Architecture Portfolio 2017-2019

GARY CHONG WEE MING ARCHITECTURE PORTFOLIO .3 2017-2019

education 2017-2019 Master of Arts (M.A.) Anhalt University of Applied Science Dessau International Architecture (DIA) Fachbereich Architektur, Facility Management und Geoinformation 2012-2015 Bachelor of Science (Honours) Architecture Taylors University Lakeside Campus Graduated Architecture Degree (ARB/RIBA Part 1) 2011-2012 Foundation in Natural and Built Environment Taylors University Lakeside Campus Board of Architects Malaysia (Lembaga Arkitek Malaysia) Council Of Architecture Accreditation and Education Malaysia

professional

gary chong wee ming born 18.11.1993 in Kuala Lumpur, Malaysia. tel: +49 176 29191958 mail: garychongweeming@gmail.com https://garychongwm.wixsite.com/portfolio as an architect, i consider myself as a critical and purposeful person who works well individually and as part of a team. I am hard working and motivated to improve and refine my design skills, theoretical knowledge and portfolio. My field of interest would be to challenge normal conventions between space, program, movement, form and function. To construct, deconstruct and reconstruct architecture one situation at a time.

2015-2017 Internship at Clement Wong Architecture Sdn. Bhd. Having held this position during my undergraduate degree, I has the oppurtunity to assist in vaious project visualisation, preliminary works, prepared presentation boards for competition. From which Ive learnt various hands on skills related to both interior and exterior architectural design as well as industrial drafting.

Assitant Architect at Seshan Design Sdn. Bhd. Having held this position after finishing my undergraduate degree, I had the oppurtunity to assist in various interior detailing, learning construction techniques, building finishes, materiality and liasing with other consultants and client from start till completion of projects. I have learnt discipline and authority in design, maintaining quality of design output and have an eye to deconstruct details into precise dimension.

Freelance at Biji-biji Initiative Being in an environmental based social enterprise has gave me the oppurtunity to design and make prototypes for energy producing installations and ethical fashion to promote a more sustainable and circular economy. I have learnt how to manage industrial level machinery and steel joinery techniques.

skills 2D/3D Modelling Autocad 2D/3D , Revit , Google Sketchup Pro , Rhinocerous 3D, Grasshopper, Lumion

languages English native C1(GCE) Mandarin native Malay medium Cantonese medium Japanese beginner German beginner A1

recognition Participation in MH17 Memorial Competion 2015 Participation in Radical Festival of the Bauhaus Foundation 2019 Nomination for Robert Oxman Award 2019

Graphic Design Photoshop, Illustrator, Indesign, Lightroom Other Premiere Pro, Microsoft Office (Word, Excel, Powerpoint)

00

Manifesto of Future Design Educational Hub through flexible design to support research and development of sustainable energy Royal Klang Town, Malaysia BAUHUB is derived from a combination of two words “BAU” referring to the Bauhaus, also defined by construction in the German language. “HUB” meaning a platform for collaborative environment. The project is to speculate and form a hub for design education for a group of 30 students and 3 professors which changes every semester in the year of 2049.

The hub will be where students collaborate with local craftsman and innovate existing technology with design knowledge to envision a better future. The hub will essentially be a catalyst which efficiently harness environmental energy from clean renewable resource such as solar, wind, water to power the existing infrastructure.

Master Sectional Isometric

Master Isometric Projection

Supervisor: Prof. Ivan Kucina, Dr. Dulmini Perera

02

03

Ground Floor Isometric

First Floor Isometric

04

05

Second Floor Isometric

Third Floor Isometric

06

Second Floor Plan

07

Fourth Floor Isometric

First Floor Plan

08

Hyperloop is designed to function in a electric propulsion through a low pressure tube, hugely energy efficient and safe.

09

This module illustrate the kit of parts of the transformable bedrooms, by it being attached to a structural grid, it can be machined and the movement can be automated, either by a switch or an app.

East Section

North Section

10

Initial early concept drawing for the hub, inspired by Yona Friedman’s Villa Spatiale.

11

By seperating the zoning of spaces into two loops, one being disconnected and private on top of the station.

East Section

And the other one being directly infused into the train station, making it more public at the lower part of the design.

North Elevation

By overlaying the function of spaces, it almost resembles the double helix spiral of the human dna, perhaps to collaborate and colearn is programmed in our dna.

12

13

Color representing the spatial requirement for private or public space

A 4 meter by 4 meter lightweight steel grid structure as an parasitic attachment

It is a symbiotic merge between station and hub, two different typology into one.

Freeing the ground plate, the structure is also supported by concrete columns in the train station.

The steel structural grid further extends continuously downwards enwrapping the entire massing

Intersecting the column to the axis bridge further supports the structural integrity of the bridge.

A concrete funnel design which is imbued into the column core serve as a rain catchment system

Imagine if drone technology advances to that state.

Draping towards the central pipe core enhances smooth flow of rainwater.

Landscape platforms interconnected and shifted to ensure permaebility of communication.

Layout creates a circular circulation with 360 degrees panaromic view on the site.

The accomodation is chosen as a space to test the extent of modularity

14





  





Untergrund Museum   Studio Construction of  Atmosphere

 

contemporary art museum to house primarily the Lothar Schirmer collection in the district of the Pinakothek Der Moderne in Munich, Germany.



Barer Str. 40, 80333 Munich 

 

 















Based on the analysis, the orientation and arrangement of public buildings are in a checkerboard layout, having a consistent sequence of solid buildings and open public space as void. The shifting  of perspective in each border of the existing buildings ensures multiple visual perception at different points of the site. The building is to respond to the existing master planning concept and will aim to provide unobstructed circulation and cross accessibility between surrounding buildings to the entrance of the Pinakothek Der Moderne, Muenchen which is known as one of the largest con-  temporary museum in Germany.

Furthermore, to retain the existing weekend market at the site to promote transformation and versatility of programme.





 

15

Interior Perspective  

Supervisor: Peter Apel 











Axonometric Projection

16



                         

                                                        Continuous diffused top light                          Relationship between solid and void, the adjacent Due to the reflected checkerboard layout, the mu-  Shift of perspective at every building corner        into the site      buildings are mirrored seum will be positioned underground                                                                                                                                                      facade Difference between inside out  Frosted glass to show light-              through perspective shift ness in contrast of surrounding                                                                              Relationship connection to Shift of perspective at every building corner    of building blocks and                open space                                                                                                                                                                                          Materiality of surrounding building blocks Orientation of building allow cross accessibility Isometric blow-up indicating outdoor activity         17 18                    







































































































































19

20

21

22

23

Detail Section

Detail Sectional Isometric

24

Carpet Housing Studio Toilet Ideology: Better Pasts for the Future Strausberger Pl., 10243 Berlin The manifestation of this project starts with an idea of blurring the lines between public and private space by merging spaces around the site with a terrain structure which serves as a connection between spaces, overlap and intersect creating a mosaic of spaces and degree of access creating a multi layer space. This is due to the public and private space being extremely far apart and unrelated, thus causing underutilization of spaces. Forming a terrain structure which connects in a natural way to its surrounding and gives back a space to nature on its roof

Isometric blow-up indicating furniture layout

25

Supervisor: Sam Chermayeff

Exterior Perspective

26

27

Interior Perspective

28

29

Master Isometric

Isometric Typical

30

31

Sectional Isometric

Sectional Isometric

32

33

Sectional Ground Floor

Ground Floor Plan

34

35

Sectional Ground Floor

Ground Floor Plan

36

37

38

Yusuhara Wooden Bridge Museum

Yusuhara Wooden Bridge Museum - Kengo Kuma Architects The Sites of Building No building can arise without the use of support structures. They are applied during the building process to hold up, bear, brace and shape the material to be put in place. These structures are closely linked to specific building techniques. Elaborate systems of shuttering and scaffolding have floor plan been developed to be flexible, adjustable, robust and reusable.

These structures often require complex spatial pre-conception and in some cases themselves inspire architectures. In other cases sup- port structures are interwoven in the construction process to become an integral part of the later building. In conjunction with the ’support structures’ studio we will investigate the physical dimension of the term and focus on building processes, and in particular on those structures that support the making of ar- chitecture.

Isometric

39

Gary Chong Wee Ming/ 4067166

Isometric Projection

E Sites of Building

Supervisor: Antje Buchholz, Jürgen Patzak-Poor

location map Architects Kengo Kuma & Associates Location 3799-3 Taro-gawa Yusuhara-cho, Takaoka-gun, Kochi Prefecture, Japan Category Museum Client Tomio Yano, Town Mayor of Yusuhara. The museum technically bridges communications in this area. It functions not only as a passage between the two facilities but also as an accommodation and workshop, ideal location for artist-in-residence pro grams. In this project, we challenged a structural system which composes of small parts, referring to cantilever structure often employed in traditional architecture in Japan and China.

40

section

construction detail of wooden structure

structural detail blow up axonometric

41

Axonometric Projection Gary Chong Wee Ming/ 4067166

Detail Isometric E Sites of Building

42

House of Trace Tsuruta Architect Old & New: The Practice of Transforming Architecture

Voronoi Chair Computational Design Parametric Furniture The Voronoi Chair was produced on computer based manufacturing methods. The cellular form of wood is based on the voronoi cell structure. The overall form is composed of modular voronoi blocks which are connected with a slot system.

House of Trace is an interesting project which im interested in, because of the perfect symbiosis between old and new architecture.

The use of similar material but finished in a slight different way pays homage to the old house. The structure of the new extension is of lightweight exposed beam construction, fitting in the whole exposed constructionapproach whilst having similar brickwork at the old building. This ensures the project to maintain a sense of memory, hence the project named House of Trace, which is to be traced back to its roots. Extension architecture can always reproduce to match the old architecture or reinterpret with newer, more efficient materials.

Form Generation

850(W)x680(H)x550(L)mm

Supervisor: Prof. Joris Fach

43

Isometric Projection

Supervisor: Karim Soliman

Isometric Projection

44

漀爀攀渀樀 栀愀甀猀 䔀氀攀挀琀椀瘀攀 ᰠ圀栀礀 搀漀渀ᠠ琀 眀攀 氀椀欀攀 琀栀攀 㜀 猀㼀ᰠ

䄀 瘀愀爀椀攀琀礀 漀昀 攀砀瀀爀攀猀猀椀漀渀 猀甀挀栀 愀猀 䈀爀甀琀愀氀椀猀洀Ⰰ 匀琀爀甀挀琀甀爀愀氀椀猀洀 愀渀搀 一攀眀 䘀漀爀洀愀氀椀猀洀⸀

猀攀挀琀椀漀渀愀氀 椀猀漀洀攀琀爀椀挀 ㄀ ᰠ圀栀礀 搀漀渀ᤠ琀 眀攀 氀椀欀攀 琀栀攀 㜀 猀㼀ᴠ 漀爀 爀愀琀栀攀爀 琀栀攀 焀甀攀猀琀椀漀渀 漀昀 栀漀眀 琀栀攀 攀渀琀椀爀攀 攀爀愀 椀猀 渀漀琀 爀攀洀攀洀戀攀爀攀搀 漀爀 攀瘀攀渀 愀戀愀渀搀漀渀攀搀⸀ 䤀琀 椀猀 攀愀猀礀 琀漀 搀椀猀洀椀猀猀 琀栀攀 㜀 猀 愀猀 ᰠ琀栀攀 搀攀挀愀搀攀 琀栀愀琀 琀愀猀琀攀 昀漀爀最漀琀ᴠ⸀ 䤀琀 眀愀猀 愀 琀椀洀攀 眀栀椀挀栀 眀愀猀 戀甀爀搀攀渀攀搀 戀礀 爀攀挀攀猀猀椀漀渀Ⰰ 挀漀爀爀甀瀀琀椀漀渀Ⰰ 愀渀搀 栀椀最栀 甀渀攀洀瀀氀漀礀洀攀渀琀 爀愀琀攀猀㬀 愀 琀椀洀攀 漀昀 爀攀渀攀眀攀搀 攀渀瘀椀爀漀渀洀攀渀琀愀氀椀猀洀 愀渀搀 搀椀猀攀渀挀栀愀渀琀洀攀渀琀 眀椀琀栀 洀愀琀攀爀椀愀氀 攀砀挀攀猀猀⸀ 䄀渀搀 氀椀欀攀 漀甀爀 攀愀爀氀礀 㜀 猀 挀漀甀渀琀攀爀瀀愀爀琀猀Ⰰ 眀攀 琀漀漀 愀爀攀 攀洀攀爀最椀渀最 昀爀漀洀 愀 瀀攀爀椀漀搀 搀漀洀椀渀愀琀攀搀 戀礀 猀氀攀攀欀Ⰰ 洀椀渀椀洀愀氀椀猀琀 洀漀搀攀爀渀椀猀洀 椀渀 愀爀挀栀椀琀攀挀琀甀爀攀Ⰰ 椀渀琀攀爀椀漀爀 愀猀 眀攀氀氀 愀猀 昀甀爀渀椀琀甀爀攀 搀攀猀椀最渀⸀

椀猀漀洀攀琀爀椀挀 瀀爀漀樀攀挀琀椀漀渀 ㄀

猀攀挀琀椀漀渀愀氀 椀猀漀洀攀琀爀椀挀 ㈀

椀猀漀洀攀琀爀椀挀 瀀爀漀樀攀挀琀椀漀渀 ㈀

吀栀攀 㜀 猀 眀愀猀 愀 猀琀甀搀礀 漀昀 挀漀渀琀爀愀搀椀挀琀椀漀渀㨀 愀甀猀琀攀爀椀琀礀 愀渀搀 搀攀挀愀搀攀渀挀攀Ⰰ 搀爀愀戀 攀愀爀琀栀 琀漀渀攀猀 愀渀搀 挀愀洀瀀礀 挀漀氀漀爀猀Ⰰ 渀愀琀甀爀攀 氀漀瘀椀渀最 栀椀瀀瀀椀攀搀漀洀 愀渀搀 栀椀最栀 琀攀挀栀 昀甀琀甀爀椀猀洀⸀ 䤀渀 栀椀猀 戀漀漀欀 㜀 猀 䠀漀甀猀攀Ⰰ 䐀愀瘀椀搀 䠀攀愀琀栀挀漀琀攀 愀爀最甀攀猀 琀栀愀琀 琀栀攀 搀攀挀愀搀攀 眀愀猀 愀 猀椀最渀椀昀椀挀愀渀琀 ᰠ眀愀琀攀爀猀栀攀搀ᴠ 昀漀爀 椀渀琀攀爀椀漀爀 搀漀洀攀猀琀椀挀 搀攀猀椀最渀Ⰰ 洀愀爀欀椀渀最 琀栀攀 琀爀愀渀猀椀琀椀漀渀 昀爀漀洀 琀栀攀 䴀漀搀攀爀渀椀猀琀 㘀 猀 琀漀 愀渀 攀爀愀 椀渀 眀栀椀挀栀 ᰠ猀琀礀氀攀 愀渀搀 琀栀攀 椀渀搀椀瘀椀搀甀愀氀椀猀琀椀挀 攀琀栀漀猀 漀昀 昀愀猀栀椀漀渀 搀攀猀椀最渀 戀攀挀愀洀攀 琀栀攀 最甀椀搀椀渀最 瀀爀椀渀挀椀瀀氀攀猀⸀ᴠ 䄀氀猀漀 爀攀瀀爀攀猀攀渀琀 愀 爀攀愀挀琀椀漀渀 愀最愀椀渀猀琀 猀氀攀攀欀 洀椀搀ⴀ挀攀渀琀甀爀礀 洀漀搀攀爀渀椀猀洀 椀渀 昀愀瘀漀爀 漀昀 ᰠ瀀氀愀礀昀甀氀 攀洀戀攀氀氀椀猀栀洀攀渀琀 愀渀搀 爀愀搀椀挀愀氀 攀砀瀀攀爀椀洀攀渀琀愀琀椀漀渀 眀椀琀栀 昀漀爀洀⸀ᴠ 45

最爀漀甀渀搀 昀氀漀漀爀 瀀氀愀渀

最愀爀礀 挀栀漀渀最 ㄀

吀栀攀 搀攀猀椀最渀 椀猀 戀愀猀攀搀 漀渀 愀 昀椀氀洀 戀礀 匀琀愀渀氀攀礀 䬀甀戀爀椀挀欀ᤠ猀 䄀 䌀氀漀挀欀眀漀爀欀 伀爀愀渀最攀 ⠀㄀㤀㜀㄀⤀ 眀栀椀挀栀 猀甀最最攀猀琀猀 洀愀挀栀椀渀椀挀 焀甀愀氀椀琀椀攀猀 漀昀 愀 挀氀漀挀欀眀漀爀欀 甀渀椀瘀攀爀猀攀 愀渀搀 樀甀砀琀愀瀀漀猀攀搀 戀礀 琀栀攀 渀愀琀甀爀愀氀㨀 栀甀洀愀渀椀琀礀 漀瀀瀀爀攀猀猀攀搀 戀礀 瀀漀猀琀 椀渀搀甀猀琀爀椀愀氀 洀攀挀栀愀渀椀稀愀琀椀漀渀⸀ 䈀攀爀渀愀爀搀 吀猀挀栀甀洀椀 搀爀愀眀猀 栀攀愀瘀椀氀礀 昀爀漀洀 䈀愀琀愀椀氀氀攀Ⰰ 挀氀愀椀洀椀渀最 琀栀愀琀 琀栀攀爀攀 椀猀 愀渀 ᰠ甀渀爀攀洀椀琀琀攀渀琀 攀爀漀琀椀挀椀猀洀 椀渀 愀爀挀栀椀琀攀挀琀甀爀 愀渀 ᰠ甀渀爀攀洀椀琀琀攀渀琀 攀爀漀琀椀挀椀猀洀 椀渀 愀爀挀栀椀琀攀挀琀甀爀攀Ⰰᴠ 愀渀搀 琀栀愀琀 ᰠ愀爀挀栀椀琀攀挀琀甀爀攀ᤠ猀 瘀椀漀氀攀渀挀攀 椀猀 昀甀渀搀愀洀攀渀琀愀氀 愀渀搀 甀渀愀瘀漀椀搀愀戀氀攀Ⰰ 昀漀爀 愀爀挀栀椀琀攀挀琀甀爀攀 椀猀 氀椀渀欀攀搀 琀漀 攀瘀攀渀琀猀 椀渀 琀栀攀 猀愀洀攀 眀愀礀 琀栀愀琀 琀栀攀 最甀愀爀搀 椀猀 氀椀渀欀攀搀 琀漀 琀栀攀 瀀爀椀猀漀渀攀爀Ⰰ 琀栀攀 瀀漀氀椀挀攀 琀漀 琀栀攀 挀爀椀洀椀渀愀氀Ⰰ 琀栀攀 搀漀挀琀漀爀 琀漀 琀栀攀 瀀愀琀椀攀渀琀Ⰰ 漀爀搀攀爀 琀漀 挀栀愀漀猀⸀ᴠ 吀猀挀栀甀洀椀 搀漀攀猀 渀漀琀 爀攀昀攀爀 琀漀 瘀椀漀氀攀渀挀攀 椀渀 琀栀攀 挀氀愀猀猀椀挀愀氀 猀攀渀猀攀Ⰰ 戀甀琀 爀愀琀栀攀爀 椀渀 琀攀爀洀猀 漀昀 戀漀搀椀攀猀 瘀椀漀氀愀琀椀渀最 琀栀攀 瀀甀爀椀琀礀 漀昀 猀瀀愀挀攀 愀渀搀 琀栀攀 爀攀挀椀瀀爀漀挀愀氀 挀漀渀搀椀琀椀漀渀 漀昀 猀瀀愀挀攀 瘀椀漀氀愀琀椀渀最 戀漀搀椀攀猀⸀ 䤀渀 琀栀椀猀 爀攀猀瀀攀挀琀Ⰰ 栀甀洀愀渀猀 愀爀攀 樀甀猀琀 愀猀 洀甀挀栀 瀀愀爀琀 漀昀 愀爀挀栀椀琀攀挀琀甀爀攀 愀猀 琀栀攀 洀愀琀攀爀椀愀氀 挀漀洀瀀漀猀椀琀椀漀渀 漀昀 琀栀攀 昀氀漀漀爀猀 愀渀搀 眀愀氀氀猀⸀

Supervisor: Sam Chermayeff

匀攀氀昀 攀砀瀀爀攀猀猀椀漀渀 愀渀搀 椀渀搀椀瘀椀搀甀愀氀椀琀礀 眀攀爀攀 栀愀氀氀洀愀爀欀猀 漀昀 琀栀攀 琀椀洀攀⸀ 䈀甀琀 愀 氀漀琀 眀栀愀琀 眀攀 琀栀椀渀欀 漀昀 愀猀 㜀 猀 愀挀琀甀愀氀氀礀 愀 栀愀渀最漀瘀攀爀 昀爀漀洀 琀栀攀 㘀 猀Ⰰ 猀愀礀 䰀甀琀礀攀渀猀 愀渀搀 䠀椀猀氀漀瀀Ⰰ ᰠ 眀椀琀栀 椀琀猀 攀渀琀栀甀猀椀愀猀洀 昀漀爀 琀攀挀栀渀漀氀漀最礀 愀渀搀 瀀猀礀挀栀攀搀攀氀椀挀 攀砀挀攀猀猀⸀ᴠ 圀栀椀氀攀 ᰠ瀀攀漀瀀氀攀 椀渀 琀栀攀 洀愀椀渀猀琀爀攀愀洀 挀氀漀洀瀀攀搀 愀爀漀甀渀搀 椀渀 瀀氀愀琀昀漀爀洀猀 愀渀搀 昀氀愀爀攀猀Ⰰ 愀瘀愀渀琀 最愀爀搀攀 猀甀戀挀甀氀琀甀爀攀猀 眀攀爀攀 栀漀渀椀渀最 愀渀 愀氀琀攀爀渀愀琀椀瘀攀 氀漀漀欀 眀栀椀挀栀 甀氀琀椀洀愀琀攀氀礀 攀瘀漀氀瘀攀搀 椀渀琀漀 瀀甀渀欀⸀ᴠ 㜀 猀 猀琀礀氀攀 眀愀猀 最爀攀愀琀氀礀 椀渀昀氀甀攀渀挀攀搀 戀礀 琀栀攀 戀愀挀欀ⴀ琀漀ⴀ渀愀琀甀爀攀 洀漀瘀攀洀攀渀琀Ⰰ 眀栀椀挀栀 愀爀漀猀攀 昀爀漀洀 戀漀琀栀 愀 栀椀瀀瀀椀攀 爀攀樀攀挀琀椀漀渀 漀昀 挀漀渀猀甀洀攀爀椀猀洀 愀渀搀 洀愀琀攀爀椀愀氀椀猀洀 愀渀搀 愀 渀攀眀 爀攀渀攀眀攀搀 攀渀瘀椀爀漀渀洀攀渀ⴀ 琀愀氀椀猀洀 昀漀氀氀漀眀椀渀最 琀栀攀 ㄀㤀㜀㌀ 漀椀氀 挀爀椀猀椀猀⸀ 46 最愀爀礀 挀栀漀渀最 ㈀

猀攀挀琀椀漀渀 愀ⴀ愀

䨀愀昀昀攀 䠀漀甀猀攀 ⠀匀欀礀戀爀攀愀欀 䠀漀甀猀攀⤀ 刀愀搀氀攀琀琀Ⰰ 唀渀椀琀攀搀 䬀椀渀最搀漀洀⸀ ㄀㤀㘀㔀ⴀ㄀㤀㘀㘀 䄀爀挀栀椀琀攀挀琀猀㨀 吀攀愀洀 㐀 ⠀匀甀 䈀爀甀洀眀攀氀氀Ⰰ 圀攀渀搀礀 䌀栀攀攀猀攀洀愀渀Ⰰ 一漀爀洀愀渀 䘀漀猀琀攀爀 愀渀搀 刀椀挀栀愀爀搀 刀漀最攀爀猀⤀

㜀 猀 䌀栀攀挀欀氀椀猀琀 䌀爀愀昀琀猀 爀攀瘀椀瘀愀氀 愀渀搀 栀椀瀀瀀椀攀搀漀洀 嘀椀挀琀漀爀椀愀渀 匀氀攀攀欀 瀀氀愀猀琀椀挀猀 愀渀搀 栀椀最栀 琀攀挀栀 洀愀琀攀爀椀愀氀猀 䄀瘀漀挀愀搀漀 最爀攀攀渀 愀渀搀 栀愀爀瘀攀猀琀 最漀氀昀 愀瀀瀀氀椀愀渀挀攀猀 䈀漀氀搀 瀀愀琀琀攀爀渀猀 愀渀搀 瀀爀椀渀琀猀 匀琀愀挀欀攀搀 猀琀漀渀攀 昀椀爀攀瀀氀愀挀攀 愀渀搀 猀琀漀渀攀 眀愀氀氀猀 吀攀爀爀愀挀漀琀琀愀 琀椀氀攀猀 愀渀搀 栀愀爀搀眀漀漀搀 昀氀漀漀爀椀渀最 䜀攀漀洀攀琀爀椀挀 猀栀愀瀀攀猀 愀渀搀 氀椀渀攀猀 吀栀椀挀欀 愀渀搀 挀栀甀渀欀礀 洀愀猀挀甀氀椀渀攀 昀甀爀渀椀琀甀爀攀 圀愀氀氀 琀漀 眀愀氀氀 挀愀爀瀀攀琀椀渀最

匀甀渀欀攀渀 氀椀瘀椀渀最 爀漀漀洀猀 䘀氀漀愀琀椀渀最 猀琀愀椀爀挀愀猀攀猀 圀椀挀欀攀爀 昀甀爀渀椀琀甀爀攀 匀栀愀最 爀甀最猀 䔀愀爀琀栀 琀漀渀攀猀㨀 戀爀椀挀欀Ⰰ 爀甀猀琀Ⰰ 猀愀渀搀Ⰰ 愀瘀漀挀愀搀漀 栀愀爀瘀攀猀琀 最漀氀搀 䈀爀椀最栀琀氀礀 挀漀氀漀爀攀搀 昀甀爀渀椀琀甀爀攀 伀爀愀渀最攀

椀渀琀攀爀椀漀爀 瀀攀爀猀瀀攀挀琀椀瘀攀 ㄀ 䤀渀猀瀀椀爀攀搀 戀礀 琀栀攀 䬀漀爀漀瘀愀 洀椀氀欀 戀愀爀Ⰰ 眀栀攀爀攀 猀攀瘀攀爀愀氀 渀甀搀攀 昀椀戀爀攀最氀愀猀猀 昀攀洀愀氀攀 昀椀最甀爀攀猀⸀ 吀栀攀 愀戀猀甀爀搀椀琀礀 猀甀最最攀猀琀猀 挀漀渀琀攀洀瀀漀爀愀爀礀 猀漀挀椀攀琀礀 洀漀爀愀氀椀琀礀 愀渀搀 椀渀琀攀氀氀攀挀琀 愀爀攀 搀攀瘀愀氀甀攀搀 椀渀 昀愀瘀漀爀 漀昀 栀攀搀漀渀椀猀琀椀挀 瀀氀攀愀猀甀爀攀Ⰰ 攀瘀攀渀 眀攀愀瘀椀渀最 椀琀猀攀氀昀 眀椀琀栀椀渀 漀甀爀 愀爀挀栀椀琀攀挀琀甀爀攀 愀渀搀 椀渀琀攀爀椀漀爀 搀攀猀椀最渀Ⰰ 愀氀猀漀 琀漀 椀渀搀椀挀愀琀攀 搀攀猀攀渀猀椀琀椀稀愀琀椀漀渀 漀昀 琀栀攀 琀椀洀攀⸀

椀渀琀攀爀椀漀爀 瀀攀爀猀瀀攀挀琀椀瘀攀 ㈀

䐀攀氀攀甀稀攀 愀渀搀 䬀甀戀爀椀挀欀 猀甀最最攀猀琀 琀栀愀琀 眀攀 愀爀攀 琀爀愀渀猀昀漀爀洀椀渀最 椀渀琀漀 愀 猀礀渀挀栀爀漀渀椀挀 猀漀挀椀攀琀礀Ⰰ 眀椀琀栀 愀 琀攀洀瀀漀爀愀氀椀猀琀椀挀 猀攀渀猀椀戀椀氀椀琀礀 爀愀琀栀攀爀 琀栀愀渀 愀 洀愀琀攀爀椀愀氀 漀渀攀⸀ 圀攀 椀渀琀攀爀愀挀琀 渀漀琀 眀椀琀栀 漀戀樀攀挀琀猀 戀甀琀 洀漀瘀椀渀最 愀氀漀渀最 愀 琀爀愀樀攀挀琀漀爀礀 昀爀漀洀 渀漀渀攀砀椀猀琀攀渀挀攀 琀漀 瀀漀猀琀ⴀ 攀砀椀猀琀攀渀挀攀Ⰰ 漀渀 愀 瀀爀漀挀攀猀猀 漀昀 猀攀氀昀 愀挀琀甀愀氀椀稀愀琀椀漀渀⸀ 吀栀攀 爀漀氀攀 漀昀 攀搀最攀Ⰰ 攀渀挀氀漀猀甀爀攀Ⰰ 猀瀀愀琀椀愀氀椀琀礀 愀渀搀 洀愀琀攀爀椀愀氀椀琀礀 洀甀猀琀 戀攀 挀漀渀猀椀搀攀爀攀搀 椀渀 琀栀攀 搀椀爀攀挀琀椀漀渀 椀渀 眀栀椀挀栀 眀攀 愀爀攀 栀攀愀搀攀搀 椀渀 琀栀攀 昀甀琀甀爀攀⸀ 椀渀 琀栀攀 搀椀爀攀挀琀椀漀渀 椀渀 眀栀椀挀栀 眀攀 愀爀攀 栀攀愀搀攀搀 椀渀 琀栀攀 昀甀琀甀爀

猀攀挀琀椀漀渀 愀ⴀ愀

47

刀攀昀攀爀攀渀挀攀 䌀椀琀愀琀椀漀渀 䈀攀爀渀愀爀搀 吀猀挀栀甀洀椀Ⰰ 䄀爀挀栀椀琀攀挀琀甀爀攀 愀渀搀 䐀椀猀樀甀渀挀琀椀漀渀Ⰰ 䴀䤀吀 倀爀攀猀猀 ⠀㄀㤀㤀㘀⤀Ⰰ 瀀⸀ ㄀㈀㈀ 䜀攀漀爀最攀猀 䈀愀琀愀椀氀氀攀Ⰰ 匀琀漀爀礀 漀昀 琀栀攀 䔀礀攀Ⰰ ⠀㄀㤀㈀㠀⤀Ⰰ 瀀⸀ 㐀㌀ 䜀椀氀氀攀猀 䐀攀氀攀甀稀攀Ⰰ ᰠ倀漀猀琀猀挀爀椀瀀琀猀 漀渀 琀栀攀 匀漀挀椀攀琀礀 漀昀 䌀漀渀琀爀漀氀Ⰰᴠ 椀渀 刀攀琀栀椀渀欀椀渀最 䄀爀挀栀椀琀攀挀琀甀爀攀㨀 䄀 刀攀愀搀攀爀 漀昀 䌀甀氀琀甀爀愀氀 吀栀攀漀爀礀Ⰰ 一攀椀氀 䰀攀愀挀栀Ⰰ 䔀搀⸀ ⠀刀漀甀琀氀攀搀最攀Ⰰ ㄀㤀㤀㜀⤀ 䄀 䌀氀漀挀欀眀漀爀欀 伀爀愀渀最攀Ⰰ 搀椀爀⸀ 匀琀愀渀氀攀礀 䬀甀戀爀椀挀欀Ⰰ ⠀㄀㤀㜀㄀⤀

最愀爀礀 挀栀漀渀最 㐀

Ground Floor Plan

48

最愀爀礀 挀栀漀渀最 ㌀

ferry station "Oostveer" 7.5 m 8.0 m

12.6 m 14 m

up to15.6 m

MH17 Memorial + ParkCompetition

up to15.6 m 10.0 m

Java-eisland, Amsterdam, Netherlands

14.8 m 14.8 m

17,4 m

memorial island location border 14.8 m

19.8 m

5.7 m

16.9 m

-0.4 above the level

-0.4 above the level

possible tourist ferry connection

12.2 m

-0.4 above the level 30 m

25.6 m

ferry station "Oostveer"

25.6 m

Java-island

32.2 m

25.6 m 19.7 m 19.7 m

29.1 m

19.7 m

65 m 17.6 m

17.6 m

-0.4 above the level

The impermanence of the human life is what brings importance to time. The memorial is a journey of acceptance and rememberance, it os not a journey steeped in sadness and mourning but rather a celebration of the fragility of human life. The project emphasizes individuality and collectiveness, equality with distinction of differences; It tries to commemorate each of the deceased without grouping them into a generic whole. Ultimately, It is about giving those left behind a sense of closure and a way to move on, a renewed outlook on the scarcity of time.

Site Plan 1:5000 A3

298 lives lost; 298 individual walls An axis based on the original flight path acts as the spine of the design. These paths follow a supplementary axis pointing towards the 9 countries involved.

49

Shaded Isometric

50

Cloud Vessel Architectural Design Project: Boat Making Community & Cultural Centre Port Klang, Malaysia The proposed project is to create a maritime community and cultural centre in Port Klang, Malaysia. It is the heart of all transhipment and logistics state. Thus, to provide a community space where the people can interact and communicate between each other to treat the ‘Urban Decay’ condition of Port Klang. Therefore, my intention is to promote the culture of boat making to the locals and tourist from overseas. The site has immediate vicinity of Klang River, being near the main railway station. Boat making culture is exclusive to Terrenganu, Malaysia which will be conserved for the future generations of Malaysians.

51

Supervisor: Ar. Eric Chang

52

Aquaponic Food Market Urban Infill Architectural Project: Vertical Farm Food Market Jalan Tun H.S. Lee, Malaysia The project is to design a place for the wellbeing of people in Kuala Lumpur. Considering Kuala Lumpur’s rate of unemployment, obesity, lack of space and decline of agriculture as a traditional industry. Urban farming was chosen as a method to address this issue.

The design includes vertical farm, restaurant, workshop, fresh vegetable and vertical farm produce market and a community space.

The building performs as a large scale air purifier to counter the traffic and a community hall promoting and providing the culture of fresh foods and educating the public on a healthier and more balance lifestyle.

53

Supervisor: Ar. Lee Cherng Yih

Ground Floor Plan

54

Contain Joy Project Management: Shipping Container Housing Sentul, Kuala Lumpur, Malaysia Sentul is the main town area in Kuala Lumpur. It is primarily divided into two sections which is east and west Sentul. The project is to design a low cost budget residential for users ranging from university students to young working professionals. The concept is to use refurbished shipping containers to promote sustainable upcycling with installation of several ecological strategies which is incorporated into the structure and facade. To create a private dwelling without compromising comfort. By utilising recycled materials, further reduces carbon footprint and promote a more sustainable, circular economical lifestyle.

Single Units

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DELUXE 1 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Sectional Ground Floor

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

55

Supervisor: Ar. Chin Tuck Heng

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

56

Kraffmen Cafe- F&B Interior Design + Planning Georgetown, Penang, Malaysia This project is a design and build project for a cafe at a corner of an old shophouse. To propose interior detailing for the bar back, bilboard, counter, kitchen, feature wall, chairs, tables and materials. This exercises an eye for aesthetics on the materiality of the project which introduce refined spatial quality that benefit the business oppurtunity and marketting of the cafe. My role as an architectural designer is to propose overall interior design and all custom fitting design.

Furthermore, i was tasked to design the overall branding identity for the cafe. As well as the graphic stationaries such as the lightbox menu, printed menu, posters, flyers and promotional graphic.

57

WORQ- Co-Working Space Design PlanniProfessional Work Petaling Jaya, Malaysia Schematic Design The project is a design and build project for a co-working multipurpose office space with facilities.

To propose interior detailing for office cubicles, billboard, counter, kitchen, feature wall, chairs, tables, lighting, acoustic and materials. This task exercises an eye for aesthetics on the materiality of the project which introduces complex circulation requirements. My role as an assistant architect is to propose schematic design to arrange floor layout, furniture design and overall interior design.

Furthermore, I was tasked to design the overall branding identity for the office. As well as graphic stationaries.

Supervisor: Ar. Ramesh Seshan

Ground Floor Plan

58

Dr. Ravi Cosmetic Clinic Interior Design + Partitioning Layout

Bicycle Generator Design + Enclosure Industrial Design Biji-Biji Initiative

Bangsar Lrt Station, Malaysia This project is to design the interior of an existing empty lot in the train station for a cosmetic clinic. The strategic location within the train station ensure large volume of clients and clear visual of the clinic’s branding and location. A private doctors office is positioned at a corner for easy access to all rooms. The dimension of each building element in the design complies with national medical building requirement to allow wheelchair access and of a specific thickness. The pharmacy cabinet design is inspired by old chinese herbal medicine shop which has mini push drawers for each type of medicine. The color scheme of the interior are warm bright tones.

The Southeast Asian Games (Sukan Sea) August 2017.

The project is to design the enclosure and system for the electric generating bicycle. The bicycle generator requires to comply with safety, ease of maintainence and to also prevent theft.

A stand for the back wheel made to be used in an outdoor setting.

To also further incorporate and attach underneath the front wheel of the bicycle. The entire structure must be extremely stable to achieve a weight support of 200kg. Timber was recommended due to cost and available machinery. A cover plate is required for the bicycle chain to be easy to disassembled and reassembled to prevent potential injury.

Supervisor: Chong Mei Lam

59

Ground Floor Plan

Ground Floor Plan

60

Diminishing Growth A Photography Work of an Asian Market Jalan Pudu, Kuala Lumpur, Malaysia The story of pudu as a container of society, culture, history & memory.

Pudu street as an experience of urban life, as transitional language.

Jalan Pudu is one of the oldest undestroyed areas in Kuala Lumpur. Pudu was once a terrain area with coffee plantations but was cleared after the civil war in 1873.

This documents the rhythematic progression of Pudu throughout the day, the busy market streets to the quieter abandoned spaces.

Pudu street in a descending order of dominance- from busy to quiet, revealing the occurence of social convergence.

61

62

Write as you wish on this intentionally left blank page.

63

Write as you wish on this intentionally left blank page.

64

gary chong wee ming born 18.11.1993 in Kuala Lumpur, Malaysia. tel: +49 176 29191958 mail: garychongweeming@gmail.com https://garychongwm.wixsite.com/portfolio