Architectural Studies Portfolio by WU MAN HOI

BARRIE HO ARCHITECTURE INTERIORS LIMITED

Curtin University Year 3 Semester 2 Tutor: Helen HO, Fan LEE

SURPRISING IN LIFE

STUDIO PROGRAMME: URBAN PROPOSITION IN HOUSING in To Kwa Wan

CONTENT OF YEAR OUT PRACTICE

Curtin University Year 3 Semester 1 Tutor: Manfred YUEN

SELF-INTEREST

THE CURTIN UNIVERSITY OF TECHNOLOGY

CONTENT OF SCHOOL WORK

STUDIO PROGRAMME: COMMUNITY CENTRE FOR DANCE in Wan Chai Morrison Hill Playground

PROJECT TITLE: CONFERENCE TOWER AT HKUST in THE HONG KONG UNIVERSITY OF SCIENCE AND TECHNOLOGY BARRIE HO ARCHITECTURE INTERIORS LIMITED DIRECTOR: MR. BARRIE HO CLIENT: THE HONG KONG UNIVERSITY OF SCIENCE AND TECHNOLOGY

ACKNOWLEDGEMENTS /ŵŵĞĂƐƵƌĂďůĞ ĂƉƉƌĞĐŝĂƟ ŽŶ ĂŶĚ ĚĞĞƉĞƐƚ ŐƌĂƟ ƚƵĚĞ ĨŽƌ ƚŚĞ ŚĞůƉ ĂŶĚ ƐƵƉƉŽƌƚ ĂƌĞ ĞǆƚĞŶĚĞĚ ƚŽ ƚŚĞ ĨŽůůŽǁŝŶŐ ƉĞƌƐŽŶƐ ǁŚŽ ŝŶ ŽŶĞ ǁĂǇ Žƌ ĂŶŽƚŚĞƌ ŚĂǀĞ ĐŽŶƚƌŝďƵƚĞĚ ŝŶ ŵĂŬŝŶŐ ƚŚŝƐ ƚŚĞƐŝƐ ƐƚƵĚǇ ƉŽƐƐŝďůĞ͘ / ǁŽƵůĚ Į ƌƐƚ ůŝŬĞ ƚŽ ƚŚĂŶŬ GOD ǁŝƚŚŽƵƚ ǁŚŽŵ ŶŽƚŚŝŶŐ ŝƐ ƉŽƐƐŝďůĞ͘ / ǁŽƵůĚ ĂůƐŽ ůŝŬĞ ƚŽ ĞǆƚĞŶĚ ŵǇ ŐƌĂƟ ƚƵĚĞ ƚŽ Ă ŶƵŵďĞƌ ŽĨ ƉĞŽƉůĞ ǁŚŽƐĞ ŚĞůƉ ǁĂƐ ǀĞƌǇ ǀĂůƵĂďůĞ ŝŶ ƚŚŝƐ ƚŚĞƐŝƐ ƉƌŽũĞĐƚ͘ / ǁŽƵůĚ ůŝŬĞ ƚŽ ƚŚĂŶŬ ŵǇ dŚĞƐŝƐ ĚǀŝƐŽƌ͕ Prof. David Erdman ĨŽƌ ŚŝƐ ŵĞĂŶŝŶŐĨƵů ĂƐƐŝƐƚĂŶĐĞ͕ Ɵ ƌĞůĞƐƐ ŐƵŝĚĂŶĐĞ ĂŶĚ ƉĂƟ ĞŶĐĞ͘ / ǁŽƵůĚ ĂůƐŽ ůŝŬĞ ƚŽ ƚŚĂŶŬ Prof. BS Jia ;ĐƌŝƟ Đ ĨŽƌ ƚŚĞ Į ƌƐƚ ƌĞǀŝĞǁͿ͕ Prof. Thomas Tsang ;ĐƌŝƟ Đ ĨŽƌ ƚŚĞ ƐĞĐŽŶĚ ƌĞǀŝĞǁͿ ĂŶĚ Prof. Jae Lim ;ĐƌŝƟ Đ ĨŽƌ ƚŚĞ ƚŚŝƌĚ ƌĞǀŝĞǁͿ ĨŽƌ ƚŚĞŝƌ Ɵ ŵĞ ĂŶĚ ǀĂůƵĂďůĞ ĐŽŵŵĞŶƚƐ ĂŶĚ ŝŶĨŽƌŵĂƟ ŽŶ͘ / ǁŽƵůĚ ĂůƐŽ ůŝŬĞ ƚŽ ƚŚĂŶŬ ŵǇ ƉĂƌĞŶƚƐ͕ Mr. S.K. Wu ĂŶĚ Mrs. Y.S. Wu͕ ŵǇ ƐŝƐƚĞƌ͕ Ivy ĨŽƌ ƚŚĞŝƌ ŵŽƌĂů ĂŶĚ ŵĂƚĞƌŝĂů ĂƐƐŝƐƚĂŶĐĞ͘ / ǁŽƵůĚ ůŝŬĞ ƚŽ ĂĐŬŶŽǁůĞĚŐĞ ŵǇ ĨƌŝĞŶĚƐ Pasu Mau͕ ǁŚŽ ƉƌŽǀŝĚĞĚ ƚƌĞŵĞŶĚŽƵƐ Ɵ ŵĞ͕ ĞŶĞƌŐǇ ĂŶĚ ƐƵƉƉŽƌƚ ŽŶ ƚĞĐŚŶŝĐĂů ĂĚǀŝĐĞ͕ ĂŶĚ Albert Inacio ǁŚŽƐĞ ůŝƚĞƌĂƚƵƌĞ͕ ĂĚǀŝĐĞ͕ ĞŶĐŽƵƌĂŐĞŵĞŶƚ ĂŶĚ ŵĞŶƚĂů ƐƵƉƉŽƌƚ ŚĂƐ ďĞĞŶ ƉƌŝĐĞůĞƐƐ͘ dŚĞŝƌ ŝŶƚĞƌĞƐƚ ŝŶ ŵǇ ƌĞƐĞĂƌĐŚ ǁĞƌĞ ǀĞƌǇ ďĞŶĞĮ ĐŝĂů͘ / ǁŽƵůĚ ůŝŬĞ ƚŽ ĂĐŬŶŽǁůĞĚŐĞ Ăůů ƐƚĂī ŝŶ ƚŚĞ &ĂĐƵůƚǇ ŽĨ ƌĐŚŝƚĞĐƚ ŝŶ ƚŚĞ hŶŝǀĞƌƐŝƚǇ ŽĨ ,ŽŶŐ <ŽŶŐ ǁŚŽƐĞ ƚĞĐŚŶŝĐĂů ƐƵƉƉŽƌƚƐ ĂƌĞ ĂƉƉƌĞĐŝĂƚĞĚ͘ / ĂůƐŽ ƉůĂĐĞ ŽŶ ƌĞĐŽƌĚ͕ ŵǇ ƐĞŶƐĞ ŽĨ ŐƌĂƟ ƚƵĚĞ ƚŽ ŽŶĞ ĂŶĚ Ăůů ǁŚŽ͕ ĚŝƌĞĐƚůǇ Žƌ ŝŶĚŝƌĞĐƚůǇ͕ ŚĂǀĞ ůĞŶƚ ƚŚĞŝƌ ŚĞůƉŝŶŐ ŚĂŶĚ ŝŶ ƚŚŝƐ ƚŚĞƐŝƐ ƉƌŽũĞĐƚ͘

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MEANS OF PUBLIC ENGAGEMENT D Zd/E th

ABSTRACT ƌĐŚŝƚĞĐƚƵƌĞ ŝƐ ŶŽƚ ũƵƐƚ Ă ƐŚĞůƚĞƌ͕ ďƵƚ Ă ƌĞƉƌĞƐĞŶƚĂƟŽŶ ŽĨ͕ ĂŶĚ Ă ŵĞĚŝĂ ĨŽƌ͕ ƚŚŽƵŐŚƚƐ ĂŶĚ ŝĚĞĂƐ͘ WƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ŝŶ ĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐ ƚŚĞƌĞĨŽƌĞ ŬĞǇ͘ &ƌŽŵ ŽƉĞŶŝŶŐ ƵƉ ƚŚĞ ŝŶƐŝĚĞ ƉŚǇƐŝĐĂůůǇ͕ ƚŽ ƚŚĞ ŝŶƚƌŽĚƵĐƟŽŶ ŽĨ ŵĂƚĞƌŝĂů ƚƌĂŶƐƉĂƌĞŶĐǇ͕ ƚŽ ŚŝŐŚ ĞŶĚ ŵĞĚŝĂƟŶŐ ƚĞĐŚŶŽůŽŐǇ͕ ƚŚĞƌĞ ŚĂǀĞ ďĞĞŶ ŵĂŶǇ ŵĞĂŶƐ ŽĨ ĞǆƉůŽƌŝŶŐ ŚŽǁ ďĞƩĞƌ ƚŽ ĞŶŐĂŐĞ ƚŚĞ ƉƵďůŝĐ ŝŶ ĂƌĐŚŝƚĞĐƚƵƌĞ͘ 'ŽǀĞƌŶŵĞŶƚƐ ŽƉĞŶ ƵƉ ƚŚĞŝƌ ďƵŝůĚŝŶŐƐ͕ ƚŽ ƚŚĞ ƉƵďůŝĐ ƚŽ ŝŶƚƌŽĚƵĐĞ Ă ƐĞŶƐĞ ŽĨ ƚŚĞ ĐŝƟǌĞŶ͛Ɛ ƐĂǇ ŝŶ ŐŽǀĞƌŶĂŶĐĞ͘ dŚĞ ƚĞƌŵ ͚ƚƌĂŶƐƉĂƌĞŶĐǇ͛ ŝƐ Ă ƐǇŵďŽůŝĐ ŝĚĞĂ ƚŽ ƌĞŇĞĐƚ ƚŚŝƐ͘ ,ŽǁĞǀĞƌ ĨĂĐŝůŝƚĂƟŶŐ ĂŶ ĂĐƚƵĂů ĞŶŐĂŐĞŵĞŶƚ ŽĨ ƚŚĞ ƉƵďůŝĐ ŝŶ ŐŽǀĞƌŶŵĞŶƚ ďƵŝůĚŝŶŐƐ ĐĂŶ ďĞ ƉƌŽďůĞŵĂƟĐ͘ dŚĞ ĐŽŶƚƌĂĚŝĐƚŽƌǇ ŶĞĞĚƐ ŽĨ ƚŚŝƐ ďƵŝůĚŝŶŐ ƚǇƉĞ ĚĞŵĂŶĚƐ ƚŚĂƚ ŝƐ ŚĂƐ ƚŽ ďĞ ďŽƚŚ ŝŶƚĞŶƐĞůǇ ƐĞĐƵƌĞ ĂŶĚ ŝŶƚĞŶƐĞůǇ ŽƉĞŶ͘ dŚŝƐ ƚŚĞƐŝƐ ƵƐĞƐ ƚŚĞ ŐŽǀĞƌŶŵĞŶƚ ŚĞĂĚƋƵĂƌƚĞƌ ŝŶ ,ŽŶŐ <ŽŶŐ ĂƐ Ă ƚĞƐƚ ĨŽƌ ƚŚĞ ŝĚĞĂ ŽĨ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ǁŝƚŚŝŶ ŝƚƐ ĂƌĐŚŝƚĞĐƚƵƌĞ͕ ďǇ ĚĞƉůŽǇŝŶŐ ŝĚĞĂƐ ŽĨ ŵĞĚŝĂƟŽŶ ĂŶĚ ƚŚĞ ƚĞĐŚŶŝƋƵĞ ŽĨ ƚƌĂŶƐůƵĐĞŶĐǇ͘ dŚĞ ŽƵƚĐŽŵĞ ŽĨ ƚŚŝƐ ƚŚĞƐŝƐ ǁŝůů ƌĞƐƵůƚ ŝŶ ƚŚĞ ŚŽůŝƐƟĐ ĂƉƉƌŽĂĐŚ ƚŽ ĂŶ ĞůĞǀĂƚĞĚ ƉƵďůŝĐ ĞŶŐĂŐĞĚ ƉĞƌĨŽƌŵĂŶĐĞ ĂƌĞĂƐ ŝŶƚĞƌ-ĐŽŶŶĞĐƚĞĚ ǁŝƚŚ ƐĞĐƵƌĞůǇ ŽĸĐĞ ƐƉĂĐĞƐ ĨŽƌ ŐŽǀĞƌŶŵĞŶƚ ŽĸĐĞ͘

PUBLIC ENGAGEMENT PLATFORM FOR DIVERSIFICATION AND POSSIBILITIES dƌĂŶƐƉĂƌĞŶĐǇ ŽĨ Ă ĐŝƚǇ ŝƐ ĂůǁĂǇƐ ƐŚĂƉĞĚ ďǇ ƚŚĞ ŐŽǀĞƌŶŵĞŶƚ͘ ͚/Ŷ ƉŽůŝƟĐĂů ƚŚŝŶŬŝŶŐ ƚƌĂŶƐƉĂƌĞŶĐǇ ŝƐ ůŝŶŬĞĚ ƚŽ ŽƉĞŶ ĂŶĚ ĂĐĐĞƐƐŝďůĞ ŐŽǀĞƌŶŵĞŶƚ͕ ǁŚŝůĞ ŝŶ ƐŽĐŝŽůŽŐǇ ŝƚ ĐŽŶŶŽƚĞƐ Ă ƉůƵƌĂůŝƐƟĐ ƐŽĐŝĞƚǇ͛͘ ^ƵŐŐĞƐƚĞĚ ďǇ ĞďŽƌĂŚ ƐĐŚĞƌ ĂƌŶƐƚŽŶĞ ŝŶ dŚĞ dƌĂŶƐƉĂƌĞŶƚ ^ƚĂƚĞ͘ ,Žǁ ƚƌĂŶƐƉĂƌĞŶĐǇ ĐĂŶ ďĞ ƵŶĚĞƌƐƚĂŶĚ ƚŚƌŽƵŐŚ ĂƌĐŚŝƚĞĐƚƵƌĂů ůĂŶŐƵĂŐĞ͍ dŚĞ ƚĞƌŵ ͚ƚƌĂŶƐƉĂƌĞŶĐǇ͛ ŝƐ ŶŽƚ ŽŶůǇ Ă ƐǇŵďŽůŝĐ ŝĚĞĂ ƌĞŇĞĐƟŶŐ ŽŶ ŵĂƚĞƌŝĂůŝƚǇ ĨŽƌ ǀŝƐƵĂů ƵƐĞĚ ŝŶ ϭϵƚŚ ĐĞŶƚƵƌǇ͕ ǁŚŝĐŚ ŝƐ ŽƉƉŽƐĞĚ ƚŽ ĨĂĐŝůŝƚĂƚĞ ƚŚĞ ĂĐƚƵĂů ĞŶŐĂŐĞŵĞŶƚ ĂŶĚ ĐŽŶƚƌĂĚŝĐƚŽƌǇ ƚŽ ƚŚĞ ŶĞĞĚƐ ŽĨ ƚŚŝƐ ďƵŝůĚŝŶŐ ƚǇƉŽůŽŐǇ ǁŚŝĐŚ ŚĂƐ ƚŽ ďĞ ďŽƚŚ ŝŶƚĞŶƐĞůǇ ƐĞĐƵƌĞ ĂŶĚ ŝŶƚĞŶƐĞůǇ ŽƉĞŶ͘ WůƵƌĂůŝƐŵ͕ ŝŶ ƚĞƌŵƐ ŽĨ ƉŽůŝƟĐĂů ƚŚĞŽƌǇ͕ ŝƐ ƌĞƉƌĞƐĞŶƟŶŐ Ă ŵĂƌŬĞƚƉůĂĐĞ ĨŽƌ ŝĚĞĂƐ͕ ǁŚŝĐŚ ŐŽĞƐ ǁŝƚŚ ĚŝǀĞƌƐŝĮĐĂƟŽŶ ĂŶĚ ƉŽƐƐŝďŝůŝƟĞƐ ĨŽƌ ƉŽǁĞƌ ƚŽ ďĞ ĐŽŵƉůĞƚĞĚ͘ 'ƌŽƵƉƐ ŽĨ ŝŶĚŝǀŝĚƵĂůƐ ŚĂǀĞ Ă ĐŚĂŶĐĞ ƚŽ ƚƌǇ ƚŚĞŝƌ ƌŽůĞ ŽŶ ŵĂǆŝŵŝǌŝŶŐ ƚŚĞŝƌ ŝŶƚĞƌĞƐƚƐ ƚŽ ĞǆƉƌĞƐƐ ƚŚĞŝƌ ŝĚĞĂƐ͘ tŽƵůĚ ĂƌĐŚŝƚĞĐƚƵƌĞ ĐĂŶ ŚĞůƉ ŝŶ ŵĂǆŝŵŝǌŝŶŐ ƚŚĞ ŝĚĞĂ ŽĨ ƉůƵƌĂůŝƐŵ ŝŶ ƚŚĞ ƐŽĐŝĞƚǇ͍ dŚĞ ŚĞůƉ ǁŝƚŚ ĚŝīĞƌĞŶƚ ŵĞĚŝĂƟŽŶ ŵĞƚŚŽĚ ŝŶ ƚĞƌŵƐ ŽĨ ĂƌĐŚŝƚĞĐƚƵƌĞ ŝŶ ƚƌĂŶƐĨĞƌƌŝŶŐ ĂŶĚ ƚƌĂŶƐĨŽƌŵŝŶŐ ƚǇƉĞƐ ŽĨ ĞŶĞƌŐǇ ƐŽƵƌĐĞƐ ŝŶ ĐŽŶƚƌŝďƵƟŶŐ ƚŚĞ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ŝŶ ƚŚĞ ĐŽŵƉůĞǆ ǁŝůů ďĞ ĞǆƉůŽƌĞĚ ĂŶĚ ĞǆƉĞƌŝŵĞŶƚĞĚ ŝŶ ƚŚŝƐ ƉƌŽũĞĐƚ͘ dĂŬŝŶŐ ƐŽƵŶĚ ĞŶĞƌŐǇ ĂƐ ĂŶ ĞǆĂŵƉůĞ͕ ĂƌĐŚŝƚĞĐƚƵƌĞ ĨŽƌ ƉƵďůŝĐ ƵƐĂŐĞ ǁŝůů ďĞ ƵƐĞĚ ƚŽ ƐƚĂƌƚ ƚĞƐƟŶŐ ĂŶĚ ƵƐŝŶŐ ĂƐ Ă ǀĞƐƐĞů ƚŚĂƚ ĐŽůůĞĐƚƐ ĂŶĚ ƌĞĚŝƐƚƌŝďƵƚĞƐ ƚŚĞ ƐŽƵŶĚƐ ŽĨ ŝƚƐ ƐƵƌƌŽƵŶĚŝŶŐƐ͕ ƉƌŽǀŝĚŝŶŐ Ă ůŝŶŬĂŐĞ ĐŽŶŶĞĐƟŶŐ ĚŝīĞƌĞŶƚ ƉĂƌƟĞƐ ǁŚŝĐŚ ĐĂŶ ŚĞůƉ ĐŽŶƚƌŝďƵƟŶŐ ŝŶ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ͘

PROJECT DESCRIPTION

GOVERNMENT BUILDINGS

dŽĚĂǇ͛Ɛ ŵŽĚĞƌŶ ĂƌĐŚŝƚĞĐƚƵƌĞ ŚĂƐ Ă ƐƚƌŽŶŐ ŝŶŇƵĞŶĐĞ ŽŶ ĞǆƉůŽƌŝŶŐ ƚŚĞ ůĞǀĞů ŽĨ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ƚŚƌŽƵŐŚ ƚŚĞ ĚĞƐŝŐŶŝŶŐ ŽĨ ƐƉĂƟĂů ƋƵĂůŝƚǇ ĂŶĚ ŵĂŬŝŶŐ ƵƐĞ ŽĨ ĚŝīĞƌĞŶƚ ďƵŝůĚŝŶŐ ĐŽŵƉŽŶĞŶƚƐ͘ dŚŝƐ ƚŚĞƐŝƐ ĐŽŶƐŝƐƚƐ ŽĨ ƚŚƌĞĞ ŵĂŝŶ ŐŽĂůƐ ĂƐ ǁĞůů ĂƐ ƚŚĞ ŝŶƚĞŶƚ ƚŽ ŝŵƉƌŽǀĞ ƚŚĞ ƋƵĂůŝƚǇ ŽŶ ƉƵďůŝĐ ĞŶŐĂŐŝŶŐ ĂƌĐŚŝƚĞĐƚƵƌĂů ĞŶǀŝƌŽŶŵĞŶƚ ŝŶ ǁŚŝĐŚ ǁĞ ĚǁĞůů͗

dŚĞ ƉŽůŝƟĐĂů ŝŶƐƟƚƵƟŽŶ ĞƐƚĂďůŝƐŚĞĚ ďǇ ƚŚĞ ƚŚĞŶŝĂŶ ĐŝƚǇ-ƐƚĂƚĞ ĂŶĚ ĂĚŽƉƚĞĚ ĂŶĚ ŵŽĚŝĮĞĚ ďǇ ƚŚĞ ZĞƉƵďůŝĐ ŽĨ ZŽŵĞ ŚĂǀĞ ŚĂĚ ĂŶ ĞŶĚƵƌŝŶŐ ŝŵƉĂĐƚ ŽŶ ŵŽĚĞƌŶ tĞƐƚĞƌŶ ƉŽůŝƟĐĂů ƉƌĂĐƟĐĞ ĂŶĚ ƚŚŽƵŐŚƚ. dŚĞ 'ĞĞŬ ƉŽůŝƟĐĂů ůĞŐĂĐǇ ŝƐ ƐƟůů ƌĞŇĞĐƚĞĚ ŝŶ ƚŚĞ ĂďƵŶĚĂŶĐĞ ŽĨ ŐŽǀĞƌŶŵĞŶƚ ďƵŝůĚŝŶŐƐ which act as a physical reminder of the classical origins of parliament democracy.

ϭ͘ dŽ ĂŶĂůǇƐŝƐ ĂŶĚ ĞǆƉůŽƌĞ ƚŚĞ ƉŽƐƐŝďŝůŝƟĞƐ ŽĨ ĚŝīĞƌĞŶƚ ŵĂƐƐŝŶŐ ĂƌƌĂŶŐĞŵĞŶƚƐ ĨŽƌ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚƐ ĂƐ Ă ĚĞƐŝŐŶ ŝŶƐƉŝƌĂƟŽŶ ĂŶĚ ŐĞŶĞƌĂƚŽƌ ŽĨ ƐƉĂĐĞ ŝŶ ŐŽǀĞƌŶŵĞŶƚ ďƵŝůĚŝŶŐƐ͘

dhe classical langƵage of architectƵre has ďeen Ƶsed more than any other to create monƵmental parliamentary ďƵildings that ďoth inspire and can also inƟmidate in their representaƟon of the democraƟc ideal. s a showcase for poliƟcal intenƟon and the pre-eminent symďol of the state parliament ďƵildings emďody naƟonal idenƟty and historical conscioƵsness. WoliƟcians and architects haǀe Ƶsed an architectƵre drawing on past associaƟons to assert the statƵs of eǆisƟng and deǀeloping democracies.

2. dŽ ŝŶĐƌĞĂƐĞ ĂǁĂƌĞŶĞƐƐ ĂŶĚ ŝŵƉƌŽǀĞ ƚŚĞ ƋƵĂůŝƚǇ ŽĨ ƉƵďůŝĐ ŐĂƚŚĞƌŝŶŐ ƐƉĂĐĞƐ ŝŶƐŝĚĞ ƚŚĞ ŐŽǀĞƌŶŵĞŶƚ ďƵŝůĚŝŶŐ ƵƟůŝǌĞĚ ďǇ ŽƉĞŶ ƐƉĂĐĞƐ ĂŶĚ ƚŚĞ ƉƵďůŝĐ ƵƐĞƌƐ. 3. dŽ ƵŶŝƚĞ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ĂŶĚ ĂƌĐŚŝƚĞĐƚƵƌĞ ŝŶ ƐƵĐŚ Ă ǁĂǇ ƚŚĂƚ ƚŚĞ ĚĞƐŝŐŶ ŝŶŇƵĞŶĐĞƐ ĂŶĚ ŝŶƐƉŝƌĞƐ ĐƌĞĂƟǀŝƚǇ ĂŶĚ ĞŶĐŽƵƌĂŐĞƐ ŽŶ ĞǆƉůŽƌĂƟŽŶ ŽŶ ŚŽǁ ƐƉĂĐĞƐ ĂŶĚ ƉƵďůŝĐ ďĞ ƵƟůŝǌĞĚ ƚŚƌŽƵŐŚ ŵĞĚŝĂƟŽŶ ŝŶ ƚĞƌŵƐ ŽĨ ĂƌĐŚŝƚĞĐƚƵƌĞ. dŚĞ ŝŶƚĞŶƚ ŝƐ ƚŽ ŚĞŝŐŚƚĞŶ ŽŶĞƐ ĂǁĂƌĞŶĞƐƐ ŽĨ ƚŚĞ ĞƐƐĞŶƟĂů ƌŽůĞ ƚŚĂƚ ƉƵďůŝĐ ĞŶŐĂŐĞĚ ŝŶ ƚŚĞ ďƵŝůƚ ĞŶǀŝƌŽŶŵĞŶƚ ĂŶĚ ƚŽ ƌĞǀŝƚĂůŝǌĞ ƚŚĞ ĂƐƉĞĐƚ ŽĨ ĂĐƚƵĂů ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ďƵƚ ŶŽƚ ƐǇŵďŽůŝƐŵ ƌĞƉƌĞƐĞŶƚĂƟŽŶ ŝŶ ĂƌĐŚŝƚĞĐƚƵƌĞ. dŚŝƐ ƚŚĞƐŝƐ ůŽŽŬƐ ƚŽ ƉƌŽǀŝĚĞ Ă ĨƌĂŵĞǁŽƌŬ ĨŽƌ ƉƵďůŝĐ ƐƉĂĐĞƐ ƚŚĂƚ ĐŽŶƐŝƐƚ ŽĨ ƚŚĞ ƉĞƌĐĞƉƟŽŶ ŽĨ ŵĞĚŝĂƟŽŶ ƚŚƌŽƵŐŚ ƚŚĞ ďƵŝůƚ ĞŶǀŝƌŽŶŵĞŶƚ. ZĞƚŚŝŶŬŝŶŐ ŚŽǁ ƉƵďůŝĐ ĐĂŶ ďĞ ƉŚǇƐŝĐĂůůǇ ĞŶŐĂŐĞĚ ŝŶƚŽ ŽŶĞ ƐƉĂĐĞ ĂŶĚ ĞŵƉůŽǇŝŶŐ ƚŚĞ ƉƌŝŶĐŝƉĂůƐ ŽĨ ŵĞĚŝĂƟŽŶ ŝŶ ƐƉĂĐĞ͕ ƚŚŝƐ ƚŚĞƐŝƐ ǁŝůů ĂƩĞŵƉƚ ƚŽ ƌĞĚĞĮŶĞ ŚŽǁ ƉĞŽƉůĞ ŽĐĐƵƉǇ ƚŚĞ ďƵŝůƚ ĞŶǀŝƌŽŶŵĞŶƚ ƚŚŽƵŐŚ ƉŚǇƐŝĐĂůůǇ ĞŶŐĂŐĞŵĞŶƚ ďƵƚ ŶŽƚ ŽŶůǇ ƚǇƉŝĐĂů ƐǇŵďŽůŝĐ ǀŝƐƵĂů ĂƐƉĞĐƚ. dŚŝƐ ƚŚĞƐŝƐ ǁŝůů ĚĞŵŽŶƐƚƌĂƚĞ ƚŚĞ ƌĞůĂƟŽŶƐŚŝƉ ďĞƚǁĞĞŶ ĂƌĐŚŝƚĞĐƚƵƌĂů ĂŶĚ ŵĞĚŝĂƟŽŶ ŝŶ ŽƌĚĞƌ ƚŽ ĨĂĐŝůŝƚĂƚĞ ƚŚĞ ĂĐƚƵĂů ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ǁŚŝĐŚ ƚƵƌŶ ƚŚĞ ďƵŝůƚ ĞŶǀŝƌŽŶŵĞŶƚ ďĞĐŽŵĞ ƚŚĞ ŵĞĚŝĂ ĐŽŶŶĞĐƟŶŐ ĂƌĐŚŝƚĞĐƚƵƌĞ ĂŶĚ ƉƵďůŝĐ ŝŶ ƚŚĞ ŵŽĚĞƌŶ ĂƌĐŚŝƚĞĐƚƵƌĞ. dŚĞ ĐŽŶĐĞƉƚƵĂů ĂŶĚ ƐĐŚĞŵĂƟĐ ƉŚĂƐĞ ŽĨ ĚĞƐŝŐŶ ǁŝůů ŚĂǀĞ ƚŽ ŝŶĐŽƌƉŽƌĂƚĞ ƚŚĞ ŝĚĞĂƐ ŽĨ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ĂƐ ĚŝǀŝƐŝŽŶƐ ŽĨ ƐƉĂĐĞ ĂŶĚ ŶŽƚ ƐŽůĞůǇ ƌĞůǇ ŽŶ ǁĂůůƐ ĂŶĚ ďĂƌƌŝĞƌƐ ƚŽ ĚĞĮŶĞ ƐĂŝĚ ƐƉĂĐĞ. ƉƉůǇŝŶŐ ĚŝīĞƌĞŶƚ ŵĂƐƐŝŶŐ ĚŝǀŝƐŝŽŶ ƐƚƌĂƚĞŐŝĞƐ ƚŽ ĐƌĞĂƚĞ ŵƵůƟƉůĞ ƐƉĂƟĂů ŝŶ ĂŶĚ ŽƵƚ ƉƵďůŝĐ ƌĞůĂƟŽŶƐŚŝƉ ǁŝƚŚ ƚŚĞ ďƵŝůƚ ĨŽƌŵ ǁŝůů ŽŶůǇ ĞŶŚĂŶĐĞ ƚŚĞ ĂƌĐŚŝƚĞĐƚƵƌĞ ĂŶĚ ŚŽƉĞĨƵůůǇ ƐƚĂƌƚ ƚŽ ƌĞǀĞĂů ƚŚĂƚ ƚŚĞ ƌĞĂůŝƚǇ ŽĨ ƉƵďůŝĐ ĞŶŐĂŐĞŵĞŶƚ ĂƐ Ă ŐĞŶĞƌĂƚŽƌ ŽĨ ƐƉĂĐĞ ŝƐ Ă ĨĂĐĞƚ ƚŚĂƚ ŝƐ ŵŝƐƐŝŶŐ ŝŶ ĂƌĐŚŝƚĞĐƚƵƌĂů ĚĞƐŝŐŶ ƚŽĚĂǇ.

then Ɵme went to the age of classicism͕ parliaments were instrƵments of royal statecraŌ͕ a means for rƵler to secƵre the consent of his leading sƵďũects. tith the growth of the naƟon state͕ the role of parliament shiŌed͕ coming to predominate oǀer monarchy as the eǆpression of the naƟonal will. dhe architectƵre of the parliament ďƵilding has ďeen pƵt to worŬ in an aƩempt to eǆpress of reinforce this sense of naƟonal idenƟty. >ocaƟon also plays an important role. dhe selecƟon of geographical locaƟon for the capital of a naƟon has ďeen the sƵďũect of royal proclamaƟon͕ tradiƟon͕ or poliƟcal decision. Eo centƵry has seen the constrƵcƟon of more parliamentary ďƵildings than the twenƟeth centƵry. dhe wars and reǀolƵƟons͕ the constant shiŌs in the ďalance of gloďal power͕ the life-and-death strƵggles of old and new naƟons are measƵred oƵt in a series of architectƵral monƵments͕ or woƵld-ďe monƵments. dhe challenge for contemporary architects has ďeen to Įnd ways in creaƟng ďƵildings that reŇect naƟonal aspiraƟons. Dany of the maũor ĮgƵres of twenƟeth centƵry architectƵre worŬed on new Warliaments intended to reŇect naƟonal aspiraƟons as well as the Ƶniǀersal ideals of the modern moǀement. 'oǀernment ďƵilding represents the power of a coƵntry͕ the oriantaƟon of the architectƵre itself aīects the aǆisity and geometry. dhis can ďe reŇected on the programme arrangement. dhe oriantaƟon of the goǀernment ďƵildings shiŌ from centraliǌed one power one to the separaƟon of powers one͕ which are legislatƵre͕ eǆecƵƟǀe and ũƵdiciary. dhe geometry therefore changed from the symmetrical one to the asymmetrical one͕ liŬe the raǌlia one͕ the oriantaƟon of the architectƵre changed into a trangƵlar one which is not in a symmetrical manner. dhose ďƵilt nowadays eǀen with a free form oriantaƟon according to the fƵncƟonal needs of the ďƵilding. 'oǀernments nowadays concerns mƵch more on the issƵe of how to ďƵild Ƶp a transparent image to the pƵďlic. Kne of the method͕ is trying to opening Ƶp the ďƵilding with mƵch more accessiďility to engage pƵďlic inǀolǀement inside the ďƵilding͕ which introdƵce a sense of the goǀernment power is ďelonging to the ciƟǌens. dhe posiƟon of the goǀernment and the ciƟǌens therefore come to a ďalance sitƵaƟon.

HKSAR GOVERNMENT HEADQUARTER ,<^ Z 'oǀernment ,eadƋƵarters is located at the historical site of damar where the original site was a former naǀal docŬyard. dhe deǀelopment is an intricately composed 'oǀernment ompleǆ͕ integraƟng three principal faciliƟes͗ the ,<^ Z 'oǀernment Kĸces͕ the hief ǆecƵƟǀe͛s Kĸce and the >egislaƟǀe oƵncil ompleǆ. dhe design proũects a Ƶnifying composiƟon͕ while each facility maintains its idenƟty and eǆpression ďeĮƫng to its fƵncƟon. dhe two wings of 'oǀernment Kĸces are ũoined together at the Ƶpper leǀel͕ creaƟng the ǀisƵal metaphor of an opening door. dhe >egislaƟǀe oƵncil ompleǆ and the hief ǆecƵƟǀe͛s Kĸce ŇanŬing the iǀic WarŬ proũect forward on either side͕ signifying their independence as well as their dialogƵe across the landscape. dhe landscaped iǀic WarŬ͕ or ͞'reen arpet͕͟ penetrates the heart of the proũect linŬing the city with the waterfront͕ giǀes damar ďacŬ to the ciƟǌens and ďrings them right throƵgh the heart of 'oǀernment. dhe design concept of the Wroũect emďodies foƵr themes͗ Kpenness ʹ ͞ oor always open͟ nũoyment ʹ ͞>and always green͟ ^Ƶstainaďility ʹ ͞^Ŭy will ďe ďlƵe͟ ommƵnicaƟon ʹ ͞Weople will ďe connected͟ dhe essence of the design for people is on connecƟǀity͕ dialogƵe and commƵnicaƟon. Kn a physical leǀel͕ the design starts with a macro-ǀiew of the Ƶrďan form adopƟng a strategy that ďrings on a seamless connecƟon of Ƶrďan green nodes͕ from ,ong <ong WarŬ to dmiralty 'ardens to the fƵtƵre waterfront promenade͕ maŬing the place and the waterfront accessiďle to the pƵďlic with ease and ŇƵidity. do enhance this connecƟǀity͕ the >egislaƟǀe oƵncil ompleǆ and dhe hief ǆecƵƟǀe͛s Kĸce are located one on each side of the site͕ on the same aǆes as the entral 'oǀernment Kĸces ast ting and test ting͕ ŇanŬing the central parŬ area and angled towards the taterfront to create Ƶnity for the whole deǀelopment͕ ďeing set in more than two hectares of open͕ green and freely accessiďle areas for the pƵďlic. Kn a symďolic leǀel͕ the design is an iconic gestƵre to Ƶnite the diǀerse fƵncƟons of 'oǀernment͕ the Ƶnfolding architectonic planes symďoliǌing the desire to maŬe a ďeƩer city where diǀersity ŇoƵrishes with eīecƟǀe commƵnicaƟon ďetween people and 'oǀernment. ,<^ Z 'oǀernment ,eadƋƵarters does not seeŬ to play an oǀerly symďolic role as a pƵďlic ediĮce͕ ďƵt rather fƵncƟons ƵrďanisƟcally on a daily ďasis as a ǀiďrant͕ integral part of the city͛s life. /n weaǀing a maũor pƵďlic place throƵgh its heart and thereďy connecƟng the city with the harďoƵr-front in a celeďratory gestƵre͕ it is a 'oǀernment ,eadƋƵarters with few precedents elsewhere. tith a grand gestƵre of opening Ƶp the site from the city to the sictoria ,arďoƵr͕ the proũect is a ǀisƵal icon proũecƟng the spirit of ,ong <ong͗ a city always open and recepƟǀe to new ideas and diǀerse cƵltƵres. dhe Kpen oor also symďoliǌes a city which is ũƵsƟĮaďly proƵd of its openness and transparency of goǀernance. ,oweǀer͕ this is sƟll a symďolic way of representaƟon the pƵďlic engagement towards a goǀernment ďƵilding. dhe ďƵilding is sƟll enclosed itself withoƵt any pƵďlic engagement happening inside the ďƵildings. lso͕ the form of the ďƵilding͕ which is a door arch͕ feels liŬe a hand coǀering the pƵďlic plaǌa͕ this giǀes a ǀery powerfƵl sense of control from the goǀernment to the pƵďlic. iƟǌens always haǀe to looŬ Ƶp to the ďƵilding.

ARTIFACT dhis thesis is trying to eǆplore diīerent methodologies on opening Ƶp the internal space for the possiďiliƟes on pƵďlic engagement. dhere are three ďasic stƵdies on demonstraƟng how to set Ƶp the methods. >eǀeling of ďridging connecƟǀity y diǀiding the massing into diīerent ǀolƵme of siǌes͕ in order to reconnect all the separated massing into one whole of compleǆ͕ ďridges are introdƵced to reconnect them ďacŬ together͕ the ďridges now not only act as accessiďle connecƟǀity͕ ďƵt also transformed as a space for pƵďlic Ƶsage. &ƵncƟon of ďridges now can ďe reinterpret ďy the pƵďlic for their own propose. reaŬing down the massing to oƵtside Dassing is not only ďeing ďreaŬing down͕ ďƵt the inside of the ďƵilding is now trying to ďe opened to the oƵtside͕ the transformaƟon of the massing form can proǀide another architectƵral langƵage for pƵďlic to interpret. dhe amďigƵity of sƵch spaƟal ƋƵality can diminish the strong ďoƵndary of one space͕ hence͕ dissolǀing the aďsolƵte in and oƵt relaƟonship. DediaƟng commƵnicaƟon in space iǀided ǀolƵme of spaces are not only ďe connected ďy only physically connecƟǀity͕ ďƵt also ďy detached connecƟǀity. dhe introdƵcƟon of mediaƟon can help in sƵch case. ^paces can now ďe connected throƵgh media͕ liŬe ǀideo screen or lighƟng eīect͕ that pƵďlic no longer need to ďe physically ďe inside one of the space͕ ďƵt pƵďlic spaces can ďe connected ďy means of mediaƟon.

>eǀeling of ridges onnecƟǀity

reaŬing own Dassing KƵtwards DediaƟng ommƵnicaƟon in ^pace

PRECEDENT STUDY /n order to Ƶnderstand mƵch more aďoƵt diīerent means of methodologies on enhance pƵďlic engagement in architectƵre͕ three precedents are selected for stƵdying. Reichstag, New German Parliament, Berlin, Germany, 1992-1999 Norman Foster dhis ďƵilding is an historical ďƵilding͕ the rchitect tried to rearrange ďoth the programme and the strƵctƵral elements to increase the degree of pƵďlic engagement inside the architectƵre. WƵďlic can get entering the ďƵilding and go Ƶp to the top of the ďƵilding to ǀisƵally parƟcipate the meeƟng in the hall one leǀel ďelow them͕ and also can enũoy the ǀiew of the city at the top of the ďƵilding͕ which proǀide the ciƟǌens that the whole city is ďelonging to their eīort by their hands. dhe architect introdƵced diīerent degree of opacity of material to achieǀe diīerent leǀel of transparency͕ in order to increase the degree of pƵblic engagement. Taichung Metropolitan Opera House, Taichung, Taiwan, 2009-2014 Toyo Ito dhis bƵilding is designed by rchitect doyo /to͕ who tried to introdƵce soƵnd energy as a media to connect the spaces inside the opera hoƵse. WƵblic engage the bƵilding not only physically and ǀisƵally͕ bƵt also by sonic. /nside the bƵilding͕ one can Ŭnow the performance in another space by aƵral sensaƟon eǀen spaces are separated physically and ǀisƵally. MegaFaces Pavilion, Sochi Olympic Games, Sochi, Russia, 2012 AXIS/ Aslf Khan dhis proũect is trying to introdƵce the latest technology͕ which is the moǀing rods͕ to test oƵt the pƵblic engagement between technology and architectƵre. WƵblic now woƵld be one of the media on changing or shaping the space or form of an architectƵre.

REARRANGEMENT OF MASSING y Ƶnderstanding the original massing of the ,<^ Z 'oǀernment ,eadƋƵarter͕ there are two strategies on massing stƵdy woƵld be Ƶsed. dhe Įrst one is trying to ƵƟliǌe all diīerent form of the original massing into one big rectangƵlar boǆ. dhe second one is trying to decompose the whole original massing into the enƟre site area. y ƵƟliǌing the massing into one blocŬ͕ ǀoid spaces are then being designed within the massing. dhis is eǆploring the possibiliƟes of ǀoid spaces that can be arranged in diīerent leǀels with diīerent ǀolƵmes. WƵblic can occƵpy diīerent ǀoid spaces ac-cording to their needs and the nƵmber of people they haǀe. dhroƵghoƵt the secƟonal stƵdy͕ there woƵld be diīerent conĮgƵraƟon of ǀoid areas that are connected with each other. dhe strategy in this eǆploraƟon is to Ƶnderstand the relaƟonship of the ǀoid areas with their connecƟǀity while the leŌoǀer areas woƵld then be the goǀ-ernment oĸce area. y decomposing the massing into the enƟre site area͕ this is trying to eǆplore the possibiliƟes of haǀing sƵch a low rise goǀernment bƵilding merges with the pƵblic areas͕ which the pƵblic can be engaged towards the goǀernment bƵilding in a more direct way. dhe gaps designed within the bƵilding blocŬs woƵld act liŬe the streetscape which pƵblic can treat the goǀernment bƵilding compleǆ as in a street life manner. s one of the method woƵld be chosen for fƵrther deǀelopment͕ the ƵƟliǌing massing of tower woƵld be chosen as there is a great opportƵnity to eǆplore more on the re-laƟonship of the architectƵre and the eleǀated pƵblic spaces within a bƵilt enǀiron-ment. thile the decomposing massing one is acƟng similar as what the goǀernment bƵilding does nowadays͕ which the pƵblic engaged are remained at the groƵnd leǀel. dherefore the Įrst method woƵld proǀide more opportƵnity on stƵdy the degree of pƵblic engagement in a three dimensional way.

SCHEMATIC DESIGN PROPOSAL 01 dhe tower now is diǀided into foƵr main blocŬs͕ they are separated withoƵt any physical connecƟon. by introdƵcƟng mediaƟon in diīerent ǀoid spaces͕ they are then connected bacŬ in a whole.

SCHEMATIC DESIGN PROPOSAL 02 dhe tower now is diǀided into three main blocŬs͕ they are connected by sŬy bridges in the interior ǀoid spaces. WƵblic can access freely inside the bƵilding.

dhe oƵter most sŬin of the bƵilding remains the trandiƟonal oĸce facade͕ while the facades inside the ǀoid area will be constrƵcted by space trƵsses͕ mediatric elements liŬe > lighƟng and screens woƵld be sƵggested to be installed inside the space trƵss͕ which tries to bƵild Ƶp a contradictory mood from the oƵtside to the inside͕ enhance the pƵblic engage into the bƵilding compleǆ.

SCHEMATIC DESIGN PROPOSAL 03 soronoi system is introdƵced to connect all the separated bƵilding blocŬ together͕ bridges are traǀeling within all the system͕ the system is eǀolƵƟon of the traditonal strƵctƵre͕ and also the tradiƟonal facade.

dhe ǀoronoi system acts not only strƵctƵral system͕ bƵt also a mediaƟon system. dhere woƵld be diīerent siǌed screen being installed in the system to create diīerent informaƟon transmiƫon boards. lso the system can be Ƶsed as a media for eǆpressing the pƵblic opƟon.

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STUDIO PROGRAMME: COMMUNITY CENTRE FOR DANCE in Wan Chai Morrison Hill Playground Curtin University Year 3 Semester 1 l Tutor: Manfred Yuen This project is about designing a Community Centre for Dance in a complex urban site, Wan Chai in Hong Kong. The aim of this project is to explore the architecture as part of the urban contiunity and a social space. Dance, which is a form of expression using movement of our body parts, with the joy, ecstasy or even anguish of the dancer shared by the audience and participating parties empathetically. It would be an art form as a kind of social activity. The designed building would be located on the site of the Morrison Hill Playground in Wai Chai. This building would not be only the venue for a wide spectrum of dance performances, but also a place where the art and beauty of dance is to be promoted to the community. There would be classes and also practices be convened in the Centre. The objective is to make it to be a civil place where dance lovers would go from all walks of life meet and share. Also, try to consider the surrounding context and incorporate that into the design strategy to form a building and landscape that is culturally and socially significant.

Beat

1sec 1sec

1sec 1sec 1sec 1sec

1sec 1sec

Tempo Meter

Length of Line = 3 measures = 12 pulses

Rhythm

Groove

4 second

On-beat

Dance Machine Everybody may hear about dance machine, simply, it is a machine that you have to press the corresponding arrows according those arrows appear on the screen which are following a piece of song. In fact, those arrows are following a rule to appear on the screen, and that is the â&#x20AC;&#x2DC;beatâ&#x20AC;&#x2122; of the song.

Downbeat

Upbeat

Backbeat

Delayed Backbeat

Dance, wheneven there would be any music involved, the dance, the steps, and even the movement of the body would all follow an unseen element, that would be the beat. The beat, would be the basic unit of time in music, the pulse of the mensural level or beat level. In popular use, the beat can refer to a variety of related concepts including: tempo, meter, rhythm and groove. Much music is characterized by a repeating sequence of stressed and unstressed beats (often called "strong" and "weak") and divided into measures organized by time signature and tempo indications.

Beat is a constant ‘spark’ with a time interval, it records how ‘far’ a thing will go within a certain period of time. In fact, movement can be in a fasten or a slow distance change, so the distance change within a time interval would also create another form of ‘beat’.

The diagram below shows a couple dance, the line shows their moving form. And then try to capture shots in a standard time interval and see how the beat relates to the motion movement. And finally try to outline the posture and measure the distance change of each of the motion captured with in a certain ‘beat’

These are the graphes show how the dancers move on the stage according to the music. The step lines which give the relationship between the time, beat, and the distance.

Movement is one knid of communication methods which can create interaction between different persons. Because everyone has its own movement, which means one’s unique beat, when different kinds of people meet together, their beats will be ‘interacting’. This is one of the essential elements for a city to build up. Nowadays coummunity changes time by time accrounding to our ‘beats’. In the following pages will have case studies to show how these ‘beats’ can create a new meaning to a city.

1994 - 1997

1965 - 1972

1845

1880

1889

1923

1930

1997

1922 - 1931

1842 - 1902

1 Hung Shing Temple 2 Queenâ&#x20AC;&#x2122;s Road East 3 Johnston Road 4 Hennessy Road 5 Lockhart Road

5 Lockhart Road 10 HKCEC Phase 2 6 Gloucuster Road 11 Golden Bauhinia Square 7 HKCEC 8 Convention Avenue 9 Wan Chai Ferry Pier

As Hong Kong keep on growing throughout the years, there was a great demand on land use. Moreover, because there was an improvement on comprehensive urban planning. From the past, most of the buildings were standing side by side. When time went on, buildings became higher and denser, so there was a trend for developing bigger zones for a few buildings to stand on. Futhermore, nowadays, as those old buildings may need to be demolish for futher development, islands are grouped together to forma much bigger one.

In nowadays society, the living speed changes arrounding to time. In this site, Wan Chai, which is a place where the o ld and new are ‘living’ together. As time goes by and development, technology go up day by day. This frequency of the movement of elevators would be one of the factors showing this theory. Also, as the frequency of the movement of the lifts is according to how frequent the lifts are being used, this is also a factor to show how the living ‘beat’ of people, hence showing the city ‘beat’ .

Find out the frequency movement of elevators

Abstract the frequency in a standardized unit

The darker the colour, the higher the frequency is.

The wooden strips are representing each of the unique story and also the unique â&#x20AC;&#x2DC;beatâ&#x20AC;&#x2122; of each of the area that shows in the previous page. The charcoal in the model represents the map of Wai Chai, which is not the physical element but the story and value of Wai Chai. This model shows a meaning that the Wai Chai gives this unique beat pattern, and at the same time, this unique beat pattern creates this unique and valuable Wai Chai.

How the â&#x20AC;&#x2DC;beatsâ&#x20AC;&#x2122; connect both the city and architectural space.

Besides the normal site analysis for generating the oriantation of the Front of House and Back of House, the other way for determining the form of the building is based on the beat of function.

After gathering all the data, by studing the solid and void models and the massing models which based on the artworks, the final building form is being resulted as below.

L OO SCH

TSK

STR

EET

RO AD

KW AN

22 18

03 04 17

RO AD

15 09

14 20

10 11

32 26

OA D GR UN I CH NA NG

Schedule of AccomodationSchedule of Accomodation Schedule of Accomodation Schedule of Accomodation 01 Showing Studio 02 Ticker Office 03 Cloak Room 04 Adminstration Office (Permanent Staff )

THE QUEEN ELIZABETH STUDIUM

05 Adminstration Office (Transient Staff ) 06 Public Foyer 07 Bar / Cafe Area 08 Small Kitchen

09 Dressing Room 10 Green Room 11 Body Repair 12 Dance Practice Studio 13 Lavatory

14 Store Rooms 15 E&M 16 Lighting / Sound Control Room 17 Loading and Unloading Area 18 Admin Office

SECTION

Schedule of Accomodation 19 Garden (for Adminstration stuff ) 20 Dance Practice Studio 21 Outdoor Practice Garden 22 Garden (for General Public) 23 Toilet

1 24 Dance Practice Studio 25 Outdoor Practice Garden 26 Garden (for General Public) 27 Toilet 28 Dance Practice Studio

1 29 Outdoor Practice Garden 30 Garden (for General Public) 31 Toilet 32 Outdoor Practice Garden 33 Toilet

EASTERN ELEVATION

SITE PLAN

STUDIO PROGRAMME: URBAN PROPOSITION IN HOUSING in To Kwa Wan Curtin University Year 3 Semester 2 l Tutor: Helen HO, Fan LEE To Kwa Wan is a distrist that fulled with new and old residential buildings and small amount of light industrial buildings. The main theme of this project is to rethink about the situation of living, as well as in Hong Kong nowadays. There is a need providing an opportunity to generate and test the new ideas for a mixed-use development. This project is a way to study how to determine the balance of housing within the programmatic requirements together with some options that provide for diversity in lifestyles and demographics. Because this kind of fixed arrangement could not fully response to the long-term living, the growth of a family, so there is a need for a new idea, would it be possible to break down the unit functions and make it to be transformable?

1 = 1 + 1 + 1 + 1 + 1..... = unlimited expansion + ++

+ +

++ Fixed Combinations

Decompositon of Functions

Reorganization with Needs

Break it Down to be a “Rubik’s Cube” Fixed size and orientation of flats are common in Hong Kong. However, as the number of people living in a flat would change according to time, this kind of flat cannot fullfill this kind of variation, so a change is needed!

1 = 1 + 1 - 1 x 1 / 1...... = unlimited variations!

BAMBOO

HIGH QUALITY

PRAGMATISM GREEN LANDSCAPE

COMMODITY ESTATE

HOMOGENEITY

BARRACK ARRAY

LANDMARK

ROUGHNESS

ALIEN LANDSCAPE ELABORATE DESIGN

SOCIAL ESTATE

URBAN VILLAGES HIGH DENSITY

Characteristic of Housing in Hong Kong - Commodity - Estate - Social - Estate - Urban - Villages

MULTIPLICITY

NARROW STREET LOW QUALITY LINEAR SKY

What would happen for living DAILY LIFE LIVING SPACE ENTERTAINMENT SPORTS EXERCISES

I C N O T N E N R E C HUMAN C T T I I V TYPOLOGI ES N T Y In general, housing blocks can be arranged in different ways in order to fullfill the needs for the development and for habitation. Here are the main housing types in Hong Kong. There are pros and cons with those arrangements, and they enhance different kinds of human connections and interactions. However, those unique types of connectivities are seem like disappearing in nowadays. 1 Single Multi-Storey House 2 Town Houses 3 Modernist Slab 4 Point Block 5 Perimeter Block 6 Skyscarper

Standardized Unit

Common Spaces In-between

Enlarge living area

Circulation Main VS Branches

Sub - Community

Transformation of Connectivity Nowadays, most of the units in the housing block are connected in a linear manner. However, this kind of connection resulted in poor communication. 1 The situation nowadays 2 May the units enlarge in different directions? 2 This will increase the connectivity between units. 3 How about putting the common areas (red colour) 3 in-between the units? 4 Even the greenery spaces can be put inside as well. 4 Also, beside the main circulation, there are branches 4 of circulation in between the units, and now the 4 sub-communities are formed. 5 By arranging the soild and void spaces, each of the 5 sub-communities are now having their own 5 characteristic, and this enrichs the diversity of this 5 whole big community.

SUB-COMMUNITY

S U B C O M M U N I T Y

S U B C O M M U N I T Y SUB-COMMUNITY

SUB-COMMUNITY

â&#x20AC;&#x153;Sacrificeâ&#x20AC;? Spaces for Variation As space is limited in a flat, in order to fullfill the changes of family member variation, rooms have to be sacrificed for changing into small rooms.

“Sacrifice” Spaces for Variation Here is another type of flats for such a “Rubik’s Cube” concept. This is a duplex flat, both the upper and lower level consist partition for transformation of spaces, a bigger or smaller room size, without any other additional or sutractional constructional involved. Users can varify the flat oriantation with their own perspectives.

SECTION + ELEVATION

ARCHITECTURAL STATEMENT - Hard lines for Solemnity; - Bright Colours for Vitality; - Academic but Innovative; - Openness to pursue knowledge; - Variety for Diversification. INTERIOR STATEMENT - Added Value without Added Cost; - Contrasting Colour for Visual Enhancement; - Natural Lighting for Refreshing Mind; - Contemporary Elements with Controlled Budget; - Easy Maintenance with Low Cost Materials.

PROJECT TITLE: CONFERENCE TOWER AT HKUST in THE HONG KONG UNIVERSITY OF SCIENCE AND TECHNOLOGY BARRIE HO ARCHITECTURE INTERIORS LIMITED DIRECTOR: MR. BARRIE HO CLIENT: THE HKUST YEAR-OUT PRACTICE COMMUNITY AND INSTITUTIONAL PROJECT This project is to provide a student hostel with conference purpose for the foreign guests to stay.

NOTE: WINDOW NUMBER REFER TO LAYOUT PLAN, (LP-01 - LP-09), WINDOW (WS-02 - WS-13) AND LOUVRE SCHEDULE (LS-01 - LS-09)

9000

TENDER DRAWINGS

190.825

M5 ALUM. DECORATIVE GRILLE WITH LOUVER BEHIND 189.075

2500 500

5525

2100

3300

5715

1600 1700

6th FL

179.975

2525

2650

2575

2650

1100

150 2675 150

2075

2075 3840

2575

3675

2575 356

2750

910 1715

5650

200 mm

200

FLUE GAS PIPE

The original back facade is not special enough to reflect the director’s design, so there is a need to do design work on the back elevation.

5000 NON OPENABLE AREA

2625

EX. CHILLER WATER PIPES

2nd FL

165.100

4500

BACK FACADE STUDY

4550

1900

2675

4550

3950

2900

GREEN WALL

3rd FL

169.700

600

500

FRITTED LAMINATED GLASS CANOPY

4th FL

173.000

H19 + H20 ORANGE 160 x 45 mm CERAMIC TILES

1100

150

2575

5th FL

176.675

3300

2575

5525

2750

2575

1000

4000

2750

5150 2900

4500

169.70

950 500

3775

2200 1100 1600 975

2225

1600

2075 1600

2575

500

230 470

7th FL

183.275

METAL LOUVRES

STRUCTURAL TENSION SUPPORT

3800

3300

ARCHITECTURAL FEATURES W/ NEW PAINT FIN.

150

H17 WARM GREY 236 x 25 mm CERAMIC TILES

1100mm H. GLASS BALUSTRADE

R. FL

186.575

2225

150 2575 150

3300

12640 9265

ARCHITECTURAL FEATURES W/ NEW PAINT FIN.

UR. FL

189.075

H16 DARK GREY 250 x 25 mm CERAMIC TILES

1st FL

160.550

RC CANOPY

5450

150

500

EXT. LIGHTS XL5

155.10

GRD. FL

155.00 154.00

1 -

SOUTH WEST ELEVATION

EXT. SOLAR GARDEN LIGHTS XL4

EXT. LIGHTS XL5

153.00

SCALE 1:200

152.00

REMARKS: DO NOT SCALE THIS DRAWING. ALL MEASUREMENTS MUST BE CHECKED ON SITE.

APPROVED: DATE: CHECKED: DATE: DRAWN: DATE:

A.P. 10-12-2012 V.W. 10-12-2012 F.K.H. 10-12-2012

B PROJECT: HKUST CONFERENCE TOWER

TITLE:

SOUTH WEST ELEVATION

LTD

151.00

DWG NO.:

EL-03

JOB NO.: SCALE:

12034 1 : 200 (A3)

REVISION

DATE

DRAWN

CHECKED

0 1

27-12-2012 18-01-2013

F.K.H. F.K.H.

C.Y.O. C.Y.O.

In order to reflect the characteristic of the front elevation, which is extruding parts of the curtin wall, that character will be duplicated once at the back. This shows the “set back” of parts of the windows, which will give an image that rooms are being slotted in and out through out the whole building.

TENDER DRAWINGS 9000

9000

NOTE: WINDOW NUMBER REFER TO LAYOUT PLAN, (LP-01 - LP-09), WINDOW (WS-02 - WS-13) AND LOUVRE SCHEDULE (LS-01 - LS-09)

190.825

DARK GREY 225 x 25 mm H16 CERAMIC TILES

LOW-E DOUBLE GLAZING LIGHT BLUE TINTED CURTAIN WALL SYSTEM (REFER TO DT-141)

189.075

LOW-E DOUBLE GLAZING DARK TINTED CURTAIN WALL SYSTEM (REFER TO DT-141)

UR. FL

189.075

OPENING

500

600 1800 600

187.675

500

2500

ARCHITECTURAL FEATURES W/ NEW PAINT FIN.

R. FL

ARCHITECTURAL FEATURES W/ NEW PAINT FIN.

DT-141

1600 1700

3300

186.575

3300

2600

850

4600

4290

3900 2900

1850

164.49

165.00

163.95 163.50

163.00 162.00

DARK GREY 225 x 25 mm H16 CERAMIC TILES

EX. CHILLER PLANT ACCESS PANEL

161.00

2nd FL

165.10

164.875

163.70

4550

164.95

NEW PAVEMENT LEVEL

1st FL

160.55

160.00

EX. R.C. FINS

158.00

EX. LOUVRE AT L/L 800x1000 S.S.

5450

159.00

NEW ALUM. DECORATIVE GRILLE DOOR WITH S.S. M5 DOOR & LOUVRE BEHIND

GMS ARCHITECTURAL FEATURES W/ PAINT FIN.

157.00

EX. RETAINING WALL

156.00

EX. AFA PANEL & F.S. INLET

155.00

1 -

NORTH EAST ELEVATION

155.10

GRD. FL

GMS ARCHITECTURAL FEATURES W/ PAINT FIN.

SCALE 1:200

REMARKS: DO NOT SCALE THIS DRAWING. ALL MEASUREMENTS MUST BE CHECKED ON SITE.

APPROVED: DATE: CHECKED: DATE: DRAWN: DATE:

A.P. 10-12-2012 V.W. 10-12-2012 FKH 10-12-2012

PROJECT:

TITLE:

NORTH EAST ELEVATION

HKUST CONFERENCE TOWER

1000 2000

4000

1700

LTD

155.00

3rd FL

169.70

FRITTED LAMINATED GLASS CANOPY (REFER TO DT-101) EXT. LIGHTS XL1

1100mm H. R.C. PARAPET WITH PAINT FIN.

WHITE 250 x 25 mm H18 CERAMIC TILES EXISTING LOUVRE BEHIND TO BE REMAINED SHOWN AS DASHED ALUM. DECORATIVE GRILLE DOOR WITH S.S. DOOR & LOUVRE BEHIND

3300

2700

169.70

EXT. LIGHTS XL1

1100mm HIGH GLASS BALUSTRADE

4th FL

173.00

STRUCTURAL TENSION SUPPORT

1200 600

3675

3600

700

1000

2440

3300

700 700

1100mm H. GLASS BALUSTRADE

750

1000

2550

5th FL

176.675

H17 WARM GREY 236 x 25 mm CERAMIC TILES

1075

2100 900 WARM GREY 236 x 25 mm CERAMIC TILES H17

H16 DARK GREY 225 x 25 mm CERAMIC TILES

3225 2725

2550

6th FL

179.975

2975

1550 1000

1925 750

2075

8375 150

1600

1100mm HIGH GLASS BALUSTRADE

7th FL

183.275

DWG NO.:

EL-01

JOB NO.: SCALE:

12034 1 : 200 (A3)

REVISION

DATE

DRAWN

CHECKED

0 0

27-12-2012 23-01-2013

F.K.H. F.K.H.

C.Y.O. C.Y.O.

TENDER DRAWINGS

6750

NOTE: WINDOW NUMBER REFER TO LAYOUT PLAN, (LP-01 - LP-09), WINDOW (WS-02 - WS-13) AND LOUVRE SCHEDULE (LS-01 - LS-09) 190.825

189.075

UR. FL

189.075

800

2500

3100

187.675

R. FL

186.575

3300

ARCHITECTURAL FEATURES W/ NEW PAINT FIN.

7th FL

500

1100mm HIGH GLASS BALUSTRADE

500

6th FL

179.975

150

500

3300

183.275

500

3300

WARM GREY 236 x 25 mm H17 CERAMIC TILES DARK GREY 250 x 25 mm H16 CERAMIC TILES

5th FL

3300

1600

H18 WHITE 250 x 25 mm CERAMIC TILES

1800

3rd FL

169.700

4600

EXT. LIGHTS XL1

2900

GREEN WALL

ELEVATION 4th FL

173.000

500

1300

ALUM. DECORATIVE GRILLE

1000

1600

1600 100 495

3675

176.675

1600

1100mm H. TEMPERED GLASS BALUSTRADE

1300

164.90

159.95

2nd FL

165.100

164.90

2600

4550

H18 WHITE 250 x 25 mm CERAMIC TILES EX. LOUVRES EX. CHILLER WATER PIPES

GMS ARCHITECTURAL FEATURES W/ PAINT FIN.

1st FL

160.550

5450

EX. R.C. W/ NEW PAINT FIN.

3900

EXT. LIGHTS XL5 157.00 156.00

155.50 155.00

155.100

155.00

EX. 4NOS F.S. INLET

FIRE CONTROL CENTRE

EX. AF PANEL

EX. MIN. 1200mmx800mmx2000mm (H) SPR INLET & CONTROL VALVE CABINET.

SOUTH EAST ELEVATION SCALE 1:200

REMARKS: DO NOT SCALE THIS DRAWING. ALL MEASUREMENTS MUST BE CHECKED ON SITE.

APPROVED: DATE: CHECKED: DATE: DRAWN: DATE:

A.P. 10-12-2012 V.W. 10-12-2012 F.K.H. 10-12-2012

B PROJECT: HKUST CONFERENCE TOWER

TITLE:

SOUTH EAST ELEVATION

LTD

155.00

DWG NO.:

EL-02

JOB NO.: SCALE:

12034 1 : 200 (A3)

REVISION

DATE

DRAWN

CHECKED

0 1

27-12-2012 18-01-2013

F.K.H. F.K.H.

C.Y.O. C.Y.O.

GRD. FL

There are facade material selections and curtin wall glass panels’ colour selections. In order to outline the slotting in and out characteristic, those extruding parts of curtin wall and walls surrounded by those extruding architectural features at the back elevation will all be used by bright colour. For the rest of the elevation, dark and warm grey and white will be used alternatively.

MOCK UP GUEST ROOM In this project, the client would like to have a general idea of what will the guestroom be looked like after the construction is being completed. So, there is a mock up guest room to be built for demostrating the design in a 1:1 mode for further discussion or improvement. The drawings on the right hand side are the tender drawings for one of the typical guest room.

SELF INTEREST STUDY: UNLEASH TO SURPRISE Surprise makes perfect!

Life is just an experiment; you will never know what it will be at the end. Any experiment started with an assumption, so why do we expect so much from the result of the experiment? Why canâ&#x20AC;&#x2122;t we keep exploring? In fact, that sudden surprises always gave inexplicable excitements that we may not realize. Success seldom came expectedly. Perfection is the element of surprise. Martin W.

Factory

Robot

Stop Sign

Truck

Barrier Gate

Sniper Rifle

Sail Boat

Ferry

Beat

Computer

Revolver

Dog

Sfynx

Swan

Machine Gun

Window Cleaner

Cellphone

Gun with Optics

Hammer

Ron Jeremy

Rocket Launcher

Table

The Letter T

Mailbox

Monorail

Duck

Pinocchio

Plane

Medal Podium

Foot

Train on Rails

Vacuum Cleaner

Space Shuttle

Boat on Water

Plunger

Smith & Wesson

Starship

Construction Crane

Traffic Light

Tank

Watchtower

Water Plane

Parrot

The Letter L

Springboard

Stamp

Cannon

1+1=? Cat

1+1=2?

1+1=4! Na2CO3

Ca(OH)2

2NaOH

CaCO3

sodium carbonate (natron)

lime

caustic soda

calcite

Si2O5.Al2(OH)4

2NaOH

kaolinite clay

caustic soda

hydrated feldspathoid

MgCl2

Na2O.2SiO2.Al2O3.nH2O

carnallite

hydrated feldspathoid

MgCl2

Na2CO3

carnallite

IDEA 2

sodium carbonate (natron)

IDEA 3 IDEA 1

Itâ&#x20AC;&#x2122;s what you make of it

Na2O.2SiO2.Al2O3.nH2O

IDEA 5

2NaCl

mica-chlorite

halite

MgCO3

2NaCl

magnesite

halite

IDEA 8

IDEA 6

IDEA N

IDEA 7

MgO.2SiO2. Al2O3.nH2O

IDEA 4

CREATIVITY

1+1=? This would be an easy question to everyone of us. This is also the first equation that we learnt in our life. Of course, the answer would be 2. However, when you keep growing up, you may wonder, is it really? 1+1=2? In our life, we keep explorating it, and we may notice that sometimes, 1+1=4! Yes! That is true! Maybe this can be explained by some chemical reactions. When two elements are being added together, chemical reaction will take place. New elements would form as a result, which are different from the starting point, and also something would release from the reaction. This is energy, and it is not one of the elements that being prepared from the start. New thing comes out! This kind of reaction likes our life does. Our life just like an experiment. So, what kind of elements would create this kind of 1+1=4! result? That would be ... CREATIVITY! When two ideas come together, they will carry out a very special and unique reaction. The result will even make you surprise! LEGO TIME! Lego, always be one of the best toys for children. Why is it be so famous? It is because surprise will always appear during your exploration in playing with Lego! You will never know how much you can get from it! Just like 1+1=4! 1+1+1=37 !? This is true! From this picture, it shows how these 37 ideas be generated from the only 3 different bricks. This proves how ideas can grow in an index way, and somehow even more than that! Of course, so do the growth of Surprises!

MAGIC CHEMICAL REACTIONS always take place in our life Daily! No matter it is a small apartment, an estate or even a town and city, different scale of reactions are carrying in an unexpected ways! Movable partitions creats variate spaces within a fixed area; same volumn flat boxes generate an unique in-between connectivity; towers and towers form invaluable culture and history! The developments are linked and full of SURPRISES!!!