RESILIENT OF THE OCEAN Design Portfolio by Chin Kuan Wei
Portfolio is arranged by Chin Kuan Wei
email: kuanweihuat@hotmail.com
TABLE OF CONTENTS Chapter 1 (War Of The Reborn) - Introduction - Ideation Mindmapping - 5 Chapters’ Narrative Zoning - War of the Reborn’s Narrative
Chapter 2 (Structure Reef) - Ideation Illustration (Forgotten Past) - Local’s Perspective Literature Review - Structure Reef Introduction - 5 Ideation Components of Structure Reef
Chapter 3 (Resilient of the Ocean) - Site Narrative - Site Analysis - Design Objective - Target Group - Ideation Models - Resilient of the Ocean - Floor Plans - Spatial Visions - Boats Drawings - Services
War of the Reborn
Chapter 1: Social Identity For chapter 1 it is about the narration of the social identity of the Bajau community where the chapter talks about their origin where do they come from. The chapter also talks about their nomadic lifestyle and their journey by escaping their origin and fleeing to another place. Later on they became illegal immigrates.
Chapter 2: Illegal Immigration Chpater 2 talks about their illegal immigration situation where they are stuck in Semporna, Sabah after they have fled from the origin. It also narrates their problems they have faced being illegal immigrates where they lack sufficient food and materials for their daily needs and also their lack of education of the whole community.
Chapter 3: Lifestyle Culture Chapter 3 talks about their lifestyle culture where the Bajau community are known as the sea guardians where they have this culture of protecting and respecting the corals of the ocean. In the present of the Bajau community they rarely practice their past animistic culture and most of they are doing more illegal activities such as illegal fishing and fish bombing in their area.
Chapter 4: Cultural Activities Chapter 4 talks about their cultural activities where the Bajau community are well known for their yearly boat festival which is called the “The Regatta Lepa Water Festivial�. The festival is made up of decorated boats displayed on the waters of Semporna and the Bajau people have dances which are called the igal-igal dance on their colourful lepa ships.
Chapter 5: Rituals on Boats This chapter talks about the Bajau communities’ rituals on boats where the Bajau people have their own special practice of rituals that they believe it can protect them while they are travelling on the sea waters and also to create spells such as “haligmun” which is known to be treated to the boats before the owner embarks on a long journey.
Chapter 1: Social Identity
Chapter 1: Social Identity
Bajau people social identity and their origin By Chia Chen Kit
The Bajau Laut people, or sea gypsies is a huge group of etnik that located at the ocean between Sabah and Sandakan. The Case of the Bajau Laut is predicted upon their condition of dejure statelessness, being longstanding interiorpers between the big islands of Borneo and Mindanao. During 1970s, huge amount of Bajau community fled to Sabah to escape the war between the Philippine government and the independent movement by the Moro National Liberation Front, resettling in many parts of the state such as Lahad Datu, Semporna and Sandakan. Because of their nomadic nature, the issue of the Bajau Lautis currently one of undocumented residency or even illegal immigration.
The model is created to narrate a part of the historical period when back in the 1970s the Bajau community fled to Sabah to escape the conflict issues that has happened in the Philippines. This causes an amount of people from the community migrated to Semporna which referring to the model above shows an arch with boat representation by using aluminium tin can cap to show the density of the boat population coming into Semporna.
The story is translated into this model by using the arch to narrate the Bajau community migrating into the Semporna areas. Where the model shows the settlements are slowly growing rapidly as more of the community coming in. The arch act as a bridge connecting the Bajaus and Semporna together.
In this narrative we decided to highlight the high and low ranking of the community named Bajau. In the community these people are often classified into rankings whereby the low ranking communities are preferred to be located at the sea area while the high ranking communities are mostly located at the land. This creates a hierarchy between these two communities whereby we narrate this story into our models.
Chapter 2: Illegal Immigration
Chapter 2: Illegal Immigration
The stateless of Bajau community in Semporna, Sabah By Soo Mei Jin
The stateless of Bajau people who run away from Philippines due to the conflict and oppression by Mindanao war in 1970s cause the perennial problem of illegal immigration in Semporna, Sabah. The kidnapping cases by pirates in Semporna bring an alarm on the saftness of most Bajau people. The lack of education caused the insufficient of knowledge on taking care of their health and hygiene. This condition resulted in Bajau people easily to infect by disease.
The Bajau people are often called “illegal immigrates� due to their lack of identification because most of these people from this community they don’t have any resources to identify them such as passports or identification card. This causes them alot of difficulties on not being able to do what they want due to the restrictions of having a nomadic lifestyle. The community also have issues on being kidnapped by pirates where they are often being enslaved and work for free for the pirates. The community also lacks education this issues provides a simultaneous loop for the community by being in poverty.
The flag narrates the political part of the Bajau community whereby they are often assumed to be pirates or being kidnapped by pirates.
The ring of flags narrates the different countries that the people of Bajau have visited in the past or they have migrated to these places besides from staying in Semporna.
The aluminium tin cap represents the pirate ships invading the area causing mayhem and kidnapping the people of the Bajau community.
Chapter 3: Lifestyle Culture
Chapter 3: Lifestyle Culture
The dark side in the community of the Bajau people By Chin Kuan Wei
A researcher has involved with an insight following a girl in the community named Langka. Where the girl allowed the researcher to join her in her hidden illegal activities around the community. In the community Langka has showed us most of the fishermen of the community are in debt to the people they have borrowed money from to help pay for their financial problems. These people who they have borrowed money from in exchange they will ask the fishermen to use illegal ways to help them make money to repay their debt. These activities are often like using explosives for being able to catch fish faster and in a larger quantity. Also they required insight intel upon their economical rivals that are in the community.
In the community of Bajau, they are often labelled as the sea guardians. In their lifestyle culture they do fishing very often and also this is one of their main source of income to provide for their family. From young they are trained to dive into the deep water without any diving equipment and they using their handmade fishing spear to hunt in the water. They are also a very spiritual community whereby they believe in alot of animistic culture and also they worship their ancestors.
In this model it narrates the story of th Bajau community using illegal ways to catch fish due to their debts that they needed to pay. The model represents the elements that we have extracted from the analysis as well by using raw materials to present it.
In the Bajau community, the communities’ homes are often built with raw materials that they have around their area where they source. The model above is inspired by their nomadic lifestyle by being able to build simple structures and live in it for a period of time.
Chapter 4: Cultural Activities
Chapter 4: Cultural Activities
Bajau people activities in our National Tourism in Semporna, Sabah By Wee Xin Lei
The Regatta Lepa water festival is one of the longest-running and most unique celebrations of its kind in Malaysia and Borneo. Every year in April there is a water festival held in Semporna, a small town in the eastern coast of Sabah, called the Regatta Lepa, one of the major important events in our National Tourism Calendar. The event pays homage to the unique lifestyle of the nomadic Bajau Laut whose cultural legacy has been handed down many generations. The unique product such as the igal-igal dance on colourful lepa ships, food and handicrafts during the Regatta Lepa which also has made Semporna the focus of the world and certainly a factor in attracting tourists to continue visiting the area.
In the area of Semporna, every year in the month of April there is a water festival held which is known as the “Regatta Lepa�. The Bajau community often celebrate this festival because the people are seaferers at heart and they are well known for their Lepa, which is the traditional single-mast sailing boat used in their daily lives.
The model is used to represent the festive vibes that we have extracted and researched on by showing vibrant colours and multiple colours. The colours are also located at the most festive hotspots around the area.
Another part that we used to narrate the festive season is by using the aluminium tin that is coloured to represent the boats which are also known as lepa that are taking part of the festive season also where it is located near the hotspot communities around the coloured blocks.
Chapter 5: Rituals on Boat
Chapter 5: Rituals on Boat
Bajau people had completely ceased building lepa in Kg. Bangau- Bangau By Jarod Yap
Boats may be treated with spells (haligmun) before the owner embarks on a long journey, to render them invisible to pirates or to make them impervious to bullets (panglias). In this tradition, there are two main rituals associated with boat construction, one performed in conjunction with the joining of the bow and stern posts to the keel, and the other, with the drilling of the boat’s navel. The forward area of the lepa is associated, in particular, with men and male activities, while the stern is associated with women and female activities. In 1979, although lepa were still occasionally built, they were rapidly being replaced at the time as the main fishing boat by the pomboat, a plank-constructed vessel powered by a small inboard engine of 10-16hp.
The Bajau has a spiritual entity towards their boats. Often times they worship their boats as a sacred place because the boat also known as “Lepa� is their first home and transportation. They also often travel in a dangerous environment whereby they cannot predict how the waves is gonna be like and how rough the waves will be. They also do alot of activities on their boat such as they eat, cook and sleep on their boat basically their whole home is on a boat. Even giving birth are sometimes on the boat because it is quite hard for them to have the accesibility to hospitals to give birth.
The model narrates the whole story of the rituals on boat whereby the arch shows the connectivity that the boats have provided for the Bajau people.
The settlement plays a very import role in the narrative whereby the boats travels to the settlement area where the people are able to hold their ritual by being able to reproduce their population and holds their respect towards their boats. From a journey to the end.
Model Mapp
The diagram shows referring back to Chapter 1, narrating the Bajau people how they started to migrate to Semporna from the Philippines. The two circles indicate the areas that are filled with the Bajau community that are on is a group that inhabits on the land and the other group that inhabits on the water.
For this diagram, it narra are in the Bajau commu ces are in different thick amount of density of the
The diagram shown represents the areas that are active with festivals. As you can see most of the boxes that are at the outlined in between the land and shore which refers back to the Regatta Lepa festivals where is it celebrated on water and land.
In this diagram shows the Semporna where there a ing. In Bajau community making so these places form a
ping Strategy
ates the stateless people that unity. As you can see the cirlkness and sizes indicates the e stateless people in the map.
e places that are located in are practices on boat makone of their interest is boat s are map out and linked to a narrative.
For this diagram, it narrates the lifestyle hotspots of the area whereby the circle maps indicates on the lands tells us on the natural man made structure made locally by the Bajau community. The circles on the water indicates the fishing activities.
War of the Reborn Model The “War of the Reborn� is a combination of 5 chapters of narratives where it narrates the starting point of the Bajau community. By highlighting their nomadic lifestyle going into their journey of being illegal immigrates also to show their cultural lifestyle and their illegal activities through their everyday lifestyles. The model consists of materials that can be found representing the water village.
Forgotten Past
This drawing is narrated relating back to the Bajau community based on their lifestyle. Their culture based on their origin they always have been practicing and respecting the marine life of the sea. They are considered the guardian of the sea where they protect and manage the marine life.
After a few years or generations later this simple culture of theirs are forgotten and not being practiced anymore by these communities which it leads to the disaster of the marine life where as now you can see that most of the sea gypsies or the Bajau communities they stated that fishes are getting harder and harder to catch and the quantity of the fishes are getting lesser as well. Based on my perspective the lack of their cultural practice has done damage to their marine life as this poster is drawn as a reminder and awareness that these old tales should be taken a look and consider.
From a Local Early afternoon i have a job which my friend gave me to do which i have to bring some tourists around my area for a visit. I don’t know which during this covid season there are people interested on visiting the area that im staying. There are better places to visit in Kuching but why here i don’t know for sure but ill just do my job. I set out with my boat going to the dockyard and i saw two people, they look quite young i helped them on my boat and i steer my boat going to my area. I saw one of them took out a camera and started taking videos and another one taking her mobile phone out and taking pictures. Nevermind i guess its normal for city people to be this fascinated looking out on the river. When i was bringing them passing though my village and wanted to continue the journey one of them turned back to me and asked me that they wanted to stop by the my village. I was surprised and i replied sure and took them around and back to my village. I wonder why they are so interested on stopping by on my village there are clearly nothing exciting that is happening in my village. Once i brought them there i helped them down from my boat and i made my way to my house for a short break while they do their business here. I relaxed and look out to the river view from my house and wondered what will they be doing. After awhile i heard a sound where it came from above and i saw alot of kids from my village running around looking up to the sky. I wondered and i looked up to see a drone is flown around the village, i assume the drone is from the tourists that i have picked up just now theey are probably taking pictures or videos of the village. I continued my relaxation after a few minutes one of the tourists that i have brought came and asked me that whether i could bring them around and give them a tour and i said sure.
l Perspective I got up and started bringing them looking around, one of them started asking me questions and i replied with knowledge. The more questions they asked me i got mmore excited i decided to bring them to one of my uncles which is a fisherman they will probably find it interesting since they are very interested on my villages’ culture. After we arrived to my uncle’s house, he is in the middle of making something. The tourists looking excited and asked my uncle what he is making. Uncle replied that he is making an axe handle that is made from the mangrove wood. I still find it exciting to see that tourists that are interested on my village but i couldn’t figure out why would they want to visit this smelly and dirty place where it is hot and humid which no airconditioning. After a few long chats i continued bring the tourists around and sharing my stories about growing up here in the village. When we reached to the end of a place where we do our mangrove farming i can sense the tourists are abit tired and they are ready to call it a day so i brought them back to where we came from and i asked them whether they wanted to continued. They thanked me and said they are ready to go back so i brought them back to the dockayrd and they seem happy from they experience and one of them asked me if its okay to come back to my village someother day i said sure ofcourse i welcomed them back if they are interested. Dropping them off they waved me goodbye and i feel accomplished and proud that there are people that are interested on learning our cullture and lifestyle it made me happy. I think i can consider on being a tour guide in the future. Ayub (the boat driver), 2020
Structure Reef The structure reef is made up the combinations of multiple exporations where a simple stilt house elements are extracted out which the idea of implementation of the coral reefs.
The model is made in the narrative of what if we can find a simple way to design a new language identity of the Bajaus. The model is made up of the explorations of stilt houses, circulation access, boat like structures and awareness of pollution materials.
Cultural Corals The design idea behind the cultural corals’ narrative is to celebrate the combination of the cultural aspect of the Bajau community and corals together in harmony to highlight the socio aspect of the Bajau community where they have their colourful boat festivals and their self diving culture where they do spear-fishing in the ocean while protecting their ocean life corals.
Path Of The Living The narrative behind the “Path of the Living” is to transform the Bajau community’s pathways into a nomadic journey where the Bajau community can possibly travel around with a hierachy element around their area. Also to show that their pathways can be reconfigure into different locations and not to stay in one place permanently.
Polluted Corals The polluted corals component is made to raise an awareness where this component is made out of plastic bottles that have been thrown away. These materials are well known and can be found on the water or land of the Bajau communities’ area. The amount of plastic bottles can be made to replace the corals in the ocean, this shows the amount of plastic material pollution is made and will hard the marine life of the Bajau community.
Rhythm Of The Boats The “Rhythm of the Boats� is made to signify the beauty of the waves where it is made out of small boats. The narrative is about the Bajau community mainly uses their boats as their transportation on the sea. The model is inspired by the combination of the boats riding on the sea waves in the ocean.
Structure of Mobility The structure of mobility is created to explore the endless possibility of stilt structure components that can be assembled together and made for the Bajau community as their accessibility which creates their mobility around on top of the ocean. The structure is tested with different lengths and depth. Which the Bajau community can easily build and access.
Site Narrative The site narrative narrates about the origin of the Bajau people from Semporna, Sabah. This illustration talks about the initial journey of the Sama Bajau community on how they migrate from the Philippines to Sabah. The blue wave patterns narrates about the flowing movement of their boats.
The circles narrates the different location that the Sama Bajau have located before settling at Semporna, Sabah. It also locates the many places that have the resources that they used to build up their community.
Site Analysis
The site analysis is done to analyze the different opportunities and possibilities that are available in the site. This information is used to generate design strategies and objectives for the Sama Bajau community that are located in Semporna, Bajau.
Materialization
B
The materialization analysis is done to pin-point the different places that has the materials that is available to be used for the Sama Bajau community. These spots that have been pin-pointed will indicate the different types of materials that is available for the community.
C A
A The mangrove rainforest is a primary location where it is very important for the Sama Bajau community. These forest can help provide wood material that will help the community to be able to develop their community settlement.
B
C
The land of the semporna is a good opportu- The coastal areas of the semporna is a good nity materialization resources where the Sama natural location to obtain their resources by Bajau community can use the soil of the land having to meet the needs of getting wet and and start to explore ram earth construction to dry materials. develop their infrastructure of their settlements.
Targetted Settlements The targetted settlements is a strategy where the design is depended on these communities to be initiated and run by the communities. These communities are also linked under the same water flow which it can help to ease the accessibility to getting on the proposed design location.
C
B
D A
A
D
B
C
Chosen Site The site is chosen where the location is in the middle of high densed communities where the communties can easily access the location. This provides a more welcoming ambience into the location.
Site
Water Access The water access analysis shows the waterways that are linked together where the communities are travelling by using one main waterway. This shows the possibilities of having a proposed design in between these access journey.
Design Objective
Econimical Farming Coral farming can help the Bajau community to receive some financial income by selling corals to fish hobbists.
Material
The Bajau community can pl that can help them source m these Mangrove trees they u and timber
The design objective is to design a architectural system that supports the community of the Bajau to be resilient in their own way. Inspired by their own culture and beliefs. The architectural design will roar out their culture to show the world that this community are resilient. The design will explore self sustainable ways that the community of Bajau could source from their own area.
Farming
lant their own plants or trees materials to make things like used the timber to make axes r structures.
Food Farming Food farming can provide them with a self sustain food resource for them to be resilient and not depending on the country itself.
Target Group
Craftsmen
You
uth
I have chosen the community of the Bajau as my target group as the need to design and highlight their issue and address it. To create a ideation where resilient comes into place to their community even during this period of the pandemic it is time for us to think and readjust the new way of the living norm where we can make use the resource of what we have and focus on being resilient instead of depending the surrounding community or government.
Elderly
Ideation Models The ideation models are to experiment and develop the ideas or strategies that have proposed above whereby the model is made to see the possibilities of spatial planning and social interaction of the architecture and the people. The models are also made whereby to consider the local materials can be found on the area.
Resilient of the Ocean For this design proposal which is also known as the “resilient of the ocean” is aimed to be designed as a small resilient village where it consists of the Sama Bajau’s identity narrative. The whole building structure and form is designed with the inspiration of the marine life and the Sama Bajau’s lifestyle. The spatial planning is designed to be adaptive where the building form is to overcome the issue of the sea level rising as the spatial boats can be an individual building on its own when seawaters rises to each level. This narrates the resilience of the village.
Exploded Axono The exploded diagram is to show the different purpose groups for each floors. Each level of the floors has its own part of assembling the community into being resilient.
Mangrove Reef
Convenience Store
Mangrove Reef Stingless Bee Farm
Convenience Store
Stingless Bee Farm
Communal Floor
Stingless Bee Farm
Retail Floor Residential Floor
Floor Plans The floor plan is drawn to narrate the different functions of the spaces and the activeness of the spaces that is proposed into the design. The spaces also shows the different programs that are fit to accomodate the different target group that is chosen for the design proposal.
Ground Floor Plan
First Floor Plan
Second Floor Plan
Sectional Narrative The narrative drawing shows the future considerations of the whole structure. As the sea levels are slowly rising due to global warming. The considerations of how the Bajau community will be adaptive is by their building components and also the structure alone will be given back to the ocean act as an “Artificial Reef� for the fishes to be able to accomodate by themselves.
Spatial Vision The spatial vision for this floor which is the ground floor or the residential floor. The residential floor shows the different ambience of privacy that is designed and provided to the community. This also shows the accessibility of the community using the passageway to access their individual units that is proposed for them. The unit on its own has its spatial zonings where the spaces in the unit differentiate the private, public and semi-private spaces is created foe them.
Spatial Vision 2 The first floor also known as the retail floor is to show their wide and functional spaces that is designed to accomodate their economical needs to do some retail services within their community. The spatial vision shows the accessibility of connecting two floors together by being in between the ground floor and second floor. This floor also provides pocket communal spaces in between the staircases this creates a more welcoming ambience to the floor and also creates a lively floor where people gather and occupy.
Spatial Vision 3 For this segment it shows the spatial vision of the second floor level which is also known as the communal level where communal spaces are created for the Sama Bajau communities to be able to have a space where they can do gathering activities and socialize within their community. This also encourages activities that creates bonds as this reflect their needs as their community value socialization.
Residential Floor Type : Boat 1
Residential Boat
A
B
C
D A. Floor Plan B. Front Elevation C. Left/ Right Elevation D. Rear Elevation
Retail Floor Type : Boat 2
Retail Boat
A
B
C A. Roof Plan B. Left/ Right Elevation C. Front/ Rear Elevation
Retail Floor Type : Boat 3
Retail Boat 2
A
B
C A. Floor Plan B. Left/ Right Elevation C. Front/ Rear Elevation
Communal Floor Type : Boat 4
Communal Boat
A
B
C A. Floor Plan B. Left/ Right Elevation C. Front/ Rear Elevation
Communal Floor Type : Boat 5
Communal Boat 2
A
B
C A. Floor Plan B. Left/ Right Elevation C. Front/ Rear Elevation
Technical Report
Fire Safety Exits Ground Floor Plan
Fire Safety Exits First Floor Plan
Fire Safety Exits Second Floor Plan
Elevation Front & Rear Elevation
Elevation Left & Right Elevation
Elevation Reef Stop
Front Elevation
Rear Elevation
Left Elevation
Right Elevation
Elevation Boat Pulley
Front Elevation
Rear Elevation
Left Elevation
Right Elevation
Construction Details Residential / Ground Floor Plan
Detail 1
Detail 2
Detail 3
Detail 4
Detail 5
Construction Details Retail / First Floor Plan
Detail 1
Detail 2
Detail 3
Detail 4
Detail 5
Construction Details Communal / Second Floor Plan
Detail 1
Detail 2
Detail 3
Detail 4
Detail 5
Construction Details Staircase 1 / First Floor Plan
Detail 1
Detail 2
Construction Details Staircase 2 / Second & Third Floor Plan
Detail 1
Detail 2
Detail 3
Construction Details Roof Plan
Detail 1
Detail 1
Detail 1
Construction Details Coral Structure
Front & Rear Elevation
Left & Right Elevation
Lighting Study Residential Boat Natural Lighting
Thermal Comfort Study
direct sunlight
min illumination
max illumination
6:05am
8:05am
10:0
05am
Artificial Lighting
Proposed Lighting Section
12:05pm
2:05pm
Lighting Study Communal Boat Natural Lighting
Thermal Comfort Study
direct sunlight
min illumination
max illumination
6:05am
8:05am
10:0
05am
Artificial Lighting
Proposed Lighting Section
12:05pm
2:05pm
Ventilation Study Residential Boat Natural Ventilation
Artificial Ventilation
Blade Size: 16” Type: Stand Fan Voltage: 220-240V~ 50Hz | 220-230V~ 60Hz Power (W): 50 Speed (high) RPM: 1275 Speed (low) RPM: 900 Air Delivery (High) m³/min: 66.7 Air Delivery (Low) m³/min: 46.7
Air Delivery (240V ~ 50Hz Net weight (kg): 7.3 Noise Level (dB): 58.4 Noise Level Low (dB): 50. Dimension (L x W x H) cm: Color: Dark Grey
Natural Ventilation Plan View
Artificial Ventilation Plan View
z): 60
.9 41 x 45 x 150
Ventilation Study Communal Boat Natural Ventilation
Artificial Ventilation
Blade Size: 16” Type: Stand Fan Voltage: 220-240V~ 50Hz | 220-230V~ 60Hz Power (W): 50 Speed (high) RPM: 1275 Speed (low) RPM: 900 Air Delivery (High) m³/min: 66.7 Air Delivery (Low) m³/min: 46.7
Air Delivery (240V ~ 50Hz Net weight (kg): 7.3 Noise Level (dB): 58.4 Noise Level Low (dB): 50. Dimension (L x W x H) cm: Color: Dark Grey
Natural Ventilation Plan View
Artificial Ventilation Plan View
z): 60
.9 41 x 45 x 150
Water Supply System Perspective View
water pipe
water pipe
water harvesting
water harvesting
Schematic Diagram
water pipe water harvesting
Sewage System Sectional View
sewage pipe
sewage tank