SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
PROJECT 1 – CRAFTING RESEARCH - 15% *Updated: 6th June 2020
East Coast Traditional Arts & Craft
1) Introduction: We are rich with the arts and traditions that are unique to us. These traditional arts were not regarded as handicrafts or mere decorative item but were an integral part of our daily lives. They were imbued with the essence of our cultural identity. In view of a profession that is in danger of disintegrating into parametric design and environmentalism, we will reclaim the designing of architecture as an exhilarating artistic act. We will produce the new form of traditional arts through architecture for the 21st century. Through our understanding of our traditional arts, we will deliver architecture as a contemporary visual and material culture.
2) Learning Outcomes: Upon the completion of this module, students will be able to CLO1 CLO2
Demonstrate and interpret the site’s cultural and environmental significances with expressional drawings and concept model. (A3, PL02) Display various representational techniques to communicate analytical thinking into spatial quality and form making. (P4, PLO3)
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
3) Tasks
Pura Tanjung Sabtu, Kuala Terengganu
PROJECT 1A – Crafting “Pura Tanjung Sabtu” & “Local Artisans” (Group) – 10% A royal Malay retreat that is unique in Malaysia, Pura Tanjung Sabtu is a stunning traditional complex of elaborately carved timber houses located in Tanjung Sabtu in the East Coast Malaysian state of Terengganu. It gained quiet acclaim and praise from international art researchers, conservators and architectural historians. Recognized for its unique resurrection as a successful, empathetic synthesis of a rural Malay homestead adapted for modern commercial use. Meticulously crafted and lovingly tended through private means, Pura Tanjung Sabtu itself is vested in the dedicated care of Tengku Ismail Tengku Su, a scion of the Terengganu ruling family. Eleven unique timber houses were successfully salvaged and painstakingly restored through Tengku Ismail’s effort, with the help and support of local carpenters and craftsmen whose own trades are gradually dying. However, Tengku Ismail’s passing in the year of 2013 has left the place derelict and dilapidated. We shall document the spirit of the place and local artisans in the east coast of Malaysia (Kelantan and Terengganu) to inspire us for the future of crafting & architecture. Site Analysis Grouping 1) Micro Site Analysis – Tanjung Sabtu (Group) (In terms of its evolution) • Historical timeline of Tanjung Sabtu, Kuala Terengganu o Economic activities, agriculture, town phasing and etc (to research on relevant subtopics) • Site Context Plan, Location Plan • Land Use (historical timeline) • Circulation/ Transportation (timeline and evolution – was the river important?) • Landscape - (how the site has formed over the years. River/etc) • Existing communities and its activities. (timeline and evolution) • 3D massing of site (CAD submission) Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
S327097 Barcelona historic timeline
Ulu Langat Historical Timeline (1907 Sem 4 Impermanence Shelter)
2) Site Analysis – Pura Tanjung Sabtu (Existing Architecture) (Group) • Terengganu House History • Tengku Ismail Tengku Su Family History (Client’s history) • Pura Tanjung Sabtu History • Plans, Elevations, Sections • Views of site (inwards & outwards) • Material Survey (colours/texture/pattern) • Existing Terengganu House Elements (Roof, Column, Wall, Floor & Etc) S327098 • Space Analysis (areas and etc)
Pura Tanjung Sabtu detailed carved works
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
Elements of Projects at Koshirakura Workshop, Japan
Damián Ortega: Cosmic Thing, 2002, disassembled 1989 Volkswagen Beetle
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04 3) Craft Analysis (Group) • Research into Textile (Batik & Tenun), Timber, Metal (Tembaga, Silver & Gold craft), Ceramic, Traditional Boat Making and other crafts (Wayang Kulit, Wau, traditional musical instruments) • Evolution of raw materials to finish products explaining all the processes involved expressed in a linear/ scroll drawing.
Making of mudbrick for Theban tomb no.100
Paper making machine
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04 PROJECT 1B – CRAFTING FUTURE REPRESENTATION (Individual) – 5% Through combinations of drawings and model representation, it helps us to generate the imaginative potential and the ability to realize conceptual design idea. We are using this method of representation as an arena of discourse and as a tool of understanding the architectural theories we encounter in relation to the site. It is a study of continuous essential elements and principles of architectural expressions to our built environment which results in your CRAFTING FUTURE REPRESENTATION.
Islamic Ceiling from Elements of Architecture, 2014 by Rem Koolhaas
Al-Bahr Tower
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
4) Submission Requirements: SUBMISSION GUIDELINES : PROJECT 1 (Group and Individual) P1a - Crafting Site (Group) – 10%
All groups to work together to publish ONE physical and an e-book which covers the content intended above.
P1b – Crafting Future Representation (Individual) – 5% • •
Individually, students are required to express the Visionary Representation of “Crafting Future” To be expressed in A3 format in terms of models/ drawings/ etc.
5) Assessments Criteria: PLO2 Express ideas effectively in visual, written & oral form.
PLO3 Use the techniques & tools necessary for executing the work.
CLO1 Demonstrate and interpret the site’s cultural and environmental significances with expressional drawings and concept models. (A3, PLO2) CLO2 Display various representational techniques to communicate analytical thinking into spatial quality and form making. (P4, PLO3)
Assessment Criteria Relevancy of task - observation, research, analytical studies of the given site. Participation and contribution of each student.
6) Submission Date and Time: •
Presentation P1 on Week 3 (23 Jan 2020 – Thursday) (Group & Individual)
7) References: Main Reference • • •
Koolhaas, Rem. (2018). Elements of Architecture. Taschen bmgh. Lewis, Paul. (2016). Manual of Section. Princeton Architectural Press. Pyo, Mi Young. (2015). Architectural Diagrams 1. DOM Publishers.
Further Reading • • •
Serrazanetti, Francesca. (2013). Kengo Kuma: Inspiration and Process in Architecture. Moleskine. Muckenheim, Mark. (2012). Inspiration: Contemporary Design Method in Architecture. Page One. Cook, Peter. (2008). Drawing: The Motive Force of Architecture. Wiley.
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
PROJECT 2 – CRAFTING SKIN (DESIGN LANGUAGE) - 25% *Updated: 6th Jan 2020
Pura Tanjung Sabtu
1) Introduction: Pura Tanjung Sabtu made its central function as a centre for appreciation of Malay traditional arts, particularly the rich art of Songket Weaving. In line with the traditional dictates of Malay ancestral “Tanah Wakaf” endowments, certain income derived from cultural and commercial activities were dispersed in support of local charity, religious and community programs. As we know, the place has been left derelict and there’s an urgent need to revive it. Many of the local carpenters, craftsmen and local artisans whose own trades are gradually dying. With our research in P1, we are going to immerse ourselves in the rich history of both of our local arts and Pura Tanjung Sabtu to excavate new incarnations of familiar motifs and embracing their architectural functions and powers. We will investigate the processes of the traditional arts and transpose it in a working structure producing a set of dynamic properties as the new architectural skin/ design language. Concurrently, we will develop a narration of the site into the possible programs that could revive Pura Tanjung Sabtu as a cultural centre and the communities it could serve.
2) Learning Outcomes: Upon the completion of this module, students will be able to CLO1 CLO2 CLO3
Demonstrate and interpret the site’s cultural and environmental significances with expressional drawings and concept model. (A3, PL02) Display various representational techniques to communicate analytical thinking into spatial quality and form making. (P4, PLO3) Experiment design proposal with significant relationship of the existing building in innovative manner and able to integrate it’s spatial quality to the whole. (C4, PLO6)
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
3) Tasks
Erwin Hauer architectural screens and walls
PROJECT 2 – Crafting Skin & Program (Individual) – 25% As their skills and techniques become more sophisticated, each student is to develop their own principle (design language) derived from their study of traditional arts and use that as a platform to develop key ideas that are adapted and reinterpreted in the development of spatial and structural system. This project will give them the opportunity to experience and engage with the elements of the environment. These working structures are developed through narration and physical models that represent or emulate their rigorous research and personal experiences. Geometric control and material techniques reacted to these personal experiences and manifest it in exquisite models and drawings, material prototypes, all experimentally crafted within a painterly and sculptural sensibility that layers contemporary methods with traditional methods. In order to develop the ‘skin’ further, each student is to look at preliminary programs that can heighten the cultural awareness with strong community-oriented activities among the surrounding village. This will give further meaning to the development of the design language. The design language is then adapted and reinterpreted in the development of an “architectural skin” that is suitable for the tropical building element. With the advancement of new technologies, new designs can be achieved with its boundaries redefined such as exploration with different local materials. New construction and manufacturing processes have made the return of ornamentation economically viable. It not only can be massproduced but can be geared towards mass-customization which may lead to a new reading of ornamentation that reflects the local culture and gives a sense of identity. These may lead to an abundance of new conceptual and aesthetic possibilities.
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
The Function of Ornament by Moussavi, F. (2006)
Programmatic sections, Parc de la Villette, competition entry by OMA (1983)
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
4) Submission Requirements: SUBMISSION GUIDELINES : PROJECT 2 (Individual) Crafting Skin – 25%
Document the following (to include all sketches, drawings, photos and etc) • Idea and Design Development Process • Drawings and Mock-up models – manipulation and experimentation of “Architectural Skin” • Model-making Construction Process • Modular Components drawn individually (CAD2 submissions) • Architectural Skin Fabrication and working drawings – exploded and sectional axonometric (Tech 4 submissions) • Architectural Skin’s analysis (response towards environment – air/light/rain/etc) document in photos/ videos/ drawings and etc • Collage of “architectural skin” of differing scales. • Submission model - A model at scale of 1:10 (using suitable materials) • Submission format – All necessary drawings to express all the above.
5) Assessments Criteria: PLO2 Express ideas effectively in visual, written & oral form.
CLO1 Demonstrate and interpret the site’s cultural and environmental significances with expressional drawings and concept models. (A3, PLO2)
PLO3 Use the techniques & tools necessary for executing the work.
CLO2 Display various representational techniques to communicate analytical thinking into spatial quality and form making. (P4, PLO3)
PLO6 Identify, analyse & interpret data to propose design concepts and solution
CLO3 Experiment design proposal with significant relationship of existing building in innovative manner and able to integrate it’s spatial quality to the whole. (C4, PLO6)
Assessment Criteria Relevancy of task - observation, research, analytical studies of the given site. Participation and contribution of each student.
6) Submission Date and Time: •
Presentation P2 on Week 8 (24 Feb 2020 – Monday)
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
7) References: Main Reference • • •
Koolhaas, Rem. (2018). Elements of Architecture. Taschen bmgh. Lewis, Paul. (2016). Manual of Section. Princeton Architectural Press. Pyo, Mi Young. (2015). Architectural Diagrams 1. DOM Publishers.
Further Reading • • •
Serrazanetti, Francesca. (2013). Kengo Kuma: Inspiration and Process in Architecture. Moleskine. Muckenheim, Mark. (2012). Inspiration: Contemporary Design Method in Architecture. Page One. Cook, Peter. (2008). Drawing: The Motive Force of Architecture. Wiley.
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
PROJECT 3 – CRAFTING PURA TANJUNG SABTU - 60% This house is empty, This lonely building sits on a cape of Tanjung Sabtu, It can be reached by traversing river Nerus or the tranquil village nearby, Only the surroundings can whisper the secret of the building. This room is empty, This continuous surface glorifies its past artisans, The light piercing through the ornament triggers memories, It perceives the philosophical touch of the craftsmen. This terrace is empty, With the clear sky and the river in near distance, As the eyes fixed on the luminous line of the horizon, The connection to the surrounding is overwhelming. These sensations transforms the community, Increases the cultural awareness, Appreciation of the arts heightened, Bringing pride to the community, This house is not empty! Wooden Stairs atstairs PuraatTanjung Sabtu by Faris Figure 1: Wooden Pura Tanjung Sabtu byAbetam Faris Abetam
1) Introduction: Pura Tanjung Sabtu is located in Terengganu, Malaysia. It is made of a complex of traditional Malay houses to provide the revival and teaching of traditional arts. When Pura Tanjung Sabtu was established, it has transformed the surrounding and driven the promotion of community activities while heightening the cultural awareness and appreciation amongst the villagers.
Figure 2: Abandoned Weaving station in Pura Tanjung Sabtu
Prepared By – Yusra Zulkifli
These traditional arts were not regarded as handicrafts but were an integral part of their daily lives. They were imbued with their cultural identity. Modernization has led to a rapid decline of the traditional arts. This project aims to re-appropriate the traditional arts by providing an architectural solution as a contemporary visual and material culture that continue to serve its communities.
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
2) Learning Outcomes: Upon the completion of this module, students will be able to CLO1 CLO2 CLO3
Demonstrate and interpret the site’s cultural and environmental significances with expressional drawings and concept model. (A3, PL02) Display various representational techniques to communicate analytical thinking into spatial quality and form making. (P4, PLO3) Experiment design proposal with significant relationship of the existing building in innovative manner and able to integrate it’s spatial quality to the whole. (C4, PLO6)
3) Tasks PROJECT 3 – Cultural Centre Pura Tanjung Sabtu – 50% Prior to this, we have researched on the traditional arts and crafts of the east coast of Malaysia. We have looked at how these elements at various scale has changed independently over time with its micronarratives (site context, neighbourhoods and etc). We uncover its history, origins and evolution in order to envision the new architectural skin (elements). Some elements have barely changed but in architecture the appearance of something new is rare as most architecture inventions are reinventions. Architecture needs mechanisms that allow it to become connected to culture. It achieves this by continually capturing the forces that shape society as material to work with. Architecture’s materiality is therefore a composite made up of tangible as well as intangible forces. Progress in architecture occurs through new concepts by which it becomes connected with this material, and it manifests itself in new aesthetic compositions designed for the tropical climate with the architectural skin reflecting the local culture. It is these new affects that allow us to constantly engage with the community and environment in new ways. Heritage culture and tourism is important in bringing different communities, groups and organizations together in protecting the tradition and heritage of the community. It’s important that the development remains authentic and connected to the lifestyle and history of the community.
Figure 3: Eberswalde Library b Herzog De Meuron from “The Function of Ornament” by Farshid Mousavvi
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
Figure 4: Eberswalde Library b Herzog De Meuron from “The Function of Ornament” by Farshid Mousavvi
Refer Submission Guidelines for further details • To Develop Further “Crafting Skin” to suit your proposal • Case studies Analysis (Theories/ Building Science) • Cultural Centre Pura Tanjung Sabtu (Design Parameters) o New Proposal Max GFA of 800m2, 2-3 storeys. § New Proposal can be an extension or § standalone building within the site boundary § calculation of GFA only for new internal areas (corridors/semi-open spaces not counted in the GFA) § must establish relationship/ connection between new and existing. o Master Plan of proposed programs including the existing and new proposal. o Programs MAY include the following (these are suggestions) § Gallery, Craft Workshop § May include programs to focus on few traditional crafts. § Small auditoria (theatre/ hall/ multi-purpose/ studio) – Building Science 2 § Library § Guest house § Craftsmen residence o Ancillary and other spaces § Lobby & reception, gift shop, office, café, kitchen, corridor, washrooms, storage, parking, loading bays & etc. o Most Important – your proposed programs help preserve and inspire local heritage and the community it is serving.
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
Figure 4: Capriccio of The Cabinet of Curiosities by Amandine Kastler
Figure 5: Cabinet of Curiosities by Amandine Kastler
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
4) Submission Requirements: SUBMISSION GUIDELINES : PROJECT 3 Interim, 26th March 2020 (Week 12) – 10% SCHEMATIC DESIGN PROPOSAL of Cultural Centre at Pura Tanjung Sabtu
Document the following (to include all sketches, drawings, photos, films and etc) • PROJECT BRIEF AND DESIGN INTENTIONS (Formulated through the following tasks) o Personal Site/Craft Analysis presented as a Conceptual Drawing/model – narration that drives the design statement. o Master Plan (proposed program in existing building/spaces) with new extension/ building program. o Case Studies on cultural centre/architectural skin/acoustic hall that is relevant (Theory /Building Science) o Small Auditoria as part of space requirements (Building Science) o Community Programs to preserve and inspire local heritage. • PROGRAMMATIC DIAGRAMS. o proposed spaces and relationship of spaces expressed diagrammatically using drawings/models. • CRAFTING SKIN – further manipulations of “architectural skin” and its spatial qualities o inspired by further innovation through case studies analysis. o Craft/Motif Analysis – extracting design principles using diagrams o Catalogue of mock-ups/Drawings showcasing design processes. o Material explorations o Analysis with external environment using diagrams – light/air/rain and etc. o Spatial Qualities explorations. o Architectural drawings and visualizations § Elevations (top/rear/side), sections, sectional perspective, exploded axonometric, isometric. § Collage of Skin showcasing the function/beauty of it. o Model of 1:10 with A2 size composition. • MODELS and VISUALIZATIONS (to highlight spatial qualities and design intentions) o DRAFT Drawings of proposal including context (Plans, Elevations, Sections and perspectives) o DRAFT Collage/photo montage of proposal at site o DRAFT Section detail drawing of “Crafting Skin” with space (Tech 4 Submission) o DRAFT of Internal & External views (Manual/Mixed media/collage/digital) o DRAFT of isometric/ exploded axonometric/ sectional perspective o DRAFT of CAPRICCIO – A singular pictorial representation of a fantastical space produced as a narrative device oscillating between investigations of all stages of the project. o SKETCH view for perspectives of proposal (1-day and 1-night render) (CAD2 submission)
Figure 6:21st century Chinoiserie by Chen Jin
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
SUBMISSION GUIDELINES : PROJECT 3 Final Review, 16th April (Week 15) – 30% FINAL DESIGN PROPOSAL of Cultural Centre at Pura Tanjung Sabtu
Document the following (to include all sketches, drawings, photos and etc) • PROJECT BRIEF AND DESIGN INTENTIONS • PROGRAMMATIC DIAGRAMS • CRAFTING SKIN same as above including o Individual 1:5 model or 1:1 model (detail model of skin) (Structure Submission) • FINAL MODELS and VISUALIZATIONS (to highlight spatial qualities and design intentions) o FINAL Drawings of proposal including context (Plans, Elevations, Sections and perspectives) o FINAL Collage/photo montage of proposal at site o FINAL Section detail drawing of “Crafting Skin” with space (Tech 4 Submission) o FINAL of Internal & External views (Manual/Mixed media/collage/digital) o FINAL of isometric/ exploded axonometric/ sectional perspective o FINAL of Capriccio – A singular pictorial representation of a fantastical space produced as a narrative device oscillating between investigations of all stages of the project. o DRAFT view for perspectives of proposal (1-day and 1-night render) (CAD2 submission) o DRAFT flythrough animation of proposal (CAD2 submission) o WIP (Work in Progress) Full Sectional Model (Tech 4 Submission)
Figure 7: Seamlessness in Geometric Rhythm
Prepared By – Yusra Zulkifli
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SCHOOL of ARCHITECTURE and BUILT ENVIRONMENT AR 415 - Architecture Design Studio 04
SUBMISSION GUIDELINES : PROJECT 3 Internal Review, 24th April (Week 16) – 10% •
Same as Final Review including: o FINAL Full Sectional Model (Tech 4 Submission) o FINAL Renderings for perspectives of proposal (1-day and 1-night render) (CAD2 submission) o FINAL flythrough animation of proposal (CAD2 submission)
SUBMISSION GUIDELINES : PROJECT 3A Portfolio, 30th April (Week 17) – 10% •
Portfolio (compilation of INDIVIDUAL WORKS ONLY across all subjects related to design from P1P3). Do not include any Group Work.
5) Assessments Criteria: PLO2 Express ideas effectively in visual, written & oral form.
CLO1 Demonstrate and interpret the site’s cultural and environmental significances with expressional drawings and concept models. (A3, PLO2)
PLO3 Use the techniques & tools necessary for executing the work.
CLO2 Display various representational techniques to communicate analytical thinking into spatial quality and form making. (P4, PLO3)
PLO6 Identify, analyse & interpret data to propose design concepts and solution
CLO3 Experiment design proposal with significant relationship of existing building in innovative manner and able to integrate it’s spatial quality to the whole. (C4, PLO6)
Assessment Criteria Relevancy of task - observation, research, analytical studies of the given site. Participation and contribution of each student.
6) Submission Date And Time: • • • •
Presentation 3 INTERIM on Week 12 (26th Mar 2020 - Thursday) Presentation 3 FINAL on Week 15 (16th April 2020 – Thursday) Presentation 3 INTERNAL REVIEW on Week 16 (24th April 2020 - Friday) Submission 3A PORTFOLIO on Week 17 (30th April 2020 - Friday)
7) References: Main Reference • • •
Koolhaas, Rem. (2018). Elements of Architecture. Taschen bmgh. Lewis, Paul. (2016). Manual of Section. Princeton Architectural Press. Pyo, Mi Young. (2015). Architectural Diagrams 1. DOM Publishers.
Further Reading • • •
Serrazanetti, Francesca. (2013). Kengo Kuma: Inspiration and Process in Architecture. Moleskine. Muckenheim, Mark. (2012). Inspiration: Contemporary Design Method in Architecture. Page One. Cook, Peter. (2008). Drawing: The Motive Force of Architecture. Wiley.
Prepared By – Yusra Zulkifli
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