1
DANIEL TAN E-Mail: dtgz_90@hotmail.com H/P: 92284726
resumé 2
CAREER ABSTRACT
HONORS
Daniel Tan is a self-motivated and responsible architecture student seeking a challenging and educational internship at an innovative design firm that encourages a collaborative environment .
Dean’s List (Year 3 Semester 1) | Faculty of Architecture
EDUCATION Bachelor of Architecture National University of Singapore Candidate for 2nd Upper Honours (CAP: 4.13)
2011 - Present
GCE A-Level Catholic Junior College Mathematics (H2, Grade A), General Paper (H1, Grade A), Physics (H2, Grade B), Economics (H1, Grade B), Project Work (H1, Grade B), Chemistry (H2, Grade C)
2009 - 2010
GCE O-Level Nan Hua High School L1R5: 10
2005 - 2008
INTERESTS Sketching, Watercolour, Model-making, Travelling, Electric Guitar, Soccer, Tennis, Motorsports EXHIBITIONS ‘Landscape in a Box’ | Singapore Arts Museum 8Q Familiar Spaces, Untold Stories: Encounters with Ipoh | NUS Museum Gallery Lim Ko Pi, Ipoh URBANATURE | Geylang Lorong 24 PUBLICATIONS Familiar Spaces, Untold Stories: Encounters with Ipoh Spain OEP ’12
PROFESSIONAL EXPERIENCE DP Architects Position: Architectural Trainee Involved in Bedok Town Hub Competition (results TBA)
Nov - Dec 2013
Swan & Maclaren Architects Position: Architectural Trainee Involved in Raffles Medical Group Singapore Expansion Competition (1st Prize) + Feasibility Studies
May - Aug 2013
Colin K. Okashimo and Associates Pte. Ltd Position: Intern Responsible for model making and other ad-hoc duties
Nov - Dec 2011
Card Embosser at NETS (Network for Electronic Transfers) Position: Operator Responsible for meeting deadlines and quantities in production of credit cards, cash cards, and ez-link cards
Jan - Jun 2011
PROFESSIONAL SKILLS AutoCad Sketchup Microsoft Office (Word / Powerpoint) Adobe Photoshop Adobe Illustrator Adobe InDesign CorelDraw Sketching / Drafting Model Making VRAY CorelDraw Exhibition Design Publication Design
I. A RETREAT IN NATURE
II. MUSIC CAFE
III. SUN TENT
IV. AMPLIFYING CASHIN
V. SCALES OF INHABITATION
VI. THE URBAN FISHERY
4
CONTENTS
I. A RETREAT IN NATURE . . . . . . . . . . . . . . . 5 II. MUSIC CAFE . . . . . . . . . . . . . . . . . . . . . 7 III. SUN TENT . . . . . . . . . . . . . . . . . . . . . . 11 IV. AMPLIFYING CASHIN . . . . . . . . . . . . . . .13 V. SCALES OF INHABITATION . . . . . . . . . . . .17 VI. THE URBAN FISHERY . . . . . . . . . . . . . . .21 VII. OTHER WORK . . . . . . . . . . . . . . . . . . . .27
This portfolio contains the design work of Daniel Tan. unless otherwise noted all work in this portfolio was created solely by Daniel Tan. In cases where items were codeveloped it is understood that Daniel Tan played a significant role in their creation.
I. A RETREAT IN NATURE Architectural Design Studio II Jan - Mar 2012
I. A Retreat In Nature 6
SITE Macritchie Reservoir “CONTRASTING VIEWS” VIEWS | Given the beauty of a site situated at the invisible threshold between the “tampered nature” of the Singapore Island Golf Course on one side and the “untampered nature” of the forests on the other, the design aimed to frame and juxtapose the two contrasting natures. STRUCTURE | The structure was an important element in the framing of the views, with the gaps between the outer columns spaced apart at meticulously calculated distances in order to frame the intended views. The gaps between the columns decrease to the rear of the retreat, thus creating privacy from the shore. MEDITATION | The program of the design is a retreat from urban life, a place for meditation and reclusion. One accesses the retreat through a long narrow bridge, and enters the structure along the outer circulation path which encircles the private bedroom and toilet and ends at the mediation space on the 2nd storey. A
1st Storey Plan
A’
Section A-A’
8
II. MUSIC CAFE Architectural Design Studio II Apr - May 2012
9 SITE Kampong Glam | North Bridge Road “MUSIC AS THE CONNECTION BETWEEN SPACES� The site is situated on a vacant plot of land at the junction of Jln Pinang and North Bridge Road in Kampong Glam. The design incorporates an al fresco cafe and a music-themed bar run by a family of four who live in the block to the rear of the bar. Through this project, the relationships between the public and private realm, as well the connection between the cafe and bar, was explored and iterated extensively. MUSIC | The stage where performances are intended to take place from is the central focus of the building and forms the connection between the music-themed bar on the 1st storey and the al fresco cafe on the 2nd storey. By elevating it from the 1st storey and by terracing the cafe on the 2nd storey, both the cafe and bar had a visual and aural connection to the stage. In this way, the music from the stage became the connection between the cafe and bar. STRUCTURE | Louvres were used in place of walls in the cafe as they served a dual purpose of 1) restricting the view of the stage from the pathway outside, which would only be revealed upon entering the bar, 2) acting as reflectors to enhance the acoustics internal space. SPATIAL LAYOUT | The private block to the rear of the bar is monolithic, a contrast to the light, open spaces of the bar and cafe. The block contains the kitchen, store and public toilets on the 1st storey, and living spaces on the 2nd and 3rd storey. Access to the private block from the cafe is restricted to a single path along the edge of the party wall that is used when bringing food from the kitchen. The spiral ramp which encircles the stage brings the user into intimate contact with the stage before arriving at the cafe.
10. Music CafĂŠ 10
1st Storey Plan
2nd Storey Plan
3rd Storey Plan
III. SUN TENT Architectural Design Studio III Aug - Sept 2012
12 SITE East Coast Park “PLYWOOD AS A SOFT MATERIAL” This design explored the potentials of plywood as a material. The aim was to deconstruct the idea of plywood as a hard material by creating a fabric-like effect. The design uses two modules, namely the ‘square’ module (Fig. 1) and the ‘cross’ module (Fig. 2). Throughout the process, a reoccuring problem was the need to create rigidity in a structure that had to have a soft, fabriclike effect visually. This led to numerous iterations, as the structure was studied through computer modelling and physical scale models. A final resolution was found through the overlapping of the the modules over each other, and binding them at the corners with cable tie. Also, the form of the structure gave it rigidity, with the twist of the structure in the middle creating important tensile forces that held the structure up. The result is a modular fabric-like structure that featured two shaded spaces, one facing the beach and the other facing the track - perpendicular to the sun path so as to allow for the maximum shade at all times of the day.
Fig. 1 The ‘square’ module
Fig. 2 The ‘cross’ module
IV. AMPLIFYING CASHIN Architectural Design Studio IV Oct - Nov 2012
SITE Lim Chu Kang Lane 9 “AMPLIFICATION | ATTACHMENT” The concept for this project stemmed from a critique of the site. Situated at the north edge of Lim Chu Kang facing the Johor Straits, the site was the existing Cashin House, built by the Cashin family on the Lim Chu Kang Jetty before the 1940s. AMPLIFICATION | The critique of the Cashin House which gave rise to the design comcept was that the position of the house was hugely arbitrary, with no features of the site nor the house indicating why the house would be specific to the site. The interest of the design was then to intervene and to amplify the house’s relation to the site so as to make its position more beneficial to its location. The intervention by the design triangulated the house’s position, making it a crucial part of the new design and amplifying its position to the site. Opportunities made possible by the coastline and the unique features of the area were studied extensively to arrive at the three crucial vertices which would form the points of triangulation. These were 1) the Cashin House, 2) the entrance to the pier, 3) the mangroves. Within each vertice, the unique characteristics of their locations were emphasized through the new design, further enhancing their relation to the site. ATTACHMENT | The structural heuristic explored was attachment, defined as the fastening / affixing of one object to another, so as to make a part of. Attachment was used to inform the structure of the design and to enhance the idea of amplification.
14
15
The existing pier connected to the land by means of a raised bridge above the water. The proposed design would demolish part of the pier, leaving the structural grid. A new path would lead down to the water and up towards each of the other vertices, emphasizing the transition from land to a structure above water.
The existing house had an excellent panoramic view of the Johor Straits, yet was not taking advantage of this view. The proposed design introduced a viewing deck that would serve as a terminal point of the path leading from the land. This deck followed the structural grid of the house, with the terracotta roof tiles removed to reveal its structure so as fulfil its function as a learning centre of structures.
Unlike the two other vertices, the mangrove structure had no structural grid of existing structures to inform its manner of attachment. It instead used a system created by connecting lines between the mangrove trees in the area to form the connection points for the steps onto the trees. The steps branch outward and decrease in size to create the effect of the structure dispersing into the mangroves.
IV. Amplifying Cashin 16
A C’
B
B’
C
A’
Section A-A’
Section B-B’
Section C-C’
V. SCALES OF INHABITATION Architectural Design Studio IV Apr - May 2012
18
SITE Geylang Lorong 14 ‘‘THE ART OF INHABITATION” The design started out with an exploration of one’s “Art Of Inhabitation” as an architect - one’s definition of the ideal living spaces and what elements make up this ideal inhabitation space. This was then represented in a drawing which would form the starting point for the design process. SCALES | “The Art of Inhabitation” to me, existed as a series of scales, namely - 1) solitary scale, 2) communal scale, and 3) public scale - according to the levels of social interaction. and each individual’s comfort zone lies within one of these three zones. •Solitary scale (a room) - Living alone •Communal scale (a house) - Living in a community •Public Scale (a street) - Living with strangers The drawing aimed to capture the three scales and their interaction with each other. Between the solitary and communcal scale, there would be a symmetrical, open relationship whilst maintaining certain levels of privacy in the solitary scale. As the scales increased, the levels of interaction decreased, as the communal and public scale have an assymmetrical relationship with the users within each of the two scales being able to see each other yet remain detached from each other.
Three strategies were used to illustrate these “scales of inhabitations� within the design. 1) Projection | The feeling of projection through the scales, whereby one can witness the layering of the different scales within one single view. This was a crucial influence on the form and placement of the structure, as the rooms were rotated and spaced apart in order to create a unique view through the 3 scales from each room. 2) Aggregation | Starting with a singular room (solitary scale), the design evolved by aggregating a few rooms to create a cluster (communal scale). Several of these clusters were further aggregated to create a public area (public scale). 3) Circulation | Movement between the scales is linear, and the user has to travel through the sequence of scales in order to get from one scale to another. Solitary >> Communal >> Public Solitary |
View diagram
Communal
Aggregation diagram
|
Public
V. Scales Of Inhabitation 20
Section A-A’
3rd Storey Plan
Elevation A
2nd Storey Plan A
B A’ 1. Food court I 2. Food court II 3. Management office 4. Public toilets 5. Indoor foodcourt seating 6. Al fresco foodcourt seating
A
1st Storey Plan
Elevation B
22
VI. THE URBAN FISHERY Architectural Design Studio V Aug - Nov 2013
PREPARATION
CUTTING
IMPORTS
PACKAGING
PREPARATION
CULLING
REARING
REARING
Wet Market
FISHING
CUTTING
Dry Fish Store
FISHING HARVESTING
CONSUMER CULLING
PREPARATION
HARVESTING
CUTTING
CUTTING
PACKAGING
SITE Bishan Place ‘‘CONVERGENCE | DIVERGENCE” In the creation of a consumer experience of fish, an inherent problem is the polarity of consumer attitude towards the smell, sight, touch, and wetness that is usually closely associated with fish consumption (eating + buying). The consumer attitudes has been condensed into 2 broad categories, namely a sanitised + filtered experience, and an unfiltered + raw experience, both differentiated by their respective relations to the production process of fish. The design thus strives to incorporate the two different attitudes, and explores the relations which allow the two to converge and diverge.
23
Site Response
Zoning
Hawker Centre Wet Market Packaging Culling M&E
Harvesting / Sorting Fish Growout Restaurant Dry Food Store
Production / Consumption Circulation
Production Consumption
The form of the building stemmed from a critique of the site. Through a detailed investigation of the movement patterns around the site, it was noticed that Bishan residents opted to circumvent the site in order to get from the busy public square on one end of the site to the entrance of Junction 8 Shopping Mall on the other.
Producer Circulation
Unprocessed Fish Processed Fish Harvesting Route
Consumer Circulation
Restaurant/ Store Visitors Hawker/Wet Market Visitors Wheelchair Access
A “crack” was introduced into the building to give residents a shortcut through the site, while also channeling them into the building itself. The “crack” also served to seperate the production and consumption spaces, while also serving as the point of convergence for the different fish production processes.
VI. The Urban Fishery 24
B
Fish Growout Area
C
Restaurant
Packaging Area
Al fresco Dining To Dry Food Store
A
2nd Storey Plan
B To Restaurant
A
M&E
Hawker Centre
Wheelchair Lift to 2nd Storey
Event Space
Fish Growout Area
Loading Bay
Culling Area
A’
Fishing Area
Wet Market Dry Food Store
Harvesting / Sorting Area
To Restaurant
B’
1st Storey Plan
25
Elevation A
Elevation B
Elevation C
VI. The Urban Fishery 26
Restaurant Hawker Centre
Wet Market
Event Space
Loading Bay
Culling Area
Fishing Area
Fish Growout Area
VII. OTHER WORK
Ventilation Wall Architectecture Construction Module Feb 2013
28
Renault Distribution Centre
Architectecture Construction Module Case Study February 2014
30
Landscape in a Box Exhibition at Singapore Arts Museum 8Q May - Jun 2013
32
Rear Face showing weekday character
SITE Raffles Place Park Raffles Place Park : Dual Identities The “landscape in a box” project began with a experience of the site, followed by an analysis and study over the course of 12 weeks to gain a thorough understanding of the site. Through this understanding, it was found that Raffles Place Park displayed a dual character on the weekends and on the weekdays. The hustle and bustle of the working crowds on weekdays are often replaced by the families and people who visit for leisure on the weekends. The “landscape in a box” project is an attempt to capture this duality in a simple 40x40x40 plywood box.
Front Face showing weekend character
Familiar Spaces, Untold Stories: Encounters with Ipoh Universiti Malaya - National University of Singpore Joint Programme July - Aug 2012
34
THANK YOU