BRYANT
LAU
ARCHITECTURE PORTFOLIO SELECTION OF WORKS 2 0 1 0 2 0 1 9
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To the missed opportunities - and the scored ones.
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9 YEARS 35 COMPETITIONS 16 PROJECTS
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P R O L O G U E
It is a daunting task to write about the
time during my time in Singapore Poly-
ideologies and process that goes into
technic, I also recall the time I was told
the development of one’s own archi-
“I had a loose screw in my head”. I
tecture. But as my 9 years journey in ar-
have never been rude or disrespectful
chitecture education finally draws to a
towards any tutor in my life; so I don’t
close - after 1 Year of Masters in NUS,
quite understand why I received such
3 Years of Bachelors in NUS, 2 Years of
harsh and personal attacks. But if we
National Service where I was still con-
were to look at it objectively, perhaps
stantly doing competitions, and 3 Years
my way of looking at architecture sim-
of Diploma in Architecture in Singapore
ply doesn’t align with the way schools
Polytechnic - I believe that this is the
want their students to develop.
perfect opportunity for me to try to pen down my own architecture beliefs. How-
Due to my inability to excel in school
ever, before we can even go there - I
due to the circumstances mentioned
believe it is imperative to first examine
above, I have been forced to witness
one’s life. We are, after all, a product
many opportunities I crave go to other
and sum of the life experiences that we
students - be it scholarships or chanc-
have had. To reflect upon one’s journey
es to represent schools at International
and be introspective, one is required to
Design Competitions. During summer,
be honest. Thus, I have to first declare:
I usually did internships with very little salary in order to learn; while my peers
I am a bad architecture student.
talk about that $500 shoe or jeans they bought using their father’s money glee-
I have lost count of the number of times
fully. Eventually, I ran out of patience
I have been told that I was not suitable
after being constantly rejected by my-
for Architecture - albeit in a more subtle
school for the opportunity to participate
manner. I have been told twice in my 4
in international competitions; and used
years of studies in National University of
the minuscule money I earned over sev-
Singapore that I don’t belong here; and
eral internships as registration fees to
that architecture isn’t for me. The very
join International Competitions myself. I
first time I experienced this was in Year
was tired of begging. I recall this peri-
2: “What is the point of doing this here;
od of my life as especially excruciating;
or even be in this school?”. The second
little did I know then that this was the
time was in Year 4: “You should already
most crucial door way for my future de-
be aware of these things; even year 2
velopment in Architecture.
students should know that, if not why be here?”. If we were to go back further in 6
To date, I have participated in a total of
I shall now attempt to determine and
35 International Competitions, with win-
clarify my architecture beliefs. Often
ning results in 13 of those competitions.
times we have been taught in school
Regardless, victory or defeat matters lit-
to identify and analyze the problem in
tle to me - what I enjoyed the most was
order to propose a solution. Architects
the freedom to design things the way
are problem solvers, after all, and this
I envisioned them to be. In this regard,
approach have proven to work wonders
International competitions have provid-
over the years. However, my approach
ed me with the ideal platform to experi-
has often leaned towards assimilating
ment my ideas upon. I am also proud to
the problem instead of addressing it di-
say that the 2 instances where I was told
rectly. I simply do not believe in forcing
my project is shit, turned out to achieve
a solution to a problem. To begin with,
good results in International Competi-
some problems do not require or do not
tions. The first project came in 1st place
possess a solution at all. Sometimes -
in USA, where I was also named the
these problems could even serve as the
emerging designer of the year despite
solutions themselves. Through this think-
going up against a Harvard Professor
ing methodology, I often spen more
who was trained in AA. The project was
time questioning than answering in my
also published in a book in Los Ange-
projects. The framework of my architec-
les and exhibited in London. I was 19.
ture relies heavily on questioning con-
The 2nd project came in as Honorable
ventions; specifically at bad compo-
Mention in China, listed as amongst the
nents to encompass them rather than
top 30 projects out of over 2000 con-
to cast them aside. This approach might
testants from all over the world; led
have been influenced by my years of
by world renowned Architect Patrick
being the underdog and the rejected;
Schumacher of Zaha Hadid Architects.
thus forumulating my design ethnos and
These achievements would not have
philosophy. The projects in this portfolio
been possible if I followed the dogma
shall demonstrate the extent in which
and regime of Architecture Schools in
I push for these ideas of mine; where
Singapore. Even though these experi-
ideas that are usually condemmned are
ences was painful for me back then, I
embraced and redefined instead.
now look back at them in peace; grateful for how things turned out in the end.
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C O N T E N T
001 Tesseract 002 Phoenix 003
Void Mountain
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Absence: Missing Walls
005 Asymptote 006 Reversal 007 Iridescence 008 Prolongation 009 Mercurius 010 Amelioration 011 Prometheus 012 Metamorphosis 013
Path of Light
014 Conglomeration 015
Proliferation: House Without Rooms
016 Amalgamation
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WHAT IF TIME CAN BE COMMODIFIED IN HOUSING?
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Year : 2019 Type : Housing Mixed - Used Development Premise : Masters Year 5 National University of Singapore Supervisor : Dr. Cho Im Sik
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The emergence of an accelerated form of urban renewal in a country as small and dense as Singapore has led to demolishment of perfectly habitable buildings - forcing residents to move out of their communities; sometimes with little to no compensation. In lieu of this, this thesis proposes the Tesseract typology: an alternative housing model that explores the possibility of developing more space within the same allocated volume through time, by re-examining the current 99 years housing leasehold model in Singapore. The Tesseract typology focuses on redefining ownership at the individual, communal and urban levels through the commodification of time - by prioritizing renewal at the Micro and Meso scale over the Macro scale alone. Through this strategy, residents are empowered to determine their own units and community: a sentimental bond between housing and men results. This thesis also examines dichotomies across varying levels to contribute to the overall discourse on inequality and elitism in Singapore.
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WHAT IF THE POWER OF VERTICALITY CAN BE SOCIAL?
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Year : 2019 Type : Mixed - Used Development Premise : Evolo International Competition 2019 Collaboration : Andre Lim
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The basis of this project is anchored around the regenerative narrative of a phoenix: weathering decadence before rebirth - in an attempt to address the growing issue of the global food crisis. Conceived as a prototypical model that would be replicated across major cities, it challenges the conventions of a skyscraper and its desirability for height; as a symbol of power and might. Individual elements or resources are contained within pods that ascends higher up the tower throughout the regenerative process, resurrecting our deteriorating food supplies in a vertical motion to extend and ensure the survival of mankind. At its peak, it returns its resources back to the world to be shared among all instead of functioning merely as a symbol of capitalism. It is a beacon of hope. Once the resources are transferred, the pods are then shipped downwards back to the ground level; ready to start its journey afresh in an endless cycle –akin to the life of a Phoenix.
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1. Food Network 2. Global Intention 3. Parti Design 4. Seven Continents Food Crisis 5. Exploded Isonometric 27
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WHAT IF EXPANSION CAN BE ANTICAPITALISTIC?
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Year : 2018 Type : Mixed - Used Development Premise : Bachelors Year 4 Sem 2 National University of Singapore Competition : UIA HYP Cup 2018 led by Patrick Schumacher of Zaha Hadid Architects (Chengdu, China) Award : Honorable Mention Publication: UED Magazine
V O I D
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In tribute to the essence of spirituality from the existing temples at the site where Monks empty their personal attachments to the world to reach enlightenment - the design adopts the concept of “void” spaces. Modules are designed in relation to these void spaces, with multiple configurations for the module to expand into the void, or even sharing of the void between different users. The module itself adopts a flexible shelf system that toggles between work and live configurations, but still leave room for modification to suit the user’s needs. Each expansion can only be made possible via the integration of a green roof, which contributes to a mountain silhouette for the city. This condition serves as an anti-thesis to the rapid growth dilemma that China is facing: instead of merely expanding for one’s own capitalistic gains with no regards to anybody else, this design allows one to contribute to the image of the city by building on to the silhouette of the mountain when one chooses to expand; serving as an anti-capitalistic message.
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1. Concept Toolkit 2. Construction Sequence 3. Internal Configuration 4. Design Strategy 5. Expansion Possibilities
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WHAT IF HOUSING COMPONENTS ARE MISSING?
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Year : 2017 Type : Housing Premise : Internship at Ten Architects Supervisor : Neo Sei Hwa Competition : Mosul Post - War Housing
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As the war in Mosul comes to an end, the rebirth of a liberated country should embrace and build upon the state of loss and separation the city has just emerged from. This project proposes the concept of absent walls, as a manifestation of what has been lost, and what could arise from it; to initiate the post-war healing process. Unit modules are conceived specifically with missing kits of parts to allow residents to develop their homes when they are financially capable; at the same time serving as an extension towards the shared courtyard space, restoring a primitive architecture element culturally inherent of Mosul. The design frames itself around existing debris to facilitate connectivity within the community and urban fabric to help aid the healing process.
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1. Urban + Site 2. Traditional Elements 3. Flexible Expansion 1 4. Flexible Expansion 2 5. Flexible Expansion 3 43
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WHAT IF WORK AND LIVE MUST BE SEGREGATED?
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Year : 2017 Type : Housing Premise : Bachelors Year 3 Sem 2 National University of Singapore Supervisor : Chu Lik Ren
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Projected 30 years into the future; the proposed design is a response to the intertwined and complex relationship shared between working and living, which is only going to grow in the years to come. Recognizing the need of integrating work into our homes; but at the same time wishing the need for balance and separation between work and live - the proposed design revolves around the idea of an Asymptote, where 2 lines come close to touching; but never truly doing so. Work and Live is interpreted here through a prototypical typology that offers the ability to toggle between working and living at the same time against living without the disturbance of work itself through the injection of nature and breathing space in between the 2 intricate elements.
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1. Design Concept 2. Design Strategy 3. Premise 4. Site Development 5. Expansion via Time 6. Interior View
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1. Conceptual Relationship 2. Unit Plans 3. Floor Plans 4. Exploded Isonometric
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5. Exploded Construction Detail
Perspective Section
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WHAT IF VALUE OF VERTICALITY CAN BE REVERSED?
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Year : 2016 Type : Housing Mixed - Used Development Premise : Bachelors Year 3 Sem 1 National University of Singapore Supervisor : Wu Yen Yen Exhibition : City Ex 2017: Archipelago Publication : The Archiologist Magazine Issue 1
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As a conventional tower goes taller; it severs itself further away from the ground levels, resulting in a clear sense of detachment away from the urban plane. In response to this condition, the proposed design uses a double helix spiral to continue the green corridor (an abandoned train track) on the ground up vertically, introducing work-live units with retail frontages along it to encourage collaborative living. The condition of units having more value when they are higher is reversed here, as the units at the bottom with retail frontages have higher value now instead. The tower is no longer isolated from the grounds levels; the collaborative tower melts itself to the ground levels to give back to the urban fabric.
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WHAT IF ART CURATION ISN’T TEMPLATE DRIVEN?
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Year : 2016 Type : Cultral Premise : Bachelors Year 2 Sem 2 National University of Singapore Supervisor : Yen Goh
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Dedicated to the dying art of woodblock carving - the proposed museum absorbs elements of seclusion, secrecy and hidden stories from the profession itself in an effort to shed more light on the dying trade through the concept of iridescence. The design strategy adopts planning of spaces and circulation around the ideas of concealment and revelation to create a journey of discovery. Interplay of opacity and light; split levels and gradual / sharp turns are constant throughout the Museum to achieve the experience of iridescence; similar to the craft within.
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1. Site Plan 2. Aerial View 3. Massing Development 4. Programmatic Parti 66
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WHAT IF CORRIDORS ISN’T SIMPLY TRANSITIONAL?
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Year : 2015 Type : Installation Competition : PinArchitecture The Remembering Hall International Competition Award : Top 6
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How many people have we passed by unknowingly as we hurry along the hallway to reach our next destination? The conceived design attempts to address this scenario by introducing a hallway with a prolonged journey in an attempt to produce an interactive environment to create memories. Aluminium partitions cut the hallway into separate pathways to create alternate passages. Curves of the partition prolong the journey within while bends create points of interaction for conversations to take place. The allure of choice between passages, joy of surprise at every turn and non-linear walking experience along the curved path results. Hallways are now no longer just a transitory space for one to get from one place to another - opportunities for chance encounters can now occur for memories to be created.
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WHAT IF WE CAN DISCONNECT FROM TECHNOLOGY?
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Year : 2014 Type : Technological Competition : Innovative Mind 2014 : Dimensional Evolution International Competition by Gurroo Award : Honorable Mention Collaboration : Jason Khoo
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Like the crater on the moon that is distanced away from Earth – Mercurius offers an environment where one is disconnected entirely from all virtual network. The journey within is crafted as a perplexing maze; prompting mankind to communicate and interact with one another physically in order to exit – accentuating on the value of actual physical human bond. Cantilevered over a cliff to express the notion of being at the edge of tomorrow – the next frontier for mankind to take is hinted. Virtual dimensions should not exist to replace the physical dimension; it should exist only to remind us that the physical dimension can never be replaced instead. This is where dimensional evolution occurs – fulfilling the concept of Mercurius.
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WHAT IF DEATH WAS FOR THE LIVING INSTEAD OF THE DECEASED?
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Year : 2014 Type : Monumental Competition : Morpholio Pinup 2014 Future Voices International Competition (USA) Award : Honorable Mention
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A path is directed towards the sky – built like a stairway connecting to heaven. With every step taken one inches closer towards the top – ascending to the place where the spirits go to. The journey ends with a void in the middle; it is a gap that can’t be crossed – signifying the gap in our heart that can never close after the passing of a loved one. It is here the distance between the living and the dead becomes clear – the parting of ways is imminent. The name of the deceased will be carved onto walls; fading away slowly in rain with rust. In this gesture one remembers that time heals all wounds – amelioration will take place.
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WHAT IF THE DANGER OF FIRE CAN BE EXPERIENCED?
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Year : 2013 Type : Ritual Competition : BONFIRE International Competition (Edinburgh, Scotland) Award : Additional Selection
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Pits of fire are lifted above and beyond the ground - out of reach and far away from mankind. The only way to gain warmth in the cold winter; to experience the Bonfire at a more personal level - is to move closer to the fire. A man will risk being burn by the sparks of fire falling from the skies for the sake of warmth – similar to the fate of Prometheus; suffering for the gift of fire. The sparks of fire falling will be determined by the flames dancing in the pit - directed by the wind. Under the rain of fire a sensory experience results: men gets to experience fire at a physical and intimate level.
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WHAT IF NATURE IS NOT SIMPLY IMITATED BUT EXPERIENCED?
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Year : 2012 Type : Observatory Competition : International Design Awards IDA 2012 Conceptual Category (Los Angeles, USA) Award : 1st Place + Emerging Designer of the Year Publication: International Design Awards IDA 201 Book
M E T A M O R P H O S I S The conceived design draws its form from the curves of the Northern aurora lights, attempting to become the extension of the skies itself; resulting in an organic architecture form that expresses the qualities of fluidity and lucidity - reflecting the motion of aurora lights. The idea of metamorphosis is abstracted from nature and translated into architecture through the continuous and harmonious progression of space to space in a wholesome manner. A transient journey results; reminiscent of nature itself. The concept of metamorphosis is thus fulfilled; weaving a seamless transition towards the top for men to gaze upon the skies.
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WHAT IF SPIRITUALITY IS UNIVERSAL YET PRIVATE?
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Year : 2012 Type : Spiritual Competition : Anonymous D Spiritual Space International Competition (New York, USA) Award : Shortlisted
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Concealed among towering trees; revealing itself only when one is near – the path of light is one located amidst nature, within the woods; hidden in seclusion. Conceived as a circular path – the design crafts a journey with no beginning or end. The absence of time is felt; reflecting the endless pursuit of self. With a narrow width, the path is only suitable for a solitary walk – allowing one to be fully alone; isolated away from the world. The conditions of solitude are set for contemplation; with the path illuminated in light from within. Man walks on light in an attempt to reach into his spiritual self.
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WHAT IF OUR LIVING COMMUNITIES CAN BE CHOSEN?
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Year : 2011 Type : Housing Competition : Philips Singapore Future Living Spaces Competition (Singapore) Award : Finalist
C O N G L O M E R A T I O N Who decides how a skyscraper should be conceived? In conventional circumstances - under the direction of the developers. Yet, the ones who live in it are not them; but the users themselves. The concept of union is derived from this scenario. Using modular units called Eco-cubes; the units are designed to be configured in any way possible and combine in every way possible. The notion of development and the relationship between the developer and the user is now questioned – as housing is now determined by the conglomeration between the two. The act of combining units through conglomeration binds people together, fostering a bond that is long lost from Singapore’s traditional kampongs - the communal spirit.
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WHAT IF WE CAN LIVE IN A HOUSE WITHOUT ROOMS?
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Year : 2011 Type : Housing Competition : Shelter International Architectural Design Competition 2012 (Yamagata City, Japan)
P R O L I F E R A T I O N Rooms have been defined as means to segregate different spaces and determine different activities functioning within them. Yet, as we transcend forward in time the definition of rooms will only breed restriction - for the demands of a space have changed drastically in accordance and relation to our lifestyles. The proposed project seeks to investigate this particular issue – the design concept offers the proliferation of spaces to meet the needs of the individual. Conventions of rooms are removed through ambiguous levels / walls that functions both as partial segregation of spaces and adaptable furniture. Through this strategy of proliferation, a house without rooms is born – with every room conceivable.
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WHAT IF WE CAN DETERMINE OUR OWN HOMES?
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Year : 2011 Type : Housing
Competition : International Design Awards IDA 2011 + Be Open Awards International Competition 2012 (London, UK) Award : 2nd Place + Shortlisted Exhibition : Earls Court 100% London Design Festival 2012 Publication : International Design Awards IDA 2011 Book
A M A L G A M A T I O N People are all different, yet the majority of the apartments that we live in are the same - identical boxes stacked upon one another in repetition; with no relation whatsoever to the type of life or person that we are. The main idea is derived from this issue: the design concept is to create individualized units through amalgamation; allowing users to define their own units to express their own identity. A sentimental bond between men and housing results. This strategy of modularity also embraces the dilemma of growing shoe-box apartments that have compromised certain aspects of the quality of living.
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A Decade. Finished.
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UIA-HYP CUP 2018 INTERNATIONAL STUDENT COMPETITION IN ARCHITECTURAL DESIGN
HONORABLE MENTION Bryant Lau Liang Cheng
JURY CHAIRMAN: PATRIK SCHUMACHER
TIANJIN UNIVERSITY
UED MAGAZINE
EXECUTIVE JURY CHAIRMAN: CUI KAI
HYP CO.,LTD.
SCHOOL OF ARCHITECTURE, SOUTHEAST UNIVERSITY
CHINESE NATIONAL SUPERVISION COMMITTEE OF HIGHER ARCHITECTURE EDUCATION CHINESE NATIONAL EVALUATION COMMITTEE OF HIGHER ARCHITECTURE EDUCATION ARCHITECTURE ART COMMITTEE OF CHINA ARTISTS ASSOCIATION
[ UeD ] 116 | 12 | 2018
优 秀奖 Honorable Mentions
UIA-霍普杯 2018 国际大学生建筑设计竞赛 UIA-HYP CUP 2018 ArCHIteCtUrAl ComPetItIon
Bryant Lau Liang Cheng / 新加坡国立大学 Bryant Lau Liang Cheng / National University of Singapore
introduction Void Mountain is situated at Wenshufang within Chengdu, a site rich in history and culture that has been slated for future business developments due to Chengdu's shift from manufacture to knowledge
Void Mountain 虚山
/ research based industries. In the middle of Wenshufang lies Wen Shu Monastery: a Chinese temple that have conquered the test of time by surviving agonizing wars and raging fires, resulting in numerous changes over the years. The latest change comes in the form of conservation repair works, but regretfully the goal isn’t to protect the cultural value of the temple but simply to promote it as an attraction to draw new millennials over to live and work. The proposed project aspires to negotiate with this dichotomy by embracing the new culture of work and live that China will soon adopt, with aspirations for replication throughout the whole of China. The Design Process
概述
运作方式提出质疑。
“虚山”位于成都文殊坊，是一个拥有悠久历史文化的
总结 我非常感谢有机会参与霍普杯的竞赛。令我难以忘怀
地方，由于成都城市产业从制造型向知识和研究型产
提案
的是，在整个设计过程中，我的方案在新加坡国立大
业转变， “虚山”被定位为未来的城市商务区。 在文
僧侣们来到寺庙放下他们的个人依恋，参禅悟道 ；为
学 (NUS) 遭到了激烈的反对和阻挠。 有一次，我甚至
殊坊正中的位置矗立着一座古寺庙——文殊寺 , 历经
了向寺庙的精神内核致敬，设计采用了“虚空”空间
被告知不适合就读建筑院校。 然而，我坚持并保留了
战争和烈火的洗礼后，战胜了岁月的考验，发生了沧
的概念。模块与这些虚空空间产生关联，这里允许多
我的想法，最终获得了 2018 年霍普杯的优秀奖，我
桑巨变。最近的一次蜕变来自保护修复工程，然而遗
种配置以使模块扩展到虚空空间中，甚至在不同用户
对此表示由衷感激。整个经历告诉我，必须相信你所
憾的是，修缮的目的不在于保护寺庙的文化价值，而
之间实现共享。该模块本身采用灵活的货架系统，可
做的工作，因为认可会以不同的方式到来。 话虽如此，
halls to pitch and make business dealings. This planning strategy adopts the spiritual essence of the pilgrimage process arising from Manjusri Temple— with the design visually dissipating into the skies as it goes up higher. Spread across all these floors are other co-living amenities such as gym, library and pantries to further facilitate communal living and interaction. The nature of the temporal lifespan of businesses leads to constant permutations that create reversible expansion spaces, allowing Void Mountain to change over time, similar to that of the the history of Manjusri Temple; establishing a dialogue with the city in the process. Summary I am very grateful for the opportunity to participate in UIA HYP cup. What makes this experience memorable was the fact that my project wasn’t received well in National University of Singapore
The design process relied heavily on building physical models, and the biggest challenge was to merge the ideas of nature and architecture
(NUS)—I received violent opposition and resistance during the entire design process. At one point, I was even told that I am not suitable for architecture school. However, I persevered and stay true to
together. After intensive studies and research, there
the ideas that I believed in, which resulted in an
were two key forces extracted to drive the design forward. They are namely the Chinese philosophy of “Void”, “Time” and “Mountain”. These elements were then translated into architecture form and
Honourable Mention in UIA HYP cup 2018, which I am very grateful for. This whole experience taught me that it is imperative to believe in the work that you do, as recognition can come in different
expansion typologies; placing emphasis on creating
ways. Having said that, I believe that even without
a renewal dialogue between the intervention and the city. In the project, drawings attempt to illustrate the mountainous qualities of the design,
recognition, one should still be firm when pursuing his or her own design ideas; regardless of the opposition.
demonstrated mainly by the axonometric drawing where 3 dimensional expansions can be observed.
I am currently pursuing my Masters of architecture
These expansions are made possible through the unit typology itself, which allows flexibility on many levels, guided in principle by the incentive of having more green as one expands, serving as the antithesis to capitalistic agendas that usually comes with expansion. At its core, this project aims to question the Modus Operandi of rapid intensification and densification in China.
in National University of Singapore (NUS), with my thesis exploring some of the ideas that were in my UIA HYP submission, such as the notion of time. Even as of now, I am working on other International competitions—and have been doing so for the past 7 years. Previous international competition awards won include Emerging Designer of the
只是简单地将它打造成为一个焦点，目的是吸引新的
在工作和生活的不同配置之间切换，但仍有其他类型
我相信即使没有得到认可，在追求自己的设计理念时，
The Proposal
year at International Design Awards (IDA) 2011, and Shortlisted entry for BE OPEN AWARDS City Category, which was exhibited in the 100% London
“千禧一代”来这里工作和生活。 我们的方案希望通
的空间以满足用户的需求。每一次扩展都只能通过绿
人们仍应坚定不移，⼒排众议。
过结合中国在未来能够接受的新的工作生活文化来与
色屋顶的整合来实现，目的在于保证“虚山”为城市
In tribute to the essence of spirituality coming from the temple where Monks empty their personal
Design Show in 2012 at Earls Court, just to name a few. Generally, my interest in architecture lies
这种分裂境地进行博弈，并希望在整个中国进行推广。
贡献的轮廓线。
目前，我正在新加坡国立大学 (NUS) 攻读建筑硕士学
attachments to the world to reach enlightenment, the design adopts the concept of “void” spaces. Modules are designed in relation to these void
in exploring typologies and prototypes; which is experimented upon through the platform that international competitions provide me with. Apart
spaces, where multiple configurations are allowed for the module to expand into the void, or even sharing
from interest itself, my ongoing participation in international competitions is also for the sake
of the void between different users. The module itself adopts a flexible shelf system that toggles between work and live configurations, but still
of improving my thinking processes and skills to formulate my own design philosophies. I believe it is only with a strong design vision and identity
leave room for modification to suit the user’s needs. Each expansion can only be made possible via the
that I can fulfil my ambition since I embarked in my architecture journey 7 years ago: starting my own
integration of a green roof, which contributes to a mountain silhouette for the city.The programmatic strategy adopts the temporal cycle of time found in
architecture practice.
位，我的论文探讨了一些在霍普杯中作品中提到的想 设计过程
程序化策略采用大多数商业模式中的时间周期，从概
法，例如时间的观念。截至目前，我正在参加其他国
设计过程在很大程度上依赖于构建物理模型，最大的
念化（种子）到扩展（增长），最后到成熟（退出）。
际比赛 ——过去 7 年来我一直在做这样的事。之前
挑战是将自然和建筑的概念融合在一起。经过深入的
第一层包括协同工作空间 ；第二层和第三层由办公室
的国际比赛奖项包括 2011 年国际设计大奖 (IDA) 的
学习和研究，我们提取两个关键点来推动设计工作的
组成，在这里，空间通过虚空概念进行延伸 ；而上层
年度新兴设计师奖，以及进入“开放奖” （BE OPEN
向前发展。即中国哲学中的“虚空” ，也就是“时间”
楼层采用居住单元和公共大厅制造或进行商业往来。
AWARD) 城市课题组的入围名单，该名单于 2012 年
和“山”的概念。这些元素随后转化成为了建构形式
这一规划策略引用了来源于文殊寺的在朝圣过程中产
在伯爵宫举行的 100％伦敦设计展上公布，就说这几
和扩展类型 ；强调在建筑与城市之间建立新的对话。
生的精神内核——随着向高处攀升的动线，该设计在
个吧。一般来说，我对建筑的兴趣在于探索类型学和
在该项目中，图纸试图说明设计中“山”的体量，主
视觉中消散于天空。遍布所有这些楼层的是其他公共
原型 ；然后通过国际比赛进行实践。除了兴趣本身，
要通过轴测图来表现，以此来观察三维的扩展。这些
设施，如健身房，图书馆和茶水间，以进一步促进社
不断参与国际比赛也是为了提升思维过程以及形成内
扩展是通过单元类型学本身实现的，它允许许多层面
区生活和互动。企业周期的本质导致不断的转换，形
化设计哲学的技能。我相信只有拥有强大的设计愿景
上的灵活性，原则上通过激励种植更多绿化作为一个
成可逆的扩展空间，允许“虚山”随着时间的推移而
和身份认同感才能实现雄心壮志。由此，7 年前我开
扩展。作为对通常与扩展同时出现的资本主义议题的
变化，类似于文殊寺的历史 ；在此过程中同时与城市
始了建筑之旅 ：同时开始自己的建筑实践。
驳斥。该项目的核心是对中国快速集约化和密集化的
建立对话。
most business models, from conceptualizing (seed) to expansion (growth) and finally to maturity (exit). The first storey consist of public co-working spaces; the second and third storey consisting of offices with room for expansions via the void concept, while the upper stories adopts living units and pitching
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C U R R I C U L U M
ACADEMIA
2018 - 2019
V I T A E
Masters of Architecture National University of Singapore
2015 - 2018
Bachelor of Architecture National University of Singapore
2010 - 2013
Diploma in Architecture Singapore Polytechnic
ACADEMIA
2017
BCA-SJ Built Environment Scholarship
AWARDS
2011
Kumpulan Design Award Singapore Polytechnic
2008
Top in Literature Kelvin Ang Humanities Book Prize
2008
Top in Art
EXPERIENCE
EXHIBTION
May - Aug 2016
Ten Architects
Apr - May 2013
DP Architects
Sep - Aug 2011
Plattform Studio
Mar - Apr 2011
Metropolitian Office Experimental
2016
NUS City Ex 2017: Archipelago
2013
BONFIRE
International
Competition
(Edinburgh,
Hong Kong) 2012
100% London Design Festival BE OPEN AWARDS
PUBLICATION
2018
UED Magazine UIA HYP CUP
2016
The Archiologist Magazine Issue 1
2012
IDA International Design Awards 2012 Book
2012
Evolo Skyscraper International competition 2012 Poster
2011
IDA International Design Awards 2011 Book
141
INTERNATIONAL
2019
COMPETITIONS
Honorable Mention La Ville Vertical Vertical City Design Competition by Desire Designing
AWARDS
2018
Honorable Mention UIA HYP Cup 2018 International Student Competition led by Patrik Schumacher of Zaha Hadid Architects
2015
Top 6 PinArchitecture The Remembering Hall International Competition
2014
Honorable Mention Morpholio Pinup 2014 Future Voices International Competition
2014
Honorable Mention Innovative Mind 2014 : Dimensional Evolution International Competition
2013
Additional Selection Bonfire International competition
2012
Emerging Designer of the year International Design Awards IDA 2012
2012
1st Place International Design Awards IDA 2012 (Conceptual Category)
2012
Shortlisted BE OPEN AWARDS International Competition (City Category)
2012
Shortlisted Home International Competition
2012
Shortlisted Anonymous D Spiritual Space International Competition
2011
Finalist Spark Awards International Competition (Conceptual Category)
2011
2nd Place International Design Awards IDA 2011 (New Residential Category)
2011
Finalist Philips Singapore Future Living Spaces Competition
142
INTERNATIONAL COMPETITIONS PARTICIPATION
2019
Evolo Skyscraper International Competition 2019
2019
A + Z Azure Awards
2019
Rethinking Competition : Best Degree
2017
Future Architecture Platform
2017
CTBUH Council of Tall Buildings Urban Habitat
2013
Lantern Death
2013
Design For Death
2013
Asia Awards
2013
Faith & Form
2012
D3 Sketch
2012
FYDA
2012
SDF DEC
2012
SDF NOV
2012
Japanese Shelter
2012
FDA 2012
2012
Rethink
2012
OBA
2011
Evolo Skyscraper International Competition 2011
2011
InNatur Competition
2011
HDB Clothes Drying
2011
FDA 2011
143
E P I L O G U E
2009 - 2010
2010 - 2011
In the very beginning, I spent a year in
Appreciative of the opportunity and
Diploma in Visual Effects in Ngee Ann
eager to learn, I poured my heart and
Polytechnic, but quickly realized that
soul into the early projects I did. After
this course was not my cup of tea. Even
securing the Director’s Honour Roll and
though I did very well there, winning 2
Kumpulan Design Award, I went straight
awards in the first semester alone (Top
to my 1st internship without any break,
in 2D Drawing, Top in Storyboarding), I
and stayed overnight in the office in
still very much preferred to do design at
the very first week in order to meet tight
a bigger scale, which Architecture al-
deadlines. Grateful for the opportunity
lows. Much of my free time in this period
to study Architecture in Singapore Poly-
was spent reading up on Architecture
technic, I was eager to return the favour
and designing buildings without any pri-
through winning international competi-
or architecture education; before de-
tions. However, I was never selected for
ciding to apply for transfer to Diploma
these opportunities due to how my ‘O’
in Architecture in Singapore Polytech-
Level results were not the best. Again
nic. Unfortunately, the system in Singa-
and again I was forced to see them
pore prevented that from happening as
send teams out there to lose, without
I used up my ‘1st Choice’. In response,
the chance for myself to get onto these
I had talked to Architects, previous top
platform to exercise my creativity and
students and even the MP for letter of
grow. My patience started to dwindle.
recommendations to help my application. I also appeared at the doorstep to talk to tutors in SP, but to no avail. I was rejected every day. As I was about to give up, 1 of the admin staff called to inform me that someone dropped out in the last week before school reopened, and that I would be allowed to join. This was without a doubt, 1 of the best days of my life.
144
2011 - 2012
2012 - 2013
Choosing to put the past behind, I fo-
At this point, I was relatively happy do-
cused on the 2nd year of my studies
ing my own projects via international
and got A+ for every subject early on.
competitions that I chose to participate
However, I was not satisfied with the
myself, even though I did not win any-
design, and continued to push the de-
thing yet. This short period of bliss was
sign envelop. Due to how the focus of
abruptly cut short with the Industry At-
the school was geared towards techni-
tachment Program, where I was sent to
cality more, my project which got too
a small firm. The work was dull there, and
conceptual started to get violent oppo-
my growth was compromised. Once
sition from the tutors. My grades pum-
again, based on grades, other top stu-
melled; but not that it mattered since
dents were able to go to top firms with
good grades back in Year 1 did not
bigger responsibilities whereas I was
fetch me opportunities to participate
drawing toilets every day. This was no
in International Competitions to begin
doubt the most excruciating period of
with. I pushed on, got tired of waiting
my life. Motivated by anger, I partici-
and started to do International Com-
pated in even more international com-
petitions on my own accord, using the
petitions, and was finally able to break
little cash I have earned from internship
through with multiple wins. My first win
for registration fees. Eventually and fi-
came in USA, edging out a Harvard pro-
nally, I was finally asked by the school
fessor trained in AA and had my work
to join certain competitions. By then, I
published in a book in Los Angeles. My
was able to accumulate enough expe-
project was also exhibited in London,
rience to quickly seize up these compe-
when I have yet to even take a single
titions and know that they were at the
step in Europe. I would go on to gradu-
bottom of the tier and hardly worth do-
ate without a single exhibition in Singa-
ing. The best opportunities still went to
pore Polytechnic.
their perceive best students. I was simply a cannon fodder.
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2013 - 2015
2015 - 2016
By the time I went back to school, I was
Army flashed by quickly, and I started
absent most of the time due to how my
school in NUS, albeit with lacklustre in-
focus has shifted towards internation-
terest as I still harboured hopes on go-
al competitions instead. Somehow, my
ing overseas. In my first semester, I met
grades were sufficient for me to get
1 of the worst tutors ever. I was told
into National University of Singapore.
that I was not good, and had to deal
However, my sights have changed and
with countless personal and snide re-
I was looking at Bartlett, UCL and Archi-
marks that had nothing to do with ar-
tecture Association in London. I contin-
chitecture. Thoughts on going overseas
ued doing international competitions as
lingered due to this. When the grades
I entered Army, and was able to secure
came out, I did poorly, and this time
a win every year for the past 5 years.
round it was not for a lack of trying. After
I got into these top schools overseas,
suffering a heavy break up, I managed
but was unable to gain the necessary
to regroup with a renewed focus, and
funding or resources to attend these
in the very next semester was able to
schools. Same reason again: grades. I
shoot into first class. Despite achieving
was not given a single interview for any
good grades with the next project, I was
scholarship.
denied the exhibition in NUS. Achieving good grades has once again, led me to nothing. It was also here where I spent some time pondering whether or not I should shift back to my old magnum opus of ignoring school and doing International competitions instead.
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2016 - 2017
2017 - 2018
In my 3rd year in NUS, I finally got a
Exchange turned out to be a bore - the
good tutor and was able to take off
curriculum of TUM simply did not suit
under her. Beyond good grades, I was
me. It did one good thing however: giv-
able to have my work put up for exhi-
ing me sufficient rest and motivation
bition. Despite that, my project some-
from visiting foreign buildings. Unfortu-
how still wasn’t good enough for pub-
nately, this recharge was wasted, due
lication in NUS. I was too jaded to feel
to once again; being placed in a studio
upset and continued to push through,
under 1 of the worst tutors ever in NUS. I
with renewed motivation due to this tu-
was forced to go to China immediately
tor. However, my next tutor was so-so,
due to the Studio, and did not manage
resulting in a boring project with nor-
to enjoy my homecoming after months
mal grades. At this point I couldn’t care
abroad. My ideas were shot down, and
less, and was looking forward to my ex-
I was insulted often. I got 1 of the worst
change in Germany, when good news
grades ever in my time in NUS. Defi-
finally came. Good grades granted me
ant, I sent the project for UIA HYP and
2 scholarship interviews, and eventually
was even to win Honourable Mention,
I decided to sign the contract for BCA-
emerging as top 30 entries among 2000
SJ Scholarship. My hard work was finally
in the world. Due to how the Judge was
rewarded to some extent.
a prominent Architect in Zaha Hadid Architects, my tutor changed his attitude 180 degrees, asked for publication and even CC to other established tutors in NUS to gain recognition. In anger, I replied to everyone that it should not be published due to how I do not meet the standard of NUS, with obvious sarcasm. This was obviously not the right thing to do - but it was more about sending a message to the tutor whom humiliated me. The whole of exchange cleared modules for me to engage in this project with more time and possibly international competitions; only to result in a project that I simply wasn’t satisfied due to the interference of the tutor. The best date that I have had, who sent me 147
2018 - 2019 food in wee hours of the night in school,
Thesis year started in the prior holidays due
also left me due to how consumed I
to the need to sought our tutors. Rejection
was with work for this particular project
was plenty, but at this point I couldn’t care
just simply to pass. It was here I possibly
less. I was eventually able to get into the Stu-
reached 1 of the lowest point of my life
dio under Dr. Cho Im Sik, and even though
and considered quitting.
I was able to tell that she was a good tutor early on, I simply wasn’t interested in Architecture anymore. I simply tugged along, seeing Architecture as work. Ironically, I started to enjoy Architecture more as I started to care less in this particular project, and was able to finish a project that I was so satisfied with that frankly speaking, I couldn’t care less about what negative opinions I get from others. Surprisingly, it did very well in my final critique session of my educational journey, and was selected for exhibition in Taiwan with possible media coverage by the School itself. All of this would not have been possible if not for my Tutor, and I am truly grateful to her.
148
Present So here we are. What’s next I wonder? I will possibly start work soon around August or so, and will spend 2 years in the same company due to my bond. I really hope that I can get a good boss and opportunities to learn. I hope that the 3 months I spent working for nothing back in the Internship Attachment program back in SP is somehow ‘compensated’ in this manner. I simply request for the opportunity to grow. I hope that in the next decade or so, I can still remember that in the past 9 years, I was simply guided by one very basic principle : I want to do my work my way. To facilitate that, I would have to start my own Architecture firm eventually. Bryant Lau Liang Cheng, Architecture Graduate 2019
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Towards the Next 10 Years
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COPYRIGHT Š 2019 BY BRYANT LAU LIANG CHENG Design and visuals completed by Bryant Lau Liang Cheng Physical Models completed by Bryant Lau Liang Cheng Text completed by Bryant Lau Liang Cheng
All rights reserved.No part of this publication may be reproduced, redistributed, or transmitted in any form by any means, without the prior written permission and agreement by the Author.
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9 Years. 35 Competitions. 16 Selected Projects.
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