ARCHITECTURE
PORTFOLIO
SOH HOO ZE XIANG SCHOOL
OF
ARCHITECTURE
BACHELOR OF
SCIENCE
AR415
AND
BUILT
(HONS) IN
DESIGN STUDIO
ENVIRONMENT
ARCHITECTURE 4
I’m currently studying in the 2nd year of BA (Hons) in Architecture in UCSI University. In this short and enjoyable year studying at University has enhanced digital drawing skills to produce a range of drawings. I consider myself as a diligent and motivated person
ERIC SOH HOO ZE XIANG 1001849891
who enjoys the challenge of assignments given. As an architecture student, I am keen on learning and broadening my knowledge and skills in architecture no matter individual or within a team. I believe the experiences I gained from working with teammates will help me to grow as an architect and allow me to contribute my various creative ideas to the social.
7TH AUGUST 2020
012-4263115
zexiang887@gmail.com
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A C A D E M I C July 2019 – Current
W O R K I N G June 2020
Bachelor of Science (Hons) in Architecture, School of Architecture and Built Environment, UCSI University
E X P E R I E N C E Volunteering in CKHO Architect firm
S K I L L S Adobe Photoshop Adobe Illustrator Autocad Revit SketchUp Manual Drawing Model Making
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CONTENTS PROJECT 1_RESPONSIVE MODEL PROJECT 1A
Craft Museum Manifesto
PROECT 1B
Craft Museum Research (Group)
PROJECT 2 Visionary representation “Craft Museum” Exhibition Display Pavilion
PROJECT 3 Craft Museum
Ornamental Façade
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01 F U T U R E
O F
C R A F T I N G
C R A F T
M U S E U M
R E S E A R C H
We are rich with the arts and traditions that are unique to us. These traditional arts were not regarded as handicrafts or mere decorative item but were an integral part of our daily lives. They were imbued with the essence of our cultural identity. Through our understanding of our traditional arts, we will deliver architecture as a contemporary visual and material culture.
Our research will look into the role of craft museum as a cultural and social centre that will be a catalyst between craftsmen and the public. Craft matters as it offers diversity in living culture and has significant role in presenting authenticity, originality and national identity.
PROJECT 1A – CRAFT MUSEUM MANIFESTO A manifesto to academic research and literature review on my own craft museum. In this manifesto, we will discuss about what is the importance of having craft museum? And annex to Balai Seni Lukis Negara (National Art Gallery) What are the problems and issues faced by craft museums? What are the ways you can address these issues through the establishment of your craft museum? As much as this is an exercise of the imagination, the entire discussion will be framed within an academic discussion. Evidentiary research will be undertaken.
PROJECT 1B – CRAFT MUSEUM RESEARCH (GROUP) Design Brief of Museum Home Challenge Case Study Museum Guideline About
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PROJECT 1A – CRAFT MUSEUM MANIFESTO
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INTRODUCTION OF DESIGN BRIEF
A craft museum is a collection of displayed object designed with culture or traditions which contain values and made by hand skills or technologies that requires human skills through difference kind of process.
What are the aims? Craft museums are intended to collect, conserve, interpret, and exhibit artefacts of artistic, cultural, or science interest for the public's education. The intention may also depend on one's point of view from a visitor or cultural perspective. A trip to a local history museum or large city art museum can be an entertaining and enlightening way to spend the day. A successful museum culture can be seen by city officials as a gauge of a city's economic growth and a way to improve the education of its inhabitants. Website Link: https://2021janar415.wixsite.com/craft-museum
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CHALLENGE OF CRAFT MUSEUM
Museum in Malaysia face many challenges. Being a non-profit and a high maintenance entity, museums must constantly make sure that they create value and contribute towards society to justify their existence. Museum must be an asset and not a liability. We are faced with questionings and queries from Auditor-General and financial providers (the Ministry of Finance) on the effective use of funds and collections, especially those collection in the repository. The museum’s performance is always measured against financials terms and not the intangible value that we have create for the nation. To ensure continued support and funding, public’s perception of museum is important. The public must see and appreciate the purpose of keeping the museums
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CASE STUDY “A country that has few museums is both materially poor and spiritually poor ... museums, like theatres and libraries, are a means to freedom.” - Wendy BeckettIn this section we choose to study the National Textile Museum, the Islamic Arts Museum Malaysia, and the current headquarters of the National Museum of Anthropology.
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GUIDELINE TO MUSEUM PLANNING Museum planning is the study and practice of all components comprising a museum into a constructed document which can achieve its function in a sustainable way with optimal efficiency. It aims to provide and maintain the institution that manage and ensure both spaces and facilities are aesthetically pleasing and effective.
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02 V I S I O N A R Y R E P R E S E N TAT I O N “ C R A F T M U S E U M ” & E X H I B I T I O N D I S P L AY PA V I L I O N Through combinations of drawings, writings, model-making and photographs, we represent the history as a tool of understanding we encounter upon in relation to the design studio brief. It is a study of a continuous essential elements and principles of architectural expressions to our built environment which results in my Visionary Representations of drawings and models.
V I S I O N A RY R E P R E S E N TAT I O N O F “ C R A F T M U S E U M ” - Transposing my museum manifesto in a single drawing form by analysing and expressing the history, philosophy and meaning of craft museum. - Expressing the role and aim of my museum.
EXHIBITION DISPLAY PAVILION - Application of my manifesto/visionary representation as a visual exhibition display at a suitable scale.
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BACKGROUND STORY
Pottery is the process and the products of forming vessels and other objects with clay and other ceramic materials, which are fired at high temperatures to give them a hard, durable form. The objects made are commonly useful ones, such as vessels for holding liquids or plates or bowls from which food can be served. Pottery is one of the oldest human inventions, originating before the Neolithic period. It is an ancient craft, with the earliest historical records of wheel-thrown pottery dating back to 29,000 B.C.
POTTERY TRADITION IN EARLY MALAYSIA Pottery reveals the socio-cultural and economic picture of a particular geographical region and of the certain epoch or a long-standing period. The pottery tradition in early Malaysia is an academic discourse that includes the issues regarding pottery and the sherds found in various archaeological sites and have been carrying the diverse features of the ancient and prehistoric Malay society.
FUNCTION & PURPOSE OF POTTERY
TRADITIONAL POTTERY DIVIDED INTO 4 TYPES :
Storing the agricultural product and liquids was the principal purpose of the
TERENANG - Incense burner from Pahang - Originated from Hindu religion, became part of Malay culture after coming from Islam - Still using in religious rites, prayers, feasts and funeral rites - Hung outside overnight act as water container
MAMBONG - Name of small village in Kelantan - Used for food storage - Reddish in colour
LABU SAYONG - Stamped decorations with motifs derived from natural surroundings - Can reduce water from 28°C to 24°C - Cool water believed to reduce body temperature and cure illness
PASU SARAWAK - Tall vase for decoration
pottery the traditional Malay people produced. In the everyday life of the people pottery is one of the essential items. Using the pottery as cookware, water container or other pitchers made the life easier from early life. Because of such demand the women of the family were involved in producing pottery in the house level. Most of the potteries found in Bukit Tengkorak were for using in the works of daily life of the people. These potteries were useful for cooking, containing foods like pots, jar, stove as well as some containers for storing liquid. The Bukit Tengkorak potteries also were used as the wares of funerary. Since pottery is the artifact of the Neolithic period and agriculture was also one of the most remarkable characteristics of this age, potteries were mostly used to storage the product produced from agriculture.
CLAY AS THE RAW MATERIAL OF POTTERY Clay is the principal raw material for producing pottery. Its availability and quality influenced the Malay traditional pottery in many ways. However, by analyzing the chemical composition of clay can be identified that the quality of the clay from different region is different as well as having diverse clay elements. In this regard, researchers analyzed and stated that the pottery produced in Sayong, Perak was good in quality. In Malaysia, several researches carried out to analyze the clay used in pottery manufacturing and for determining whether the found pottery in a particular archeological site was domestic or the foreign trading element. The pottery sherds from Hulu Kelantan have been analyzed and found the maximum sherds not locally produced and hypothesized that from the coastal region. From the same clay materials various types of pottery also manufactured in traditional Malaysia. For example, the clay pitcher from Sayong and Pulau Tiga of Perak made by the same material and their function was same, the color of these two potteries were different. The Sayong’s one is
Raw Ball Clay
black, smooth and large than the item from Pulau Tiga that is comparatively small, and the surface is coarse with a color of yellow shed. Interestingly, the pitcher from Sayong, popularly called Labu Sayong, is more widely accepted and exclusive due to its husks during firing process. In respect of traditional Malay pottery making, the manufacturers sometimes used the scientific method and applied their skill. For instance, in selecting the clay materials, the potters from Kelantan used the concept of basic science that helps to process the forms of pottery. The mineral containing the clay were Aluminum Oxide, Iron Oxide Silica, Calcium Oxide, Potassium Oxide and Magnesium. Hence, the quality of the clay is one of the vital issues in terms of being the potteries superior or usual that made by the early Malay people.
Modkha Marine Sdn Bhd is a direct supplier of ball clay in Malaysia
FIRE CLAY
TYPES OF CLAY
- Fire clays vary widely in their characteristics. The hallmark is their high firing range. - They mature at about 2696F (1500C).
EARTHWARE CLAY - Earthenware clays were some of the earliest clays used by
- Although relatively free from mineral impurities, they tend to have spots of iron which lend a speckled appearance once fired.
potters, and it is the most common type of clay found. - These clays are highly plastic, or easily worked, and can be
- Fire clays are often used in stoneware clay bodies to increase their maturation temperature and to give the fired clay a bit extra roughness, or "tooth".
sticky. - Earthenware clays contain iron and other mineral impurities which cause the clay to reach its optimum hardness at lower
BALL CLAY
temperatures.
- Ball clays are highly plastic and contain few mineral impurities.
PORCELAIN CLAY (KAOLIN)
- They fire to their mature hardness at about 2336F
- Due to their mineral purity, kaolin clays are used for
(1300C).
porcelain.
- When moist they are dark grey and when fired they are
- While moist, they will be light grey and will fire in the range
either light grey or light buff.
from a very light grey or buff to near-white and white.
- They cannot be used by themselves due to their excessive
- Kaolin clays are not nearly as plastic as other clays and are
shrinkage during drying and firing.
difficult to work with. - Pure kaolin clays fire to maturity at about 3272F (1800C). They are often mixed with other clays to both increase workability and lower the firing temperature.
STONEWARE CLAY
- They are extremely useful, however, when added to other
clays to increase workability and plasticity. - Also contains kaolin, but it is mixed with other minerals, giving it a coarser texture and darker color. - It is also fired to a slightly lower temperature, known as midfire – 2232F. - The addition of other materials makes the clay easier to work with, and the result is still a vitrified clay, meaning that it is impervious to water. - It is known as the strongest type of pottery, which is why we
P OT T E RY H I S TO RY I N E A R LY M A L AY S I A
Pottery sherd discovere d in Gua Cha
▪ Pottery is one on the national heritages for Malaysia. It has a
very primitive background of producing animal image by clay to add to the cave wall for decoration before it successful formation in the prehistoric period of 30,000 BC to 7,000 BC. ▪ Peninsular Malaysia played a vital role in the shaping human
Pottery from Labu Sayong, Perak
Gua Cha
history in Southeast Asia from the early period, since it is situated at the southern part of the Asian mainland.
Kuala Kangsar
▪ The pottery manufacturing hubs were in some certain regions in early Malaysia including the states Perak, Pahang and Kelantan who had complete success and own identity in their
Bukit Chinatamani
fabricating. ▪ The Malay ancient pottery is found in Neolithic period from Gua Cha and Gua Musang in Ulu Kelantan, Jenderam Hilir in Selangor and the Bukit Tengku Lembu in Perlis.
Gua Kecil
Cordmarked pottery from Gua Kecil, Pahang
Though the archaeological excavation in Malaysia started in the late 19th century, as artifacts, pottery has been unearthed in early of the second quarter of 20th century. It is found in the site excavation in Perak and Pahang. From that period, the process of digging of the archaeological sites has been continuing throughout Malaysia that discovering various kind of archaeological materials including pottery or sherds. In this way, the conventional use of pottery in Malaysia since the early period is coming out in the light. Most of the archaeological sites, from which the pottery and the sherds found, are prehistoric and from the Neolithic Age.
Bukit Tengkorak
Pottery discovered in Bukit Tengkorak
Major Pottery Sites
PROCESS MAKING
USE STRING TO CUT PIECE OFF THE HUMP
SOURCING CLAY
Use a neat technique that helps quickly and accurately cut off the piece from the larger amount of clay.
CENTER CLAY ON WHEEL
Clay is the first and most important selection. Each clay has a different consistency and character.
Typically, “throw off the hump” which is a method of using a large amount of clay (15lbs+) to make multiple pieces from the one amount of clay.
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03
02
STORE PIECES COVERED Place and cover it in a room temperature for 1-2 days
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06 PLACE ON WARE BOARD TO DRY (LEATHER HARD)
PREPARING CLAY
Wedging is the technique of mixing and rolling clay to make it consistent and air bubble free. If the air bubbles remain in the clay during firing, they can cause the clay body to break or even explode.
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05
CREATE FORM
Form a smaller amount of clay at the top of the hump that use to create a piece (cup, bowl, plate etc).
Let it dry evenly and to a dryness that is perfect for trimming.
SAND/GRIND
After the glaze firing is complete, pieces usually need a quick sand or grind to ensure any sharp edges are removed.
ADD SIGNATURE AND STORE TO DRY (BONE DRY)
Dry as much as possible before it has gone through the first firing
GLAZE
Pieces that have been bisque fired are much easier to glaze as it adheres to the clay body.
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09 08
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BISQUE FIRE
TRIM PIECES WHEN LEATHER HARD
Pieces can be trimmed by using wooden tool on the wheel or by hand.
It transforms the object into a porous state for glazing. It allows the potter to do much more decorative work with stains, underglazes, and glazes with a greatly reduced risk of the pot being damaged.
14 FINISH
GLAZE FIRING
There are several types of kilns that can use for the final glaze firing. There are 4 types based on the fuel used - Wood, Oil, Gas and Electric.
POTTERYMANUFACTURING TECHNOLOGY
SLOW WHEEL
HAND MODELING
COILING
SOFT SLABBING
SLIP CASTING
PINCHING
The clay used for making pottery remain in a form like plastic prior to fire them so that potter can give desired shape and design by applying various techniques for getting lots of variety in their production. By using various techniques producers kept diversification in shaping and modeling steps of manufacturing.
PROBLEMS & FUTURE CHALLENGES OF POTTERY PRODUCTION - OUTPUT DECREASING
The number of labu sayong producers using the traditional method and their output is decreasing. It was found out in 1903 there were ten households which were involved in the traditional, hand-made
labu sayong pottery production, in the 1960s most of the pottery makers were still using the traditional mode of production. - LOSING TRADITIONAL SKILL Since the 1970s when the PKKM introduced modern production techniques almost all the pottery producers had switched to the modern pottery production. Undeniably, the introduction of modern techniques has jeopardised the traditional pottery industry. - MINDSET ALTERATION
Inability of the traditional industry to attract interest and accommodate the need of buyers. This
necessitated the change to the modern method of production. - LOW PRODUCTION RATE
Lack of capital, training, promotion as well as the lack of official attention compared to businesses that have switched to the modern mode of production. In many quarters the making of pottery using the traditional way is perceived as an industry that is resistant to change, unproductive, difficult and not worth continuing because it brings poor returns.
- HOW COVID-19 AFFECTS POTTERY CRAFT -
LOST PROFIT
Lost of profit and losing job for some self-employed crafts makers.
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E-COMMERCE
E-commerce as an option to replace traditional bazaars and trading market.
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ONLINE STUDIOS
Face-to-face craft studios are not allowed, thus far distance workshop like online studios and e-learning is replacing it.
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RAISING AWARENESS
Raise awareness of eco-friendly products. As raw materials are hard to collect during this pandemic due to lockdown of many countries.
V I S I O N A R Y R E P R E S E N TA T I O N
The visionary representation expressed an evolution of pottery arts around the world and the purpose of making. The drawing describe the development of pottery arts from the past which is the bottom part to the present which is the above part. As soon as early humans developed fire, they discovered that heating these formed clay objects transformed them into a different material that was permanent and much more useful to them.
As civilization made more advances, pottery had always advanced right alongside it, even assisting by helping people survive and providing them with a higher standard of living.
During the past time, there were several civilizations like ancient Egypt, Chinese, Greek, Japanese and so on were utilized clay for domestic use and for religious purpose.
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E X H I B I T I O N D I S P L AY PA V I L I O N
CONCEPT AND PHILOSOPHY The Exhibition Display Pavilion is a spiral pavilion which tends to enhance guest experience to the site. It is inspired from the local artefacts which is pottery craft. It act as a cultural artefact that helps educating people by presenting the concept to preserve the culture of pottery handicraft. In order to enable pedestrians to experience the pavilion, spiral structure is proposed for the pavilion to catch people’s attention. The exposed bricks have brought contrast to the site incorporating with the shape itself.
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The spiral plan representing the rotating of pottery clay on potter’s wheel and the two curvy walls symbolizing both hands making pottery
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The material used for the pavilion were largely from earthware clay to promote sustainable material
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Pavilion facades with gaps between each bricks to provide outdoor awareness and engage the nature of surroundings as well as provide ventilation and allow pleasant lighting
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PHYSICAL MODEL
TOP VIEW
FRONT VIEW
PERSPECTIVE VIEW
SIDE VIEW
ENTRANCE VIEW
INTERNAL VIEW
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D E TA I L D R A W I N G S
ROOF PLAN
NORTH ELEVATION
WEST ELEVATION
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FLOOR PLAN
SOUTH ELEVATION
EAST ELEVATION
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SECTION A-A
SECTION B-B
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PERSPECTIVE 1
PERSPECTIVE 2
EXPLODED AXONOMETRIC
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03 C R A F T
M U S E U M
+
O R A N A M E N T A L
F A C A D E
It is important that Museum maintains a strong link to the past and at the same time devoting in development of the museum for the future. The rapid urbanization has changed societies way of life tremendously. Technology has made mass production of goods economically viable that has disregarded the tangible and intangible cultural heritage. The museum will help to remind us the beauty of our cultural heritage. This will allow us to give a moment of reflection to how current society has behaved and changed which overlooked the simplicity of life in the past. The design is adapted and reinterpreted in the development of a museum with an ornamental facade that is suitable for the tropical building. With the advancement of new technologies, new designs can be achieved with its boundaries redefined such as exploration with different local materials. New construction and manufacturing processes have made the return of ornamentation economically viable. It not only can be massproduced but can be geared towards mass-customization which may lead to a new reading of ornamentation that reflects the local culture and gives a sense of identity. These may lead to an abundance of new conceptual and aesthetic possibilities.
C A S E S T U D Y – M U S E U M & O R N A M E N TA L FA C A D E - Programmatic and Spatial Planning – to indicate design strategies adopted in implementing in the design studio project with drawings/ models/ etc. - Appraise the existing façade performance – materiality and architectural tectonics.
FINAL PROPOSAL OF “CRAFT MUSEUM” - Proposal of “Craft Musuem” (Design Intent/ Contextual Site Planning/ Functional Space diagram as per P2
- Spatial qualities explorations - Form-making developments – 3D massing studies - Architectural drawings and visualisations & Architectural drawings to include context - All drawings highlight the importance of the scheme and its spatial qualities.
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CASE STUDY - CITÉ DU CORPS HUMAIN (MUSEUM OF THE HUMAN BODY) “Like the mixture of two incompatible substances – oil and vinegar – the urban pavement and the parks turf flow together in a mutual embrace forming terraced pockets overlooking the park and elevating islands of nature above the city. A series of seemingly singular pavilions that weave together to form a unified institution – like individual fingers united together in a mutual grip,” explains Bjarke Ingles. Architect Client Collaborators Size Location Status Awards
: Bjarke Ingels Group (BIG) : Ville De Montpellier : BIG + A+architecture + Egis + Base + L'echo + Celsius Environnement + Cabinet Conseil Vincent Hedont : 7800m2 : Montpellier, France : Idea : 1st Prize
BIG has been announced as the winner of an international design competition for the new Cité du Corps Humain (Museum of the Human Body) in Montpellier. The Museum of the Human Body, which will be part of the newly developed area Parc Marianne, is rooted in the humanist and medical tradition of Montpellier and its world-renowned medical school, which dates
to the 10th century. The new Museum will explore the human body from an artistic, scientific and societal approach through cultural activities, interactive exhibitions, performances and workshops. The 7,800m2 museum is conceived as a confluence of the park and the city – nature and architecture – bookending the Charpak Park along with the Montpellier city hall. The building’s program consists of eight major spaces on one level, organically shaped and lifted to form an underlying continuous space. Multiple interfaces between all functions create views to the park, access to daylight, and optimizing internal
connection.
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C A S E S T U DY – D E S I G N S T R AT E G I E S
Program
Linear Organization
The building’s program is grouped into eight major functions with the reception hall in the center.
The functions are organized along a main axis, allowing the building to merge with its surroundings – creating views to the park, access to daylight, and optimizing internal conditions.
From Linear Organization To Compression
From Compression To Organic Shapes
The organization of the functions are compressed in order to remain within the site boundaries. For practical, functional and flexibility reasons, all functions are located on one level. This compression creates connections between the functions which, if organized linearly, would not be possible.
By multiplying the interfaces between the spaces, the shape becomes more functional, catering to the needs of the building – an adaption that results in a more fluid and organic shape, in osmosis with its environment.
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The incision of the landscape is achieved via a precise and controlled movement, like a dissection, that hollow out, then sew and repair the landscape tissues.
The incision interweaves the urban pavement and the parks turf, which flow together in a mutual embrace, forming terraced pockets which overlook the park and elevating islands of nature above the city.
The architectural crusts of earth are lifted and mingled to form an underlying continuous space of caves and niches, lookouts and overhangs.
Underneath the roofscape, the program is distributed in a logical and rational manner, according to the desired views towards the park, the daylight requirements, the connections to the surroundings and the internal desired connections.
A fluid space, a unifying matrix creates links between all of the programs.
The multiple entrances to the building are clearly indicated on the façade of the building.
To protect from thermal exposure and glare from the Montpellier sunlight, the entire envelope is wrapped in a skin tailored to the conditions of the local climate.
The roofscape is conceived as an ergonomical garden – a dynamic landscape of vegetal and mineral surfaces that allows the park’s visitors to explore and express their bodies in various ways.
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C A S E S T U DY – D E S I G N S T R AT E G I E S
Connection between city and park
Creating links between programs
Linear to organic shapes
Intersecting nature and architecture which flow
To provide linkage connecting or expanding
Creating more views to the existing buildings
together in a mutual embrace. Enhance
the building spaces and improve circulation.
and provide shadow castings. The results more
landscape to ensure a cooler and comfortable
fluid and organic shape, suitable with the site.
temperature in the building.
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We must not remain earthbound but venture forth
new and unknown t
E B
A R T H O U N D
M
U
S
E
U
M 40
h and take up the challenge that awaits us in the
territories of space.
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M A C R O S I T E A N A LY S I S
ISTANA BUDAYA NATIONAL ART GALLERY
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LIFE CERAMICS
A TOUCH OF CLAY
Owned by local ceramic artist, Cheah Teow Seng Has been conducted ceramic art exhibition Live demonstrate Show his masterpieces for inspirations
MALAYSIAN INSTITUTE OF ART
TENMOKU POTTERY
TENMOKU POTTERY
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M I C R O S I T E A N A LY S I S
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SITE RESPONSE DIAGRAMMES
SUN AND WIND PATH
VEGETATION
CIRCULATION
VIEW INTO SITE
VIEW FROM SITE
NOISE AND AIRBONDE POLLUTANT
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D E S I G N S T R AT E G I E S DESIGN
INTENTION
- To create a museum that confluence of the park and the city by intersecting nature and architecture which flow together in a mutual embrace. - To preserve the pottery craft heritage and enhance the reputation of traditional techniques and skills to the modern era by gathering the existing community surrounding through architecture. - To make the pottery craft museum be the most unique craft museum in local. The organisation of the museum also to inspire the modern era artists to prevent from forgetting the roots from the ancestors.
DESIGN
CONSIDERATION
ORIENTATION Linkage between each spaces to create movement along the site
MATERIALITY Brick as vertical element materials while concrete as horizontal element materials
INNOVATION Showcase contrast between traditional and advance method by using innovative product in façade.
COMFORTNESS Brick is heavy material that stores heat and cool air. Thus, the indoor climate is very pleasant and energy saving
SUSTAINABILITY Reduce environmental impact of energy and material usage.
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DESIGN CONCEPT
INITIAL CONCEPT The craft museum features different entrance points from the directions of Istana Budaya and pavilion below, another entrance which is from Balai Seni Negara will be taken into consideration.
These placement of entrances will be the basis of each space in this massing.
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DESIGN CONCEPT PRELIMENARY CONCEPT
Multiple entrances for different purposes and attract visitors from all directions.
Using datum form of spaces which ties together all the elements of the design.
Crossover program all around the building by the central linkage.
Separate between public, semi-private and private zone.
Building as part of the landscape
Pedestrian pathway in between buildings and courtyard to make use of whole site
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FORM DEVELOPMENT
01
02
Firstly, incision through ground, respond to the site
the
03
The incision combining buildings around.
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04
Programs are then distributed to locate at the desire section.
The earth are lifted to enhance view from the site and cast shadows.
the
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Multiple entrances provided to welcome peoples
Roofscape to enhance natural and allows the park’s visitors to explore
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BUBBLE DIAGRAM FIRST FLOOR PROPOSAL
GROUND FLOOR PROPOSAL
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The bubble diagram is introduced in form after studying on the case study.
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The spaces are divided into 3 main zones which are the outdoor exhibition, galleries and workshop.
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The linkage is proposed to provide circulation as well as brought journey within each spaces.
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3D MASSING MODEL
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3D MASSING RESPONSE TO CONTEXT
CIRCULATION The museum entrances are placed facing adjacent buildings on site to allow circulation flow between the buildings. The lifted structure allows visitor to travel around to experience the architecture.
3 INSTITUTIONS Each with an individual identity and professional environment.
VIEW CONSIDERATION The lifted surface are viewing its desire location which are good views from site. On the side of the building is blocking bad views.
NATURAL SUNLIGHT The envelope of the building allow daylight to enter the interior spaces. Different zones receive sunlight on different time zone.
VEGETATION Garden placed around the site that merge nature and architecture together. The site interweaves the urban pavement and the parks turf, which flow together in a mutual embrace.
INSIDE-OUT The museum building opens up toward the existing building outside and then shared environment inside.
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P R O G R A M M AT I C D I A G R A M
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3D MASSING PROGRAMME RECEPTION Providing lobby and rest area to visitors
STORAGE
FUNCTION ROOM
A garage to store exhibition stuff. There is also having a loading bay connected to outdoor. ADMINISTRATION
A place for briefing and speech for the visitors or held events
Management office for workers to have meetings and works.
GIFT SHOP
WORKSHOP
Selling souvenirs like pottery clay products for the outsiders
A workplace for visitors to have pottery craft making and guest live demonstration. A kiln room will be provided.
WASHROOM Separated toilets for male and female
CAFETERIA
Gallery Provide venue that exhibit pottery artefacts
A place for briefing for the visitors or held events
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ISTANA BUDAYA
SITE MASTER PLAN WITH ROOF PLAN
HOSPITAL KUALA LUMPUR
Scale 1:1000
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SMK PUTERI TITIWANGSA
NATIONAL ART GALLERY
NATIONAL BLOOD CENTRE
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8 6 3
9
11
10
4
1 5 2
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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
Reception area Cafeteria Gift shop Function room Washroom Surau Permanent museum Storage / Loading bay Office Workshop Outdoor workshop
GROUND FLOOR PLAN Scale 1:600
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1. 2.
Library / Cafeteria Temporary museum
1 2
FIRST FLOOR PLAN Scale 1:600
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EAST ELEVATION Scale 1:200
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SOUTH ELEVATION Scale 1:200
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NORTH ELEVATION Scale 1:200
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WEST ELEVATION Scale 1:200
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SECTION CALLOUT Scale 1:75
SECTION CALLOUT Scale 1:100 1. 2. 3. 4. 5. 6.
4500(H) x 50(W) x 10mm THK. Galvanised steel spine pillar with painted finish. 215(L) x 70(H) x 96(W)mm Earthware brick assemble in panels off-site by robot. Method connection with mortar joints Anchor plate fixed w/ brick strips and steel pillar Anchor bolt 275 x 275 x 15mm Baseplate welded to CHS and bolted to concrete footing.
SECTIONAL PERSPECTIVE Scale 1:200
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RECEPTION
WORKSHOP
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CENTRA
AL PATH
GALLERY
CAFETERIA
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Architect
: Gramazio Kohler Architects, Zurich
Client
: Keller AG Ziegeleien
Collaborators
: Philipp Hübner (project lead), Matthias Helmreich, Kathrin Hiebler, Marion Ott, Sarah Schneider
Data Processing : R-O-B Technologies AG Location
: Keller AG Headquarter, Ofenhalle, Pfungen, Switzerlan
Project Cost
: 339000 CHF
This façade with its delicate diagrid brick structure creates a strong identity for the new headquarter of the façade construction company Keller AG Ziegeleien. It combines craftsmanship with innovation and was finished in October 2012. In the very dense situation on the premises the façade works as a filtering element to the adjacent housing building. Digital production is expanding the traditional process of prefabrication in the building and construction industry. The production of specific elements with a high degree of differentiation is based on the methodical usage of computers for design and production.
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The swiss-based duo Gramazio & Kohler have been working since 2005 to explore the potential of robotic fabrication for architecture at ETH in Zurich. Particularly, they investigate robotic additive fabrication processes and their implications on architectural design and construction. In order to do this, Gramazio and Kohler have started their research from simple and coarse construction element, like the brick, trying to explore the potential of robots in building. The two Swiss designers implemented their research in various academic experimental projects, attempting to design innovative masonry systems which could only be realized by a machine able to manage highly complex patterns, almost impossible to be achieved by the traditional craftsmen. The implicit goal is to find a specific aesthetic expression for the robotic fabrication that does not emulate the man in the built-up process.
Working with very simple elements, like bricks, allowed the designers to concentrate more on the combination of digital design and fabrication without the necessity to develop complex building components. The new Keller AG façade is made of 5,400 clinker bricks, assembled in panels off-site by a robot according to a parametrically generated model, developed with the commercially available 3D modelling software Rhinoceros and its extension, Rhinoscript. A custom computer script was developed to translate the CAD data into control data for the robot, allowing for direct fabrication from the design model.
Mock-up construction : The robot is building the structures to supporting the diagonal elements
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In 6 days, a crew of craftsmen assembled the structure on-site from the prefabricated brick panels, assembling about 40 elements
a day. The weight of each element was between 50 and 70 kg and was optimized as much as their dimensions allowed to ensure handling on the building site. The brick grid was fixed by steel anchor bolts to the glass façade at regular intervals.
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Modify the operative design
Diagrid style
Apply the advance fabrication method
Array style
The case study façade not able to fully block sunlight but only aesthetic purpose. By changing the individual strip’s orientation, it can provide openings that limits sunlight and visibility towards the interior. And also generating transparency and providing the building with an acute sensation of weightlessness.
Using the advance method which is robot to manufacture bricks to make façade of my building.
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By modifying the case study, I have designed a new façade pattern in order to enhanced the performance in my project.
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The case study façade not able to fully block sunlight but only aesthetic purpose.
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By changing the individual strip’s orientation, it can provide openings that limits sunlight and visibility towards the interior.
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And also generating transparency and providing the building with an acute sensation of weightlessness.
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The façade is made from two different strip patterns, arrayed along the surface of the building. In order to create the façade, the strips geometry is analyzed.
Façade Elevation -
The façade is constructed by prefabricated brick by robot.
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The design has two main pieces that repeat one another. The logic behind the main element is a strip that bends inwards and outwards in opposite direction on one surface.
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The repeating pattern of strips are arrayed in x-axis in order to create the façade.
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The façade is constructed by prefabricated brick by robot.
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The brick strips are supported by galvanized steel spine pillar.
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It can control the amount of illumination to the interior spaces while creating shadows inside.
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https://youtu.be/b5Hmw0SRxFI
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