University of Cambridge • Architectural Association
PORTFOLIO Hafizah Nor
GOTONG-ROYONG An autonomous floating settlement in Brunei Water settlements have been victims of romanticization and exclusion from the discourse of urbanization, eclipsed by the colonial canon of the gridded settlement of dry land. The notion of settling on water means, and has always meant throughout history, the search for forms of governmentality based on strong local autonomies. Upon examination of three water settlements in Benin, Iraq and Brunei, water was seen as no man’s land challenging the foundational legal tenets of sovereignty. The project decolonizes the act and narrative of settling, challenges ownership by replacing it with the notion of possession and advocates the role of the architect as adviser of systems rather than designer of specifics. The project is a manual for a floating settlement in Kampung Ayer, Brunei that articulates a high degree of community agency vis-a-vis the need for state support. ‘Gotong-Royong’, in Malay is a conception of a social ethos of communal work. The project urges for a paradigm shift in viewing the ecological landscape not as a place that belongs to us but as a place where we belong to.
Kampong Ayer
Ga
iĂŠ nv
Me so
pot am
ian M ars hla n
ds
Analagous Map summarizing the thesis of Res Omnium: Settling on lake, marshland and river with the proposal
0
3
6
9
12
13
0
3
6
9
12
13
0
3
6
9
12
13
0
3
6
9
12
13
Phases of construction
months after start of construction
5m 5m
Proposed scenario of civic module
Flotation instructions manual
Flotation module acts as litter trap using an electrical pump to filter river water.
Different hierarchies of commoning permeates into daily life in this scenario.
SUBURBAN NEBULA Resisting the Commodification of Culture
Resisting our homogenized living standard, the project is a polemic on how culture has become a commodity in the way it is cultivated, showcased and consumed within cities – monopolized by large institutions. Suburbs have traditionally supplied counter culture with its rich ethnic mix from figures like David Bowie, and author Hanif Kureishi.It sees the banality of suburbia as an alternative territory of cultural production and exchange. The project aims to reinvent the typology of the house where residents can reclaim control over their culture, whilst simultaneoulsy decentralizing it.The suburbs of Wembley is chosen as the testbed for this speculation as a historic site for the 1924 British Empire Exhibition. 52% of Wembley residents comprise of immigrants – more than anywhere in Britain. This dichotomy of the imperial past and the multicultural identity of Wembley represents the bigger canvas of London and provides a socio-political backdrop for this project.
by the contemporary creative class. Governments are trying to revitalize failing industrial cities with art and museums designed to appeal to a global pool of tourists.
e project sees suburbia as an alternative territory of cultural production and exchange where residents can reclaim control over their culture - decentralizing it.
e biggest shift in our age is the erosion of material production as the major source of cities’ authentic cultural identity. e industrial economy has been replaced
When the same idea is applied to all cities, it results in homogenization. Suburbs have traditionally supplied counter culture with its associated rich ethnic mix.
it is as if by magic; where I sleep nights in a glass bed, under glass sheets, where who I am will sooner or later be etched by a diamond. î Že house is a labyrinth in
of the unconcscious, a kind of surreal sublime within the everyday. Culture is personal and found its embodiment in the domain of intimate familiarity of the house.
I myself shall continue living in my glass house where you can always see who comes to call; where everything hanging from the ceiling and on the walls stays where
itself replicating the structure of the unconscious. It is one of the greatest powers of integration for the thoughts, memories and dreams of mankind. î Že eruption
House as overlapping realms
box –microcosmic worlds in themselves, like cells of the mind. We have to have our attention called to the particularities of space, to look into an embodied
poetic resonances and subjectivity; a space of desire and a space of the uncanny. What is a house if not a box assemblage, the rooms like the compartments of a trinket
mystery visible only to those who look through the peepholes, as into a dream.Residents control the porosity of the screen, what they choose to see and what to exhibit.
î Že surreal house is a convulsive theatre of the domestic, both a real space and a metaphoric space inhabited if not by people then by their ghosts.It is alive with
House as theathre of the domestic
Houses Within Houses (film) I am entering my surreal house, a dwelling like no other, houses within houses, rooms within walls, curious spaces. This is my room of containment and reverie, of personal, intellectual expression and expansion, a space where I rest, read, write and pray , a space where I can control and create. My house is sentient and pulsating, the walls expand and create rooms within them. A world of light exists within the wall, a kind of surreal sublime within my everyday, a world where I can see my neighbours, even just for a glimpse. I move through the screened walls like a ghost, the visitor of the surreal house must be ready, to enter a spirit of cultural exchange, to be receptive, to the reverberations emanating from the house. The house with the everchanging faรงade, where residents choose when to exhibit, and when to conceal, a house that is in constant flux.
Film Link: https://www.youtube.com/watch?v=upJsE9FUYUQ
a place for the community
HOMES OVER THE BATHS Commoning Tower Hamlets
A C AA CD AE DMAEICMCA IDWCAECOW MARIODKCRE KW M IOCR KW O R K H OHMOEMS EHOSOVMOE EVRHSEOTRMOH VET EHS BREOATVBTHEAHRETS HBTSHA TE HBSA T H S a place a place forafor the place the community afor community place the for community the community
This project aims to tackle the local family housing problem Towers Cuts and revivePerimeter the site’s Block history of bathing withGaps methods of creates diagonal classes space add density and create enable the sun, air a secure commoning.creates It sets out to integrate the different tension and allows landmark points and views to enter the outdoor communal of the community from varying backgrounds sharing people to discover the inner space space common life and a range of experiences, through the hidden courtyard combination of housing association, private developments Gaps Gaps Gaps Towers TowersTowersTowers CutsCuts Cuts Cuts Perimeter Perimeter Perimeter Block Block Perimeter Block Block Gaps creates creates diagonal diagonal creates space diagonal creates space diagonal space add space add density density add and and density create add create and density create and enable create enable the sun, the enable sun, air the enable airsun,the airsun, a creates creates a secure acreates secureacreates securea secure and a community bath-house. tension tension and tension and allows allows and tension allows and allows landmark landmark points landmark pointslandmark pointsand points and viewsviews toand enter toviews enter the andtothe views enter to theenter outdoor outdoor communal outdoor communal outdoor communal communal people to discover topeople discover the topeople discover the to discover the the spacespace space space people hidden hidden courtyard courtyard hidden courtyard hidden courtyard
3RD3RD YEARYEAR 3RD FINAL FINAL YEAR DESIGN 3RDDESIGN FINAL YEAR PROJECT DESIGN FINAL PROJECT DESIGN PROJECT PROJECT
innerinner spacespace inner space inner space
Communal lower levels and private upper levels
TTHHEE BBAATTHHSS
ulation ulation ulation
SIGN PROJECT ESIGN PROJECT
HOMES OVER THE BATHS
HHOOMMEESS OOVVEERR TTHHEE BBAATTHHSS
facade articulation
VWUXFWXUH UHÁHFWHG LQ IDFDGH VWUXFWXUH UHÁHFWHG LQ IDFDGH VWUXFWXUH UHÁHFWHG LQ IDFDGH
Roof Roof dec de Roof de
([WHULRU Z ([WHULRU ([WHULRU Z •Cold-welde •Cold-weld •Cold-weld •OSB •OSBpane pan •OSB pan •Sloping •Slopingwo •Sloping ww •Heat-welde •Heat-weld •Heat-weld •Boarding •Boarding2 •Boarding •Thermal •Thermalini •Thermal •Airtight •Airtightmm m •Airtight •Load-bear •Load-bea •Load-bear •Services •Servicesspsp s •Services *\SVXP À *\SVXP À *\SVXP À •Plaster •Plaster •Plaster
CLT CLTFlo Fl CLT Flo
+DUGZRRG +DUGZRR +DUGZRR •Self-levelin •Self-leveli •Self-levelin •Protective •Protective •Protective •Impact •Impactins in •Impact in •Protective •Protective •Protective •CLT •CLTpane pan •CLT pan :RRG ÀEHU :RRG ÀE :RRG ÀEH •Plasterboa •Plasterbo •Plasterboa
CLT CLTWa Wa CLT Wa
•Dark •Darktimb tim •Dark tim •Horizonta •Horizont •Horizonta •Wind •Windand an •Wind and :RRG ÀEHU :RRG ÀEH :RRG ÀEH •Load-bear •Load-bea •Load-bea )OD[ ÀEHU )OD[ ÀEH )OD[ ÀEHU *\SVXP À *\SVXP À *\SVXP À ,QWHULRU SOD ,QWHULRU S ,QWHULRU SO
Concrete Concre Concret
+DUG ZRR +DUG ZR +DUG ZRR •Floating •Floatingscss •Floating •Separating •Separatin •Separatin •Impact •Impactsou so •Impact so •Concrete •Concretesls •Concrete
Concrete Concret Concret
•Brick •Brickcladd clad •Brick clad •Ventilated •Ventilate •Ventilated •Thermal •Thermali •Thermal •Fair-face •Fair-facecoc •Fair-face
3RD YEAR FINAL DESIGN PROJECT
FacadeHAMLETS articulation where 2O16 2O16--TOWER TOWERstructure HAMLETSis reflected
a resolved environmental structure
Flats are dual aspect and face East West to utilize day light all throughout the day and allow for passive cross ventilation.
Concealed spaces are allocated for services. There is a plant room in the bath house and a void above the carpark to provide mechanical ventilation systems.
A resolved enviromental structure that makes use of passive strategies
Upper half of the building is set back from the courtyard to allow more sunlight WR ÁRRG LQWR WKH courtyard and units to achieve a higher daylight factor.
Courtyard benches act as skylights to allow daylight to ÀOHU LQWR WKH EDWKV
The split level arrangement allows for a combination of cross ventilation and the stack effect to take place.
Large windows aim to maximise natural day light and solar gains on a tight site.
*URXQG ÁRRU LV RIIVHW QRW MXVW to act as a threshold space but also as a noise buffer from the public pedestrian route.
PART 1 YEAR-OUT Butler Hegarty Architects, London
A year of work in a practice who sepecialises in conservation and regeneration with a special ethos of craft. As a small PROFESSIONAL WORK practice of 5, I had bigger responsibilties and worked on B9U Tprojects L E R H E G A R and T Y A R experienced CHITECTS all 8 RIBA work stages with traditional & contemporary projects including: • restoration of painter J.M.W Turner’s House, a Part 1 Architectural Assistant in a small conservation architecture practice (5 people) whose Twickenham (RIBA Award 2018) is in listed buildings. I worked on 9 projects at varying scales and London work stages including the of eminent painter• J.M.WHackney Turner’s House in Twickenham, Hackney Areas ConservationReview Areas Conservation Study udy and The Fleece Hotel, a dilapidated historic urban block in the medieval city centre of Fleece Hotel, a dilapidated historic urban block in and various Georgian• houses.The I put together an options appraisal, conservation plan, timber frame urvey drawings, tender bids, tender drawings, planning permissions & listed building consents. the medieval city centre of Gloucester.
I put together: • options appraisals • conservation plan • timber frame report • survey drawings xtensions to a Grade II Listed Georgian House in Surrey • tender bids • tender drawings • competition documents • planning permissions • listed building consents
Listed Proposed Listed Existing
of an extension to a Georgian House
The Fleece Hotel, Gloucester showing its listed buildings on the site.
PART 1 YEAR-OUT
BUTLER HEGARTY ARCHITECTS Restoration of a grade II* listed early C19th villa, designed by the eminent painter J.M.W. Turner, to be open to the public as a small domestic museum. It involved a “creative restoration of J.M.W Turner’s villa demolition” by removing later 19th century additions to return to its original form. Cost of project: £2.4 million including a HLF £1.4 million grant Tasks: Creating interior mood-boards for the rooms using specialized historical wallpaper, wall borders, paint colours and custom-made made carpet samples, creating the carpet laying out drawings for the contractors, designing the Donor’s Board to be hung at the entrance, designing the 5 A1 Interpretation Panels / Project Information Boards to be exhibited permanently in the museum.
With the aid of the photographer, I created a booklet showing the photographic record of the conservation project from pre-works to post-completion. This booklet is now published, printed and currently being sold at Turner’s House. (Images on right) C19th villa, designed by the eminent painter J.M.W. a small domestic museum. It involved a “creative ntury additions to return to its original form.
g a HLF £1.4 million grant
Before
PART 1 YEAR-OUT
for the rooms using specialized historical wallpaper, -made made carpet samples, creating the carpet laying ning the Donor’s Board to be hung at the entrance, anels / Project Information Boards to be exhibited
created a booklet showing the photographic record of ks to post-completion. This booklet is now published, rner’s House. (Images on right)
ART 1 YEAR-OUT
Before
After
Restoration of a grade II* listed early C19th villa, designed by the eminent painter J.M.W. Turner, to be open to the public as a small domestic museum. It involved a “creative demolition” by removing later 19th century additions to return to its original form. Cost of project: £2.4 million including a HLF £1.4 million grant Tasks: Creating interior mood-boards for the rooms using specialized historical wallpaper, wall borders, paint colours and custom-made made carpet samples, creating the carpet laying out drawings for the contractors, designing the Donor’s Board to be hung at the entrance, designing the 5 A1 Interpretation Panels / Project Information Boards to be exhibited permanently in the museum. With the aid of the photographer, I created a booklet showing the photographic record of the conservation project from pre-works to post-completion. This booklet is now published, printed and currently being sold at Turner’s House. (Images on right) Restoration of grade II* listed villa designed by Turner to become a domestic museum
Af
University of Cambridge • Architectural Association
PORTFOLIO Hafizah Nor