STAGE 3 PORTFOLIO XAVIER NICHOLAS CHEN STUDIO 7 - RITUAL 2019/2020
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STAGE 3 PORTFOLIO XAVIER NICHOLAS CHEN 170430375 2019/2020
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CONTENT
XAVIER NICHOLAS CHEN BA Architecture School of Architecture, Planning and Landscape Newcastle University xavinicho@gmail.com 4
ILLUSTRATED REFLECTIVE REPORT
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STUDIO INTRODUCTION
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PRIMER STAGING THINKING THROUGH MAKING REALISATION & SYNTHESIS RESOLUTION
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CASE STUDY ILLUSTRATED CULTURAL BIBLIOGRAPHY
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REFERENCE
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Refined or new work after review 5
ILLUSTRATED REFLECTIVE REPORT The concept for my whole project is about disconnection and reconnection. From looking at Kintsugi to designing a multipurpose building, accepting and celebrating history is the main goal, therefore, the gesture of making connections and highlghting important places and infrastructures in Blyth has been made throughout. With the aid of other modules and activities, it has supported my design. For ARC3015, I have looked at mapping as a creative agency to discover and explore ideas and designs. Mapping has been a massive part of my project, having to embrace the history of Blyth. Other modules such as AR3013 and ARC3014 focused on the technical and practical aspects of the design. I have studied how the construction of my design work technically, as well as the process and my role as an architect in a professional practice. Looking back over the last nine months and the three years as an architectural student. There are a few key things that I have learned apart from technical skills and knowledge that made me a better designer. Learning my mistakes from last year, I have tried to be more engaged with the design process, for the previous two years. I was always reluctant to embrace and trust the design process as I am afraid to fail. This year I have decided to spend more time testing and trying different things during the design process. Even though it is a long and frustrating journey, I think the end result of the design is worth it. I have realised that a strong concept or idea might spark any time, but a good design cannot be rushed and develop at an
instant, it has to be tested and refined to reach its full potential. I am glad that I had built a strong foundation from the primer stage with a solid concept that has been base of the whole graduation project. Another skill I have learned as a result of believing in the design process is letting go of a good idea. Particularly in the realisation and synthesis stage, my design has evolved continuously, and I always had to make tough decisions to pick one idea over another. Reading this from a book about a year ago, I never fully understand what exactly does it means but a good idea does not mean it will make a design better. I have held on to designing my building with a gap similar to the joinery model from primer to try to fulfil and show the concept of disconnection and reconnection. I had to let go of this idea at the end simply because it does not work well with other conditions and limitations. Rather than trying to combine every idea I loved into one design, I have to keep it simple and be critical of what works and what does not.
My three years in Newcastle, studying architecture had made me a better designer, even though there are a lot of skills and knowledge I have not acquired. However, I have learned one of the most important skills of “being process-oriented, not product-driven.� Stage three has been one of my favourite years as a learner, as I have learned from the mistakes I have made from the previous two years. I believed that I have improved significantly during stage three and have more confidence which will benefit me moving forward as a designer.
Though at times, I still am very indecisive when receiving feedback from tutors and peers. I had struggled to find my own voice and character. Design and architecture are very subjective, with no definite right or wrong answers. Reflecting on the design is crucial, but the more important is the reflective process with the critiques and feedback. We can not take feedback as an absolute of things we need to do, but rather some suggestions and ideas; we might not implement or use it. As we are the designer of the project, we have to take ownership of making decisions and designing the project.
Concept sketches of each design scheme 6
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STUDIO 7 RITUALS Ritual studio focuses on how a ritual can play a role in shaping architecture and vice versa. Our everyday life are full of different rituals and routines, our studio look closely at the sequence of actions in our mundane daily life. Throughout the year we would reflect on how the architecture can manipulate space and enhance that journey and experience. Tutors Kati Blom & Craig Gray Studio Members Charlotte Ashford Roxana Caplan Xavier Nicholas Chen Jean Nee Chia Franky Choy Heymans Choy Marc Gutterrez Nicholas Hong Jianbo Huang Brian Hui Mirza Imtyaz Kushi Lai Hyelim Lee Sasha Feyzan Sarachoglu Sasha Swannell Rachel Xie Zachrias Yiassoumis
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PRIMER The Primer focused on designing a small scale structure that interpret a ritual. After visiting Blyth and researching about it, its history stands out the most to me and lead me to focus on addressing the context and history of Blyth. Founding a relevant ritual that also value history has strengthen the connection between the concept and the ritual.
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BLYTH
The location of the site for our studio will be set in Blyth, a town 13 miles northeast of Newcastle upon Tyne. The town has a rich history in coal minning and shipbuilding, however most of them have vanished as the town starts aims to revitalise Blyth with commercial developments and urban regeneration. Over the last two decades, Blyth has beenn developinng its renewable energy sector, particularly their offshore wind farm. Blyth is now home to the “UK’s lead- ing technology innovation and research centre for offshore renewable energy.�
BLYTH
Our studio will be focusing on three different sites: market square, bus stop and the peninsula. All three sites are distinct from each other. The market square is a wide and open plaza that are used as a market place regularly. The bus stop site is a dense and busy bus terminal. The peninsula site is located on the far east of Blyth that is quite and remote.
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MARKET SQUARE SITE
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BUS STOP SITE
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PENINSULA
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Key Places
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1. Bus Station 2. Blyth Library 3. Keel Row Shopping Centre (before: school and chapel) 4. Blyth Market Square 5. Offshore Renewable Energy Catapult 6. Wind Turbine These six infrastructures are important to Blyth that I would like to address and respond to. All these infrastructures can represent Blyth’s history and identity. The school and chapel that no longer exists represents the history, the bus station and library represents the presents, and the Offshore Renewable Energy research centre and the wind turbine represents the future of Blyth.
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SITE AREA
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Site Analysis
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INDUSTRIAL
AMENITY
KEY PLACES
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After visiting the site and analysing it, two things were spotted and inspired me to take my project in this direction. First, the community has a rich history as a port at the harbour and peninsula with industries like shipbuilding, coal mining and railway etc. which most of them have vanished. However, the second reason is the division between the community and their history at the harbour and peninsula with the industrial area. 19
Serial Vision
Journey through the three sites in Blyth
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Site Section
BUS STOP SITE
Hand draw: Nicholas Chen, Franky Choy, Heymans Choy, Marc Gutterrez, Hyelim Lee, Feyzan Sarachoglu & Rachel Xie Illustrator: Charlotte Ashford, Roxana Caplan & Sasha Swannell Photoshop colour: Brian Hui, Zak Yiassoumis 22
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Bus Stop Site History
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1940s
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A historic map of the site at 1930s showed that the bus stop site has been a public space for gathering and it was also surrounded by amenities such as school, chapel and theatres. In March 1943, it was published on newspaper that Blyth Council had sold the site to United Automobile Company who would build a bus station on the site. The site had beenn used as ann ornamental space for many years. The rich history in Blyth and the lost ameninties around the bus stop inspired me to choose this site, along with the constrains this site has, the bus stop site has a lot of potential to be develop. 24
Site Response Model
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The site response model depicts my thoughts after visiting Blyth, in which the industrial infrastructure by the harbour creates a barrier that seperates the residential area and the peninsula, creating a disconnection between the community and the rich history of Blyth. The industrial area is exaggerated in the model to emphasises the disconnection. 25
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Breaking
Mending
Concept Through Joinnery
Ritual
Japanese art of fixing broken pottery pieces back together with gold seams. The art is a metaphor for life where imperfections are part of our life and we should embrace it. The breakage and repair are the history of an object and it can turn into something unique and beautiful. The ritual can be divided into four main parts: Breaking, Mending, Polishing and Highlighting. 26
Polishing
Highlighting
The joinery workshop in Liverpool helped us in translating our concepts, theme and key words into a joinery in order to understand our concepts and how to translate it into a design. The joinery combined my concept and the ritual of kintsugi together with a piece of wood sliced into two piece and joined back together while still showing the breakage using brass joints, showing the concepts of mending and embracinng history. 27
Concept
Mending - Embracing - Disconnection The concept for the Primer is to reconnecting the Blyth community to their past history at the harbour. The concept image was inspired by the chosen ritual of Kintsugi. The golden ‘cracks’ in the image shows significant places in the History of Blyth, the bus stop sits in the heart of Blyth as a social public space for a significant period of time, making it a perfect site to reconnecting the community with its history.
Conncept Image
Mending - Embracing - Disconnection 28
The first concept model in respond to the ritual was a shelter that are fragmentated similar to the Kintsugi ritual which create gaps and spacing between panels which can create different spatial qualities depending on the angle of the light. 29
Design Development
Breaking
After looking at historic maps of Blyth, I found out that the bus stop site has been a public communial space for a long time and it would be good place for people to gathering in this site to do Kintsugi as a ritual.
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Reasembly
Display
The design was then determine by the process of the ritual itself, which can be divided into three steps: breaking, reasembly and display. Each step of the ritual will have a individual space which clearly differntiate each part of the process from each other and each space will have a different atmosphere.
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Primer Plan & Section
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Conceptual Plan & Section
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1:50 Primer Model
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STAGING The first stage of the graduation project focused on planning and developing a brief. The graduation project will build on top of the strong foundation of the Primer, continuing with the same concept of reconnecting to Blyth.
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Blyth’s Offshore Renewable Energy Sector
CATAPULT - Offshore Renewable Energy UK’s leading technology innovation and research centre for offshore renewable energy in Blyth
Programme Planning
I believe that Renewable energy will be the future of Blyth, the aim of the graduation project would be to bring the Blyth community and their future in renewable energy together to improve their sense belonging. The graduation project will be designing a new interchange replacing the existing bus station alongside a multimedia centre on top for the community of Blyth. The new bus station will be more consummate, encouraging people to use the bus services. The multimedia centre on top will complement the library opposite and act as a social hub for the Blyth community to congregate.
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Function Operation and performance - working with owner/operators and OEMs in the area of Operations and Maintenance, driving improvement in the existing wind farm fleet, developing the UK’s capabilities and opportunity in this critical area of service delivery and enabling future global exports. Testing and validation - appling expertise and assets to supporting technology development and demonstration with major industrial partners, technology innovators and the research community, delivering improvements to existing technology and driving the development of the next generation. Research and innovation - supporting the development and commercialisation of future offshore renewable energy technologies through both applied research in collaboration with UK and international academia and via direct innovation to SMEs (About Us | ORE Catapult | Offshore Wind, Wave & Tidal Technology Innovation, n.d.). IR.9
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The combination of a transport hub and multimedia centre not only allow the existing bus station to be redeveloped as it is an important transport link in Blyth. It also rejuvenates the area by having a library and studios that can bring more creative activity to the area. The restaurant and observation deck can attract residents and visitors to learn more about the history and future of Blyth that will improve their sense of belonging in Blyth. 41
‘More to do’ on bus services in Northumberland, says campaigning councillor pushing for improvements
Precedent Study
Oodi Helsinki Central Library ALA Architects Helsinki, Finland 2018
A Northumberland councillor who has been campaigning for better bus services and cheaper fares is again calling for more investment in public transport. By Ben O’Connell 27th January 2020
The OODI library aims to “embrace technology and progressive values to provide a variety of innovative services alongside its lending collection of books.” The programme of the library can be divided into three main sections. The grounnd floor which accommodates the National Audiovisual Institute’s cinema, along with a restaurant that can extend out onto the plaza in the summer. The middle floor contains multipurpose rooms used as offices, studios, meeting areas and maker spaces. The building’s upper floor (book heaven) contains the library stacks in another predominantly open space topped with a distinctive undulating white ceiling.
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“Here, the best characteristics of the modernist library meet the possibilities provided by 21st-century technologies...The serene atmosphere invites visitors to read, learn, think and to enjoy themselves.” (González, 2018)
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The OODI library demonstrates the programme organisation of a ‘modern library’ which is highly similar to the programme of my graduation project, as I’m not designing a library that replaces the Blyth library across the road but instead to complement it with technologies that enhance the experience of learning.
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News On Blyth’s Bus Service
Bus service in Blyth is an important transport link for the community specially for the elderly as they rely on the bus services to travel and connect to other communities on a daily basis. This shows the significance of the bus services and the bus station in Blyth and it will be a key part of the gradaution project. 42
In 2019, we reported on Labour’s calls, led by Coun Kath Nisbet, for the Conservative-led county council to do more as bus use declines and fares rise.
This came into effect earlier this month alongside more express buses between Blyth and Newcastle during commuter times and a new service for Northumberland Business Park.
At the time, a spokesman for the authority pointed out that while 80% of the county’s bus services are commercial, the remaining 20%, which mainly serve the rural north and west, ‘are funded either in part or fully by county council contributions and illustrate our commitment to providing accessible public transport to communities not served by the commercial network, at a time when some local authorities have removed funding for supported buses entirely’.
Coun Nisbet, who represents the Croft ward in Blyth, is now in the process of setting up a face-to-face meeting with the bus giant to call for further improvements.
Coun Glen Sanderson, the cabinet member for environment and local services, added: “We do allocate significant amounts of public money to support bus services in the county and as we look to the future, our climate change action plan will reflect our wish to do more to highlight public transport and bus services in particular.”
“This is good news for people like me who rely on bus services, but we still have a long way to go in making bus fares more affordable, we need more investment in public transport from the Tories on Northumberland County Council and the Tories in Westminster. Only then will we get a better, cheaper and more reliable bus service for everyone in Northumberland.” The Local Government Association has revealed that last year’s figure for buses in Northumberland was 7.8million miles – 417,000 fewer than in 2017-18.
At the same time, Labour also highlighted that Arriva, which runs a large proportion of bus services in the county, charged passengers travelling from Seaton Delaval to Newcastle £2.50 more for a day ticket than people travelling from nearby Seaton Sluice to Newcastle, for example.
The LGA, which represents councils, says an increase in fares – which are up 71 per cent in real terms since 2005 – and a £700million annual funding gap for the concessionary fares scheme are contributing to the decline in services and usage.
In the wake of our report, the company announced that it would be cutting the price of some of its one-way tickets between Blyth, Seaton Delaval and Seghill to Newcastle ‘to improve value for money and match other services in the area’, resulting in reductions of up to 80p for a single journey.
The LGA’s transport spokesman, said: “Local bus services play an absolutely vital role in connecting communities and are a lifeline to older and vulnerable residents who rely on buses on a daily basis. They are also important in tackling congestion, air quality and climate change.”
“Plans for a national bus strategy are an important step. The continuing decline in how far buses are travelling and the falling number of passenger journeys highlight the urgent need for it to include long-term investment in our country’s local bus networks.
MIT Manukau & Transport Interchange Warren and Mahoney Auckland, New Zealand 2014
“The funding gap faced by councils in providing the concessionary fare scheme is severely impacting their ability to step in and prop up bus routes that are otherwise at risk of ending altogether.
MIT Manukau integrates two essential elements: a 20,000m2 learning facility for the Manukau Institute of Technology (MIT) and a new Auckland Transport railway station. By seamlessly weaving together education and transport, MIT Manukau represents a complete departure from conventional education design.
“Councils want to work with the Government to make sure every community in all areas of the country is able to access a local bus service.” (O’Connell, 2020)
MIT Manukau is designed to eliminate barriers to entry and invite people to engage with the possibilities of learning. By integrating the campus with the public transport system, commuters entering the building are exposed to the heart of MIT and its programmes, consequently reaching the widest possible audience (MIT Manukau & Transport Interchange / Warren and Mahoney, 2015).
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MIT Manukau provides a precedent that combines its main programme with an interchange and how combining a two amenities can encourage people to learn. 43
Programme & Massing
Functional brief and massing diagram
The outline of the brief is to develop and propose a multifunction social hub. The building will be divided into three major programme, a bus interchange on the ground, a multimedia centre above and renewable energy office on top. The interchange will serve as a new bus stop replacing the existing one; The multimedia centre will be the main part of the programme, to promote offshore renewable energy to the public; The office space on top will be a temporary office space for collaboration between enterprises and researchers. Office -Collaborative office space -Meeting room Multimedia centre -Podcast Studio -Computer Lab -Study Space -Interactive exhibition space(Blyth and renewable energy related)
Office Multimedia centre Bus station Bus service
Bus interchange -Bus stop -Travel centre -Cafe 44
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THINKING THROUGH MAKING Thinking through making week provies the oppourtunity to explore the themes of our project. My approach focused on looking at differennt materials that can complement each other as a result of looking at concrete and timber hybird structures. The model of the TTMW is also a development of of the joinery model from Primer that used the conncept of disconnection and reconnection.
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Conceptual Sketch
After reading about high-rise timber structure and Timber Concrete Composite, I want explored how that could be implement into my design as a concnept of the interaction between timber and concrete. This inspired me to make the model similar to the wooden joinery model from primer, showing the disconnection and the reconnection of the design
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Thinking Through Making Model
The two models explores the relationship of two opposing material, timber and concrete, as well as how both can compliment each other. The concrete and timber also represents the existing elements and the intervention of the design respectively. 49
REALISATION & SYNTHESIS Realisation and Synthesis focused on drafting and refining the graduation project. A substantial amount of testing and changes has been done in this stage to explore and design a convincing multimedia centre and bus station. With the aid of other modules, it has contributed to the development of the design’s technical aspect such as the structure, which has also became a key and prominent feature of the design.
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Conceptual Sketch Design Scheme 1
The intial design was to approach it similar to the primer, cutting the building’s massing into pieces and the incisions are dictated by the key infrastructure in Blyth. The programme also repond to the key infrastructure, dividing the building into three massing on top of the bus station.
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Initial Plans & Sketches
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Massing Model
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Conceptual Sketch
Design Scheme 2
After some consideration, I have made a dicision that the design needed some changes. The direction of the project has changed to designing a tower to make a stronger connections to the surrounding context of Blyth. 56
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Massing Model
Section & Programme
To fulfil the design concept of making connections with the harbour, the design of the building will be relatively tall compared to the buildings around that area. The design of the building will be a multi-storey timber building, a unique feature of the building is there are picture windows around the building that will respond and celebrate important infrastructures in Blyth. The main programme of the building includes a bus station, studio, library, office, observation deck and restaurant. The bus station, library, observation deck and restaurant will be open to the public; the studio will only be accessible to renters for creative purpose. The office is only available for either staff members or collaborators of the Offshore Renewable Energy Catapult centre. 58
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1:200 Plan
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Circulation & Journey Through The Building
Realisation Review Feedback
Reflecting on the realisation review, more consideration is needed in order to move forward to the next stage for a more resolved design. More materials from the Primer and Thinking through making week can be utilised in the design, especially the form of the design to show the concept of disconnection and reconnections. The spatial organisation can be more dynamic, private, and public space need to be separated. Two circulations are needed for the primary connections between each picture window and secondary stairs for fire escape.
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Design Scheme 3
The far-fetched circulation and spatial organisation had lead me to redesign the building. The third scheme of the building attempt to tackle all the issues with the circulation and spatial organisation looking back at the joinery model for inspiration. A twisted design was drawn with the incision idea back to not only focus on a specific views but also to divide public and private spaces. 68
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Conceptual Sketch
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Design Scheme 4
The third scheme tried to combined a lot of the concepts and ideas together which made the design very complicated. I had decided to abandon the incision idea and only using the twisting form of the building and the picture windows to make connections. This scheme would be more convincing and complete. 71
Precedents Study
Concept Sequence Diagram STRUCTURE
Strasbourg School of Architecture Starsbourg, France Marc Mimram Steel, aluminium
The building’s massing consists of a series two-storey boxes stacked on top of the ground level. Part of the cocept is to open the building towards the city, they decided to use lightweight ad more trasparent materials allowing a close connection between the interior and exterior. The structure of the building are steel truss frames welded together that allow the massing of the building to be oblique without any columns in the middle (“tanzakademie 2014”, 2014). The Strasbourg School of Architecture is agood example that showed how truss system can be beneficial in creating a oblique and angled design without any columns support internally.
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MATERIALITY & STRUCTURE
Wood Innovation Design Centre British Columbia, Canada Michael Green Architecture CLT floor panels, Glulam columns and beams, Mass timber walls
The Wood Innovation Design Centre is a six storey timber building that demonstrates local wood products and their expertise in designing and constructing large timber buildings. The structure of the buildig mainly cosists of a combiation of CLT floor panels, Glulam beams and columns. This project made a few innovations in order to meet the local design and safety regulations: using CLT panels for the elevator and stair shafts to provide lateral stability to the structure; using double-layer CLT floors for acoustic isolation and efficient services distribution; Using high strength proprietary connectors to speed construction and improve structural performance (Wood Innovation and Design Centre - A Technical Case Study, n.d.). The WIDC provides new ideas for using CLT and Glulam efficiently which is important in a high-rise timber building.
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Programme
Programme organisation
Lift and Open
Rotate and Respond
The programme required for the multimedia centre are decided with rough dimensions.
The programme are organised by stacking them due to the constrained site area.
The studio, office, restaurant and observation deck are raised to create an open space between the library and studio level allowing the landscape and the user to reconnect.
The design is then rotated and adjusted to respond to the key infrastructures and locations around the site to fulfill the concept of reconnect to Blyth.
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ENVIRONMENTAL STATEGY & STRUCTURE
Patch 22 Amsterdam, Netherlands Tom Fratzen & Claus Oussoren Timber
Patch 22 a 30m tall highirise wooden residential building. The massig of the building are six wooden boxes stacked o top of each other and are angled to reflect the lightness of timber being shaped by the wind. Sustainability is a huge part of this buildig, the building consists many energy management systems that made the building self sufficient such as solar cell, raiwater collection, heat recovery unit and climate-protected loggia...etc (“Patch 22 overview”, n.d.). The Patch 22 provides a lot of energy management systems and solutions for my design which is important as the aim was to create a sustainable and zero energy building.
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The design will stand in the heart of Blyth town centre and will have all these visual connections to the context, acting as a watchtower to allow people in Blyth to reconnect.
Concept Sequence Diagram
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Programme
Programme organisation
Lift and Open
Rotate and Respond
The programme required for the multimedia centre are decided with rough dimensions.
The programme are organised by stacking them due to the constrained site area.
The studio, office, restaurant and observation deck are raised to create an open space between the library and studio level allowing the landscape and the user to reconnect.
The design is then rotated and adjusted to respond to the key infrastructures and locations around the site to fulfill the concept of reconnect to Blyth. 75
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Ritual
The ritual of the design is enhancing the journey of bus travelling by allowing the people in Blyth to reconnect with Blyth through differennt activities and programme that relates to the history and future of Blyth. Each programme respond to a one of the infrastructures and amenities further strengthening the link between the Blyth community and place. 1. Bus travelling 2. Media consumption 3. Creative and educational activities 4. Collaboration 5. Eating and recreation 6. Observation 76
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Massing & Programme
OFFSHORE RENEWABLE ENERGY RESEARCH CENTRE
WIND TURBINE
SCHOOL
(DOES NOT EXIST ANYMORE)
BLYTH LIBRARY
Views & Connection
CHAPEL
(DOES NOT EXIST ANYMORE)
Main circulation Central core circulation
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One of the biggest challenge when designing the picture window is how can people relate to the history when the picture is directing them at a area of a infrastructure that are important but no longer exist, part of that are solved with a history museum located on top at the observation deck. Visitors can not only visually connect with the surroundings of Blyth but also mentally when they are exposed to the history and future of Blyth. Creating a unique journey before heading to the observation deck will create a suspension as they are not entirely sure what every individual window is framing at and what they looking at, but when they reached the top, they get the whole view and picture of Blyth making it more memorable. 79
Journey & Connection RAMA BLY TH PANO
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1. Blyth Library 2. Keel Row Shopping Centre (Chapel) 3. Keel Row Shopping Centre (School) / Market Square 4. Offshore Renewable Energy Catapult 5. Blyth panorama 81
Observation Deck View
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1:200 Section
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Observation Reck and Restaurant Office Studio Library Bus station
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Elevation In Context
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Structure & Materiality
Glued Laminated Timber -Truss frame (Vertical-load resistance) -Post and beam
Cross Laminated Timber -Lift and stair core panel (Lateral-load resistance) -Floor panel
Colour Schele A darker colour will be used for the exterior tocreate a contrast with the lighter colour scheme of the interior in order to make the structure of the building standout. The lighter and netural interior colour scheme will also create a more natural and welcoming quality of space. 94
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RESOLUTION Design refinements after Synthesis review Reflecting upon the Synthesis review, two main areas need more improvements: the narrative and technical strategy. The narrative of the design needs more connections to show how the research and exploration inform the final scheme. More explanation is needed for telling the story of what the rituals are and how they influence the design. More technical consideration is required for the design to be more convincing, particularly the structure and the envelope, the core could be tighter in plan and needs to show how the floors are connected to the core and the structure. The envelope is a bit one-dimensional, which require more resolution for it to respond to the programme and context. Both of these aspects will feed into the whole narrative of the design, allowing the design to be coherent and convincing.
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*Updated core layout and floor to structure detail
*Updated core layout and floor to structure detail
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*Updated core layout and floor to structure detail
*Updated core layout and floor to structure detail
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4 - Seating Area 5 - Staff Area 6 - Reading Area 7 - Computer Cluster
1/F - Mezzanine 102
2/F - Library
8 - Reading Area 9 - Podium
3/F - Library
4/F - Podium 103
*Updated core layout and floor to structure detail
*Updated core layout and floor to structure detail
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10 - Podcast Studio 11 - Conference Room 12 - Study Room 13 - Office 14 - Pantry
5/F - Studios 104
6/F - Office
15 - Kitchen 16 - Canteen 17 - Observation Deck
7/F - Cafe
8/F - Observation Deck 105
Section In Context
Section of the building in context to show how the building sits in the site at a closer scale compared to the long elevation in context, also showing how each individual spaces relates to other and the inhabitation within the building
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Elevation
SOUTH (FRONT)
NORTH (REAR)
Facade & Envelope
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To add more resolution and variation to the envelope, I have decided to use a simple louvre strategically behind the truss structure to accentuate it. The louvre are also in four different density in different space to provide privacy and shading according to the programme and orientation.
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I have considered louvre in vertical or horizontal orientation. Both creates contrast with the truss structure, however the vertical louvre can help emphasise the verticality of the tower. 2
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WEST (LEFT)
EAST (RIGHT)
2 1. No louvre for maximum natural lighting 2. Low density for public spaces such as library 3. Medium density for semi-private spaces such as studio and office spaces 4. High density for maximum privacy and shading in toilets and kitchen 109
Option 2
Structure
Designing the secondary of the building, I have come up with two different options: the first options is the beams are parallel and perpendicular to the truss, the second options is the beams are parallel and perpendicular to the core. Both options should work in theory, however, as shown in the SketchUp model, the first option creates a clashing between each of the rotating blocks. The second option on the other hand, are more systematic.
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Option 1 111
Spatial Qualities
Further developing the spatial qualities of the building, I have planned the tone and quality of space for each programme using a simple and minimal palette of materials/colour. The colour scheme illustrates the use six tones/materials to create different atmosphere. 112
Colour scheme of interior 113
2/F - Library 114
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6/F - Office 116
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8/F - Observation Deck 118
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CASE STUDY Contributor Xavier Nicholas Chen Franky Choy Heymans Choy Kushi Lai Zachrias Yiassoumis
Original document attached separately 120
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Programme
Programme
MASSING The concept for the form of the building is collision of different form. The massing of the Lusto consists of a cylindrical chamber with orthogonal lines that puncture through forming different spaces for exhibition, auditorium, office and shop etc.(1994); with a retangular extension added later in 2005 on the west side of the cylindrical chamber for workshop/research space, a restaurant, additional exhibition space and storage.
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Photo of the main cylindrical chamber of the Lusto
3 KEY
A map of the Lusto showing the shape of the building and the extension 122
Massing diagram showing the form of the building and the relationship between the major spaces
1 Hallway 2 Reception/Shop 3 Toilet/Cloakroom 4 Auditorium 5 Office 6 Exhibition 7 Restaurant 8 Research/Workshop Space 9 Exhibition(extension) 10 Storage
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Programme
Spatial Sequence
Programme -Museum/exhibition space -Restaurant -Research facilities -Museum shop -Administrative offices -Storage
CIRCULATION The primary circulation of the Lusto is the south-facing ramp allowing visitors to circulate between the reception on the upper level and the exhibition space on the lower level. The secondary circulation includes two pairs of stair and lift, one located adjecent to the entrance and the other in the restaurant for access to the toilet and the research spaces.
The building has a lot of double height spaces in order to house large exhibits and also allow visitors to orientate themselves within the building. The extension exhibition space provides a more spacious area for larger types of machinery to be displayed.
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An interesting part of the building and also an important part of Finnish culture is the sauna room. A sauna room is common in office space for workers to relax. The meeting room of the LUSTO also has a sauna next to it for workers to have a sauna before or after a meeting as a ritual.
The ramp also act as a linkage between the interior and the exterior, a connection between the building and the environment of the of the forest and the lake. The use of a ramp allows it to extend all the way from the reception space to beyond the cylinndrical chamber which highlights the connection.
The building also have a cloakroom next to the reception area, which visitors can hang their coat before going down to the main exhibition space.
Lift Stairs Ramp 3
1. Sauna showering room 2. Sauna room interior 3. Auditorium 4. Cloakroom 5. Main exhibition space 6. Extension exhibition space 124
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Circulation diagram showing the connection between the upper and lower level
Section illustrating the visual connection between the building’s interior and the view of the lake and forest
Photos of the ramp 125
Spatial Sequence
JOURNEY The journey through the Lusto follows the theme of the tree ring. Visitors start from the centre of the building at the reception before circulating down to the open space of the exhibition space around that. The design of the LUSTO put emphasis on the view of the lake from a different perspective as the lake and the forest is important to Finnish people. After crossing the bridge to the outdoor entrance space, the cylindrical building and the wall direct visitors’ attention to the view of the lake in between but only slightly hinting which draw visitors towards the lake to get a better view of the lake.
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As the size of the building is relatively small comparing to other museums, and with the aid of the window of the ramp, it allows visitors to locate themselves within the building which makes it easier for wayfinding.
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1-5: Journey to the lake 6-11: Journey through the building 126
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Serial vision of the journey at the Lusto 10
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Map of the journey at the Lusto 127
Spatial Sequence SPATIAL PLANNING OF THE EXTENSION The extension of the Lusto adds additional exhibition space, a restaurant, research/workshop spaces and more storage. Comapring the original building and the extension spatially, the extension is very simple which is very different to the layout of the original building creating a discontinuity between both area. The disconnection is amplified with the screen wall in between and the lack of any connection and relationship between the interior and the environment.
The extension of the Lusto is not very well planned and the disconnection also affects the experience and the journey through the Lusto. The extension exhibition space is connected with a narrow corridor, which is not very inviting and does not really suggest that the corridor would lead to the extension exhibition space due to the fact that the hallway is next to the workshop and research space
Diagram illustrating the dissconnection and discontinuity of the Lusto 128
Photo of corridor taken from the main chamber to the extension exhibition space 129
ILLUSTRATED CULTURAL BIBLIOGRAPHY
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Cinematography, Production Design & Architecture
I have been fascinated with cinematography for some time and I believed that it is closely related to architecture, learning cinematography can help understanding how to narrate a story and creating different atmospheres through visual elements. The movie Parasite used cinematography and set design to the main theme and concept of social disparity. The use of vertical elements such as stairs and vertical lines to reinforced the distance and separate between different class. Creating a storyboard for one of my favourite short stories - Tell Tale Heart. I have decided to add different vertical and horizontal elements in a scene to create contrast between the protagonists’ emotional states: Vertical represents confinement and insanity. Horizontal represents a calm and relax state. The contrast between vertical and horizontal elements can be used in architecture as well to create different atmospheres and spatial qualities. I believed that learning cinematography and set design can make an architect pay close attention on how the users will experience that space and what impact will it make.
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(Parasite, 2019) 133
Architectural Internship
During the summer of 2019, I have interned at an architectural practice (David S.K. Au & Associates Ltd. (DAAL)) which gave a sense of the working as an architectural designer in practice. During the two months of internship, I was mainly responsible for drafting, which I had learned a lot about communication with other colleagues in a practice. This will prepare me for moving forward to the year out architectural practice in the future.
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Reference
Image Reference
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