A Work-in-Progress

A WORKIN-PRO GRESS DAVID ARDIANSYAH

ARCHI TECT URE PORT FOLIO

NATIONAL UNIVERSITY OF SINGAPORE M. ARCH + USP, 2019

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Edited by David Ardiansyah Foreword by David Ardiansyah Designed by David Ardiansyah Proofreading by David Ardiansyah Typeset in Gill Sans Nova, Meiryo, Plantin, San Francisco & Yu Mincho Made in Singapore Published by David Ardiansyah, Singapore 2019 Š David Ardiansyah 2019 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechnical, including photocopy or any storage and retrieval system, without permission in writing from the publisher.

CONTACTS davidardiansyah@icloud.com

PROLOGUE

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PROLOGUE: WELTANSCHAUUNG

"It doesn't matter in the end.

What is important is how you see the world, not how the world see you."

Kyoya Iwata, Komorebi

They say there are certain words that are specific to a culture, words that cannot be translated directly to another language.

Komorebi (木漏れ日) is a Japanese phrase that denotes the way in which sunlight filters through foliages. This phrase has no direct translation in other languages. Certainly, there are a lot you could tell from learning a new language. For instance, it tells the sort of things valued by the different societies. It says a lot about how individuals of different cultures see the world differently. (Maybe, that is why I am attracted to learning new languages because when you learn a new language, you open a door to a different set of culture, different way of thinking and different customs.) Now, how I see the world may be different from how the rest do. However, instead of shunning such differences, I came to appreciate and celebrate them.

Finally, towards the end of my study, I begin to retrace my design thinking and process, by taking a step back to look at the different design pedagogies I had experienced in arriving at a final proposition. Overall, this exercise yields meaningful learning points in the way I learn to view the world. My weltanschauung is definitely a work in progress and it is a far from completion, neither would it ever be. It will always be a life-long learning project. But today, at this milestone when I come to reflect this journey, I invite you to see a part of it.

January, 2019

David Ardiansyah

PROLOGUE // 03

The word weltanschauung can roughly be translated as worldview in English. This German word was first introduced by a tutor of mine in my first year of Architecture. She spoke of how a work of art or architecture reflects the individuals and how these individuals see the world. She was eager to learn how as individuals we came to see the world and not how the world might see us. There began my journey to discover my own worldview. My architectural study is a collection of my weltanschauung. They constitute a body of oeuvres I generated based on my ideals, interests, and philosophy.

In my final year, I sit down and reflect on my weltanschauung and what sort of values I cherish and learn most in my years of doing Architecture and USP (University Scholars' Programme). This portfolio is an attempt to consolidate my thoughts on the approaches I took in designing for an architecture. I discovered along the way how the nature of design is not so straightforward but one that depends on contextual parameters. While engaging these parameters, I realised how lessons from various subjects and fields I encountered throughout my architectural study, came to shape the way I make and imbue meaning in my design approach. This meaning-making and making meaning processes allow for the growth and development not only in my design philosophy but eventually as an individual.

TABLE OF CONTENTS // 04

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A W ork- i n- Prog re ss / / TABL E OF CONTENTS

T ABLE OF CONTENTS

TABL E OF CONTENTS

1

3

03

14/19

04/05

20/25

PROLOGUE

TABLE OF CONTENTS 80

EPILOGUE

SIMS-GAPORE

D'ÁBL 26/41

海藻県: SEAWEED CLUSTER 42/49

PARA-CITY 50/55

06/13

FUNDAMENTAL

VOICES 56/63

LAUT

4 64/79

INTERNSHIP

TABLE OF CONTENTS // 05

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FUNDAMENTAL // 06

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A W ork- i n- Prog re ss // F UNDAMENTAL

F UNDA MENTAL

F UNDAMENTAL

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MORPHOLOGY: THIAN HOCK KENG TEMPLE

National University of Singapore Autumn 2013 Studio Master: Dr. Lilian Chee

There is a transition when one passes through entrance, as the loudness of the outside melts away to welcome the peace of the inside.

This synergy between the enclosed and open, profane and sacred, loud and peaceful offers a juxtaposition of space that constitutes the magnificent architecture of Thian Hock Keng Temple.

TOP RIGHT Exploded Axonometry of Thian Hock Kheng Temple entrance BOTTOM RIGHT Elevation of Thian Hock Kheng Temple

FUNDAMENTAL // 07

Besides separating the profrane from the sacred, the surrounding walls of the temple suggest exclusivity as compared to the open courtyard inside. Pilgrims are daunted by the immense roof and astounding intricacies which highlight the mental preparation necessary to journey into the holy premise.

FUNDAMENTAL // 08

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A W ork- i n- Prog re ss / / F UNDAMENTAL

MATERIAL AND TECTONICS

National University of Singapore Autumn 2013 Studio Master: Dr. Lilian Chee

In natural history, the origin of form is thought through the interaction of inorganic and organic chemical structures under the influence of living evolution. In Mathematics, form is expressed as abstract relationship that can be constructed as a geometrical matrix. In practical terms, the need for support becomes the driving imperative in the invention of a structure, utilising material and the art of tectonics. Materials and the way they are brought together into form space is the central act in the creation of architecture. The appreciation of the nature and limitations of materials and how they can be brought together is one of the starting points of architecture.

This exercise attempts to study the materiality of paper, its strength and application to form making. There are four fundamental aspects of form to consider, namely: edge or end, shape, number of repetitions and surface.

By considering the tectonics and how these aspects interact with the material, the studio attempts at making a structure that achieves a span of gap 600mm apart between two parallel edges and encloses e.g. ‘dome’ a square void of 400mm x 400mm.

RIGHT Paper dome and paper bridge FAR RIGHT Trriple helix concrete tower with twisting profile

F UNDAMENTAL

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CONSTRUCTION: TRIPLE HELIX CONCRETE TOWER

National University of Singapore Spring 2015 Studio Master: Ben Chan

The octahedron is a culmination of a rigorous transformation that focuses on innovative structural load bearing system. All the legs are 90° apart from one another in a threedimensionl way, facing all sides of a cube. When the ‘cube’ configuration is tilted, it forms a triangular top and base which do not share the original configuration. The triangles appear to change in alternate manner as the tower rises, giving the impression of a twisting structural system, which resembles that of a triple helix.

The triangulation, at the same time, provides a structurally sound system that distributes the loads of the upper blocks into the three legs and then onto the ground.

The design evolution, despite its rigour, aims simultaneously to achieve purity and simplicity. This innovation attempts to bring order to the complexity of the structural system, achieving a balance of strength and finesse. At the same time, the strive for innovation through simplicity reflects the nature of construction that continually ventures into practices and research in reducing the use of material and eventually cutting cost and time, while making no compromise in strength. The modular system affords prefabrication, thereby allowing for swift construction as well.

FUNDAMENTAL // 09

Co-contributors: Ng Chloe, Nur Afiqah bte Agus, Sim Wei Yih, Wu Yu-chen.

FUNDAMENTAL // 10

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A W o rk- i n- Prog re ss // F UNDAMENTAL

茶表示: TEAEXPRESSION

National University of Singapore Spring 2014 Studio Master: Dr. Zdravko Trivic

The design of the tea expression follows a strict principle in the displacement of regular forms.

Starting with a perfect square, the transformation of the edges and sides at different angles create a new dynamic form that serves well for its function.

The design approach seeks to amalgamate the urban kiosk to the existing facade of the building.

It not only complements the existing design but functionally also provides shelter for patrons.

B

TOP RIGHT Sectional perspective cutaway showing the construction details

A

A

BOTTOM RIGHT Plan, Section A-A, and Section B-B

B

F UNDAMENTAL

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FUNDAMENTAL // 11

FUNDAMENTAL // 12

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A W o rk- i n- Prog re ss / / F UNDAMENTAL

TEXT SPACE ARCHITECTURE

National University of Singapore Spring 2014 Studio Master: Dr. Zdravko Trivic

The showcase epitomises the core design principles of the NUS Architecture Year One students. This project is the culmination of the year long project to study the canonical architectural values, materials and tectonics, being infused into student’s design thinking process.

Distilling ideas, style and language of given architects, students inject their imagination and mould them into a spectacle worthy of commendation. At the same time, students are required to marry the design with narrative of the texts, interweaving the two creative forces into a marriage of art. Rigorous planning and revision bolster clarity and bulwark against inconsistency in design logic. The hands-on experience in constructing houses made entirely from recycled cardboard provides invaluable technical know-how for the future-to-be architects, equipping students with skills necessary for the built environment.

The results, presenting to the pubic, are twelve cardboard houses, which are outstanding tour-de-force of NUS Architecture Year One students.

F UNDAMENTAL

LEFT Progress photos showing process steps

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BELOW Final 1:1 life-size model

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HOMO LUDENS // 14

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A W o rk- i n- Prog re ss / / HOMO LUDENS

S IMSGAPORE

HOMO LUDENS

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SIMS-GAPORE: A LUDOPOLIS OR LUDO-POCALYPSE

National University of Singapore Autumn 2018 - Sprin 2019 Studio Master: Khoo Peng Beng

LEFT Cornucopia of play elements that make up the Ludic City for Homo Ludens

The thesis, in turn, offers a phantasmagorical critique of the state of discipline and control, through a speculative reinterpretation of the consumerist life and search for pleasure, meaning as well as selfactualisation in the age of technology. This is achieved through careful reprogramming of the city using Habraken’s principles of Open Building and careful consideration of play in Homo Ludens, enabled by technology.

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The state of control and discipline, based on the utilitarian principles of city building has engendered problems apparent to today’s age, being a lack of meaning in life, distress, devoid of creativity and fun. Subsequently, literature studies on control and freedom in the built environment result in the synthesis that would become the initial thesis approach to criticise the way of life in Singapore. The search for meaning in life, authenticity, pleasure and selfactualisation is essential now more than ever especially as the society matures and looks for satisfying the higher needs of the Maslow’s Hierarchy of Needs.

HOMO LUDENS

The first modern study of play can be traced back to the Dutch historian Johan Huizinga who describes play as 'free and meaningful activity', acted for its own sake. Homo Ludens imagines a society where individuals have free reign to their life and give meaning to it according to their deepest aspiration and desire. With automation, sharing of the commons, collective ownership and repetitive work disappearing, Homo Ludens has plenty of free time and will seek for the needs to play and adventure. The freeing of man’s ludic proclivity is then directly linked to his liberation as a social being, by investing in himself a child-like innocence to see the world as a playground of experience and adventure.

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A W o rk- i n- Prog re ss / / HO MO LUDENS

HOMO LUDENS

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HOMO LUDENS

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LEFT Sims-gapore at its full potential

ABOVE Volumetric Sectoral Space Division within Sims-gapore

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ABOVE A day in life of simsizens follows the life of a typical simsizen from morning till night

RIGHT Conceptual elevation of Ludic City for Homo Ludens

HOMO LUDENS

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HOMO LUDENS

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Ď'ÁBL // 20

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D' ÁBL

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D'ÁBL: TRASH BOT

České vysoké učení technické v Praze Winter 2016-17 Studio Master: Vladimir Sitta Vít Rýpar

Staying true to original manifesto to make trash visible, D'ábl aims to confront people of their ignorance. The idea of parasitic architecture and its relationship with current system becomes the main driving principle that propels the design forward. As a parasite, D'ábl does confront people. As more and more D'ábls gather around the neighbourhood, people would feel upset – exactly the kind of feeling we expect. When people are upset, they feel the presence of matter out-of-place, a by-product of systematised life we live in. Hopefully, people would start to rethink their attitude towards consumption and trash production.

D'ábl sets the attitude for a utopia – or dystopian – future. It confronts, challenges and upsets the current unsustainable attitude towards consumption and trash disposal.

LEFT Bird-eye view showing the city of Prague plagued by Ď'ábls

Ď'ÁBL // 21

D'ábl is a bot-like creature that gnaws into people’s general waste. It will roam through the city in search of trash. It feeds on trash and digests them into useful by products. D'ábl adopts the latest state-of-art technology that processes plastic through biological means.

Its infrared system of separator also helps to recover trash into different categories for upcycling. And lastly, D'ábl treats wastewater into filtered water using algae technology. The growing algae is then reuse for biofuels.

Ď'ÁBL // 22

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W o rk- i n- Prog re ss // Ď'ÁBL

DESIGN FORM

The design form takes on multiple inspirations from Archigram Ron Herron’s Walking Cities to Miyazaki’s Howl’s Moving Castle and virus from the likes of bacteriophage to andenovirus.

Basically, it should function like a cell. This machine or bot is a manifestation of trash eater and it has to look ugly and weird.

D'ábl is assembled from multiple components of plug-ins. Each plug-in has different functions to cater for the digestion of trash.

These plug-ins range from those digesting plastic such as one containing plastic eating worms and plastic eating mushroom to cleansing wastewater such as micro-algae.

The amalgamation of different plugins affords for multiple permutations of D'ábl.

The different permutation of plug-ins would depend on the different types of trash available.

BELOW Sectional cut with multiple permutations of plugins FAR RIGHT Elevation, Section and Detail drawings illustrating the inner working of Ď'ábl FOLLOWING PAGES Comic strip showcasing the Ď'ábls populating city of Prague

D'ábl typically has articulating robot arm which is equipped with infrared and intelligent sensor that scans and categorises the trash into multiple types. Each type is then housed in different plug-ins. If more D'ábls are needed to digest the trash, it will call for more to come.

However, this time, the D'ábl will send specification e.g. more plastic digestor plug-ins.

Besides separating the trash and digesting them, D'ábl also transports and excretes the by-products in the depot centre, before making another round of digestion.

SECTION

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ELEVATION

ELEVATION

SECTION

ELEVATION

1

Ď'ÁBL // 23

2 3

A

C

DETAIL A

DETAIL C to the wall

B

rubber joint rotational joint titanium leg

rubber suction G/S steel titanium sprider leg

DETAIL B

steel spring rotational joint titanium

titanium spider leg G/S steel rubbers suction on the ground

Ď'ÁBL // 24

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W o rk- i n- Prog re ss // Ď'ÁBL

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海 藻 県 : SEAWEED CLUSTER

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A W ork- i n- Prog re ss / / 海 藻 県 : SEAWEED CLUSTER

海 藻県: SEAWEED CLUSTER

海 藻 県 : SEAWEED CLUSTER

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海藻県: SEAWEED CLUSTER

National University of Singapore Spring 2017 Studio Master: Dr. Joseph Lim

BELOW Value propositions of the project

Leveraging from existing settlements and extensive thinking, the studio developed a group masterplan with each individual developing each cluster.

海 藻 県 : SEAWEED CLUSTER

LEFT Hanging Fabric Promenade

The projection of rising sea levels has spurred much speculation into a future of floating settlements. They take different forms as lowrise modular rafts (Seasteading Institute) or giant entities (Vincent Callibut’s Lilypad). In contrast, the studio approaches the idea of a floating settlement in the context of our daily lives to re-contextualise what is familiar, not as science fiction but instead to address a better life with self-reliant resources where townscape evolves into waterscape.

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A W ork- i n- Prog re ss / / 海 藻 県 : SEAWEED CLUSTER

海 藻 県 : SEAWEED CLUSTER

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SITE CONTEXT

ABOVE Site location analysis RIGHT Zoom-in analysis of the site location

海 藻 県 : SEAWEED CLUSTER

SEAWEED CLUSTER PLANNING

BELOW Location of Seaweed Cluster with respect to the whole masterplan BOTTOM The underlying planning principles in seaweed cluster

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The overall masterplan of the seaweed cluster attempts to reimagine the zoning system that predominantly rules the current city model.

The seaweed cluster, which consists of the textile district, dyeing workshop, fabric artist shophouses, farm and market, agar shophouses and spa resorts are placed strategically around a scenic walk called the great sargasso trail. The guiding principles governing the seaweed cluster are shown in the diagram below. The textile district is fronting the main canal connecting, to neighbouring clusters. Perpendicular to this textile district are lines of shophouses, mainly processing the seaweed products, including carrageenan and agar jelly. The landscape walk becomes the main pedestrian connection between the great sorghum landscape on one side to the art school on another side.

海 藻 県 : SEAWEED CLUSTER

The layout of the programmes allows for the nurture of craftsmen while they make their artisanal products to sell to the customers, simultaneously allowing the customers to learn how these products are made, thereby removing the producer-consumer barrier present in current city model.This arrangement also allows for both direct and indirect (visual) relationship with the pedestrians, who can learn the process of farming to dyeing using seaweed, while at the same time allowing for the enjoyment of the colourful seaweed landscape.

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A W o rk- i n- Prog re ss / / 海 藻 県 : SEAWEED CLUSTER

LEGEND 1. Teahouse and Seaweed Bar 2. Semidetached Fabric Shop-Boat-House and Artist Workshop 3. Seaweed Dyehouse with Dormitory 4. Seaweed Dyehouse Workshop 5. Sargasso Gazebo 6. Underwater Sargasso Experience

Waste/Service Boat Seaweed Produce Barge Sports Vessel Private Boat

海 藻 県 : SEAWEED CLUSTER

TEXTILE DISTRICT

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The textile district, which make up the main frontage to the main canal way, consists of3 different typologies. They are fabric-shopboathouses on the first layer, followed by the iron house dormitory and dye workshop. This arrangement makes way for an efficient process of dyeing of fabric. The process begins from the transport of seaweed from the central market through the service canal onto the loading/ unloading bay of the seaweed dye workshop.

Seaweed is then extracted and boiled together with the fabric for several hours. The dyeing method employed here is water-efficient because it uses the abundant seawater as compared to the conventional freshwater dyeing process.

FABRIC DYEING PORCESS D1. Seaweed from Market D2. Loading/Unloading Bay D3. Extraction Trough D4. Dyeing Boilers D5. Drying Canal D6. Ironing House D7. Fabric Shop

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After the fabric is dry, they are ironed and packaged to be sold in the main fabric shop-boat-house fronting the main canal. The house can be divided into two portions, one selling the fabric while the other for the fabric artists, who make craft and fashion out of the fabric sold. The reason why this typology is special is that it makes use of the fact that we are floating settlement. Incorporated into the design of this house is the boat garage. Boat can be parked inside the house, allowing for loading and unloading of products to be sold in the shophouse. The first two levels of the house are meant for selling of fabric as well as the artist workshop space. The upper third and fourth floor are living spaces.

海 藻 県 : SEAWEED CLUSTER

Once the colour is settled, fabric are hanged on the drying racks placed on the dyeing canal. The dripping of dyeing water creates a beautiful and colourful waterways, perfect for children playground in the great sargasso trail just nearby. The colourful drying of fabric also becomes a refreshing landscape for the fabricdyeing craftsmen staying on the iron house dormitory, opposite the workshop.

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A W ork- i n- Prog re ss / / 海 藻 県 : SEAWEED CLUSTER

HANGING FABRIC PROMENADE

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Hanging fabrics can be observed in the front elevation of the fabric-shop-boat house, characterising this entire district. As they face the main canal promenade, they becomethe highlight for the passers-by. The main promenade becomes a romantic walk at the start of the sargasso trail to invite visitors from the main promenade to explore the seaweed cluster through the great sargasso trail. On the main promenade too, seaweed bars and teahouses are lining the canal sides, offering the main spectator view for the sea sport competition.

GREAT SARGASSO TRAIL

As visitors are making their way through the great sargasso trail, their eyes will first feast on the colourful seaweeds ponds fronting an equally colourful hanging fabrics lining the dyeing canal way. These landscapes are designed to create healing spaces for passers-by to saunter and enjoy a refreshing afternoon walk. They also become playgrounds for children to play and run around. The topography of broadwalk is designed to create a spacious public space that can be used for an incidental gathering space, musical and performing arts. The two submarines found here serve as underwater viewports for children to observe and learn the underwater marine life a seaweed landscape can accommodate.

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A W o rk- i n- Prog re ss / / 海 藻 県 : SEAWEED CLUSTER

LEGEND 7. Marine Research Vessel 8. Research Submarine 9. Farmstay 10. Great Sargasso Trail Bridge 11. Seaweed Farm 12. Seaweed Farmhouse 13. Seaweed Central Market 14. Seaweed Auction Market 15. Foodcourts 16. Agar Factoryshop 17. Carrageenan Factoryshop

18. Shophouses 19. Sargasso Fashion Show Walk 20. Sargasso Performance Square 21. Plunge Pool 22. Spa & Bath House Reception 23. Seaweed Public Bath 24. Spa House 25. Pier

Waste/Service Boat Seaweed Produce Barge Sports Vessel Private Boat

海 藻 県 : SEAWEED CLUSTER

HANGING GARDEN

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The hanging garden is generally a walkway that uses seaweed hanging on netting roof to provide shading against the elements. Colourful seaweed become the feast of the eyes for passersby as the walk along the shophouses fronting the main seaweed canal. Simultaneously, they cast beautiful shadow and felicitous-filtered sunlight. Once dried, this seaweed can be used by the shop to make carrageenan and agar jelly.

The first interfaces between the textile district and hanging garden are flying fabric bridge on the main seaweed canal and the farmstays. The flying fabric bridge, as can be seen on the perspectival vignette, not only serves as the connection between the two sides of the textile district, but at the same time becomes the main welcoming gate towards the hanging garden. The farmstays, on the other hand, provide the learning experience for visitors who would like to learn how to farm seaweed or start their own farm.

海 藻 県 : SEAWEED CLUSTER

Opposite the farmstays is a small research institute made up of two research vessels and one submarine. Researchers collect data and study seaweed in these vessels. Since they are submerged, they could observe the behaviour of the marine life directly at ease.

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AGAR MAKING PROCESS A1. Loading/Unloading Bay A2. Washing Point A3. Boilers A4. Oven Dry And Grinding A5. Packaging A6. Agar Shop A7. Agar Cafe

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海 藻 県 : SEAWEED CLUSTER

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SEAWEED FARM & FARMHOUSE

ABOVE View of the seaweed farm and farmhouses BELOW Seaweed species (Gracilaria sp., Kappaphycus sp., Sargassum sp., Eucheuma sp., Ulva sp. and Caulerpa sp.)

BOTTOM FAR RIGHT Seaweed farms cutaway axonometry

Seaweed is farmed through three methods: rafting, rope and in tank. Six species are farmed which include Gracilaria sp., Sargassum sp., Eucheuma sp., Kappaphycus sp., Ulva sp. and Caulerpa sp. Once the seaweed reaches maturity to be harvested, which is in average around 45 days, it is brought to the the sorting deck, the interface between farmhouse and the farm.

They are then loaded into the produce vessels to be sent to the central market.

The farmhouse is designed with a shared core between two families. They shared a central toilet and filtration pond. The first floor of the main house is used for the porch and sitting spaces to enjoy the filtration pond.

The main living room is located upstairs together with kitchen and dining space. Two annexes attached to the main house are rooms for family members.

海 藻 県 : SEAWEED CLUSTER

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SEAWEED MARKET & AUCTION HALL

The market consists of the auction hall where an auction of fresh seaweed takes place. Down the hall, is the wholesale market where public make purchase of seaweed. Restaurants and cafes can be found on the second and third floor of the market. Fresh produce from the market are brought to the kitchen as shown from the cutaway, cooked and served to the customer.

The central market is also linked to the hanging gardens and the main canal shophouses. The central market becomes the main point of seaweed distribution. They are sent to the textile cluster and the carrageenan/agar factory-shop, to be processed afterwards.

ABOVE View of the seaweed market along the main market promenade BOTTOM RIGHT Seaweed market cutaway axonometry

海 藻 県 : SEAWEED CLUSTER

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SEAWEED WELLNESS & SPA

Continuing the walk along the great sargasso trail, one will eventually reach the leisure corner.

They are made up of plunge pools, seaweed bath pools and spa units. At the enstrance of the spa, the reception houses the services that cater for the operation of the spa district. The spa unit consists of two floors, where guests enter from the second floor to a bamboo screen porch. They then made way downstairs to a more private message beds. On one side, guests can immerse themselves into a private pool fronting the open ocean, while on the other side a small daybed fronting the seaweed bath pool where they can join the public at will.

ABOVE View of the seaweed wellness and spa from the ocean

海 藻 県 : SEAWEED CLUSTER

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海 藻 県 : SEAWEED CLUSTER

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PARA-CITY // 42

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A W o rk- i n- Prog re ss / / PARA-CIT Y

P ARACITY

PARA-CIT Y

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PARA-CITY: BIRDING ORCHARD ROAD

National University of Singapore Autumn 2015 JTC Retail Incubator Design Competition 2015 First Runner Up Studio Master: Dr. Raffaela Sini

BELOW Parasitic relationship

Para-city believes in incorporating the flexible and mobile nature of these startups by designing adaptable retail incubators which allow for expansion and contraction depending on the patterns of the retail economy. Eventually, Para-city strives towards a symbiotic relationship of a ‘curative parasite’ that is resourceful towards its growth yet remedial to the host. At the heart of this, the abovementioned objectives of Para-city aim at rejuvenating the Orchard Rd. retail scenes by encouraging local establishments and nesting multitude of retail incubators for local designers and entrepreneurs to make their brand debut.

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LEFT View to central courtyard

Para-city seeks to re-examine Singapore’s retail landscape especially since the nation prides herself as one of the global retail havens and increasingly has seen prominent international brands making their debut year after year.

While these international brands continue to proliferate, it remains a challenge for small startups and local establishments to set afoot.

The proposal intends to ride on the vision of JTC Corporation in envisaging a ‘future possibility of retail start-up scene in Singapore’ that is novel and attractive, but remains cohesive within a larger framework of shopping experience. The project aspires to be a novel and environmentally sustainable retail experience for both retail owners and shoppers, by tapping into the rich potential of the biodiversity and being sensitive to the site context.

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A W o rk- i n- Prog re ss / / PARA-CIT Y

RIGHT CLOCKWISE Bird sighting on August 12, 2015; Bird sighting history along Orchard Rd; Bird sighting in Istana; Bird sighting in Fort Canning Park; and Recorded bird accident.

PARA-CIT Y

AVIAN STUDY

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Orchard Rd is straddled along the different nature reserves (e.g. MacRichie, Botanic Garden, Southern Ridges, etc.) in Singapore that becomes the stopping points for migratory birds.

It is hence not unsual fto spot for unique avian spieces along Orchard Rd which has since become a popular bird sighting haven for bird enthusiasts.

LEFT Local species of avian which include rock pigeon, house crow, javan myna and asian glossy starling.

BELOW Sectional distribution of avian species on a tree BOTTOM Avian food source

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CENTRAL PUBLIC SPACE

BELOW Sectional perspective through the central public space

Taking off from the ecological point of view, Para-city begins by challenging the notion of environmentally controlled retail experience that dominates the shopping belt in Orchard Rd. Para-city seeks not to re-create the big-box design of shopping mall but revolutionise the way shopping can be experienced in the tropics.

That being said, the most significant feature of the design is indeed the lack of the exterior facades that traditionally demarcate the inside from the outside. While Para-city ventures into innovative future retail experience, the proposal stays humble and pays a respect to the history.

The overall form borrows the original landscape of Orchard Rd of valley and hills in the old days. The ‘valley’ forms the main central space while retail incubators are arranged on stepped platform, forming the hill while maintaining visibility from the main square, to ensure that each retail incubator gains sufficient frontage.

PARA-CIT Y

Overall, Para-city proposes a continuous, ever-growing, three-dimensional retail landscape that is elevated from the ground without any real boundary. At its later stage of expansion, the design takes off from the site and starts to reconnect to existing shopping malls along Orchard Rd, through a series of bridges that are lined with retail incubators, before finally attempting to (para-)site on existing structures and facades of the malls like a plug-in system.

Essentially, the proposal attempts to reconnect to existing retail landscape, establishing a mutual and symbiotic relationship with the existing retails along Orchard Rd. Borrowing the biological term of ‘parasite’, the design intends to emulate characteristic of parasite inside the host. However, Para-city fine-tunes the minacious trait of a parasite by introducing a curative element into an otherwise one-sided relationship.

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Para-city does not aim to kill the host but exploit the resources of the host, while negotiating a beneficial return. New local establishments require the resources and support in order for them to grow and remain as competitive. These parasitic start-ups leech the benefits off the already well-off system, to stimulate their own growth. In return, the curative element helps to bring new programmes to the existing malls and attract new types of shoppers, thereby increasing the pool of retail catchment. Simultaneously, the new plug-ins potentially offer more dynamic facades for the host as well as platform for art installation or advertisement. The attempt to reconnect to existing retail landscape prospectively serves a more cohesive design intention within the larger framework of shopping experience when view collectively, while maintaining its unique and novel edge.

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The stepped platforms allows the ground level to be freed up for a landscape of fruits bearing trees to take over. Surrounded by sizeable nature reserves and parks, Orchard Rd. becomes an important stop-over for birds as they migrate.

The intention behind this landscaping is to provide a green haven for migratory birds and local species nesting along Orchard Rd. Continuing this line of thought, the design aspires to offer the first bird (and animal) friendly shopping experience in Singapore.

SECTION A-A

The rejuvenation of shopping scenes through the incorporation of new programmatic intention that is focused on nature and biodiversity will not only intrigue shoppers of Orchard Rd. to the premise, but also draw new type of shoppers who are animal lovers and pet owners. At the same time, the one stop-over animal friendly scheme draws a large catchment pool for the new start-ups to advertise their bands and encourage their growth.

PARA-CIT Y A

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CENTRAL PUBLIC SPACE central public space provides for the avenue for street performance and vibrant alfresco dining

LEFT Storey 3 plan STOREY 3

BELOW (LEFT-TO-RIGHT) Site plan, Storey 1 and Storey 2 plan PREVIOUS PAGE (TOP-TOBOTTOM) Section A-A; Thick foliage park with fruit bearing trees below the deck

A

RETAIL INCUBATOR

STOREY 1

STOREY 2

These retail incubators are made more sustainable through their modular construction.

Structurally, the module is composed of steel frames covered by panels. Since start-ups retails are more mobile and temporary, this mode of construction allows for greater efficiency because each module is easily assembled and dismantled. The construction materials can be recycled, thereby making it environmentally sustainable too. Moreover, the green roof installed on each module helps to reduce the heat gain, cutting off the need for more cooling in hotter days while reclaiming more spaces for greenery and urban farming. Business owner may plant their own ingredient for use in their restaurants, ensuring a supply of fresh produce.

On top of that, rainwater is filtered from green roof and harvested for reuse in irrigation and toilet flush. While sustainability is at the core of the design philosophy, the scheme allows for adaptability and scalability, those being the nature of the start-up. Catering to the need and nature of these unique end-users, Paracity ultimately seeks to encourage and facilitate their success.

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SITE PLAN

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VOICES

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V OICES

VOICES

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VOICES: SG50 MURAL

SIA Skin Competition 2014 Merit Award Co-contributors: Lai Yee Foo, Vincent, Tan Chiew Hui, Wu Yu-chen

Voices represents the aspiration of the people who conceive the city, the people who build the city, and the people who breathe the city with life.

LEFT Alley perspective showing the mural painted on the gable wall of the shophosue. Relevant text speeches made with regards to the Singapore’s history of architecture and the built environment are then overlaid.

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VOICES

As one makes a turn into the alley, the wall sparks into life, showcasing the architecture excellence of the nation in the past five decades. The mural features buildings that are bastions of their era, having architectural, cultural, social, economic or political values.

The composition follows a chronological order. From right to left, the mural retells the story of Singapore’s success broken down in decade-long storyboard, composed of iconic architectures. The early decades reflected Singapore as a young nation in need of massive re-housing project in the midst of modernising.

Her tenacity grew as she began to look and reach out further. With the inauguration of Changi airport, she opened herself to the world and invited talents to ensure a smooth sailing in the time of rough seas. The endeavours bore fruits with the nation teeming with towers of economic powerhouses, which were in dilemma with the regional architecture of tropical city — a question of her identity. Finally, entering the new millennium, Singapore is armoured with information and knowledge that at best should be used to educate her citizens on the built environment.

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VOICES

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VOICE PROJECTION

BELOW Screening detail and recyclability

facade installation via bolt 50x50 alluminium hollow frame with 30dia holes for weaving of ropes Recyclability: send to recycling centre

Approaching from the roadside, one will notice the constellation of geometries basked in a projected view of Singapore city skyline, that is composed of a series of sound-waves.

As voices are captured from the surroundings, the silhoutte pulsates with life, reflecting the dynamics of the people and city-living. The microphone, placed at one corner of the wall, also serves as the platform for the public to express their thoughts and aspirations for the nation that was turning 50. The more people voice their aspirations the more the silhoutte would resonate the dynamics. The individual view is the hearbeat that would continue to palpitate the city as it reverberates into the projected skyline.

Apart from the sound-wave installation, key policy makers and architects are featured on the gable wall, in sync with the content on the mural. The projected videos are meant to reach out and educate the public on the architecture excellence of the nation in the past decades.

translucent nylon fabric

Recyclability: reuse for archifest bag

one projector behind each window for sound-wave projection and footages

overall installation configuration

BELOW Exterior perspective of the installation and mural

ABOVE Construction layers of the installation

VOICES

Sound-wave projection without voice input

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Sound-wave projection with voice input

TOP LEFT Sound-wave distortion with voice input by public LEFT Projection of sound-wave, key policy makers' and architects' footages BOTTOM Demonstration of sound-wave visualisation in accordance to voice input.

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Soundwave without voice input

Soundwave without voice input

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VOICES

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MURAL DESIGN

The mural consists of geometries that highlight the individual era and its architectural philosophy. From bottom-up, complex building geometry transforms into simple geometry, highlighting the practice of architecture in distilling ideas. Relevant text speeches made with regards to the Singapore’s history of architecture and the built environment are then overlaid.

Future

2000s

Public can voice their opinions on how Entering the age of information, SingaSingapoer will grow on this wall pore is armoured with knowledge at bes should be used to educate her citizens on the built environment and equip for her future

1990s

The nation is teeming with econmic powerhoiuses, which lemma with the regional arch tropical city

Texts take the centre of attention as they echo the aspirations of architects and policy makers in conceiving and constructing the city.

As these words shile down the architecture, they becomes realised into the landscape — the voices become real and inevitably shape what Singapore is today.

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BELOW Mural elevation showing the architecture excellence at each decade

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towers of are in dihitecture of

VOICES

1980s

With the inauguration of Changi Airport, she opened herslef to the world and welcomed talents to ensure a smooth sailin in those time of rough seas

1970s

Singapore began to look out and reach out of her limited geography as she modernised

1960s

Singapore as young nation was in need of massive re-housing projects after independence

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L AUT

L AU T

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LAUT: URBAN OFFSHORE PENITENTIARY CENTRE

City To Megacities: Shaping Dense Vertical Urbanism CTBUH 2016 International Students Tall Building Design Competition Co-contributor: Tan Chiew Hui

LEFT Night view from the ocean towards the prison compound

Inmates are untapped resources for hungry megacities and their successful reintegration certainly value-add into a flourishing society. Laut proves to be a living research for future architecture and dense urban living beyond traditional terrestrial construction into the future aquatic environment. At the heart of this, Laut reimagines a multidisciplinary answer to tangled mess of quandaries faced by the megacity, that kills two birds with one stone.

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Laut envisages to cleverly and creatively answer these problems in a thoughtful dense commune living skyscraper. Rather than building seawall and reclaiming more lands, future architecture should be reimagined to embrace the rising sea level, subsidence and flooding, common in Jakarta. Set off the northeastern side of the bay, Laut juxtaposes two mutually exclusive programmes, reformed penitentiary centre and fishing community within its aerodynamic concrete shell tower.

Overcrowding, undesirable environment plus lack of proper reintegration process are thought to be the reasons for the ailing penitentiary system. The spiralling form aims to answer those and even beyond.

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Laut seeks to rethink the way prison architecture is designed especially in the failure of such institutions in rehabilitation and correction as reflected by the increase of inmates and rising recidivism over the years, even more so in drug-related crimes. Very few have looked into efforts to revitalise prison architecture in dense megacity. And of course, for huge agglomeration like Jakarta which is mired with plethora of predicaments, its penitentiary issue is one of many to solve. The subsidence level in Jakarta and the new flagship reclamation that will result in the displacement of coastal fishing communities who will lose their homes and fishing grounds are few examples.

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PROBLEM #1

PROBLEM #2

source: directorate of registration and statistics

source: circleofblue.org

INDONESIA PRISON RECORD

JAKARTA SUBSIDENCE LEVEL

RIGHT Contextual site problems

PROBLEM #3

FAR RIGHT Site plan

JAKARTA COASTAL RECLAMATION NCICD DISPLACEMENT OF FISHING COMMUNITIES

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BELOW Design development process

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2 REHABILITATE CORE

DETENTION CENTRE

REHABILITATION CENTRE

1. REFLECT

ENTRY TO PENITENTIARY CENTRE

FISHING COMMUNITY

1

2

ENTRY BY PUBLIC

3. REDEEM

3

Aerodynamic Massing

Single Entry

Penitentiary Journey

Three volumes: a detention centre, core, rehabilitation centre+fishing community are twisted together. The twisting profile are curving aerodynamically to lessen the impact of strong ocean gush and eddies.

Public and penitentiary centre entries are separated, thus ensuring security. Single entry penitentiary centre is easily guarded and monitored to prevent escape.

The central core system makes the architecture more efficient too.

Additionally, the extended water body becomes the physical barrier for prison break.

The architecture is crafted in a series of metaphorical spaces for the inmates to reflect their deeds as they climb up the detention centre; crossing over when they begin to rehabilitate themselves with essential skills and knowhow; before they are redeemed back into society.

The process is facilitated by the presence of fishing communities who interact with them, allowing for faster integration with the community. The spiralling floors allow for more continuous movement and interaction. Whereas in the detention centres, spaces are designed for them them to reflect more.

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INMATES

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INMATES ENCLOSED CONCRETE SHELL

4

5

Panopticon & Reverse Panopticon

Ecological & Social Sustainability

The cell units are designed with interior view (reverse panopticon) to foster more inmates interaction, simulating the real world, as opposed to solitary confinement.

The exterior facades are mostly enclosed to protect inmates of the isolation by the vastness of the sea.

The position of guardhouse allows for the wardens to patrol and oversee the inmates in a reformed panopticon manner.

The architecture is designed with sustainability at heart aiming towards self-sufficiency. The vertical spiralling farming facilities line the spiralling rehabilitation units fostering more community work among inmates, while the detention centres are equipped with rainwater harvesting and filtration system, which allows for more reflective spaces. It also taps on the green energy e.g. wind and tidal wave to generate electricity.

Desalination plant is placed underwater through reverse osmosis to meet the growing demands of freshwater by the greater city. The architecture also becomes harbour for fishermen who travel offshore to their daily catch, further sustaining their lives especially after their displacement.

6 Construction The construction method utilises the reinforced concrete syste with central core. The loads are distributed vertically downwards into the boring piles that go to the sea floor for anchorage. The envelopes are made of exoskeloton concrete shell to support its aerodynamic form. This shell will be prefabricated per floor in the factory using 3d printing technology before transporting it to the site. In principle, it follows how offshore oil rigs are constructed.

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REFLECT REHABILITATE REDEEM

LEFT Ground storey plan and typical storey plan BELOW Day view from the ocean towards the prison compound

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It all begins with a simple concept of a loop: enter, climb-up, cross-over, spiral-down and exit. The penitentiary journey is then crafted in a series of metaphorical and experiential spaces for inmates to Reflect, Rehabilitate and Redeem. Firstly, inmates climb up the detention centre and reflect their wrongdoings in many purposefully designed reflective spaces, before they cross over to the other spiral where they are rehabilitated and learn useful skills, and ultimately journey spirally downwards where the presence of fishing communities allows for proper process of re-integration back into the society, redeeming themselves and reducing the stigma often faced by ex-convicts.

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COURTYARD AT DETENTION UNIT with reflective pools and rainwater harvesting

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All along spaces are designed not in solitude but to foster communal values as shown in the reverse panopticon plan where inmates always look inside and are protected from the vastness of open sea. On the contrary, the position of guardhouse, the central core of spiralling axis effectively achieve maximum security in reformed panopticon manner.

COURTYARD AT REHABILITATION UNIT with spiralling floors

Moreover, Laut aims to be ecologically and socially sustainable: first by being self-sufficient in its food production through vertical farming, rainwater harvesting and desalination plant, second through its investment in green energy and third in social responsibility of rehousing displaced fishermen and correctional programmes for the inmates back into the society.

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I NTERN SHIP

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ANCOL 2020 MASTERPLAN: A CITY IN THE SKY

ONG&ONG Summer 2015

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LEFT Night view from the ocean towards Ancol 2020

Currently, the region has a very low plot ratio. However, the future Jakarta is shifting north. With the initiation of reclamation project in north Jakarta and the potential new CBD alongside the reclamation work, the said development shall therefore be the trailblazer and welcome gate for this future bay district.

With that in mind, the masterplan seeks to challenge the cap put on the plot ratio. The proposed development will have plot ratio of 10, which is five times the original site. With this plot ratio, the development is able to realise a superhigh rise (60-storey) skyscrapers, to be the new icon of the Jakarta Bay. Totalling to more than one million of gross floor area, the proposed development shall include apartments, condominiums, offices, a hotel, service apartments and retails alongside the future MRT station.

INTERNSHIP

Co-contributors: Adhiguna, Adriel Arizon, Felicia Shirley, Giovanni Dwiputra Ramadhinara, Jessica Ardelia, Michael Xu, Muhammad Hallala, Theodore Alryano Deotama Ohmar, Yutta Patricia Loh Kah Wai, Kurjanto Slamet

The Ancol 2020 Masterplan distills the key ideas from the then president Soekarno, who imagined the region as a public recreation and social hub in the north Jakarta. The site which straddles along the future Jakarta MRT track provides an edge for a Transit-Oriented Design. By re-situating the station into the development, the ancol masterplan seeks to energise the region.

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1

2 Massing

Lift-Up

Three separate plots with two volumes in plot 1, eight volumes in plot 2 and 3 volumes in plot 3. These volumes are maximised in height to cover the gross floor area. Plot 1 consists of apartments, plot 2 condominiums plus a hotel and an office, while plot 3 service apartments and an office.

Social activating programmes are elevated from the ground creating a flying podium. This frees up the ground floor for a continuous and spacious public space.

ABOVE Design development process

RIGHT Interior view of the retail atrium

BELOW Bird-eye view of Ancol 2020

BOTTOM RIGHT Perspective showing the elevated sky podium

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3

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4 Public

Sky-Bridge

The interconnected retail belt forms the majority of the ground floor programme. Visual connection to the sea is also created with the lifting off the programme.

Sky-bridge connects all the towers horizontally in plot 2 and 3. This sky-bridge forms the secondary ground floor for the residents and office users, with an unobstructed view towards the sea.

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PALIMPSEST OF PROGRAMMES

VORTEXITY: METLAND CYBER CITY OFFICE RETAIL F&B

ONG&ONG Summer 2016

CENTRIFUGAL FORCE

MCC Container Park & Sales Gallery Show Unit Winning Scheme Co-contributors: Aththur Adrian Harri Mulyanto, Intanika Purwanto, Jefferson Jong, Loh Kah Wai, Kurjanto Slamet

RADIATES OUT

RA

Vortexity derives its form from the concept of vortex. The design centrifugally radiates out creating a vortex of vision from the centre space and at the same time, centripetal visual cue to the centre of the vortex. Borrowing the idea of panopticon as the centre of visual surveillance, vortexity is organised in circular manner, allowing for 360 visual experience and viewing frontage to and from the centre courtyard.

TOP RIGHT Concept diagram showing the vortexity through centrifugal force TOP FAR RIGHT Ground floor plan BOTTOM RIGHT Entrance view towards the central amphitheatre

UT

SO

TE DIA

RA

DIA TES

OU

T

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CHANGI VALE

DP Architects Winter 2017 Co-contributors: Adlin Fakhrudin, Agung Mahardika, Audrey Chin, Daniel Po, Muhammad Nasri, Qiao Lin, Alvin Liau, Lee Wai Fong, Suneeth Changaroth

VALE noun /veil/ A valley (used in place names or as a poetic term) e.g. ‘The vale of Glamorgan’ The design concept takes into account the sloping terrain at the site. On one side, the apartments stand on the ground floor whereas on the other end, they appear elevated from the ground. Taking advantage of this, the retail portion slides under the apartment towers forming podium on the southern end. To create a vibrant retail scene, the frontage assumes an undulated forms, thereby increasing the perimeter for shop frontage.

Currently facing the Changi Prison, Changi Vale re-orientates the apartments to minimise exposure to the unwanted views, while at the same time avoiding direct east-west insolation.

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BELOW Bird-eye view showing the overall development NEXT PAGE TOP Site analysis and design development process

FOLLOWING PAGE TOP Entrance view towards the floating clubhouse

NEXT PAGE BOTTOM Site plan

FOLLOWING PAGE BOTTOM View from the elevated landscape deck into the retail zone

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ORIENTATION

RETAIL

VIEWPOINTS

FRONTAGE

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MAYFAIR GARDENS

TOP RIGHT Horizontal and vertical layers in elevation BOTTOM RIGHT Further horizontal and vertical layers in fenestrations for both classic (top) and modern (below) buildings

DP Architects Spring 2018 Co-contributors: Audrey Chin, Qiao Lin, Seow Lee Koon, Lee Wai Fong, Suneeth Changaroth

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INTERNSHIP

BELOW Mayfair flavours in London

Bordering leafy Hyde Park, Mayfair is an upscale district of elegant Georgian townhouses.

Mayfair is an affluent area in the West End of London towards the east edge of Hyde Park, in the City of Westminster, between Oxford Street, Regent Street, Piccadilly and Park Lane. It is one of the most expensive districts in London and the world.

The deeign attempts to inject the essence of Mayfair, London into the heart of Bukit Timah. The design philosophy of this development was to seek the perfect balance between the old and new. More often than not, we tend to discard the old, replacing it with new modern applications. But what if both of these elements can co-exist; adding value spatially and programmatically? This rhetoric is answered with the insertion of the old flavour of Mayfair London into modern context of Singapore living within the site. The proposal respects the Bukit Timah Rail Heritage that comes with the site, by being subtle in its architectural interaction and at the same time celebrating the timeless richness of the Mayfair Borough London. The idea of vintage luxury compliments the lifestyle and urban living that this proposal offers; a stroll along memory lane, interspersed with exquisite and elegant living!

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CROWN

TORSO

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PEDESTAL

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BOTTOM FAR LEFT Elevation view of the distilled Mayfair flavours

BELOW Translation of mayfair flavours into the proposed development

MULTIPLE VOLUMES IN THE FACADE

CROWN

TORSO

PEDESTAL

BANDS OF DIFFERENT UNIT TYPES

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ABOVE Entrance view towards the landscape and communal facilities

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TOP FAR LEFT Bird-eye view showing the overall development

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HILLVIEW RISE

DP Architects Summer 2018 Co-contributors: Adlin Fakhrudin, Audrey Chin, Lee Wai Fong, Suneeth Changaroth We have always been told of the story of how Singapore has successfully introduce nature back into the city, but could we hope to build an idyllic home away from the urban and immerse the abundance our little pockets of remaining nature can offer? Situated right within the heritage railway corridor and flanked

by Bukit Batok Nature Park, Dairy Farm Nature Park & Little Guilin, the site offers the perfect opportunity to connect with nature and our roots. With the surrounding site having the highest of quarries in Singapore, it is no doubt that quarry become the central idea that governs the design concept. The design development process then examines the quarry landscape and how it is translated into the overall design, resulting in the cascading podium resembling a rock facade coupled with towering residential apartment that rise to great height offers 360 views towards the pristine nature reserves and lakes.

TOP RIGHT Design strategies BOTTOM RIGHT View of landscape with tower, inspired from quarry

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Climatic Response North-south tower orientation.

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Tower Location

Landscape

Both towers are as further apart to minimise overlooking and maximise view

Open up large and lush landscape & amenities in between two towers to achieve maximum liveability

Screening Features Unique design screening features to complement the overall design value

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EPILOGUE

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EPILOGUE: DAVID ARDIANSYAH

Hi! I’m David, an Architecture student from the National University of Singapore (NUS).

On top of Architecture, I am enrolled in the University Scholars’ Programme (USP), an interdisciplinary course which allows me to engage subjects beyond just my own faculty.

Additionally, I have a passion in learning new languages. I have taken Japanese classes in NUS and currently learning Spanish and Korean at my own pace.

As an Architecture student, I love to sketch and design. Often, I am fascinated by the little things we often missed in our hectic life. I also enjoy nature and killing time by observing clouds.

Sometimes I wish my architectural origin story had more of a sense of destiny to it, but the truth is that I more or less chanced upon the field. However, to be fair, I should give credit to a series of events that led to Architecture. Since young, I have dabbled in the visual art, doing drawing and painting in high school, took an extra-curricular in arts and crafts. Aside from watching the Sunday shows on house review and renovation on the television, I have never thought I would pursue the path of Architecture. Certainly, not until in my high school when I caught my friend designing her desired future house which inspired me to do mine as well. I was twelve then and that was when I knew for certain I want to be an architect.

In truth, I realised that aesthetically pleasing design has always fascinated me and it is no surprise that I am drawn into this rabbit hole of Architecture. However, what interests me more here is not how or why I decided to pursue Architecture but rather what had motivated me to keep treading on this path, as I realised later on the reality in architectural discipline and profession is often not so rosy.

In my final year, I reflect on the lessons learnt from my undergraduate study and how they shaped my character and my weltanschauung.

Acknowledgement A huge thank you to all the tutors who have guided me throughout my architectural journey with their sheer dedication and effort. Their voices and individualities have shaped me into who I am today.

My greatest gratitude to friends who accompanied my architectural journey; who helped me challenge myself to a greater height; and who have helped me in various means, be it architecturally or morally to make this journey a more bearable one.

Last but not least, my parents and family who supported me always. Without them, it is impossibvle to reach into the state where I am today. I owe them my most sincerest salute.

ARCHI TECT URE PORT FOLIO

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