Kemeri National Park Promenade - Latvia - 2018
Private Residential. Hampstead. London.
Credit: Urban Projects Bureau - Photo Credit: Kilian O'Sullivan.
Garden Studio. London.
Photo Credit: Kane Hulse.
O I L Z. C. B. - Pavilion - Chicago
Housing Studies. Bogota. Colombia.
[Cocopepe Compania de Construcciones. All drawings subject to change]
Private Residential - On the River - Limehouse - London
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House, Chiswick, London. Entrance & Rear.
Front Entrance Extension
Rear Garden Room
BOGOTA. COLOMBIA. HOUSING.
[Delsolar. Courtesy of Coco Compania de Construcciones. All drawings subject to change]
L'Atypique Summer Table. Collaboration with Stephanie Misseri.
L'Atypique Wine Stall
F A C E S 顏
Nisshin kogyo 41st competition. Z . B . N .
Gaps narrowing, plots dividing, no space, no light, no faces. Tokyo is a cycle of depletion and reconstruction. Faces is a series of roofs pulled, rooms revealed, walls glazed and space shared.
The concept 'under one roof' is reversed. Upon the roofs, a new landscape unfolds. No longer only a shelter, the roof is extruded and a room is formed. The proposal transforms a tight residential area by interplaying and connecting a series of existing domestic spaces with a new overlay of public realm. 'Faces' is the design of a new urban typology, which can be appropriated within different urban settings. A 60x60m square in a residential area of Tokyo provides the setting for this proposal, which is a response to a distinctly Japanese way of living. New roofs are pulled and extruded, based on existing characteristics of the residential area, providing space for the public domain. New social centres and gathering points are created. A roofscape hovers overhead, and is counterbalanced beneath with lightweight partitions and wider openings, which extend light within the domestic spaces below.
'Under one roof' is an opportunity to dream and create a creative solution to the problem. The idea is to contend vertical living, to present a solution that brings traditional Japanese shared spirit back into the community. Ground is the only thing of value in a constantly changing environment. This project enables every resident to retain ownership of it.
Tokyo faces a cycle of regeneration. The current building lifespan in Japan is 26 years, meaning in 100 years, Tokyo as we know it will have vanished and will effectively be an entirely new city. Amongst the towering heights of Shinjuku, small residential areas are sitting tight, clinging to the ground. In a city of such limited space, ground holds the utmost value. The consequences are that vertical living is taking precedence and at the same time taking land ownership away from the individual. As space tightens, a shared collective in inner Tokyo decreases, and community dynamic is lost. Intimate encounters are forgotten. The proposal regains the faces that were lost along the way.
The proposal has two aims. The first is to construct a new, raised, public ground. The second is to create interplay and openness between existing houses. A series of planes are provided, which become the space for new public services and shared facilities. Places of gathering and collective life such as the Shinto shrine, the sento, the 24/7 conbini, find a home in the thickened roof layer, which rises beyond the current residential zone. To encourage interaction, ‘engawa’-type periphery spaces are reintroduced to domestic spaces, to replace the existing impenetrable walls, walls which encourage insular living. A dialogue begins between the private and the public spaces.
L O N D O N
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T H E C O U N C I L E S T A T E
London ground plane is used as an economical instrument to rise value and increase privatisation. The concrete ground becomes the control. Since 30 years, Nine Elms is divided, splitting ownership between the new developments and the surrounding estates.
A repeated process appears to dominate, The city is victim to waves of development claiming land, wiping it out, importing an idea of space, imposing it, controlling its territories, keeping the surroundings away and even pushing them out if necessary.
Development churns through the city with anonymity, implementing a taste of privilege and asserting an illusion of threat. The consequences are as follows: They impose endless walls, surveillance, security to border the other out and prevent contamination on a physical but also a social level.
L O N D O N G A N G S
O I L Z. C. B.
Oil rises from the ground, captures an existing frame and gently solidifies into a solid block. The structure is swallowed and absorbed. Slowly, the oil dilutes, disintegrates and thins, revealing the landscape which surrounds it. Wax wraps the passage and the layers of the walls are exposed, the oil is exposed.
Solid sections break through the shell of the cast. The sections run along a track and act as the enclosures but also the columns to the fragile frame. Adaptable, the space can easily transform from an exhibition space to a performance space to one or more commercial retail spaces where from outside the world within can be observed and from inside, the world outside is framed.
T O K Y O I N T R A N S I T
Radio exercise was imported into Japan by a japanese Insurance company to promote health and wellbeing in the 1920ʼs, broadcasting music every morning on national radio with synchronized exercises serving as a symbol of unity amongst the Japanese. This interest in the mass social and cultural identity led me to investigate moments of transit within Tokyo. The design is for a natural salt spa centre for Arakawa river, one of the principal rivers flowing through Tokyo and a recreational green belt for the city. Saline water is a prominent material onsite. Salt has great cultural, religious and social significance in Japan and is vital to health and well-being. The water flows through the building, allowing for the production of salt to purify the air and the users, reflecting solar gain and slowly layering and transforming the landscape.
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A room in the dark. A room of light.
Designed to embrace the shadow, the shed is hidden amongst the large conservation trees, the overgrown garden and the three two metre high brick walls which run alongside neighbouring houses. Covering merely 12.8% of the entire surface, the proposal is a tribute to timber construction: Tar coated external marine plywood, timber frame and birch interior cladding. Two opposite skins cover the frame, distinguishing the non-existence of the black coated exterior within the shadow and the warmness of the interior birch.
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Chaussee St Pierre 82, Brussels
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School, Changchun, China