Academic Portfolio Mu

[Academic Portfolio] 2009~2013

Mu LiUniversity of Edinburgh

Academic Portfolio Mu Li

University of Edinburgh 2009~2013

Year 1. 2009-2010

Architectural Design ElementsArchitectural History Introduction to World ArchitectureArt and Design Technology and Environment PrinciplesArchitectural Design AssemblyArchitectural History Revivalism to Modernism

Content.

Year 2. 2010-2011

Architectural Design In PlaceContemporary ArtTechnology and Environment ApplicationsArchitectural Design Any PlaceArchitectural History Cultural and the City

Year 3. 2011-2012

Architectural Design ExplorationArchitectural Theory 3 Architecture Placement Working LearningTechnology and Environment 3 Elective

Year 4. 2012-2013

Architectural Design Technical ReviewArchitecture Placement ReflectionArchitectural Design Tectonics Architecture Dissertation



Architectural DesignElements

• Ground | Wall | Frame | Canopy• Ground and Shelter• Renga

Architectural HistoryIntroduction to World Architecture

• Drawing Architecture History

Art and Design

• Around, Through and Beyond the Frame

Technology and EnvironmentPrinciples• Materials Systems• Form and Performance | Essay

Year 1. 2009 | S1

Architectural DesignAssembly

• Material World -- Brick | Timber | Stone | Concrete | Steel• Digital Skin | Processing• Group Case Study - La Roche House• Strangely Familiar - Tapestry weaver house

Year 1. 2010 | S2

Architectural HistoryRevivalism to Modernism

• Presentation - The Palace of Soviets• Essay - Discuss Gropius’ programme for the Bauhaus in 1919

Technology and EnvironmentPrinciples

• Thermal Environment Assignment

GC1 GC2 GC3 GC4 GC5GC6 GC7 GC8 GC9 GC10

Architectural Design Elements2009 | S1

[Brief]‘‘Introduces students to the foundational knowl-edge and skills appropriate to the practice of ar-chitectural design. Design is seen as a process involving imagination, representation and com-munication, analysis and research, interaction and reflection. Throughout the semester, students work on a series of design exercises and projects, which require individual and group submission of models and drawings. The initial tasks explore the impact of surface and texture, addressing fun-damental architectural polars of light and dark, mass and void, space and enclosure, etc. These initial tasks also address human aspects of archi-tectural design such as scale, approach, composi-tion, axis, hierarchy, order, etc. The final project exposes the issues mentioned above to the re-quirements of an architectural programme locat-ed in a specific geographical context.’’

GC1 GC5



Architectural Design Elements2009 | S1• Ground | Wall | Frame | Canopy

‘‘This project explores ground as an architectural element for the making of path and place. While some places are made only by the shaping of ground, many places rely extensively on the ground to establish a primary sense of place and all architecture must condition the ground in some way for both practical and qualitative reasons. If architecture is the creation of locations of inhabitation, the ground is a limit to our inhabitation and a de-fining quality of location. We might recognise potential in an existing landscape which needs minimal changes, or we need to extensively recontour with native or introduced materials’’

Ground is a vital element in the planning and construction of any building. Through our ground models, we hoped to explore the scale, organisation, layers, and the methods in which ground can be utilised to create a structure.

[Learning Outcomes]

1. Awareness of basic architectural elements and issues that in-form their disposition in architectural designs.

2. Awareness of different dimensions of the design process, from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs.

3. Awareness of appropriate representational and communica-tion methods, to prepare and present design proposals.




‘‘This project explores wall as an architectural element for the making of path and place. We set up walls. They are not found and modified, they are built. We set them up beside us, among us. The act of building up a wall divides us and contains us. We are separated from the outside and contained within these walls. Where as the ground is the domain of our feet, the walls reach up to our hand and become the boundary of our senses (including sight and touch). Walls enclose us as a first act of built shelter from the weather, but further to shelter us from others. The plac-ing and shaping of walls establishes a new world of experience.’’

Wall continues our examination of elements. Through our wall models, we aimed to explore the ways in which walls can con-fine and create spaces and the feelings these can produce.

[Learning Outcomes]







‘‘This project explores frame as an architectural element for the making of path, place and shelter. The setting up of a simple hut in a forest clearing can be used as a metaphorical origin of ar-chitectural form and establishes some of the formal, structural and tectonic characteristics that can be traced throughout the history of architectur. Unlike walls, which often grow heavily up from the ground, the frame appears as something placed lightly on the ground. The column and lintel is a particular case of set-ting up heavy material in a light structure. To the frame is ap-plied a cladding, a non-load bearingskin to enclose an interior from the elements.’’

For our examination of frame, we decided to create a marble run with three resemble frame structure. This allowed us to examine different types of frame, different materials and the ways in which these materials affect the design itself.

[Learning Outcomes]







‘‘This project explores canopy as an architectural element for the making of path, place and shelter. The canopy (elemental roof) is linked to the order of the frame (post, beam, rafter, and ridge) or wall (slab, vault or dome). By setting up a frame or wall we not only define a place, but also the act of sheltering and the first canopy. The canopy encloses the open structure of a frame roof or closes the “fifth elevation” to the sky.’’

Through our canopy model, we attempted to explore a frame, and its constitution. We created a basic wooden frame, then used strings as the support structure for the covering material. This created an interesting design, in which we have a sheltered space with protection and natural light.

[Learning Outcomes]






Architectural Design Elements2009 | S1• Ground and Shelter

[Learning Outcomes]




‘‘This project explores the use of architectural elements for the making of path, place and shelter The objective of the project is to create a constructed landscape setting for a Renga Platform, a place where twelve people can shelter to write a renga poem. The requirements for the platform are specific, but open to many other interpretations. As well as a place to sit and write, the set-ting should allow for individual reflection. This initial task will look into the analysis of an architectural programme and the possible spatial requirements of this.’’

Our renga project was a culmination of our previous ideas and models. By using our knowledge of light | shadow, materials, frame, and space, we were able to create a quiet and relaxing atmosphere to inspire renga poetry.



Architectural Design Elements2009 | S1• Ground and Shelter



Architectural Design Elements2009 | S1• Renga

[Learning Outcomes]




‘‘Architectural design is a process of making propositions and reflecting, before start making spaces again. Propositions get progressively more complex as they resolve some issues and ex-plore others. Architecture is in the end about making something, building a new place in the world. The “work of architecture” is where we experience and understand the intensions of the archi-tect. In this final stage the requirements to better understand the design and the method of construction require an integrated ap-proach to design development.’’

In this project I aimed to design a renga which is coherent with the surroundings context, and functionally provides a good qual-ity space for people to use. I chose a site in a unused quarry, and use the hight difference that the quarry created as a natural ad-vantage of protecting the renga from the big wind. The renga is mainly timber frame structure.




[Sketches and Scale Studies]





Architectural HistoryIntroduction to World Architecture

2009 | S1

[Brief]‘‘This module introduces significant architec-tures of the world. It begins with an examination of Ancient Egyptian, Greek, and Roman archi-tecture, the architecture of the Middle Ages, Is-lam, Pre-Columbian America, and the first great re-evaluation of Antiquity in the Italian Renais-sance. It goes on to survey the Renaissance in Britain and northern Europe and the subsequent influence of the Italian Baroque in these areas. Later, other significant cultural traditions in the history of architecture are introduced, such as those of India, China, and Japan. The module concludes with an examination of the theoretical, cultural, and stylistic aspects of the architecture of the European Enlightenment.’’

GC2 GC3GC7



Architectural History Introduction to World Architecture 2009 | S1• Drawing Architecture History

[Learning Outcomes]

1. Knowledge of the history and theories of architecture and their related arts before c.1800.

2. Appreciation of the significance of a critical approach to ar-chitectural precedent in the context of design.

3. Development of verbal and visual communication skills in key themes of the module demonstrating a critical and reflective approach.

‘‘This course are designed to allow us to explore the use of draw-ings as a vehicle for learning more about the history of architec-ture while at the same time giving us the basic skills to produce the key elements of architectural drawing by ourselves.’’

[Temple of Portunus]

The Temple of Portunus is an ancient building in Rome, Italy.It has Ionic style plan, columns, and decorations.order and is in the Ionic order and is still more familiar by its erroneous designa-tion, the Temple of Fortuna Virilis (“manly fortune”) given it by antiquaries. The temple owes its state of preservation from its being converted to use as a church in 872 and rededicated to Santa Maria Egyziaca (Saint Mary of Egypt). Its Ionic order has been much admired, drawn and engraved and copied since the 16th century.




[Learning Outcomes]








[Learning Outcomes]





[Pantheon]

The Pantheon, the temple of the gods, locates at the heart of Rome, it was built between 118 to 128 CE. The building’s plan is a perfect circle, and it is the biggest building with a circle plan in Rome. The temple has a round shaped opening on the top of its dome, and it is the only source of natural light. The building is 43 meters tall total same as its diameter. The porch attaching to the wall has three ranks of enormous granite Corinthian col-umns.The temple has continuously been used since it was built and now has been converted into the church of Santa Maria ad Martyres. It was also the largest concrete building in the world until 20th century.




[Learning Outcomes]





[St. Peter’s Basilica]

St. Peter’s Basilica is located on the slope of the Vatican Hill, in a cemetery which had grown up around the ruins of the Circus of Nero. By the third century AD, a modest tomb below a wall in the cemetery was venerated by Christians as Peter’s. The basili-ca of St. Peter’s was first started in 326-333AD, it contains the Rome style and Baroque style architecture elements. The basili-ca is about 230,000 sqm big, 45.4 meters tall and about 210 me-ters long.




[Learning Outcomes]








[Learning Outcomes]





Perspective Drawing technic was first developed in 15th Centu-ry by Leon Baptista Alberti and Filippo Brunelleschi. It is capa-ble to show the three- dimensional images on a two-dimension-al media.




[Learning Outcomes]






Art and Design

2009 | S1

[Brief]‘‘This module offers a grounding in the skills and techniques of representation necessary for archi-tectural design, including analogue and digital drawing and three-dimensional modeling. It also serves to introduce students to a wider range of representational media and practices in the fields of art and design. It offers the insights into the expressive and communicative possibilities of disciplines related to architecture and encourages interdisciplinary collaboration.’’

GC2 GC3



[Learning Outcomes]

1. Awareness of a range of representational techniques and how these may be activated within art and design practice and sup-port the wider communication of ideas;

2. Awareness of a variety of media and methods of production in contemporary art and design practice, and a capacity to appro-priately evaluate them with a reflective, critical and integrated approach.

3. Ability to work to deadlines and explicitly convey ideas in a well structured and coherent way.

Art and Design2009 | S1• Around, Through and Beyond the FrameGroup work: Nick Kinnear-Laing, Mu Li, Samya Kako



Art and Design2009 | S1• Around, Through and Beyond the Frame

What I see in the ‘domain of Arnhem’ is that the eagle of the mountain is trying to protect her eggs by using her wings. How-ever, everything that happens need reasons. What happened to her eggs? Some one trying to steal them? Or her eggs are caged in a place and been watched by people?......There are many pos-sibilities, and what I am interested in is the view that the eagle see is not in real life as well just as the eagle her self, a mountain, a castle etc. In these works I tried to give a series of ‘danger’ to the eagle. From short distance to long distance, the eagle saw different things and different ‘danger’.

[Learning Outcomes]

1. Awareness of a range of representational techniques and how these may be activated within art and design practice and sup-port the wider communication of ideas;

2. Awareness of a variety of media and methods of production in contemporary art and design practice, and a capacity to appro-priately evaluate them with a reflective, critical and integrated approach.

3. Ability to work to deadlines and explicitly convey ideas in a well structured and coherent way.

Light and shadow are two very interesting elements in this painting. First of all they tell us the time around that place. We can see that the shadows are long and dark, which means the Sun is at a low angle with the sea level, we know that it should be the morning because the shad-ows are so string and at the left of the objects. Also, is is very important to the ‘eagle’, the outline of the eagle is created by the rocks together with the shadows. It gives a very interesting possibility that this is just an instant im-age it may disappear in the next few minutes because of the change of the time and shadows.



Art and Design2009 | S1• Around, Through and Beyond the Frame


Technology and EnvironmentPrinciples2009 | S1

[Brief]‘‘This module introduces you to critical structur-al, technological and environmental principles that underpin architectural design. It seeks to help you understand not only how buildings need to work functionally to keep their occupants safe and secure, but also how such considerations can produce deeper, more meaningful architecture. You will learn how buildings can be seen as in-teracting systems and that structural, material and environmental strategies are interlinked.’’

GC5GC8 GC9



Technology and Environment Principles2009 | S1• Materials Systems

[Learning Outcomes]

1. Understanding of the key concepts in the physical behaviour of structural systems and their application in architecture.

2. Appreciation of the integral nature of material assembly and environmentals ystems to the development of architectural de-signs.

3. A breadth of knowledge and understanding of the principles of architectural structures, material assembly, environmental sys-tems and sustaina bility in the built environment.

‘‘In workshop 2a in Gateway 1: Component Assembly-The Crea-tion of an Element, students will in groups sketch, (in isometric) and describe the sequence of assembly of a given element. In the lecture preceding the workshop all stages in the assembly of this element will be displayed.’’

In this gate way our group explored the life circle of building materials and the fundamental components that a buildings con-sists of, and the assembly process of different components. I also learned the different elements like walls, floors, roofs, and open-ings.

Group work: Mu Li, Lin Yi-Hua



Technology and Environment Principles2009 | S1• Form and Performance | Essay

[Learning Outcomes]

1. “Understanding of the key concepts in the physical behaviour of structural systems and their application in architecture”

Structure, the most important thing that ap-pears in every thing physically appears in this world. It is the load-carrying part of not only human-made things like buildings, but also natural forms. It is the part which ena-bles them to stand under their own weight. With out structure things can not stand in this world, that is why structure is so impor-tant and undoubtedly appears in every thing. Without structure buildings would collapse, that is why every building should contain a structure. Structure gives func-tion, protection to buildings, and decides how buildings are going to work.

Besides making buildings stand under their own weight, there are many other things that the structure is doing in a building. Structure gives function, protection to buildings, and decides how buildings are going to work. They are equilibrium, geo-metric stability, adequate strength, and ad-equate rigidity.

Equilibrium literally means equal and bal-ance. In a building it basically means reac-tions must act in an equal and opposite sense to the applied loads. ompression and tension are the two most basic forces that occur in a structure (without gravity effect). Tension is a kind of stable force, however compression is unstable and have the risk to change the position of the element that it act on by giving it a force with a angle to the stable axis. A stable structure needs ade-

quate strength. The elements that contained in the structure must be strong enough to resist the force that generated by the loads which are imposed on the building. The last requirement in a structure is adequate rigid-ity, or we can call structure rigidity. It means the ability of a structure to avoid elastic deformation. To achieve adequate rigidity, things like the rigidity of the mate-rials, the geometric shape, and the way that force may act on it need to be considered.

Conclusion:

A structure is of a building is like the skel-eton of a man. It keep the building stable, functional, and also affect the appearance of the building. To make a structure work, four basic requirements must be satisfied: Equilibrium, geometric stability, adequate strength, and adequate rigidity. Each one of these requirements has a relationship be-tween them. For instance, to achieve ade-quate rigidity we will need geometric sta-bility, and geometric shapes must satisfy equilibrium in force. Structure strength also helps in keep rigidity…….Besides these four techinc requirements, some other things like efficiency, cost, and environ-ment friendly design, etc should be consid-ered as well.

[Selected Bibliography]Tony Hunt, Tony Hunt’s Structures Notebook, (Great Britain, 2003)Tony Hunt, Tony Hunt’s Sketch Book, (Great Britain, 1999)W Morgan, the Elements of Structure, (Singapore, 1986)

‘‘Write a structural appraisal of ONE of the following build-ings... Give the reasons why it is necessary for all buildings to contain a structure and discuss the requirements which must be satisfied in order that the structure can fulfil its function. Com-ment on any possible constraints which satisfaction of these re-quirements may place on architectural form. Illustrate the points which you make in your essay with descriptions of actual build-ings’’

In this easy I aim to research and learn the importance of struc-ture to a building by doing case studies on different buildings and their structural performance. I chose some examples of fail structure like the Rainbow Bridge in Chong’qing China by Guoxun Zhao, and the Tacoma Narrows Bridge designed by Leon Moisseiff as reverse side cases. I also studied the John Hancock Centre designed by Fazlur Khan, 1965 which uses X-bracing, and Centre Pompidou, Paris, designed by Renzo Piano, 1977, using steel frame structure.


Architectural DesignAssembly2010 | S2

[Brief]‘‘This module introduces the theme of assembly in architectural design. It is focused on the capac-ity of structure, construction, and materials to create architecture. These physical factors as are considered alongside more ephemeral conditions such as light and sound. The way architecture es-tablishes variable distinctions between exterior and interior spaces is also examined. The module asks students to develop these themes through consideration of a relatively simple programme such as a dwelling. To this end, students work on an integrated series of design exercises and pro-jects. Students produce design proposals that are represented by a range of techniques ranging from expressive and scale drawings and mod-els.’’

GC1 GC5GC7 GC8



Architectural Design Assembly2010 | S2• Brick | Timber | Stone | Concrete | Steel

‘‘You are to design a single storey building to be used as a sports changing room in parkland. The building must be predominately made of brick, but you can use other materials for the roof, win-dows etc. The spaces should make as much use of daylight as possible, while maintaining the privacy of the people who are changing. You must consider the assembly of the brick. Consider the qualities of the wall, inside and outside, dividing and enclos-ing space.’’

[Learning Outcomes]

1. Awareness of principles of assembly, materiality, specific con-structional and environmental logics and how they inform the design of architecture;

2. Capacity to manipulate architectural form in the consideration of interior, exterior space and context in the resolution of simple programmes;

3. Skills in the representation and communication of simple ar-chitectural designs, including design process, in the portfolio format.




‘‘You are to design a small timber teahouse set in an extraordi-narily beautiful location. The site is surrounded by trees, beside a loch, and with distant views to mountains beyond. The views are best from over 3m above adjacent ground level, but you can-not use the trees for any form of support - the teahouse must be freestanding. This is a very small teahouse, being remote, it can only seat 6 people at one time at the table, but informal places to sit and drink may be created in addition to the table. Views from inside to outside are very important to the success of the place.’’

[Learning Outcomes]







‘‘You are to design a small stone shelter assuming a remote loca-tion. The building must be predominately built of stone, but you can use stone as a solid material, or as cladding. There must be at least one window and one door. Consider the simplicity of providing a place to sleep and rest protected from the elements. Consider how to accommodate a larger void and a number of smaller elements by using plan and section. Consider the meth-od of construction of the stone walls, the size and assembly of the elements, the type of stone and texture’’

[Learning Outcomes]







‘‘You are to design a boathouse for a small rowing club on an inland river. The club owns 8 kayaks (length 3300mm width 780mm) and 2 double rowing shells (length 7200mm, width 560mm). These will be stored in the main space. Assume that people change in an adjacent location. This building is just for storing and viewing. Club members need a space to view the river, socialise, make warm drinks and eat packed food. You should consider how the ground around the building is modified by walls, steps and slopes.’’

[Learning Outcomes]







‘‘You are to design a flower kiosk at an urban junction. The flow-ers must be clearly visible, from both outside and inside. The florists need work surfaces to make up bouquets, storage for ar-rangements waiting collection / delivery either within a public area or back shop. The kiosk will open up in the morning and close down securely in the evening. Consider how lighting will support the display. Consider how the manager can observe and monitor the front shop while in the back shop. Consider how a canopy could extend and link inside to outside space.’’

[Learning Outcomes]









Architectural Design Assembly2010 | S2• Group Case Study - La Roche House

“The first week of the project will be spent undertaking research, drawing and modelling examples of private houses. The aim is to look very carefully at the plans, sections, elevations and pho-tographs and to read reviews or commentaries on the building in order to understand the way in which the house relates to the site, the internal spaces relate to each other and to the spaces externally.”

This house belongs to the series of houses that the architect made in Paris in the mid-1920s, culminating in 1930 with the famous Ville Savoye. In this series, Le Corbusier designed homes on behalf of individual clients, instrumental principles and conceptual parallels to develop with the successive proto-types like the Maison Citröhan. This work, however, is a some-what unorthodox alternative for those principles.

This project marks the beginning of Le Corbusier’s interest in the investigations of his contemporaries in Europe. Despite the fact that from this moment, he will be hostile to numerous inves-tigations in Germany, defending the Bauhaus in Weimar at the time it is closed. However, there is little sensitivity to the nu-ances within the movement of Russian art, despite his corre-spondence with Ilya Ehrenburg and El Lissitzky.

[Learning Outcomes]




Group work: Huang Cheng, Mu Li



Architectural Design Assembly2010 | S2• Strangely Familiar - Tapestry weaver house

[Learning Outcomes]




‘‘You are to design a house for a small family with one person who works from home. The house should be sufficiently flexible to accommodate the growing family, but is relatively modest in size. You are not given a specific client, but you are given a very specific work activity, all of which have interaction with the pub-lic, and some sense of a craft or skill. You will also need to un-dertake some research to understand the use of space and pro-cesses involved in the service/craft.’’




[Sections]




[Plans]


Architectural HistoryRavivalism to Modernism

2010 | S2

[Brief]‘‘The course begins with an examination of An-cient Egyptian, Greek, and Roman architecture, the architecture of the Middle Ages, Islam, Pre-Columbian America, and the first great re-evalu-ation of Antiquity in the Italian Renaissance. It goes on to survey the Renaissance in Britain and northern Europe and the subsequent influence of the Italian Baroque in these areas. Later, other significant cultural traditions in the history of ar-chitecture are introduced, such as those of India, China, and Japan. Semester 1 concludes with an examination of the theoretical, cultural, and sty-listic aspects of the architecture of the European Enlightenment.’’

GC2 GC3



Architectural History Ravivalism to Modernism2010 | S2• Presentation - The Palace of Soviets

[Learning Outcomes]

1. Knowledge of the major movements in nineteenth- and twen-tieth-century architecture and related arts.

2. Skills in research and presentation demonstrating a reflective and critical approach.

3. Development of verbal and visual communication skills in relation to a critical assessment of scholarly texts and other writ-ten sources specific to LO1.

“Each student will choose a topic and deliver a short presenta-tion followed by a discussion with the group. The idea is to de-velop your verbal powers of communication. You will be given constructive feedback by other group members and by the tutor. “

The competition started in 1931, influenced by the government and implemented by the Construction Council ,which was a subsidi-ary of the Party Central Committee. This event drew over 160 competitive architects, including famous architects like Le Cor-busier and Walter Gropius. This building was ostensibly intended to celebrate the po-litical achievement. Holding this competi-tion was also a response to the international competition for the headquarters of the League Nations, held in Geneva in 1927.

“The primary function of the Palace was to house the highest government body, the elected assembly of the Supreme Soviet.”R. Stephen Sennott, encyclopedia of 20th century architect, (London, 2009), p. 969

I chose the Soviet Palace designed by Iofan in the early twenti-eth century as the presentation topic. In this presentation. I stud-ied the Soviet Palace in aspects of its style, structure, scale, and function.

Main features of Soviet Palace

• Monumentality• Simplicity• Elegance• Integrity

Function

• Two main auditoriums, one seating 15000 people, the other 6000.

• Two smaller halls each seating 500 people, would be used as meeting rooms

• Two more halls each seating 200 peo-ple used as press galleries.

• Libraries, offices…etc.• A monumental image equal to the so-

cial aspiration of the Soviet Union.



Le Corbusier is one of the architects who chose to separate out the volumes of the two main auditoriums. He arranged the two Parts at the same axis and were directly sculptural expressions of the acoustically optimized forms of the interior design.

The roof was suspended on wires from a parabolic arch which representing the sky-line of Moscow. The arch was believed be influenced by Freyssinet’s aircraft hangars of 1916 -21.

The Cantilevered flanges were splayed in plan to create a focal concentration on the space between the two auditoriums. The Space between supposed to be a open air platform and connected to the public area by walkways and ramps.




form 220 meters to 415 meters high. All tires changed into cube shapes rather than cylinders. The statue of Lenin became four time bigger and rise up to 100 meters tall. The site was selected at the very beginning of the competition by the Council on the Moskva River in Moscow. There was a huge round square in fornt of the façade of the Palace.


From the drawings of the Palace, shows the perfect symmetrical design in section. The building was supported by steel frame which was encased in a massive ill-propor-tioned cladding of stone. As a part of the Huge construction of a Utopia city of Mos-cow. The Palace of Soviets was locating at the most central part of the city. As the im-age at the bottom shows a nice symmetrical design in a site plan.

On 5 may 1933, the Construction Council announced Boris Iofan won the competi-tion.

The original design of the Palace of Soviets was by Iofan, it was 220meters high and consisted of colonnade tires stacked on each other and with a huge statue on the top. At the beginning, the statue was “the liberated proletariat”, it was changed to a 50 meters high statue in the image of Lenin, by Stalin.

After one years discussions and debates, the finial idea faced the public with many changes form the original one. It was sup-posed to be the tallest building through out the world.The height of the building had been raised



Architectural History Ravivalism to Modernism2010 | S2• Eassy- Discuss Gropius programme for the Bauhaus in 1919

[Learning Outcomes]

1. Knowledge of the major movements in nineteenth- and twen-tieth-century architecture and related arts.

2. Skills in research and presentation demonstrating a reflective and critical approach.

3. Development of verbal and visual communication skills in relation to a critical assessment of scholarly texts and other writ-ten sources specific to LO1.

Bauhaus, literally means ‘house of build-ing’ in English, was first founded by Gro-pius Walter in April 1919 in Weimar, sev-eral month after the end of World War I (1914-1918), and successively changed its sites. It first moved to Dessau in 1925, and at last moved to Berlin in 1932. Finally Bauhaus was closed in 1933 by the Nation-al Socialist regime.

As the founder of Bauhaus Gropius “de-clared the new formation of a new school dedicated to the arts and crafts, a new guild of craftsmen, without class distinctions which raise an arrogant barrier between craftsmen and artist” R. Stephen Sennott, Encyclopedia of 20th Century Architecture, Vol.2 (New York 2004), p.### Gropius’s wish is to offer a stage that craftsmen and artists can together turn their ideas and

dreams about building in the future to be-come true, in his opinion the new building “will embrace architecture, sculpture and painting in one unity and which will rise one day towards heaven from the hands of a million workers like the crystal symbol of a new faith.”, R. Stephen Sennott, Encyclo-pedia of 20th Century Architecture, Vol. 2 (New York 2004), p.118 this is the initial ideas and aim of Bauhaus programme in 1919. The close of Bauhaus is not the de-mise of Bauhaus Architecture, the Bauhaus programme was incorporated into several other architecture programes through out the Europe and North America. After the World War II, Gropius’s friend Max Bill, Inge Aicher Scholl, and Otl Aicher founded the Hochschule für Gestaltung in Ulm to continue the Bauhaus think and support system design. In 1996 the Bauhaus build-ings in Weimar and Dessau haven been marked as World Heritage by UNESCO (United Nations Educational, Scientific and Cultural Organization).

Conclusion:

A short summary about Bauhaus architec-ture: Founded in April 1919, and closed in April 1933. Bauhaus style was Expression-

ist at the very beginning and tried to focus on Romantic theme and tried to apply it on modern buildings. Interrupted by Mysti-clsm, and Highly subjective vision, Bau-haus found its new direction in Rationalisn and Constructivism. The exhibition took place in1923 also shows new objectivity style in their work. At first Bauhaus was in-terested in Arts and Crafts and generally moved its attention on to the industry.

[Selected Bibliography]R. Stephen Sennott, Encyclopedia of 20th Century Architecture, Vol. 1 (New York 2004), p. 118-123R. Stephen Sennott, Encyclopedia of 20th Century Architecture, Vol. 2 (New York 2004), p.562-564William j. r. Curtis, Modern Architecture since 1900, ( New York 2009)

‘‘Discuss Gropius’ programme for the Bauhaus in 1919. How was it changed in 1923? Describe the consequences for Bau-haus architecture.’’

I am going to write about the programme in Bauhaus in 1919, and how was it changed in 1923, and the reason why the pro-gramme changed, and the consequence of Bauhaus Architecture. At first I will make a small introduction about Gropius Walter.

Gropius Walter (German architect) was born in Berlin 18 May 1883; in 1915 he became the Director of Grand Ducal Academy of Arts and Grand Ducal Saxon School of Applied Arts in Wei-mar Germany. In April 1919 this school merged to become Das Staatliche Bauhaus. Gropius immigrated to England in 1934, and became a partner of E. Maxwell Fry in London. At last he immigrated to United States in 1937 and worked as a master in Harvard University, and died in Boston 5 July 1969. His interna-tional Style and social insight helped to define the aesthetics of the 20th century.


Technology and EnvironmentPrinciples2009 | S1

[Brief]‘‘This module introduces you to critical structur-al, technological and environmental principles that underpin architectural design. It seeks to help you understand not only how buildings need to work functionally to keep their occupants safe and secure, but also how such considerations can produce deeper, more meaningful architecture. You will learn how buildings can be seen as in-teracting systems and that structural, material and environmental strategies are interlinked.’’

GC5GC8 GC9



Technology and Environment Principles2010 | S2• Thermal Environment Assignment

[Learning Outcomes]

1 Appreciation of the integral nature of material assembly and environmental systems to the development ofarchitectural de-signs

‘‘You are asked to design and then assess a simple retreat for a site in Edinburgh, close to the Royal Observatory. You should consider visiting the site but this is not obligatory. It is envisaged that it can be in use at any time of the year. It should be of a relatively simple form and be reasonably cheap to construct. The proposal should take advantage of sunlight, any views on the site and potential sheltering features. In designing the building you should note the following guidance.’’

The location of this house is a cold place and has a lot of raining weather. Thus it is important for the house to take the advantage from the sunlight and the surroundings. The building is decided to located in the gap between the two groups of trees, because trees can block wind and therefore slow down the energy goes from the internal space to the outside. The house has three main parts the green house, bedroom and the living space (living space has a bathroom with toilet) totally the house occupied 38m2. The bedroom is 12m2, the living space is 14m2, and 12m2 for the green house.

I choose stone and timber to be the main materials of the house, because these two materials are very popular in Scotland, espe-cially stone. Stone will be mainly used to create the walls (tim-ber frame wall with stone cladding) and timber will be mainly used to make the frame of the windows and the roof (timber rafter roof covered by slates). In the living space I designed six small windows which allow the client to adjust the internal en-vironment and more easier to control the temperature inside. The bedroom has a big French window can get more sunlight into the bedroom. On the roof are 3 strip shape mat glass window 2 in the living space and 1 in the bedroom. There are curtains on each of the window to keep the heat in the house.



Architectural DesignIn place

• From Object to Abstraction• Chair Museum - Body and Seat• Chair Museum - Site Survey• Chair Museum - Room | Design

Contemporary Art (Elective) Technology and EnvironmentApplications

• Vernacular and Contemporary• Group Case Study | Unite• Case Study - Slateford Green• Microclimate Pavilion

Year 2. 2010 | S1

Architectural DesignAny PLace

• Seminar - Fab Lab• Dance Centre - Site Survey• Dance Centre - Parti• Dance Centre - Design

Year 2. 2011 | S2

Architectural HistoryCulture and the City

• Presentation - JFK Airport• Essay - Discuss Gropius’ programme for the Bauhaus in 1919

Technology and EnvironmentApplications

• Building Fabric Material Systems - Werner Sobek Glass House• Timber Frame Design Jetty


Architectural DesignIn Placce2010 | S1

[Brief]‘‘The theme of this Chair Museum project is Place. It will be completed through 3 design ex-ercises, each of which raises discreet issues, but which combine incrementally toward the design of the Museum. The first exercise [Seat] explores the way in which architecture is indebted to the things and activities it places; in this case, the body. The second exercise [Room] explores the way in which architecture is indebted to location it takes place in; it introduces a concern for the site. The final exercise – designing the museum – extends these concerns to consider the arrange-ment of a number of things and range of activi-ties on a number of varied sites.’’

GC1 GC5GC7



Architectural Design In PLace2010 | S1• From Object to Abstraction

[Learning Outcomes]

1 Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

“Working in pairs within tutorial groups, students are to select a physical object to represent. Students are to attend a series of rotating seminar sessions exploring different representational techniques.”




Architectural Design In PLace2010 | S1• Chair Museum - Body and Seat

[Learning Outcomes]

1. Ability to develop architectural designs that appropriately re-spond to a specified site and that contain an explicit investigation through research.

2. Capacity to synthesize a range of programmatic components, formal and spatial strategies and contextual themes of modest complexity within an architectural design.

3. Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

“The theme of this Chair Museum project is Place. It will be completed through 3 design exercises, each of which raises dis-creet issues, but which combine incrementally toward the design of the Museum. The first exercise [Seat] explores the way in which architecture is indebted to the things and activities it plac-es; in this case, the body. The second exercise [Room] explores the way in which architecture is indebted to location it takes place in; it introduces a concern for the site. The fi nal exercise – designing the museum – extends these concerns to consider the arrangement of a number of things and range of activities on a number of varied sites.”




Architectural Design In PLace2010 | S1• Chair Museum - Body and SeatGroup work: Huang Cheng, Mu Li



Architectural Design In PLace2010 | S1• Chair Museum - Site Survey

“Make a group site survey of a specifi ed site along the Royal Mile in Edinburgh. Make a survey that gathers the generic quan-titative information required to make proposals for any site. Make a survey that gathers the particular qualitative informa-tion required to understand the unique characteristics of the particular site.”

[Learning Outcomes]







Architectural Design In PLace2010 | S1• Chair Museum - Room | Design

[Learning Outcomes]




“Design a room that locates the Seat on the Site, and brings the particular characteristics of the body into relation with particu-lar characteristics of the site. Design a room that enjoys the particular characteristics of its means of construction.”



“Design a Museum that places a specifi c collection of chairs, and a range of specifi c programmatic spaces, onto a specifi c site. Design a building that enjoys the particular way that it re-sponds to the things and activities it accommodates, and through he particular way that it responds to its location.”


[Learning Outcomes]




[Sketches]




[Plans]




[Section, Elevation, and Floor Plans]




[Elevation]


Contemporary Art

2010 | S1

GC3

[Brief]‘‘This module introduces architecture students to the practice of Sculpture. Students will engage with the current debates in contemporary Art Practice, and be introduced to the fundamental knowledge and skills of Sculpture and reflect on their own architectural practice. Students work on a series of exercises and projects of differing timeframes and increasing complexity within a studio environment exploring form and material. Students are encouraged to develop an iterative creative process that incorporates making, evalu-ating, presenting and reflecting.’’



Contemporary Art (Elective)2010 | S1

‘‘This module introduces architecture students to the practice of Sculpture. Students will engage with the current debates in con-temporary Art Practice, and be introduced to the fundamental knowledge and skills of Sculpture and reflect on their own archi-tectural practice. Students work on a series of exercises and pro-jects of differing timeframes and increasing complexity within a studio environment exploring form and material. Students are encouraged to develop an iterative creative process that incorpo-rates making, evaluating, presenting and reflecting.’’

[Learning Outcomes]

1 Evaluate and respond to art practice project briefs, and formu-late appropriate approaches.

2 Apply fundamental and conceptual development through a transparent iterative process in the development of a sculpture form.

3 Realise sculpture project solutions through structured and transparent methodologies.

In this course I aimed to created a sculpture which is a reflec-tion of a persons pressure and tension. The sculpture was shaped by pressing a bar of clay continuously every time when I got emotional. After 4days working, the thing finally shaped into its final shape.



2010 | S1

[Brief]‘‘This module builds on the knowledge and un-derstanding of material, structural and environ-mental systems acquired in your ESALA 1 Tech-nology and Environment Principles module. Continuing on to more complex deliberation of these individual systems, we will also explore how their necessary and effective integration may contribute to the production of successful building design within a sustainable society.

This exploration will involve an encompassing range of considerations from the mechanics of particular materials and their suitability for pur-pose through to their configuration and capacity for architectural expression while also acknowl-edging their position on a scale of global re-source.’’

Farihin Jaafar, Lewis Kelly, Fatemeh Khajeh-Khosseini, Scott Lawson & Li Mu

Botanic Green House

Edinburgh Botanics Main Green house. External Cross bracing structure

The Edinburgh Royal Botanic Greenhouse (main) was constructed in 1967 by the Property Services Agency.

The building features single glazing windows, and a form which partly takes advantage of the sunlight available to it. The cross bracing structure was kept external so as to allow the maximum space within for the plants.

The building is heated by radiators which are fed by a central large gas boiler. The Greenhouses also have problem with overshadowing by nearby trees.

Precedent Study

GC5GC8 GC9



Technology and Environment Applications2010 | S1• Vernacular and Contemporary

“Design a room that locates the Seat on the Site, and brings the particular characteristics of the body into relation with particu-lar characteristics of the site. Design a room that enjoys the par-ticular characteristics of its means of construction.”

Hot Arid Climate - Staying Cool: VentilationBorujerdiha house - VernacularKashan, Iran

Day - SectionWind is directed down through the wind tower.Heat from the sun causes evaporation of the pool of water in the courtyard, making humid air flow through to the living spaces

creating a microclimate within the area.

Night - SectionThe cold breeze at night is sucked into the house through the gaps in the domed roof and the wind tower and flows out through the doors or windows.

Day - ElevationHoles in dome shaped roof act as an ex-haust for hot air during the day.

http://www.thebestconference.org/pdfs/051_WB13-2.pdf

Isometric of Borujerdiha Wind Tower

Diagram (above) shows there are two sources of air entering the liv-ing area. Tthe ducts of the Wind Tower allow the cool air to flow down and the hotter less dense air escape through the other ducts. Another source is of the hot air which is sucked into the underground water stream, which cools down and becomes humid due to evaporation and enters the living area.

Detail - Mud brick and adobe load bearing walls, 60cm in thickness. Plaster on interior surface. These are appro-priate materials to act as thermal mass for absorbing heat during the sunny day and releasing it in the cold night.



















[Learning Outcomes]

1. Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts.

2. Understanding of these principles with respect to human comfort and well being, strategies for a sustainable future, the impact of the building processes on the natural world, materials and processes of assembly.

3. Communicating an understanding of the relationship between material, structural and environmental performance in architec-tural design.

Group work: Fatemeh Hosseini, Mu Li



“Design a room that locates the Seat on the Site, and brings the particular characteristics of the body into relation with particu-lar characteristics of the site. Design a room that enjoys the par-ticular characteristics of its means of construction.”

Technology and Environment Applications2010 | S1• Vernacular and Contemporary Hot Arid Climate - Staying Cool: Ventilation

Akbari House - ContemporaryTehran, Iran

Day - Section Night - Section Evaporative cooling

Detail

Wind goes into the building from south windows and get out from the windows facing north. The wind cools down by the evaporating of the water and get humid. The cool air becomes hot after it goes through the building and goes up in the staircases core, and leaves as hot air from the top opening and the windows.

Because there is no sun light to speed up the evaporating of water. The effect of evaporating cooling is not as effi-cient as it is during the day time. This building’s ventilation is mostly depending on the wind come from the south.

Wind goes into the building form the windows facing south. When the hot air pass through above the water pools it turns into cool and humid air, and goes through the building leaves form the windows facing north and the opening at the top.

The main material that used to build this building is reinforced concrete. The wall is about 60cm thick to act as thermal mass. It absorbs heat energy in the day time and release the energy at night as it is getting colder.

Hot Arid Climate - Staying Cool: VentilationAkbari House - ContemporaryTehran, Iran


Detail





Hot Arid Climate - Staying Cool: VentilationAkbari House - ContemporaryTehran, Iran


Detail





[Learning Outcomes]




Group work: Fatemeh Hosseini, Mu Li



Technology and Environment Applications2010 | S1• Group Case Study | Unite

[Artificial Light]

Compact and linear florescent lamps are applied for the internal lighting system, this kind of light is about 4 times more efficient than normal lights (incandescent lamp) and they have from 3000hours to 8000hours life time. Lamps in the corridors are occupancy-controlled to save energy, and reflectors and ground glass are being applied to avoid the direct light to the room but give the reflected or diffused reflected light (more downy than direct light) to the room.

[Natural Light]

Louvres and the overhang help to keep out strong sunlight from the south side, and the louvres work differntly in summer and winter. The diagram on the right top illustrates the glazing areas on different directional facades, and also positioning of the lou-vres and overhangs.

[Learning Outcomes]




Group work: Scott Lawson, Mu Li, Kelly Lweis, Fatemeh Hosseini



· A large part of the building is prefabricated therefore the quality of the building is significantly exceptional.

· Choices of material that was observed such as glazed window, plaster board, thick walls and carpeted floor sug-gests little of how effective the building is in terms of acoustics. But by first hand experience, it was observed that a loud sound from the periphery and adjacent room has been deduced therefore we assume that the building is well insulated for soundproofing.

· According to the informa-tion provided, Rockwool and Kingspan are imple-mented for general insu-lation in the building and expanded polystyrene as insulation under the floor slab. These materials to a de-gree affect the acoustic per-formance.

AcousticsThermal comfort - Vegetation

UNITE Housing - Case Study

Farihin Jaafar, Fatemeh Khajeh-Hosseini, Lewis Kelly, Mu Li, Scott Lawson

· Area between the two blocks is relatively protect-ed from the wind due to eddy currents.

· The tree close to the building and the strategi-cally planted shrubs act as wind breaks which reduce the speed of the wind and protect the building from it, reducing heat loss. Another use of vegetation are the green walls which are still growing. Once they climb up the walls further, they will have many ben-efits. In summer the solar gain will be reduced due to shading, where as in winter it will act as exterior insu-lation by trapping air be-tween it and the facade.Facades with vegetation also reduce heat loss due to conductivity as the surfaces are drier. It also protects the surface from general deteri-oration due to weather, and filters dust or other pollut-ants.

Air trapped between exterior wall and plants.

Plants hold water for longer than man made materials, preventing it from running into the sewage system means that more evaporation takes place. This creates a higher humidity level in the air, giv-ing a more pleasant atmosh-pere.

Exterior

Interior

School

Tenament

Construction site

Windows, tripple glazed

Plasterboard Insulation

· A large part of the building is prefabricated therefore the quality of the building is significantly exceptional.

· Choices of material that was observed such as glazed window, plaster board, thick walls and carpeted floor sug-gests little of how effective the building is in terms of acoustics. But by first hand experience, it was observed that a loud sound from the periphery and adjacent room has been deduced therefore we assume that the building is well insulated for soundproofing.

· According to the informa-tion provided, Rockwool and Kingspan are imple-mented for general insu-lation in the building and expanded polystyrene as insulation under the floor slab. These materials to a de-gree affect the acoustic per-formance.

AcousticsThermal comfort - Vegetation



· Area between the two blocks is relatively protect-ed from the wind due to eddy currents.

· The tree close to the building and the strategi-cally planted shrubs act as wind breaks which reduce the speed of the wind and protect the building from it, reducing heat loss. Another use of vegetation are the green walls which are still growing. Once they climb up the walls further, they will have many ben-efits. In summer the solar gain will be reduced due to shading, where as in winter it will act as exterior insu-lation by trapping air be-tween it and the facade.Facades with vegetation also reduce heat loss due to conductivity as the surfaces are drier. It also protects the surface from general deteri-oration due to weather, and filters dust or other pollut-ants.

Air trapped between exterior wall and plants.

Plants hold water for longer than man made materials, preventing it from running into the sewage system means that more evaporation takes place. This creates a higher humidity level in the air, giv-ing a more pleasant atmosh-pere.

Exterior

Interior

School

Tenament

Construction site

Windows, tripple glazed

Plasterboard Insulation


[Vegetation]

The tree close to the building and the strategically planted shrubs act as wind breaks which reduce the speed of the wind and pro-tect the building from it, reducing heat loss. Another use of veg-etation are the green walls which are still growing. Once they climb up the walls further, they will have many benefits. In sum-mer the solar gain will be reduced due to shading, where as in winter it will act as exterior insulation by trapping air between it and the facade. Facades with vegetation also reduce heat loss due to conductivity as the surfaces are drier. It also protects the surface from general deterioration due to weather, and filters dust or other pollutants.

[Acoustics]

· A large part of the building is prefabricated therefore the qual-ity of the building is significantly exceptional.

· Choices of material that was observed such as glazed window, plaster board, thick walls and carpeted floor suggests little of how effective the building is in terms of acoustics. But by first hand experience, it was observed that a loud sound from the pe-riphery and adjacent room has been deduced therefore we as-sume that the building is well insulated for soundproofing.

· According to the information provided, Rockwool and King-span are implemented for general insulation in the building and expanded polystyrene as insulation under the floor slab. These materials to a degree affect the acoustic performance.





Thermal Comfort and sustainability

The development at chalmers street utilises Solar heating as a source of water heating, helping two high efficiency (90%) boilers by AVC. It does this by first heating the cold water supply in two heat exchange tanks. The water heats upto about 40 Degrees C where it is then passed onto the boilers to be further heated to the required temperature. The system covers the entire development so a pressure boosting system by Grundfos is used. The use of the Solar heating panels is calculated to produce 1714kWh (40% of annual demand) of heat per year, removing 336Kg of CO2 had another system been used.

A Mechanical Heat Recovery System by Villavent provides ventilation for the building. The system operates in a low state mode where air is replaced every two hours and in a boosted state in which the ventila-tion rate is increased by 25%.


Mains Supply Hot / Cold Water Out

Gas Supply

Pressure Boosting System

E/C E/C

Solar Panel Heat Exchange Tanks 90% Efficient Gas Boilers

Solar Panel(s)

S/P Pump

E/C

ACV HM 201

Grundfos Hydro 1000

ACV HM 201

Cold Water Storage Tank(s)

Solar Panels

Plant Room


[Thermal Comfort and sustainability]

The development at chalmers street utilises Solar heating as a source of water heating, helping two high efficiency (90%) boil-ers by AVC. It does this by first heating the cold water supply in two heat exchange tanks. The water heats upto about 40 Degrees C where it is then passed onto the boilers to be further heated to the required temperature. The system covers the entire develop-ment so a pressure boosting system by Grundfos is used. The use of the Solar heating panels is calculated to produce 1714kWh (40% of annual demand) of heat per year, removing 336Kg of CO2 had another system been used.

A Mechanical Heat Recovery System by Villavent provides ven-tilation for the building. The system operates in a low state mode where air is replaced every two hours and in a boosted state in which the ventilation rate is increased by 25%.

[Summary]

The UNITE housing project located on Chalmers Street is a large student housing development in the city of Edinburgh. It is the first of its kind to include a selection of sustainable features which allows it to be seen as a precedent to all future large developments in Edinburgh.The sustainability strategy includes the use of Solar heating panels which provide some 40% of all the hot water annually. It is also super insu-lated with a heat recovery system in place to make for very low space heating bills. Outdoor vegetation which grows on the walls furthers the insulation effect whilst also being aesthetically pleasing. Electricity is kept sustainable through the use of occupancy- controlled lighting systems. Fluorescent lamps are used giving roughly a 60% saving.The building performs very well, but it could have been improved. The use of movable louvres on the southern facade would have resulted in more useful solar gain; used in the winter for heating, but blocked in the summer to reduce the effects of overheating. One such downside with this proposal however is that its most likely controlled manually, which is perhaps not the best option in student accommodation. Another way in which the design could have been improved is the utilisation of more solar panels to provide more of the hot water required in the building. This was originally planned, but was removed due to financial reasons (a 60% reduction in total).Overall the building performs relatively well, reducing its CO2 footprint in many ways through intelligent design. The buildings form, aesthetics and planning all come together to make for a new statement in sustainable design in Edinburgh.




Technology and Environment Applications2010 | S1• Case Study - Slateford Green

[Sumary]

I think this building works successfully in its sustainability strat-egy. Most of the building materials are local materials for exam-ple, it uses local harvested timbers. As a way to store the energy gained from the Sun, each flat has a conservatory providing pas-sive solar gain to living spaces which are orientated into the south- facing courtyard. In the original design, a district heating system was the first choice of energy supply, unfortunately had to be abandoned as a result of legal obstacles, and gas-fired boil-ers serving each stair (planned as a back up solution) is now be-ing used instead. The energy saving solution helps the building to save £250 per year. The car free strategy did a lot of good to the people who live in there, it offers the place a clear and envi-ronmental friendly area, as the site is located at a very conveni-ent place with enough public traffic, travel is not a problem brought by the car free strategy. The passive stack ventilation is applied to the building helping reduce the cost operating the building. The site is a brownfield site(without much industry pollution). In all, I feel this building is successful.

[Learning Outcomes]






Technology and Environment Applications2010 | S1• Microclimate Pavilion

[Learning Outcomes]




‘‘The University of Edinburgh has acquired a parcel of land in George Square Gardens in which to build a small building that is to serve as a pilot project for climate-responsive design. The building must therefore be highly attuned to the climatic condi-tions of the site in addition to providing a key programmatic need. The building must conform to a strict 7 meter x 14 meter footprint, but inte rnal layout, method of enclosure, orientation, siting, integration with landscape, and micro energy (if utilized) strategies are up to your discretion.’’


Botanic Green House





Precedent Study


Botanic Green House





Precedent Study


The Site Climatic Response 2: Location, Condition, Response 2: Edinburgh

Botanic Greenhouse 3d CAD Model

Winter Sun Diagram

Summer Sun Diagram Location plan: George Square, Scotland and Proposed Greenhouse (Scale 1: 1000)


Botanic Green House





Precedent Study






The Plan in Detail

Access path

Detailed Plan (Scale 1: 50)

Edinburgh wind rose Diagram

1.5m Tall hedge For Wind Protection

Medium Tree’s for wind protection

Small Evergreen Native Shrubs for wind protection. Max height 1m.

North east Wind Source

South East Wind Source


Design Form and Section

Low Winter Sun

Hig

h S

ummer

Sun

Hig

h S

ummer

Sun

Brick Plinth

Triple Glazed Glass

Autovents

Solar Heating Panels

Buffer Zone/Storage Area

Short Section Looking East (Scale 1: 30)

Double Glazed glass


Solar Panel Secondary Support Column

Stainless Steel Tension Wire Secondary Structure

Construction Details

Frost Line

Ridge Detail showing Solar Panel Support structure (Scale 1: 10) Foundation Detail (Scale 1: 10). Note: Foundation MUST meet frost line to stop permafrost damaging plant roots.

Solar Water Heating Panels

Solar Panel Water Feed

Solar Panel Hot Water Runoff

Rainwater Fed Humidifier Tray

Radial Heater Tubes

Reinforced Concrete Foundation

Water and Heat Diagram






Meet The Plants

Theobroma Cocao

Height: 4 - 8mOrigin: AmazonCategory: Tree

Plumeria

Height: 3mOrigin: HawaiiCategory: Tree

Dombeya Burgessiae

Height: 1 - 8mOrigin: MadagascarCategory: Large Shrub

Heliconia Rostrata

Height: 15 - 300CmOrigin: BoliviaCategory: Flowers

Note: Only 4 Select Species are shown here. The intention is to use up to 10 different species for each category of vegetation. Pots are used reduce plant heights.


Environmental Control

Buffer zone Diagram. Sun and Shadow diagram. Plants are arranged based on height.

Greenhouse Elevation (Scale 1: 100) And Westerly wind path. The Shrubs reduce wind exposer on the bottom of the green house resulting in less heat loss.

Environment Control Features;

Buffer Zone,Brick plinth WallPassive Water Evaporative SystemAutomatic Vents

Tropical plants Require Humidity levels between 50 - 70% and a constant temperature between 30 and 40oC.






Aluminium Lifecycle Diagram

Lifecycle Analysis

Aluminium Embodied Energy Table

[Learning Outcomes]




‘‘The University of Edinburgh has acquired a parcel of land in George Square Gardens in which to build a small building that is to serve as a pilot project for climate-responsive design. The building must therefore be highly attuned to the climatic condi-tions of the site in addition to providing a key programmatic need. The building must conform to a strict 7 meter x 14 meter footprint, but inte rnal layout, method of enclosure, orientation, siting, integration with landscape, and micro energy (if utilized) strategies are up to your discretion.’’



Architectural Design Any Place2011 | S2

[Brief]‘‘ANY PLACE will work from big to small – from city to studio. The design project will be completed through three exercises. The first ex-ercise will ask tutorial groups to make a survey of a specified urban site. It will ask students to pay particular attention to the sites relation to broader urban networks of circulation, and cli-matic phenomena. The second exercise will ask students to design a dance centre that responds to the dynamic and environmental characteristic of their site, and to develop an architectural lan-guage that responds to the dynamic character of the buildings programme. The final exercise [STUDIO] will ask students to resolve the de-tailed design of the principle studio, responding in particular to the environmental character of the site, and satisfying specific environmental requirements of dance studios.’’

GC1 GC4 GC5GC7 GC8



Architectural Design Any Place2011| S2• Seminar - Fab Lab

Prince Felipe said it looked like a boat, but the spectacular house produced by Institute for Advanced Architecture of Catalonia was also called “peanut house”, “cinnamon submarine”, “forest zeppelin” or “whale belly”. The project, which involved archi-tectus and experts from 20 countries, is being developed by the IAAC, the centre for bits and Atoms from the MIT(Mssachusetts Institute of Technology) and the corldwide network of FabLabs. The project was carried out with the collaboration of a large group of companies.

The main structure of the house has been fabricated in Germany with large scale CNC machine. the remaining components of the house, such as interior, skin and other elements have been fabri-cated in the Fab Lab Barcelona. it is also a result of team workwith people coming from 25 different countries. The interior is composed by an integrated social space with a bedroom, kitch-en, a small Fab Lab. a bathroom and an elevated small room for invited guests to sleep. The house has introduced significant technology innovations such as the world’s most efficient flexi-ble solar panels, made with both Spanish and American technol-ogy. what is being creating a great interest on companies and people who visited the house and it represents a significant breakthrough in the architectural integration of solar systems.

The fab Lab house uses the resources of its environment- sun, water and wind- to create a microclimate that passively opti-mizes the basic conditions of habitability. The house is like a tree that captures energy with its solar “leaves” and sends it down to its roots, where is stored, shared, or returned to the house to produce the fruit of electricity. The house’s control sys-tem is designed to provide detailed real-time monitoring of its behavior and its interaction with the environment, creating his-torical profiles and sharing these socially.




Architectural Design Any Place2011| S2• Dance Centre - Site Survey

‘‘Make a group site survey of a specified urban site. Explores the sites relation to specified non-local conditions through which it relates to a broader context; the networks of human movement, and environmental phenomena, that cut across it.’’

[Learning Outcomes]

1. Ability to develop architectural designs that appropriately re-spond to specified non-local conditions and that integrate an ex-plicit investigation through research.

2. Capacity to synthesize a range of programmatic components, formal, spatial and technical strategies of modest complexity within an architectural design that responds to specified urban conditions.

3. Ability to critically explore and effectively communicate de-sign ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.




Architectural Design Any Place2011| S2• Dance Centre - Site SurveyGroup work: Huang Cheng, Mu Li




[Learning Outcomes]




The diagrams shows the shadows on the site changes follows the time of a day and different days ina years.





Site

Carrer Angels

Carrer Peu de la Creu

Macba

[Learning Outcomes]




[Sections]



Architectural Design Any Place2011| S2• Dance Centre - Parti

[Learning Outcomes]





The shadow diagrams show the volumes created by the shadows at different time overlaped together and created stairs around the buildings




[Creating Volumes]




[Learning Outcomes]






Architectural Design Any Place2011| S2• Dance Centre - Design

[Learning Outcomes]







[Learning Outcomes]









[Learning Outcomes]






Architectural History Culture and the City

2011 | S2

[Brief]‘‘As second-level students on the course, Cuture & the City, they will gain an increased under-standing of the material conditions that operate upon architecture, to develop their critical facul-ty in regard to the art of architecture and to ad-vance their understanding of the relationship of architecture to historical context. At this level, students will become more aware that the history that we trace is shaped by the questions that we ask and the data that we select. In addition, they will have advanced their understanding of the history of architecture and will be prepared to evaluate contemporary urban and urbanistic phe-nomena in the broad context of society. The course aims to develop understanding of archi-tecture as a social art. Skills in research, writing and presentation will be developed.’’

GC2 GC3 GC4 GC5



Architectural History Culture and the City2011| S2• Presentation - JFK Airport

...John F. Kennedy International Airport is located in Queens County, on Long Island, in south-eastern Now York City. It is one of the busiest international airport in the world, 98.5% of foreign tourists land at this airport, and 76.6% of the flights in this air-port are international flights. In 2010, the airport handled 58,320,000 passengers, which is more than two times of the resi-dent population of New York City. Nearly 100 airlines from over 50 different coun-tries operate regularly flights from JFK and to it. Also, it handled over 50% of the im-port and export of the United States. This airport has many support facilities as hotels tax free shops restaurants and a chapel.

The construction of this airport started in 1942, and start its first business flight on

July the first 1948, and renamed to New York International Airport. It was original-ly called Idlewild Airport because of the Idlewild Gold Course that it displaced. On November the 22 1963 the President John F. Kennedy was assassinated, the airport changed its name into John F. Kennedy In-ternational Airport one month later in mem-ory of him.

This airport has 8 terminals and 4 runways, which has 40 kilometres long in the sum. JFK has eight terminals (nine until the early 2000s) containing 151 gates, seven of which are currently in use (Terminals 1-5, 7, and 8). Both Terminal 3 and Terminal 6 are to be demolished. And the rebuild will take place in 2013. The terminal buildings are arranged in a deformed U-shaped wavy pattern around a central area containing parking, hotels, a power plant, and other fa-cilities. The terminals are connected by the Air Train system and access roads.

The airport does not only be a transporta-tion hub, but also it creates many other ef-fects to the city and the areas around it. A very obvious effect it has made to the city is the transportation system, highways and light rails are applied to efficiently transport

passengers between the airport and the city. Socially this airport is making a great effect to the whole New York City as well, it em-ployed about 35,000 people and generating about 9.8 billion dollars in wages and sala-ries. As a reason that many passengers come into the United states from this air-port it creates economy affect indirectly to the surrounding areas. For instance many hotels were built for the passengers, and there are about 30 hotels around it....

[Learning Outcomes]

1. Knowledge of how cities have developed and been under-stood through history.

2. Understanding the city in terms of spontaneous social organi-sation and the architectural forms that signify that.

3. Critical understanding of the connections between architec-ture and prevailing social, economic, political and cultural cir-cumstances.

4. Understanding of architecture in terms of its memorial sig-nificance



Architectural History Culture and the City2011| S2• Essay - Discuss Gropius’ programme for the Bauhaus in 1919

Conclusion:

“Tian’an Gate” Square is a very important symbolic place in China. It is the political center and also an important public area. Its North end and South ends are two ancient Dynasty’s “Gates” of the Forbidden City. On its East and South ends are the two buildings which are constructed after the People’s Republic of China was estab-lished, which can be understood as the sym-bol of the New China. The square it self can be seen as the mixture and connection be-tween these two different periods. This is the place that witnesses the change from

“Tian’an Gate” Square is named by the most significant building on the site, “Tian’an Gate”. 33.7m tall and occupied 4800m2.This building was constructed in 1417 AD in Ming Dynasty as the Main en-trance of the forbidden city, at that time this giant building was called “Cheng’tian Gate”, “Cheng” can be explained as “fol-low” or “obey”. This name is used to an-nounce that, “Tian”, the god, gave the pow-er of the royal family. However, this symbolic building experienced several times of damage through the history. In 1451 AD, 34 years after the construction, it was damaged by a big fire. Rebuilt in1465 AD, but destroyed again at late Ming Dy-nasty. In 1651 AD, 20 years after Qing Dy-nasty was established, it was rebuilt again, and its name was changed to “Tian’an Gate”, which can be understood as “God gives peace” in Chinese. Clearly, in the an-cient time, this building already had a strong political meaning and had been used as a tool to consolidate the domination of the royal family. Many big events happened at the “Tian’an Gate” Square which made this place very remarkable. For, instance, in the late Qing Dynasty period, the unite army of France and Great Britain assem-bled at the square and asked the royal fam-

ily to open the “Tian’an Gate” Square and surrender. In 1949, the great leader Mao an-nounced the establishment of People’s Re-public of China on the Gate. After the Peo-ple’s Republic of China was established in, this building and the square in front of it gained much more political and public strength through the power of Communist Party of China. Instead of a gate of the po-litical center, the Forbidden City, itself and the square in front of it comes to be the center of politics, and a important public space for people in China....

feudal imperial age to Social Democracy age, the invasion of foreign countries, and the change from a country with an iron hand to a country that has more freedom and hope. This square is historical and cul-tural relic for people in China, and it will always be the heart place of Beijing and China.

[Selected Reference] J.E.Hoare, Susan Pares (2000). World bibliographical series volume 226. Oxford: ABC-CLIO Ltd.. p65-66. Stephen G. Haw (2007). Beijing-A concise History. Oxon: Routledge. p-146-149. David Strand (1989). Rickshaw Beijing-City People Politics in the 1920s. London: University of California Press. p-174. Liu Junwen (1997). Beijing China’s Ancient and Modern Capital. China: Foreign Languages Press. p15-28.

[Learning Outcomes]

1. Knowledge of how cities have developed and been under-stood through history.

2. Understanding the city in terms of spontaneous social organi-sation and the architectural forms that signify that.

3. Critical understanding of the connections between architec-ture and prevailing social, economic, political and cultural cir-cumstances.

4. Understanding of architecture in terms of its memorial sig-nificance



2011 | S2

[Brief]‘‘This module builds on the knowledge and un-derstanding of material, structural and environ-mental systems acquired in your ESALA 1 Tech-nology and Environment Principles module. Continuing on to more complex deliberation of these individual systems, we will also explore how their necessary and effective integration may contribute to the production of successful building design within a sustainable society.

This exploration will involve an encompassing range of considerations from the mechanics of particular materials and their suitability for pur-pose through to their configuration and capacity for architectural expression while also acknowl-edging their position on a scale of global re-source.’’

GC5GC8 GC9



Technology and Environment Applications2011| S2• Building Fabric Material Systems - Werner Sobek Glass House

[Learning Outcomes]

1. recognise key material, structural and/or environmental prin-ciples in architectural design.

2. apply these principles to architectural designs that address hu-man comfort, sustainable concerns, material assembly, and/or structural systems.

3. communicate the relationship between material, structural and/or environmental performance in architectural design.

‘‘Working in your current groups of four you are asked to iden-tify four contemporary buildings which employs one each of the four material systems dealt with in this section of the T+E 2 module, timber, steel frame, concrete frame or masonry. You will then, through group debate, individually resolve to pursue one of the four buildings as your own case study.’’



Technology and Environment Applications2011| S2• Building Fabric Material Systems - Werner Sobek Glass House



Technology and Environment Applications2011| S2• Timber Frame Design Jetty

‘‘Duddingston Loch in Edinburgh is the centrepiece and of a very well preserved natural landscape and bird sanctuary that combines with the historic fabric of the adjacent village. You are asked to design a lightweight timber jetty of about 60 m through the lake to enhance bird-watching and the experience of the visitors with improved views towards the city, Arthur Seat and the features of the village.”

Brief

To design a lightweight timber jetty to allow visitors to past through and create a better viewing to the surrounding landscape and enhance the bird watching experience. The

jetty must be 60 meter in length with an addition of a 10 meter long added storey. We

are ask to investigate the structural issues and the effects of the materials on the

design.

Site

The site is located in Duddingston Loch and has views towards Arthurs seat in the

north, the kirk and Thomson tower in the northwest. The site is very nature orientated

with two main roads surrounding the site.

Design Proposal

We Þrst decided to orientate the jetty on the south east side of the lake. The Þrst 40-

meter of this jetty is perpendicular to the corresponding road. This is done to allow easy access from the street through an already existing path into the site and also

conveniently there is a bus stop on this road. We bend the jetty at an angle of 120

degree for the remaining 20-meter length. This is done to create a better view to the

natural elements of the site, which include Arthurs seat, the kirk and the village church.

This also creates a centralise feeling towards the site, giving a better connection to the

water, escape from the busy city life and a closer interaction to the birds habitat. The

orientation of the jetty allows a better viewing experience and also preserves the bird’s living habitat.

Materials

We decided to use only ekki timber for the material of the jetty. It is a species of hardwood, which grows in

West Africa. We choose this timber due to it being

durable in expose conditions, and also suitable in

marine construction. The timber has high breaking

strength and can withstand amount of pressure. We also

choose the timber due to the aesthetic nature of the

timber. The dark brown colour creates a better connection to the site.

JustiÞcation&Discussion of Design + Context Map & Axonometric Drawing

Brief

To design a lightweight timber jetty to allow visitors to past through and create a better viewing to the surrounding landscape and enhance the bird watching experience. The

jetty must be 60 meter in length with an addition of a 10 meter long added storey. We

are ask to investigate the structural issues and the effects of the materials on the

design.

Site

The site is located in Duddingston Loch and has views towards Arthurs seat in the

north, the kirk and Thomson tower in the northwest. The site is very nature orientated

with two main roads surrounding the site.

Design Proposal

We Þrst decided to orientate the jetty on the south east side of the lake. The Þrst 40-

meter of this jetty is perpendicular to the corresponding road. This is done to allow easy access from the street through an already existing path into the site and also

conveniently there is a bus stop on this road. We bend the jetty at an angle of 120

degree for the remaining 20-meter length. This is done to create a better view to the

natural elements of the site, which include Arthurs seat, the kirk and the village church.

This also creates a centralise feeling towards the site, giving a better connection to the

water, escape from the busy city life and a closer interaction to the birds habitat. The

orientation of the jetty allows a better viewing experience and also preserves the bird’s living habitat.

Materials

We decided to use only ekki timber for the material of the jetty. It is a species of hardwood, which grows in

West Africa. We choose this timber due to it being

durable in expose conditions, and also suitable in

marine construction. The timber has high breaking

strength and can withstand amount of pressure. We also

choose the timber due to the aesthetic nature of the

timber. The dark brown colour creates a better connection to the site.

JustiÞcation&Discussion of Design + Context Map & Axonometric Drawing

[Site]

The site is located in Duddingston Loch and has views towards Arthurs seat in the north, the kirk and Thomson tower in the northwest. The site is very nature orientated with two main roads surrounding the site.

[Design Proposal]

We first decided to orientate the jetty on the south east side of the lake. The first 40- meter of this jetty is perpendicular to the corresponding road. This is done to allow easy access from the street through an already existing path into the site and also conveniently there is a bus stop on this road. We bend the jetty at an angle of 120 degree for the remaining 20-meter length. This is done to create a better view to the natural elements of the site, which include Arthurs seat, the kirk and the village church. This also creates a centralise feeling towards the site, giving a better connection to the water, escape from the busy city life and a closer interaction to the birds habitat. The orientation of the jetty allows a better viewing experience and also preserves the bird’s living habitat.

[Materials]

We decided to use only ekki timber for the material of the jetty. It is a species of hardwood, which grows in West Africa. We choose this timber due to it being durable in expose conditions, and also suitable in marine construction. The timber has high breaking strength and can withstand amount of pressure. We also choose the timber due to the aesthetic nature of thetimber. The dark brown colour creates a better connection to the site.

[Learning Outcomes]

1. Recognise key material, structural and/or environmental prin-ciples in architectural design.

2. Communicate the relationship between material, structural and/or environmental performance in architectural design.

Group work: Huang Cheng, Mu Li, Waylon Chen, Anthony Awanis




Section One Storey1:100

Section Two Storeys 1:100

Section Two Storeys 1:100

Section One Storey1:100

[Learning Outcomes]







Details 1:10 + Calculations (Loading) Loading:

Domestic.....................................PermanentLive Load (imposed)...................5.0 kN/m2

Self Weight (ceiling, ßoors)........0.5 kN/m2

Total q..........................................5.5 kN/m2

Floor Joist Size1.Mechanical PropertiesEkki is used as material so the strength class is D60 (all values in N/mm2)

Bending, fm,k......................................60 N/mm2

Compression parallel fc,0,k..................32 N/mm2

Compression perp fc,90,k......................10.5 N/mm2

Shear fv,k.............................................5.3 N/mm2

Mean Elasticity Modulus E.................17000 n/mm2

2.Section.

Assume a rectangular section 100x195 mm. From table 3.13

Area A=100x195=19.5x103 mm2

Ixx=61.8x106 mm4

Zxx=634x103 mm3

3.ModiÞcation Factors.

Strength modiÞcation factor kmod. From table 3.8, table 3.9

Service Class 3: External uses, fully exposed.

Load duration: Permanent.Material: Solid timber.

From table 3.7

kmod=0.50

Size Factor kh

As d=195mm, 195mm>150mm, therefore kh=1.0

Instability Factor kcrit=1.0

From table 3.10

The Load Shearing factor kis is assumed to be 1.1 as the beam span 3m less than 6m apart.

From table 3.11

Material: Solid TimberStandard: EN 14081-1

Service class: 3kdef=2

From table 3.6

Material: Solid timber, untreated.Partial factors γm=1.3

The design bending stress fm,d:fm,d=kmodxkhxkisxkcritxfmk/ γm=0.50x1.0x1.1x1.0x60/1.3=25.38 N/mm2

Steel Plate

Steel Angle

Primary Beam

Secondary Beam

For the connection we use an ancient Chinese connector method used

in many of the vernacular rainbow arch bridges in China. The assembly of the connections are shown on the diagram. We got the idea from

investigating the zhi and wu bridge in Nan lian garden, Hong Kong. This contemporary bridge uses an ancient style type of connection and

support.

Connection Details

Screws holding the decking and

the secondary beam together.

Decking 3000x245x50mm

Primary Beam 3900x200x100mm

Secondary Beam 2000x100x50mm

Column appx.5250x300x300mm

For the connection we use an ancient Chinese connector method used

in many of the vernacular rainbow arch bridges in China. The assembly of the connections are shown on the diagram. We got the idea from

investigating the zhi and wu bridge in Nan lian garden, Hong Kong. This contemporary bridge uses an ancient style type of connection and

support.

Connection Details

Screws holding the decking and

the secondary beam together.



Secondary Beam 2000x100x50mm

Column appx.5250x300x300mm

For the connection we use an ancient Chinese connector method used in many of the vernacular rainbow arch bridges in China. The assembly of the connections are shown on the diagram. We got the idea from investigating the zhi and wu bridge in Nan lian garden, Hong Kong. This contemporary bridge uses an ancient style type of connection and support.

Loading:Domestic.....................................PermanentLive Load (imposed)...................5.0 kN/m2Self Weight (ceiling, floors)........0.5 kN/m2Total q..........................................5.5 kN/m2Floor Joist Size1.Mechanical PropertiesEkki is used as material so the strength class is D60 (all values in N/mm2)Bending, fm,k......................................60 N/mm2Compression parallel fc,0,k..................32 N/mm2Compression perp fc,90,k......................10.5 N/mm2Shear fv,k.............................................5.3 N/mm2Mean Elasticity Modulus E.................17000 n/mm2

Section.Assume a rectangular section 100x195 mm. From table 3.13Area A=100x195=19.5x103 mm2Ixx=61.8x106 mm4Zxx=634x103 mm3

Modification Factors.Strength modification factor kmod. From table 3.8, table 3.9Service Class 3: External uses, fully exposed.Load duration: Permanent.Material: Solid timber.From table 3.7kmod=0.50Size Factor khAs d=195mm, 195mm>150mm, therefore kh=1.0Instability Factor kcrit=1.0From table 3.10The Load Shearing factor kis is assumed to be 1.1 as the beam span 3m less than 6m apart.From table 3.11Material: Solid Timber

Details 1:10 + Calculations (Loading) Loading:

Domestic.....................................PermanentLive Load (imposed)...................5.0 kN/m2

Self Weight (ceiling, ßoors)........0.5 kN/m2

Total q..........................................5.5 kN/m2

Floor Joist Size1.Mechanical PropertiesEkki is used as material so the strength class is D60 (all values in N/mm2)

Bending, fm,k......................................60 N/mm2

Compression parallel fc,0,k..................32 N/mm2

Compression perp fc,90,k......................10.5 N/mm2

Shear fv,k.............................................5.3 N/mm2

Mean Elasticity Modulus E.................17000 n/mm2

2.Section.

Assume a rectangular section 100x195 mm. From table 3.13

Area A=100x195=19.5x103 mm2

Ixx=61.8x106 mm4

Zxx=634x103 mm3

3.ModiÞcation Factors.

Strength modiÞcation factor kmod. From table 3.8, table 3.9

Service Class 3: External uses, fully exposed.

Load duration: Permanent.Material: Solid timber.

From table 3.7

kmod=0.50

Size Factor kh

As d=195mm, 195mm>150mm, therefore kh=1.0

Instability Factor kcrit=1.0

From table 3.10

The Load Shearing factor kis is assumed to be 1.1 as the beam span 3m less than 6m apart.

From table 3.11

Material: Solid TimberStandard: EN 14081-1

Service class: 3kdef=2

From table 3.6

Material: Solid timber, untreated.Partial factors γm=1.3

The design bending stress fm,d:fm,d=kmodxkhxkisxkcritxfmk/ γm=0.50x1.0x1.1x1.0x60/1.3=25.38 N/mm2

Steel Plate

Steel Angle

Primary Beam

Secondary Beam

[Learning Outcomes]







[Learning Outcomes]



Standard: EN 14081-1Service class: 3kdef=2

Total load joist.W is the uniformly distributed load, which is calculated by multiplyingthe surface load q with the width of the deck that corresponds to thejoist which is equal 2 times a half spacing s:W=qxs=5.5x2=11kN/m

Max bending moment.The max bending moment occurs at the centre:Mmax=wxL2/8=11x32/8=6.19kNm

Check section size in bending:Bending stress σm,d=Mmax/Zxx=6.19x106/634x103=12.38N/mm2Check the bending stress against permissible strength:σm,d<or=fm,d 12.38<or=25.38 N/mm2Therefore, the section is satisfactory in bending.

Check the section size in shear.The permissible shear stress (strength) fv,d is:fv,d=kmodxkisxfv,k/ γm=0.50x1.1x5.3/1.3=2.24 N/mm2Max Shear force V=qxsxL/2=5.5x2x(3/2)=16.5 kNMaximum shear stress in a rectangular section:τd=3/2x(V/bxd)=3/2x(16.5x103/100x195)=1.27 N/mm2Check against permissible shear stress:τd<or=fv,d 1.27<or=2.24 N/mm2Therefore, the section is satisfactory in shear.

Check deflection of the beam.The instantaneous deflection of the simple supported joist Winst is:Wins=5/384x(wxL4)/ExIxx=5/384x(11x30004/17000x61.8x106)=11.04mmWfin=Wins(1+kdef)=11.04x(1+0.8)=19.88mmFrom table 3.12Roof or Floor members without a plastered or plasterboard ceiling (a member of ceil-ing between two supports).Max allowable deflection is L/150=3000/150=20mm19.88mm<20mm The dimensions assumed for the beam are satisfactory.h

Check bearing upon timber studs.Every stud hold the load from only 1 primary beam.Total design load on stud isVd=16.5kNThe section of the studs is assumed to be 300mmx300mm

Exploded Axonometric + Calculations (Loading)

4 Total load joist.W is the uniformly distributed load, which is calculated by multiplying

the surface load q with the width of the deck that corresponds to the

joist which is equal 2 times a half spacing s:

W=qxs=5.5x2=11kN/m

5 Max bending moment.The max bending moment occurs at the centre:

Mmax=wxL2/8=11x32/8=6.19kNm

6 Check section size in bending:

Bending stress σm,d=Mmax/Zxx=6.19x106/634x103=12.38N/mm2

Check the bending stress against permissible strength:

σm,d<or=fm,d 12.38<or=25.38 N/mm2

Therefore, the section is satisfactory in bending.

7 Check the section size in shear.The permissible shear stress (strength) fv,d is:fv,d=kmodxkisxfv,k/ γm=0.50x1.1x5.3/1.3=2.24 N/mm2

Max Shear force V=qxsxL/2=5.5x2x(3/2)=16.5 kN

Maximum shear stress in a rectangular section:

τd=3/2x(V/bxd)=3/2x(16.5x103/100x195)=1.27 N/mm2

Check against permissible shear stress:τd<or=fv,d 1.27<or=2.24 N/mm2

Therefore, the section is satisfactory in shear.

8 check deßection of the beam.

The instantaneous deßection of the simple supported joist Winst is:Wins=5/384x(wxL4)/ExIxx=5/384x(11x30004/17000x61.8x106)=11.04mmWÞn=Wins(1+kdef)=11.04x(1+0.8)=19.88mm

From table 3.12

Roof or Floor members without a plastered or plasterboard ceiling (a member of ceiling between two supports).Max allowable deßection is L/150=3000/150=20mm19.88mm<20mm The dimensions assumed for the beam are satisfactory.

Column 5250x300x300mm


Secondary Beam2000x100x50mm


Second Storey Primary Beam

3900x200x100mm

Second Storey Secondary Beam

2000x100x50mm

Second Storey Decking

3000x245x50mm

Second Storey column7000x300x300mm

Calculation (Loading)9 Check bearing upon timber studs.

Every stud hold the load from only 1 primary beam.

Total design load on stud is Vd=16.5kN

The section of the studs is assumed to be 300mmx300mm

The design compressive stress perpendicular to grain isσc,90,d=Vd/bearing area=16500/(300x300)=0.183 N/mm2

The permissible stress in stud fc,90,d=kmodxkc,90xkisxfc,90,k=0.50x1.0x1.1x10.5/1.3=4.44 n/mm2

σc,90,d<or=fc,90,d 0.183<or=4.44 N/mm2

Therefore the strength at the bearing is ok and size of the stud was well chosen.

10 Check secondary joist.fm,d=25.38 N/mm2

fv,d=2.24 N/mm2

Span...................L=2mSpacing..............S=3m

Therefore w=qxs=5.5x3=16.5kN/m

Try beam 50mm x 245mmIxx=(bxd3)/12=(50x 2203)/12=61.28x106

Zxx=Ixxx(2/d)=61.28x106x(2/100)=500.2x103

Check bending stress.Mmax=wxL2/8=16.5x22/8=8.25kNmBending stress σm,d=Mmax/Zxx=8.25x106/500.2x103=16.49N/mm2


σm,d<or=fm,d 16.49<or=25.38 N/mm2


Max Shear force V=qxsxL/2=16.5x2/2=16.5 kN

Maximum shear stress τd=3/2x(V/bxd)=3/2x(16500/(50x245))=2.02 N/mm2

Therefore,

τd<fv,d 2.02<2.24 N/mm2


Wins=5/384x(wxL4)/ExIxx=5/384x((16.5x20004)/(17000x61.28x106))=3.30mmWÞn=Wins(1+kdef)=3.30x(1+0.8)=5.94 mm

From table 3.12

Roof or Floor members without a plastered or plasterboard ceiling (a member of ceiling between two supports).Max allowable deßection is L/150=2000/150=13.33mm

5.94mm<13.33mm

The dimensions assumed for the beam are satisfactory.

The design compressive stress perpendicular to grain isσc,90,d=Vd/bearing area=16500/(300x300)=0.183 N/mm2The permissible stress in stud fc,90,d=kmodxkc,90xkisxfc,90,k=0.50x1.0x1.1x10.5/1.3=4.44 n/mm2σc,90,d<or=fc,90,d 0.183<or=4.44 N/mm2Therefore the strength at the bearing is ok and size of the stud was well chosen.

Check secondary joist.fm,d=25.38 N/mm2fv,d=2.24 N/mm2Span...................L=2mSpacing..............S=3mTherefore w=qxs=5.5x3=16.5kN/mTry beam 50mm x 245mmIxx=(bxd3)/12=(50x 2203)/12=61.28x106Zxx=Ixxx(2/d)=61.28x106x(2/100)=500.2x103






W=qxs=5.5x2=11kN/m






σm,d<or=fm,d 12.38<or=25.38 N/mm2





τd=3/2x(V/bxd)=3/2x(16.5x103/100x195)=1.27 N/mm2





From table 3.12







3900x200x100mm


2000x100x50mm


3000x245x50mm






W=qxs=5.5x2=11kN/m






σm,d<or=fm,d 12.38<or=25.38 N/mm2





τd=3/2x(V/bxd)=3/2x(16.5x103/100x195)=1.27 N/mm2





From table 3.12







3900x200x100mm


2000x100x50mm


3000x245x50mm








σc,90,d<or=fc,90,d 0.183<or=4.44 N/mm2



fv,d=2.24 N/mm2




Zxx=Ixxx(2/d)=61.28x106x(2/100)=500.2x103



σm,d<or=fm,d 16.49<or=25.38 N/mm2




Therefore,

τd<fv,d 2.02<2.24 N/mm2



From table 3.12


5.94mm<13.33mm





Calculation with high point load 4.5kN acted on the jettyW=qxs=5.5x2=11kN/mP=4.5kN

Max bending moment.The max bending moment occurs at the centre:Mmax=wxL2/8=11x32/8=6.19kNmMmax=PxL/4=4.5x3/4=3.375kNmTotal Mmax=6.19+3.375=9.57kNm

Check section size in bending:Bending stress σm,d=Total Mmax/Zxx=9.57x106/634x103=15.09N/mm2Check the bending stress against permissible strength:σm,d<or=fm,d 15.09<or=25.38 N/mm2Therefore, the section is satisfactory in bending.

Check the section size in shear.The permissible shear stress (strength) fv,d is:fv,d=kmodxkisxfv,k/ γm=0.50x1.1x5.3/1.3=2.24 N/mm2Max Shear force V=qxsxL/2=5.5x2x(3/2)=16.5 kNMax Shear force V=P/2=4.5/2=2.25 kNTotal V=16.5+2.25=18.75 kNMaximum shear stress in a rectangular section:τd=3/2x(TotalV/bxd)=3/2x(18.75x103/100x195)=1.44 N/mmCheck against permissible shear stress:τd<or=fv,d 1.44<or=2.24 N/mm2Therefore, the section is satisfactory in shear.

Check deflection of the beam.The instantaneous deflection of the simple supported joist Winst is:Wins=5/384x(wxL4)/ExIxx=5/384x(11x30004/17000x61.8x106)=11.04mmWins=(PxL3)/48xExIxx=4.5x30003/48x17000x61.8x106=0.00241mmTotal Wins=11.04+0.00241=11.04241Wfin=TotalWins(1+kdef)=11.04241x(1+0.8)=19.88mmFrom table 3.12Roof or Floor members without a plastered or plasterboard ceiling (a member of ceil-ing betweentwo supports).Max allowable deflection is L/150=3000/150=20mm19.88mm<20mm


Check secondary joist.fm,d=25.38 N/mm2fv,d=2.24 N/mm2Span...................L=2mSpacing..............S=3m

Therefore w=qxs=5.5x3=16.5kN/mP=4.5kNTry beam 50mm x 245mmIxx=(bxd3)/12=(50x 2203)/12=61.28x106Zxx=Ixxx(2/d)=61.28x106x(2/100)=500.2x103

Check bending stress.Mmax=wxL2/8=16.5x22/8=8.25kNmMmax=PxL/4=4.5x2/4=2.25kNmTotal Mmax=8.25+2.25=10.5kNmBending stress σm,d=Total Mmax/Zxx=10.5x106/500.2x103=20.99N/mm2

Check the bending stress against permissible strength:σm,d<or=fm,d 20.99<or=25.38 N/mm2

Therefore, the section is satisfactory in bending.Max Shear force V=qxsxL/2=16.5x2/2=16.5 kNMax Shear force V=P/2=4.5/2=2.25 kNTotal V=16.5+2.25=18.75 kNτd=3/2x(TotalV/bxd)=3/2x(18.75x103/50x245)=1.53N/mm

Check against permissible shear stress:τd<or=fv,d 1.53<or=2.24 N/mm2Therefore, the section is satisfactory in shear.Wins=5/384x(wxL4)/ExIxx=5/384x((16.5x20004)/(17000x61.28x106))=3.30mmWins=(PxL3)/48xExIxx=4.5x20003/48x17000x61.28x106=0.00072mmTotal Wins=3.30+0.00072=3.30072Wfin=Wins(1+kdef)=3.30072x(1+0.8)=5.94 mmFrom table 3.12Roof or Floor members without a plastered or plasterboard ceiling (a member of ceil-ingbetween two supports).Max allowable deflection is L/150=2000/150=13.33mm5.94mm<13.33mm


Check the bending stress against permissible strength:σm,d<or=fm,d 16.49<or=25.38 N/mm2Therefore, the section is satisfactory in bending.Max Shear force V=qxsxL/2=16.5x2/2=16.5 kNMaximum shear stress τd=3/2x(V/bxd)=3/2x(16500/(50x245))=2.02 N/mm2Therefore,τd<fv,d 2.02<2.24 N/mm2

Therefore, the section is satisfactory in shear.Wins=5/384x(wxL4)/ExIxx=5/384x((16.5x20004)/(17000x61.28x106))=3.30mmWfin=Wins(1+kdef)=3.30x(1+0.8)=5.94 mmFrom table 3.12Roof or Floor members without a plastered or plasterboard ceiling (a member of ceiling between two supports).Max allowable deflection is L/150=2000/150=13.33mm5.94mm<13.33mm



[Learning Outcomes]









σc,90,d<or=fc,90,d 0.183<or=4.44 N/mm2



fv,d=2.24 N/mm2




Zxx=Ixxx(2/d)=61.28x106x(2/100)=500.2x103



σm,d<or=fm,d 16.49<or=25.38 N/mm2




Therefore,

τd<fv,d 2.02<2.24 N/mm2



From table 3.12


5.94mm<13.33mm

The dimensions assumed for the beam are satisfactory. Calculation with high point load 4.5kN acted on the jetty

W=qxs=5.5x2=11kN/mP=4.5kN


Mmax=wxL2/8=11x32/8=6.19kNmMmax=PxL/4=4.5x3/4=3.375kNmTotal Mmax=6.19+3.375=9.57kNm


Bending stress σm,d=Total Mmax/Zxx=9.57x106/634x103=15.09N/mm2


σm,d<or=fm,d 15.09<or=25.38 N/mm2



Max Shear force V=qxsxL/2=5.5x2x(3/2)=16.5 kNMax Shear force V=P/2=4.5/2=2.25 kNTotal V=16.5+2.25=18.75 kNMaximum shear stress in a rectangular section:

τd=3/2x(TotalV/bxd)=3/2x(18.75x103/100x195)=1.44 N/mm




The instantaneous deßection of the simple supported joist Winst is:Wins=5/384x(wxL4)/ExIxx=5/384x(11x30004/17000x61.8x106)=11.04mmWins=(PxL3)/48xExIxx=4.5x30003/48x17000x61.8x106=0.00241mmTotal Wins=11.04+0.00241=11.04241

WÞn=TotalWins(1+kdef)=11.04241x(1+0.8)=19.88mm

From table 3.12

Roof or Floor members without a plastered or plasterboard ceiling (a member of ceiling between

two supports).Max allowable deßection is L/150=3000/150=20mm19.88mm<20mm


Calculation (High Point Loading)9 Check secondary joist.fm,d=25.38 N/mm2

fv,d=2.24 N/mm2


Therefore w=qxs=5.5x3=16.5kN/m P=4.5kN


Zxx=Ixxx(2/d)=61.28x106x(2/100)=500.2x103

Check bending stress.Mmax=wxL2/8=16.5x22/8=8.25kNmMmax=PxL/4=4.5x2/4=2.25kNmTotal Mmax=8.25+2.25=10.5kNmBending stress σm,d=Total Mmax/Zxx=10.5x106/500.2x103=20.99N/mm2


σm,d<or=fm,d 20.99<or=25.38 N/mm2


Max Shear force V=qxsxL/2=16.5x2/2=16.5 kNMax Shear force V=P/2=4.5/2=2.25 kNTotal V=16.5+2.25=18.75 kNτd=3/2x(TotalV/bxd)=3/2x(18.75x103/50x245)=1.53N/mm



Wins=5/384x(wxL4)/ExIxx=5/384x((16.5x20004)/(17000x61.28x106))=3.30mmWins=(PxL3)/48xExIxx=4.5x20003/48x17000x61.28x106=0.00072mmTotal Wins=3.30+0.00072=3.30072

WÞn=Wins(1+kdef)=3.30072x(1+0.8)=5.94 mm

From table 3.12

Roof or Floor members without a plastered or plasterboard ceiling (a member of ceiling

between two supports).Max allowable deßection is L/150=2000/150=13.33mm

5.94mm<13.33mm





Architectural DesignExploration

• Cultivation | Cultivation Sited• Active Landscape | Passive Building

Architectural Theory

• Diary Entries• Eassy - What is Structuralism?

Technology and Environment 3Elective

• Coursework

Year 3. 2011 | S1

Year 3. 2012 | S2

Architecture PlacementWorking Learning

• Six Short Eassys• Design Report• Reflective Eassy


Architectural Design Exploration

2011 | S1

[Brief]‘‘Drawing Energy Kerrera both challenges and complements conventions of sustainable archi-tectural design. Focusing less on sustainable metrics and more on the qualitative and experi-ential dimension of ecological design, this unit uses Kerrera, Scotland as a site of speculation and exploration. Kerrera represents one of many Scottish islands whose autonomy has been under threat first due to industrialisation, and more re-cently due to deindustrialisation and globalisa-tion. This course will engage with the full com-plexities of Kerrera through five distinct lenses: Drawing, Energy, Landscape, Fieldwork and Scale’’

GC1 GC2 GC5GC7



Architectural Design Exploration2011| S1• Cultivation | Cultivation Sited

‘‘Stage 1 Cultivation, you will gain a concrete understanding of the sizes, spaces and sequences required for a specific mode of cultivation. You will also gain an awareness of the physical pro-cesses and weather patterns that impact Kerrera as a whole. Through research, drawing, and fieldwork, in groups of three, you will explore modes of production, or cultivation, of the land-scape and you will cultivate your ability to draw these condi-tions at multiple scales. You will test these drawings in the field, understanding how the abstraction of a drawing is shaped by the physical processes inscribed on the landscape.’’

[Learning Outcomes]

1. Knowledge of the ways in which research and analysis of con-text, program and construction inform architectural design, and the ability to adhere to a coherent design methodology that builds on this analysis.

2. Knowledge of how architectural theory and cultural influenc-es inform design, and the ability to evaluate and critically assess these concerns in the work of others.

3. Ability to communicate research findings and design propos-als using appropriate and varied modes of visual, verbal and written production.

From our initial study of wind turbines and the case study of the Whitelee wind farm in Glasgow. We know that the amount of electricity that wind turbines can generate is limited by mainly two conditions.

The size of the wind turbne (the size of the engine): the larger the size of turbine, the more electricity it can preduce ( if other conditions are the same). that is because of the engine in the turbine is larger and therefore more turning moment it can produce.

The wind speed: the stronger the wind is the more electricity it can produce (if other conditions are the same). the stronger the wind the blades are turning faster therefore more turns in a unit time more turning moments to transfer into electricity. In the case of Whitelee wind farm, it produce more energy in the winter and less in the summer.

The middle of the drawing shows the land occupy of Whitelee wind farm, the circle around it shows the wind strength change throughout the year. the arcs surrounding shows the link between the sale of turbine and the energy it can produce abstractively.

Group work: Zhang Li, Mu Li, Kouko Itamura




[Learning Outcomes]





[Wind Drawing]

Studying different type of plants reacting to the wind: these drawings are showing the track of plants traveled in the wind. From these drawings we can see different plants react in a very different way. Some have good resistance to the wind, so on the paper their tracks went in one direction, some plants have poor resistance to the wind, therefore their tracks move more flexible and went in many directions randomly.





[Learning Outcomes]





The drawing on the left is the cultivation drawing that summraized the site work on Kerrera. It includes the information of microclimite conditions on the site and the macrowind conditon of the South-East part of the island.

The drawing on the right hand side is the imagined view of our site with wndturbines haven been built on. It also shows the raining weather contiditon on the site.




Architectural Design Exploration2011| S1• Active Landscape | Passive Building

[Wind Farn Proposals]

After the field trip and further studies on wind farms, we gave three different proposals of wind farm building strategies on the island of Kerrera

First proposal: this plan is to find the most suitable area on the island to build up wind farms, we found places which are open to the sea to get plenty wind resource. The wind farms are connected to the national grid to support the surrounding places.

Second proposal: Set up the wind farm offshore near the South sea coast of Kerrera, connected to the national grid to support nearby towns.

Third proposal: build up six turbines to only support the residi-ences and local industries on the island.

‘‘Stage 2 builds on the research, drawings and fieldwork conducted in Stage 1. You will develop your researched mode of cultivation into a site proposal. You will mine your drawings for spatial cues, which will be used to generate an active landscape of production and a passive building that responds to climatic conditions. The active landscape is a landscape that harvests and orders naturally occurring resources. The passive building registers, buffers and mediates weather and contributes to the productive landscape in which it operates.’’





[Wind Energy]

The wind energy is transfered from the turning moment to electricity by the wind turbines the on site transformer makes the electricity produced into a stable voltage sustaining electricity flow. For long distance energy transfer, the electricity is charged into high voltage to make sure the minimum energy lost during the transfer, this work is done by a series of powerful transformers. Before the electricity goes into buildings, it has to be transfered back into a low voltage state to be usable and safe.

[Micro-climite]

The wind condition on the site is very variable depends on the different area of the site. From the site experiment we did during the field trip. We polt this diagram to show the wind conditions on the site. On this diagram, I high lighted the wind going though the valley, which is at a low speed and the direction is mostly going along the valley. I choose to locate the building at the South-West end of the valley. The diagram show the slope is gentle and at a low height compared to the other area of the valley, which means the wind is not going to be strong. the wind comes from South-East, and Norht-West is buffered by the hills. Also the region can get enough sunlight because the south-east side of the region completely open to the sun light.





[Locating the Passive Building]

On the end of the site there is a road for traffic close to the end of the valley. This is the only road near the site, the building will creat a path connecting to the road and the middle area of the valley, which can make the site more easier to approach by engineers, scientists and public.

On the right hand side is the sun light analysis 3D models.

‘‘Stage 2 builds on the research, drawings and fieldwork con-ducted in Stage 1. You will develop your researched mode of cultivation into a site proposal. You will mine your drawings for spatial cues, which will be used to generate an active landscape of production and a passive building that responds to climatic conditions. The active landscape is a landscape that harvests and orders naturally occurring resources. The passive building registers, buffers and mediates weather and contributes to the productive landscape in which it operates.’’




[BUilding Strategies]

The building will include six seperate cells and a corridor for circulation, the corridor is used as the connection between the road and the bulding and the middle of the site. The six cells will include one working studio, one office, three accommodations and one common room conbined with kitchen.

The six cells are located in a linear way, the main entrance is at the low end of the building. the three accomidations are at the middle of the building, the working areas are located at the high end of the building closer to the turbine areas.

‘‘Stage 2 builds on the research, drawings and fieldwork con-ducted in Stage 1. You will develop your researched mode of cultivation into a site proposal. You will mine your drawings for spatial cues, which will be used to generate an active landscape of production and a passive building that responds to climatic conditions. The active landscape is a landscape that harvests and orders naturally occurring resources. The passive building registers, buffers and mediates weather and contributes to the productive landscape in which it operates.’’



[Passive Strategies]

This building is going to be used as a accommodation and working station for wind turbine engineers and scientists come to the site to do reaearch and maintainance. The design will includes four passive strategies.

The thermal mass-As the site is in a very cold and windy place, the most of the building will cut into the ground to get heat energy from the ground, to make the building confortable to stay in.

Wind Buffer-The building cut into the ground the roof will be designed very close to the ground surface to avoid strong impact with the wind . It will save the building a lot of energy.

Rain collection-As the research diagram shows, the site gets plenty of rains throughout the years, it will be very suitable for the building to collect rain water for use. Thermal heat pump- The heat pump will work together with the rain collection system.to warm up the building, and heat up water for living use.




March 21st June 21st

9:00 9:00

12:0012:00

15:00 15:00

September 21st December 21st

9:00 9:00

12:0012:00

15:00 15:00


[Learning Outcomes]







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Offi

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Acc

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Acc

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odat

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Acc

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[Section and Plan]





Architectural Theory

2011 | S1

[Brief]‘‘From a critical perspective the course examines the place of architectural design theory within this age of rapid technological change. The course picks up on critical discourses that seek to challenge and unsettle various theoretical and technological certainties, critically examining is-sues of power, the philosophy of technology, the politics of domination, the production of space, history as disjunction, gender issues, the body, political and state apparatus, discourses of the unconscious, cyberspace, theories of interpreta-tion, and deconstruction - all of which implicate architectural design.’’

GC2 GC3GC7 GC10



Architectural Theory 2011| S1• Diary Entries | Eassy - What is Structuralism?

Since the time words were invented to help hu-man record informations, histories started been recorded. What happened before the time that people create civilization, and society? People started asking the question of their origin and un-known histories, and recorded their thoughts and imaginations as legends and myth, which we cant proof their truth. According to the Greek mythol-ogies. Human started their lives in Golden age, a age of peace, harmony and relax, people lives independently, there were no rules that they have to follow, no judgement of good or bad, and no punishments. Human were living in a total free-will environment. They don't have to work, for they have no lack of foods the only thing they need to do was to find a nice place with fruits and enjoy the gift from the nature. With no threat of death and enemy, people started to think about how to protect themselves form the rains and cold winds and strong sunshine which would make them feel uncomfortable, so they found shelters like caves groves or woods. Human lived happily under the rule of god Jove. After the Golden Age came the Age of Silver under the rule of God Jupiter. Four seasons were created people had to face the sun and storm in the Sum-mer and cold and wind in the Winter, the food are no longer been produced through out the year, thus agriculture began, and people started to build their own shelters to defend the bad weath-er. They built their shelters by learning from the birds' nest and other natural things. People lived closely to each other villages were formed and gradually became a city. As time flows people

started assemble together and create their culture and civilization. Hierarchy, work distribution and religion release some people from labour work to put their time into thinking, and inventing. A group of people start to think about improve the shelter that people lived in to make them feel more comfortable and more protected. Architec-ture started and serve the need of different peo-ple, for use of public defending, and religion.

[Origin]

‘‘Seeking to understand something, we often ask the question, where did it come from? An approach to understanding architec-ture can usefully follow this tried method. More specifically, ar-chitectural thinking has dwelt recurrently upon the question of evolution, for building clearly represents a crucial moment in that process. The notion of civilisation itself can be couched in terms of the nature and function of architecture. How we stand with regard to the elements of nature, how we came into social relations and why we build have seemed to be related questions. Thinkers have speculated on evolution from Homer to Darwin and have pondered the question of architecture in terms of these speculations from Vitruvius to Le Corbusier.’’

[Learning Outcomes]

1. Knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of architectural design.

2. Ability to demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses.

3. Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.




This universe we live in is constituted of matter, everything exists in the world that we can feel, touch, hear, smell, and taste are matters. Archi-tecture is creating things from natural matters, and the matters that people use to construct buildings are ‘materials’. In Aristotle’s theory of causality ‘the four causes’, he suggested that the reason of everything coming out in this world can be attributed to four different types of causal factors: material cause, formal cause, efficient cause, and final cause. In architecture people suggested that building’s form is formal cause, the technology that applied to the building is ef-ficient cause, the function of the building is final cause, and the material cause is the material that used to construct the building. Thinking Aristot-le’s four causes as indebtedness, in architecture, there is a situation of circulating. Form is indebt-ed to technology, technology is indebted to mate-rial, material is indebted to function and function is indebted to the form. There are three conven-tional uses of materiality in architecture. The in-trinsic worth of material, the material is truthful-ly used and capturing the origin of the natural material. Stone is always been respected in an-cient eastern architecture, they are allowed to show their natural beauty, and the spirit of inside it, cold, heavy, and natural. Wood must be al-lowed to be wood, it’s very durable and warm to touch, different from other materials it used to be ‘alive’ and breathed before. How to use material in architecture is a thing that decided by people. I don’t think there is a absolute rule to obey, like there are no absolute thing and matter in the

world. People use material in a way that can make them comfortable, and well pleased.

[Material]

‘‘The lecture deconstructs the question “from what should I build my building?” The lecture explores definitions of ma-terial, the substance of building, and provides an interpre-tation of Heidegger’s techné and poesis and Heidegger’s reconstruction of Aristotle’s four causes. The lecture leads to a view on materiality which reveals the greater implica-tions of the original question.’’

[Learning Outcomes]







Unconscious the opposite word to conscious, which means the free from self-awareness that we cant control, or perceive. It’s like the heart is beating, and stomach is squirming, we can’t con-trol their motions. We won’t notice that breath we make everyday, if we don’t try to. Uncon-scious also represent the deep desire in our heart and our instinct, its opposite to the logical mind. It’s the key factor that influence people’s acts, and conscious serve the need of it . Unconscious can be seen as the true spirit of human, and moral and social rules were created, and developed to inhibit unconscious. The theory of unconscious has a very long history Greek philosopher Plato had mentioned about it. In 18th century, the the-ory of unconscious was developed by German philosopher Gottfried Willhelm Leibniz accord-ing to his theory of Monadologie. According to Sigmud Freud, Dream is the hole that we can take a peek to our unconscious. Freud also sug-gested the inhibit does not take place in con-scious, and that’s why people forget things. He also point out that architecture proposes an effect on human mind not merely a service to the hu-man frame. Sir John Soane’s Museum, formerly the house of him, is a space full of unconscious ideas. Sir John Soane Museum in London, once being used as the house and architecture office of John Soane, was consist of three adjacent houses. The museum was designed to give the visitors a dynamic and interesting tour, it’s full of Soane’s major collection if antiques, paintings and many other interesting things, and all the items are at-tracting and fascinating displayed to make the

visitors learn form their tour in the museum un-consciously.

[Unconscious]

‘‘In posing the notion that “architecture proposes an effect on the human mind not merely a service to the human frame” this lecture explores mind through the theories of Freud,,Jung, La-can and Deleuze and Guattari. The lecture looks at the differing views on the conscious and unconscious discussing Freud’s ego, id and super-ego, Jung’s theories of the collective unconscious, Lacan’s trinity between the Ideal,, Real and Symbol, and Deleuze and Guattari’s Schizoid.whilst looking at examples of art and architecture which make cognisant or indirect philosophical connections to these psychological concepts.’’

[Learning Outcomes]







Generally, language is defined as a tool that peo-ple communicate with each other. In all the lan-guages, them have their own rules(grammar) to assemble words together to make a sentence, you get the rules wrong, then you can’t explain your thoughts. Applying to the classical architecture, the design rules are like the grammar of lan-guage, if the building don’t flow the ‘grammar’ then the façade looks ungrammatical, not aes-thetic. Language is the tool helps us to make con-versation with different people, explain our thoughts. Designing a building can be seen as a conversation between designers and the others(people, surrounding environment, or the culture, etc.), so we can treat architecture as a language for designers and the building to make conversation with others. According to Ferdi-nand de Saussure’s structuralism theory, lan-guage is a specific linguistic system, and there are five points that he suggested. First of all, he thought signifier has a higher position than signi-fied, a sign is not a link between an object and a name, but a concept and a sound pattern. Sec-ondly, is synchronic versus diachronic, one is explaining a static phenomenon or object, the other is explaining a process. Thirdly is thee pho-nemic difference between words. He suggest the sound of each word is not important because of it self, but the function it has to distinguish one word form another. That is what carries the meaning(the thoughts and ideas) of a word. In this case the signs surround a sign make the sign’s idea and meaning clear. Jacques Derrida, a famouse philosopher known as a post-structural-

ist, he challenged the theory of Saussure. He sug-gested that the signified should have a higher position than signifier. Architecture is been seen as a system that consist of signs. When decon-struction first applied to it, the argument of struc-turalism and post-structuralism becomes even more convoluted. According to Derrida, it is pos-sible to take an over view of reality to know the relationship between every single part. Decon-struction dismissed all such notions as mere comforting illusions. In 1980 a group if archi-tects adopted the idea of deconstruction into ar-chitecture. As a result, hybrid style buildings came to be known as de-constructivism, a combi-nation of deconstruction and constructivism.

[Theories of Language]

‘‘This lecture introduces the theory of language from 19th century correspondence theory to Saussure and structural-ism, considering concepts of difference, synchronicity, langue and parole, syntax and semantics, sign and symbol, signifier and signified. We consider the work of Jakobson and Jameson on language, Levi Strauss on the application of structuralism to anthropology, Piaget on psychology, Barthes on cultural studies, and Eisenman on architecture.’’

[Learning Outcomes]







Domination is a social form, naturally generated within the human civilization. Higher class of people dominate more social resources, create the rules that serve their benefit and protect their positions. The ordinary people, workers and pro-letariat, are under influence and entangled. Phi-losophers worked hard to find out a way to eman-cipate people from blind domination, analysis the society and produced ideological systems. Adam Smith suggested the theory of Capitalism, which divide the labour into two major part, the efficient machines of production, and consump-tion. Rene Descartes, famous French philoso-pher suggested the theory of rationalism, he sug-gested people to see everything in a rational way, break complex things to small basic parts and the key points will be intuitively to be been. Re-versely, an complex idea should start from a amount of simple ideas. The methods of induc-tion and deduction are recommended to deal with making accurate and complete enumeration of data. August Comte, established the theory of postivism. He believed that the only way to prove the true of a thing is to make scientific ex-periments. And authentic knowledge must be scientific knowledge. Capitalism, is adopted by most of the people, it pushes economic develop-ment, and made revolutionary change to the hu-man social body. However, Karl Marx pointed out 6 critical things on it. He suggested the hid-den trouble of imperialist expansion and war, the debasement of human relationships, the domina-tion of oligopolistic and monopolistic in a free market policy, and the difference between ideol-

ogy and actuality. Domination doesn’t apply to the macro society model only, it can be applied into more detailed things. Rem Koolhass, an ar-chitect of criticism. In his work, he degraded the architecture pieces to a position of ‘toys’ and consumer goods. A container of histories and decorations He tried to prove that even the most unimportant detail in a building, the permanent it has is not compatible with the instability of changes of an urban place. In the competition of course the winner is the urban place. In this case urban place dominate the architecture in it.

[Domination]

‘‘The Cartesian picture of subject in a world of objects is set against the views of the Critical Theorists of knowing and active subjects as social and embodied beings. The lecture will look at the origins of critical theory in the Frankfurt School and Marx’s “man as totality of social relations.” The process of practical reason over the theoretical will also be explored with regard to the creative criticism of Manfredo Tafuri.’’

[Learning Outcomes]







Body, the hylic container of all the part that con-sist a human being. Formed in perfect proportion of aesthetic and function. Together with emotion they make a human a whole. The relation ship between them is complex. Emotion can affect our body unconsciously, it controls the mussel system to react to some kind of emotions, if we feel scared and frightened the pores in our skin will be closed to raise the fine hairs as a way of protection. It sounds like the emotion controls the body, However, according to James F. Wil-liam the sequence is wrong, he suggested that ‘the body changes follow directly the perception of the exciting fact, and that our feeling of the same changes as they occur is the emotion.’. The original sequence is we do things because we feel sad, angry for fearful, the more rational order that he believed is we cry, strike, and tremble, make us feel sad, angry,or fearful. We do judgement before we the step of emotion react on the body. In Architecture, designers should consider about the relation between building and body than with the emotion. The space, sound, images, commu-nicate with the body rather than the emotion. In classic architecture, regular building plan is based on the study of the human body, the pro-portion between each part of the body and the shape that it can form, give the information for the designers to create a plan with respect to the human body. An architectural piece should be designed with respect to the body and for satisfy-ing the needs of the body.

[The Body]

‘‘In this lecture we will survey theories on the relationship be-tween the body and architecture, starting with mythic concepts of space that implicate the body through ritual, movement, par-ticipation in the cycles and seasons, and geometry. We also ex-amine Neo-Platonic concepts of ecstasis, and look at anthropo-morphism - the belief that the measure of man reflected divine measure - depicted most famously in Leonardo da Vinci’s draw-ing of Vitruvian man, a body inscribed simultaneously within a circle and a square. We consider empiricist approaches to the body and measurement, including Le Corbusier’s Modulor. Wethen look at the phenomenology of the body and the embodied nature of human experience. We introduce the provocative thought of Foucault about technologies and institutions as ways of constructing and controlling the body, and inducing a docile public, and conclude by considering the cyborg, the Surreal, hy-brid entity that some think we are all becoming.’’

[Learning Outcomes]







Interpretation is to sell an idea to other people, try to make them believe in what we believe. In our assumptions, interpretation is opposite to analysis, analysis is using objective information to prove the truth of a thing, and interpretation is giving subjective ideas into a thing. Architectural design is a progress of developing an subjective idea, and comprehension of a thesis. The build-ing that we see is the designer’s understanding in concrete. According to the theory of Gadamer’s understanding, there appears to be a circular of understanding. The whole and the parts of a thing are both the prior conditions in a interpretation of each side. The Cartesian interpretive framework suggested the possible framework of a fine piece of interpretation based on the theory of Descartes. The interpretation should be free from prejudice, analysis into parts and synthesis into a whole as the parts and the whole are strongly linked to-gether to understand each other. Examples and evaluation are necessary for a clear explanation. This interpretative framework also apply to the architectural design progress. Interpretation is a very common thing that happens everyday and apply to almost all phenomenons, and is trying to emerge the difference between objective and subjective. The radical side of interpretation helped the development of transgressive, de-constructive in architecture. In architectural de-sign, the whole progress start from the beginning of doing research is the process of interpreting ideas. Making briefs, studying the site, and text, etc. Interpretation is everywhere in architecture.

[Interpretation]

‘‘Hermeneutics is the study of interpretation. In this lecture we explore the hermeneutical theory of Gadamer and others, that sets interpretation against method as the way we develop under-standing. We are clearly engaged in interpretation when we read a book or watch a film, but interpretation applies equally to criticising architecture and even designing. We examine the con-cept of the ubiquity of interpretation, the relationship between interpretation, application and understanding, the concepts of horizon, effective historical consciousness, and judgment. We also examine the notion of the architectural institution as inter-pretive community.’’

[Learning Outcomes]







[Learning Outcomes]




Metaphor is the other name of an object that peo-ple can read but doesn’t belong to it. As Aristotle said ‘Metaphor gives the thing a name that be-longs to something else.’, the metaphor is the transformation between abstract ideas and ob-jects or visual images. The copula structure in linguistic can build the idea of metaphor for an object. For instance we can say ‘a building is a machine’. If we only understand this sentence literally, this sentence is a falsity. The two objects are different. However, if we can consider the function and the definition of the machine we can find out a reason to make the sentence under-standable, it’s called the metaphorical truth. De-signing a building is the process of give some-thing a metaphor. There are two ways to understand metaphor, the literalists and the inter-actionists. In literalist we emerge two different things and find the similar points to make a link in between to make it true metaphorically. In Max black’s theory of interaction of metaphor, he suggested that there are no predetermined fea-tures. Which can be understand as a thing is what it is, after we defined its existence is true, and the relationship between two objects can be reversed in a metaphor idea. For example, a house is a ma-chine that have a lot of functions. A machine is a house, the container of gears, and bearings. The use of metaphor in Architecture starts from the very ancient. Using tattoos and symbols is a way to explain their concepts, mostly serve the ruling and religion. Now a days architect still combin-ing the metaphor into their design.

[Metaphor]

‘‘Metaphor has been a major issue in language dating back to Aristotle’s studies inrhetoric, but Nietzsche invigorated meta-phor by exposing all intellectual pursuits as under its influence. We explore the workings of metaphor according to this post Ni-etzschian view, considering the debate about the literal versus the figurative, live and dead metaphors, and the differences be-tween model, simile, analogy, and metonymy. We look at the im-plications of Ricoeur’s imaginal theory of metaphor which pre-sents metaphor as a play between metaphorical truth and literal falsity, and explore the work of Lakoff and Johnson which traces all metaphors back to bodily experience. We will see that meta-phor theory has a great deal to say about the design studio and design criticism - design as “metaphor play.”



Structuralism is a kind of philosophy, its origin can trace to the beginning of 20th century, it is a method to analysis and ex-plain. It took a long time for structuralism to develop to be well-rounded. The golden age for structuralism is 20century 60th, but the start point is much more earlier. As the science and industry developed and spread swiftly in that age, many physical and chemical theories were established. Some scholar were not satisfied with the original system of contemporary culture, they criti-cized it about its unclear division of work, ignoring the entirety but only focus on the detailed parts.

Structuralism has many obvious character-istic. First of all, it pays more attention to the relationship between objects, than the self value of the objects, the value is created by the relationships with other objects, and the hidden inner structure. Secondly, all structures can be formalized. Thirdly, the structure defines the function. A structure has the ability to make self adjustment, and transform. Also, structuralism is highly based on the theory of binary opposition(black against white, emotion against ration, male against female, and speech against writing, etc.).


[Learning Outcomes]




‘‘What is Structuralism? Explain its relevance to architecture.’’ Conclusion:

Structuralism developed through a long time to achieve self consummate, although it might never be possible to create a ulti-mate theory or formula to explain and ‘cal-culate’ everything. It has already gradually pushed the modern architecture forward for a large step. It is interesting to apply the lin-guistics theory to architecture, but logical. As structuralism suggested, every is can be related together by structures. Architecture, can be seem as the reconstruction of the land , and rearrange the order of the natural materials, it’s like writing and speech. A building is an article, to consist it we need grammar, semantics, words, and sound pat-terns, etc. All this components can be linked to materials, structures, site, environment,etc. The development from structuralism to post-structuralism, is the development of architecture from construc-tivism to deconstruction. In this progress people are released form the chain of tradi-tional western theory and acknowledge, the gap between traditional architecture, and modern architecture has become fuzzy, which gives architects chances to use their creativity. The constructivism, the white, and deconstruction are all generated and

developed under the influence of structural-ism(/post structuralism), they are independ-ent, while linked together in their develop-ing progress. Structuralism made a great contribution to our acknowledge of archi-tecture, and the way we design and review it. As suggested there is not a perfect way to explain things, and there is nothing is abso-lute truth objectively. Structuralism passed a critical develop progress. And it will keep its revolution just like the evolution of na-ture, things developed in competitions and complementation. Deconstruction will not be the last part of it, while this century is the century of deconstruction.

[Selected Reference] JacquesEhrmann (1970). Structuralism. United Stated of America: Yale French Studies. vii, p1-9. Jean Piaget (1971). Structuralism. Great Britain: Unwin Brothers Limited. p14-17. Hazel Conway and Rowan Roenisch (2005). Understanding Architecture An introduction to architecture and architectural theory. 2nd ed. Simultaneously published in the USA and Canada: Routledge. p45-48, p165-166.


Technology and Environment 3 Elective2011 | S1

[Brief]‘‘The manner in which buildings are constructed is continually changing, responding to cultural, social, and technological conditions. During the next forty years the means available to construct buildings will have changed radically. Tradition-al construction methods and techniques are being replaced by increased industrialisation and pre-fabrication. New disciplines and roles are evolv-ing for the design teams. Each new project raises new issues for the design team and their builders. Change is an inherent characteristic of the con-struction industry. Designers need to approach the use of technology with this in mind, in an in-formed rather than an empirical manner. The course will provide a framework for the critical review of contemporary building construction.’’

GC5GC8 GC9



Technology and Environment 3 Elective2011| S1• Coursework - The role of computers in modelling and manufacturing buildings with complex geometries.

‘‘The project should take the form of a review of contemporary state of the art for the selected topic. It should provide an in-formed assessment of the current technology and make reference to current products, improvements, innovations and applica-tions. Highly innovative products and methods should be exam-ined within the current context and opportunities and limitations must be thoroughly discussed.’’

[Learning Outcome]

1 Students will understand the key differences informing the de-sign of steel and concrete structures.

2 Students will be able to analyse and review contemporary con-struction methods and technology.

3 Students will be able to make informed decisions integrating issues of building technology into their design work.

4 Students will have gained and understanding of structural framing using reinforced concrete and steel, the building enve-lope and the use of manufacturing and prefabrication in con-struction.

[Introduction]

Form the very beginning of human civilization, we are keen on inventing tools and keep improv-ing the tools to help us to work easier and more efficiently. From the 20th century, people’s live have been changed dramatically by a great in-vention computer. With the help of computer complex calculation solving, huge data analyse, and digital remote communication have been re-alized. At the same time architecture is also de-veloping and has became more and more differ-ent from the classical architecture. Buildings with complex geometric forms have become popular, and people found out that computer would play a very important role through the de-signing and manufacturing process. The com-puter design and manufacturing process consists of three main components: First of all is a CAD program, digital interactive design and analysis environment for making digital geometric mod-els of the object to eventually produced. Second-ly, is a CAM program which helps the designers to specify how the digital design model can be manufactured, it also creates digital introduc-tions for the later manufacturing process. The last main part of the whole process is CNC, a computer numerically controlled machines which can translate the output informations from CAM into actual manufacturing process.

[CAD]

Computer-aided design (CAD) is the use of com-puter technology for designing process and docu-mentation, designers input their work into the computer for analysis and development and out put the processed electronic files for manufactur-ing. Shapes and forms are not the only language that CAD environments include. The CAD out-put also illustrates information of dimensions, constructing materials, tolerance and process in the drafting of technical and engineering draw-ings.

[CAM and CNC]

Computer aided manufacturing is the technology of using computer to control and operate the manufacturing process. It can output the the de-signed manufacture process and methods of the components. In 1952 MIT(Massachusetts Insti-tute of Technology) invented the first CNC(computer numerical control) manufacture machine. A computer numerical controlled ma-chine is capable of high accuracy manufacture, it can machine complex shaped components, high efficiency of production 3-4 times than normal machine tool, also it can work automatically in most of the process so less worker needed. It has relatively low need of operating technician but high quality maintenance should be applied.

Group work: Zhang Li, Mu Li



Technology and Environment 3 Elective2011| S1• Coursework - The role of computers in modelling and manufacturing buildings with complex geometries.

Conclusion:

A conference on ‘Building designed with computers’ was organised at the RIBA in 1982. At the time CAD system has not been spread widely yet, most of the architects and egineers who was presenting in the confer-ence admitted they were still trying to under-stand the new tool they would use in the fu-ture when some mentioned the early modelling system had already provided more design options, but the system was restricted to orthongonal geometries. Today such prob-lems have been solved and extremely com-plex building forms become possible. Post-Modernism itself has become a historical architectural style but it is widely reviled by many progressive architects. As a result, the language model has largely fallen into disuse and a new way of thinking about architecture is expecting. CAD is definitely inputting a new stream to current architectural develop-ment. With the help of computers, a new lan-guage of architecture has been invented. For some architects, the stranger the form, the better. Moreover, complex geometries in ar-chietcture can have more influential impact not only in building industry itself but also in society. For instance, Frank Gehry’s Guggen-heim Museum in Bilbao, the astonished com-plex form makes the building significantly important and special to the city as it has dra-matic impact on the increase of tourism and enhanced economy of the region.

[Case Study2] - Beijing Water Cube

As it was almost impossible define the size of each individual structural element(bubble) to main the whole structure stable, the engineers in ARUP developed a new software which can help the engineers figure out the size of each bubble to make sure the building to be stable. As a result the steel structure of Water Cube is a very efficient structure. After solv-ing the structural problems the design process became almost automated. One computer program worked out the accurate structural form of the whole building from sketches. Base on the Weaire-Phelan structure theory, the finial form of the building is out: three fifth of the bubbles have 14 faces, and two fifth of them have 12 faces, the most difficult part that the computer had done was to keep all the bubbles having the same volume, while each bubble has different shape and size. After that, the structural analysis model was translated into an accurate three-dimen-sional solid CAD model for construction and manufacture usage. All the further diagrams and construction drawings, schedules were produced automatically form the digital mod-el. After the design part is done, the design

[Case Study1] - Sydney Opera House

The competition of Sydney Opera House was won by Jorn Utzon. He pro-posed a design of complex curved shell structures evokes the form of billowing sails, the final geometry form was the result of the collaboration of series of computer modeling, test and research. It was a challenge for the engineers and architects to find out a proper method to describe the building’s forms for test and analysis. Also, it is very difficult to bring the building to fabrication, that’s why computer played a important role through the whole project from the very beginning to the end of the construction. Finally, Sydney Opera House illustrates the pioneering application of digital de-sign, engineering, and manufacturing in architecture. The engineers and archi-tects use computers (I.C.L 1900 series mainframe computer) to create digital model to do structural analysis as well as detailed layout of building assem-blies. For instances, the concrete ribs, precast roof titles, glass panels, and steel structures, were built digitally with computer programs to produce full-size patterns for fabrication.

Group work: Zhang Li, Mu Li


Architecture Palcement Working Learning

2012 | S2

[Brief]‘‘A Placement is a continuous period of employ-ment or related activity during which a student undertakes a programme of work experience. It is usually conducted in an architects office, or that of another construction-industry profession-al. The Placement period might also be used to conduct alternative self-directed work or re-search, so long as this offers the student relevant experience. ’’

GC4GC6 GC10

GC11



Architecture Placement Working Learning2012| S2• Six Short Eassys | Design Report | Reflective Eassy

[Workplace Health, Safety & Welfare]

What is a workplace risk assessment and when is it required?

A risk assessment is an examination of the work-place finding out what could cause harm to peo-ple. It is try to protect the workers and business also complying the law. According to the law, we are expected to protect people as far as ‘reason-ably practicable’. Workers and others include in a work have the right to be protected from been harmed by the accidents in workplace. HSE(Health and Safety Executive) listed five steps to assess the risks in workplace, and the risk assessment should be completed before the work starts. First of all, identify the hazards in the workplace, can be the machines in the work-shop or the dangerous areas at the construction place. Step two, we need to decided who might be harmed from different hazards, and this should cover all workers include the designers. Step three, we need to evaluate the risk to be harmed and propose precautions. Step four, we have to record our findings and make the risk as-sessment table and health and safety policy. The last step is to review and update the information of assessment according to needs.

[Professionalism]

How is the title ‘Architect’ protected in the UK? Formulate an argument for oragainst title protection.

Protecting the title ‘Architect’ is protecting the social position of architects and the benefits of clients. ‘Architect’ is the title for a people who designs buildings and in many cases also super-vises their construction. RIBA(Royal Institute of British Architects), ARB(Architects Registration Board) are the present institutes working on pro-tecting title ‘Architect’. RIBA was established in 1834, and it is a voluntary member society helps to protects the benefits of all registered architects and architectural education. Differently, all Ar-chitects in UK must be registered to ARB for the title ‘Architect’ is legally protected by laws( Ar-chitects Act 1997, following on from earlier leg-islation dating back to 1930s). To register as an architect in UK people must complete at least a seven years education and working practices(RIBA part three passed, and practical experiences needed) to prove their qualification of excellence in skills. Once people registered to ARB they are officially given the title ‘Archi-tect’, also if the person is a member of RIBA he is allowed to call him self a ‘ Chartered Archi-tect’, and use ‘RIBA’ after his name. ARB de-fined some rules that an architect is expected to follow to make sure all architects behave well in society and working environments which helps to ensure the benefits of clients, and the position of architects.

[Learning Outcomes]

1 An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered.

2 An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of archi-tectural design projects.

3 An understanding of the role of the Architect in society, includ-ing knowledge of professionalism and emerging trends in the construction industry.

‘‘This assignment is intended to test students understanding of issues of professional practice introduced in the lecture series. Through four short essay questions, it asks students to investi-gate a selection of those issues in greater detail... Prepare six short essays, of no more than 500 words each, Use in response to the questions. Students should refer to published material to support and substantiate their response.’’

[Construction Design and Management]

What are the Clients and Designer’s duties under the Construc-tion?

The Construction Regulation is protecting the health and safety in a construction. In this regula-tion ‘client’ means a person who is carrying out a project by himself. ‘designer’ means a person (including a client, contractor or other person) who prepares or modifies a design. Clients duties are separated into two parts, in relation to ar-rangements for managing projects, and in rela-tion to information. Clients are required to make sure that the arrangements of a project is safe and no harm to health. Every employee is provided with pre-construction informations, and the pre-construction informations shall include informa-tions about the construction work, and safety and health files. As a designer main duties are listed in the regulations as well. First of all, designers are only able to start the work in project under the management of client. Secondly, designers shall prepare their work consider the risk of health and safety to employees. Thirdly, design-ers should list out all the potential accidents that may harm workers safety and health and try to reduce the risk, and remove the hazards. Fourth-ly, any structure that is designed to be used as a workplace should follow the Workplace Regula-tions 1992, which includes design, and materials in the construction. At last designers should pro-vide clients, contractors, and other designers suf-ficient informations throughout the construction.

[Selected Bibliography]Richard Waite. (2009). RIBA to bin ‘outdated’ fee scale graphs. Available: http://www.architectsjournal.co.uk/news/daily-news/-riba-to-bin-outdated-fee-scale-graphs/5209827.article. Last accessed 11th Feb 2012. RPC. (2006). Responsibilities of the design & build contractor. Available: http://www.rpc.co.uk/index.php?id=196&cid=940&fid=22&task=download&option=com_flexicontent. Last accessed 11th Feb 2012. a(2007). The Construction (Design and Management) Regulations 2007. Available: http://www.legislation.gov.uk/uksi/2007/320/regu-lation/11/made. Last accessed 11th Feb 2012.The Architect’s Code, ARB, January 2010




[Legal organization]

Compare the benefits of organising an architectural business as a partnership and as a company?

Working in partnership has many advantages, first of all a partnership is easier to establish than a company, and it is not required to register with Companies House or divulge accounts. The sys-tem structure is clear and simple, which makes the work efficient. The employees can become a partner by buying in shares, and increase the ca-pacity fees of the partnerships, and the account is not required to be completely transparent to society(annually field with Company House). Joining in a partnership, the liability of a partner is not limited by policies, it is not difficult to leave a partnership or make personal change. Partners take their income by sharing the profits, and the tax they have to pay is simply income tax. Partnerships offer the architects high flexible working environment. Being a company, the le-gal person is the company not each individual shareholder of the company, so less legal respon-sibilities. The company is run by directors, and employees can be promoted to a director level without buying in the company shares. The man-agement of a company is separated from the ownership of a company. Being a company the company itself can take response to legal issues like sue and being sued(not the owners).

[Procurement]

How does design responsibility differ in ‘Traditional’ and ‘De-sign and Build’ procurement?

In any procurement, architects are responsible for protecting the best interests of the owner. However, architects takes their responsibilities differently in different architectural procurement approaches. In ‘Traditional’ procurement, archi-tects play their role as consultants, they talk to client straightly, and manage the cost of the pro-ject, engineering, and responsible for other con-sultants include in a project. They don’t commu-nicate with other contractors straightly. They are involved in the whole project from the pre-de-sign to pre-construction, responsible for apprais-al, design brief, propose concept, design devel-opment, technical design, and giving supporting informations to tender actions. And the construc-tion is taken by contractors. In the ‘Design and Build’ Procurement, Client find client’s archi-tects, and manage representative and contractors. In this case, contractors are architects and engi-neers and other contractors. They receiving spe-cialized cases form the builder(contractor). In ‘Design and Build’ the client’s architect is only responsible for the design phase, the contractor will be responsible for finding sub-contractors, architects, and engineers to complete the project according to the client’s architect’s design. ‘De-sign and build’ procurement takes less technical risk because the architects are also involved in the construction process.

[Learning Outcomes]




‘‘This assignment is intended to test students understanding of issues of professional practice introduced in the lecture series. Through four short essay questions, it asks students to investi-gate a selection of those issues in greater detail... Prepare six short essays, of no more than 500 words each, Use in response to the questions. Students should refer to published material to support and substantiate their response.’’

[Fees]

Why were the RIBA fee scales abolished? Formulate an argument for or against fee scales?

The main reason the RIBA fee scale is abolished is because that ‘the application of percentages based upon fee survey data was an increasingly outdated method of calculating fees, and poten-tially harmful in the current economic climate.’ Nowadays, as economic becomes a global body and increasing quickly, architects are encourage to calculate their fees on a resource-based , time-charge or value-added basis as appropriate, in line with the approach of other construction con-sultants. Some of the clients don’t understand what architects pay in their work, but considering the time that architects spent. However some ar-chitects still support the original RIBA fee scale as a fee level benchmark. ‘the graph accurately reflect time needed on bespoke complex projects’ I support abolish the fee scale, for giving oppor-tunity to architect to get more benefits from their works in a more fair way. The fee scale update cannot suit the changing situation of architectural working environment. Fee scale cannot cover the architects’ works, thus the fee payment will not be fair enough to everyone. Basing on time and resources can be helpful to solve the problem.

[Selected Bibliography]RIBA. (2007). Protection of Title. Available: http://www.architecture.com/Files/RIBAProfessionalServices/ProfessionalConduct/Dispu-teResolution/PracticalMatters/ProtectionOfTitle.pdf. Last accessed 11th Feb 2012. RIBA. (2003). Architect’s fees. Available: http://www.trelligence.com/docs/ADN_PIP.PDF. Last accessed 11th Feb 2012.thecompanywarehouse. (2010). Advantages and Disadvantages of Partnership. Available: http://blog.thecompanywarehouse.co.uk/2010/03/01/advantages-and-disadvantages-of-partnership/. Last accessed 11th Feb 2012. HSE. (2005). Slips and trips: The importance of floor cleaning. Available: http://www.hse.gov.uk/pubns/web/slips02.pdf. Last accessed 11th Feb 2012.




‘‘This is a work-based learning assignment, that asks students to consider the implications of issues raised in the lecture series on a design project they have experience of. It familiarises students with conventional professional media, in this case, the ‘Design Report’. Students whose Placement does not offer them experi-ence of a relevant design project should use this exercise as a means of gaining further understanding of professional practic-es, through research into a specific project, or interviews with practitioners.’’

[Learning Outcomes]




[Site & Locations and the Geological and Cultural Environments]

An-hui, in the south-east part of China, is always a important province in China history, two major rivers Huai and Yangzi go cross it from north to south, and topographically there are many lakes and mountain in it, which provided the conditions for culture, and economy to grow well. An-hui Province was formed in the 17th century, it was the capital state of ‘Chu’, and finally conquered by Qin Dynasty in 278 BC. The weather is rainy, and the temperature is comforta-ble. Throughout the China history Anhui has played important role as a big agri-cultural province. It includes 16 cites, Tianzhu mountain is located in Qianshan City.

Tianzhu Mountain is one of the most famous mountain in China, located in An-hui Province. ‘the column to shore the sky’ is the the meaning of its name which was given by Liu-che, emperpr of Han Dynasty, in 106 BC. Its peak is 1489.8 meters over the sea level. It has beautiful views and has been listed as a Global Geopark by UNESCO in 2011. The mountain is famous for its exposed stones as well, ultra-pressed eclogite, jadeitite, amphibole eclogite, griotte, and gneiss. It is the highest and largest ultra-pressed metamorphism area in the world. Scientists are studying its rock formations on continental dynamics. Tianzhu Mountain is so different from the others in its topography, some exposed stones are sitting on the mountain with strange postures, and look like dropped from the sky. It’s also called the ‘mountain the flew here’ by the locals.

Lian-dan Lake, sit on the Tianzhu Mountain at 1100 meters sea level. The third largest alpine artificial lake in China, occupies over 2666.78 meter-squares, stores over 80 thousand cubic meters of water. It used to be a medical garden, taken care by the Taoism Priests. Lian-dan means alchemy, the name is given because one of the most famous alchemist and magician in China history, Zuo-Ci. He used to stay at this place and doing alchemy experiments. Nowadays, there still kept the cave he used to live in. Lian-dan Lake has a strong representa-tiveness in religion and culture. Many people like to come here and relax them-selves from stress by sightseeing, and drinking tea.




[Project explanation and design concept]

This project is an international competition held by Tourism Administration of An-hui, design a social chamber at Lian-dan Lake, on Tianzhu Mountain, at 1100 meters sea level. The project is to cooperate with the tourism office of Tianzhu Mountain. As requested by client, the building is a extension of mountain it self, harmonious, and balanced with its surrounding environment. It will have the function to offer resting place for tourists (upto 100 people), hotel, and hold meeting at medium sized. This project also include a dam,controlling the water level of Lian-dan Lake in rainy season, and rebuild new step ways around the lake to replace the damaged.

[Design details& materials]

We applied coloured plain cement to the main structure of the building, co-operate with glass and bronze mate-rial, create sympathetic with cloud and mist on the mountain. The building will occupy 1500 meter squared, have 66 windows and dormers. There is no cover floor on the cement, trying to take the solid feel of cement as a link to the mountain. There are LED lights on the roof to provide illumination at night. The shape of roof is designed to have maximum solar gain and rain collection. All windows and doors are highly damp proof for its located by the lake and humidity is always at a high level.

[Sustainability]

We try to make the building sustainability, and applied many passive functions to it.

Sunlight: The roof is designed to have different parts with angles and orientations. On the south elevation we applied many openings to supply the illumination at day time.

Heating: The building is in a position that Facing the lake and back against the mountain, which offers great heat exchange balance through out the day. The cement walls and roof can store thermal energy and make the build-ing warm at night.

Ventilation: using the advantage of facing the lake, we created passive ventilation system by using the lake as a wind generator. Coming the fresh air form south, and release the exhaust air from the top and north openings.

Materials: during the construction, as the site is not reachable for vehicle transportation, we use the most origi-nal way, roustabout, to have the materials transport to the site. The materials are protected by plastic covers from moisture.




‘‘Write a short essay offering a personal reflection on a topic of relevance to contemporary professional practice. The essay should be no more than 2000 words in length. Select a topic that your experience on Placement offers insight into. Draw upon relevant publication in order to develop and demonstrate an un-derstanding of the topic. Use the essay to formulate and express a reflective and critical opinion on the topic.’’

[Learning Outcomes]




[Introduction]

After the reform and opening-up policy released in 1978, China has been developing rapidly in the recent in its economy and import/export. By joining international economy and politics body, industries grows fast and healthy, and the quality of life has been improved. As a consequence of the fast development in China, modern architec-ture starts to come into people’s view. architec-tural industry has a massive market in China, and that accelerates the development of modern ar-chitecture and attracts international architecture advance to China. In 1998, the first ‘architectural ordinance of China’ published to give standards and protection to modern architectural industry in China, architects has become a hot choice of occupation.

• The architectural environment in China is getting very close to the western architectural mode.

• Architecture was not a popular subject in China, after the big bang of architectural industry and the government is pushing the urban modernization development in the re-cent 20 years, architect comes to be badly needed.

• Working opportunity in an architectural company is not easy to get in China for the students who are graduated or taking internship. They have to find a proper choice for themselves, which will give them the most wanted experi-ences they need. In China there are three basic types of architectural companies, and each of them have their own advantages and disadvantages.

[Forms of architectural companies in China]

The state-owned company is a unique form that appears in China, founded by the government and operated by the government. In many situa-tions, the state-owned companies are the leaders in their own industries. Indubitably, the state-owned architectural companies have the strong-est competitive power in the market, also the earliest founded. They gathered most of the out-standing architects in China, by opulent pay-ments and guaranteed positions. Before the pri-vate companies are allowed, and the first time let foreign architectural companies into Chinese market in 1998, they are at the monopolistic lev-el. Even for now, they are still at the top level, and this is the profit form their strict company structure, a long time experience and the protec-tion of national policy.

Different from the stateowned companies, the private companies shows up in the late 20s after the reform and opening-up policy released. As the need of architectural industry is keep grow-ing larger and the urban modernization is one of the main target of China in this 100 of years. China first time open the market for private ar-chitects, it was the big bang of architectural of-fices in China in the last 10 years. To found a private architectural office the threshold is rela-tively low, an architectural company and register to the government with minimum two licensed architects. They are able to join all competitions and implement building constructions.

All industries got their chance to change, devel-op, and get in touch with international business, so does the architectural industry. Nowadays fol-lowing the rules of market economy, many new industrial structures such as BOT (build-operate-transfer) and BOOT (build-own-operate-trans-fer) are accepted by China. The new structure is briefly like Client( private/ architect/ govern-ment/ constructor) to contractor( architect/ sup-plier/ engineer/ constructor). As in a more free environment, design competitions are now open for all companies throughout the world, and bid-ding system is applied as well. In conclusion, the architectural environment in China is getting very close to the western architectural mode.

[Selected Bibliography]Zhu Xuehong. (2004). An analysis of developing throughout our architectural industryin the traditional period. . (1), p2-3. Vol.2 No.5Zou jianren. (2002). Inpact on China’s Architectural Industry after Accession of Chian to WTO. . 24 (3), 1-2.China Architecture Ordinance 1998.China Certificated Architect Examinations Policy 2010.Dialogue with architects in Archiplein Wang Mingbo/ Fengyang etc.



Architectural DesignTechnical Review

• Chongqing Grand Theater

Architectural PlacementReflection

• Placement Report

Architectural DesignTectonics

• Urban Case Study• Urban Analysis• Urban Intervention

Year 4. 2012 | S1

Year 4. 2013 | S2

Architectural Dissertation

• Dissertation - The revival of traditional Chinese philosophies in architecture


Architectural Design Technical Review

2012 | S1

[Brief]‘‘Constructing works of architecture involves a complex variety of building considerations and systems. The integration of them is fundamental in the translation of architectural ideas in to built form. Your Technical Review Report will de-scribe how this has been achieved in the context of your chosen building. Your building may be one which you have been directly involved with in practice, you have seen published in the archi-tectural press, visited or have experience of in another context. ’’

GC5GC8 GC9



Architectural Design Technical Review2012| S1• Chongqing Grand Theater

[Learning Outcomes]

1 Critically appraise and demonstrate understanding of the inte-gration of Structure, Construction, Services, Lighting, and Acoustics, Building Regulations, Health and Safety, Budget, and Inclusive Design within a realised work of contemporary archi-tecture.

2 Demonstrate research skills in the context of architectural practice.

3 The ability to use visual and written communication methods and appropriate media to clearly and effectively communicate a critical review of precedent design ideas and proposals.

‘‘Constructing works of architecture involves a complex variety of building considerations and systems. The integration of them is fundamental in the translation of architectural ideas in to built form. Your Technical Review Report will describe how this has been achieved in the context of your chosen building. Your build-ing may be one which you have been directly involved with in practice, you have seen published in the architectural press, vis-ited or have experience of in another context. ’’

[Introduction]

The Chongqing Grand Theater is designed to be the classiest performing arts center in Chongqing Municipality. It is located at the center of the city’s downtown area-the peninsula where the Yangtze River and the Jialing River converge, overlooking Chaotianmen Port across the river Yangtze River. The Theater with a total invest-ment of RMB 1.6 billion yuan has a total floor space of 103,307.10 square meters. It is designed to express the theme of “a lone sailboat and a dis-tant shadow”. With its light green organic glass, the whole structure resembles a “glass boat”, predicating the city is sailing to its bright future. It contains one opera house, one theater, and a multifunction hall. The opera house can hold 1,826 persons, including 88 orchestra pits. It in-cludes a traditional horseshoe-shaped auditorium and a proscenium stage comprising a main stage, left and right side stages, and a rear stage. All those parts can be changed or moved to meet dif-ferent needs for different kinds of performances. The rear stage can be extended toward the audi-ence, and the side stages can be moved together with the main stage to form a modern stage that can be raised, lowered, extended. The opera house is designed to hold opera performance, pantomime, symphony, ballet and music drama. The Theater is mainly used for small and medi-um-scale dance drama, traditional Chinese op-era, stage play, singing, orchestra music, cham-ber music and traditional Chinese music performances.



[Structure]

This project is a large public construction, and the structure system of this building is very com-plex. In the auditorium, main stage, back stage, side stages, left and staircases area, reinforced concrete shear wall is the main way to transfer and hold the load. In the long horizontal span area, mainly the loads are transferred by steel trusses or SRC beams. In the area like corridors, lobbies, and galleries, reinforced concrete frame structure is applied.

Considered the large span, the intensity load and ensuring the foundation bearing capacity and controlling the sedimentation and different sedi-mentation, the project used pile foundation. The main body of the building uses socketed piles to hold in place. Piles’ positions are fit together with the columns and walls in the basement area. The reinforced concrete cores of the building are founded on the thick rafts. Because the building is close Yangtze river, the basement area has 600mm thick outer retaining walls are made of reinforced concrete with h level S6. It was the first time to use SRC over cantilevered structure in China. Inside the over cantilevered structure there are space for six floor levels with total weight of 3000 tons.

[Construction]

The main materials that applies to the structure are concrete, reinforced steel bar and steel with different strength and toughness levels. The joins of structures are fixed by high strength friction grip bolts and male pins. Also profiled steel sheets, anti-rust, water proof and fire proof mate-rials are used for the construction. The construc-tion was divided into 8 main parts, foundation, structure, plumbing, HVAC, electric installment, acoustic, stage equipment, and lighting install-ment.

The total construction took almost 4 years to complete, after all the early analysis, and plan finished, the construction started with its founda-tion, and basement. After that the main rein-forced concrete body was constructed, in the same period the base of the large steel truss struc-ture was located and built. In the finishing period of the main building body, the installation of electric and plumbing started. The building’s double glass facade was installed in the next stage, in the same period with the lifts and light-ing system.




[Environmental Services]

The Theater has respiratory double glass curtain wall. When a beam of strong light irradiates ex-ternal glass, the air between double glasses gets hot and out from the top, effectively alleviates the inner hot.

The Theater is seated at Jiangbeizui, adjacent to the Yangtze River, so the theater can use the prin-ciple of water constant temperature to reach the effect of warm in winter and cool in summer in the Theater. Compared with ordinary air condi-tioner, “water air conditioning and ice cool stor-age” can save about 30% energy, and its utiliza-tion area covers 30,000 square meters equivalent to over 4 standard football fields.

The system of ventilation, cooling, heating and partial humidification for the building are as-signed peripherally to the conditioned areas. The total air flow is 20times/h. Return air from the main halls will be cooled again and used as the supply air for the lobby for ventilation and condi-tioning of this space. The return air of this en-trance hall will be supplied to the underground parking area, and the exhaust air from the park-ing space will be used to cool down the chillers located in the basement through water based cooling tower.

[Planning | Building Regulations]

Before the construction began, many discussions were made between the city planning institute and the architecture office, to make sure the de-sign is completely following the regulations and standards. The building is located at the city cen-tral CBD, the control on FAR was very strict. Also, as a large public building for specific func-tions, the building is required to be able to make the emergency evacuation in a short time, and the basement area is designed to be able to be used as refuge for surrounding citizens during emergen-cy periods. Also, there are regulations on control-ling the environment, the social, traffic influence, and green area ratio, low carbon footprint etc..

[Health and Safety]

Health and safety is one important component for the whole project from the degining period till the building finished and already in use. The regulation ensure the safety of architects, work-ers, citizens, and staffs who work in the theater.After the construction finished, the building was still under the supervision by engineers and ar-chitects to double check the safety. Facade clean-ing, waste treatment, Video surveillance system are also included in the design.





[Inclusive Design]

This building has a very high requirement on acoustic and lighting system to ensure the func-tion runs properly. The Great Hall is intended principally for Concerts and Live Performances and therefore the highest standard of workman-ship is required. Also, as it serves as one of the most important pubic place in Chongqing, it has its own landscape which was finely designed.

To make the performance runs well, Acoustic Sails are installed for each individual opera house and theater hall. The whole construction is to be based upon structural calculations in all as-pects and the finished unit is to be hung from the steel structure forming the roof of the halls. The building interior was designed nicely to give the audience a nice environment to enjoy the operas or shows.

[Integration Statement]

It is a very helpful experience to do the technical review on this building. By doing this report, I have gained more knowledges into structure and construction aspects, especially get to know the regulations and standards to make a architecture design. Also, I have learned some specific knowl-edge of designing a theater. The most important thing I learned is that to turn a piece of architec-ture design come true, there are many complex, and strict issues to solve. And, It is an architect’s responsibility to make realizable designs.

15Budget:

Integration Statement:

Civil Works Structure Ccil works Decorating Outdoor plumbing works Landscaping works

Equipment Installations Drainage & water supply HVAC Electric works Low current electricity Lifts Elevators Stage mechanicals Lightings

Reserved Fund

Total Investment

98532 (unit in 10 thoushand RMB)

81741450713374791

69060797062537112810251524713229006858

2377

169969

It is a very helpful experience to do the technical review on this building. By doing this report, I have gained more knowledges into structure and construction aspects, especially get to know the regulations and standards to make a architecture design. Also, I have learned some specific knowledge of designing a theater. The most important thing I learned is that to turn a piece of architecture design come true, there are many complex, and strict issues to solve. And, It is an architect’s responsibility to make realizable de-signs. [Selected Bibliography]

Philip F. Yuan (2012). Theater Design. Shanghai: Shanghai Tongji University Publishing. p58-330. Wenxiang Guo. (2000). Public building and cultural environment in China. Szechuan Architecture. 20 (1), p81-84.GMP Booklet NO 1648 Chongqing Opera p1-43.SBP Booklet Chongqing Opera p1-24.ECADI Booklet Chongqing Opera p5-15.IG Tech Booklet Chongqing Opera Mechanical Engineering p6-34.Interview with chief director from China parter office.Interiew with colleagues (MR Jessen Chen, Miss Mengtong, Mr Fengcheng Jie) in gmp Shanghai office.Images are provided from gmp Shanghai office.


Architectural Palcement Reflection2012 | S1

[Brief]‘‘The Placement: Reflection involves the writing of a Report which is a focused study of a particu-lar aspect of architectural practice, or related ac-tivity carried out during the placement then sub-mitted on return. This course is seen as complimentary to Architectural Design Place-ment (working learning).’’

GC2 GC3GC6



Architectural Palcement Reflection2012| S1• The Public Building in China - how Chinese define the ‘public’ BEFORE NOW and AFTER

[Learning Outcomes]

1 The ability to propose a subject of study with clear objectives demonstrated through the submission of a summary.

2 The ability to thoroughly analyse, reflect and demonstrate fa-miliarity with the chosen topic ensuring references to key texts in the field.

3 The ability to present written work (including drawings and illustrations) that is objective, lucid, clearly expressed and shows a coherent structure and style.

‘‘The Placement: Reflection involves the writing of a Report which is a focused study of a particular aspect of architectural practice, or related activity carried out during the placement then submitted on return. This course is seen as complimentary to Architectural Design Placement (working learning).’’

This report will try to explain the positions of public buildings in China in two different periods, and look into the future of public buildings in China. The first period starts from the establishment of the people’s republic of China (PRC) in 1949, and the second period starts from 1978 when the reform and opening-up policy applied. The explanation of the first period will based on histori-cal political and social studies. Case studies and self reflection during the internship work will be used to help introduce the public buildings in the second period. The main focus of this report will be on the public buildings nowadays in China.

[The word ‘public’ in Chinese]

The definition of ‘public’ in Oxford Dictionary:’open to or shared by all the people of an area or country’. Before the establish of PRC ( People’s Republic of China), the definition of the word ‘public’ in Chinese, is somehow differ-ent. The earliest definition was raised by Zheng Sima, in 713AD in the history book he was edit-ed on called ‘Records of the Grand Historian’. The word ‘public’ is consist of two characters, ‘Gōng Gòng’. ‘Gōng’ is an adjective, means hon-est and respected.

[Public and State]

The main political value of the Chinese people is unity. It was first established as Qin Dynasty in 221BC, and it is not a nation state but a civiliza-tion state instead. Start from over 2000 years ago, China already existed and occupied a large area of land. To run a country of such big area, the power of the government must be very powerful and centralized, and the system actually still re-mains in the modern China. The Chinese govern-ment has a special significance as the representa-tive and the guardian of China. A public architecture in China normally means a state owned architecture.

[Placement]

In 2012, I spent 6 months working at gmp ar-chitekten von Gerkan, Marg und Partner inw Shanghai. This office is famous for designing airports and large public buildings, I has over 500 employees all around the world, in the past few decades, gmp has done many successful de-signs in China. During the 6 months, I joined one competitions team which was mainly focused on public building competitions in China. I have successfully went through three projects, and two of them are large public projects which are invested by the government. One is the Suzhou New CBD Sports Center, another one is Jiangsu Grand Theater. During the the design process, I have learned many skills and also design knowl-edges. However, the most important thing that I was most interested in is the position of public building in China. From the meetings with the clients and consultants, I learned many things on the requirements fot a public building in China. The buildings do not only need to following the architecture codes, but also there are so many re-quirements come from political needs, social needs, Fengshui, etc. The two projects both suc-cessfully finished, after studied architectural de-sign for three years, now I am try to get clear the position of the public buildings in China.



[Before]

Start from the establishment of PRC 1949, till 1978 is also known as the ‘red years’ to many Chinese people. The period was the peak of the personality cult to Mao Zedong, following the idea of ‘rebirth of the new China’, he was strong-ly against the traditional Chinese architecture forms and preferred to learn from Soviet Unite. The architecture was strongly directed by politi-cal issues, and the understanding of ‘public’ in that age was very distorted, and pushed to a su-perlative. The understanding can be explained as collective leaderships and decisions. And this idea was reflected in the public buildings con-structed in that age. They normally had political, and commemorative attempts more than its func-tions in serve the people in the local society.

[After]

Architecture is a culture, and the Chinese archi-tecture starts from the ancient time, which makes many people proud of it. The Chinese architec-tural culture stopped its development, and there is gap in the time line of Chinese architectural culture, and the gap was the consequence of the wars, that happened in China in the last centuries. Nowadays, China comes to be a strong political and economical body which gives an opportunity to continue the development of its own architec-tural culture instead of learning from westerns, and local architects should be encouraged to make public building designs. I believe the Chi-nese traditional architecture can continue its step and melt into the cities.

Architectural Palcement Reflection2012| S1• The Public Building in China - how Chinese define the ‘public’ BEFORE NOW and AFTER

[Now]

The start of reform and opening-up policy, up to now. It can be seen as the honey moon between modern architecture and China. In 1997, the Meiqi grand theater completed in Shanghai was the first public building designed by a interna-tional architecture office after the establishment of PRC, it was the start of international architec-ture office got involved into a Chinese architec-ture design officially. It is obvious, the environ-ment in China is getting more and more mixed up with western societies. Public building changes its focus from political emblem onto service in-dustry. Although, the architecture market in Chi-na is growing larger and faster these days. China has become a country which has most public buildings under construction.

[Selected Bibliography] Philip F. Yuan (2012). Theater Design. Shanghai: Shanghai Tongji University Publishing. p58-330.Wenxiang Guo. (2000). Public building and cultural environment in China. Szechuan Architecture.20 (1), p81-84.Zhongyue Xu (2009). modern history of China. Taiwan: Chinese University Publishing. p188-264.Fengjiang (2003). Research of the Outer Physical Features of Public Buildings in China. Journal of Anhui Institute of Architecture & Industry Vol. 11 No.3, p 31-33.Xiangdong Lu. (2010). On China’s Era. Architectural Forum. 3 (1), p111-115.Xiangdong Lu (2012). On the evolution of Modern Theaters in China -a history of from grand stage to grand theater. Beijing: China Architecture Industrual Publishing. p1-87.Gmp stadiums booklets.

[Learning Outcomes]

1 The ability to propose a subject of study with clear objectives demonstrated through the submission of a summary.

2 The ability to thoroughly analyse, reflect and demonstrate fa-miliarity with the chosen topic ensuring references to key texts in the field.

3 The ability to present written work (including drawings and illustrations) that is objective, lucid, clearly expressed and shows a coherent structure and style.

‘‘The Placement: Reflection involves the writing of a Report which is a focused study of a particular aspect of architectural practice, or related activity carried out during the placement then submitted on return. This course is seen as complimentary to Architectural Design Placement (working learning).’’


Architectural Design Tectonics2013 | S2

[Brief]‘‘The unit approaches the tectonic via the ques-tion of scale, understood here specifically as a relation of building to city, of singular architec-ture to the multiplicity of the urban condition. ‘Scale’ refers here primarily to the physical scale of architectural typology in relation to urban morphology, highlighting the design decisions regarding architectural form, but is by no means limited to this understanding. ‘Scale’ necessarily entails the societal ambitions of architecture to intervene in society, or, alternatively, to refrain from intervention and concentrate on its own specific features.’’

GC1 GC5GC6 GC7 GC8 GC9 GC10



Architectural Design2013| S2• Urban Case Study | Urban Analysis | Urban Intervention

[Learning Outcomes]

1 Understanding of tectonic, structural, constructional, environ-mental and contextual matters.

2 Ability to research, analyse, synthesize and integrate with de-sign an appropriate technological approach.

3 Skills in deploying specified two- and three-dimensional rep-resentational techniques correspondent with accepted architec-tural conventions.

‘‘Study the relation of architectural form to urban morphology of one of the available precedents. Use diverse techniques of com-munication (figure/ground maps, diagrams) to explain your con-clusions. Each of these studies, by abstracting from a precedent, becomes a model of urban intervention via architecture.’’

Green Landscape

Green Landscape

Existing Villeges

Green Landscape

Existing Villeges

Existing Roads

Green Landscape

Existing Villeges

Functional Bands

Independent Areas

Functional Bands

Existing Roads

Green Landscape

Existing Villeges

Existing Roads

Connection Band

* Industrial Park* Deport Parking* Highway* Greenery

Circulation Band

* Side Road* Social Park* Highways* Greenery* Gardens* Billboards

Programmatic Band

* Street* Farm* University* Leisure Space* Gardens* Drill

Landscape Band

* Leisure Landscape

Voids Band

* Forest* Pasture

Border Bands

* Leisure Water* Boulevard* Grass* Campaign* Leisure Park

The Void Spaces

Completely not programmed, they have the potential to develop completely independently.

Urban Planning Competition: New Town of Melun-Senart 1987 Rem Koolhaas Urban Planning Competition: New Town of Melun-Senart 1987 Rem Koolhaas

the system of voids and bands --- preserve the beauty of nature programmed bands & free archipelago

Green Landscape

Green Landscape

Existing Villeges

Green Landscape

Existing Villeges

Existing Roads

Green Landscape

Existing Villeges

Functional Bands

Independent Areas

Functional Bands

Existing Roads

Green Landscape

Existing Villeges

Existing Roads

Connection Band


Circulation Band


Programmatic Band


Landscape Band

* Leisure Landscape

Voids Band

* Forest* Pasture

Border Bands


The Void Spaces




Green Landscape

Green Landscape

Existing Villeges

Green Landscape

Existing Villeges

Existing Roads

Green Landscape

Existing Villeges

Functional Bands

Independent Areas

Functional Bands

Existing Roads

Green Landscape

Existing Villeges

Existing Roads

Connection Band


Circulation Band


Programmatic Band


Landscape Band

* Leisure Landscape

Voids Band

* Forest* Pasture

Border Bands


The Void Spaces




Green Landscape

Green Landscape

Existing Villeges

Green Landscape

Existing Villeges

Existing Roads

Green Landscape

Existing Villeges

Functional Bands

Independent Areas

Functional Bands

Existing Roads

Green Landscape

Existing Villeges

Existing Roads

Connection Band


Circulation Band


Programmatic Band


Landscape Band

* Leisure Landscape

Voids Band

* Forest* Pasture

Border Bands


The Void Spaces




Green Landscape

Green Landscape

Existing Villeges

Green Landscape

Existing Villeges

Existing Roads

Green Landscape

Existing Villeges

Functional Bands

Independent Areas

Functional Bands

Existing Roads

Green Landscape

Existing Villeges

Existing Roads

Connection Band


Circulation Band


Programmatic Band


Landscape Band

* Leisure Landscape

Voids Band

* Forest* Pasture

Border Bands


The Void Spaces







[Learning Outcomes]




‘‘Mapping a scarred neighbourhood in Edinburgh, in a series of maps employing diverse approaches (the Archipelago Model, figure/ground, etc.), studying architectural typologies, urban morphologies, ownership patterns, stakeholders, class and so-cial composition.’’

This urban analysis traces several strands (history, typology, conservation, land use, land quality, topography, accessibility, spaces) and tests them on various scales, and against one an-other in order to prove that Broughton is a ‘non-place’.

Individually, and when overlayed and understood sequentially the strands suggest suggest that the morphology belongs to other places. The heart of the area is in fact a hollow core with a dissolved and fragmented urban fabric consisting of typolo-gies belonging to the New Town and Leith; some very large and unused brownfield sites and a wide yet disjointed variety of housing - reflected in the types of spaces they create.

Surrounding the hollow core is a surprisingly active and con-nected periphery with frequent and dense transport links, com-merce and public spaces. This is both a result and a perpetua-tion of the dominance of the larger impact and potency of Edinburgh’s New town and Leith, or, the inability of Broughton to manifest itself a morphological character.

Group work: Ana Alonso, Johnny Wang, Childress Zhang, Mu Li, Calum MacDonald, Kerstin Plain, Ida Wilmsen, Hamish Jack, Nicola Grant, Doreen Ding and Jamie Walker.




[Learning Outcomes]





1802 1865 1882

1902 1911 Present

The diagrams on the right side show the historical changes hap-pened in Broughton started from 1802 till present. We can clear-ly find out the density of changes happened in a same length of period. As a result, we know that Broughton happened to make the most changes during the period from 1902 to 1911.

[Historical Study]




[Learning Outcomes]






site boundary

industrial area

new town area

train station

railway

new town area grow directions

industrial area grow directions

[Developing 1802-1865] [Growing 1882-1902] [Mixing & Replacing 1911-present]

Urbanization started with the industries around Broughton




[Learning Outcomes]






1802

1865

1902

Present Green Space

Public Green Space

Quality Green Space

Broughton does not have many green space for public activities



[Learning Outcomes]






Broughton is a residential area, most social activities happen outside broughton. There is a convenient public transportation system around Broughton.

[Activities & Circulations]



[Learning Outcomes]






Broughton is cut into two part by a railway, there are only 3 streets linking two parts together, and one is for walking only.



[Learning Outcomes]




‘‘Propose an architectural intervention on an urban scale which benefits the local population, based on the conclusions of the ur-ban analysis and the scenario delivered in week 2. Transgress the limitations of site boundary as a means of creating architectural efficacy. Argue the initial proposition primarily via diagrams and 1:500 plans. Develop the urban intervention proposal into archi-tecture. Programme: hybrid building.’’


According to the analysis, there are two basic points that I wish to improve by architectural interventation:

• Increase the area of public green space, which can be ea-sliy accessed by most of the residences in Broughton.

• Improve the connection between West and East Broughton. Creating a new circulation to make the transportation more convenient.

The program will become a new entrance to the Broughton (mostly serves for the residents in East Broughton). Providing a connecting space with green, commercial, shopping functions, and 100 economic council houses.



[Learning Outcomes]





0.00m

-5.00m

0.00m-5.00m

0.00m

-5.00m-2.50m

There is a 5m difference in the height of the site from South to North. Reforming the site into three large steps to create more plain space for the use of construction of buildings and green park.

The program will work as a mid point between ‘WORK’ and ‘HOME’. People in the East Broughton can use it as an entrance. Because Broughton is lack of public activities, the program will include some public space in it. Like supermarkets, book store, gym, etc..




[Learning Outcomes]






The living units are designed to be ‘as small as possible’, every unit has the same interior area of 36 sqm, which meets the lowest request by the Edinburgh City Council.

Material & Construction:

• The building will be built with reinforced concrete.

• The ground level unit and first floor unit share the same wall for pipes and lines.



[Learning Outcomes]






The program will provide near 10,000 sqm public green park. As the site is divided into three levels, the green park will have a variable relation with the residential units in the site.

[Circluation Site Plan]




[Learning Outcomes]





The residential units are located at the two sides of the site to save more space for a large whole green park.

The program provides 40 parking space on the -2.50m level, and supermarket, a gymnasium, and a free market on the -5.00 level.

[Plans]



[Learning Outcomes]





‘‘Propose an architectural intervention on an urban scale which benefits the local population, based on the conclusions of the ur-ban analysis and the scenario delivered in week 2. Transgress the limitations of site boundary as a means of creating architectural efficacy. Argue the initial proposition primarily via diagrams and 1:500 plans. Develop the urban intervention proposal into archi-tecture. Programme: hybrid building.’’ [Sections & Elevation]




[Learning Outcomes]






Architectural Dissertation

2013 | S2

[Brief]‘‘The principal intention of the Dissertation is to provide you with an opportunity to investigate an architectural topic to a greater extent, in written form, than has been possible so far in your under-graduate training and experience. A dissertation is more than just a description of gathered re-search material. The best dissertations use this newly acquired knowledge of a topic as the basis for a critical understanding and the synthesis of a personal interpretation. The Dissertation also in-volves the skills of working within the realm of academic research methodology, the gathering of information and the development of ideas in a mature and independent manner, and presenting them in a well-written, properly annotated for-mat.’’

GC2 GC3GC9



Architectural Dissertation2013| S2• The revival of traditional Chinese philosophies in architecture

[Learning Outcomes]

1 Detailed knowledge of the chosen subject demonstrating suf-ficient understanding of relevant cultural, historical and philo-sophical themes.

2 Ability to construct and synthesise an intellectual argument expressed against stated objectives and presenting original con-clusions.

3 Ability to product a substantial piece of academic writing, co-herent, attractive, illustrated, well-written, using correct refer-encing conventions and the acknowledgement of sources.

‘‘This course provides you with an opportunity to investigate an architectural topic negotiated with a member of academic staff. You will undertake sustained and indepth research and present a coherently argued, fully referenced and appropriately illustrated piece of academic writing. Preparation and research for the course is undertaken in the first Semester; this provides you with an opportunity to plan and organise the study materials and re-search methods required in the writing of the Architecture Dis-sertation. This process culminates in the submission of a synop-sis and bibliography.’’

There are two aims of this dissertation, first of all is to study the two basic philosophies of ancient China, and the influences they left on traditional architecture. Secondly, study the current archi-tecture situation in China. Discussing the necessity and influence of bringing the traditional philosophies back into modern Chi-nese architecture.

[Confucianism]

Confucianism is an ethical philosophy which was developed from the Chinese philosopher Confucius and his theories. It was first became the official state ideology of China from the Han Dynasty and remained its position till the end of the Qing Dynasty, the last feudal dynasty in Chi-nese history. One of the core of Confucianism is humanism, it suggested five basic virtues that every one should follow: Ren (Humaneness), Yi (Righteousness, Justice), Li (Etiquette, Class), Zhi (Knowledge), and Xin (Integrity). The five virtues consisted the basic ethical rules that helped the ruling class to control the state. Be-sides humanism, the other core of Confucianism is a strait class system. It influenced traditional Chinese architecture deeply in many aspects and scales, here are the four typical points.

Key points:

• Highly ordered spacial framework of a city.• Rigid regulations of buildings.• Roof styles represents classes.• Decorations and rcolours are controlled.

[Confucianism]

Taoism is one of the oldest philosophical and re-ligious theory in ancient China, it suggest the harmony in between human and nature. Unlike the Confucianism, Taoism reject the ruling of systems and the division of social classes. It sug-gests that human should live in a nature condition which is philosophical anarchism, and pluralism, and this is the core of Taoism. In the whole his-tory of China Taoism was always hard to be ac-cepted by the ruling class, as it was a potential resistance to their domination. However, al-though the ruling class don’t prefer Taoism to be a state religion, they do believe in it and worship it. As an example, the ancient Chinese architec-ture some how shows the distillation of Taoism in four aspects.

Key points:

• Modelling Heaven and Earth.• Balance between ‘Yin’ and ‘Yang’.• The life circle of five elements. • Harmony between man and nature.



[Case Study - Changan City of Han]

Key characteristics of Changan City of Tang Dynasty:

• The largest city in the history of ancient China.• Use of central axis.• The areas were divided by functions and social

class(ruling class, citizens, etc.).• The design of the city followed the ideal city

plan in Zhouli Kaogongji, showed a strong in-fluence by Confucianism(class system, eti-quette).

[Case Study - Changan City of Tang]

Key characteristics of Changan City of Han Dynasty:

• The irregular shape of the city plan, and no cen-tral axis.

• The ideology of class system (the core of Con-fucianism) was not applied on the city plan yet.

• The whole city plan shows the idea of model-ling Heaven and Earth( one of the basic theories of Taoism).

• No clear functional division in the city plan.

[The devastation]

China has a different developing progress from other countries. It has the longest period of feu-dalism in the world history for more than 2000 years. However, it took only less than 100 year for the country to move from feudalism to social-ism, and from a agricultural society to a indus-trial society. The change happened in China was rapid and lack of buffering, and the communica-tion and collision between the modern western culture and the traditional Chinese culture did a large amount of damage to the culture and archi-tecture. In order to explain why the traditional Chinese architecture, and philosophies mostly vanished in the modern China I think there are three major factors.

Key Points:

• Political environment was not stable. • The need from the society had changed.• The great proletarian cultural revolution.




Conclusion:

As a conclusion, the devastation of the traditional architecture and philosophies were caused by mainly three factors. First of all, the traditional architecture and philosophies were no longer suitable for the rapid development of China. Sec-ondly, the development of technologies and in-dustries replaced the position. And thirdly, the extremely radical treatment to the historical rel-ics during the beginning of modern China. In my opinion, the disappearance of the traditional ar-chitecture and philosophies could be a natural choice. Although, the change happened in China was far more quicker than in any other countries throughout world, which made a lack of time for buffering. I think it would still be the same result if China had more time to finish that changing progress, because a civilization needs develop-ment and in the progress only the suitable things have the opportunity to keep developing. How-ever, it doesn’t mean that it is right to destroy the traditional things. All the things that were de-stroyed during the cultural revolution are the car-riers of the cultural and traditions of ancient China. Nowadays, as the economical and politi-cal environment in China is stable and getting more enlightened, we have the opportunity, and conditions to study the traditional Chinese archi-tecture and the philosophies. Perhaps, one day the spirit of them could revival through the mod-ern architecture in a new form, and reversely, help the modern Chinese architecture to develop to a new stage.

[Current Situation]

This century is the century of information explo-sion. The speed and methods of spreading and updating knowledges are far more quicker than in the last century. The exchange of informations becomes easy, and it helps Chinese architecture to shorten its lag in a short time. Native architec-ture finally reached its bottom and bounce back up with a strong power. Everything has two side, as the high speed development in economic slowed the development of Chinese architecture in the last decades, it now offers a great stable platform for native architects to work and com-pete in return. Economic growth gives back wealth to the society, and the internal political environment is becoming less restrained as a sig-nificant sign of the good changes happening in China, which offers the native architects a less restricted environment to do academic research and theoretical studies. The offices like Urbanus in Shenzhen, and MAD in Beijing are the typical examples of new experimental architectural of-fices in China. Rather than working on commer-cial projects, these architects are more interested in finding the a particular solution for modern Chinese architecture. Some of them has already started their experiments of bringing traditional Chinese culture into modern architecture

[Selected Bibliography]Jiafei Zhu (2009). Architecture of Modern China A Historical Cirtique. New York: Routledge. p41-136.Gin Djih Su (1994). Chinese Architecture Past and Contemporary. 3rd ed. Hong Kong: The Sin Poh Amalgamted. p20-77, 125-130.Dr Evelyn Lip (1995). Feng Shui Environments of Power A Study of Chinese Architecture. London: Academy Editions. p10-36, 86-105.Liang Sichen (1999). History if Chinese Architecture. 2nd ed. Beijing: Baihua Publisher. p10 -57, p-77-93.Wu QingZhou. (1995). ancient Chinese philosophies and city plans. Architecture News. 8 (3), p46-47.Gao Mei. (2002). The Philosophies and Theories in Ancient Chinese Architecture. Forim on Architecture. 4 (2), p18-21.Wen Wei Hua. (2000). Tian Ren He Yi and Architecture in China. Culture and Architecture. 5 (3), p18-20.Wu QingZhou. (2009). Modelling Heaven and Earth in the Historial City Plans. Culture and Architecture. 31 (1), p31-39.


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