Design Portfolio | David Quek (2020)

DESIGN PORTFOLIO

D AV I D Q U E K H A O M E N G ST. JOSEPH’S INSTITUTION

2017 - 2020

CONTENTS /1 PHOTOGRAPHY………… 3 /2 FOAMCORE MODELS ………… 25 /3 WOODEN ASSEMBLAGE ………… 31 /4 ILLUSTRATIONS ………… 39 /5 ADDITIONAL WORKS ………… 45

/1 PHOTOGRAPHY

/1 PHOTOGRAPHY (2018-2019)

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a.1

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/1 PHOTOGRAPHY

GEOMETRIC ENCOUNTERS (2018) This photo series follows the facades of massive built structures which evoke a sense of peace and order. Focusing heavily on pure architectural form, I emphasized the highly repetitive form and pattern seen in these buildings, reduced and devoid of heavy decoration or distraction to create a sense of peace. I wished to distil the buildings to portray the architecture more as flat patterns and less like three-dimensional structures to further capture the peace and order they elicited.

EOS 6D (Zoom), EOS 60D (35mm), Photoshop, Lightroom

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a.2

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/1 PHOTOGRAPHY

a.4

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a.5

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/1 PHOTOGRAPHY

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/1 PHOTOGRAPHY

a.7

a.4

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a.9

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/1 PHOTOGRAPHY

QUIET VOIDS (2019) Quiet Voids captures the quiet, candid, and often overlooked peace and order that may be found in public spaces or ‘void decks’ of public housing buildings in Singapore. The photo series attempts to express the peace and order through the interplay between light and darkness to symbolise the peace that can be observed in both good times and bad.

EOS 6D (Zoom), EOS 60D (35mm), Photoshop, Lightroom

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b.1

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/1 PHOTOGRAPHY

b.3

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/1 PHOTOGRAPHY

b.5

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b.6 b.7

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/1 PHOTOGRAPHY

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c.2 19

PASSING SHADOWS (2019) Like the shifting shadows, peace and order in life is often fleeting and transitory, only showing themselves to those who wait in patience. This photo series captures the beauty of the temporary, seen through the short-lived yet stark shadows which are imprinted onto surfaces and structures. Some photos also focus on the coexistence between these surfaces and the shadows cast upon them, where repeated shadows overlap dirtied and imperfect surfaces to create a peaceful and orderly scene.

EOS 6D (Zoom), EOS 60D (35mm), Photoshop, Lightroom

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/1 PHOTOGRAPHY

c.3

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/1 PHOTOGRAPHY

c.4 (top) 23

c.5 (below)

c.6 (top)

c.7 (below) 24

/2 FOAMCORE MODELS

/2 FOAMCORE MODELS (2018-2019)

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d.1 My foamcore series references the iconic architectural features and structures found upon HDBs in Singapore, namely the front walkway, a generic room structure, and the vent between two adjacent units. They draw inspiration from the highly cubic and orderly forms of public housing and distilled further into simplified and minimalistic shapes. The models were repeated thrice and displayed atop one another to further emphasize the repetitiveness and verticality of HDB buildings.

4mm Foamcore, White Acrylic Paint

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/2 FOAMCORE MODELS

d.2

d.3

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d.5 27

d.6

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d.8 28

/2 FOAMCORE MODELS

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d.9 30

/3 WOODEN ASSEMBLAGE

/3 WOODEN ASSEMBLAGE (2019)

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e.1 My wooden assemblages were inspired by the Buddhist ideology of “Wabi Sabi” a common lifestyle and mindset adopted by the Japanese from ancient to modern times. Wabi sabi is an ideology surrounding the acceptance and embracement of natural ‘imperfection’ and ‘inherent flaw’. Wabi Sabi pays great attention to the treatment of materials, accepting the natural weathering processes and signs of time, accepting the natural course of growth and decay. It reveres authenticity above all and alludes to humble beauty, preferring to embrace the history of an object with its many cracks, creases, and damage rather to ignore or cover it up. The saying, “Nothing lasts. Nothing is finished. Nothing is perfect.” summarises the intents and principles behind Wabi Sabi.

Recycled-found mixed media

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/3 WOODEN ASSEMBLAGE

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e.3

e.4 33

e.5

e.6 34

/3 WOODEN ASSEMBLAGE

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e.7

e.8

e.9

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/3 WOODEN ASSEMBLAGE

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e.11 38

/4 ILLUSTRATIONS

/4 ILLUSTRATIONS (2020)

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f.1: Two-storey residential inspired by modern Japanese aesthetic and mixed material use.

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/4 ILLUSTRATIONS

f.2: Residential townhouse with rooftop garden that can maximise rainwater and sunlight exposure.

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f.3: Earthen house made of adobe and clay which can be constructed in arid and desert regions.

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/4 ILLUSTRATIONS

f.4: Habitable shipping container as green alternative for emergency shelter or prefabricated, low-cost housing unit.

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f.5: Eco-commercial or recreational building with integrated rainwater catchment systems.

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/5 ADDITIONAL WORKS

/5 ADDITIONAL WORKS (2017)

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The following images are from a variety of projects I have worked on in the past, including: my internship at CIAP Architects Pte Ltd, as well as my Secondary Four Independent Academic Project (IAP) on sustainable architecture in Singapore that had been awarded a spot at the 2017 MOE Gifted Branch Exhibition.

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/5 ADDITIONAL WORKS: INTERNSHIP AT CIAP ARCHITECTS PTE LTD.

INTERNSHIP AT

CIAP ARCHITECTS PTE LTD.

g.1: Model depicting the focus area affected by intrusive rainwater in the Yishun Community Hospital A&E pathway.

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g.2: Permeable walkway to further reduce impact of rainwater buildup and exposure.

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/5 ADDITIONAL WORKS: INTERNSHIP AT CIAP ARCHITECTS PTE LTD.

g.3: Vertical planters to intercept rainwater from entering walkway

g.4: Structural diagram of vertical planter installation with drainage track to catch throughfall and intercepted water.

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g.5: Existing structure of connecting walkway between YCH and KTP

g.6: Proposal for installation of glass panels which would allow cross-ventilation through walkway while blocking rainwater.

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/5 ADDITIONAL WORKS: INDEPENDENT ACADEMIC PROJECT

SECONDARY FOUR

INDEPENDENT ACADEMIC PROJECT (IAP) 2017 FINALIST

h.1 51

h.2

h.3 52

/5 ADDITIONAL WORKS: INDEPENDENT ACADEMIC PROJECT

h.4

In partial fulfillment of the completion of the IP Track in Secondary Four, we embarked on independent study projects which we proposed, designed, performed, researched, and analyzed. We then were to create and present something which manifested and communicated our findings. My project, which focused on the integration of sustainable systems in architecture in Singapore, was given “Best Project� and I was granted a spot at the 2017 MOE Gifted Branch Exhibition.

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h.5: Final revised model used for exhibition

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“I found myself in a strange deserted city – an old city, like London – underpopulated by war or disease.

It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly – past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath.

Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble.”

(Tartt, 1992)

FIN

DAVID QUEK 2020