THE
EXPERIENCE Design Portfolio by Chin Kuan Wei
Portfolio is arranged by Chin Kuan Wei email: kuanweihuat@hotmail.com
TABLE OF CONTENTS Craft Analysis (Timber Craft Analysis) -
motifs of timber crafts patterns of timber crafts crafting process case study
Assignment 1 (Craft Future Representation) - ideation extraction
Assignment 2 (Architectural Skin) -
idea development model exploration model collage visualization final design render visualization analysis
Assignment 3 (Crafting Pura Tanjung Sabtu) -
introduction of site site opportunities ideation narrative design development final design
Craft Analysis Timber Craft Analysis This documentation is about our trip to Terengganu to explore and discover the unpopular local timber craft. We visited various crafting factories and actually learned and questioned a few local craftsmen that were still practicing and enchancing the local traditional timber craft. During this site trip we learned on how they make their local traditional timber crafts and the time duration that they needed to make the traditional craft.
Motifs of Timber Craft Malay woodcarving
According to Shaffee & Said (2013), has claims that the carving motifs and pattern for palace were usually taboo or prohibited in aristocrats otherwise typical people buildings. The carved panel has designed for kings encompassed the greatest design qualities which to symbolise values and status. Carvings owned by ordinary peoples, which were usually, less intricate, rather simple and merely carved just for decorations.
Pattern of Traditional Woodcarving The patterns of wood-carving are incorporating with other factors related to customs, religion, beliefs, norms and values, beauty, harmony, and other relevant elements. Malay woodcarving has three basic patterns namely, the ‘single pattern’, the ‘frame pattern’ and the ‘complete pattern’. Its motif is executed in a freestyle, stands on its own and flows discontinuously.
0.1 complete patterns (pola lengkap) This form combines the features of a single and a screen pattern. It competes in itself. It also called as Pola Induk or the main pattern. These kinds of pattern are highlighted on plant elements because of its soft nature and have start to ending point.
0.2 screen patterns (pola pemidang) This pattern is combinations of Single Pattern (pola pemidang), less intertwined or interlaced and is usually enclosed in a screen or frame. It takes one single pattern and repeat in parallel line that create continues pattern. Carving is usually used have aesthetic value (aesthetic) with meanings such as ‘Itik Pulang Petang’ dan ‘Badak Mudik’.
0.3 single patterns (pola bujang) This form of standing alone, independent and is not bound, linked or articulated. It is also called ‘Pola Putu’. It is a single pattern non-repeated motif with each other, usually use elements of flowers, fruit or flower bud.
Methods of Timber Craft The timber traditional craft is made by two methods, they are modern methods and traditional methods. The traditional way of making the timber crafts are done all manually by hand while as such modern methods they is a mixture of using technology and manually.
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Traditional method: 1. Design is traced and transfered to the object such as panel. 2. The unwanted parts are cut out and then discared. 3. Carving the wood panel by using a hyriad of carving tools to pare, chisel, shave, drill, and dig to bring the design to life. 2
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4. Polised using emery paper now whereas the dried skin of the stringray or the leaf of a wild plant called “mempelas�
Modern method: 1. A design is traced on the final selected timber material for it to turn into a craft. 2. After tracing the design on the wood the craftsmen then drills a hole into the timber block to create openings. 3. The craftsmen removes the outer remaining part to discard and form the timber crafts’ shape. 2
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4. The final product of the craft is then polished with emery paper to smoothen the timber surface.
Case Study adaptive[skins]
The project investigates and develops responsive building skin systems that adapt to dynamic environmental fluctations to regulate the internal conditions in a habitable space over time and exhibit a state of motion and dynamism. Heat and light are the primary parameters for the regulation of internal conditions, leading to optimal conditioning, energy efficiency and dynamic spatial effects, for the interior as well as the exterior. Passive and active dynamic skins that employ material intelligence and pneumatic actuators are developed through investigations of smart geometeries. Owing to the complexity of the multi-parametric system, genetic algorithms are developed for system optimization, and calibrated with physical prototypes at varied scale. The developed systems are tested against two distinct climatic models - New Delhi and Barcelona - and evaluated for performance. The precedents in this line of research for responsive and adaptive architecture have dealt with single parameters and hence a more complex issue is being dealt with using heat and light as parameters. The use of genetic algorithms makes the problem solving faster and accurate. New tool-sets are developed in the process by combining various digital tools, to create a feedback and memory loop system.
Assignment 1 Craft Future Representation This segment is where the exploration possibilities of ideas extracted from the craft analysis. Here is where how I explore the different components of the timber craft transforming it into different patterns and mockups to see the visual effects in model form.
Craft Pattern Extraction:
Ornamentation Varieties:
For this crafting future representation, the interest is to extract and develop the ornamental patterns from the timber crafts. The development goal is to explore a pattern turning it into different types of patterns. The transition of it is from becoming a dead 2D pattern into a liveable 3D pattern with no limitations. This exploration also studies how a 2D pattern can be a 3D form. This idea of exploration inspired by the traditional timber craft of Terengganu, the timber craft has different types of method but it has this flat 3 dimensional craft and 3 dimensional pattern craft. This exploration helps to find a new way to show a pattern not just from one’s perspective view but from different views. From a pattern creating different varieties of pattern. To show the differences and possibilities of 2D patterns and 3D patterns.
Assignment 2 Architectural Skin For architectural skin assignment we are tasked to come up with a design where it is inspired by the extraction and ideation of our craft future representation idea. This documentation shows on the development phase to the final phase of the architectural skin design.
Idea Development
Ideation thoughts
For this architectural skin concept is by studying the historical motifs being each carving patterns from the dying timber craft and explore it in multiple possible ways to use the pattern and transform it into architectural skin.
Flower Bud
Tendrils
Kelopak Dewa
Main Branches
Twig
Source or Bunga Punca
Flower
Kelopak Maya
Leaves
Fruit
Kelopak Hidup
Flowers in Malay Carvings
Visual ideation
Malay carving art is works of high quality that have own identity behind each piece of the carving. Although each motif sculpture produced by different sculptors but there is some equations on some style or styles. This can be investigated producing a pattern of ‘language’ in that sculpture can be translated by certain code.
Bunga Kelopak 5 Pandungan Sisi
Hujung Daun Bergulung
Daun Tiga
Bunga Bulat Pandangan Atas
Daun Jenis Kedut
Bunga Kelopak 8 Pandungan Sisi Bunga Kelopak 6 Pandungan Sisi
Bunga Bentuk Kon (BBK)
Bunga Kelopak 7 Pandungan Sisi
Daun Bentuk Hati
Daun Berigerigi Tajam
Daun Jenis Lentik Daun Jenis Runcing Bunga Kelopak 4 Pandungan Sisi
Daun Bergerigi Lembut
Model Exploration
Physical models
Model Exploration
Model collage visualization
Model Exploration
Physical models
Model Exploration
Model collage visualization
Model Exploration
Volume analysis
Architectural Skin
Final design
Top View
Right View
Front View
Section a-a
Architectural Skin
Rendering visualization analysis
This panel is to show and understand the architectural skin design in a visualization analysis whereby these renderings allow people to be able to look into the design function and understanding. These rendering visualizations shows how does the architectural skin design react to a building and to an environment also to explore the full potential of its design on not just being an architectural skin facade but also to explore architectural skin structurally.
7:22 am
5:22 pm
10:22 am
3:22 pm
12:22 pm
The design skin rendering here shows the variaties of possibilities on responding around the environment. The architectural skin is being explored in different varieties of scale to people. The architectural skin allows people to go around it, below it and into it. The skins works well with sunshading as it has different angles whereby it can block sunlight in different time zones during the whole year and day. The skins acts also as a shelter whereby it can shade people that who wants to go into the paviliion skin and rest during the day. The skin also has this visual representation of the Terengganu timber craft whereby when the community visits they can see variety of patterns of the timber craft motifs that are found in Terengganu. This allows the culture of the craft to be shared, educated and enjoy by the community who are interested on the dying craft.
The skins attracts and captures the attention of tourists and visitors. This design encourages the people to walk around and find patterns relating to the motif of the dying timber craft in Terengganu.
Site Origin
Site analysis
A member of Terengganu royalty, Tengku Ismail grew up in Dalam Kota Istana Maziah, a complex of wooden palaces originally built in the early 18th century and enlarged in the early 20th century.
Assignment 3 Crafting Pura Tanjung Sabtu For this task we are given a site located at Terengganu which is called Pura Tanjung Sabtu. We are asked to design a cultural centre at the site in order to expand the influence of the cultural arts of the local handicraft of Terengganu that we had explored for our studies.
Visits to historical structures in Europe and Asia later in his life strengthened his resolve and in 1998, he delivered on the promise with the completion of Pura Tanjung Sabtu, a complex of timber houses laid out in the style of an 18th-century royal dwelling.The complex sits on 14 acres of family land located next to the Nerus River and is surrounded by orchards and landscaped gardens. Tengku Ismail, a well-known songket designer, had purchased 11 centuries-old houses from throughout the state between 1992 and 1996 with this Shangri-La in mind. After moving them to the land in Tanjung Sabtu, the site of Sultan Zainal Abidin III’s country retreat in the 1920s, the process of restoration began.“The houses were moved piece by piece to the new site and re-assembled,” he reminisces. Dying trades revivedThe mammoth restoration job required the expertise of artisans from throughout the state. Tengku Ismail says dying crafts were rejuvenated and younger craftsman were encouraged to revive dormant trades related to traditional architecture and art and crafts.
LEISURE OPPORTUNITIES The proposed site is surrounded by many leisure places, before reaching the site by using the river the Terengganu river mouth allows foreign travellers from overseas to come into a Malaysian state which is Terengganu. Follow up the river mouth of Terengganu there is an island called Pulau Duyong which accomodates alot of tourists’ hotspots in Terengganu. The Pulau Duyong is just right after entering the river mouth from the sea. The Pulau Duyong island has resorts, night markets, homestays and many other tourists’ hotspots which won’t make foreign visitors bored in that island. This creates opportunities for a tourist spot to be created at the proposed site by having a follow up on being the next leisure stop after passing through Pulau Duyong by the river to the proposed site.
TOURIST SPOTS A - Duyong Marina & Resort B - CT Moon Homestay C - ARM Homestay Pulau Duyong D - D’Sofia Homestay Pulau Duyong E - Kampung Pulau Duyong Homestay F - Pulau Duyong Night Market G - Awi’s Yellow House H - Traditional Ship Builder
WATER CIRCULATION The aim is to make use of the natural transport circulation for the communities to have an easier and accessble transportation to the proposed site. It also targets the local community as the target audiences so that the culture of the handicrafts can grow and expand starting by its own local community. In this illustration this shows the different access of the communities to travel by the river to the proposed site.
MAIN COMMUNITIES AROUND THE SITE
THE
EXPERIENCE
Ideation Narrative
Drawing collage
In this illustration, it narrates the idea of what the visual and experience of the design should be. The drawing narrates whereby it starts with the local tourists boats bringing in tourists using the river connected to the site. The tourists will then experience the local culture and architecture of Terengganu whereby tourists can see all the different types of houses. After experiencing and exploring the surroundings of the site, the tourists then arrives to the site itself to experience the cultural centre whereby to learn and experience the local craftmen doing their local traditional handicrafts.
Design Development
Digital models
The first initial idea is to explore on the translation of the timber craft concept into the architectural design itself. The form is being explored on the site and how it responds to the site by having connections around the site connecting into a cultural community hub.
The form is then toned down by having less complexity and priortizing more on the connectivity and spatial response to the site.
This exploration is more on experimenting the spatial and volume of the spaces on how it fits with the proposed site.
The form is designed into more related to the spaces giving each of them an identity so it is easier to indentify which is space and which is transition to a space.
The diagram shows each of the spaces and how it repsonds to its surroundings and to each other.
The 3D model is cut into a section view to see the visitors or users how it responds to the interior of the space and the spatial typology.
Here in this elevation view you can see the 3D building form is covering up the existing building structure known as the Pura Tanjung Sabtu. It is a very negative respond from the design to the existing building itself.
From this view of the 3D model there is a bad response from the interior spaces to the exterior spaces which leads a very disconnection to the outdoor spaces.
The 3D model is cut into a section view to visualize the programmes functioning in the 3D model.
The 3D model is then proposed to have some perforated panels to let some sunlight in and the design is proposed to incorporate landscape into the spaces to make the visitors to have a connection to the nature of the site.
The view shows the two major spaces which is the dockyard and the centralized space hub for visitors to gather and socialize.
The view shows the gallery and community area the two major interactive spatial planning of the design. It also shows the unleveling of the floor to have a playful experience while experiencing the spaces of the 3D model.
This segment is designed in a way to reflect the timber traditional handicrafts which has the complexity elements in the craft itself, by that reproducing it into a form design based concept for the initial exploration of the design.
The form represents a flower bud component of the timber carving design, doing it in a model to see how does it look like with the existing building.
For this form it also represents one of the components which is called the twig. The form is designed by using origami concept because of its flexibility of being able to change from one shape to another.
The form of this component is influenced to have a connection with the river. The form is designed in a sense to have a welcoming environment by having a large opening to welcome the tourists to come into the space.
This form creates a centralized space to have a communal interaction between the visitors and craftsmen to socialize and to learn the cultural sense of the traditional craft.
Another welcoming entry into the space where it hosts community workshop where the tourists and visitors can get to experience what it is like to make the traditional craft from scratch and learn from the craftsmen itself. The space is planned near the entrance of the existing building so that the visitors can easily access the space nearby.
The form is then simplified into much more less complexity, the form highlights and gives credit to the usage of origami concept. The strategy is to explore the use of having multiple entry access to the building.
The connector space is designed to connect multiple passageway to lead the visitors and users to experience the multiple functional spaces of the design.
The entry form is simplied and viewed to let the visitors or users that passby the site will be able to see what is going on in the spaces and hopefully will catch their interests and visits the space itself.
The diagram shows the exploration of volume create a volume of space after another space. This helps to see and visualize how big of the volume space is needed for the space to be able to function.
This exploration is more on experimenting the spatial and volume of the spaces on how it fits with the proposed site. The form gives makes the space to be more redifined and it is easier to indentify that this form is a space.
The community workshop space has this walkway that brings the visitors/ users into deeper the spaces that are further in. Also this creates an experience whereby the visitors can get to experience the cultural part of the journey whereby the crafts are displayed everywhere.
This exploration is more about the openings incorporate with the site itself to see how does it responds to the surroundings. The initial idea is to allow the spaces to be engraved underground so that the structure won't distract the beauty of the site itself.
This idea is to also allow users/ visitors to be able to occupy and use the platform above the space. So that the users/ visitors will have the option to be able to enjoy the outdoors while can enjoy the experience from the indoor spaces as well.
One of the most focused space planning has more ceiling openings to allow the landscape to be incorporated also to allow natural sunlight come in and to let the heat escape from the proposed spaces.
The structure is toned down to skeletonal structures for the purpose of soft construction at the site. These light weight structures are easy to be transported into the site for future construction.
The entries from the existing building structures are welcomed with three rest points for the visitors/ users to be able to take their time not to rush the experience of the cultural journey to the spaces.
The structure is designed in a way to cooperate with the existing building by creating openings to allow the visitors and users to come to the spaces and enjoy the community workshop. The structure also serves the purpose of being able to use the timber handicraft facades as a visual experience display.
E
A C D
B
Final Design
Digital drawings
Research Workshop
A
Cafe & Dockyard
E
D
C
Community Workshop
B
RIGHT ELEVATION
LEFT ELEVATION
FRONT ELEVATION
REAR ELEVATION
Community Workshop
Unlevel Walkway
Timber Handicraft Facade
Community Workshop Visual Walkway
Timber Handicraft Facade
Research workshop
Timber Handicraft Facade
First Entrance
Timber Handicraft Facade
Second Entrance
Dockyard
Resting Point Research Workshop
Timber Handicraft Facade
Unlevel Walkway
Second Entrance
First Entrance Research Workshop
Section A-A Scale 1:180
Axono Section Scale 1:300
Detail 1 Scale 1:50
Detail 2 Scale 1:50
Detail 3 Scale 1:50
Detail 5 Scale 1:10
Detail 4 Scale 1:50
Detail 6 Scale 1:10