Urban Repository | Memories & Artifacts

URBANREPOSITORY

Memories& Artifacts

THE CHINESE UNIVERSITY OF HONG KONGMASTER OF ARCHITECTURE DESIGN STUDIO

PATRICK HWANG STUDIO

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BA

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EPOSITO

RY PATRIC

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WA

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STUD

IO C

UH

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石硤尾 Shek Kip Mei

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URBANREPOSITORYMemories& Artifacts

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The city itself is the collective memory of its people, and like memory it is associated with its objects and places. The city is the locus of the collectively memory. The value of history seen as collective memory is that it helps us to grasp the significance of the urban structure, its individuality, and its architecture which is the form of individuality.

Aldo Rossi, The Architecture of the City, 1966

The past and the future become, for Paul Valery, a “production of absent things.” To remember the past is to reconstruct a former present, now distortedly seen, from the point of a more immediate present. Regardless of imposed transformations, the past remains firmly embedded in objects made. The record they hold remains precise and accurate, autonomous from any later fabrications of meaning.

Ricardo Scofidio, Education of An Architect, 1991

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THE CHINESE UNIVERSITY OF HONG KONGMASTER OF ARCHITECTURE DESIGN STUDIOFALL 2014

PATRICK HWANG STUDIO

CHAN, Wing Hang . CHEE, King Hei Thomas . FAN, Cheuk Man . KOO, Brian Siu Fung . LAM, Wui Lok . LIU, Chun Ting Larry . LUO, Huipeng . PARK, Ji Soo . TSUI, Sin Ying . YEUNG, Yang Judy .

陳詠行池璟希范卓敏古兆豐林滙樂廖晉廷羅惠鵬朴址修徐善縈楊楊洋

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Foreword

Site1.1 SHEK KIP MEI, SHUM SHUI PO1.2 MARK IV PUBLIC HOUSING

Generator2.1 THE EXCAVATION2.2 THE BOX

Architecture3.1 SECTIONS3.2 RENDERINGS3.3 MODELS

Outtake4.1 PROCESS STUDIES4.2 ACTIVITIES

Colophon5.1 SCHEDULE5.2 PROJECT DATA5.3 BIBLIOGRAPHY 5.4 ACKNOWLEDGEMENT5.5 BOOK EDITING5.6 CREDITS5.7 BIO

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Foreword

This is a book about the design of urban repository in Shek Kip Mei through the research of ten Master of Architecture students from the Chinese University of Hong Kong. It is a collection of historical traces, nostalgic findings and projective ideas through the representation of architecture to reimagine what the urban repository could be.

Repository archives valuable records of the city, and by extension the collective memories of its people. It can be argued that a city’s identity can be characterised and defined by its attitude towards the past, present and future. What and how a city chooses to collect and dispose of its artifacts directly influence the cultural experience of its people.

Currently, such historic records are stored in the Hong Kong Public Records Building. The building designed by Architectural Services Department began its operation on 1997. It contains documents ranging from Land and Court records, Wartime records, private archives to photographs dating back to 1860s. It is a repository that holds a wide range of important artifacts. The banal Post Modern building contextualises itself vertically within the densely packed urban fabric of Kwun Tung, on the East Kowloon side of Hong Kong.

The building contains eleven floors with the first three being partly accessible to the public, containing a reading room, lecture room, retrieval counter and an small exhibition space. Its main objective, as indicated on the promotional pamphlet, is to “serve people from all walks of life with a variety of interests and needs.” With HK Public Records Office serving as the root of critique, this studio reimagines the urban repository as a space stitching past, present and the projective future.

Urban Repository, Memories & Artifacts explores the idea of archiving the forgotten artifacts in the city through investigating ideas and an architecture that stores, displays and communicates the past by mediating its present inhabitants with the projective future.

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12 Bibliothèque Nationale Etienne-Louis Boullée

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14 Hong Kong Public Records Building Architectural Service Department

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16 Google Data Center Annoymous

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Site

The site is in Shek Kip Mei (⽯硤尾) within the district of Shum Shui Po, located at the corner of Tai Po Road and Pak Tin Street. A neighbourhood currently undergoing important transitions of renewal. After World War II, there was an influx of immigrants from China to Hong Kong. Shek Kip Mei became the first area where immigrants resided in squatters. After the fire on Christmas eve 1953, a series of public housing project were constructed in the area creating a vibrant community with abundance of phenomenal and physical materials for our investigation. By excavating into the historic documents of drawings, pictures, stories, news events and the physical conditions of the site, students shall define the loci of the place through its findings.

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1.1 SHEK KIP MEI

Shek Kip Mei is one of the earliest developed areas in Hong Kong, where most of the western land area was reclaimed during the 1920’s by the British government. According to census, a large portion of Shum Shui Po is one of the densest place in Hong Kong, gaining notoriety as the hub of accessories, electronics, clothes and street foods at reasonable prices and also serving as the living place for older populations and underprivileged.

In the process of development, the orthogonal grid set up a systematic and efficient plan for circulation of people and control by the colonial government. The efficient transport also help to boost the local industries in the region and accelerating the economic growth.

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URBAN COLLAGEShek Kip Mei and its neighboring district of Shum Shui Po is made of an array of building types with mixture of building typologies from different eras. The mixture is evident in the massing of the building blocks.

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PROJECT SITEThe site selected is located next to the only remaining Mark I building called the Mei Ho House. It currently serve as a youth hostel with a portion of the building dedicated to exhibiting the artifacts of Shek Kip Mei and the Hong Kong public housing program.

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PROJECT SITE The sites where three former Mark I housing buildings stood are selected for the proposed Urban Repository. Total site area is approximately 6,000 square meters. It is located adjacent to the only remaining Mark I, The Mei Ho House, which has recently been transformed to become a youth hostel and exhibition center.

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RECLAMATION & THE GRID Two maps showing transformation process of the area around Shek Kip Mei between 1953 to 1973. The district became an important export center of textile industry in Hong Kong. In the process of development, the orthogonal grid was set up to facilitate urban circulation movement.

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1953

1973

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RECLAMATION & THE GRID Transformation continues to the present day as shown in the map on the top, 1991 to the current condition on the bottom. While textile industries mostly turned into clothing wholesale and electronic retails, it is currently a very vibrant community.

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1991

Present

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2.2 MARK I PUBLIC HOUSING

Shek Kip Mei Estate was created as the result of a fire in 1953 which destroyed the squatter homes for 50,000 people. The new 7-storey H-shaped housing buildings named “Mark I” was the first public housing building. They were simple and crude structures from today’s standard. Residents shared hygienic facilities and cooked in the semi outdoor corridor due to the lack of toilets and kitchens within the small living units of mere 24 sq. feet.

Within the scarced living space, residents of the Shek Kip Mei Estate and subsequently other Mark I estate residents developed a strong neighborhood spirit and resilience. Lives and activities which took place in the Mark I public housing became the collective memories of Hong Kong today.

Block 41 of the Shek Kip Mei Estate named Mei Ho House stands adjacent to the project site, it is the last remaining Mark I public housing building.

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SHEK KIP MEI ESTATEThe first public housing "types" in Hong Kong. It was first introduced in Shek Kip Mei after the fire in1953 which destroyed the settlement housing.

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36 Mark I, public housing Mei Ho House 1956

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1955 - 1976After the fire in 1953, 26 6-storey or 7-storey buildings were built for permant dwelling purpose. The 6-storey type is called the Mark I while the 7-storey type is the modification of the Mark I. Theestablishment of Shek Kip Mei Estate marked the first public housing estate in the history of Hong Kong.

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1997 - 2006Between HK's handover to the mid 2000s, Shek Kip Mei Estate was under urban renewal and the government started demolition for the reconstruction of new housing types. Mei Ho House was the only surviving H-shape block in the estate.

1980 - 1987Between 1980 to 1987 new housing blocks were added with playground spaces at the ground level. By late 80's Mark I's were modified to removed the public toilets previously located in the mid section. Bath rooms were incorporated to the individual units, it was seen as a major improvement in hygiene.

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THE H-SHAPEThe Mark I is made up of two wings of living units with a corridor around the perimeter connected by a central block of public toilets and bathrooms.

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UNSCRIPTED SPACESAlthough the housing type provided minimal functional utilities, the inhabitants were able to make best use of unintended space for their everyday use, including social events in the corridor and teaching activities on the rooftop.

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Generator

Is building design the only legitimate means to an end in acquiring the knowledge of architecture? Or is it possible to learn the form of architecture through other means, one that possess similar but abstract characteristics? To consider isolated reality as a way to eliminate preconceptions, enabling one to see with renewed clarity using abstraction as a form of distillation for the fundamental essences.

Instead of arriving architectural specificity at the end of the design process, this studio began by designing an Excavated drawing reflective of their site search and a Box as a compressed form of their architectural ideas. The Excavated drawing and the Box serve as the idea “generator” of their concept. The process allows for the individual students to develop a clear concept through the specificity of a detail (in its totality of function, technological, theoretical) before arriving at an generality of an overall building.

The project consists of three interrelated parts. A research into the literal and phenomenal potentials of the site through Excavation of its historical and geological layers; and Building a concept through the design and construction of a Box; and the architectural design of an Urban Repository responding to the findings of the excavation and the concept formalised by the box.

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2.1 THE EXCAVATION

Based on the topic of history and typology, student conducts a site specific analysis. Through mapping and the excavated drawing process, the findings seeks to promote and stimulate individual’s conceptual underpinning and development of the project. Excavation aims to uncover both tangible and ephemeral characteristic of the site in preparation for the design proposal. Upon the conclusion of the site research, students create a series of analytical and explanatory drawings to document and reflect their excavations of the site. The drawings were created on A1 sheet size.

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46 Excavation CHEE King Hei Thomas

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48 Excavation CHEE King Hei Thomas

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50 Excavation LIU Chun Ting Larry

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52 Excavation LAM Wui Lok

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54 Excavation PARK Ji Soo

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R/F

LAVATORY

BUS

SHOP

CORRIDOR

CORRIDOR

HOME

child adult

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Excavation TSUI Sin Ying

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R/F

LAVATORY

BUS

SHOP

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CORRIDOR

HOME

child adult

G/F

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58 Excavation TSUI Sin Ying

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2.1 THE BOXIn full scale construction, students designs the enclosure, curate the content and construct a box for the purpose ofarchive and display. The choice of materials, the construction logic, and the ways in which the content is displayed will establish the design trajectory and concept for the architectural project. The Box is an architectural act in compressed form. Its reduced nature puts emphasis on clarity of ideas with a focus on the specificity and detail. The physical act of making the box recognises the infusion between art, architecture and engineering. It encourages the understanding in materiality and promotes an economy of means.

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Box of Memory

As a “Container” containing a container, the Box of Memory uses the memory of people in the past, through the form of a fabric to wrap around and protect the tin can within. By unsealing the zipper it allows one to open up their mind, to recover memory that might have been lost or forgotten in time.

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68 Box LIU Chun Ting Larry

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Box of Ambiguity

Looking at the past is reminiscent to looking through mist, visuality becomes blurry, uncertain and abstract. Box of ambiguity hides an artifact within layers of translucent shell constructed of brushed and dot-coated acrylic panels. One can only guess what the artifact is through its blurred silhouette.

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74 Box LAM Wui Lok

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76 Box LAM Wui Lok

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Box of Camera

CAMERA as the enabler of memory: It captures memory and produces an artifact of memory; the container of memory

CAMERA as the vestige of memory: It serves as an artifact and contained by the Box; the release of memory

Hence, the juxtaposition of the ARTIFACT and the BOX - the artifact and the box as an entity, a mechanism; the activation of memory occurs only when the two objects come together.

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84 Box CHAN Wing Hang

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Box of Juxtaposition

The box stimulates the accumulation of time. Layers of new and aged wood are placed within opposite sides of the panel as a representation of different periods in time. One can only touch the smooth wood (present) at the exterior surfaces, while the aged wood (past) within can only be discovered through the perforated circles. These holes offer varied angles of observation, and serves as a connection between past and the present.

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ArchitectureBased on findings of the site analysis and the research generated from the empirical design exercises from Excavation and Box, students designs an Urban Repository with architectural particularity by collaborating both form and content. This public building contains four primary functions of archive, display, forum and service. Vertical and horizontal sections carefully organizes the sequence of movement and the spatiality of the repository.

Overall site area is approximately 6,000 sq. meters, of which 2,000 is intended for building design and remainder for public space. Use the information gathered from Excavation to further understand the site with respect to its history, surrounding built environment, circulation networks and neighbourhood’s constituents. Evaluate the latent opportunities that exist in the site. The proposed Urban Repository is approximately 8,000 sq. meters with the following planning guideline.

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3.1 SECTIONSBased on findings of the site analysis and the research generated from the empirical design exercises from Excavation and Box, students designs an Urban Repository with architectural particularity by collaborating both form and content. This public building contains four primary functions of archive, display, forum and service. Vertical and horizontal sections carefully organizes the sequence of movement and the spatiality of the repository.

Overall site area is approximately 6,000 sq. meters, of which 2,000 is intended for building design and remainder for public space. Use the information gathered from Excavation to further understand the site with respect to its history, surrounding built environment, circulation networks and neighbourhood’s constituents. Evaluate the latent opportunities that exist in the site. The proposed Urban Repository is approximately 8,000 sq. meters with the following planning guideline.

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Being the first Public Housing of Hong Kong, Shek Kip Mei Estate, from H-type housing blocks built after the fire in 1953 to the 30-to-40-stories buildings today, had witnessed stages of changes and struggle of Hong Kong people. But in times, when the old buildings were demolished, memory and spirit of them might fade and disappear. This design proposal, by building an urban repository for Hong Kong Public Housing, tries to preserve the most from the life, culture and architecture of public housings; at the same time, exhibition rooms, parks and community plaza are provided with people of different ages and backgrounds so that each of them can understand more about the history and share their memory of the place with one another. Only by learning from the history and rebuilding trust between neighbors can the “Under the Lion Rock Spirit” be carried on and on in Hong Kong.

Images CHEE King Hei Thomas

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The ForceHong Kong is a fast-paced city that is always ready to bulldoze old buildings to give way for future development. But its people have not forgotten the old days living in the 7-storey H-Blocks. Their desire to learn of and preserve the past generates a force which becomes the very reason for the existence of the archive.

The VoidThe project looks at bulldozed buildings not just as something removed from the surface of the city, but as voids beneath where they once sat. A reverse of the solid void relationship, in which buildings lose their physical forms and transform to become voids that preserves memory. With the same force coming from our desire to learn of the past, the archive impacts the ground and opens up the void of past beneath it.

Past footprint of H-blocks and squatter huts are overlaid to create a landscape, which leads people down the opened up void, down where past and memory, in this project the archive documents, are buried. The landscape consists of strange shapes on regular steps. It is only an abstract representation of the past. And that echos the idea of ambiguity.

Sections Liu Chun Ting Larry

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A PEARL OF THE CITY URBAN REPOSITORY OF SHEK KIP MEI

As a response to the glorious humanity of inhabitants, the urban repository serves as “a pearl of the city” during day and night. This is a public cultural space where visitors can communicate and watch exhibitions. At the top, the archive houses valuable historic documents and photos of public housing in Hong Kong and part of the collection is available for people to access. The building is public-oriented that people can easily access to it, and participate public lectures and activities. Regarding a lack of proper public areas for leisure, a large public recreational area with greenery is proposed as a “green lung” of Shek Kip Mei. It is an event space for citizens to enjoy and refresh themselves from the bustling city.

The urban repository sits at a position that can be seen from a far distance. Each side reacts differently to specific urban conditions or desired views. The geometry is simple and clean but the spatial experiences (a journey of discovery) are rich. This strong contrast will get people amused once they enter the building. Two ways of craft-out of building volume are the contextual responses to the site. The western part serves the public by introducing the natural light into the building and public spaces. The eastern void introduces the hill and greenery into the temporary display area.

In order to achieve this, the façade system is carefully considered and articulated. The façade pattern is generated and divided into four types according to the images of people’s daily life in the 1950s. Every piece is unique and tailor-made so that visitors can read the past in a different way. With this translucent double-skin façade, the sunlight penetrates and lightens up the spatial quality of public spaces. This urban repository will surely influence the district a lot in terms of architecture and culture, and reflect the belief of “Architecture, Culture and Place…” as mentioned by the competition brief.

Sections LAM Wui Lok

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URBAN ARTIFACT OF THE PRESENT

The presence of a public urban repository can be established through its fundamental role as a mediator between the present and the past. It shall not only be a liveless container of valueable information of the past livelihood of the people, but rather a timeless architecture capturing a continuum in time, space and event. The current present is the key to what we treasure dearly as the past in the following length of time.

Shek Kip Mei is a part of the city that has been engraved some of the most significant histories of the livelihood of Hong Kong people. As it flourishes and transforms with development, new urban spaces have grown and sprawled from existing structures, while old ones begin to fade along with the treasurable memories of the past generation. The URBAN ARTIFACT celebrates the presence of the archive and the activation of past memories, while capturing the phenomenons of the present through a continuous spatial void.

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Sections CHAN Wing Hang

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134 Sections CHAN Wing Hang

G/F Plan, 1:500

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G/F Plan, 1:500

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LG/F Plan, 1:200

1:600 1/F Plan, 1:200

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2/F Plan, 1:200

R/F Plan, 1:2001:600

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140 Sections CHAN Wing Hang Longitudinal Section, 1:400

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141Longitudinal Section, 1:400

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The project showcases the archive as an organized chronicle. The repository of artifacts is regarded as an accumulation of memory across time. Although the building stores archival materials in various time periods, the sense of time layer can only be experienced by travelling inside the building but cannot be judged from its brand new façade.

Archival shelves are arranged in decadal order, with the old artifacts at lower level and new at upper floors. Voids are created within the dense archival solid and programs are place in these voids. Escalators which penetrate through the archive floors connect the voids in the building. The archive shelves are revealed to the public with the use of glass walls. While one travels on the moving escalator (representing present), he/she can see the archive being frozen on the floor which indicates its time period. The contrast of present and past is brought in terms of movement and stillness, as well as solid and void.

The circulation inside the building is to travel within the voids formed by the arrangement of archival shelves, resonates with our mental journey of traveling back to the gaps of time in search of shared memory and values.

6

Sections TSUI Sin Ying

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143

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144 Sections TSUI Sin Ying

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145

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146 Sections TSUI Sin Ying

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147

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148

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3.2 RENDERINGS“Architects do not make buildings; they make drawings of buildings” as proclaimed by Robin Evans. Traditionally, architectural drawings are understood as a means to an end: lines, notations in a series of steps from idea toward built realization, the projected building-to-be. Along the Structuralist way of thinking, drawing is the signifier and building is the signified. Representation therefore can be understood as a series of provisional strategies to mediate between the two different worlds, the imagined and the built. Modes of representation are not simply neutral depictions but a constructed proposition of architecture.

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150 Renderings CHEE King Hei Thomas

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151

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157

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158 Renderings LIU Chun Ting Larry

2

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159

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SUNKEN LANDSCAPERepository of Hong Kong artifacts stored underground forming a part of the urban experience

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161

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FRONTThe force from the archive impacts the ground it sits on and create a sunken landscape beneath.

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163

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SIDEThe archive sits at the end of Wo Chai Street, preserving the past as a part of the everchanging area of Shek Kip Mei.

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165

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UNSCRIPTED SPACESThe two-meter deep structure creates spaces of various sizes around the perimeter of building, allowing unscripted activities like those happened in the corridors of H-blocks.

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167

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168 Renderings LAM Wui Lok

3

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169

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170ATRIUM

Renderings LAM Wui Lok

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171ATRIUM

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172 Renderings LAM Wui Lok

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173

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174 Renderings PARK Ji Soo

4

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175

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1771:600

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179

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181

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182 PhotomontageRenderings CHAN Wing Hang

5

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183Photomontage

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184 Renderings CHAN Wing Hang Sectional Perspective

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185Sectional Perspective

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186

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187

3.3 MODELSIn the most basic sense, Plan, Section, Elevation and Axonometric are descriptive graphic notations associated with objective representations of a potential construct. The intention of these drawings is to provide instructions to build. Their accuracy therefore directly affects the outcome of the construct. Descriptive drawing: the abstract, distant and projected lines are the subject of translation in becoming the tangible, present and immediate elements of a building.

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188 Models CHEE King Hei Thomas

1

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189

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193

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194 Models LIU Chun Ting Larry

2

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195

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199

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200 Models LAM Wui Lok

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201

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205

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206 Models TSUI Sin Ying

4

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207

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208 Models PARK Ji Soo

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209

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213

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214 Models CHAN Wing Hang

5

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215

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216 Models CHAN Wing Hang

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217

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218Models TSUI Sin Ying

6

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219

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224

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225

Outtakes

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227

4.1 STUDY PROCESS

Process is far more interesting than ideas. Ideas are linked to existing codes, operating critically or in alignment with pre-existing systems of ideas. Rather than making a project the implementation of an idea, or the scaffolding of an image, what we are interested in is constructing, engineering processes on different levels. A process is the generation of a micro-history of a poject, a kind of a specific narrative where the entity of the project forms in a sequence.

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228 Process CHEE King Hei Thomas

1

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229

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230 Process CHEE King Hei Thomas

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231

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232 Process LIU Chun Ting Larry

2

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233

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234 Process LIU Chun Ting Larry

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235

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236 Process LAM Wui Lok

3

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237

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238 Process PARK Ji Soo

4

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239

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240 Process CHAN Wing Hang

5

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241

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242 Process KOO Siu Fung Brian

7

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243

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244 Process LUO Huipeng

9

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245

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246

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4.2 ACTIVITIES

Expanding learning activity beyond the limits of the classroom is a conscious pedagogical objective. Whether it is visual, intellectual or experiential, learning by doing and engaging with the subject matter ensures a productive process and outcome. Through the avenue of extra activities, students find it much easier to absorb the subject matter, and also foster a sense of commitment to a cause or purpose, students become more engaged as a result.

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248

SITE VISITSSite visits to Shek Kip Mei and the Hong Kong Public Records Office allows students a first hand exposure to the site and the programmatic requirements for the urban repository.

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249

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MID & FINAL REVIEWSInternal and external critics were invited throughout the term, allowing the projects to be exposed to both academic and practitioner's critiques. Pritzker Prize reciepient is seen prying into the camera box.

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251

AWARDSChee, Liu and Lam's projects received honorable mention in the Cross Strait Architectural Design Awards organized by the HKIA. Liu's project aslo received the Best Project Studio Project award from the School of Architecture.

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1 2

5 6

1 CHEE, King Hei Thomas2 LIU, Chun TIng Larry5 CHAN, Wing Hang6 TSUI, Sin Ying

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253

3 4

7 8

3 LAM, Wui Lok4 PARK, Ji Soo7 KOO, Siu Fung8 FAN, Cheuk Man9 LUO, Huipeng10 YEUNG, Yang Judy

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254

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Colophon

5.1 SCHEDULE1 M 01.09 Introduction TH 04.09 Site Visit2 M 08.09 TH 11.09 Review: Excavation | Site Research3 M 15.09 Guided tour | Government Records Service of HK TH 18.094 M 22.09 TH 25.09 Pin Up5 M 29.09 TH 02.10 Holiday: (no studio) Chung Yeung Festival6 M 06.10 Review: Box | Concept Development Guest Reviewer: Prof. Stanislaus Fung TH 09.107 M 13.10 TH 16.108 M 20.10 Pin Up TH 23.109 M 27.10 TH 30.10 Review: Urban Repository | Schematic Design | Prof. Minjung Maing, Dickson Wong of Inhabit Group, Benjamin Chan of Inarchitects, Kevin Mak of Office of Metropolitan Architecture10 M 03.11 TH 06.1111 M 10.11 TH 13.1112 M 17.11 TH 20.11 Pin Up13 M 24.11 TH 27.1114 M 01.12 TH 04.12 Review: Final F 04.13 Honours Review | Best Studio Project

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257

5.2 PROJECT DATAThe proposed Urban Repository is approximately 8,000 sq. meters

with the following planning guideline.

ASSIGNED AREAS GROSS SQ. METERS1/ Repository 3,5002/ Display Area 7003/ Vistor Services 1004/ Lecture/ Multipurpose Hall 5005/ Dining & Cafe 2006/ Offices, Operation & Conservation Studio 1,000

UNASSIGNED AREAS 2,0007/ Lobby incl.8/ Circulation incl.9/ Restrooms incl.10/ Mechanical/ Electrical & Plumbing incl.

TOTAL GROSS URBAN REPOSITORY AREA 8,000

Note: Building coverage to be around 33% with remainder to be planned as public space FAR to be approximately 4 within the

building coverage area

PRODUCTS: PROJECTION AND FABRICATIONContextual drawings at 1:1000Full plans and sections at 1:200

Partial wall section at 1:50Exterior and interior perspectives two minimum and three

maximum views for eachPhysical site/ concept model at 1:1000

Physical model at 1:200Physical model at 1:50 (Partial)

5.3 BIBLIOGRAPHYCalvino, Italo. Invisible Cities, (Random House, 1978)

Leatherbarrow, David. Architecture Oriented Otherwise, (Princeton Press, 2009)

Rossi, Aldo. The Architecture of the City, (MIT Press, 1982)Rafael Moneo, “The Murmur of the Site,” ANYWhere, (ANY, 1992)

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259

5.4 ACKNOWLEDGEMENTMany thanks to all the students who entrusted me to guide them to explore, even during those times when I was not certain where the road might lead. Special thanks to the participating critics whose comments contributed to the

development of this book.

THE CHINESE UNIVERSITY OF HONG KONGProf. Stanislaus Fung & Minjung Maing

INARCHITECTMr. Dickson Wong & Benjamin Chan of Inarchitects,

OFFICE OF METROPOLITAN ARCHITECTUREKevin Mak

LWK ARCHITECTUREBarry Will

5.5 BOOK DESIGNDESIGNER

LIU, Chun Ting LarryCHENG, Alice Kai Kei

EDITORBelinda Law

EDITORIAL ADVISORFrank Koochumi

TYPEFACESAdobe Garamond Pro, Humanst 521 Helvetic

COVER PAGEPARK, Jisoo

END PAGETSUI, Sin Ying Fiona

ISBN00-0000-000-0

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5.6 CREDITSNo part of this book may be used or reproduced in any manner without the written permission from the publisher or the author. Every reasonable attempts has been made to

identify owners of copyright.

CHAN, Wing HangCHEE, King Hei Thomas

FAN, Cheuk ManKOO, Brian Siu Fung

LAM, Wui LokLIU, Chun Ting Larry

LUO, Huipeng PARK, Ji Soo

TSUI, Sin Ying FionaYEUNG, Yang Judy

5.7 BIOPatrick Hwang is a registered architect (USA) and Professional Consultant (previously Adjunct Associate Professor) at The Chinese University of Hong Kong. He teaches both graduate and undergraduate level design studios, architectural theory and serve as coordinator of the Thesis Project. Prior to joining CUHK, he was Assistant Professor at the University of Arizona where he taught design studio, building technology and visual representation. His current preoccupation involves developing pedagogical frameworks that establishes an oscillating relationship between analytical thinking and transformative making. He has been experimenting with this methodology in recent design studio as well as during exchanges with partner universities.

Born in Taiwan and raised in New York City, Patrick Hwang’s professional experience has been with Kohn Pedersen Fox and Rafael Viñoly Architects in New York, and Michael Maltzan Architecture and Gehry Partners in Los Angeles. At Gehry Partners he was Associate and a lead architect on the Art Gallery of Ontario, Stubbs Road Residence and Maggie Care Center projects. His other project includes the Fresno Metropolitan Museum in Fresno, Rainbow Housing and the David L. Lawrence Convention Center. Patrick Hwang holds Bachelor of Fine Arts and Bachelor of Architecture degrees from Rhode Island School of Design and a Master of Science in Advanced Architectural Design from the Graduate School of Architecture, Planning and Preservation from the Columbia University of New York.

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262

2014

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263

to be continued

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Documents

Urban Repository | Memories & Artifacts