Tasmanian International Scholarship
I Golden Key International Honour Society
MY ARCHITECTURAL PHILOSOPHY
‘WALL-LESS ARCHITECTURE’: TOWARDS REDEFINING THE SUBJECTIVITY OF WALL AND BOUNDARY [Architecture] has always been commonly seen as the aesthetic of building or space. In this contemporary time, spaces are generally more defined by the vertical plane/wall which has apparently been treated as the main way of creating a territorial delineation. To my understanding, architecture is not merely about the ‘objectivity’, but also the ‘subjectivity’ that lies within. I was greatly inspired by Kengo Kuma’s ‘Digital Gardening’ which is about his endeavour to ‘erase’ architecture/objectivity. Therefore, I am particularly interested in a renewed perception of boundary and space, or in redefining the [subjectivity] of wall and boundary, in short, [Wall-less Architecture].
[Wall], has practically been recognised as a separator of areas, thus creates an enclosed space for human habitation. It defines space. Yet a space is not merely defined by solid boundaries but also by translucent boundaries, furniture, lines, steps and platforms, or even virtual boundaries that are not physically visible but mentally evident. Different types of boundary may contribute to different nature and language of a space, and also, a boundary may not just a ‘wall’ of separation, but a ‘wall’ that links two or more different spaces. On the other hand, it can be seen as a ‘threshold’ or a transitional space. [My architectural philosophy] is to ‘erase architecture’to return to our ‘pure senses’, particularly enhancing the relationship between spaces, ‘inside’ and ‘outside’, or ‘man’ and ‘nature’ through architecture. We may ‘erase’ the wall which is a concrete boundary to create the sense of ‘wall-lessness’. It is not about the disappearance of the objectivity of wall, but in search of the subjectivity which lies in it. On the other hand, it is the removal of the dominance of thing and the expansion of its sensibility. I believe that we as architects should not see a ‘wall’ or boundary merely from its surface, but should also evaluate it through different perspectives. It is important for us to rethink the values and essence of every single line we put on the drawing, element, detail, form and material which collaboratively form architecture. The level of attention applied to the details will determined the language of a boundary and thus affecting a space. These have always been my philosophies, and I believe that every single element in architecture can be something unique and poetic, provided that an extra attention to detailing and craftsmanship is applied.
my architectural philosophy
I agree that the activity of architectural design can be undertaken as a legitimate research endeavour. However, the activity of architectural design and research should be a parallel process. From my understanding, research is a process of redefining question(s), an endeavour that will increase the knowledge base for the practice of architecture.
1st Year Studio Project, 2005
Symbiote
Launceston, Tasmania
[Symbiote] is a private gallery and tattoo parlour which is located above a host building in a narrow alley at Quadrant Mall, Launceston. It demonstrates a strong symbiotic expression and reliance on the existing building while sharing a mutual and beneficiary relationship with the host building. The gallery space was arranged in a manner of steps and platforms, to create a [pedagogical] and [experiential] journey that a person must been through before entering the tattoo parlour.
1st Year Studio Project, 2005
Cubrary + Green Square
Launceston, Tasmania
[Cubrary] is a private gallery and library which is located on an artificial pool within a landscaped urban square in Launceston, Tasmania. [Cubical form] and simple geometry are the design drives throughout the scheme. A mere shift and change of size of cubes were executed to create different languages for each space and function. [Cubrary] was intentionally designed to blend in the highly vegetated [Green Square] as if it is part of the urban space rather than a stand out landmark.
2nd Year Studio Project, 2006
GUUSH
Launceston, Tasmania
distorted grid and texture from cracked egg
space within a space
[GUUSH] is a sculpturally designed private gallery and residential house at the corner of a cross junction in Launceston CBD. Its form and function were inspired by the natural pattern and form of a [cracked egg], thus the main concept that drives the design is [space within a space] and [distorted grid and texture]. The building was also raised on stilts to allow porosity and transparency on the ground floor level for movement and activities.
3rd Year Studio Project, 2007
Ravenswood Community Library
Ravenswood, Tasmania
Located on a picturesque hilltop of Ravenswood, [Ravenswood Community Library] serves as a community library and cafe which aims to encourage interaction among the local residents, while providing extra facilities to the adjacent Ravenswood primary school and cricket ground. The design was designed to be lightweight with butterfly roof to create a sense of [flying over the hill of Ravenswood]. The proposal also aims to create a series of sequential threshold spaces to create an unconventional and unique spatial experience through a library and cafe.
slow down and experience
a
d
traffic zone
gather and interact
e
pressure
b
threshold
through the traffic zone...where should I go...
c
indoor and outdoor
stop and think
f
g
communicate
fun in space
Ravenswood Community Library, 2007
form
entry foyer
library
IT pod
cafe
Ravenswood Community Library, 2007
Ravenswood Community Library, 2007
3rd Year Studio Project, 2007
Hobart Market Apartments
Hobart, Tasmania
[Hobart Market Apartments] is a micro urban development at the waterfront of Hobart CBD which consists of City Hall and Hobart Rivulet. Each City Hall and Hobart Rivulet play a major role in part of Hobart history, but their historical values have been neglected and forgotten for years. The proposal seeks to revitalise City Hall, Hobart Rivulet and the urban space while trying to reconnect the Hobart CBD and waterfront which are both separated by uninviting urban spaces and Hobart roads. time line
experiential journey
9 places (9 tribes)
scheme 1: past ; aboriginal scheme, containing 9 places, indicating the 9 tribes in Tasmania) scheme 2: contemporary ; the revelation of the flood of rivulet. scheme 3: past ; back to the underground (history), the revelation of the historical values of the site and the rivulet.
new key buildings
shops and markets
the ‘time tunnel’...... draw - a threshold space that connects the Hobart CBD and the site. - horizontal timber strip battens on the ceiling change from wide to narrow from the entry point to the exiting point of the structure, to create a sense of ‘pushing’ towards the end in order to draw people into the site.
random movement
the time tunnel: site entry from CBD
north west tribe: aboriginal garden ben lomond tribe/Plangermaireener
- the design of the structure creates a random human flow to indicate the random movement of the aboriginal people as hunters in the past.
hardships-colonisation - large round timber trunks were designed to ‘pass’ through the ceiling to create a sense of ‘threatening’ within a ‘cage-like’ structure. - the design discourages a straight forward pathway, while encouraging a more confusing and inconvenient path in order to imply the hardships of the aboriginal people in the past.
the aboriginal cultural garden......the 9 tribes in Tasmania - encourage random movement to experience the aboriginal’s life style as hunters and gatherers - each places as temporary gathering point, implying the temporality in the aboriginal land ownership - petroglyphs, rock art throughout the scheme, as story teller
Hobart Market Apartments, 2007
the underground gallery: site entry from waterfront
City Hall market
market apartments
the underground gallery... The gallery was designed to be underground and in the same axis with the ‘flood’ zone to indicate a long hidden and forgetten history that is to be reminded and yet to be discovered. The entry ramp to the underground gallery slopes gradually and acts as a processional route before entering the ‘past’.
Hobart Market Apartments, 2007
Rivulet Tour Centre
Hobart Market Apartments urban objects
rivulet tour centre and ‘flood’ zone... - a temporary ‘flood’ is created in relation to the rivulet tour process. - rivulet tour in progress: rivulet water damps are disabled to allow the water to run on its existing water flow line. - ‘flood’ on the surface: rivulet water damps are enabled to ‘flood’ up to the surface of the urban space in order to create a temporary flooding scene in order to remind people of the frequent flood in the past.
Hobart Market Apartments, 2007
Visitor Centre
Hobart Market Apartments urban objects
a ‘timber glass box’ as landmark... - at the intersection point of Collins Street axis and City Hall axis - a node point/focus point/landmark - glowing from the inside at night - timber screen panel slides up to scale up the object itself, while indicating activities are happening around the ‘flood’ zone.
Hobart Market Apartments, 2007
‘Incomplete’ Pavillion
Hobart Market Apartments urban objects
the ‘incomplete’ in between the ‘complete’
Hobart Market Apartments, 2007
Hobart Market Apartments, 2007
Apartment
Hobart Market Apartments
4th Year Studio Project, 2008
UTAS Franklin Institute
Sandy Bay, Tasmania
Sandy Bay Campus Masterplan...the campus as city The contruction of the campus as a [community of learning] is beginning to break out of the boundaries of the institution. UTAS is seeking to construct a more permeable boundaries both physically and socially. The masterplan of the campus was reviewed to reflect university’s commitment to sustainability in education and research.
UTAS Franklin Institute Sandy Bay, Tasmania
[UTAS Franklin Institute] is a new inter-disciplinary research centre which provides a knowledge hub to [promote
local understanding of the impacts of global changes on ecosystems, the economy and society]. It aims to link research to practical solutions for real environmental problems. UFI includes laboratories, interactive teaching and learning space, and function for values exhange.
North East Elevation (main facade facing Churchill Avenue)
South East Elevation (facing Life Science Building)
UTAS Franklin Institute, 2008
- integration of the existing schools and new facilities within the Life Science Building - integration of the Life Science Building within the Sandy Bay campus - integration of the University campus within the broader urban context UTAS Franklin Institute, 2008
Detail Plan C (double skin facade)
Detail Plan E (foundation to 2nd floor level)
UTAS Franklin Institute, 2008
4th Year Studio Project, 2008
22@Barcelona Poble Nou
Poble Nou, Barcelona
[22@BCN Poble Nou] is an urban renewal project of the Cerda Block at The Eixample, a district of Barce-
lona which was planned and designed by Ildefons CerdĂ . It is characterized by long straight streets, a strict grid pattern crossed by wide avenues, and square blocks with chamfered corners. The proposal acts as a catalyst of transformation for the redevelopment and revitalisation of the industrial heart of Poble Nou into a future media park, tech/IT hub and a sustainable city where there is no distinction of work, live, and play.
MEDIA park TECH & IT hub green space/public park individual commercial building (market, shopping mall) new proposed housing (residential commercial mix/residential-office mix) existing housing (residentialcommercial mix) public services (public buildings and facilities) offices (small offices, office building, soho and private studio gallery) pool
22@BCN Precinct A Poble Nou, Barcelona
the redevelopment of the industrial heart of Barcelona...
[Precinct A] aims to provide a creative working-living environment which consists of groups of various professionals in a small scale assembly workplace. This neighbourhood contains residential dwellings, bar cafe, restaurant, design ateliers, IT offices, childcare and old age sheltered care facilities.
22@Barcelona Poble Nou, 2008
First Floor Plan
design ateliers, employment agency, cafe bar, old age care centre, printworks catering
Second Floor Plan IT offices, low cost housing
Third Floor Plan
private gallery, low cost housing, professional couple units, single short stay units
Fourth Floor Plan
private gallery, medium income tenant units, professional couple units, single short stay units
Fifth and Sixth Floor Plans single short stay units
22@Barcelona Poble Nou, 2008
Types of Residential Units
22@Barcelona Poble Nou, 2008
Material Differences The use of exposed brickwork on the facade of the first three stories identifies a more public accessible space while the application of a range of different finishing colors on the top remaining facades provide a clear identification of the housing types.
22@Barcelona Poble Nou, 2008
Materiality denotes function Exposed brickwork was applied to the internal and external facades of the public spaces. On the other hand, rendered finishes was applied to the private spaces. The red-brick facade was used to resonate with the aesthetic of the existing site context and produces a steadfast street-side presence.
22@Barcelona Poble Nou, 2008
5th Year Studio Project, 2009
Launceston Urban Planning
Launceston CBD, Tasmania
[Launceston Urban Planning] is an urban renewal project with critical restriction and objectives set by local council to enhance the urban character of Launceston and to maximise the values of the selected sites through strategic planning. Each person from a group of 60 students was required to propose an architectural solution to two distinctive sites.
Footprint Testing
Site Context Analysis
Levels + Openings (building-space relationship)
Site 1 Cimitier Street and George Street corner Urban Role - Revitalise the street corner - Resting point for passerby - A place for retreat and relax within the industrial and business zone (particularly for the workers)
Launceston Urban Planning, 2009
Site 2 Cimitier Street and George Street corner Urban Role - An intermediate zone or a buffer zone in between the CBD and the residential zone - Sense of neighbourhood - Creative working-living environment: a place where live, work and play comes together - A people-reconquered zone (pedestrian prioritise)
Site Context Analysis
Footprint Testing
Edge + Proportion (circulation and open space)
Launceston Urban Planning, 2009
Elevation D
Section B-B
Elevation E
Section C-C
Section A-A Launceston Urban Planning, 2009
Baba Nyonya [Houses] of Cultural Heritage Downstream Town, Melaka UNESCO Heritage Site, Malaysia
[Baba Nyonya [Houses] of Cultural Heritage] is a proposal
dedicated to the local [Baba Nyonya] community. It will be a hybrid model where exhibition, education and community facilities co-exist in a close proximity to create a conducive act for the
...a culture more than the sum of its part... [Baba Nyonya] is a culturally unique [hybrid ethnic] group in South-East Asia, particularly in the
[reclamation, preservation and revivification] of the gradually declining
birth place of such unique ethnos - Melaka (Malacca), a UNESCO Heritage Site in Malaysia. It is formed by two very specific cultures which are the local Malays and the Chinese immigrants through [acculturation] and [intermarriage].
cultural heritage of the Baba Nyonyas. It also aims to use the concept of [cultural hybridisation] as a metaphor in architectural design to experiment [a space of racial harmony]. Thus, it must not be seen as just a celebration of the past, but also a record of the present and a vision of racial harmony for the future.
5th Year Studio Final Professional Project, 2009
[Traditional precinct - main entrance from Maritime Museum]
Baba Nyonya [Houses] of Cultural Heritage, 2009
[Rear side of canal]
Baba Nyonya [Houses] of Cultural Heritage, 2009
[Eagle eye view from Menara Taming Sari]
Baba Nyonya [Houses] of Cultural Heritage, 2009
The Semiotic of Cultural Hybridisation How can a process and values of cultural hybridisation within Baba Nyonya be a manifestation and metaphor in architecture to create a new lens in racial harmony? Cultural hybridisation is a very complex crossover and fusion of two characteristic and politically different cultures. Through the understanding of the conflicts such as racial essentialism, self-centralism, political intolerance, and fear of differences, cultural hybridisation should undergo a dynamic process which comprises artistic, aesthetic, creative and chaotic intervention of the social order and identity, visually and mentally, like a ‘great big melting pot’. Cultural hybridisation within Baba Nyonya is a conscious or ‘intentional’ hybridisation which creates an ironic double consciousness, a ‘collision between differing points of views on the world’. An ‘ethnoscapes’ will be created and the state of alienation and assimilation will occur. This artistic intervention will unconsciously create a ground for future social change, two cultures in parallel. This form occurs to the Baba Nyonya community, and thus successfully achieves racial harmony. Through the understanding of this form of hybridisation, the process and values will be extracted to reinterpret within the architectural space.
[Canal through the building]
Baba Nyonya [Houses] of Cultural Heritage, 2009
methodology and approach
i) Urban Relationship (traditional and contemporary reinterpretation)...‘familiarity’ in materials and details contemporary
The project consists of 3 precincts: ‘traditional precinct’; ’the in-between hybrid precinct’; and a ‘contemporary precinct’. These 3 precincts have a slightly different approach in architectural language, still, they have a correlation in its language to remain as a whole. These 3 precincts are responded to its urban context, due to the site which is located at the threshold in between a heritage area and a contemporary area (reclaimed land area).
traditional
Project Key Issues Three major issues that drive the project programmatically and architecturally:
‘Familiarity’ to the urban context (architectonic, spatial language, element such as window and door shutter, column style, materials, roof shape etc.) will be a major role in representing the architectural language of each precinct. Various frontage will be created to strengten the idea of micro-urbanism.
i) Urban Relationship (Traditional and Contemporary Reinterpretation) - Familiarity • An architectural reinterpretation of the traditional Strait Chinese shop house: hierarchy of spaces; unexpected layers of revelation; in-definitive plans; adaptive space (program expansion and adaption) - to allow individual ownership while allow a variety of human intervention and value exchange. • Archi-tectonic and spatial language in respond to the urban context - the heritage site and the modern site.
architectural elements...
local and earth materials...
earthy roofing materials...
• Intimacy in man-nature relationship: sense of well being; green education. • Program correlation with the ‘living museum’: to incorporate the existing ‘boat ride’ into the building; to activate the ‘street life’ and link to the existing cultural walk with seasonal activities, performances and weekly night market. ii) Micro-Urbanism of the Heritage Site (’Houses’ or ‘Parts’)
ii) Micro-Urbanism of the Heritage Site...‘building as urban space’ (building footprint and spatial layering)
• ‘Resistance’ against homogenization: not be just a single entity but a group of ‘houses’ • To form a coherent whole appearance with the heritage site • Porosity: multiple entrances + openings - to provide more breathing space while allow sunlight gain. iii) Space of Cultural Integration and Hybridisation • Processional route through three sequential spaces: slow human intervention. spatial hierachy and layering in steps, platforms and walls
testing of heritage site urban footprint
three sequential spaces
Baba Nyonya [Houses] of Cultural Heritage, 2009
iii) Space of Cultural Integration and Hybridisation...‘three squential spaces’ (spatial programme sequence) Architecture should provide a process of slow sequential intervention (processional route) to allow adequate time through a cultural responsive environment, thus I proposed the ‘three sequential spaces’. The Process and Values of Hybridisation
The Concept of ‘Three Sequential Spaces’
space of essentialism (first space) : stage of self-evaluation on racial essentialism space of alienation and assimilation (second space) : predetermined sequential stage; certain observation points; self-critical distancing; recognition of other values space of uncertainty or harmonized hybridisation (third space) : open-ended stage; multiple observation points; sense of belonging and control Testing of the Spatial Organisation of the ‘Three Sequential Spaces’
Baba Nyonya [Houses] of Cultural Heritage, 2009
[View from Casa Del Rio towards canal entry]
Baba Nyonya [Houses] of Cultural Heritage, 2009
[Contemporary precinct]
Baba Nyonya [Houses] of Cultural Heritage, 2009
Green Spaces
Water Cooling
Baba Nyonya [Houses] of Cultural Heritage, 2009
Detail Section
contemporary precinct
Detail Plan H
Detail Section
traditional precinct
contemporary precinct
Common Language...Sense of Familiariry: The Five-Foot Way A common language, the ‘five-foot way’ was introduced into both precincts, which is widely known as the threshold space in between the ‘indoor space’ and ‘street/circulation space’. Both contemporary and traditional precincts implemented the ‘five-foot way’ in a similar language but different manner.
contemporary precinct
traditional precinct Baba Nyonya [Houses] of Cultural Heritage, 2009
Section A-A
traditional precinct
Baba Nyonya [Houses] of Cultural Heritage, 2009
Section B-B
contemporary precinct
Baba Nyonya [Houses] of Cultural Heritage, 2009
i
ii
iii
iv
Section C-C
the ‘third space’...the core
Baba Nyonya [Houses] of Cultural Heritage, 2009
Elevation E
Section D-D
the ‘third space’...the axes
Baba Nyonya [Houses] of Cultural Heritage, 2009
Baba Nyonya [Houses] of Cultural Heritage
5th Year Studio Final Professional Project, 2009
freehand sketches building element studies
theoretical approaches theory in design and thesis questions [The Battlelines of E1027]
[The Light and Power Box . Carlo Scarpa]
A story that reflects the conflict between the owner and architect of E1027, Eileen Gray, and Le Corbusier, the architect who is the admirer of the house and painted murals on the walls of the house without the owner’s approval and thus accidentally gained fame for the house.
Through a threshold, a physical/mental boundary may be blurred, or liquified. When a breaking of rhythm occurs, the ‘unexpected’ happens, and finally, the state of dissappearance where the appearance of another element is to be seen. This becomes the potential space, or the illusion space.
An illustrated representation of the famous conflict at E1027.
Reinterpretation of a writing of Scarpa’s Querini Stampalia Foundation: Swimming at the Querini Stampalia Foundation.
[Italo Calvino ‘Invisible Cities’ - Valdrada]
[Walless Architecture]
An impression of Valdrada city though the reading, ‘Invisible Cities’ by Italo Calvino
In search of the subjectivity of wall by reinventing Kengo Kuma’s Great Bamboo Wall facade detail.
Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat. The city was so constructed that its every point would be reflected in its mirror.
To enhance the relationship between the ‘inside’ and ‘outside’, or ‘man’ and ‘nature’ through architecture, we may ‘erase the wall’ which is a concrete boundary to create a sense of ‘wall-lessness’. Tea room of Kengo Kuma’s Great Bamboo Wall
quick hand sketches and diagrams leisure time ideas brainstorming
house 1 : the house in the bush
house 2 : the house on hill
house 6 : the lantern
house 3 : the terrace
house 4 : the lotus house
house 7 : the ‘boat pavilion’
house 5 : the box
house 8 : the tea house
green square library
green tower
sandakan deathmarch war memorial centre
plan