Phoebe Mo Part 1 Architecture Portfolio
Contents.
p.1
Curriculum Vitae
p.2-8
Architectural Design: Collaborative projects
p.9-19
Primer
p.20-46
Graduate project
p.47-55
Professional Practice
Ridge & Partners LLP
Education.
Kai Wing Phoebe Mo
2013-2016 University of Newcastle, BA (Hons) Architecture with one year studying Urban planning.
+447907587270 phoebemo@hotmail.com https://issuu.com/phoebekaiwingmo
Achieved 2.1
2011-2013 Aylesbury High School for girls.
Skills.
A-Levels: Economics- A. Chinese-A. Maths- B. Art-B.
Softwares-
2007-2011
Sketch-up: Proficient. AutoCAD: Proficient. Photoshop: Proficient. Illustrator: Good. InDesign: Proficient. Rhino: Basic. Premiere Pro: Basic. Revit: Proficient
Sir Henry Floyd Grammar School.
Experience. November 2016 - Present Ridge & Partners llp, Oxford, Architectural Assistant.
OtherModel-making: Clay, plaster, concrete, foam and card. Drawing: Architectural style, watercolours, charcoal, pencil and pen. Photography: Historical, still life and interior.
Extending from my previous role; I have been extensively involved from Stage 0 conceptual design for a range of projects including: educational, commercial spaces and currently F1 race facilities. Learning the progression from conceptual design through to planning application, construction and as-built phases, I have been able to practice the requirements and formalities that lie within each stage, from in house teamwork to client collaboration; advancing my confidence and professionalism. I have also received qualified training in Revit allowing me become a proficient user, whilst expertising my current skills of AutoCAD, Sketch up and Adobe Suite programmes on a daily basis.
LanguagesEnglish: Proficient. Chinese (Cantonese): Proficient.
September 2016 - October 2016 MPA Architects, London, Architectural Assistant.
Chinese (Mandarin): Good.
References. Professor Andrew Ballantyne. University of Newcastle: Professor, Architecture, Planning & Landscape. andrew.ballantyne@newcastle.ac.uk
Applying my skills from my graduate experience, MPA has allowed me to experience the procedures within the Tender Design stage. Thus has engaged myself in the program of AutoCAD and Sketch-up to complete detailed constructional drawings; sourcing of FF&E and documenting schedules, through to the completion of brand guidelines and procurement processes utilizing the Adobe Suite and Microsoft packages. I have also developed my skills in communicating effectively and confidently to a greater range of audience and colleagues.
Volunteering.
Elizabeth Makinson. Architect, Hassell Studio. emakinson@hassellstudio.com Dhruv SookHoo. University of Newcastle: Design Tutor, Architecture, Planning & Landscape. d.a.sookhoo@newcastle.ac.uk Paul Hartle. Associate Architect: Ridge & Partners LLP. phartle@ridge.co.uk 01993 815127
Tanzania (2014).
Renovation and construction of school facilities and mud houses using local methods and materials within the village of Tanga.
Fresher’s Crew (2015).
Representative for University fresher’s week, assisting with new students moving into halls, preparing social activities during the daytime and evening.
R.A.G Week (2015).
Fundraising for University’s chosen charities through bucket collections and organisation of evening charity events.
Architecture Ambassador (2013-2016). Representing school of architecture during open/post-applicant days and educational programs for visiting school students.
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Charette.
Our project sought to redefine the concept of conventional pathways to the audience through emphasis upon various sensory aspects relating to touch and feel through a narrow path of juxtaposing mediums using hanging lit paper tubes.
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Crossover.
Quayside: Site of chosen Chare
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Unseen // Undiscovered Our brief involved a transformation of a chare within Newcastle into a temporary structure for busking. The shift from an extremely enclosed alleyway contrasts to the openness of the quayside thus creating an opportunity to place a multi-use structure so that the public could experience an unnoticed space as they passed by.
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Modularity // Adaptability The busking structure becomes a continuation of the chare due to its composition of repetitive modular components, this allows for ease of construction and mobility. The circular design allows the user to showcase a unique form which juxtaposes conventional planes. As such the flexibility can be adapted to suit different environments.
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PRIMER
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PRIMER In this studio, we were required to develop design ideas in light of Ruskin’s principles and come up with a design for a bird-watching hide within our site, at the Wetlands Centre; Washington. Thinking about matters of expression, honesty, truth and goodness in coherence to his book ‘The 7 Lamps of Architecture’. Ruskin’s insistence towards individual expression and craftsmanship enables architecture to become one in which, can inhabit emotional, human qualities; evoking a sense of beauty.
“It is not merely visual information but the emotional responses which accompany perception, compels us, ‘to acquire new perceptions of what our life actually means.’’ Another issue that Ruskin touches upon is the beauty of decay within architecture, he saw it as a display of the truthful nature of a material, as its expression is gradually revealed through the honesty of the structure. In this sense, my design aspires to let nature conditions become the dominant factor within the evolution of my hide. Undisturbed by artificial factors, it will seek to become a structure of grace displayed in its most absolute form through many years.
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“Mountains are the beginning and the end of all natural scenery.� John Ruskin
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Pencil studies of natural decay and ornamentation
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Context.
Washington Wetlands Centre. Wetlands are areas where water covers the soil, or is present either at or near the surface of the soil all year or for varying periods of time during the year. They are the primary source of drinking water for people and wildlife. The wildlife is dictated by the saturation of coastal water determining how the soil develops and the types of plant and animal communities living in and on the soil.
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Precedent study of Venice Lagoon: Formation over 1600 years
Site Analysis The River Wear rises in the East Penines, an upland area raised up during the Caledonian Orogeny. The visible existing rock that appears is Red Sandstone; a suite of sedimentary rocks deposited in a variety of environments. The Weardale Granite underlies the headwaters of the Wear but does not outcrop. Erosion of this rock can occur through chemical weathering, mainly Hydrolysis. Changes occur due to the dissociation of H20 into H+ and OH- ions which chemically bond the minerals.
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Sedimentation. Sedimentation is a process which occurs when particulate matter carried from its point of origin by either natural or human-enhanced processes is deposited elsewhere on land surfaces or in water-bodies.
Beaker 1 (LEFT): Ionised water Beaker 2 (RIGHT): Cr3+ Concentrated water I have incorporated the use of trenches and concentrated chemical substances to accelerate the rate of sedimentation within the wetland. Through experimentation of using salt ions to test the rate of settlement with silica, it shows that the increased concentrate of Cr3+ ions combined with the silica at a much quicker rate of settlement than with normal ionised water that is generally found within river water conditions.
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Cold Agar Gel with Added Salt Ions // Hot Agar Gel with Added Salt Ions The use of Agar gel in this experiment is to mimic the chemical conditions of the River Water present within the site. The Salt ions produce a reaction similar to that of Experiment 1. By modifying the temperature factor of the gel allows one to see the different reactions. The Hot Agar produces a more separated solid formation compared to the cold environment.
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Alginate + Salt Ions + Stones // Alginate + Salt Ions + Sand The added sediments within this experiment gives an idea of how they influence and partake in the reaction with the Alginate and Salt Ions. The presence of salt ions cause sediments to settle. Salt ions bond to the suspended particles encouraging them to combine with other particles in water.
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Representation.
Mechanism This image is a trench mechanism which involves the use of chemicals to generate an artificial process of sedimentation and thus to provide a basis for the making of the Bird hide. The third stage of the trench mechanism incorporates an enclosed pipe that will run for 2300mm with a contained concentrate of Mg2+ in order to encourage and accelerate the sediment to combine with other particles creating a layer of rocks that will build up over time. The excess water that is deposited during Stage 5 will be carried out through a filtered outlet pipe back into the Wetlands environment.
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Year 5,000 // Year 10,000 The projection of sedimentation begins to resemble a shelter-like bird hide. The increase in water level within the wetland encourages plant life and continues to become part of the expression of the structure, its shape will also evolve through the influence by man made uses to suit their needs.
Birdhide // Year 20,000 Displayed in its ‘complete’ form with a clear idea of a shelter, this is shaped collectively through the result of weather patterns and artificial influences. Ruskin’s Lamp of Truth reveals this structure in its true nature revealing beauty through an organic, graceful form. 19
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GRADUATE PROJECT
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GRADUATE PROJECT
The design brief posed for this studio required us to design an arts centre with an accompanying bar area for meeting events co-habiting the Long Now Foundation founded by Michael Chabon. Continuing the design in coherence with Ruskin’s Principle and building for the long term of rising sea levels. The Long Now foundation fosters long term thinking and responsibility in the framework for the next 10,000 years. Exploring this further, I have experimented the idea of craftsmanship that matures with age becoming into a memory glorified in its age and truth. In particular, I have chosen to utilise concrete in an unprecedented way as to represent varying expressions within one material. Through time, embracing the idea of decay in celebrating it as a noble representation of maturity in skill and the experiences collected in which is a celebration itself. Thus the chosen site of Ouseburn provides a strong basis through its rich history of diverse industrial workshops, fostering the opportunity for explorations into preserving this memory.
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“The future, whether you capitalize it or not, is always just an idea... a proposal, a scenario, a sketch for a mad contraption that may or may not work. “The Future” is a story we tell, a narrative of hope, dread or wonder.”
Michael Chabon, Long Now Foundation, 2006.
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Loci.
In order to develop the brief, our trip to Venice explored ideas of decay within a setting of constant rising sea levels. Distinctive ageing ornaments start to reveal layers of expression as time passes. The untouched architecture continues to decay becoming a noble and truthful monument of its past.
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Transport routes. Reconnected travel route of upper and lower Ouseburn.
Open Social spaces. Increased social space and opportunities.
Existing buildings.
Conservation Area.*since 2000
Planned regeneration Proposed Building location With my building situated in between two disconnected routes, I hope to inject the flow of movement across the river as well as reviving the decreasing water level running through the site.
A distinctive feature within the Site is the decreasing water levels of Ouseburn River. As such, layers of water,mud and aggregates are revealed presenting a strong diversity of materiality. The site that I have chosen is situated in place of the disused Ouseburn Barrage. This is a vital connection between Ouseburn and the Quayside, thus this presents the opportunity to reconnect socially and physically the routes connecting Maling street to Ouse Street.
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Settlement. Form Ouseburn boasts cultural and craft industries with a strong diverse urban setting. Thus I have chosen to design a community arts centre and brewery situated at the hub of the place. Studying the flood level strategy over the course of 10,000 years has informed me of the geological changes that will influence the site. Set off from underlying land forms, I have been inspired through the organic processes of nature in the formation of spaces. As such I utilised the juxtaposition of land contours to inform the architectural form, letting the circulation spaces be created from the negative. Material Consciousness Through experiencing the craftsmanship associated with stone making. One start to appreciate the nature which expressions are revealed as layers become subtracted. Applying techniques from stone making workshop onto concrete, similar behaviour of aggregates are exposed forming expressions of grace and individuality.
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Concrete material studies, cardboard working models and digital sketches
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Floor Plans.
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Section. Programme The functional building spaces are divided into six floors with an increase in spatial privacy and separation as one vertically travels up the building. Open spaces are provided on the ground and first floor to invite and generate social activity in which the craft brewery is also situated. The upper floors provide separate studio and classroom spaces for arts education and workshops as well as private functions. The audience are invited by the concrete realization of craft in its coarse ornamental form and texture allowing a true interactive experience with the material. Hence a third kind of material consciousness can be applied to concrete, investing the inanimate with human qualities. This state embodies values and a profound life quality encouraged by Ruskin as one of his 7 lamps of Architecture. Evoking the architectural moralities within the material; the attribution of ethical human qualities, one seeks to heighten our consciousness and think about their value. The concrete masses dictate the form externally and is exposed internally making the structure an honest expression throughout, showing the majestic quality of such weight and vigour.
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Experience.
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Embodying Obsolescence Encapsulating Ouseburn as a memory to reflect its rich industrial history, I believe concrete is a medium that has a history, humble at that, with its ongoing vigilance to cement and concrete industries; so forth this association of culture means in part having a continual fluency in its infrastructures. In the use of materials, one must anticipate its transformation and the life beyond and against its obdurate form. Its symbolism and memory cannot be dissociated from past program. “buildings have to be understood in terms of several different time scales over which they change, in terms of moving ideas in flux.� (Cairns, Jacobs, 2014) This scalar dimension as infrastructures fade into invisibility between our set natural characteristics and the distortion of memory generates a slow process at which, change too slowly for us to notice. So one must consider the strategy in that the inevitable obsolescence of a design, can sustain a memory for which seeks to tell a story of the life of the building within its setting.
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“Do you believe “the Future” is going to happen? If it lasts—do you believe there will be a human being around to witness, let alone mourn its passing, to appreciate its accomplishment, its faithfulness, its immense antiquity?”
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Year 07016 // 5,000 Years Within 5,000 years, the building starts to reveal parts of it true expression through the erosion of layers within the material. As subtraction becomes an insistent state to which discloses its architectural materialization. Over time, the decay of concrete seeks to reveal more of its true expression through undisturbed elements, conceiving beauty as a result of flexibility and adaptation in architecture.
Year 12016 // 10,000 Years In Ruskin’s Lamp of Memory, “the greatest glory of a building is in its age. Memory should preserve our past perceptions and simultaneously allow us to face our state of mortality.” Thus in the projected 10,000 years, the concrete structure will be left bare with only the structural frame in place. This ruin becomes a noble and truthful result of the passing time. Its symbolism and memory cannot be dissociated from past program. As the layers of concrete continue to erode, it will further become its most truthful nature as it stands as a monument to the history of Ouseburn.
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Year 17016 // 15,000 Years The Lamp of Power within Ruskin’s principles addresses architecture in relation to“...the relative majesty of buildings which depends more on the weight and vigour of their masses, than on any other attribute of their design.” The continual ageing expression conveyed by the structure becomes one that contains rooted history within which contributes to its vigour in embodying the history of Ouseburn. Thus this echoes in coherence with the Long Now foundation through its ability to thrive without the need for human maintenance, the monumental ruin continuing to fulfil its role encapsulating the rich culture once existed.
Year 22016 // 20,000 Years Through many cycles of nature’s course, the ruin will slowly erode until it has left it’s mark only by a glimpse of concrete craft. Ruskin’s interest in rocks thus leads on to his admiration of mountains being “The fineness of nature’s work”, through movement and sedimentation of the land, the rising water levels will surround the great mountainous formations conveying the sort of beauty only nature could achieve.
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Formwork.
The formwork technique of my design is inspired by the Truffle house by Ensamble Studio. Adapted to be compatible with current building conditions, through construction of each floor, spaces are created by materializing the air by inserting large volumes of polystyrene and layered ground aggregate externally to hold the concrete intact, as illustrated by the above diagrams. This seeks to control yet also reveal expressions dictated by the material, one can then craft the structure over time in order to further develop the texture of concrete.
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Site Integration
Structural Permanence
Glazing:
Up to 20 years life span.
Concrete Beam and Slab: Up to 1,000 years life span.
Reinforcement Steel Frame: Up to 8,000 years life span.
Concrete Mass Chambers: Up to 16,000 years life span.
Life span of Concrete Gravity Dam: General service period within 50 years.
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Axonometric.
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Facade. Through use of large masses of unindustrialised concrete, I have sought to allow for the process of craftsmanship to represent the expression of the material conveyed towards the user experience. My emphasis on enhancing the human sensory properties within the material, focuses on the way in which concrete stimulates interaction through the collision of glass and rough concrete. This presents an obvious and striking nature of the medium, intensified further by the juxtaposition of irregular forms in the two materials embodying the duality between strength and lightness.
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Details. Wall to Glass Insertion Detail Concrete Flat Roof
Wall to Floor Junction
Pile Foundations
Reinforcement Continuity Strip System
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Heating and Cooling.
Glass-Blowing Kiln
Thermal Mass // Ventilation The use of thermal mass as a strategy plays a large part within my design as the main sculptural forms are concrete (chamber thickness >1m). This has allowed me to eliminate the need for insulation within the internal environments throughout the building. To further assist with cooling, stack ventilation occurs within the staircase with a semi exposed entrance leading up to a vertical staircase. Within the circulation spaces and workshops, cross ventilation will take place through the natural winds coming from South West direction.
Ventilation duct from toilets
Brewery Tanks
Water storage tanks
Servicing The placement of my services are all stored within the concrete chambers running through the building, in which can be assessed from within. The concrete storage acts as thermal mass to keep the machinery cool and for the ease of maintenance and servicing.
Concrete gravity dam
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Water outlet pipe
Ventilation Ducts
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Professional Practice: ridge
& partners
Artwork by Simon Mason
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Staffordshire university. The initial proposal was for an extension and internal redesign with an incorporated lift to the Brindley Building at Staffordshire University. The Brindley Building is currently home to four academic schools who are the significant stakeholders for the large majority of the Brindley Building. The intention of the design is to ensure the Brindley Building becomes a key tool in facilitating the University’s teaching ambitions through its improved internal spatial re-programming. The building is orientated in a north easterly direction and set back from Leek Road with a soft landscaped frontage. Due to the buildings orientation the north western facade receives little direct sunlight. Since the proposals discussed with the Client, further actions of an improved Masterplan of the entire campus was underway with initial options highlighted in the massing studies.
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Spatial Programming // Masterplan
Artwork by Squaredot
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Technical Facility, Carpark. Our brief for this project involved a staff carpark to compensate for the increasing employees within the facility site. Dealing with European auto motive products, the proposal required a metallic cladding with a unique aesthetic so that it would be compatible on site. The carpark required parking for bicycles as well as motorcycles with a total number of XX spaces. Involved from Stage 0 conceptual design, a proposal of aluminum hit ‘n’ miss cladding panels was formed, this style of cladding allowed for a semi-transparency aesthetic so that from afar it did not suggest a multi-storey car park situated in the centre of the site. It could hide the cars inside yet be a striking focal point for staff as they walked by the structure.
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Technical Facility, Extension. The proposal set out for this project required an extension and spatial re-programming of existing manufacturing productions. We set out to connect two units that are currently separated in order to create a large, open-plan space to allow for larger machinery that are currently disused due to the space restrictions. This new connection will also allow for safer, more efficient transportation of parts and faster production line to increase the firms productivity.
EXTENT OF TENDER BOUNDARY NOTE: FOR PLANNING APPLICATION BOUNDARY REFER TO DRAWING: 5003947-RDG-Z03-ST-PL-A-2536
REFER TO DRAWING 0026 0200
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NEW RETAINING WALL FOR NEW WASTE COMPOUND
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MERCEDES BENZ GRAND PRIX LTD
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10/19/17
UNIT 5A & 5B EXPANSION B A
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31/01/18 07/12/17
PM JC
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INFORMATION
6000
5003947 RDG Z03 ST PL
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REFER TO DRAWING 0810 FOR TYPICAL DETAIL FINISHES:
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WALL:
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• Gypframe Metal Stud Partitioning System (TYPE TBC) with Plasterboard Lining. Paint: Dulux Trade Diamond Matt Emulsion Brilliant White
G 002 MACHINE SHOP INSPECTION 112 m²
• Planet 20XL / 54 Frameless Partitioning System Aluminium tracks to beW-202 PPC to RAL9007 4000
6000
G 002A INSPECTION EXPANSION AREA
3D View - Clerestorey Windows
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FLOOR:
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68 m²
• Rubber Tile. TBC. A
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CEILING:
• Armstrong - Microlook 8 RAL 9010 with CasoLine MF Margin
DD FITTINGS: • Supplied by Client
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MERCEDES BENZ 1000
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4000
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New pin kerb to line edge of path and gravel margin for Phase 1 completion
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Contractor fencing during works 1000 SERVICE ZONE UNDER PATH
NEW HV ROUTE UNDER EXISTING FOOTPATH
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New pin kerb to line edge of path and gravel margin for Phase 1 completion
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New pin kerb to line edge of path prior to Phase 1 works
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IN ASSOCIATION WITH:
TITLE:
NEW FOOTPATH ALONG EXTENSION TO UNIT 5B
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Author
SCALE:
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@ A1 As indicated 01/23/18
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5003947 RDG Z03 ST PL
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THE COWYARDS REV: BLENHEIM PARK OXFORD ROAD WOODSTOCK, OX20 1QR
TEL: 01993 815000 WWW.RIDGE.CO.UK
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New Foul Drainage
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105.08
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MERCEDES BENZ GRAND PRIX LTD
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Gas
1200 - 1000
1500 - 1300
ATION SUB-ST2
1 : 25
Min 600
3
1 : 50
Fall
Min 600
3
Clerestorey Windows - Section
Path prior to phase 1 works
105.28
1
2000
New pin kerb to line edge of path prior to Phase 1 works
1200 - 1000
NEW FOOT PATH TO EXISTING ENTRANCE
Clerestorey Windows
A 0702 A
5003947 RDG Z03
Visualisation 3d model: Proposed extension
3d model: Proposed cladding options
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