Portfolio by Shuo Yang

PORTFOLIO

Shuo Yang 14052392

Submitted in partial fulfilment of MArch Architecture application for School of Architecture, the Bartlett

CONTENTS

2011

2012

2013

Design works

City of Bridges

Civic Centred

Simplicity, Economy, Home

Space To Live Writing sample

BA Dissertation

A NOMADIC JOURNEY:

Bridging a new territory through topological montage upon Tyne This project is developed by series experiments, filming cities, transcripting the pictures into a notational drawing, modeling drawing into 3D. The film is becoming a generator to both building skin and programmes.

Footprints of wandering cities

Montage has realistic significance when the separate pieces produce, in JUXTAPOSITION, the generality the synthesis of oneâ&#x20AC;&#x2122;s theme. This is the image, incorporating the theme. Sergei Eisenstein, The Film Sense, 1968

The approach of the film of city is based on my wandering around the city, so I collect different scenes without any pre-set for a topic. Once finished recording, the editing of film is a re-collection to discover the interrelation within these footages without any physical connection. The wandering, in order to read context, at the same time, I captured different scenes as diverse fragments of an image of city. The image is covering a big and contingency area around Newcastle and Gateshead.

Film editing

From almost 300 different video clips, by juxtaposing relevant two or more pieces of clips, some certain of interconnection between both have been appeared. Under this juxtaposition, the film has composed by existential relationship between these spaces and scenes from city itself. Therefore, we can see a potential theme of the cities, the theme might be chaotic, contingency, but more significantly still contain the spatial characteristics from city.

FILM

Transforming the film into another media, tracing roll, performs as a photographic loop to give breakdown information behind it.

http://www.youtube.com/watch?v=lzKBv89AFHU

The possibility of the reworking of reality in images, a possibility of transformation, of creating new realities and new thoughts, rather than accepting existing ones. Sam Rohdie, Montage 2006

Urban Montage: Fragmented Conflict

The bridge is a thing; it gathers the fourfold, but in such a way that it allows a site for the fourfold. By this site are determined the localities and ways by which a space is provider for.

The bridge is a location. A such a thing, it allows a space into which earth and heaven, divinities and mortals and admitted. The space allowed by the bridge contains many places variously near or far from the bridge.

Film loop

Martin Heidegger, Building Dwelling Thinking, 1951

NOTATIONAL DRAWING In order to trace out the essential of these pictures, notational drawing provides a key tool for translating the movement into 2D drawing. The small gallery shows the collection of fragmented notational drawing. Using the same principle as the film, but without tearing or gluing, images are interconnected as a new notational drawing to represent the film, and also indicate a piece of a new landscape of the cities.

Urban gallery on retracing paper

Entrance

Material

Movement

Reflection

Patten

Conflict

Montaged Pictures: Fragmented Notation Stillness

Notational Drawing

People

Event

People

Stillness

Conflict

Reflection

Movement

Entrance

Partten Material

Drawing process By relating the linear language, a new landscape is created between different pieces of scenes.

We have moved from seeing architecture as a fixed and controlling frame to understanding it as an open framework that can accommodate the MULTIPLE ACTIONS OF TIME. The intention of the journey has been to release architecture from the clutches of abstract thought and allow it to be shaped by the contingent forces of temporal flux. It is a shift from noun to verb...... From ‘plot’ as a demarcated territory into which architecture is inserted, to ‘to plot (vb.) as the devising of a sequence of events. From ‘building’ (noun) as a lump of stuff, to ‘building’ (vb.) as the ongoing process through which architects, clients, builders, and users all contribute to the making and remaking of stuff. Jeremy Till, Architecture depends, 2009

Keep developing the notational drawing, the relevant information have been connected well, and the way of architectural drawing gives more line weight to the picture, which containing more architectural potential.

MODELING THE DRAWING CRAFTED MODEL - Different key space could be a representation of one segment in the film, to express a theme about spatial experience in the city, at the same time to accompany a reasonable programme.

Placing the rescaled drawing into proposed site area. Rotating the drawing in order to fit within buildings around. Relating to quayside circulation area, and also rotating some drawing from plan to section.

Re-tracing model

Model 1:500

GARDEN TERRACE &NARROW RAMP

HIGH PATH

Passage, Infrastructure, Leisure & Landscape

BLADE TOWER

Passage&Landscape

INTO WATER

Passage, Infrastructure, Culture, Institution, Leisure &Temporary

Passage&Leisure

Paper Model is translating the drawing from 2D into 3D but still keeping the spatial continuality without tearing or gluing. Some part of drawing is turning to plan, some part as section of building, and even some lines are turning to major structure.

PLATFORM&HALL

Passage, Culture, Institution, Leisure, Infrastructure&Temporary

COMPUTER TOWER, ATTACHMENTS,&CUBE

DARK PATH&LANDSCAPE

Passage, Infrastructure, Culture, Institution& Leisure

Passage, Leisure, Landscape & Temporary

Where is the place in the film?

What type of space have been composed in the film? Programmes for a city • wandering

New Territory Space for wandering

Motor for lifting the roof of walk way

Passages

•

• • • Power (Electricity), using by structure and inhabitant Water, for drinking, cleaning and plant Sewage (toilet, rain) Data (wifi & database accessed) Basic server for inhabiting

Infrastructure

But not as a house, a long staying

Housing

Also not entirely for business

Commercial

•

• Water Surface

Mobile floor for exhibition using Mobile opening fabric accessed from river area

Relavant events about arts, such as Baltic

Culture

• •

@ Quadrangle, University

Institution Historical Industry Leisure Landscape

Space making people staying, but also might be a branch of local institution Cannot reproduced programmes Less related Relavant activities about cinema, theather, or street performance

Relate to existing landscape, but entire bridge is also an artificial landscape for city

Mobile partition Mobile opening fabric accessed from river area • • • Screen ( fabric rool) Projecter Stage and auditorium

@ Chinatown

Where could re-store these programmes in Relevant parts of model?

As same way taking the film, roaming the city, the programmes inside this building has been developed about wandering between different programmes

AT THE Nomad Café in Oakland, California, Tia Katrina Canlas, a law student at the nearby university in Berkeley, places her double Americano next to her mobile phone and iPod, opens her MacBook laptop computer and logs on to the café’s wireless internet connection to study for her class on the legal treatment of sexual orientation. She is a regular here but doesn’t usually bring cash, so her credit-card statement reads “Nomad, Nomad, Nomad, Nomad”. That says it all, she thinks. Permanently connected, she communicates by text, photo, video or voice throughout the day with her friends and family, and does her “work stuff” at the same time. She roams around town, but often alights at oases that cater to nomads.

Nomads at last, The Economist, 2008

Lion Dance, only watching

Fireworks, building as reflective object during event

@ Old city wall

@ the Sage, Gateshead

@ Chinatown

@ St. James

Dragon Dance, movement and fabric of event

@ Millenium Bridge

Mounties, Football March, special role in event

Fireworks, New Year, conflict in the air

Firecracker, Chinese New Year, event as a big conflict to city

@ Studio, University

@ Elden Square

skin, the approach to programme is an experimental decode about the film itself. Through an analysis to understand where we wandering in the film, and to see what architectural programme it is.

Falling Down, conflict between activities and the ground

@ Nothuberland Street

@ Central Arcade

@ Baltic Centre

@ Newcastle Art Centre

@ Spillers Wharf

@ A167, Gateshead

FUNCTION FOLLOWS FILM - Without putting an exterior programme into the building

Party Wearing , talking conflict between people

Shouting to Performer , reaction

Yielding to Performers, a less conflict happen

Staircase, spatial depth

Sculpture, conflict between different industrial materials

Old Rail track, abounded site but still contains programmatic potential of movement

Vehicle vs. Skateboard, both movement in conflict

@ A167, Gateshead

@ A167, Newcastle upon Tyne

@ A167, Newcastle upon Tyne Vehicle vs. Painting, with moving backgroud

Vehicle vs. Skateboard, both movement in conflict

@ old wall next t o the Sage Historical Wall vs. Graffiti, cconflict to fabric

@ old wall next t o the Sage

@ Literary & Philosophical Society

Vehicle vs. Painting, with moving backgroud

Historical Wall vs. Graffiti, cconflict to fabric

Still Books vs. reading activities

@ Literary & Philosophical Society

@ Literary & Philosophical Society Still Books vs. reading activities

@ Drawing Board

Still Books vs. reading activities

Moving Hands

Fabric surface on grass

@ Railway Station

@ Tyne River

@ Quayside

Oil on surfacer, changed refelction

Marble Surface, another reflective surface

@ Leazes Park

Waves, another conflict between water and stone

@ Spillers Wharf

@ Ouseburn River

Drain port, moving water recolours material

@ Student Union, University

@ University

@ Literary & Philosophical Society

@ Civic Centre

@ Chinatown

@ Cathedral Church of Saint Nicholas

@ Monument, City Centre

@ Old city wall, Chinatown

@ the Castle

@ Quayside

@ Byker Bridge, Ouseburn

@ Cathedral Door, Newcastle University

@ Railway Station

Moss in the middle of Concrete Tube

Bench, a highlight

Plastic Box of Books

Book stacks & Casting, from grid to random

Fabric Pattern, from out of focus

People Flows, scheduled movement forms moving pattern

Train arrive, a higher level than building fabric

People Flows, slow movement

People Flows, standing and movement

Train depart, the up and down as skin of castle

Jogging, linear movement with silghtly up and down

Metro, simple linear movement

Entrance, another opening movement

Ticket checking, a basic conflict between human movement and physical object

PROGRAMTIC EXPLORING ASSUMED PROGRAMMES

- If sort of programmes putting into building skin, what exactly happen, and what still need to add into the building skin.

Associated to local regular events. e.g., weekend market, new year

Temporary

Projecting to building fabric Outdoor Cinema

The Zabludowicz Collection When We Build, Let Us Think That We Build Forever @ Baltic, 21 September 2007 - 20 January 2008

Green Terrace

MimeThertre One Person Stage

History of Disappearance Live art from New York 1975-present. Work selected from the archives of Franklin Furnance @Baltic, 18 June 2005 - 14 September 2005

Meeting & Office

Double Screens Layer up pictures

Tobias Putrih + MOS Overhang @Baltic, 10 April 2009 - 6 September 2009

Motor for lifting the roof of walkway Screen (fabric roll)

Screen (fabric roll)

Mini Lecture Thertre

Toilet Silent Film

Thomas Raschke The Band, 2009 brazed iron wire, dimensions variable

Public Lounge Plugs provided

Water Screen Sunlight would be reflected on the water surface through the gap between building and river

Concert for Anarchy, 1990 by Rebecca Horn

Reception

Projector

Power ( Electricity)

Data Power ( Electricity)

Water Sewage Plant Room ( Water Proof )

EXPERIMENTAL CINEMA / MIME THEATRE

EXHIBITION / ART CENTRE

INSTITUTIONAL BRANCH

INFRASTRUCTURE / SERVICE

As a take away of Tyneside Cinema and Street performance, the tower provides a narrow space for a different experimental for auditorium.

Regard as part of the Baltic Centre for Contemporary Arts, the tower would display some particular arts and installations as a small brach.

Spaces inside the tower could be motified for short-term institutional uses, or some public lecture. But also could offer to public as extra database access to research out off campus.

So, remove the people in previous programmes, keeping the services and infrastructure inside the building structure. Then, a new territory for other people appears

INFRASTRUCTURE AND SERVICES

Quayside

G. HALL

Greens

Not a physical relation but to access various database from different insititutions

Wireless Router

Baltic

Car Park to Sage, Open University & Gateshead Collage

D. BLADE TOWER

Plugs

G9 Disabled accessed G5

L. LANDSCAPE

D7 Lifting the roof

G10

C2,

G11

Database for collected images H1

G12

Alsofor lighting below C1

G1 Projecting to water

L2 J. CUBE

Disabled accessed I4

K. DARK PATH

A. GARDEN TERRACE

B. NARROW RAMP

C. HIGH PATH

D6,

H. COMPUTER TOWERS

Also building fabric

I. ATTACHMENTS

D10

D11

D12

F. PLATFORM

Water for greens around

E. INTO WATER

A4 F7

J10 Disabled accessed

J11

J12

Water surface as screen E1

AERIAL VIEW The cinematic facility standing aside of building, as same height as level 7, record the human activities through the bridge, and to see how people react with this unspecified territory as a resource for research the alternative way of using spaces. Then, these pictures re-project back to building fabric, and water surface, to be seen by surroundings.

B C D

G F

Plan (mixed levels)

A. Garden Terrace B. Narrow Ramp C. High path D. Blade Tower E. Into water F. Platform H. Computer Towers I. Attachments J. Cube K. Dark path L. Landscape

COMPONENTS IN PLANS 1. Wireless Router

4th Floor

2. Plugs 3. Water (drinking) 4. Sewage (sink) 5. Screen (roll fabric)

3rd Floor

6.Projecter 7. Motor 8. Computer Tower 9. Elevator

2nd Floor

10. Toilet 11. Plant room 12. Storage

1st Floor

Ground Floor

Water plan

Taking Blade Tower as example to illustrate the different uses of space, associating both building skin and the added infrastructure element. Without one specified programme, people could use the building as a new territory for their wills; the basic infrastructure offers the essential serves for their inhabitation. Therefore, transform bridge into a position which between a pure transitional space and heavy programmed space.

PRIMARY STRUCTURE (STEEL PORTAL FRAMES) IN SEQUENTIAL SECTIONS A series of steel rib frame has been varied through entire journey, aside the major passage, there has various type of territory for inhabits.

Car park level

Ground level Water level Main Passage Water Sewage Data Power

Sketch Section

The physical model provides a structure for bridging, to keep adding basic service element, facade fabric and even other part of bridge.

Elevation view from bridge

Top view

A NOMADIC JOURNEY: Reflection though perspectives

The journey of the bridge is re-imaging the different spaces from the city, they are overlaying on each other and sharing same notation.

Ⅰ

Ⅱ The programmes inside the bridge have not need to be related, therefore, it creates the same atmosphere as the film form beginning, juxtaposition of various contents. However, Within necessary requirements of infrastructure, people could discover the bridge as new territory over the existential site.

Embody the image of water, the tower shows the weaving inside it as different human activities rather than just form.

Ⅲ Ⅱ Ⅲ

Ⅳ Ⅳ

Ⅰ

Ⅴ The landscape area would change the current car park into an event space, which holding different temporary event form other side of river, such as quayside weekend market, place for watching New Year Firework.

Ⅴ

Computer tower manages the entire site, and also allows better access to database. But also as a digital archive, to store the image recorded every day.

Ⅵ

INSULATION

Ⅵ

WATERPROOF MEMBRANE FACADE SUPPORTS CONCRETE CLADDING PANELS STAINLESS STEEL SCREEN FRAME SCREEN FABRIC PROJECTED IMAGE

Walk way could be rotated for ship pass though the bridge and the roof of it could be lifted from other side.

The skin of bridge not only goes over the river Tyne, but also relate to quayside according to the topographical feature. In the Newcastle side, the bridge set on the existing green between two existing buildings. In Gateshead, the bridge not only has a ramp accessed into the way to Baltic, but also keep going up and relating to the Car Park Level, which get access from the Sage.

CIVIC CENTRED

This culture centre is aiming to create relations between local people and their contexts in Tynemouth, and building itself is the media to transmit this contextual information to public. The location of building is the edges of different contexts, such as, landscape, waterscape, and townscape. It produces the diversity in spatial relation within the site, and consider as a start point at design.

MEDIA, AT THE EDGE, CONTEXTUAL INTERSECTING

Edges from different contexts Ⅰ: Historical steps

Cinema Beach viewing Library Marine garden Sea viewing

Ⅱ: Landscape---Beach Ⅲ: Sky Ⅳ: Swimming pool Ⅴ: Waterscape Ⅵ: Existing stairway Ⅶ: Town terrace Ⅷ: Pool path Ⅲ

Ⅶ

Ⅴ

Ⅰ

Ⅵ Ⅳ

Ⅷ

A medium is a container, a transmitter, a conduit that always changes whatever passes through it and is always itself defined differently by those on either end of the transmission process.

Ⅱ

---Media Studies, Robert Kolker

Floored 1:200

Negative massing 1:200

Structure 1:200

Contextual edges 1:200

Contextual massing 1:200

Finnal model 1:100

Sketch model within site 1:200

Conceptual presentation 1:500

Initial skin 1:500

Sketch model 1:200

Location with site model 1:500

The edges from different contexts, specify public activities inside the building, but also preserve the existing relations to the surroundings. The building is belonging to the context, and enhances the understanding about local features to people.

The cultural centre is the media transmitting the context fragments, therefore, as a neutral medium, materials of building would be more purified and the structural relation would be more delicate, that would reduce significant effect to contexts by building fabric. The building is supporting by steel post in existing concrete foundation, also the steel frame offer a flexible framework for translucent wall and concrete panel.

1 2

Gound Floor Plan GOUND FLOOR PLAN 1. Marine Garden 2. Plant room for garden 3. Access from beach 1 ST FLOOR PLAN 1. Childrenâ&#x20AC;&#x2122;s area with their own book stack 2. Office 3. Disabled toilet 4. Cinema/Visual media display 5. Plant room for projector 6. Cleaners room 7. Outdoor reading terrace

1 4

5 6

4 7

2 7

1 st Floor Plan

2nd Floor Plan

3 5

2ND FLOOR PLAN 1. Main entrance 2. Foyer 3. Information desk 4. IT Provision 5. Coffee Shop 6. Toilets and baby change 7. Public Library 3RD FLOOR PLAN 1. Meeting room 2. Study rooms 3. Viewing box/lecture theater 4. Public Library/Specialist Resource 5. disabled toilet 4TH FLOOR PLAN 1. Public Library 2. Plant room 3. Town Terrace

4 2

3rd Floor Plan

2 1

4th Floor Plan

SIMPLICITY, ECONOMY, HOME

NEWCASTLE FOYER: INTERRELATING The building coexists with the natural context by mixing within the 11 trees. Like a humble attachment, peaceful lifestyle emerges on the site by compact interactions. This delicate piece of architecture demonstrates the interrelationship between landscape and building with simple geometric forms.

Ground Floor Plan

Elevation

Parti Model

Home therefore is not necessarily a single location or dwelling but can be associated with a number of different PLACES and CONTEXTS in which young people live their lives. ......The home functions as a repository for complex, inter-related and at times contradictory socio-cultural ideas about peopleâ&#x20AC;&#x2122;s RELATIONSHIP with one another, and with places, spaces and things. ---Young people, place and identity, Peter E. HOPKINS

For reconnecting teenagers within society, this Foyer is designed to create interrelations for young people within both social and natural context. Basing on a flexible layout of simple boxes, experiencing within the building is strongly associating to the variety of landscape not just the building itself.

First Floor Plan

Entrance View

SPACE TO LIVE

INNER TREE: INTERLOCKING

Parti diagram

The experience of home is structured by distinct activities---cooking, eating, socialising, reading, storing, sleeping, intimate acts. ...... Architecture initiates, directs and organises behaviours and movement. ---The eyes of the skin, Juhani Pallasmaa

Idea: tree house

Like tree house, rooms are located vertically and entire house is organised by a core which is designed to initiate domestic activities for the clients. The core works as a part of structure, and also a part of furniture with well consideration in ergonomics.

Collage of domestic activities

All experiences in life, especially experiences of movement and settlement in three-dimensional space, are dependent on the unique form of the ever-present body. ...... If we can understand more about how we acquire and modify this psychic image of our own bodies we may possible obtain a better grasp of the way in which we perceive objects and settings around us. ---Body, Memory and Architecture, Kent C. Bloomer & Charles W. Moore

In this house, different spaces are interlocked by reduction on mechanical volume so that people get more space for their activities. At the same time, spatial interlocking produces more connection between spaces that residents would obtain various visual interactions there.

RESEARCH SAMPLES Conclusion of Dissertation

A new architecture of spatial liberty

Illustration: Spatial configuration of Rolex Learning Centre SANAA’s desire to invent a new architectural hierarchy, and the practice’s attempt to realise it in the Rolex Learning Centre has provided this important opportunity to explore hierarchy in architecture and to review their specific approach to the creation of spatial hierarchy. Our analysis of the Rolex Learning Centre found no explicit difference with other kinds of open plan modernist architecture in terms of structural and aesthetic language. The similarity to Koolhaas’ typical plan and to aspects of Kiesler’s Endless House might at first cause us to wonder if the new hierarchy they described is just SANAA’s self-delusion. However, their distinct language of minimalised boundary is identical but not enough to form a new hierarchy.

What Hillier’s methodology of spatial syntax enables us to see is the potential of more connections between spaces. The gamma map accurately illustrates an entire image of a new spatial organisation as a complex network of interactive relationships. This overlapping and interconnecting spatial structure consists of several small but similar scale complex networked clusters and, as a result, increases permeability between spaces. This analysis shows that SANAA’s new hierarchy is a kind of new relationality in spatial organisation. A comparison with Koolhaas’ Educatorium which, in terms of its spatial structure, is still basically dominated by one main foyer if he describes it in the terms of ‘freedom’, suggests that the creation of SANAA’s spatial hierarchy should be considered as new because of its spatial networking. Without the application of spatial syntax analysis, these two buildings, and others like them, might appear to share a formal and material language. The spatial structure revealed through my analysis might be considered as a kind of genotype of a building which enable us to recognise its hierarchical organisation that otherwise remains obscure in plans, sections or photographs of the building.

Photography: Ramp or seat? Handrail or frame?--- Alternative uses of space

But SANAA’s new hierarchy is more than spatial. The observations and filming carried out during my field trip to the building, revealed that as a result of its simplified architectural languages and new spatial networks the passages are realised as loosely-programmed spaces. I found that the ways of using these spaces are creative and self-conscious; occupants participate in a completed process from understanding to finding, from constructing to inhabiting. They find opportunities to set up their own activities and programmes in an appropriate free field of space and these spontaneous human activities deliver a new social hierarchy between humans and building, giving ownership in the formulation of space. In order to find out any new actions and reactions, I developed an intuitive method that explored the user’ activities rather than studying the building itself. Through my own photographs and documentary recordings, we discover what spatial syntax analysis is unable to see. These recordings of lived space also demonstrate that this new hierarchy transforms the way people use the space rather how they see it.

To summarise, SANAA’s new hierarchy is interpreted in this investigation both in terms of a new spatial hierarchy and a new social hierarchy. This new hierarchy is more associated with personal own desires and activities at any particular moment rather than some on-going and ready-made authority. There have, of course, been several critical thought quite similar in this respect to SANAA’s intentions. For example, Jane Jacobs claimed in the 1960s in her influential book the death and life of great American cities,37 that mixed programmes and organised complexity are the conditions for diverse public life, and also relate to the permeability of a place’s spatial structure. Dwellers, she believed, should be informal experts in their own life. Stan Allen Has proposed that we ‘learn from the complex self-regulation order already present in the city’.38 He explains that intensive linkages should be carefully defined, but the programmatic framework should be defined loosely. These two thoughts are more concerned with urban planning, but the similarity of these approaches to the intentions of the Rolex Learning Centre suggests that SANAA is inventing their new hierarchy under urban scale thoughts. Other important ideas about spatial liberty, such as Koolhaas’ ‘typical plan’ which he write ‘provides the multiple platforms of 20th-century democracy’39 have been related more to the commercial space of downtown Manhattan rather than to the semi-public spaces of the Rolex Learning Centre. But still, his concept about to ‘free up programmatic imperatives’ is hard to realise and test.40 It is clear there never be an absolute freedom in the world, just as there is no one pure ‘smooth space ‘in reality. Perhaps Jeremy Till provides a better word, ‘contingency’41, which he explains should be an essential feature at once providing for that freedom, but not filling that space. This is quite similar grade of freedom as SANAA’s loosely-programmed space. SANAA’s new hierarchy is new, then, both as a spatial and as a social system, and it is the activities of the users, that are the key to ordering this hierarchy.

Curriculum Vitae

Shuo Yang

Education: RIBA/ARB Part I, BA Architectural Studies with 1st class Hons degree Newcastle University, 2010-2013, UK

All design and theoretical essay modules in three years: 1st class

Achievement: • Prof Douglas Wise Memorial Prize (Best Final Scheme Design Project at Stage 3), 2013 • Nomination for RIBA Hadrian Medal, 2013 • Napper Memorial Prize (the school highest overall performance at BA, 2011-12) • Selection of work included in the school design yearbook 2011, 2012&2013 • International Undergraduate Merit Scholarships, 2010

Photography: Barcelona Pavillion Hohhot racecourse competition

Experience:

• Architectural assistant in Leigh & Orange, Beijing, China, October, 2013 Present • Design proposal for a private school campus, March, 2014 (on going) • Design proposal for car store Jan,2014(on going) • Assistant project coordinator for Hohhot racecourse competition (research, graphics, editing, coordinating, etc), Dec.,2013 (won & on going) • Schematic design drawing for retails appx. 12000 sqm ( all elevations, section),NovDec,2013 • Competition, West Koolon Cultural District Art Pavilion, Nov,2013(commended) • Hospital plan & diagram drawings Oct-Nov,2013

• Collaborator of school degree show, Newcastle & London, June, 2013, in charge of one studio • Lectured to Stage 2, own portfolio in Stage 2, January, 2013 • Workshop to Stage 1, learning experience, November, 2012 West Koolon Cultural District Art Pavilion Competition

• Interns at Plus 3 Architecture, Newcastle, UK, July-September, 2012

An urban project proposed a series of interventions around city. Group work, duties included surveying, model making, illustrator & editor.

• Interns at Fuzhou Architectural design institute, Fujian, China, July-August, 2011 Editor for competition and project booklet. Design proposals for some small scale houses.

Degree show, 2013

Referee:

• Prof. Mark Dorrian Tutor of graduation project, personal tutor mark.dorrian@ed.ac.uk • Dr. Katie Lloyd Thomas Tutor of dissertation & previous design project katie.lloyd-thomas@ncl.ac.uk