Undergraduate Architectural Portfolio by Eric Ze Xiang

eric soh hoo ze xiang

undergraduate academic portfolio selected works 2020 - 2022

bachelor of science (hons) in architecture school of architecture & built environment ucsi university

reflective statement The curation of this portfolio has allowed me to look back on the last three years with nostalgia as I take stock of everything I have learned so far. The Integrated Design Studio pathway have offered me a unique opportunity to study deep into a dynamic thesis while developing a methodology for drawing architecture; to discover a rich context and culture which I will continue to learn about and admire. Meanwhile, I felt that I could use the knowledge gained in my other modules to complement my design thesis in the future. I have greatly missed the studio life and culture since the beginning of the semester. I had struggled with motivation and often felt that my creativity was puzzled when I was not surrounded by the work of my course mates for inspiration. It has been a three challenging years, however, it eventually allowed me to develop a strong and productive working routine that will stay with me forever. Completing this bachelor degree leaves me with a supportive network of tutors and friends, and broad knowledge of architectural culture, theory and design, which will guide me as I continue on my path towards a profession in architecture.

ACADEMIC

eric soh hoo ze xiang

Bachelor of Science (Hons) in Architecture UCSI University CGPA 3.56 on a 4.0 scale

May 2019 - May 2022

Foundation in Arts UCSI University Graduated March 2019 CGPA 3.39 on a 4.0 scale

May 2018 - March 2019

SPM Heng Ee High School Graduated December 2017

2013 - 2017

07. 08. 2000

SKILL

zexiang887@gmail.com

technical

softwares

60124263115 Jalan Mandarina Damai 1, Bukit Mandarina, 56000 Kuala Lumpur.

Architectural Design Architectural Drafting Hands-on Modelling Photo Editing Video Editing

Sketchup Autodesk AutoCAD Adobe Photoshop Adobe Illustrator Adobe InDesign Enscape

ACCOMPLISHMENTS

EXPERIENCE

Unit A Best Studio Design Award

Jan 2022

Dean List Award

Jan 2022

Dean List Award

Jul 2021

Dean List Award

Jan 2020

Dean List Award

Jul 2019

Best Studio Design Award

Jul 2019

Architectural Graduation Exhibition Show Unit A Installation Team Leader

May 2022

Colllab Bamboo Installation Experiencing Coordinator

Jan 2022

Colllab x SEAD Bamboo Hut Live-Build Crew Member

November 2021

Bamboo Workshop by Better Bamboo Buildings November 2021 Multimedia Team Colllab 05. Assembly to Assemble Design Team

May 2021

CKHO Architectural Internship Volunteering Assistant Architect

May 2019 - June 2019

Conducted Event -“Come On, You Deserved It!” Sep 2018 Experiencing Coordinator & Speaker

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contents 6-9

10 - 23

24 - 51

52 - 101

102 - 156

habitable architecture

co_space

craft museum

site shelter

biophilia architecture

01_ 2020

07_ 2020

01_ 2021

07_ 2021

01_ 2022

sem two

sem three

sem four

sem five

sem six

sport's man capsule: habitable architecture

this proposal aims to create an Architectural intervention that encourages client-specific designs, complementing the natural environment.

tutor: ms. maliza ismail jamail

sem two

project 1_precedent study_manual collage

From the modernist architect Le Corbusier, the precedent study that have chosen is Villa Le Lac. In his architecture, he chiefly built with steel and reinforced concrete and worked with elemental geometric forms. Le Corbusier's painting emphasized clear forms and structures, which corresponded to his architecture.

sem two

While the contemporary architect which is Robert Henry Oshatz, the building that have chosen is Fennell Residence. The project is focused on the poetry of the ripples and contours of the river, its never-ending flow, the view, and the interrelationship concerning the play of the sun and moon as it courses through the days of the year.

project 3_final board

sem two

project 3_final building model

sem two

co_space

to develop critical thinking through architectural organization + spatial quality, technical detail + design and creativity for a small public building unique character and condition of the site consideration of basic environmental design.

design spatial environmental based on the context with

tutor: ms. doris shu han quek

sem three

project 1b_precedent study_general building analysis_ spatial condition & operation analysis_diagrammatic study

The Mario Botta’s Bechtler Museum of Modern Arts consist of 4 floors. Inside the building, the major collections stored are all 20th century modernism artworks. The exterior are covered with terra cotta and with glass opening. The exterior can be seen in cantilevered at the front entrance porch supported by a swelling column with large scale. Furnitures inside are all designed by Mario Botta as well.

sem three

project 1b_precedent study_form & spatial quality_model study

sem three

project 1b_precedent study_form & spatial quality_model study

sem three

project 2b_adaption to context_site model + testing ground

sem three

project 3_co-space_massing model_ spatial operation

sem three

project 3_co-space_spatial operation & condition

sem three

project 3_co-space_spatial operation & condition

sem three

project 3_co-space_mockup model

scale 1:200 sem three

project 3_co-space_site plan

BLOCK A

The site chosen is located in the north east and the most highest point of hill top in UCSI University near block a. The reason why this site is chosen is because the area was surrounded by vegetations like trees and bushes. With all the trees surrounded, it will act as insulation to noise and wind as well as providing healing spot. It had good view out from UCSI University as well.

HILL TOP (PARKING SPACE) BLOCK B

BLOCK C BLOCK G

site plan scale 1:500 sem three

19 BLOCK D

project 3_co-space_manual ga drawings

ground floor plan scale 1:100

left elevation scale 1:100

sem three

first floor plan scale 1:100

front elevation scale 1:100

project 3_co-space_manual ga drawings

section a-a scale 1:100

section b-b scale 1:100

rear elevation scale 1:100

sem three

right elevation scale 1:100

project 3_co-space_manual ga drawings

sem three

project 3

sem three

craft museum / cultural institution

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 mass produced 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. tutor: ms. yusra zulkifli

sem four

project 2a_craft introduction_pottery 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.

Traditional pottery divided into 4 types :

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

function & purpose of pottery Storing the agricultural product and liquids was the principal purpose of the 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.

sem four

project 2a_craft introduction_process making of pottery

SOURCING CLAY Clay is the first and most important selection. Each clay has a different consistency and character.

CENTER CLAY ON WHEEL 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.

03 02

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.

sem four

USE STRING TO CUT PIECE OFF THE HUMP Use a neat technique that helps quickly and accurately cut off the piece from the larger amount of clay.

05 04

CREATE FORM Form a smaller amount of clay at the top of the hump that use to create a piece (cup, bowl, plate etc).

STORE PIECES COVERED Place and cover it in a room temperature for 1-2 days

PLACE ON WARE BOARD TO DRY (LEATHER HARD) Let it dry evenly and to a dryness that is perfect for trimming.

project 2a_craft introduction_process making of pottery

ADD SIGNATURE AND STORE TO DRY (BONE DRY) Dry as much as possible before it has gone through the first firing

09 08

TRIM PIECES WHEN LEATHER HARD Pieces can be trimmed by using wooden tool on the wheel or by hand.

sem four

GLAZE Pieces that have been bisque fired are much easier to glaze as it adheres to the clay body.

BISQUE FIRE 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.

SAND/GRIND After the glaze firing is complete, pieces usually need a quick sand or grind to ensure any sharp edges are removed.

13 12

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.

project 2a_craft introduction_pottery manufacturing 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.

sem four

project 2a_craft introduction_visionary representation

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.

sem four

project 2b_exhibition display pavilion_spiral pavilion concept

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.

•

the spiral plan representing the rotating of pottery clay on potter’s wheel and the two curvy walls symbolizing both hands making pottery

•

the material used for the pavilion were largely from earthware clay to promote sustainable material

•

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

sem four

project 2b_exhibition display pavilion_spiral pavilion physical model

top view

front view

sem four

perspective view

side view

entrance view

internal view

project 2b_exhibition display pavilion_spiral pavilion

floor plan

roof plan

north elevation

sem four

west elevation

section a-a

south elevation

east elevation

section b-b 32

project 2b_exhibition display pavilion_spiral pavilion

sem four

project 3_earth-bound museum_macro site analysis

istana budaya national art gallery

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

life ceramics

malaysian institute of art

tenmoku pottery

tenmoku pottery sem four

project 3_earth-bound museum_micro site analysis & site response

sun and wind path sem four

vegetation

circulation

view into site

view from site

noise and airbonde pollutant 35

project 3_earth-bound museum_design strategies 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. 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.

design consideration

ORIENTATION Linkage between each spaces to create movement along the site

sem four

MATERIALITY Brick as vertical element materials while concrete as horizontal element materials

COMFORTNESS Brick is heavy material that stores heat and cool air. Thus, the indoor climate is very pleasant and energy saving

INNOVATION Showcase contrast between traditional and advance method by using innovative product in façade.

SUSTAINABILITY Reduce environmental impact of energy and material usage.

project 3_earth-bound museum_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

the incision combining the buildings around.

the earth are lifted to enhance view from the site and cast shadows.

programs are then distributed to locate at the desire section.

multiple entrances provided to welcome peoples

roofscape to enhance natural and allows the park’s visitors to explore

form development

firstly, incision through the ground, respond to the site

sem four

project 3_earth-bound museum_bubble diagram_massing model

first floor proposal

ground floor proposal

- the bubble diagram is introduced in form after studying on the case study. - the spaces are divided into 3 main zones which are the outdoor exhibition, galleries and workshop. - the linkage is proposed to provide circulation as well as brought journey within each spaces.

sem four

project 3_earth-bound museum_respond to site context

sem four

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.

project 3_earth-bound museum_programmatic diagram

sem four

project 3_earth-bound museum_programme massing

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

gallery provide venue that exhibit pottery artefacts

cafeteria a place for briefing for the visitors or held events

sem four

project 3_earth-bound museum

ISTANA BUDAYA

SMK PUTERI TITIWANGS

NATIONAL ART GALLERY

NATIONAL BLOOD CENTRE

HOSPITAL KUALA LUMPUR

site plan scale 1:1000

sem four

project 3_earth-bound museum

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

1. 2.

Library / Cafeteria Temporary museum

10 6 3

1 5 2

ground floor plan

sem four

first floor plan

project 3_earth-bound museum

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

east elevation sem four

south elevation

project 3_earth-bound museum

north elevation sem four

west elevation

project 3_earth-bound museum

sem four

project 3_earth-bound museum_proposed spaces

reception

workshop

sem four

gallery

central path

cafeteria

project 3_earth-bound museum_facade case study

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.

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.

sem four

Mock-up construction : The robot is building the structures to supporting the diagonal elements

project 3_earth-bound museum_facade case study

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.

sem four

project 3_earth-bound museum_facade assembly

- by modifying the case study, i have designed a new façade pattern in order to enhanced the performance in my project. - 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. - 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. - 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. - the repeating pattern of strips are arrayed in x-axis in order to create the façade.

sem four

project 3_earth-bound museum_facade assembly

- the façade is constructed by prefabricated brick by robot. - the brick strips are supported by galvanized steel spine pillar. - it can control the amount of illumination to the interior spaces while creating shadows inside.

sem four

site shelter_(un)covering the remains

preserving the origins of mankind, in appreciating this objects or artefact creates an emotion connection through one senses of vision, sound, scent, site that contain these found artefact are then brought into spotlight.

tutor: unit A - ms. sharon ong

sem five

project 1_site research

“Nossa Senhora Da Luz” Fortress, Peniche, Portugal

the fortress, built in the 17th century, was an important defensive structure to strengthen the coastline defense system. traces of battery structures and a partial trench on the south side are still present at the site. the remains of the fortress emerge from the landscape and the cliff surfaces eroded by the wind and ocean are remarkable features within this setting sem five

project 1_site context

sem five

remnant of the fort da luz are scattered with only the walls are left behind while the rest either eroded or simply destroyed by overtime the site is situated on a cliff rising from the access road to the edge of the cliff and to the atlantic ocean the existing pedestrian path are formed by hikers and visitors to the site over time forming a pathway that circulate the remnants. undulated topography surface

project 1_design intention

mixture of old and new

tunnel architecture

sem five

integration of historical and contemporary brings up contrast from different era

silence and solitude no interaction with people emerge contemplation brings up curiosity of what’s happening in front

following with the angle of the remnants embracing the ruins creating a journey that enhance contemplation

project 1_material chosen

sem five

combination of timber and corten steel creating a series of enclosed external spaces for contemplation and reflection. the dark color of the steel provides contrast with blocks of ruins and grey stones

project 1_site intervention

polygonal shape, with bastions at the vertices crowned by circular hangers, and it was armed with cannons on the embankment, on the side of the sea.

sem five

project 1_continuity of the site value_site plan

site plan sem five

scale 1: 500

project 1_continuity of the site value_floor plan

⑥

②

entrance

experiencing museum

resting & viewing

①

③

⑤ ④

boardwalk 4

permanent museum

exhibition area

viewing deck

floor plan sem five

scale 1: 250

project 1_continuity of the site value_perspective

sem five

project 1_continuity of the site value_perspective montage

sem five

project 2_chosen site_lenggong valley perak Lenggong Valley is one of Malaysia’s heritage which is divided into 2 clusters (cluster 1 and cluster 2). It was nominated as one of world heritage because of Prof. Zuraina Majid and the researchers who collected a lot of data that prove the existence of the first man (Perak Man) in Lenggong Valley. The data was received by the world heritage centre on 31 January 2011, after receiving this information one of the world heritage committees which is ICOMOS visited and evaluated the property on 11-16 September 2011. Furthermore, after all the evaluation on 14 March 2012 ICOMOS approved the report and soon on 30 June 2012 Lenggong Valley was declared as a world heritage site by UNESCO. In the early 20th century, the first finding was found in Gua Kajang, Kota Tampan and Gua Badak, where they found high densities of cultural deposits such as shards, stone tools and rock art. cluster 2

Cluster 2 consists of multiple caves such as Gua Gunung Runtuh, Gua Kajang, Gua Teluk Kelawar, Gua Ngaum, Gua Puteri, Gua badak, Gua Harimau and Bukit Jawa. cluster 1

Cluster 2 Lenggong Valley, Temelong, Perak sem five

project 2_urban issue

the urban mapping is focuses on the existing issues on site which consist of aspects such as … Absence of social activities the site has lack of programs that could offer to welcome outsiders having interaction within the site. most of the caves are locked and need to get permission every time visit. Lack of public space the surrounding area are lack of amenities such as recreational spaces or playscapes that could enhance their lifestyle as well as the children to utilize after school hours. the surrounding community also seldom visit the site as the facilities are unmaintained. Low level of awareness peoples are unaware of the significance of archaeological findings in terms of human evolution or culture, or what the findings mean personally to them. the findings at archaeological sites seem to be only appreciated by the ‘others’ such as the archaeologists, local and international researchers, local and foreign tourists.

sem five

project 2_masterplan concept

sem five

project 2_masterplan urban intervention

the schematic urban strategy is segregated into 3 distinctive parcels which are consecutive, integrate and journey. it is formed through analyzing the previous existing site issues, with the focus of implementing new interventions targeting residents, visiting tourists, and archaeology researchers. the aim of the urban strategy is to integrate archaeological interests with local economic activities in order to involve local participants in preserving the history of site.

sem five

project 2_intervention strategy 1

consecutive continuous path on the existing site village, creating surprising views and provoking a sense of curiosity by implementing programs.

sem five

project 2_intervention strategy 1

parcel a xxx

museum path

parcel b xxx

gather point

sem five

project 2_intervention strategy 2

journey an expedition to encourage visitors to be more explorative and expressively evoke the site history while implementing galleries.

sem five

project 2_intervention strategy 2

parcel c xxx

archaeology lab and interpretation centre

parcel d xxx

boardwalk connects to multiple caves

sem five

project 2_intervention strategy 3

integrate connecting gather point of villages by creating public space to bring opportunities to the local economy.

sem five

project 2_intervention strategy 3

parcel e xxx

food court from boardwalk

parcel g xxx

market link to port

sem five

project 2_proposed site

sem five

project 2_site context

site surrounding

sem five

urban connection to site

community journey through site

project 3_existing site

natural limestone tunnel easily accessible by vehicles consists of 3 portions, front cave, back cave and a small chamber front cave facing north and cave mouth about 25m wide uncovered 2 human remains back cave covered with rubble stone wooden platforms to provide passage between the two mouth of the tunnel

lot 352 & 353

sem five

project 3_design intention

sem five

remembrance

cultivation

genius loci

awakening the memories of the historical layers of the site through the interpretation and presentation of the archeological site.

helping in widen the people’s knowledge of the historical settlements and landmarks in the area

create a harmonious balance between building and context where building and nature don’t compete but work together.

project 3_formation & spatial relationship

5 stages of the narrative path in promenade architecture - Freytay’s Pyramid 1

introduction

disorientation

questioning

reorientation

culmination

- threshold that defined by a door, opening itself to the surrounding and allowing visitors to view it as it were the start of the journey - sets a scene for what is to come, forces visitor to engage, to focus and to participate. an interstitial space between the immediate threshold and the heart of the building - interest visitors to venture into the space and find what is hidden and uncover the remaining mystery of a view half complete - introduced to a series of elements which prelude to the end of promenade journey, possesses an element which hints at the conclusion of events - the journey ends with a scenery, the visitors are presented with a whole picture, rather than a conclusive end

promenade architecture

Colonnade

sem five

project 3_site journey via promenade architecture

sem five

project 3_overall site axonometry view

sem five

project 3_programmatic space

sem five

project 3_lower ground floor plan 1

2 3

8 12

1 2 3 4 5 6 7 8 9 10 11 12 13

sem five

entrance tunnel reception administration waiting area visitor path (collonade) researcher path community theatre screening room geofact garden (pause space) research centre underground courtyard underground workshop open air artefact 80

project 3_ground floor plan

5 8

10 9 2

4 11

1 2 3 4 5 6 7 8 9 10 11

sem five

lounge screening room stone garden floating staircase to first floor temporary gallery contemplative walk ramp to ground floor staircase from research centre gallery reception excavation gallery feature wall

project 3_first floor plan

4 5

1 2 3 4 5 6 7 8 9 10

sem five

library & cafe ramp from first floor excavation gallery path to cave exhibition auditorium (public) cave exhibition storage kitchen restaurant outdoor decking

10 8

project 3_second floor plan

1 2 3 4

auditorium walkway within hill gift shop rest area

sem five

project 3_south east elevation

sem five

84 84 84

project 3_north east elevation

sem five

project 3_section a-a

sem five

project 3_section a-a

sem five

project 3_section enlargement

entrance reception sem five

colonnade 88

project 3_section enlargement

screening room sem five

library & cafeteria 89

project 3_section enlargement

temporary gallery sem five

permanent gallery 90

project 3_section enlargement

cave auditorium sem five

project 3_exploded axonometry

first floor library, cafeteria, auditorium, cave exhibition

ground floor lounge, temporary gallery, excavation gallery

lower ground floor reception, administration, community theatre, screening room, research centre, workshop, open air artefact

excavated ground

sem five

project 3_colonnade & outdoor theatre entrances

sem five

project 3_colonnade

sem five

project 3_screening room

sem five

project 3_stone garden

sem five

project 3_temporary gallery

sem five

project 3_open air artefact

sem five

project 3_excavation gallery

sem five

project 3_concept development

sem five

100

project 3_mockup model

sem five

101

biophiplic architecture

the habitat, penang hill offers the most authentic, diverse and educational rainforest experience with the biosphere reserve. this proposal aims to explore the possibility of helping design habitats for both the wildlife and people by applying diverse methodologies to articulate briefs, programs and spatial propositions. tutor: unit A - ms. sharon ong

sem six

102

sem six

103

project 1a _ design by researching

sem six

104

project 1a_theory_on the origin of species_charles darwin

sem six

105

project 1a_species exploration

sem six

106

project 1a_quality of existence

habitat

sem six

behavior

threats

diet & reproduction

107

project 1a_quality of existence

A DA P TAT I O N Each species had not been independently created, but had descended, like varieties, from other species. The world have been modified, so as species to acquire that perfection of structure and coadaptation. The possible causes of variation are referring to external conditions such as climate, food, etc. With its relations to several distinct organic beings, by the effects of external conditions or of habits, the nature offers unique evolutionary opportunities to its inhabitants. (For instance, gliding lizard, with it’s differs of leg length and toe pad size are depending on where they lives. Long legs are for the species that lives horizontally to run away from predators while shorter legs are required to climb vertically. Those differences in traits are adaptations to the habitats.)

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project 1a_quality of existence

APPEARANCE As many more individuals of species are born than can possibly survive, there is a frequently recurring struggle for existence. It follows that any being, if it vary in any manner that profitable to itself, under the complex and sometimes varying conditions of life, will have better chance of surviving, and thus be naturally selected. (Throughout the entire evolutions of reptile family, the strong principle of inheritance of lizard varieties had been propagated to its new and modified form. Looking at the selected species of gliding lizards from reptile family, it is characterized by large set of wings along the side of the body which is called paragon, the wings are supported by elongated ribs that contribute to gliding purpose.)

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project 1a_quality of existence

ACTION The term struggle for existence including dependence of one being on another, and not only the life of the individual, but success in leaving progeny. Two identical species in a time of deficiency, may be truly said to struggle with each other which may get food and live, but for example a plant on the edge of a desert is said to struggle for life against the drought, or said to be dependent on the moisture. (Gliding lizard is dependent on tall trees, or to be said to struggle with these trees. These lizards had adapted to their life on trees, they relies on trees to survive as they shall easily find food and avoid dangerous predator when they are high above ground. They are so much dependent on trees that would stay the entire life on trees and glide from tree to tree in order to move.)

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project 1a_quality of existence

ABILITY Due to this struggle for life, any variation that despite subtle or whatever cause it proceeding, if it be in any degree profitable to an individual of any species in its infinitely complex relations to external nature, will tend to secure the individual itself and will generally be inherited by its offspring. If the offspring is preserved, then it had gone through natural selection. (We have seen every species of reptiles struggle to live by crawling and climbing but why gliding lizard is unique. Due to the natural selection, they have adapted new skills to their own uses which allows them to glide from tree to tree. Through the accumulation of slight but useful variations, giving them by the hand of nature.)

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project 1b _ site exploration theme _ forest

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project 1b_another scale of architecture_junya ishigami

Forest is an assembly of beams recalling the densely intertwining branches of trees in a forest, and pillars reminiscent of narrow tree trunks. A contemplation of what could lie between the abstract qualities of the natural environment, and those architecture. The positioning of plants in a forest or grove of trees is most likely determined according to strict principles, however the creatures living there go about their daily business in a rational fashion without knowing exactly why the vegetation is located where it is. This could hardly be more different to architecture. In a building, it is immediately obvious that a certain wall is there to partition off two adjacent spaces, but in a forest, we really have no idea why a particular tree is in a particular place. Rationally may be less about a simple one-to-one coincidence of function and form and more about the linking of new relationships amid endless, fathomless complexity.

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project 1b_forest layers

emergent layer

canopy layer

rainforest is formed of four layers that receive different amounts of rain, wind and sun, and as such, are home to different species. the layers of the rainforest include: emergent layer comprising the tallest trees main canopy layer comprising most of the tall trees

understory layer

understory mainly small shade tolerant trees and sapling forest floor

forest layer

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project 1b_forest layers_dissection

emergent layer

canopy layer

understory layer

forest layer

There's plenty of sunshine The emergent layer comprising the tallest trees Habitat for flying or gliding animals

The main canopy layer comprising most of the tall trees They rely primarily on animals for dispersal and pollination Home to the greatest number of animals

The subcanopy comprising mainly small shade tolerant trees The sapling and understory layer just above the forest floor Low light space

Richest ecosystem Big sized animal Herbs and medicinal plants Lack of sunlight Hot, humid environment

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project 1b_forest layers_dissection

emergent layer

canopy layer

understory layer

forest layer

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plan

elevation

forest group conceptual model

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project 1b_forest layers_varieties of species

Rainforest is heaven for native wildlife, each layers of rainforest are inhabited by varieties of species sem six

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project 2 _ contextual strategies & urban planning

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project 2a_forest insight

insight

The forest ecosystem is like a finely woven tapestry. Elements of the nonliving environment (climate, soil, topography) create the support threads, while a numerous of living things supply the pattern threads. The energy exchange and interactions between and among nonliving and living things weave the threads into the forest tapestry we see around us.

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project 2a_site reflection_forest metaphor

This abstract acrylic painting is emphasizing on the emotions of human when walking in a forest. The changing of colours reflecting on human interactions with nature in a forest.

“you can’t see the forest for the tree”

In all living things there is a wholeness blindness. You can’t see the forest for the trees emphasizing that what we see is not all there is. You can’t even see the whole tree because much of it is hidden, or because you are paying attention to a particular part of the tree. When you too focus on the details, that you are not seeing the bigger picture at all. The bigger picture (the entire forest) is probably not possible to see. Much of it is hidden, out of sight. You may also be standing too close, proximity blindness. Maybe proximity and wholeness blindness can help to explain why you can’t see the forest for the tree. You are either too close or too far away, and you only see what you pay attention to. The forest metaphor points out both the dangers of proximity blindness and wholeness blindness. sem six

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project 2a_site reflection_forest metaphor

In a particular forest have different level of intimacy that comprises size, dimension, scale, proximity and distance. A grand scale will affects the idea of human proportion and small details are going to contribute to a local intimacy within a particular space.

Seduction happened in a consumption space is usually linked to misleading mode which allow people to focus on an item instead of a bigger picture. It’s an interactive process that unfold between the physical and mental, reality and imagination, present and future.

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project 2b_masterplan_speculative mapping

The map is showing a speculative analysis that derived from the bigger picture of the site journey, activity, and experience, then plotting them with seduction point as well as blindness encounter, to present an exchange of comprehension between and among nature and human.

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project 2b_masterplan_abstract formation

site

“scale” contemplative By mixing the proximity and wholeness blindness concepts, some interventions have been design to provide brand new experiences to the local community and enhance the economy. “proximity blindness”

“wholeness blindness”

“seduction”

community

hiking

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project 2b_masterplan_urban intervention

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project 2b_masterplan_urban intervention

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

penang hill lower station air itam dam flora texture museum gathering hub climate change museum tunnel penang hill middle station observation deck blindness square research centre wetland park water prayer meditation pavilion contemplation hall fauna texture museum insect appreciation hub penang hill upper station the habitat penang hidden cafe

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project 2c_building strategies

Undulating panels placed beside along the hiking trails to enhance the experience of seduction with nature within the forest. Plants specimens are imprinted on the panels to acknowledge the hikers about the biodiversity of rainforest. Hikers can view the Georgetown city on the viewing deck at the same time experiencing wholeness blindness. sem six

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project 2c_building strategies

Meditation hub provided for local monks to have a contemplate during the journey. Each hub is intertwined with the river and the space is underneath the water. The intimacy of the water enhance the feeling of zen. sem six

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project 2c_building strategies

This is a submerge museum tunnel that presenting climate change issue on the wall. By creating a linear structure to enhance the feeling of proximity blindness. The museum is connecting hiking trail with the middle station. sem six

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project 2c_building strategies

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project 3 _ biophilic architecture

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project 3_design intention_aim_approach_outcome

intention The intention is to raise awareness of climate change in rainforest by creating a seamless site that denotes and demarcates the presence of primary forest. aim Aim to educate the visitors about climate change, habitat destruction, and our relationship with the natural world through non-traditional means. approach By creating art installations and exhibitions we can draw people’s attention to climate change topic. Using degradation materials to imitate the circumstances that faced by forest species. When the degrade materials slowly degradation, the public will have an opportunity to encounter the tangible effects of climate change by seeing and feeling the material deteriorating. outcome It will have a harmonious site that connects people to the surroundings in a deeper way and inspire radical change.

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project 3_design interpretation_axis geometry

The first one as entrance draw citizens from the main road that holds services and exhibitions The second one intersecting the first one and functions as a route to guide visitors through different spaces and experiences, culminating with the transition between built space and nature. The third one act as a tool to allow visitors to experience different circumstances of seduction occurs in forest, it may lead or mislead them

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project 3_programmes_intervention to building program

urban intervention

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building programmes

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project 3_design exploration_mockup model

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project 3_design exploration

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project 3_building material_exploded diagram Thatch roof is used to attract wildlife for building nest and resulted in co-habitation

Meranti wood is retrieved and reused from the existing site that have been chopping down

Due to biophilic architecture the materials that have been constructed in the proposed building are degradable which is no harm to the environment and could last longer. In order to engage landscape to the building, the material chosen to construct may invite species to stay and nest. As the building degrade, it slowly become part of the forest, and become something that cannot be uprooted.

Chengal wood is used to have tiles with gap to grow brown roof

Corten steel is a great material to showcase the quality of degradable

Cob wall that made up of sand, straw and subsoil which retrieved from the excavation to reduce wastage. the façade is to encourage the inhabitation of invertebrates plant life.

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project 3_material experiment_cob wall

Cob is a natural building material made from subsoil, water, fibrous organic material (typically straw), and sometimes lime. It uses low-cost materials although it is very labour intensive, which helps in working opportunity for the residents on the hill.

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project 3_final building model physical model of climate change museum a2 size with a scale of 1:250

The model is using plywood as a base and loaded with soil to mimic the nature of biophilic site. sem six

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project 3_final building model

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project 3_building model perspective

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project 3_building model perspective

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Soil top with moss physical site model for The Habitat Penang Hill

The frame structure were made from plywood base and curved acrylic sheets as soil coverage. The internal structure was filled with light weight foam to reduce the amount of soil and prevent it move towards sideway. The structure lays below the soil surface, hidden under the moss. The building models were made of balsa wood and wood carving.

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School of architecture and built environment Faculty of engineering, technology & built environment JAN - MAY 2022

AR724 WORKING DRAWING

PROJECT 2 - GA & DETAIL DRAWINGS

Name

: SOH HOO ZE XIANG

: 1001849891

Lecturers : MR. BAKHTIAR AMIR AR HISHAM SAIHARI

NOTES

MARK DATE

REVISION

PROJECT TITLE

DETAIL DRAWING

PROJECT NUMBER DRW NO. EA/2022/001

GENERAL DRW NO.

DRAWING TITLE

SCALE

REVISION

A001

DRAWING LIST

NTS

A002

GENERAL NOTE

NTS

A003

LEGEND LIST

NTS

DRAWING TITLE

REVISION

A601

SECTIONAL DETAIL