Jingci Yeong Portfolio

2020 2021

PORTFOLIO 170741318

ARC 3001 Architectural Design

170741318 Newcastle University ARC 3001 Architectural Design 2020-2021 Portfolio

Content Reflective diary

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Framing

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Testing

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Synthesis

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Thematic case study

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Thematic case study reference

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List of Figure

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Bibliography

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Reflective diary Creative Synergies, led by Craig Gray and Stella Mygdali, is where we do multiple explorations on cutting edge architectural research, focusing on the brief we develop through the year. Alongside with that, we also work on achieving wider sustainable strategies that addresses the current climatic crisis.

Starting from 2020, the world has been drastically affected by the COVID-19. Ways of adaption to the new norm has been put into practice due to the limitation the virus has brought to us. In this year, the way of learning and designing was very different compared to what we have been through for the last couple of years. Having lectures, tutorials and discussions remotely, has been a challenge that we all faced together. With additional effort paid in, the outcome has been pleasant journey accompanied by the tutors and fellow studio mates.

In this studio, a big part of out investigation is on the engagement of the local community and the connection with the research topic that we have developed throughout the year, as mentioned before. With the group analysis, I was able to get to know the local community easily. After that, I came up with a brief mainly about colours and pigments, from my interpretation of Ouseburn when I looked at the site photos provided by my studio mates.

Working throughout the year, not only ARC3001, other modules like ARC 3013, ARC 3014 has parallelly helpful for me to bring myself to reach the final outcome of this final year project.

Studying precedents, and looking into technological problems that we will need to face realistically has been a great set off for us, in my opinion. This is because that we get to see what was lacking in our design when we think of it in a realistic point of view.

As I started the year away from UK, I had to go through all the processes remotely. Without having to reach and sense the site physically, all the information that I am able to get by myself were only what are available on the internet. With much appreciation, I would like to thank my fellow studio mates who had been very helpful and generous to me throughout the year. Through multiple group meetings and also sending me site photos and their own recordings of the site, I was able to get hold of the site and imagine myself being on the site.

Earlier in the year, I was able to concentrate myself very well and adapts to the new learning method, despite the 7 hours’ time difference that I had to face. However, at the later semester, having to deal with different problems like the repeatedly problematic flight schedules, and travelling and adapting to the physical conditions, I was having a hard time.

However, as soon as I get back in condition, I tried my best to catch up with whatever I lost track of, with the guidance of my two tutors. With that, I would also like to express my gratitude towards Craig and Stella for being patient and passionate while they guide me through my final year journey, despite being in such critical situation.

Framing

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Framing is the starting point of the final year project for us. At this stage, we were to do deep research on the site that we will be working with for the whole year as a group. To summarize our work, we did physical and analytical study of Ouseburn, Newcastle as a group. Posting our work onto Miro board, a remote “pin-up board” that we utilize throughout the year, we were able to catch up with the information of what we did and what we found regularly.

As I was staying in my home country at this stage, my fellow studio mates were very helpful when it comes to physical investigation. By sending me their recordings on site, they also assisted me by having conversations with me on their feelings and thoughts of the site through their visits. With

that, our studio has worked together and came up with sets of diagrams and compilation of information that we share among each other.

At the end of this stage, we were able to come up with a certain topic that we would like to pursue individually. It was very interesting to see how the same exact site has given us all sorts of possibilities, where we all had different exploration themes and outcomes of brief that we each developed individually.

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1:3000 site map Buildings on site River on site Greenery on site Circulation road on site Private owned land on site

Ouseburn (and Byker) is a town located at the east side of Newcastle city centre.

It is a town surrounding a stream that cuts through the two towns. Due to the pandemic, I did not have the chance to visit the site physically. As a consequence, I can only study the site and the town through digital materials.

To start with it, I made some site plans with the help of Digimap and Google maps, in order to familiarize myself with the existing environment on site.

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Graffities

The density of graffiti art is an especially distinctive addition that artists had given to the town as time goes by. Among the photos received, graffiti has stolen quite a lot of spotlights in the town. The richness of that too is surprisingly wide-ranged.

Buildings

The buildings of the town showcase the charm of the town through colours too. From clear features like the visibly colourful appearances to the history and story behind them, they each plays their role and work together to bring the town to life.

Viaduct

The viaduct that holds the railway of the East Coast Main line over the town is definitely a strong landmark of Ouseburn. With almost 200 years standing, it has witnessed the town going through different periods of time and regenerations.

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Since I was not able to be physically present on the site to observe and sense it by myself, all my feelings and inspiration from the site was actually through others’ instead of my own perspective.

As we have to come up with our own line of enquiry through site analysis, my starting point was through digital materials.

By looking at the photos and listening to the narratives of my studio mates, what I have perceived from the site primitively is the liveliness and the artistic atmosphere of the town. With plenty of supporting informations provided by my fellow mates, I was able to fill in the blanks and imagine the site despite being far away from it.

While I tried to get hold of the characteristic of Ouseburn, I did a collage as shown on the left page, that conveys my impression of the town. With the infrastructure like the iconic viaduct and a few more constructions, they each showcase the different periods of time Ouseburn have went through throughout the history. Currently, artists are slowly taking over the town. With the rise of the creative industry, the town is slowly being painted and sculpted into an unique place that expresses its own character well.

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Site photos: Graffiti Site photos: Graffiti Site photos: Buildings Site photos: Buildings Site photos: Viaduct Site photos: Viaduct Collage of site photos

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OUSEBURN FUTURES AN

ouseburn trust A short history

REGENERATION STRATEGY FOR

LOWER OUSEBURN

VALLEY

     

Life before the Ouseburn Trust Formation of the Trust The Ouseburn Partnership Ouseburn Milestones The Trust progresses and evolves Other Ouseburn Groups

Ouseburn R P

2012

Compiled by Dave Cross from materials originally written by Bob Langley, Ray Bland, Lesley Turner, Rick Anderson, Dale Bolland, Peter Kay and others.

September 2015 - January 2016 Images by John Hipkin, Davey Pearson, Steve Ellwood and others unknown.

Ouseburn trust is a website that is curated based on the town by the local government.

R EGENERATION S TRATEGY

January 2003

In this document taken from the Newcastle City Council official website, the board of directors of the urban planning and regeneration plan that happened between 2003 and 2012.

From this document, we were able to get hold of the original distribution of the geographical features of the city for the near 20 years.

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Above is a document retrieved from the website that contains information about the history and the achievements of the town.

It concludes what the town has been through throughout the history and also introduces who the local government cooperate with.

Briefly, it also mentioned how the trust has intercepted on the development and regeneration plan of the town.

A framework for the regenera

Similar to the this, this is a reg 2012-2020.

It listed out the the urban plann with the coor government a of the local com

Besides, it als process of refa past 10 years continue to dev

ND NEWCASTLE CITY COUNCIL

Regeneration Plan

2 - 2020

Other than getting information from the official websites, there were plenty of articles online that covers the generation plans in the near future.

The brochure below stories a 35year of regeneration that happened in Ouseburn. It is a helpful source of information when it comes to how the town is transformed from an industrial town to the current artistic Ouseburn.

ation of Ouseburn from 2012 onward

document before generation plan of

plans proposed by ning achitect team rdination of local and engagement mmunity.

so recorded the abrication for the and how it will velop.

This map above is abstracted from the Ouseburn trust website. It recorded the different kind of industries and business categories the town has gone through in the late 19th century to the early 20th century.

Other than this map, the website also provides images and photos from the past, recording the journey of refabrication.

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20 14 Cover page of Regeneration strategy 15 Cover page of Ouseburn Regeneration plan (2003-2012) 16 Cover page of Ouseburn Regeneration plan (2012-2020) 17 Map of Ouseburn recording the past indurstries 18 Screen capture of online article 19 Screen capture of online article 20 35-year long storyline of regeneration

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Timeline of Ouseburn (18th to 20th century)

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TRANSITION BETWEEN PAST TO NOW

TRANSITION BE

The Byker metro viaduct was built in 1979 between the Ouseburn viaduct and the Byker bridge. The area under the viaduct was part of the environmentally protected plan since 1969. As a consequence, it is now a well- lanscaped park area. It shows a huge development compare with the 17th century that fully covered by the heavy industries and housing.

The terrace h popular way accommodation the 19th cnetur a typical dwelli The mailing is a design. It reflect the new design desirable dwellin

ETWEEN PAST TO NOW

TRANSITION BETWEEN PAST TO NOW

house design became a to provide high-density n for the working class in ry so the terrace house is ing typology in Ouseburn. an up-to-date terrace house ted the history typology and n made it become a more ng space.

The Glasshouse Bridge area shows a big contrast between past to now, especially the development of the traffic riad and the refurbrishment of the Tyne bar in 1994. The Tyne bar used to be a bar as well, named as The Ship Tavern. After the refurbrishment, the bar has been a local favourite for more than two decades. It was renovated in the Ouseburn regeneration time and has a long history. So, it is a new development sign at the Glass house Bridge area.

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Diagram comparing Ouseburn in the past and now.

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To find out the topography changes of Ouseburn, the map of the town has been diagrammed out in the 1910s, 1940s, 1970s and the present map.

Putting them side by side, it is pretty obvious that in the early stage of the development of the town, the consideration of the local authorities were more leaning towards the global trend, which was industrialisation.

Starting from the 1980s, artists starts to move in slowly since the convertion of 36 Lime St started. In the near 20 years, Ouseurn successfully transformed itself into a town with a variety of small businesses, alongside with some additional attractions to visit such as the Biscuit factory or the With that information, bar charts were made with the outline of different building that represents each catagory.

From the outlines, I also tried to convey the message that there were a few buildings that used to have different function were converted into different usage to carry out different functions.

For example, the Biscuit factory, which used to be an industrial building (the last one on the first graph), has been converted into a building that attracts visitors to the town.

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Maps showing topography changes from 1910s to 2020 Bar chart of building catogories in late 20th century Bar chart of building catogories in 2020

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Diagram showing expected development, with feedback from the community.

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Section a-a Section b-b Section c-c Section d-d Plan showing section cuts

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In order to picture ourselves and combine our visualise our ideas, we were told to make collages that best express our impressions of the site and our line of enquiry as we research and interest at this point.

As I was particularly interested with the colourful aspect of Ouseburn, I made a collage collecting different colours of Ouseburn, showing the colours collected from the pleasantly vibrant town.

Growing from that, I tend to investigate into how colours can impect us in terms of transmitting information.

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Colour wheel collage of site photos Collage of synergy between colours and transmission of information.

Collage of colours as research approach and how it delivers different mood and ideas.

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At the end of group site analysis, we were given a list of sites to choose from. By having a closer look at each specific area, we were able to come out with more specific site analysis. Investigating the existing environment, the climate and existing character of each site are studied in more details.

The reason behind the decision of site is after all the investigation, including sketching the sites on layout papers (shown in the testing section).

Through analysing the sites from different aspects, I slowly come to a decision of the site that I am interested to work with.

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Main circulation of Ouseburn Winter and summer sunpath of Ouseburn Wind rose of Ouseburn

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Site analysis draft Site analysis location

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Final chosen site for the development of project.

Testing

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To start off with the project, I was using cardboard and made a very rough concept model. In this model, I was trying to make something that resembles the rise and fall of the Ouseburn geography condition.

To match with the “colour” idea, I sketched out the same model but highlighted the different faces with single-colour and another with only red and blue (contrasting colours).

In these models, what I found interesting through the photoshoot of them is the the hierarchy that it had created through different”foldings”. The relationship between the shadow and the model is very interesting as the hierarchy of that changes depending on the direction and brightness of the light source.

Taking up the concept of the the changes of level, I started to bring myself to study more about how “foldings” can help to convey the same idea but in an architectural way.

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69, 72 Photograph of concept model 70,71 Illustration of concept model

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During the week, while I was out having dinner, I folded the receipt of of boredom. It began to create an interesting form and spaces were observed in between the faces.

It works with the lighting of the restaurant and created interesting shadows and different kind of spaces including open ones and narrow ones.

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Photographs of folded receipt paper Sketch of ideas of origami

Recording down with sketches and photographs, I begun to move my approach towards origami.

The sketch below shows a rough section of my pavilion design in my mind and how it will sits and work with the slopy site.

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Sketches of folded receipt paper Sketch of ideas of origami

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Tal Friedman’s project in Detmold, Germany, which he designed in 2016, is an iconic Origami-inspired designed pavilion. Paying his respect to Japanese’s culture, he adapts the aesthetic of Torii, a symbolic gateway from part of the Shinto religion – one of the two main religious beliefs in Japan.

The design follows the Origami principle whereby it has almost zero thickness, and produces an almost seamless facade with the fabrication method it applies.

Unlike 2-dimensional Origami, however, Friedman designed this thinking entirely about 3D spaces it conveys.

The design not only tries to resemble Origami aesthetically, it also adapts its structural and fabrication characteristic, which is folding eight rigid aluminium boards instead of tieing up individual panels like most creation nowadays.

Designed with precise calculation, the architect’s interest was on parametric modeling and algorithms for construction rationalization. This also helps on achieving formal diversity and flexibility using optimized geometry for fabrication. This creates a self-supporting structure, working well with the light weight material.

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Park Pavilion in Cuenca, Spain, built in 2010, is an enclosed pavilion by Moneo brock. This pavilion is considered to be a big one as it embraces big spaces including exhibition spaces, an iceskating rink and more.

Different from the previous, this pavilion is a subtle approach on Origami inspiration. It is an example of how individual panels are attached side by side to create the “foldings” of the facade.

It consists of a set of twenty-three equal and reverse modules, that together form a structural mesh. It is a space where you enjoy the Park, protected from the weather, but in contact at all times with the natural environment (Lindman, u.d).

This design utilizes steel and glass to highlight the relationship between the interior with the lanscape surrounding it. With the greenhouse effect of the facade, it shelters users in the winter, while opening up the windows allow sufficient ventilation in the summer.

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83-87 Photographs of precedant 1 88-91 Photographs of precedant 2

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Drawing lessons from the previous

Surrounding keywords like Origam the existing environment the mos

The first attempt was having a fold lacking interaction with the users.

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I then tried to manipulate the diff down by random, with considerati 92-94 Sketch of attempt on site 95-97 Sketchup model of attempts 98-99 Grids from origami

The third one has a further investi down to the point where it is able

sly mentioned precedants, I started to create multiple approach for my pavilion design.

mi, relationship with the context, I had a few attempt on how to design a creation that fits st.

ded roofing that sits on the site. It was consider in the most straight-forward way and was

ferent “planes” of the model adapting to the existing environment. Moving them up and ion of the trees on site.

igation of the user experience. Considering interaction with users, the planes are lowered to act as a flooring platform.

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Drawing lessons from the previously mentioned precedants, I started to create multiple approach for my pavilion design.

Surrounding keywords like Origami, relationship with the context, I had a few attempt on how to design a creation that fits the existing environment the most.

The third one has a further investigation of the user experience. Considering interaction with users, the planes are lowered down to the point where it is able to act as a flooring platform.

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1:500 Site plan 1:200 Plan 1:200 Section

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An illustration of the user experience of the pavilion

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Tensile fabric roofing (transparent) - covers the trees on site

Polycarbonate roofing (transparent) - covers the users and flooring

Concrete slabs flooring (painted with blue and red)

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Distortion diagram of pavilion Diagram explaining material choices

Polycarbonate roofting (transparent)

Tensile fabric roofing (transparent)

This transparent roofing on the south side of the project that lies above the flooring planes acts as a weather shelter to protect users from the rainy climate in the town.

The choice of material is because of its characteristic. Tensile can be extended dramatically while it can also be transparent. In order to let natural light reach the trees underneath, both of these are very important characteristics.

Concrete slabs flooring (blue and red) The colours of the flooring each has different purposes, as blue represents calm and still, and red represents warning and passion. The blue floor slabs are horizontal, flat planes that allows people to sit, stay, or even lay down on them.

Meanwhile, the red colour slabs are slabs that elevates and are sloped in order for the pavilion to fit the slope it stands on.

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After the pavilion phase, I started looking back to do more site analysis to have a deeper investigation and realisation of the site in order to develop my brief.

The photos at the left has me highlighting the graffiti found from the site photos from my group mates. I then made a diagram showing the arts and craft industries that the town embraced throughout the history.

With that, I then came out with a rough bubble diagram with programmes that I wish to include in my project.

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Site photo highlighting graffiti Map with arts industries Bubble diagram

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Sketch elevation of buildings in Ouseburn Noise diagram of site

The other investigation that I did was looking into the typology of buildings around in Ouseburn.

Drawing elevations of the buildings had made me realise the usage of flat roof in the town is in fact quite a common architectural choice (most of them are modern buildings of course).

Other than that, I had also did a noise diagram showing the frequency heard on the site in a section way. It is an assumption instead of precise measurements as the information was delivered by some of my groupmates. It reflects clearly that the slope is a bridge between the happening Lime st. and the residential area at the west side of the slope.

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Compilation of equipments and methods of extraction of pigments in plants Screen capture of articles read about sustainable pigments

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Raw material plants Pigments that from raw materials Diagram concluding the plants that can be planted Picture demonstrating pigments from flowers Picture demonstrating pigments from vegetables Picture demonstrating colours of vegetables

Madder: Historically, madder, obtained from the roots of a madder plant, was widely used throughout the 19th century to create ruby reds. These plants were dug up, washed, dried, and ground into powder. Most fabrics during this time had been dyed with madder. (only plant worth planting in the uk for red pigments, outdoors, looks like weed)

Safflower: This thistle-like plant was used on Egyptian textiles to create a yellow and red dye extracted from the petals. It is still used today. (well-drained soil (pluck and stored to avoid frost, summer: warm, sunny, dry, greenhouse)

Sumac: Sumac is a small tree whose branches and berries can yield colours from beiges to yellows to reddish pinks to blacks when boiled. (moist soil, any climate, very less care)

Woad: Woad was another common plant-derived pigment that was used to create blues. The color came from the leaves that were also dried and ground like madder. They were then made into a paste. (alkaline soil)

Indigo: Indigo soon replaced woad because it didn’t require mordant to create the vibrant hue. (moisture soil, shaded)

Red cabbage: Red cabbage contains purple pigment which is rarely found in natural plants. (outdoor, moist soil)

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Starting off with very rough sketches, I pictured out my idea of having a building that blends with the site. My approach is by having a green rooftop plan with rooftop garden. At the same time, it can be a sustainable design choice as the benefit of rooftop garden is more than just utilizing rainwater.

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140 Rooftop plan sketch 141-143 Sketch of ideas

Instead of having it as a bulk, seperating the spaces was a further approach to match the site. To do so, I experinmented with small boxes of volumes on a 1:500 model. Through different experinment, I was able to come up with several trials.

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144-146 1:500 physical model 147 Section sketch 148 Section line

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As mentioned before, my approach changed to splitting up the building into volumes to adapt to the slope. With different approach and analysis, I was able to test out different ideas through the sketches as presented.

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149-153 Sketches of ideas

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154-156 Sketches of ideas

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165-166 Volumetric trials 167-168 Section of trials 169 Site plan

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Exhibition space

Public working space

Research space

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design process

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Imagery sketch of the appearance of building

Synthesis

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1:1000 site plan

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1:100 Plan 1

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a. Staff garage b. Pigment extraction laboratory c. Staff resting area d. Food preperation area e. Toilets f. Restaurant

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Rooftop garden Staff resting area Colour matching laboratory Pigment mixing laboratory Food waste storage room Kitchen Rooftop terrace restaurant seating Exhibition space Semi-public library Meeting room Study space Toilets

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Rooftop garden Pigment storage Rooftop terrace Pigment mixing workshop Discussion room

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Rooftop garden Pigment storage Rooftop terrace Discussion room Wheeling room Glazing workshop

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Rooftop garden Greenhouse Rooftop terrace Reception Cafe / bar

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The journey of pigment making The journey of pigment making Private-public diagram Programme diagram

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Sketchup model of building 1:1000 SIte section 1:250 plan showing level and geography changes

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Pigment extraction plant machine

Colour matching cabinet

Pigment mixing machine

Wheeling equipment

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Collage of the stairs and outdoor circulation spaces

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This case study of Granby Four Streets project works as a great precedant for my design project. It is a ceramic workshop that manufactures architectural ceramic. Similarly, it also welcomes visitors and open to public from time to time to experience the making of the earthy material.

Other than the similarity mentioned, it also has an area where they conserve and have plants that raises the awareness and encourage the engagement of the community with nature preservation. It was very helpful for me while I did research in terms of theoritical can conceptual development.

What I have learned while reading this case study is how the plan of the building works in a grid system distribution. Following the regularity of a grid while designing, it finds a way to keep the balance between rigidity and permeable spaces. The spaces of this building are interconnected through circulation distribution, yet the geometry aspect of what Makintosh is famous for is not ignored through the design process.

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Fondaco dei Tedeschi is a great bridge for me to understand the materiality and how they can be utilized and effective in terms of how it works with the local climate. Located in Venice, it is not a great climate condition to work with. Being a wet and having to face flooding problems annually, it limits the choices of materiality that is common out there.

Similar to my design, this building uses concrete as its main building material which can withstand the wet climate with decent amount of maintenance. Also, the glazing roof is a great example that allows me to re-think about my design, especially the sunroof openings.

This case study is not a referance for my final design. Instead, it helped me during my exploration stage when I was designing the pavilion. Zaha Hadid is famous for her deconstructivism style when she designs. Interestingly, this design has a similar approach in terms of its geometrical facade. In this design, the materiality of using glass and steel has allows me to further look into how lights can cut through a facade depending on its transparency.

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The GMIT furniture collage case study done by one of the groups in studio 8 is a great referance to how a building responds to its context and the culture of the site.

In this case, there was an existing building that stood from the history.

The architect worked out a plan that deals with the condition whereby it created a new design that adapts the element of the original building.

Other than that, it also has a deep consideration of the climatic factors.

The materiality and positioning of the building is decided for the local circumstances as the site is wet and flat.

The case study done by a group in Curating the City studio is on the Paul Marshall building designed by Gradton architects made by stone and glass. This building focuses on the curation digitally (in the first slide), communicating through digital materials.

Other than that, it also has a strong attachment on the connection with the public. Emphasizing on the intermediate relationship of the building and the user experience.

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Agrocite is a building that has a very strong character. The theoritical character that it pursues is very distinct, which is the engagement with the local community as well as the nature reservation. The research of urban agriculture has been a very helpful aspect of the building. Its investigation on how to manipulate a building in order for an effective system for the reservation of the ecology.

This case study has been a great precedant for my design. Its design concept adapts a void that cuts through the building to allow natural light to enter the building effortlessly.Similar to that, my building has sky roof openings to allow natural light to get into it.

Other than that, the rooftop of the case studied building acts as another level where people are allowed to walk and gather. This has allow me to have a rough idea of how the circulation can work on the rooftop garden on the top floor of my design.

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List of Figures 7 8 9 10 11 12

Site photos: Graffiti, taken by fellow studio mates.

Site photos: Graffiti, taken by fellow studio mates.

Site photos: Buildings, taken by fellow studio mates.

Site photos: Buildings, taken by fellow studio mates.

Site photos: Viaduct, taken by fellow studio mates.

Site photos: Viaduct, taken by fellow studio mates.

14 Cover page of Regeneration strategy, refer bibliography.

15 Cover page of Ouseburn Regeneration plan (2003-2012), refer bibliography.

16 Cover page of Ouseburn Regeneration plan (2012-2020), refer bibliography.

17 Map of Ouseburn recording the past industries, refer bibliography.

18 Screen capture of online article, refer bibliography.

19 Screen capture of online article, refer bibliography.

20 35-year long storyline of regeneration, refer bibliography.

21-39 Group site analysis diagram / collages, done by fellow studio mates.

40 Timeline of Ouseburn (18th to 20th century, done by fellow studio mates.

41 Diagram comparing Ouseburn in the past and now, done by fellow studio mates.

48

49 50 51 52

Diagram showing expected development, with feedback from the community, done by fellow studio mates, edited by author.

Section a-a, done by fellow studio mates.

Section b-b, done by fellow studio mates.

Section c-c, done by fellow studio mates.

Section d-d, done by fellow studio mates.

83-87 88-91 109-116

Photographs of precedent 1, refer bibliography.

Photographs of precedent 2, refer bibliography.

Site photo highlighting graffiti, taken by fellow studio mates, edited by author.

126 127-133 134 135

Compilation of equipment and methods of extraction of pigments in plants, refer bibliography.

Screen capture of articles read about sustainable pigments, refer bibliography.

Raw material plants, refer bibliography.

Pigments that from raw materials, refer bibliography.

137 138 139

Picture demonstrating pigments from flowers, refer bibliography.

Picture demonstrating pigments from vegetables, refer bibliography.

Picture demonstrating colours of vegetables, refer bibliography.

Figures not listed above are done and owned by author.

132

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