The Shipwright’s Anthology 3

The Shipwright’s Anthology

The Shipwright’s Anthology’ explores the potential of the architect – as narrative cartographer to engage and interface with ‘Place’ as defined by recent psycho-geographers as the confluent space of diverse and simultaneous spatial narratives or stories. Within the thesis project – multimedia vocabularies of storytelling and recording become divergent approaches toward generating architectures of intervention. In acting upon what Doreen Massey called the ‘Chance of Space’ – the architectural proposal becomes foremost a set of new, counter-narrative future possibilities for a marginalized industrial site; unfolding over time as a series of discrete, specific and sensitive spatial instruments. These devices, in stitching themselves into the tissues, temporalities, agents and exchanges already at play, become tools for narrative editing or re-composition; a series of ‘Knots’ enabling new celebratory frictions and forms for extant narrative threads.

Dialectic Observatory 1

Dialectic Observatory: Hope Bay Gold Mine Reimagined

The thesis project proposes an observatory. Through amplifying the movement of rocks to human perceivable timescale, changing the perception of space for its visitor. The observatory is imagined to translate the custom scientific apparatus that is used to detect ground movement in permafrost site, and translating them into an architectural kinetic experience. Located at Hope Bay Gold Mine, the project positioned itself at an existing raise tunnel at Doris Mine site, one of the three mining camps in Hope Bay. The goal is to provoke a shift of perspective and provide imagination in similar mine sites in in the area, and responds to the larger environmental issue of Canadian Arctic.

Installation view on Sai Wan Pier

Proximate Space

The studio engages with multiple, proximate spatial practices – dance, film and architecture – to consider how we design for the public realm. Working collaboratively in groups and with a site of their choosing, students experimented with different modes of documentation, producing fixed frame films, closely observed site drawings, and notations of movement and activity. These tests allowed each group to identify a working method and a set of interests in relation to the public realm.

In the second half of the semester, each group worked with these methods and interests to develop an intervention for a common water-front site not far from the university. Interventions were built and tested at 1:1 with given wood sections. Interactions and discussions with passers-by fed into the iterative development of projects. In considering how different modes of observation, description and projection mediate our relationship to a site and to each other, the students also questioned the architectural practices that constitute “designing”. Guest interventions from a wide-range of disciplines fed into the larger discussion on spatial practices in the public realm.

Fabricated Ground

The last decades have seen cities around the world regenerate their post-industrial urban waterfront. Sites that were once scattered with ships, factories and pollution are now spaces full of activity and programmatic innovation. The water’s edge is once again the locus of public space, mediating between the city and its immediate and abrupt absence. This is also a time when building resilient cities begins at the water’s edge.

In this context, the studio will be investigating, not the waterfront, but a distinct feature thereof; the Urban Pier. Primarily intended to facilitate access into maritime vessels, piers distance themselves from the water’s edge by stretching out into the sea. Conceived as infrastructure and built for different purposes, from cargo-handling, to transport, to leisure, once-obsolete piers have been repurposed for an even wider range of uses. The course will consider the pier in broad terms, as fabricated ground over a body of water tasked with negotiating passage from city to water. Working from the presumption that density plays a critical role in injecting program and volume into the pier, particular attention will be given to urban conditions.

Blade Runner

Thesis Abstract

Blade Runner (1982) and its sequel Blade Runner 2049 (released in 2017) are set in a dystopian future where humans live in a high-tech but low-life environment with synthetic humans called replicants as their slaves. The film was regarded as one of the best science fiction films for speculating a retrofit future. Similarly, architects always concern with contemporary issues and project a future. The thesis explores the potential of a film serving as a site of analysis and speculation for an architectural proposition. If both film and site can become a territory subject, what are the implications of relying on a fictitious territory as a generator for the design of spaces?

Based on the film context, the analysis focuses on the timeline, storyboarding and scenes where the story plays out and then a missing scene is identified as the potential of an expanded story. The design is to construct a narrative with a greater scope than real projects. It is a design of the universe, a speculative reality with urbanism, architecture, interiority along with characters all serve as components of the narrative.

The Drawing Games

Thesis Abstract

The project questions representations that focus on the physicality of matter, and introduces a representation that sees architecture in new spectacles. Exploring how drawings capture architecture that  is invisible to the eye, through the lens of sports. And further on how the drawn lines connect things, and allow that to become a basis of the author’s thinking, questioning and proposition.

The project aims to bring in discussions of architecture’s strength as an intellectual act instead of a built object. How drawings work as a methodology instead of an artefact. Where drawing as the translation of the our thinking, is itself architecture in action.

Tower of Blah

The Tower of Blah attempts to reveal (or expose) through infographics, rather than design, the particulars of Hong Kong and its relationship to Towers. Its status as the city with most towers requires close inspection, for this condition need not mean richest, densest or most livable. How then, does Hong Kong compare to other territories, other incomes, and other areas? Are towers, as evident in this exhibition, to be perceived as opportunities to showcase prowess (of all sorts), or should they be seen as telling symptoms of the state of the economies, territories and societies that harbour them?

Blah 塔》試圖通過信息圖形,而非設計去揭示香港的特質及與塔樓建築的關係。香港作為一個擁有最多摩天大廈的城市需要我們仔細檢閲,因為這種情況不一定意味著最富裕、最密集或最宜居。那香港與其他地區、收入和領域相比會如何呢?在這次展覽中,塔樓應被視為展示各種實力的機會,還是應被用作能夠呈現地方經濟、領土和社會狀況的分析工具?

Breathing Space by the Dead

My thesis questions the potentials of the cemetery in Hong Kong as an infrastructure through redefining the limit of boundary between the cemetery and the city, specifically the in-between edge condition.

Cemetery in Hong Kong is an open space that will not be removed from its original setting, under the circumstances of our cultural taboo towards the notion of death. It performs as an urban anchor which resists the pressure of urban development in Hong Kong. Locations of cemeteries that were first situated as infrastructures in the rurals of Hong Kong, eventually transformed into various scales of voids within the dense context, as the urban substances expand radically beyond its city’s edge. The cemetery in close proximity to the urban, however, remain as a demarcated segment from the city defined through an undulating buffer zone along the line between the death and living, where the edge can be as intimate as a cliff within hand gripping distance.

With cemetery stemmed as a burn mark in the city, along the demand of growing capacity to accommodate the death and living, the cemetery and the city will collide. This is an opportunity for new definitions of boundaries to rise!