MArch Studio . Patrick Hwang MArch Studio . Patrick Hwang Chinese University of Hong Kong School of Architecture Chinese University of Hong Kong 2013 Spring School of Architecture 2013 Spring
Cultural
X’Change
The Chinese University of Hong Kong Blog: borderxchange.blogspot.com Arch 5112 . G11 Option Studio . S2013
Students AU Ming Ying, Anita AU Chi Hang, Coran CHEN Ying Hui, Ian KWOK Wing, Vincent LI Shan Cha, Chris TAM Ka Man TAI Yu Ming, Leo TAM Tsz Kin, Kris
Cover image WKCD Authority Editor Patrick Hwang Editorial advisor Frank Koochumi Font type Helvetica Neue Book design © HLArchitects
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Process is far more interesting than ideas. Ideas are linked to existing codes, operating critically or in alignment with pre-existing systems of ideas. Rather than making a project the implementation of an idea, or the scaffolding of an image, what we are interested in is constructing, engineering processes on different levels. A process is the generation of a micro-history of a poject, a kind of a specific narrative where the entity of the project forms in a sequence. Farshid Moussavi
Image by Foster and Partners
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Foreword This report documents the research and design efforts from the design studio Cultural X’Change in Spring of 2013. It is a studio that adapt the competition design brief from M+ Museum in West Kowloon Cultural District (WKCD) as a subject of design and research, and platform for exchange Chinese University of Hong Kong and the Delft University of Technology. During the summer of 2012, Dutch architect Mark Hemel and I began communicating on the idea to collaborate on a graduate design studio with Delft University of Technology. At core, the main aim is to provide students from both schools an opportunity to engage with different methods of design learning, reflective of each respective school’s pedagogical position and to provide an interface for cultural exchange. The first matter of consideration for Mark and I was establishing a framework that could provide a common ground for research and design, while allowing sufficient space for individual studio’s teaching methodology to operate. During the discussion of the studio collaboration, the West Kowloon Cultural District was in the midst of planning two international architectural competition. Two of the most important venues in WKCD: Xiqu Centre, the Chinese Opera venue and the MPlus museum. After extensive debate, we agreed that the M+ museum provide considerable amount of complexity, but also a broad range of possible interpretations for students to articulate their interest during the course of the studio. In principle the design brief for the two exchange studios (Studio CUHK and Studio Delft) embraced the aspiration and programmatic requirements from the M+ competition brief, but each school will develop its own emphasis on the methodology and specific focused studies. Patrick Hwang
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M+ Museum program as the design brief Ten years has past since the WKCD first became the subject of an architectural competition. During this period the world have witnessed a significant movement of influence and capital from west to east. Propelled by this shift is the increase of cultural production from Hong Kong’s neighbouring cities like Shenzhen, Taipei, Seoul and Tokyo. Whether it is experimental art from Cai Guo-Qiang, or pop influences of Girls Generation, or the modern dance company of Cloud Gate, the boost of cultural production as a form of capital has generated many literal and phenomenal impacts extending beyond the shores of its cultural origin. In 2011 the West Kowloon Cultural District Authority (WKCDa) announced Norman Foster as the winner of the master layout plan after an extensive public engagement process. With the overall master plan in progress, major cultural buildings will be tendered through several architectural competitions. Working in parallel with the event, this studio will study and design the M+ or “Museum Plus” within the WKCD. According to the ambitious goals set forth by the WKCD, the M+ seeks to be a world class iconic building that maximizes the full potentials of the harbour site with outdoor spaces for new types of contemporary art. It also aims to provide flexible, large, open and column free space that are sustainable and universally accessible. Furthermore, M+ shall be an inviting building with connectivities that synergizes with the local communities while meeting the planning objectives described by the master plan.
Image by Foster and Partners
Left (from top down): } Artist LO Chi Wing visits our design studio to share with us his creative process and the critical needs of the contemporary artist. Currently resides in Athens Greece, the Hong Kong borned LO exemplifies a group of “Chinese diaspora” artists working internationally that M+ Museum aims to provide a platform for showcasing their works. } M+ Museum assistant curator Shirley Surya joins the CUHK/ Delft workshop, and to share with the two teams on the aspirations behind the conceptualization of M+ Museum. } M+ Museum collection donor Uli Sigg standing among Yue Minjun’s 2000 A.D. terracotta sculptures.
West Kowloon Cultural District
Kowloon, Hong Kong
Mission of M+
““The h mission off M+ is to focus on 20th and 21st century visual culture broadly defined, from a Hong Kong perspective and with a global vision.
With an open, p , flexible and forward-looking attitude, M+ aims to inspire, delight, educate the public, to explore diversity and foster creativity. creativity”
DESIGN
“Presenting
visual culture
VISUAL ARTS
(incl. Contemporary Ink Art)
M+
MOVING IMAGE
with a flexible attitude open to new interpretations, fostering cross fertilization and cross-fertilization communication.”
POPULAR CULTURE
Right (from top down): } Sculpture by LO Chi Wing } Competition brief for M+ Museum and WKCD public consultation documents. } Four main themes of visual cultures for the M+ Museum. } Diagrams illustrating the conceptual positioning of the M+ Museum and its ambitions. This aspiration was also repeated during an interview with Southern China Morning Post by As noted by Lars Nittve, the Chief Curator of M+ Museum. “It doesn’t mean everything we show will have to be linked to Hong Kong. It’s about looking at the world at different angles,”
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Metaphor in Architecture: Absolute or Circumstantial? In addition to working with the programmatic objectives conveyed by the WKCD, studio CUHK is pedagogically interested in questioning the circumstantial and ambiguous nature of the use of metaphors as appliqué in architecture. In other words, metaphors are often accepted in architecture as a way to communicate the concept for a solution to a given problem, and this is often used in a circumstantial way. Under the best circumstances and by the most skillful architects, the concept represented by the metaphor is extended and permeated through the project to different extents and degrees. Such convenient adaptation of the metaphor is effective in conveying the design “concept” by reductive distillation. Some of the most explicit examples are: Crystals, Bird’s Nest, Flight of a Bird, Dragon by architects Daniel Libeskind, Herzog & de Meuron, Santiago Calatrava, Norman Foster and among others. The effectiveness and the validity of metaphor in and of itself is not the center of the question, our critique instead has to do with the fuzzy relationship the chosen metaphors has with the designed building. The metaphor whether it is Stranded Rock (Moneo’s cultural center in San Sebastian) or the Chinese Treasure Box (Rocco Yim’s Guangzhou Museum in China) however appropriate and symbolic it might be, is always incidental and circumstantial.
Image by LI Shan Cha, Chris
Left (from top down): } What is the significance of Bird’s Nest to the functioning of a stadium, or the genius loci of Beijing? Does the Stranded Rocks resemble a specific relationship to the city of San Sebatian or is it merely circumstantial? What makes Rocco Yim’s Chinese Treasure Box Chinese? What is the specific connection between Dragon and an airport in Hong Kong or Beijing? Opposite page: } The premise of the studio is based on the argument that there is no specific relationship between the metaphor in use, but rather it has to do with the degree of consistency the metaphors are permeated throughout the project. In other words, there is nothing absolute about a Crystal’s particular relationship to a function or a place. Or else, the crystal simply could not appear in two different location for two different purposes.
In other words, there is nothing “absolute” about the connectedness of Moneo’s Stranded Rock design to either the programming of convention center, or the genius loci of San Sebastian. The use of metaphor is merely the result of the various given circumstances. With this understanding as the premise of our studio pedagogy, we explicitly accept the function of metaphor as an appliqué in a matter-of-fact way. No more, no less. For us, it is not the finding the best metaphor for the project, but instead, how rigorous and thoroughly to translate the metaphor into an architectural proposition.
Left (from top down): } Students were each given an unique material object from nature. The outer fiberous layer of trachycarpus fortunei; skeletal structure of an sea urchin; dried remain of a burdock seed; dried leaf of Cuban bast; murex seashell
1.0 Materiality to Concept To confront the precept of metaphor head on, students were each given a material object from nature through lucky draw. By analyzing this given object from nature -whether it is a decaying Bauhinia leaf or a Burdock seed- students were challenged with the task of exposing the latent characteristics “material object” to unfold its organisational, formation pattern, spatial and structural potentials. The analytical process is not a passive one, but involves the active manipulation of the students to extract potential architectural qualities. These manipulations includes sectioning, burning, peeling, distorting or slicing the “material object” to access its inherent characteristics and properties. As students analyze and deconstruct the material object, they also begin to consider how these material object can be transformed into constructive and tectonic studies. The aim for this exercise was two folds. First it proactively uses the metaphor in a matter-of-fact way, where the material object is the metaphor, the given constraint and opportunity. It is the concept one can hold in their hand. Students were not ask to defend the choice of the material object (since it is purely through the luck of a draw), but instead to argue for how the centripetal configuration of the Burdock seed could be translated as a means to organized the museum circulation strategy. Or the Murex seashell resulting in an organization that resembles the enfilade of the classical museum typology. Second, with strong belief in the reciprocal relationship between making and thinking. The initial process allows the students to engage materially in an abstract way from the inception.
BURDOCK SEED by: AU Ming Ying, Anita } The burdock seed is examined through several operational steps, including sectioning, rolling and reversing its geometry inside out to understand its physical characteristics and unfold its latent architectural potentials. Large scale models were constructed to test its formal potentials.
CUBAN BAST LEAF by TAM Tsz Kin, Kris } A simple leaf served as the starting point for exploration. A construction system based on a logic of constraint and freedom to generate a free form geometry
MUREX SEASHELL 1 of 2 by TAM Ka Man } Inspired by murex’s growth ring and spiral geometry, a tectonic construction is developed through a modular system of typical and in-between units to generate variation of space, connectivity and configurations.
MUREX SEASHELL 2 of 2 by TAM Ka Man } Second iteration of the study with added complexity of the modularity
This page (from top down): } LI Shan Cha, Chris analyzes the bone of a sea urchin by project lighting through the voids of the bone structure, revealing aggregates of patterns in transparency and translucency. Early examples of the construct inspired by the findings of the sea urchin. Opposite page (from upper left, clockwise): } Construction by KWOK Wing Ho, Vincent. A system of compression and tension struts creating a balance, self stable unit reflective of his analysis of the Bauhinia leaf’s heirachical vein structure.; Two studies by AU Chi Hang, Coran explores the branching and layering system steming from the analysis of trachycarpus fortunei. Grafting loop made by CHEN Ying Hui, Ian.
This page (from top down): } LI Shan Cha, Chris’s experimentation based on sea urchin’s radial and heirachical ordering system. Opposite page: } Construction and experimentations by TAI, Yu ming, Leo. Analysis made to break down the seashell into components of modules. A logic is developed to recreate the seashell by standardization with repeatable units based on pre assigned parameters.
Pin up of the Material Object exercise: } This page (clockwise): Bauhinia leaf by KWOK Wing Ho, Vincent; Burdock Seed by AU Ming Ying, Anita; TAI Yu Ming, Leo; Cuban bast by TAM Tsz Kin, Kris. } Opposite page (clockwise): Murex seashell by TAM Ka Man; Urchin bone by LI Shan Cha, Chris; Wood branch by CHEN Ying Hui, Ian; T rachycarpus fortunei by AU Chi Hang, Coran.
schinkel altes museum (upper) The first building designed with the intention to display art to the general public. Organized around a centripedal arrangement centered on a rotunda allowing the visitors a point of reference and the ease the boundary between inside and out. VERSAILLES (lower) The palace turned museum represents the typical enfilade arrangments of linearity and moving from room through rooms as one experinces the collections.
2.0 Typology Analysis Case studies of selected museums were generated to understand how a museum of art functions and works, and more specifically how they could serve as a starting point for reference as the design for the M+ Museum. Students are asked to study the relationship between scale and quality of space to their display content; they are also asked to study the circulation strategies of the different museums, from museum fatigue to crowd control; and the relationship between art/ non-art/ public and non-public. The program brief for M+ calls for a museum that builds upon four themes of contemporary art that is particular to Hong Kong: Visual Art (Contemporary ink art), Design and Architecture, Moving Image and Popular Culture. Furthermore, art education is emphasized as a key ambition of M+. 8 contemporary museums were selected as case studies. 1. The Museum of Modern Art 2. 21st Century Museum of Art, Nakazawa 3. Guggenheim Bilbao 4. Centre Pompidou – Metz 5. The Art Institute of Chicago | The Modern Wing 6. Nelson-Atkins Museum of Art 7. de Young Museum 8. The Museum of Fine Arts, Houston
MUSEUM TYPOLOGY Museum of Fine Arts, Houston by Rafael Moneo Case study 1 of 8: } Typology study focuses on understanding the relationship between the display content and the space to which they are exhibited in. Additional research were focused on museum circulation strategy between individual, group, staff, deliverables and VIP. Storage as a form of display were also considered as a possible way in understanding the museum.
} Analysis generated to understand the relatinship between the type of art and the space they are displayed in.
MUSEUM TYPOLOGY Centre Pompidou, Metz by Shigaru Ban study 2 of 8: } Upper: Typology study focuses on understanding the relationship between the display content and the space to which they are exhibited in. Additional research were focused on museum circulation strategy between individual, group, staff, deliverables and VIP. Storage as a form of display were also considered as a possible way in understanding the museum.
MUSEUM TYPOLOGY 21st Century Museum, Nakazawa by SAANA study 3 of 8: } Lower: Diagrams highlights not only the programmatic relationship of the collections being displayed but also the non-linear circulation strategy implemented by SAANA. Particularly interesting the the combination of the implied enfilade with the seemingly random organization of the museum.
Left to right: } Historical map of the West Kowloon area, illustrating the process of reclamation from 1984 through 1997, and the infrastructural work around the area including the West Harbour Tunnel built in 1997. While the WKCD is being reclamed, across the harbour additional reclamation were also being implemented, notably the Wanchai area. Left: } Master layout plan designed by Foster and Partners. The project was selected through an invited competition in 2010. Two other finalist were Rocco Yim and OMA.
3.0 Site West Kowloon Cultural District The site is located on a 25,000 square meter parcel within the 40 hectare reclaimed land that aims to cultivate Hong Kong’s cultural production by providing a new museum of visual culture, numerous theatres, concert halls and other performance venues. Prior to student’s individual design, they formed groups to examine a list of topics relating to WKCD’s surrounding area as well as its proposed master plan. Student analyze and interpret the urban implications inherent within the WKCD master plan. The investigation seeks to uncover both above and below ground conditions of the MLP. Information gathered shall be interpreted analytically and represented through graphic techniques. Some of the issues examined are: a. Zoning & Programmatic composition c. Land use and typology of surrounding neighborhoods b. Infrastructure & Accessibility d. Scale and programmatic comparison to great parks and cultural districts The objective of the exercise is to understand the projected impacts and influences of WKCD in different scale to its immediate neighboring communities and beyond.
Lower & bottom left: } Documents from the competition guidelines, illustrating the various limits, contraints and potential opportunities the site offers. Opposite: } Group models at 1:1000 to illustrate the various phsyical constraints of the site. Including height restrictions, vehicular, train, express line infrastructures going through or near the site. Foster’s mater plan promised to give Hong Kong a world class park. The scheme own for its clarity of concept and its perceived simplicity of implementation. Three squares are designed to provide public spaces to the much needed, highly desified district of Yau Tsim Mong (Yau Ma Tae, Tsim Sha Tsui and Mong Kok), the immediate area adjacent WKCD. One of the main strength of the Foster scheme is to lower the vehicular traffic to underground, and the provide human scale streets to promote mixed use activities.
Top down: } Diagram locating major public and privtely owned art institution in the Kowloon pennisula districts and its proximity to WKCD. } Mapping of the Yau Tsim Mong districts distillating open space, art institutions, residential and commercial developments to obtain a deeper unstanding of the impacts of M+ within these districts.
Top down): } Diagrams comparing the proportion of residential, commercial, open space, art institution and civic areas within the four different districts. 20% of the gross floor area within WKCD would be allocated for the use of arts related activities, which is significantly higher than the rest of the Yau Tsim Mong districts.
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Design proposals: Students synthesizes their project from the 3 exercises generated during first phase of the studio. Each developed a project from the given object from nature and transform it to an architectural proposal to address the aspirations of the M+ Museum. Students are encourage to interpret and speculate the proposed M+ progamming towards their own unique material concept intigated from the material object study. The aim for the architecture proposal is to design a cultural building of public significance in Hong Kong that addresses the ambitions described by the WKCD as well as the pedagogy communicated during the term.
Proposal 1: CHEN Ying Hui, Ian Material Object: Wood Branch The design promotes programmatic grafting as a way to generate in-between or “Third Space� as desired by the M+ Museum. Strands of programs are designed specifically to suit the functioning of the display content. When the programmatic strands intersects, unpredictable spaces occurs creating moments of surprise and improvisation for the visitors and the curators.
Proposal 2: AU Ming Ying, Anita Material Object: Burdock seed The design takes clues from the centripedal organization of the burdock seed on a metaphorical and literal level. The different galleries of visual arts, design, moving images and popular cultural forms around a central core. As visitors move through the museum, they are reminded of airy atrium from which they first enter. The structural framing also derives from the organization principles of the burdock seed.
Proposal 3: TAM, Ka Man Material Object: Murex seashell Continue from the idea learned from the first excerise of switched modules of standard and in-between units, the museum works in a system of solids and voids organized along a spiral. Solids for displaying art venues, voids for unassigned “3rd spaces� of imrovised purposes. Depending on the location, the 3rd space is sometime outdoors providing alternative spaces for display scluptures or semi-public events that can be accessed without ticketing. The central atrium is partially open to weathers with ground level free for movement, it aims to allow the public to move through the site and up the 3rd spaces above.
Proposal 4: LI Shan Cha, Chris Material Object: Sea urchin A specific set of repetitive patterns is observed from the sea urchin. The pattern exists visually through the changing density of the bone structure. Large and small openings occurs in a rythmic way. This principle of organization is adapted as a way to layout the programmatic functions by mixing different types of art collections with non-art related programs. The mixing of programs generated not only surprising programmatic but also spatial results.
Top: Exploded axonometric diagram illustrating the mixture of programmatic element.
Proposal 5: KWOK Wing Ho, Vincent Material Object: Bauhinia leaf The hierarchical veins of the bauhinia leaf is used to generate the design. A series of primary spaces are offset by a secondary of supporting functions. One enters an enclosed public space moving through a set of vertical transportations to reach the different galleries. The balance of the structure steps as it moves up in height.
Spaces of varies heights to accommodate the proposed art pieces.
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Exchange: Culture and Pedagogy During the semester there are two occasions where the faculties and students from both schools met to exchange ideas about the project and their respective cities. During the middle of the term, team Delft came to Hong Kong to visit the site and held a three day workshop with students of CUHK to discuss the design criteria and conditions. During the workshop we invited different guest speakers to offer their insights on M+ Museum, the development policy of West Kowloon, the history of Yau Ma Tae and a history on museum of art from the stand point of typology. The second occasion is when the CUHK students visited the Netherlands and presented their projects to the Delft team. Team Delft led by Professor Michiel Riedijk with Stefano Milani, Alper Alkan, Jago van Bergen and Niklaas Deboutte devised a focused and productive strategy early April that critically shaped the aim of the workshop. Day 1: Site visit, excursion to West Kowloon vincinity Day 2: Design workshop; Lecture by and conversation with M+ Museum assistant curator Shirley Surya on the aspirations behind and the needs of M+ Day 3: Design workshop; Lecture by CUHK associate professor Thomas Chung on the history of the Yau Ma Tae development and adjunct associate professor Yutaka Yano on the development policy of Kowloon pennisula Day 4: Design workshop; Lecture by Jago van Bergen on the typology of museum fine arts; workshop final review
Opposite page (from top down): } Yutaka Yano explaning the history and backgrounds of the planning policy in Hong Kong; Patrick Hwang introduces the pedagogical framework of the studio for team CUHK. Thomas Chung gave a lecture on the history of Yau Ma Tae The series of short talks was aimed to provide the students with the background knowledge to the place which they are designing. This page (from top down): } Professor Michiel Rieijk and his students; Concluding remarks at the end of the wokshop; Delft students in CUHK
Images taken during the workshop. Activities included lectures given by faculties from both schools, pin-up reviews, charattes and concluding celebration.
Images of the final review at CUHK and Delft. After the collaboration, students from CUHK takes an architectural excursion in the Netherlands, touring Amsterdam, Rotterdam and Delft, including office visits to OMA and MvRDV.
Top: Herzog and de Meuron Below: (left to right) Snohetta and Shigaru Ban
The Design Competition While the “official” competition proceeds starting in early 2013, our students were developing their projects simultaneously with the architects invited to participate in the competition. The six architects are: Shigaru Ban, Herzog and De Meuron, Toyo Ito, Renzo Piano, SAANA and Snøhetta. On 28 June, 2013 WKCDa made the official announcement to select Herzog and de Meuron’s scheme as the winner of the design cometition.
Right: Toyo Ito Below: (left to right) SAANA and Renzo Piano
Schedule WK Events 1 2
Introduction/ overview
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Review: 1.0 + 2.0, Jury: Jenny Lovell + Laura Mazzeo
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Holiday: Lunar New Year
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Review: 3.0, Jury: Chi Wing Lo
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Office visit: Foster + Partners with presentation by Colin Ward Interim Review, Jury: Billy Chan + Ida Sze
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Holiday: Easter & Workshop week: / Site observation from HK & Kowloon / Design workshop with TU Delft led by Prof. Michiel Riedijk + presentation & discussion with M+ assistant curator Shirley Surya / Design workshop + faculty presentation by CUHK / Prof. Thomas Chung: History of Yau Ma Tei + Prof. Yutaka Yano: Planning framework of Hong Kong / Design workshop + faculty presentation by TU Delft faculty Jago Van Bergen: Study of Museum Typology / Group Review: CUHK and TUD
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Review: Final Presentation
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May 9th, 2013 Depart @ 00:15 to AMS via CX-271 Excursion Amsterdam, Utrecht, Rotterdam & Antwerp Presentation at TU Delft May 15th, 2013 Depart @ 12:55 to HKG via CX-270
Special Thanks Mark Hemel for conceiving the collaborative studio and making this linkage between CUHK and TU Delft possible; Director Puay Peng Ho for giving me this wonderful opportunity to direct an exchange studio; Stefano Milani for his tireless efforts in making the workshop possible and for hosting us and arranging the different office visits during our visit to Rotterdam; Wallce Chang, Alper Alkanm Jago van Bergen, Niklaas Deboutte, Brian Wong, Edman Choy, Geraldine Borio, Ida Sze and Billy Chan for offering their insightful criticisms during various stages of the desing process; Colin Ward for sharing with us the design and planning concepts behind Foster + Partner’s master plan for WKCD; Chi Wing Lo for sharing with us the inner world of an architect turned artist; Shirley Surya for offering her time in discussing the aspirations behind the conception of the M+ Museum; Thomas Chung and Yutaka Yano for offering their precious time to share with our Dutch guests the history of West Kowloon; finally Michiel Riedijk for demonstrating to us the amazing possibilties of working within the limits and restrictions in a creative way.
Patrick Hwang is a registered architect (USA/ NY) and a Professional Consultant at the CUHK. With background in the fine arts and over a decade of experience in practice and teaching. At the CUHK, Patrick tutors both graduate and undergraduate level design studios as well as theory and criticism in architecture. Professor Hwang also serve as the Thesis Project Coordinator at CUHK and a Technical Committee Member of the Buildings Department of Hong Kong. Prior to joining CUHK, Patrick was an Assistant Professor at the University of Arizona where he taught design studio, construction documents and graphic representations. Professionally, Patrick has over a decade of experience in practice with distinguished firms engaged in different project types ranging from civic, cultural, housing and planning. Through practice Patrick has acquired a broad empirical knowledge in strategic development, design and construction techniques. He is a principal of HLArchitects in Hong Kong, where the design studio engages in speculative projects and competitions.
Studio References // Juhani Pallasmaa, “The Shape of Touch,” Question of Perception // Ben Van Berkel & Caroline Bos, “Diagrams,” Move vol.1 // Bernard Tschumi, “Index of Architecture,” Question of Space // Peter Eisenman, Ten Cononical Buildings: 1950 – 2000 // Alex Wall, “Programming the Urban Surface,” in James Corner, ed., Recovering Landscape // James Corner & Alex MaLean, Taking Measures Across the American Landscape // Reiser+Umemoto, Atlas of Novel Tectonics // Pierluigi Nicolin, “Performing Museums”, Lotus International Quarterly Architectural Review, Vol. 134