to 350 people. The ground floor is

echo to the outside. The overall use of wood structure,

left as a public space for local shops and supermarkets

internal and external with algae/rattan plants, in

along with internal circulation for boats. At the same

environmental protection at the same time also

time, we also provided a complete ecological living

increase the connection between human and nature.

Figure 4. Axonometric drawing (Lagos: city of water competition) & (Sculpting activators of Urban Space) team work

“History in the past is not something you either copy or ignore, it is something you try to metabolize." - (John,2018).

FRAMING - "HERITAGE" INTERVENING OR PROTECTING Saltaire World Heritage site S1

"Heritage" as a property which represents the highest value for the human and environment, it is not a doubt that "Heritage" is a significant component in any country or culture. Additionally, at the same time, the debate about how to protect heritage is always existing. Our studio starts from the premise of ' Curating ' as a method to critically engage a World Heritage Site (Saltaire in West Yorkshire). Moreover, develop a way of curating the site by contributing a design intervention with creative ideas and perceptive studies and a specific theorized agenda. Saltaire, a heritage city, built-in 185153, a model village near Bradford in West Yorkshire, England, named after Sir Titus

Salt ,

built a textile mill.4 Salt moved his business (five different mills) from Bradford to this site near Shipley to arrange his workers and site his large textile mill by the Leeds and Liverpool Canal and the railway. To provide

better working and living conditions for the workers, a big industrial, residential town - "Saltaire" had been built. In this project, the beginning was based on these historical elements and current understanding of the World Heritage Site and its surroundings to explore an experimental design in visuality. Thus, exploration and experiment will focus on visual in terms of the architectural and physical element. In parallel to a border vision of visuality, the testing method in this project will seek to discuss the influence of "intervening" or "protecting" in the heritage site. To explore what we could do for the heritage, and is it possible to create a new way of curating the site by contributing a design intervention. This project will mainly discuss the three parts of 'city as a gallery' (visuality) -there are tourism, experience and space.

FRAMING REFLECTION

I was interested in Saltaire history and its industrial beauty during the framing stage, especially its unique history and textile memories. It is no doubt that the living condition and the whole appearance of the Saltaire had been hugely improving by Titus Salt. In the heyday of the industrial revolution, the textile industry led to the development of the British industry as one of the most critical industries. Saltaire was also built because of the textile industry. In this particular history, I recognised that the textile element is essential to the Saltaire and British and could not be ignored.

Figure 14 5. Saltaire (site photo)

In terms of understanding "Curating the city", I am bound to say that it is interesting to discuss a building on a city scale. How to curating the city by using a different method is what I tested during the whole framing process. In S1, as I mentioned before, we started to understand and explore the city by using different methods. My group was doing the visuality part (City as a gallery). Interesting enough, we exploring this visual theme differently. These all make me further understanding the site itself. After the framing stage, I have learnt the initial meaning of the curating and importance of framing for a project. Design a building could not be independent should think about the bigger scale - city, country, culture etc.

Figure 6. Textile history photo

Figure 7. Saltaire

TEXTILE TO SALTAIRE S a l t a i r e i s a Vi c t o r i a n m o d e l village in Shipley, part of the City of Bradford Metropolitan District, in West Yorkshire, England. At the beginning of the industrial revolution, the textile industry has been the pillar industry of the Uk, and West Yorkshire is not any exception. In the 19th century, due to the mechanisation of the textile industry led to a massive leap in productivity, Britain's economy has soared. Textiles have become a significant industry in West Yorkshire for over 300 years. Saltaire was built in 1851 by Sir Titus Salt, a leading industrialist in

the Yorkshire woollen industry. Salt moved his business (five separate mills) from Bradford to this site near Shipley to arrange his workers and site his large textile mill by the Leeds and Liverpool Canal and the railway. In order to provide better working and living conditions for the workers, a big industrial, residential town - "Saltaire" had been built. However, the historical memory and culture of the textile industry were lost in the process of urban development... Attitudes to the textile industry in the Saltaire grew cold, and few people spoke of the memory of the textile.

Figure 8. Location of the Saltaire done by author Figure 9. Diagram shows the brief history of the Textile and Saltaire done by author

TEXTILE MUSEUMS & GALLERIES IN WEST YROKSHIRE Calderdale Museums

Calderdale museums have had a focus on costume and textile collections since 1900. The museums mainly represented the influence of world textiles on local production and even in the world as well. Braford Museums

Bradford Museums have had a focus on the collection of machines which cover every aspect of the textile industry in Bradford. The collections also contain related items, for example, time clocks, testing machines, a costume collection and photographs. Leeds Museums and Galleries

A broad textile industry collection as a crucial part of its designated industrial collections in Leeds Museums and Galleries. Galleries and Museums in Leeds, which mainly tells the story of Leeds' rich industrial heritage. Wakefield Museums

There are approximately 300 objects collected by Wakefield Council's Museum Service. It also tells a unique story of the textile industry in the region through using the collections, photographs and ephemera etc. Kirklees Museum and Galleries

Circles Museums and galleries reflect the products that were produced in Huddersfield, Dewsbury and Batley areas. The primary collection which is the large pattern book and fancy trade, carpets etc.

Figure 10. Analysis of the existing museum or Galleries in West Yorkshire done by author

FRAME TO DESIGN Based on this sort of historical information and development, the design is first initiated by the key themes around the vital context of Saltaire. From culture to history to experience. Importantly, As a heritage site, it is essential to respect and remind the critical history of the site (past) and provide a better prosperous vision for the Saltaire (forthcoming) by resolving the current issue from the site. Moreover, the project will be designed around the theme of visuality and heritage to discuss the role of the building in the heritage site.

Figure 11. Concept diagram done by author

PROGRAM Textile Research Lab Bradford is still an active textile m a n u f a c t u r i n g c e n t r e . I n We s t Yorkshire, the textiles museum and galleries are mainly distributed in Bradford, Calderdale, Kirklees, Leeds and Wakefield. Each of these local authorities has a museum service, each with essential textile holdings that reflect their local manufacturers. They cover machinery and tools, samples and pattern books and finished textiles. But, it is a pity that not much museum or gallery to commemorate the history of textile in Saltaire. Therefore, I decided to design a Textile Cultural

Figure 12. Concept program diagram done by author

centre in Saltaire to evoke memories of the textile industry in West Yorkshire, also providing a place for student and tourist learning, researching and communication etc. At the same time, this building will also become an important research centre and cultural centre showing the importance of the textile cultural heritage, further conveying the history of the British textile industry. The building itself will virtually improve the British textile industry's awareness and become another essential landmark in Saltaire.

Figure 13. Site location diagram done by author Figure 14. Site analysis diagram with site plan done by author

SITE PROPOSAL The textile research lab is aims to revive the forgotten textile history in Saltaire, and providing a place for student and tourist learning, researching and communication etc. Therefore, the proposed site is situated next to the Shipley college, where originally is a car park area. The site is sitting on the junction

of Exhibition Rd and Saltaire Rd, it is still an accessible site, although it is not located on main St - Victoria St. The site offering a relatively comfortable and quite environment, in the meanwhile the site is surrounded by trees that providing a quite atmosphere for people to evoke the memory of textile.

Figure 15. Long site section (Group work)

Figure 16. Site photo

Figure 17. Site sketch drawn by author

VISON TO SITE

And then, in order to fully understand more about the visuality of the site, I did some basic analysis of the site itself from visuality to demonstrate the relationship between vision and moment, by thorough analysis of the different aspects of moments and gaze to indicate the character of Saltaire and weakness of current urban planning. I separated the analysis into two-part. The first part demonstrates the experience and feeling of each moment; the second part is more tend to the objective aspect, which analysing the influence of vision on people, for instance: "Perspective" "skyline", "different element in site", etc. Based on this analysis, I have a

basic understanding of the site itself and find some site problems. Although the site itself plays an exciting interaction with the people, the site itself still lacks a kind of interaction with tourism due to the huge terrain changes and the single colour of the site. As Urry and Larsen said that "Tourism necessarily involves daydreaming and anticipation o f n e w o r d i ff e r e n t e x p e r i e n c e s from those normally encountered in everyday life." Personally, I could not do a "daydreaming" in the site by using online images and map; from my point of view, the site needs to enhance more in terms of the site's urban structure and society the site.

1. John Urry and Jonas Larsen, The Tourist Gaze 3.0, 3rd edn (British Library, 2011)

Figure 18. Analysis of the vison to site drawn by author

Figure 19. Vison analysis diagram done by author (group work)

OLD MEMORY

Figure 20. Old memory of Saltaire

NEW MEMORY

Figure 21. New memory of Saltaire

ISSUE OF THE SITE

North

South

Lack of connection with the north and south part of the town

OBJECTIVES

Gothic Gothic...

Restricted choice of materials and architecture style

Without enough Museums or galleries to commemorate the history and memory of Saltaire

More.....

Lack of focus point in visuality way

History

lacking in disable access

Future

Preventing 21st century culture from manifesting and becoming future heritage and history

Visuality

The building and its form may be reflective of Saltaire's history and its culture as well, especially the "textile".

The building must renew and refined the view of Saltaire in Visuality. (Tourist gaze and local)

Possibility

Accessible

lack of maintenance and inappropriate alternations of residential and commercial frontages

Relax ?.....

Limitation of further development possibilities

Public open area limited on the south part

Figure 22. Analysis diagram showing the issue of the site done by author

Historical

Allowing the site will grow with modern developments in order to stop fading away (History-Future)

Making access for the site more easily. And design an appropriate circulation for people and disabled

Figure 23. Objective diagram done by author

The Thematic Case Study Report The Paul Marshall Buuilding S1 In this section, we asked to look at 4 case studies that are related to the studio themes and interests. In the next few pages, I only put my small group's booklet, and my part of our booklet will be highlighted by using the black box. My group is choosing the Pual Marshall Building as a precedent to analysis.

Figure 24. Exterior view of the Paul Marshall Building

PROJECT TESTING & SYNTHESIS Textile research lab S2 After the Framing stage in Semester 1, in Semester 2, we started to enter the testing and synthesis stage of the project. In these two stages, we will need to test our design and different kind of ideas, and eventually

Figure 25. Interior rendering (from author's model)

synthesise these ideas into our final desgin through criticial thinking. In next part, I will emphasis the testing process and its relationship with other modules.

TESTING REFLECTION

After the framing stage, I started testing my own design. Throughout the process, my attitudes towards heritage and history have shifted. From the experimental and bold building at the beginning stage to the more simple and straightforward shape at the end that may more respect to that heritage theme. I realized that I should pay more attention to the site itself rather than the building itself. Throughout the process, it is clear that the shape of the building becomes more in line with the site and that some interesting ideas

Figure 26. Interior rendering (from author's model)

(such as visual and city as a gallery) are tested during this stage. At this stage, I tried different ideas and discarded many, but the process was beneficial for integrating the design in the final synthesis stage. In the meanwhile, in this process, we are still working on other courses that I have inspired these different courses into my design—especially the ARC 3013 and ARC3015. Although I did not use many ideas in my final design, it is still a good design process to identify problems and solve them.

Figure 27. Process model done by author

TIMELINE : DESIGN PROCESS In these few weeks, it is obvious to see that I used many ideas to test the different possibility of the form to the site. During the whole design process, what impressed me most was realising the importance of starting from the field. At the initial stage of testing, most of the idea only considers the building itself rather than on the city scale or cultural scale. That makes some of the initial

massing forms looks interesting but no related to the site. However, testing different ideas in this stage also helps me gain more experiences for my final project. In my final design, the whole design process will become more contextual and straightforward related to the site itself.

Figure 28. Sketch of design process drawn by author

Figure 29. Initial concept sketch drawn by author

INITIAL CONCEPT In my original idea, I tried to talk about the shuffling and rearrangement of various spatial functions. In this stage, I explored how to reorganize spatial structures and rearrange them. (The site selection above was not

a final choice. At the same time, I also made some sketches to connect the building with the site's terrain (the site has a height difference of two meters from north to south).

Figure 30. Initial concept of resolving the issue of the change of topography drawn by author

Figure 31. Traditional China garden design plan

VISUALITY - YUANLIN And then, I tended to think about how to integrate the idea of visuality into my design. Therefore, I started to analyse some precedent and read some books to improve my idea. The traditional garden design( 园林 ) is a precedent that I analysed. In this part, I started to think about creating a “daydreaming” or “imagination” to create a space or improve an

environment. Because the Chinese garden is a place where I have really experienced it, meanwhile this kind of spatial experience is also in line with Urry’s theory - the imagination left by the landscape design in China is profound and impressive.

Figure 32. Traditional China garden

First of all, in order to have a basic understanding of Chinese garden design, I started to analysis the shape and circulation of China traditional garden design from the plan. Through the analysis, I found that most of the garden graphic design belongs to the design of the combination of internal angle ( 阴 ) and external angle ( 阳 )- complex space( 阴阳角 )1 that makes people could not experience and see the whole space at once, otherwise people need to keep moving instantly to see the whole space. In some points, that not only enriched space experience, but also allowing people to move and perceive different spaces while stimulating “daydreaming” and “imagination” of the next time. The result is the whole space experience will be very interesting and full of anticipation due to the “complex” of space. At the same time, due to the traditional Chinese garden design is usually accompanied by natural elements such as water and stone, meanwhile these elements can also be found in each space of the garden. 2 That makes these natural elements create a continuous spatial experience in people's subconscious, and connecting each discrete space with these elements. Therefore, I was thinking how to integrate this idea into my design.

Figure 33. Diagrams show the circulation and analysis of China garden design by author

2. In this definition, the definition of “internal angle and external angle” 阴阳角 which defined as a space which combine the internal angle and external angle from geometry aspect. 3. Suining Ding, ‘Culture Reflections Embodied in Modern Architecture: An Analysis Symbolic Meanings of Classical Chinese Garden Design Elements and Principles’, in 2012 ASEE Annual Conference & Exposition Proceedings (presented at the 2012 ASEE Annual Conference & Exposition, San Antonio, Texas: ASEE Conferences, 2012), p. 25.373.1-25.373.10 <https://doi. org/10.18260/1-2--21131>.

Figure 34. Design process model done by author

TO DESIGN At the same time, due to my programme is related to textile, so I started to think about how to put this kind of design method into my design. Firstly, I tried to translate the feeling of the textile as a part of my design. The building itself conveys a story about the textile by using unique interior or external structure

Figure 35. First final draft model done by author

TESTING and space design. I did first, which is to make my building related to the weaving in form. I created a lot of connection between two parts of the building that shows the weaving experience through the building. However, the form looks too weird for the site itself. Therefore I gave up this idea too.

In this model, I attempt to combine and reshape the idea of gaze and textile; at the same time, the building itself provides a kind of respect for the site and history of heritage. Interior circulation and interior structure play a vital role in my design because I tried to create a unique space experience

and memory by using different kinds of material and experimental methods. At the same time, due to the site's historical importance, I also want people, tourist or student to have a space to rethink and image. But in the end, I also gave up this idea because the form and the building itself are also too big for the site.

Figure 36. Second draft model done by author ( the one show in ARC3013)

RETHINKING In this model, I started to work on the relationship between architecture and trees; how do they merge? At the same time, in order to not damage the surrounding building and environment, I controlled the scope of the building within the original boundary which the total area of the site is only less than 750-meter square. In this design, the whole building is four storage buildings containing the ground floor extension area to fix the problem of the

tree and building. On the ground floor, I designed couples of the box which extend to the site boundary. It does not only provide an open space for people to looking in but also the box itself becoming to be a space to communicate with each other. The facade of the building's materiality mainly consists of brick buildings, which is a positive material reflected and contextual to the surrounding building.

Ground floor Plan

First floor Plan

Second floor Plan

Third floor Plan

Figure 38. Plan section and elevation of the second final draft model done by author (ARC3013 works)

FUTHER DEVELOPMENT

Figure 37. Programme Analysis Diagrams done by author

In the end, I also abandoned this idea, mainly for two reasons. One reason is that the building itself does not correspond well with the site's terrain, and the protruding blocks seem to be deliberately designed. The connection between the building and the site is still lacking. After deciding to abandon so many of my previous ideas, I started to rethink my design process. I reflected that I was always more concerned

with the appearance of a building than with its relationship to it. So in my final design, I think not from the appearance of the building, but from the site itself, thinking about how to respond to the site. In the next few pages, I will discuss some of the explorations of materials and how they are used in my architecture.

Figure 39. Design process

Figure 40. Exterior view

PRECEDENT ANALYSIS - KOLUMBA MUSEUM

For the technical research of the precedent building, I chose the Kolumba - Art Museum of the Archdiocese of Cologne, designed by Peter Zumthor. This building shows the perfect reflection of the site itself and uses outstanding geometry to interpret the unique harmony of building and site. In this building, one

of the most attractive parts is his use of materials and light, making the whole building more lifeful and enjoyable. In this building, he also used the openwork brickwork to reflect the building as part of the material.

Figure 41. Interior lighting experience

Figure 43. Analysis of the construction detail drawn by author

THINKING THROUGH MAKEING - BRICK In thinking through making, I choose brick as a material to explore the construction of the Solid and perforated brick to the whole structure of the building. The reason why I need to analysis the brick in this section that is becasues I want to demostrate the relationship between this construction to the

function and aestheticc to the building. Especially like how this brick construction influence the experience of the people when they walk through the building. (In this section, I only did a basic model becauses I don't have enough material at that time)

Figure 42. Brick testing model done by author

SYNTHESIS REFLECTION

In the final integration phase, I tried not to concentrate too much on the building itself. It was the most challenging phase for me because I gave up most of my previous ideas, which forced me to start designing my building all over again. In rethinking and designing, I thought about what role this building should play in the site? This is of great importance to my architecture, not only for the appearance and shape of the building itself but also for the meaning of the building. At this stage, I did not pay attention to the shape or appearance of the building; instead, of started from the function of the building,

Figure 44. Rendering done by author

the relationship between the streamline and the site. The transformation of this change made the whole design process more logical, and the building itself was more in line with the heritage of the site. At this stage, I spent more time on learning about the site, some through the website and Google Maps, some through books. At the same time, in the arrangement of space, I also referred to the previous theories of TESTING which stage and tried to make my internal space more riched and interesting, with a sense of memory. This is a key stage but also a relatively difficult one.

SYNTHESIS REVIEW FEEDBACK

In my final presentation in portfolio, I changed the central connection part of the ground floor and first floor. By redesigning the ramp on the ground floor and first floor, my building provides better accessible access. At the same time, I also added some details to the section, making my section look more

attractive. Additionally, the exterior and interior rendering also provided more detail that related to the programme - textile research lab. And have double-checked the position and distance from tree centres to the walls.

Figure 46. Diagram shows the relationship between the site and building done by author

FINAL STAGE

In the final design, the building plays a modest and vibrant role on the site. The new laboratory is limited to 600 square meters, making the most of the existing space on the site while retaining most trees. The building is 43 meters long, 12.5 meters wide and 17 meters high. In order to create a new skyline, the building is slightly higher than the school to the north. This allows the building itself to have a direct dialogue between the building and the site's SALT MILL and maintain the original laboratory's privacy while also

74 45. Model rendering done by author Figure

interacting with the site. The first floor and part of the second floor of the building are clad in glass, while the upper floors are covered in traditional brick. The top is a conventional metal triangular truss structure, with two skylights at the top. While providing sufficient daylight for the building, it also adds a partial industrial feel. The first and second floors are also cut in two by the street-facing west, connected by two different ramps and staircases. It forms a spatial interweave.

76 47. Axonometric drawing drawn by author Figure

Figure 49. Initial concept sketch drawn by author

FINAL - CHANGE

In my final design, the form becoming more simple and carefully thinking about the relationship between the tree and building itself. There are two entrances provided for students and local people

Figure 48. Model rendering done by author

and tourists separately. The Interior part was claaded by glass which represented a connection with the future. At the same time, access to the building is becoming more easily.

Figure 51. Main circulation analysis Figure 50. Master plan

DESIGN PROCESS Basically, in my final design, I trend everything into a logical and straightforward way. A simple rectangular cube with a triangle roof is the primary form of my building. The central concept of the building is trying to represent a simple form from the outside and shows a more complex space inside the building. In order to follow the geological changes of the site, the south part of the building is up 2 meters, which make the building is divided into two parts. That connects with the interior corridor and ramp.

Figure 52. Design process diagram Figure 53. Small site plan

1. MASSING

2. ALLIVATING

3. UPING

First, creating a basic mass on the site. The height of this cube is 16m

Second, the building was divided into two part by a void space which facing to the Titus street

Third, due to the site has a two meters topography change, therefore the south part of the building was raised two meters

4. CONNECTING

5. CIRCULATION

6. TRIANGLE ROOF

Two main public volume was placed on the ground and first-floor area to connect these two parts, which provides a unique walking experience.

Two main stairs were placed on the north and south part of the building. Both of them provided fire protection and open for everyone.

In order to echo to the surrounding building, the roof was designed into a triangle form.

Ground floor Ground Floor

Two parts - 2m

Ramp & Stair

Fire escape stairs

First floor First Floor

Connection - corridor

Public stair

Fire escape stairs

CIRCULATION GF-FF The regional circulation of the ground floor and first floor are the two points of this design. The two-meter topography change is resolved by connected a ramp and a public staircase. At the same time, the west ramp also provides a feasible circulation line for

84 54. Gound floor and First Floor Circulation Analysis Figure

the disabled. On the first floor, a corridor connects the north and south sides of the volumes, while affluent overhead areas increase the sense of interaction in each space. Space and space are interrelated.

5 7

1 4

Figure 55. Vison to memory diagram

VISON TO MEMORY In the final design, I strengthened the sense of use and memory of each part of the space. Most of the space is interwoven through overhead areas and ramps. People are "lost" in this space, and the boundary between space

and space is blurred. In order to make the small space inside look more open and transparent, the interior of the building is rarely separated by walls. Most of the space is open and free.

Figure 56. Explosive drawing

2 3

5.2 m

7 8 9

10 9

11 12

GROUND FLOOR PLAN

FIRST FLOOR PLAN

1. Reception 2. Staff room 3. Fire escape stair 4. Toilet 5. Disabled toilet 6. Open meeting area 7. Open office area 8. Relaxed area 9. Ramp 10. public stair 11. cafe 12. Fire escape stair 13. Lifts

1. Open meeting area 2. Storage room 3. Fire escape stair 4. Toilet 5. Disable toilet 6. Open lab 7. Public stair 8. Private meeting room 9. Corridor 10. View point 11. Fire escpae stair 12. Lifts

12.8 m

4 6

3 5

7 6

9 10

13 11

SECOND FLOOR PLAN

THIRD FLOOR PLAN

1. Private meeting room 2. Storage room 3. Fire escape stair 4. Toilet 5. Disable toilet 6. Teaching room 7. Public stair 8. Workshop 9. Lab 10. Workshop 11. Public library 12. Fire escpae stair 13. Lifts

1. Public meeting area 2. Storage room 3. Fire escape stair 4. Toilet 5. Disable toilet 6. Public workshop 7. Public workshop 8. Relaxed area 9. Studio 10. workshop 11. Relaxed area 12. Fire escape stair 13. Lifts

Figure 57. Double height space experience

SPACE - INTERACTION Rich double-height space increases the interactivity of the whole building. While ensuring functional integrity, it increases the sense of the use of the space. When people pass through each space, they can also peer into another space. Space and space are connected.

94 58. Section AA Figure

ROOF - INDUSTRIAL In order to respond to the industrial history of the Saltaire, the roof's structure was designed into the triangular truss structure, which tries to show an industrial feeling. At the same time, it

maintains the stability of the overall form. Two long windows are opened on both sides of the roof to provide better natural light for the top roof space and increasing ventilation.

Figure 60. Roof structure analysis sketch drawn by author

96 59. Section BB Figure

Figure 61. Third floor area

Figure 62. West Elevation

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Figure 63. East Elevation

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RYTHUMN - WINDOW The exterior of the building (Windows) was also designed in connection with the theme of weaving. Instead of the usual regular arrangement of Windows, they were broken and arranged in a seemingly random manner. In the final design,

Figure 64. South elevation (left) North Elevation (Right)

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the Windows are set in different ways according to the function of the interior space, and the experience of the interior space is also affected.

Regular

Irregular ?

Boring ?

Interesting ?

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Figure 65. Structure diagram

STRUCTURE - OLD TO NEW In terms of the material and construction of the building, I used historical and contemporary material to shows the contrast between the old and new. The main facade of the building is clad by brick, and the main interior structure is reinforced

concrete which provides a stable heat transfer through the building. On the other hand, the glazed is used as a cladding material on the ground and first-floor area, providing a light sense of space and differentiating the old from the new.

Figure 66. Structure diagram Figure 67. Analysis of reinforced concrete structure

Rebar

Floor slab

lower column Rebar

Pad foundation

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Figure 68. Ground floor area

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Figure 69. First floor corridor area

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Figure 70. Model rendering done by author

Figure 71. Detail construction

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Figure 72. Second floor workshop area

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BIBLIOGRAPHY Abstract: The Art Of Design | Christoph Niemann: Illustration | FULL EPISODE | Netflix, 2020 <https://www.youtube.com/watch?v=q_k8fVNzbGU&ab_channel=Netflix> [Accessed 6 February 2021] Allan, John, John Allan: Lubetkin And Me, 2018 <https://www.youtube.com/watch?v=_ zkV4zbFoZU&t=2510s&ab_channel=Architecture%2CDesign%26Planning> [Accessed 18 April 2021] Burford, Neil, and Jianfei Zhu, "CURATING THE CITY Embodied Reading And Progressive Conservation For The Saltaire World Heritage Site", 2020 Burns, Peter, Cathy Palmer, and Jo-Anne Lester, eds., Tourism and Visual Culture (Wallingford, Oxfordshire [England] ; Cambridge, MA: CAB International, 2010) Cresswell, Tim, Place: A Short Introduction, Short Introductions to Geography (Malden, MA:

Riegl, Alois, Modern Cult Of Monuments: Its Character And Its Origin (MIT Press) "The Saltaire Village Website, World Heritage Site", Saltairevillage, 2021 <https://saltairevillage. info/> [Accessed 22 February 2021] Tiesdell, Steven, Taner Oc, and Tim Heath, Revitalizing Historic Urban Quarters (Jordan Hill, Oxford: Architectural Press, an imprint of Butterworth-Heinemann, 1996) Tuan, Yi-Fu, Space and Place: The Perspective of Experience, 7. print (Minneapolis, Minn.: Univ. of Minnesota Press, 2011) Urry, John, and Jonas Larsen, The Tourist Gaze 3.0, 3rd edn (British Library, 2011), p. 2-109 Wells, Karen, ‘The Material and Visual Cultures of Cities’, Space and Culture, 10.2 (2007), 136–44 <https://doi.org/10.1177/1206331206298544> Whyte, William H, The Social Life of Small Urban Spaces (Project for Public Spaces, 1980)

Blackwell Pub, 2004) Ding, Suining, ‘Culture Reflections Embodied in Modern Architecture: An Analysis Symbolic Meanings of Classical Chinese Garden Design Elements and Principles’, in 2012 ASEE Annual Conference & Exposition Proceedings (presented at the 2012 ASEE Annual Conference & Exposition, San Antonio, Texas: ASEE Conferences, 2012), p. 25.373.1-25.373.10 <https://doi. org/10.18260/1-2--21131> Foucault, Michel, The Birth Of The Clinic (British Library, 2003), pp. 17-101 Moir, J., ‘Seeing the Sites: Tourism as Perceptual Experience.’, in Tourism and Visual Culture, Volume 1: Theories and Concepts, ed. by P. Burns, C. Palmer, and J. A. Lester (Wallingford: CABI, 2010), pp. 165–69 <https://doi.org/10.1079/9781845936099.0165> Mutuli, Ian, "Kolumba Museum By Peter Zumthor: Moving On, Majestically | Archute", Archute <https://www.archute.com/kolumba-museum-peter-zumthor/> [Accessed 30 May 2021]

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LIST OF FIGURES ALL GRAPHICAL IMAGES, DIAGRAMS AND DRAWINGS WERE PRODUCED BY AUTHOR, EXCLUDE THESE:

Figure5. Saltaire (site photo) Rodwell, Dennis, Saltaire (Site Photo), 2002 <https://www.researchgate.net/figure/Saltaire-was-builtin-1851-76-by-Sir-Titus-Salt-as-a-single-planned-model-industrial_fig3_271401103> [Accessed 19 January 2021]

Figure6. Textile history photo Hopley, Claire, Textile History Photo, 2021 <https://britishheritage.com/history/history-britishcotton-industry> [Accessed 11 June 2021]

Figure7. Saltaire Saltaire, 2015 <https://canalrivertrust.org.uk/enjoy-the-waterways/walking/canal-trails/bingley-tosaltaire/saltaire-world-heritage-site> [Accessed 29 February 2021]

Figure15. Long site section (Group work)

Figure 31. Traditional China garden design plan Traditional China Garden Design Plan <https://zhuanlan.zhihu.com/p/57897785> [Accessed 24 February 2021]

Figure 32. Traditional China garden Traditional China Garden <https://zhuanlan.zhihu.com/p/57897785> [Accessed 22 February 2021]

Figure 39. Design process Design Process, 2017 <https://divisare.com/projects/349228-peter-zumthor-rasmus-hjortshojkolumba-museum> [Accessed 12 April 2021]

Figure 40. Exterior view Exterior view, 2017 <https://divisare.com/projects/349228-peter-zumthor-rasmus-hjortshoj-kolumbamuseum> [Accessed 12 April 2021]

Figure 41. Interior lighting experience Interior lighting experience, 2017 <https://divisare.com/projects/349228-peter-zumthor-rasmushjortshoj-kolumba-museum> [Accessed 12 April 2021]

Figure 16. Site photo Site Photo, 2021 <https://www.google.com/maps/place/Saltaire,+Shipley/@53.8365653,1.7887135,110m/data=!3m1!1e3!4m5!3m4!1s0x487be440e275f95d:0x261062bd5fa692e2!8m2!3d5 3.8382402!4d-1.7896135> [Accessed 1 May 2021]

Figure 20. Old memory of Saltaire Old Memory Of Saltaire <https://saltairevillage.info/> [Accessed 7 May 2021]

Figure 21. New memory of Saltaire New Memory Of Saltaire <https://saltairevillage.info/> [Accessed 7 May 2021]

Figure 24. Exterior view of the Paul Marshall Building Exterior View Of The Paul Marshall Building <https://info.lse.ac.uk/staff/divisions/estates-division/ lse-estate/development-projects/the-marshall-building> [Accessed 11 February 2021]

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SCANNING OF PROCESS WORK

LIST OF APPENDIX

Scanning of process work (Attached with this document) Thematic Case Study / Visuality booklet (Attached with this document) ARC3013 / 3014 / 3015/ 3060 (Attached as a seperate document) Stage 2 Portfolio (Attached as a seperate document)

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THEMATIC CASE STUDY (FULL GROUP REPORT)

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122

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VISUALITY BOOKLET (FULL GROUP REPORT)

尾注 1 2

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