Bartlett UG2 2016/17_Ken

REFLECTED REFLECTIONS OF THE PLEATED PLEATS

UG2 Project 1 Kenneth Yuqi CAI

Phil Cu

London-based designer, Cuttance and home furnitures, c His moulds are made of polypropylen

uttance

e, has handmade lots of products casted with jesmonite. ne sheets. Above are a few of his work.

Olafur E

Eliasson works with his tea to develop, produce, and install ar Above are some of their installations, playi

Eliasson

am, Studio Olafur Eliasson, rtworks, projects and exhibitions. ing with reflections, refractions and spaces.

Traditional Or

Using polypropylene sheets to create ori and can be stretche

rigami Making

igami moulds that are reusable, flexible, ed and contracted.

Initial Analo

Freezing the process of stretching and co Representation of three

ogue Studies

ontracting through casting with plaster. e points of the process.

Pouring plaster into the mould

Material Stud

Studying a different material t Representations of thre

dy - Concrete

to understand the properties. ee points of stretching.

Ingredients used in mix

Plastic mould

Resulting cast

Plastic mould

Resulting cast

Three-Dimension

Exploring different trad With plastic moulds Clean folds created sharp contr

nal Shape Making

ditional origami types. s casted with plaster. rasts between light and shadow.

Folding Techniques for Designers From Sheet to Form

By Paul Jackson

Richard Godwin

Faceture Vases - Phil Cuttance

Digital representation Plastic mould

Perspective

Manipulating O

Further study Manipulating and configuring in a way tha

Resulting cast

Confiduring multiple moulds in formation for casting.

Origami Sheets

y on origami. at the pattern becomes modular, like above.

Two moulds padded with clay inbetween, ready to be casted with alginate to create negative space.

Creating She

Using clay as filling, two sheets of or which I attempted to use algin Though failed, interestin

ell Structure

rigami mould were padded together, nate to create a negative mould. ng shapes were formed.

Desired effects were barely shown in the resulting cast.

Unsuccessful, but resulted in almost a cave-like structure.

Force

Force Flat sheet - Perspective

Pleated sheet - Perspective

Flat she

Application of plaster in order to strengthen folded surface

Original shape

Experimenting with St

By painting layers of plaster onto I was able to ‘soli However the cast could not be demou

eet - Side

tructural Performance

o the plastic mould and let it set, idify’ the surface. ulded in one piece due the thickness.

Pleated sheet - Side

Initial Digi

Initial attempts to cre

ital Studies

eate patterns digitally.

1 2

5

6

9

10

13

14

Digital Si

Similar to earlier shapes are extracted du

3

4

7

8

11

12

15

16

imulation

r analogue studies, uring a simulated process.

1 2

5

6

9

10

13

14

Digital Si

Similar to earlier shapes are extracted dur

3

4

7

8

11

12

15

16

imulation

analogue studies, ring a simulated process.

Mom Taken from

ments simulations

Simulation

Resulting g shapes extracted fr stacked on top

Ali Rahim

experiment

geometry of rom the simulation p of each other.

Close-up E

Close up moments taken from structur rendered in Maya,

Experience

re of Maya Blend Shapes Development, , Arnold Renderer.

1_0

Step 3 Set edge

1_1

Step 1

Step 2

Step 3 Set edge

1_2

Step 3 Triangulate

Patterns Transitions

Step-by-step procedure showing how d (Refer numbers to pro

Step 4 Transform

Step 4 Transform

Step 4 Set edge

- Digital Simulation

different patterns are created digitally. oduced patterns page)

Step 5 Transform

2_0

Step 3 Set vertex

Step 4 Set edge

2_1

Step 1

Step 2

Step 3 Set vertex

Step 4 Transform vertex

Step 3 Set vertex

Step 4 Transform vertex

2_2

Patterns Transitions

Step-by-step procedure showing how d (Refer pattern numbers to

Step 5 Transform vertex

Step 5 Set edge

Step 5 Adjust

- Digital Simulation

different patterns are created digitally. o produced patterns page)

Step 6 Transform edge

Step 6 Transform edge

Step 6 Set edge

Step 7 Transform edge

1_0

1_

2_0

2_

Produced

Resulting patterns produced With these renders, it is intriguing to see the li (Refer pattern numbe

_1

1_2

_1

2_2

d Patterns

d with working procedures. ighting contrasts created with different depths. ers to previous pages)

Morphin

By exporting patterns during simulation morphing pattern

ng Studies

n of transforming one pattern to another, ns can be created.

1

60 °

Create plane

2

Bend

-30 °

+80 °

Create plane

Twist

Manipulating Pat

Procedures of applying for distorting and creating n

Sine

Wave

tterns with Force

rce to manipulate patterns, non-uniform geometries.

Add division

Add division

Apply pattern

Apply pattern

Ali Rahim

Fro

Fro

Fro

Comparing Shapes an Resulting geometries of patterns and

ont

Side

ont

Side

ont

Side

nd Patterns Produced comparison of non-uniform surfaces

1

2

5

6

Pavilion Study -

Step-by-step diagram showing the pr Realising the potential and relevanc

6

- Shell Structure

rocess of the creation of the structure. ce of pleated surfaces to architecture

3

4

7

1 3

4

5

6

2

Top

Front

1

2

Close Up Studies

Studyies and moments of frag showing different config

3

4

Perspective

5

Side

s - Shell Structure

gments of the pavilion study, gurations of the pattern.

6

Frosted Glass

Brushed Aluminium

Material Vi

Digital creation of a distor and exploring

isualisation

rted and tweaked structure of materiality.

Concrete

Polished Aluminium

Polished A

Pavilion S A variety of different sizes surfaces A surface that almost brings y

Aluminium

Scale 1:100 s reflecting light at different angles. you to an endless dimension.

Designing and th

Designing a Vi

How could a device create an environ How to portray the feeling of bein

hinking process

Viewing Device

onment that the user can experience? ng inside a reflective 1:100 model?

Triangle

Triangle

Square

Pentagon

Pentagon

Hexagon

Studies of K

Studying the reflections with the

Kaleidoscope

s within a kaleidoscope, letter L.

Square

Hexagon

Long Length Triangle

Long Length Pentagon

LongLength Triangle

Short Length Hexagon

Prototype Kaleid

One-sided reflective paper u They are hand-folded Results are slightly blurry, but cre

Long Length Triangle

Short Length Hexagon

doscope Outputs

used to produce prototypes. d into desired shapes. eates desired effects and emotions.

Long Length Triangle

Short Length Hexagon

Simulation of

Generating the image of what a hexagon kaleidosc

Kaleidoscope

cope would produce with my 1:100 pavilion model

Origami Surface

M5 Threaded rod

3mm Perspex Mirror Mirror holder

Rotation mec

Final Viewing De

Exploded perspective of device t

chanics with M5 wing nut

evice - Exploded

to show clearly individual parts.

Kaleidoscope stand M5 Nuts M5 Threaded rod

Joints tightly fitted, no glue needed

Stand support

3mm Plywood base

M5 Threaded rod

Reflected Reflections

My final device that is used t It transforms one’s p and creates an environment that will make on

s of the Pleated Pleats

to view my origami patterns. perception to scale, ne feels as if they are inside the origami model.

Kaleidoscope options

Viewing Dev

A manual to using the device

Pattern options

Origami pattern Kaleidoscope

Mirror

Scope holder

Threaded rod

3 Align device so that the mirror is on the far end.

4 If neccessary, unscrew wingnut slightly and adjust mirror to a desirable angle. Screw wingnut after.

5 Select an origami pattern from the selection and place it on the threaded rods surrounding the mirror.

6 Select a kaleidoscope from the selection and place it on the three Y-shaped holders.

7 Adjust yourself to look into the scope. For best effects, cover eye socket with the end of the scope.

8 Imagine yourself looking up at the ceiling.

Device designed to be most comfortable for people with height of around 5�8.

900 mm

e correctly and for best effects

2 Sit comfortably on a chair.

800 mm

vice - Manual

1 Place device on a desk.

Outputs of the V

Different scopes create different that will affect one’s e

Viewing Device

t environments and experiences, emotions differently.

This is a drawing of my emotions and th One would not normally feel intrigued by a mirror, for it is involve look into the mirror, how can we tell that the image is the reflecti dimension? And that a mirror is not a portal or a wormhole to ano myself to a place that does not exist in our world, an infinite, endless

houghts evoked when using the device. ed in almost all our daily lives, and we are used to it. But when we ion of our present world and not a refracted image from another other place? When using the viewing device, my imagination took s reflected environment. My presence in this world became blurred.

TACUBAYA RESID

UNIT 2 PR

Kenne

DENTIAL GALLERY

ROJECT 2

eth Cai

CHAPTER ZERO

CHAPTER ONE

CHAPTER TWO

CHAPTER THREE

CHAPTER FOUR

CHAPTER FIVE

CHAPTER SIX

CONT

TENT

PROJECT ONE

SITE

PROGRAMME

FIRST STAGE DESIGN

SECOND STAGE DESIGN

FINAL STAGE DESIGN

FINAL DRAWINGS

CHAPTE

PROJEC

ER ZERO

CT ONE

CHAPTE

SIT

ER ONE

TE

MEXICO

Site location relati

O CITY

ive to Mexico City

SITE CO

ONTEXT

200m

50m

20m

BIRD’S E

EYE VIEW

SITE P

PLAN

30m

Street Parque Lira

Private courtyard

LABOR (art gallery)

Site

SITE SE

Perpendicular sec

Site

ECTIONS

ctions across site.

Street Francisco Ramírez

Motorway Av Constituyentes

Archivo diseño y arquitectura (art gallery)

Major roads

Luis Barragan House

CLOSE UP

Different views seen from diff

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2

3

4

5

6

7

8

SITE PLAN

ferent points around the site.

Sun path diagram (data from sunearthtools)

Wind rose (from meteoblue) The sun path diagram on the left shows the summer (21 June) and winter (21 December) solisitce and equinox sun paths.

The wind rose for Mexico City shows how many hours per year the wind blows from the indicated direction. Example SW: Wind is blowing from South-West (SW) to NorthEast (NE).

As this diagram suggests, wind blows from north (N) and south (S) the most frequently, followed by north north east (NNE) and south south west (SSW).

DATA AN Data collected about sun path, wind

Average temperature and precipitation (from meteoblue)

Relative humidity (from WeatherSpark)

The “mean daily maximum” (solid red line) shows the maximum temperature of an average day for every month for Mexico City. Likewise, “mean daily minimum” (solid blue line) shows the average minimum temperature. Hot days and cold nights (dashed red and blue lines) show the average of the hottest day and coldest night of each month of the last 30 years.

The average daily high (blue) and low (brown) relative humidity with percentile bands (inner bands from 25th to 75th percentile, outer bands from 10th to 90th percentile).

As the diagram shows, the hottest time of the year for Mexico City is between April and May, and the coldest time between December and January. Highest precipitaion being in June and July, above 75 mm.

The air is driest around March, at which time the relative humidity drops to around 20% (dry) three days out of four; it is most humid around September, exceeding 82% (humid) three days out of four.

NALYSIS direction, precipitation, temperature.

The relative humidity in Mexico City averagely ranges from 18% (dry) to 87% (humid) over the course of the year, rarely dropping below 11% (very dry), or exceeding 94% (very humid).

CHAPTE

PROGR

ER TWO

RAMME

CERAMIC ARTIS

The site is situated in the neighbourhood of Tacubaya i gathers’ or ‘vase for the water’ in Aztec. Initial concept for it gathers people, people being the ‘water’. This means em the flow of people within and/or outside of the build

The site sits next to the ‘Triangle of Tacubaya’, a cultural ARCHIVO D.A.- and Luis Barragan House and Studio. Alth to Mexico City, it is very private an

To connect the initial building concept with the ‘Triangle ceramic artist residence. My intent is to add a semi-publi artworks (including but not limited to ceramic pottery an advanced booking or reservation, but to also provide resid temporarily, in an attempt to bring them together to this Mexico City’s culture and its artworld, and to occupy the g Mexico-inspired ceramic art during their stay. Visitors, lo perspective of t

ST RESIDENCE

in Mexico City. The word Tacubaya means ‘where water r the building is to have the building act like a vase, where mphasising the fluidity and continuity of the circulation of ding, as well as the exterior surface of the building.

l destination consisting of two art galleries - LABOR and hough the ‘Triangle of Tacubaya’ is of cultural importance nd enclosed from the public world.

of Tacubaya’, I decided that the programme should be a ic art gallery space in the area to not only exhibit ceramic nd vases) that are available to the general public without dence for national and international ceramic artists to stay s space next to the ‘Triangle of Tacubaya’, to experience gallery space or even provide for other galleries with their ocal or not, can see Mexico City and even Mexico in the talented artists.

ART GAL

Site location and identificat

LLERIES

tion of nearby art galleries.

RELEVANT B

The locations of my site, two art galler

BUILDINGS

ries/studios, and Luis Barragan House.

AXONOMETRIC SITE

3D representation of the site with r

E REPRESENTATION

relevant nearby buildings coloured.

LABOR Private gallery.

Founded in 2009.

Exhibits contemporary art.

Art spaces dedicated to promote national and international contemporary artworks every year. It represents artists who create critical projects that quetion and/or reflect our current circumstances.

NEARBY ART

LAB an ARCHIVO disen

T GALLERIES

BOR nd no y arquitectura

ARCHIVO diseĂąo y arquitectura (ADA) Private museum and gallery.

Founded in 2012.

Collects and exhibits various forms of art.

A space dedicated to collecting, exhibiting and rethinking design in its various forms. It is home to a vast national and international collection of masterworks of industrial design and architectural bibliographical resources.

Film exhibitions of a single artist at a time, consisting of a single or multiple channels of projection.

Solo installation exhibitions of a single artist, consisting of a indoor and outdoor scuptures.

LABOR EXH The transformable space allows the gallery Above are examples of what kinds of

Solo art exhibitions of a single artist, consisting of canvas and paper drawings.

Art exhibitions of a group of artists, consisting of different forms of art including photographs, drawings, paintings, films, sculptures, crafts and installations.

HIBITIONS to change for different types of exhibitions. art were displayed in LABOR Gallery.

Exhibition of bicycles that portrays the relationaship between bicycles, the city, and the way of life in Mexico, showing the big role bicycles play in the city.

ARCHIVO DISENO Y ARQ

Home to a vast collection of over 1500 nat the gallery space mo Above are two examples

An exhibition that provides an intimate look into the work of of the berlin studio manuel raeder. Various products and objects were displayed, as well as a substantial colleection of books designed by studio manuel raeder.

QITECTURA EXHIBITIONS

tional and international industrial designs, ostly exhibits objects. s of the past exhibitions.

DAY 1

Depending on the type of modelling clay, the overall duration of the process producing a ceramic piece can vary.

DAY 2 DAY 3

‘Beating’ the clay to get rid of air bubbles trapped and prep it for the potter’s wheel.

The clay is then throw potter’s wheel to have stabled.

The very first stage is called Bisque firing. It turns the clay into a ceramic material, known as bisqueware, making it less fragile, but porous enough for application of glazes. For this process to be successful, the kiln needs to reach about 950 °C at a slow and controlled rise. If heated too quickly, water would turn into steam inside the clay body, causing the clay to burst.

Once the process is completed, the kiln is turned off. The cooling is also slow, to avoid the pots breaking due to stress from the temperature changes. After the kiln is completely cool, it is opened and the newly created bisqueware removed.

TRADITIONAL PO

The process from modellin

wn onto the e it stuck and

The clay is centred and worked on the potter’s wheel to the artist’s desired shape.

When it comes to painting and decorating the piece, all most artists need are acrylic paint and their creativity.

However, some artists prefer working with glaze, which can be used as a decorative layer, or a waterproof coating. Depending on the type of glaze, it can create a transparent or an opaque white glaze, or even coloured layers, after firing. Many techniques can be used to apply glaze onto the piece, and using glazes require a lot of practices and experimentations.

Once glazes have been applied to the bisqueware and have had a chance to dry, the ware is carefully loaded into the kiln for the glaze firing. Pots cannot be allowed to touch at all, or the glazes will melt together, welding the pots together.

OTTERY PROCESS

ng clay to ceramic pottery.

The clay is then removed from the wheel, placed on a drying rack and left to air dry for at least 24 hours.

When the clay is air dried to leather hardness, meaning damp but can be handled without changing its form, the pottery is called greenware at this stage. Any excess clay can be trimmed off and details can be carved into the piece. After the form is finalised and the clay is in the desired shape, it can then be fired in the kiln.

As temperature rises in the kiln, the process is split into many stages and are defined with temperature ranges.

Stage 1: 100 °C atmospheric water is evapourated.

Stage 2: 300-800 °C Carbon and sulphur is burnt off.

Stage 3: 350-800 °C Chemically combined water is driven off.

Stage 4: 573 °C Quartz inversion occurs. Change in crystalline structure of clay.

Stage 5: 900 °C Sintering. Clay permanently transformed into a ceramic material.

Stage 6: 1000-1800 °C Vitrificationa and maturity.

Change in molecular structure that strenghtens the ceramic material.

Stage 7: Cooling.

Museo Soumaya Private art museum.

Opened in 1994.

Architect: Fernando Romero It has a collection of over 66,000 works from 30 centuries of art and an extensive repertoire of works by European old masters and modern western art. It is one of the most visited museums in Mexico.

y

t r e q w

CIRCULATION ANALYSI

Museo Soumaya is an art museum in Mexico, exhib Interior consists of six floors con Each floor showcasing a d

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w

e

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t

y

IS - MUSEO SOUMAYA

biting a collection of objects by a Mexican collector. nnected with looping pathways. different type of artworks.

Solomen R. Guggenheim Museum Public art museum.

Opened in 1959.

Architect: Frank Lloyd Wright It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. Situated in New York, U.S.

SOLOMEN R. GUGG

Spiralling pathway leading from the ground A continous showcase of art The museum also has a second smaller

GENHEIM MUSEUM

floor to the top with an atrium in the centre. tworks throughout the spiral. spiral with cafes, restaurants and shops.

FREUD PAVILION The Freud Pavilion has a very distinctive language where surfaces emphasise continuity and fluidity. Surfaces are controlled and manipulated to suit the function and programme. Wall becomes seatings, which becomes walkways.

The total control of a continous surface is what I am interested in doing.

REFERE

ENCES

MAAT MUSEUM The MAAT Museum has a facade that is visually gripping but also serves a function. The cladding on the facade reflects the reflected light from the water on sun down (top left). The facade also proves that cladding of a complex pattern on a curved surface is possible.

This means I can apply some of my origami patterns studied in project one onto surfaces, exterior and interior, which may serve different functions depending on the pattern.

CHAPTER

FIRST STAG

R THREE

GE DESIGN

Plot

Extruded upwards

GALLERY

Rough iterations of bounda

Y VOLUME

ary of design of art gallery

Extruded outwards

Refined adjustments

To better suit spaces for different purpose such as projector room, ramps, reception, sculpture space, etc.

Floor plate

Elevated space to provide an overlooking position into the gallery and outwards to the views as well as privacy.

Extruded upwards

Initially planned to have one artist living in each unit.

ARTIST RESIDE

Rough iterations of boundary

Refined adjustments

Added ceiling height to fit certain rooms such as a private studio.

ENCE VOLUME

y of design of artist residence

Circulation

Entrances and exits added.

One Atrium

Two Atriums

Three Atriums

EXPLORING GALLE

Variations of interior circulation w

ERY CIRCULATION

with one, two, and three atriums.

Two Atriums

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TWO AT

Two atriums means two light wel which provides a suitable bal

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r

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r

TRIUMS

lls and two loops for circulation, lance of light and circulation.

1:200 WORK

Top view close-up

View from NE close-up Top view

KING MODEL

View from N close-up

RED indicates development WHITE indicates existing.

RED indicates development.

BLACK indicates existing.

q

q

w

Initial circulation model. Having two atriums and a series of ramps looping up. Workshop on the ground floor, gallery above and residence overlooking both the workshop and the gallery space. Blue arrow shows entrance and exit.

e

First a sunken ground floor is added for the workshop, so the visitors immediately overlook the workshop as soon as they enter the building and can start enjoying the making process of pottery. An opening to the north side is added to allow diffused light to enter the workshop.

Rough kiln positions are defined. Locating the kilns on the outside means that artists have a bigger working area and could work outdoor if they wish to. The journey from clay to ceramic is emphasised by having an artist-only tunnel where they carry wet clay to be dried or fired. The walkway rises from underground to portray the properties of clay of ‘from earth’ or ‘of earth’.

Residence removed from circulation model.

Rough workshop plan developed. Half the workshop is sunken down slightly and separated to provide some privacy for the artists to work isolated from the public, dividing the workshop into the upper workshop (public) and the lower workshop (semi-private).

Primarily the initial stages of pottery-mak ing would be done in the lower workshop and as the pieces become more developed, they would be transferred to the upper workshop, where the painting and sculting is done, and eventually outside the kilns. The emphasis of the idea of cla being ‘from earth’ and ‘of earth’ become clearer.

FIRST STAGE D

Digital development from

t.

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r

t

r

t

y e

r

kp, -

d to ay es

DEVELOPMENT

m initial circulation model.

Tweaking heights of ramps to allow sufficient head heights for visitors.

Partial roof is added and room heights adjusted accordingly.

Complete roof is added and an access to the roof is deployed for further development of the flat roof space. Initial thoughts for the rooftop space were a cafe and a green roof for leisure for both the artists and the artists. Opening on the north side is added for diffused north light to enter the gallery space.

Kiln entrances added and ground plane added for potential further development of the outdoor kiln space. Initial thoughts were an outdoor workshop and an enclosed kiln space.

EVOLUTION FRO

Development of the des

OM EXTRUSION

sign so far with context.

Top v

1:200 WORK

view

KING MODEL

View from N

Roof removed

Close-up with roof

Close-up without roof

CH

SECOND

HAPTER FOUR

D STAGE DESIGN

TOP

SIDE

BLEND SHAPE SIDE

TOP

SIDE

BLEND SHAPE SIDE

POTTERY BL

Studying the changing shape of clay to p

LEND SHAPE

pottery using the two different techniques.

BLEND SHAPE FRONT

BLEND SHAPE FRONT

CURVED SURFACE EXTRACTED FROM BLEND

SHAPE

ITERATED

PUBLIC GALLERY AND WORKSHOP CIRCULATION ARTIST RESIDENCE PUBLIC PATHS AND GREEN SPACE RESIDENTIAL BARRIER

MASSING

q t

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w

q SKETCHED LOOP

q q

WAY IN

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GROUND FLOOR PUBLIC WORKSHOP

e

GALLERY FLOOR ONE

r

GALLERY FLOOR TWO

t

WAY DOWN - KILN YARD

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e w

q

REFINED LOOP

REWORKED C

By reworking the circulation, the floorplate

CIRCULATION

es and programmes became more defined.

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w

Separate circulations for the public (visitors) and the pri defines the public and the private parts of the building,

The building is primarily divided into offices for the empl of two structure connected with bridging walkways for the only on the

I find the circulation of the Dutch embassy particularly in idea onto my next iteration of design, separating the publi circula

DUTCH EMBA

Studying the separate circulations of public and Plans from FROZEN MUSIC STUDIO, ‘Dutch

ivate (employee) and a shared circulation. This not only , but also optimise the movements within the building.

loyees and the embassy for the visitors, with a separation e employees to rotate between the two, having the visitors public side.

nteresting and efficient, and I thought I would apply this ic (visitors) and the private (artists and staff) with defined ations.

ASSY, BERLIN

d private of the Netherlands Embassy in Berlin. h Embassy in Berlin, Germany’, 31 Jan 2011

G/F

ROUGH WOR

A follow up of the study of Dutch Emb Ground floor and first floor working plans were drawn to f my de

1/F

RKING PLANS

bassy, Berlin, to refine my circulations. further iterate my previous reworked circulation and push esign.

1:200 sketch model of the iteration

1:100 wor

EARLY WORK

Early working models keeping the idea of ha Residential and g Many aspects of the design needs to be reconsidered. T move fo

rking model top view

KING MODELS

aving two atriums and a looping circulation. gallery separated.

This working model opened up new questions for me to orward.

1/F

Cloakroom (bagdrop)

2/F

Atrium space of gallery

Atrium space of residential block

Relationship of residence and gallery

Outdoor public ramp

REFER

Ceramics and other casted artw Shigekazu Nagae (left), Ken Mihara

RENCE

works by YUFUKU Gallery artists, (middle), Kanjiro Moriyama (right).

PAPER CONC Folding and bending paper using the wet

CEPT MODELS folding technique to form various shapes.

FURTHER EXP

Using the wet folding technique on wat

PLORATIONS

tercolour paper to fold and manipulate.

FORM FINDIN

Using the wet folding technique on wat

NG STUDIES

tercolour paper to fold and manipulate.

w

First iteration of roof canapy a the building from direct su diffused light fro

A slight overhang is added fo the sunlight form the south b to enter th RED indicates development.

BLACK indicates existing.

A noise barrier is to be instal the motorway q

Consisting of three floors. Ground floor with double height (6 m) which acts as a lobby space and the main exhibition space. Other floors have a ceiling height of 3 m.

First floor consists of an exhibition space and a workshop shared with two artists. Second floor has the same facilities: a workshop for two and an exhibition space.

The reason for having separated workshops is to have artists working on that floor occupy the gallery space on the same floor, thus having distinctive characteristics and style of art on each floor.

Artist residence has five floors with each floor having the ceiling height of 3 m. Each floor above gound floor allows the occupance of one artist and the ground floor acts as a reception and provides space for an office for the administrative team of the gallery.

DEVELOPMENT OF

r

e

Roof removed to allow third floor development in the gallery.

Some design language from previous visual studies applied onto the entrance of the gallery space and also the interiors of the building.

Walkways connecting gallery and residence refined.

added. Roof designed to shield unlight from the south and let om the north enter.

or the residence to again shield but allows sunlight in the winter he building.

lled to isolate the building from next to the site.

CURRENT DESIGN

Second iteration of the roof made. A canopy that is less fragmented than the last iteration. Consists of glazing tilted to the north to allow diffused light to enter.

DETAIL 1 3D OVERHAND WALL STRUCTURE AXONOMETRIC q w

e r t y u

i o 1)

CLADDED WALL ATTACHED

1! q w e r t y u i o 1) 1!

VERTICAL STEEL BEAM HORIZONTAL STEEL BEAM 2/F CONCRETE WALL 2/F CONCRETE FLOOR SLAB STEEL BAR STEEL ANCHOR NODE (FIXING STEEL BAR TO STEEL BEAM) STEEL ANCHOR NODE (FIXING STEEL BAR TO CONCRETE WALL) 1/F CONCRETE WALL 1/F CONCRETE FLOOR SLAB G/F CONCRETE WALL PORCELAIN CLADDING

DETAIL 1 2D OVERHANG WALL STRUCTURE SECTION q

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e STEEL

CONCRETE

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PORCELAIN t

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u q w e r t y u i

STEEL BAR STEEL ANCHOR NODE STEEL H BEAM 2/F CONCRETE WALL 2/F CONCRETE FLOOR SLAB PORCELAIN CLADDING 1/F CONCRETE WALL EXTERNAL CONRETE WALL

i

1:20

DEVELOPED EN

Two of the details f

NVELOPE STUDY

for current design.

DETAIL 2 3D

EXTERNAL CLADDING SYSTEM

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EXPLODED AXONOMETRIC w

e r t y

ASSEMBLED

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EXTERNAL CONCRETE WALL VERTICAL STEEL RAIL ANCHOR BOLT (FIXING VERTICAL RAIL TO CONRETE WALL) HORIZONTAL STEEL RAIL STEEL BOLT (FIXING HORIZONTAL RAIL TO VERTICAL RAIL) PORCLAIN CLADDING TILE

DETAIL 2 2D EXTERNAL CLADDING SYSTEM q

SECTION

w e

r

STEEL

CONCRETE

PORCELAIN

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ANGLE OF EXTERNAL WALL y

u i

q w e r t y u i

HORIZONTAL STEEL RAIL VERTICAL STEEL RAIL ANCHOR BOLT (FIXING VERTICAL RAIL TO CONRETE WALL) STEEL BOLT (FIXIING HORIZONTAL RAIL TO VERTICAL RAIL) EXTERNAL CONCRETE WALL PORCLAIN CLADDING TILE 20 MM GAP BETWEEN CLADDING AND WALL TO PREVENT CONDENSATION 2 MM GAP BETWEEN TILES TO ALLOW VENTILATION

34 °

1:2

CHAPTE

FINAL STAG

ER FIVE

GE DESIGN

1:100 work

1:100 WORK

Some moments of my working model du which have led me to a realisatio

Collage of the curved noise barrier

Close-up

View from the NE

king model top view

KING MODEL

uring the process and the overall model, on of scale and my next iteration.

Bird eye view from the NW

q w

Working model digitally modelled.

General layout: Artist residence Kiln room Outdoor workshop Indoor workshop Entrance Gallery space Noise barrier

Adjusted noise barrier to have roof lights.

Side openings would mean that visitors would have views on the motorway, which would be distracting especially for a gallery space. Roof lights ensure that the barrier maintain its efficiency on reflecting sound but also allows light to enter the space. The curved surface of the barrier increases its efficieny of deflecting sounds.

Envelope iterated. Design language a to the envelope to emphasise continu well as take in previous surface studies done. It works well with my deisgn as manipulate the surface further, which I done, to suit my needs.

Certain slits are created on the envelo ensure the interior of the building rece plenty of natural light.

At this point I have also started to think the interior layout and the room arran ments. Artist residence is roughly div into four bedrooms for four artists

DEVELOPMENT O

e

added uity as s I have s I can I have

ope to eives

k about ngevided s.

OF FINAL DESIGN

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t

Enveloped continue to be developed and refined.

Glazing and frames added to roof lights.

Overall building fleshed out.

Envelope continued to wrap around the artist bedrooms. I have also orientated the bedrooms more towards the east, to ensure more sunlight enters the space in the morning as the sun rises. This allows the sun to also warm up the space in the morning from cold nights.

Envelope continues to create a private courtyard and an overhang for the balcony.

Rooflights added for bedrooms.

Ramps added.

Outdoor and indoor workshop defined and populated.

Timber canopy added for the public path.

The canopy creates an effect on the walkway with sunlight, which improves the experience of walking by the building. The canopy also allows the pedestrians to have glimpses of the inside of the gallery as well as let some sound from the workshop through. It extends to provide some shading for the outdoor workshop.

OVERALL EVOLUT

TION OF DESIGN

1/F

G/F

CIRCULATION OF

F FINAL DESIGN

ARTISTS’ MOVEMENT STAFF AND VISITORS’ MOVEMENT PUBLIC’S MOVEMENT STAFF’S MOVEMENT DESTINATION

PERSPE

Perspective view wit

ECTIVE

th context (in black)

NAVIGATION

Using the origami patterns as a navigation system. The c and theme as well as the speed of flow of peopl Above is one o

N SURFACES

changing pattern indicates the change of exhibition space le. The smoother the pattern, the faster the flow. of the surfaces.

MOM

Transition of pattern from smooth to a pattern to a differen of exhibiti

MENT

nt pattern, indicating a slower flow of people and a change ion space.

CHAPT

FINAL DR

TER SIX

RAWINGS

GROUND FL

LOOR PLAN

N

1:200

FIRST FLO

OOR PLAN

N

1:200

TOP V

Rendered building from

VIEW

m top orthographic view.

N

1:200

N

1:200

LONG S

SECTION

FIRST FLOOR ROOF OPENING

FIRST FLOOR ROOF LIGHT

I applied some design language studied earlier in the course into the design. These studies allowed me to manipulate and control these surfaces the way I want, serving different functions and programmes in different areas.

NOISE BARRIER Origami pattern cladding applied

Envelope with a wall acting as a noise barrier on the north-west side. Origami patterns applied to reflect sound. Patterns morphing into different orientations allow me to effectively reflect sounds coming from different directions, i.e. reflecting sounds from left and right and sounds from below on different parts of the noise barrier.

GROUND FLOOR ROOF LIGHT Windows avoided for better acostic privacy

With a usually noisy motor way next to the site, I deployed slits for roof lights instead of windows on the envelope, which means a better acoustic quality but still allowing light into the building.

FIRST FLOOR ROOF LIGHT

RESIDENCE ROOF LIGHTS Windows avoided for better acostic privacy

OUTDOOR EXHIBITION SPACE PUBLIC PEDESTRIAN WALKWAY LIGHT WELL For ground floor EXIT OUTDOOR WORKSHOP

ATRIUM Allowing natural light on ground floor

KILN ROOM

PEDESTRIANS’ RAMP Connecting public pedestrian walkway and courtyard

INDOOR EXHIBITION SPACE

The first floor is mainly where the visitors get to interact with the artists. With an outdoor and indoor element to the workshop and gallery space, this provides the artists more room to create a larger artwork collection of different variety, from intricate pieces that are visually gripping, to ceramic sculptures that only become more beautiful as it decays in the sun or rain.

BRIDGE WALKWAY Between artists’ residence and indoor workshop

INDOOR WORKSHOP ARTISTS’ BEDROOMS

LIGHT WELL AND SCULPTURE SPACE

CLAY DRYING ROOM KILN WORKSHOP GROUND FLOOR EXHIBITION SPACE KILN ROOM RAMP From ground floor to first floor ARTISTS’ RAMP Between outdoor workshop and kiln workshop

TICKETS AND CLOAK ROOM

The ground floor is where the main gallery space is.

Since ceramic artists ocassionally produce other types of art, such as rough sketches and paintings, I have left the ground floor enough room to showcase all types of art, from paintings and drawings to installations and scuptures. It could also exhibit artworks of non-resident in this artist residence.

ARTISTS’ COMMON SPACE ENTRANCE

PRIVATE COURTYARD

The building is designed to have a different circulation for the following groups: visitors, artists and staff. Staff and visitors have a majority of circulation shared as gallery needs monitoring and maintained, especially where visitors are mostly gathered. Artists however have a different set of circulation. Although the building is a public gallery and is where the public interact with the artists, creating artworks is a creative process, and the building is also a place of residency for the working artists, and so 100% transparency is not desired. Certain artists may also not agree to share their techniques to produce certain pieces with the public, and so there are spaces where artists can work in solitude.

TACUBAYA RESIDENTIAL GALLERY AXO

RESIDENCE ROOF LIGHTS Windows avoided for better acostic privacy

FIRST FLOOR ROOF LIGHT

NOISE BARRIER Transition of origami pattern

ARTISTS’ COMMON SPACE ENVELOPE

BRIDEGE WALKWAY ROOF COVER

GROUND FLOOR ROOF LIGHT Windows avoided for better acostic privacy

PUBLIC PEDESTRIAN WALKWAY

EXIT

ARTISTS’ BEDROOMS

INDOOR WORKSHOP BRIDGE WALKWAY Between artists’ residence and indoor workshop

ATRIUM Allowing light to enter the ground floor

PEDESTRIANS’ RAMP Connecting public pedestrian walkway and courtyard

KILN ROOM OUTDOOR WORKSHOP

OUTDOOR EXHIBITION SPACE

PEDESTRIAN WALKWAY CANOPY Plays with light. Improve experience of pedestrians OPAQUE WALL Plays with visibility. Allows glimpes into the gallery from pedestrian walkway.

PRIVATE COURTYARD

ARTISTS’ COMMON SPACE

RAMP From ground floor to first floor

FIRST EXHIBITION SPACE

ARTISTS’ RAMP GROUND FLOOR MAIN EXHIBITION SPACE

KILN ROOM

CLAY DRYING ROOM KILN WORKSHOP

LIGHT WELL AND SCLUPTURE SPACE

Since complete transparency is not desired, the following spaces are isolated from the public: artist residence, including both bedrooms and common space and kiln workshop. Entrances of those spaces require keys which will be given to the working artists as they start their residency. Most entrances of those spaces are also hidden from the public, for example, the kiln workshop. To access the kiln workshop, one needs to either take the ramp from the outdoor workshop, or go through the door underneath the public ramp.

TACUBAYA RESIDENTIAL GALLERY AXO

BALCONY Orientated towards the east to allow the morning sun to provide warmth and sunlight.

WORKING / READING SPACE

BEDROOMS Each bedroom furnitured with a double bed, a bathroom, wardrobe and drawers.

PRIVATE COURTYARD Envelope wraps around to continue providing a barrier for acoustic purposes, and in this case, also creates a semi-enclosed space.

READING SPACE

ARTISTS’ COMMON SPACE Includes kitchen, dining space, living room.

ENTRANCE AND SHOES

BEDROOMS ROOFLIGHTS Windows avoided to maintain acoustic quality.

ARTIST RESI

Descr

IDENCE AXO

ription

Bedrooms are isolated by walls and curtains which users can draw if they wish to have privacy. All four artists would ‘feel’ more like a co-living space for a community or a team rather than four individual bedrooms for four individuals. Balcony faces eastward to bring in the East light in the morning.

Ground floor of artist residence consists of a reading space, an open kitchen, dining space, a living room, a toilet, shoe space and a private courtyard. As a co-living space, the ground floor act as a socialising and relaxation space for all four artists. Although not used usually during the day, it should be a private and comfortable space.

Overall the artist residence is designed to be a co-living space, to encourage the artists to socialise and work together, making their stay more enjoyable, homely and comfortable. The artist residence is designed to provide privacy to the residence as a whole,

INDOOR WORKSHOP Equipped with precision and light work work benches, as well as storage for tools and clay. Main sculpting area.

OUTDOOR WORKSHOP Equipped with light and heavy work work benches, potter’s wheels, sinks, tool benches, and storage for tools.

Primarily for wet clay work.

OPAQUE WALL Provides some privacy for artists to focus while allowing visitors to peek through.

PUBLIC PATH CANPY Improves experience for pedestrians using the public path. Canopy also extends to provides some shading in the outdoor workshop.

CLAY DRYING ROOM Dedicated room for clay to air dry. Humidity and air movement controlled. A transparent glass allows visitors to view the work-in-progress clay pieces.

KILN ROOM Dedicated space for clay firing. Equipped with three natural gas kilns, storage for tools and a heavy work work bench.

KILN WORKSHOP ENTRANCE Hidden from the public and only accessible for artists and staff.

ARTIST WOR

RKSHOP AXO

Upper floor workshop consists of an indoor workshop and an outdoor workshop. Wet clay is primarily worked in the outdoor workshop, and dry clay the indoor. Wet clay working requires potters’ wheels and various tools, but mainly require the artists creative minds and their imagination, thus an opaque part see through wall is provided to ensure they have enough headspace and concentration, while letting visitors have a glimpse of the making process. The indoor workshop is almost like a performance space, where artists work dried clay with sculpting and painting. Thus only a half wall separates the visitors and the artists.

The lower floor workshop consists of a kiln room, a kiln workshop and a drying room. TWhile wet clay can still be worked here in case of bad weather, this space mainly deals with processing and curing. A transparent glass allows visitors to enjoy the work-in-progress art on the drying rack, which may inflict a feeling of anticipation, having them look forward to the next exhibition.

Overall the double floor workshop is equipped with the essential tools and facilities for the artists to enjoy their working time there. Facilities such as potters’ wheels (kinetic and electric, sitting and standing), working benches (for light work, heavy work, and precision work), storage, sinks, and three gas kilns. A full-time working ‘kiln man’ will be working with them to ensure the safety and provide his/her expertise for the optimised outcome of artworks.

MOM

First floor exhibition space looking at indoor an

MENT

nd outdoor workshop as well as open courtyard.

MOM

Walkway between artist’s residen

MENT

nce and artist’s indoor workshop