Postgraduate Architectural Portfolio by Halif by Halif Latif

Portfolio Architectural:- Part ii

MOHAMMAD NURHALIFF BIN LATIF

Portfolio

Information

Authors

I attest that the enclosed portfolio materials are correct and have been completed by myself. I attest that I am the person named in this application and in the portfolio materials unless otherwise signified.

Mohammad NurHaliff Latif

Published First Published in July 2018 in Johor Bahru, Johor Copyright ÂŠ 2018 Personal copyright of the author. Copyright of images is copyright ÂŠ of each respective owner unless stated otherwise. All rights reserved. No part of this publication may be reproduced, reprinted or stored in retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.

haliflatif@gmail.com +60 017 7012178

Acknowledgement I would first like to thank all the supervisor that i have been work, Prof. Dr. Khairul Anwar, Assoc. Prof. Dr. Mohd. Zin Bin Kandar and especially towards Dr Sharifah Salwa Bt Syed Mahdzar. Which i worked and supervise me towards individual projects and also my dissertation. She was always open whenever I ran into a trouble spot or had a question about my research or writing. She consistently allowed this paper to be my own work, but steered me in the right the direction whenever he thought I needed it. Secondly, I would also like to acknowledge to other lecturers Fakulti Alam Bina, Universiti Teknologi Malaysia for their direct and indirect guidance, especially in the in New Spirit Workbase, Prof Madya Dr. Abdullah Sani Bin Hj Ahmad and Assoc. Prof. Dr. Mohamed Rashid bin Embi for their wonderful ideas and comments, and I am gratefully indebted to them for their very

valuable comments on this dissertation. Finally, I must express my very profound gratitude to my parents and to my special person for providing me with unfailing support and continuous encouragement throughout my years of study and through the process of researching and completing my studies. This accomplishment would not have been possible without them. Thank you.

Author, Mohammad NurHalif Latif July 2018

MOHAMMAD

NURHALIF LATIF Graduate Architect

info — Mohammd NurHaliff bin Latif 18/05/91 phone: +06 017 7012178 email: haliflatif@gmail.com portfolio: https://issuu.com/halifflatif linkedin: https://www.linkedin.com/in/haliflatif/ address: Bukit Indah, Johor Bahru

education —

work —

Master of Architecture / RIBA pt. 2 Universiti Teknologi Malaysia (UTM) Sept. 2016 - May 2018 CGPA: 3.87

LKMD Architecture Sdn Bhd Assistant Architect Apr. 2015 - July 2016 (16 months)

Bachelor Of Science (Hons) Architecture / RIBA pt. 1 Universiti Teknologi Mara (UiTM) Sept. 2013 - Mar. 2015 CGPA: 3.53 Diploma of Architecture Politeknik Merlimau Melaka (PMM) July 2009 - Dec. 2011 CGPA: 3.37 Malaysian Certificate of Education (SPM) Sek. Keb. Teknik Perdagangan Result: 2A 3B

Archibina Design & Construction Designer / Draughtperson Mar. 2012 - Aug. 2013 (16 months)

intership — RJ Architect Sdn Bhd Intership as Assistant Architect Mac. 2014 - July 2014 (4 months) Archibina Design & Construction Intership as Designer / Draughtperson Dec. 2010- Apr. 2011 (5 months)

extra curricular — 2017 NEON 29th Architectural Workshop, UTM High Committee, Managing F&B 2015 KLAF Student Exhibition Participated in Exhibition 2014 Tiang Seri 26th Architectural Workshop, UiTM High Committee, Head Design of Exhibition High Acheivers Club (HAC) Head Delegates of Anarchive Studio 2011 Terang 22nd Architectural Workshop 2010 Archustic 21st Architectural Workshop Participation

competition — FSPU SHELTER DESIGN COMPETITION Winning First Place UDA Land Structura Competition FSPU MDBA Campus Design Competition PERZIM Maritime Museum Design Comp. 2009 Nippon Paint Young Designer Comp. Participate

software — Autocadd Sketchup Adobe Photoshop Excell Office Word Office Adobe Indesign Sony Vegas Lumion Revit

reference — Dr Sharifah Salwa Bt Syed Mahdzar UTM Supervisor.: 07 5530737 Ar Mohd Noor Ikhwan Sulaiman LKMD, Architect: 03-62036600

Content. 1. RETHINKING BACKLANES: Hybrid Shophouse Vector Studio, Social Culture Semester 01 16/17 2. HORTIGROW: Urban Horticulture Research And Educational Centre Environmental Studio, Enviro Semester 02 16/17 3. DEAFSOUND: Music For The Deaf Learning & Awareness Centre New Spirit Studio, Urban Semester 01 17/18 4. DEAFSOUND: Music Centre for the Deaf Enhancing the Musical Experience for the Hearing Impaired New Spirit Studio, Thesis Semester 02 17/18 5. Appendices i. Overall Board Composition based on every semester completed ii. Proceses and Mock-up models during the exploration of design iii. Pictures of notable event during the coursework of M. Arch

Project 01:

RE-THINKING BACKLANES: Hybrid Shophouse Client: IRDA x MBJB

Journal Title: Re-Thinking Back Lane By Re-Defining Shophouse In Meldrum Streets, Johor Bahru Supervisor: Assoc. Prof. Dr. Khairul Anwar Bin Mohamed Khaidzir

P.01//: Re-Thinking Backlanes

Image Previous: Meldrumâ&#x20AC;&#x2122;s Backlanes socio-economic activities during the night Image Below, Left To Right: Potential of Backlanes Space (Backlanes as a Art-Scape Space, Backlanes as a Socio-Economic Space & Backlanes as a Communal Green Space)

ABSTRACT: Back lane is defined as a rear route that is used as services on a building (Tawil et al., 2013). It is the street between row of shop houses which are commonly under-appreciated by residents and community. It is a wasteful, unattractive, uncomfortable, and inconsistency air-cooled condensers inherently energy inefficient but also create a very hot and noisy environment (Bruelisauer and Berthold, 2015). Furthermore, the existing typologies of shop houses are rigid and only cater the needs of frontal lanes. Even though shop houses are considered as an urban 10

functionality in Malaysia which includes socio-cultural and economic importance (Elnokaly, 2014) but the back lanes of shop houses are not well managed and sometimes a crime space. Thus, creating social problem in the urban area. Therefore, the study gives magnificent on the significance to responsible parties on the development of shop houses and back lanes. This proposed research aspires to explore options on shop houses design. Thus, enhancing the back lanes so it will become more suitable positive uses and greater impact towards the city.

“—and so the alley could once again

become a special world, not so much a place for the discards and helpless but for a wider range of city dwellers. It offers one of the few urban rather than suburban or rural ‘retreats’, an enclave just off the busy street, a step away from the hurly burly.

Image Above: Existing Activities from the Vibrant hawkers street of the Meldrum’s Backlanes at night. Source: Johor Kaki, 2012. http://johorkaki.blogspot.com

P.01//: Re-Thinking Backlanes

“—The small lane at the back of this shophouse neighbourhood is noisy, dirty and smelly from the myriad of air-conditioners, waste bins and other service infrastructure relegated to this space.

Image Above, Top To Bottom: Front Elevation of the Meldrum’s Shophouses & Rear Elevation of the Meldrum’s Shophouses

Image Top: BACKLANES Thus, has the function to provide services for smooth flow of the city such as space of collection rubbish disposal, collection of sewerage disposal, firebreak space, lighting and ventilation, drainage, loading/unloading space and telecommunication. Thus, back lane is often associated with annoying, disgusting, narrow and dark condition. It is the street between row of houses which are commonly under-appreciated by residents and community. Image Bottom: SHOPHOUSES Typically, shophouse have a stretch narrow frontage with a standard width of building ranged between 4 and 6 meters, and the depth ranged at least 2 to 3 times longer than the width. Shophouse required a masonry party wall between the lot act as a fire protection and generally two or three storey high. The pavement in front of the shop are continuous public covered passage or â&#x20AC;&#x2DC;five-foot wayâ&#x20AC;&#x2122; for the sake of regulation and providing pedestrians shade from sun and rain.

P.01//: Re-Thinking Backlanes

IRDAxMBJB: Iskandar Malaysia Corridor and City Transformation Programme Old Johor Bahru District in which is to address the issues of Urban Decay in Johor Bahru (IRDA, 2011). 6 KRAs were listed to address the issues as below shown: KRA 1: Sg Segget River Revitalisation KRA 2: City Drainage KRA 3: City Cleansing and Maintenance KRA 4: Enhancing Information and Communications Technology (ICT) Connectivity KRA 5: Refurbishing buildings and public places KRA 6: Creating a walkable and safe city

Town and Regional Planning Act, 1976

Road, Drain and Building Act, 1974

(act 172) as well as Wilayah Persekutuan Town and Planning Act, 1982 (act 267), back lane is described as a part of a road which meant any public or private road including small road, alley, and roadway which is penetrable or not which public have every right to pass through it.

Back lane is part of the local authority owned whereâ&#x20AC;&#x2122;s public have rights to pass through it and usually maintained by the local authority before authorization of this act transferred to the local authorities Part IV: section 65, it is mentioned that the local authorities can demand a certain amount of land to be part of back lane. Part IV: section 66, it is mentioned that the state authorities can released an order for planning of back lane. Part IV: section 67, it is mentioned that the local authorities have the right to claim the possession cost for the planning or to construct a back lane. Part IV: section 68, it is mentioned that the considered as a public road. Part IV: section 69, it is stated that there would be allotment for back lanes.

Uniform Building by Laws 1984 Building more than 7000 m3 shall abut upon a street or road or open space of not less than 12 m width and accessible to fire brigade appliances. Two or more storey exits are required. The back lane shall be spaced at not less than 5m apart measured between the nearest wall edges. Each exit shall give direct access to a final exit, a protected staircase leading to final exit and an external route leading to a final exit (UBBL 1984, 174).

Image Left: Collaborative Strategies which to be engage to make the backlanes activation a reality Image Below: Overall views of rethinking the backlanes at Meldrumâ&#x20AC;&#x2122;s Street

P.01//: Re-Thinking Backlanes

“—empowering the people

to take ownership of, and transform, their back space.

Image Top-Left: Proposed strategies on re-activating the backlanes Image Below-Left: Potential of developing the backlanes around Johor Bahru based on the target users

P.01//: Re-Thinking Backlanes

Project 02:

HORTIGROW: Urban Horticulture Research And Educational Centre Client: IRDA x J-Biotech

Journal Title: Impact of Vertical Greenery System in A Horticulture Research and Educational Centre Supervisor: Assoc. Prof. Dr. Mohd. Zin Bin Kandar

P.02//: HortiGrow

ABSTRACT: Urban environments which are being surrounded by concrete jungle, reduced vegetation and heat stress adds new health risks to the human psychological. Hence, with the issues being addressed led to the aim, which to design the appropriate Research and Educational Centre in urban setting that could help to mitigate urban heat island and enhance positive psychological effect of its users. Furthermore, the methodology being used in this study are discussion about the benefits of vertical greenery system in the literature reviews and Ecotect 3d simula-

COOL

tion which to study on the thermal comfort which led to improving the psychological effect and wellbeing. Thus, the studies concluded that by implementing Vertical greenery systems which are implemented in building of urban area could indirectly mitigate the urban heat island effect and it also improve the human psychological effect by the reduces of conduction of heat gain and losses through the facade. Keywords: vertical greenery system, positive psychological effect, simulation, horticulture centre

WARM

POSITIVE PSYCHOLOGICAL EFFECT OF GREENERY The psychological researches of green over the human behavior show that green are a cool color that symbolizes nature and environments dominated by plants are less complex and have patterns that reduce arousal and, therefore, reduce our feelings of stress. 24

Image Previous: Bangkok’s shophouses which implement greenery as a sense of place Image Left: Psychological effect of the colour green towards human and the environment Image Below: Psychological effect of greenery towards human and the environment

Typical Studio

“—relationship between individuals and their environment can be a crucial determinant of how they feel, perform and interact with others.

Implementing Indoor plants inside a room

A survey done by the author which comparison between two image of B05 Studio. Figure 2 is a current image of B05 Studio and figure 3 is the enhancement after it was implemented collages of greenery into the image. The finding from the correspondent confirms that indeed natural elements within the work environment are more preferable and could improve the happiness levels of its inhabitants. 25

P.02//: HortiGrow

PLANT NEARBY Image Top: Placement of greenery in a building

Image Top: Placement of greenery in a building

PLANT WITHIN

WITH PLANT

P.02//: HortiGrow

Image Top: Potential of Backlanes Space (Backlanes as a Art-Scape Space, Backlanes as a Socio-Economic Space & Backlanes as a Communal Green Space)

1. Horizontal Form

2. Stagged Effect

3. Connection

4. Central Opening

5. Green Roof

6. Canopy Shadow Casting Effect

â&#x20AC;&#x153;Ââ&#x20AC;&#x201D;to live with sustainable infra-

structures and clean energy, and to embrace a lifestyle that is in harmony with nature and society.

P.02//: HortiGrow

GROUND FLOOR PLAN scale: NTS

LOWER GROUND PLAN scale: 1:NTS

P.02//: HortiGrow

Image Right: Simulation of Vertical Greenery System Reducing Solar Radiation After a through simulation which took place almost 2 hours, the result shows that there is a reduction of solar radiation absorbed on the simulated surface area as shown in figure 15. The incident solar radiation tends to drop from 4332 wh/m2/day to 2231 wh/ m2/day at the top surface area. Which ultimately reduce the radiation into half from its initial figures. The figure above will provide a more graphical proof from the simulation.

4332 wh/m2/day

2231 wh/m2/day

BEFORE: Bare skin facade which trap heat gain between the sunsires

AFTER: Heat gain reduces after Vertical Greenery System being implemented into the design 33

P.02//: HortiGrow

Image Left: Vertical greenery system isometric detail

Project 03:

DEAFSOUND: Music For The Deaf Learning & Awareness Centre Client: DeafBeat Malaysia

Journal Title: WAYFINDING FOR THE DEAF THROUGH VISIBILITY GRAPH ANALYSIS OF DEAFSPACE Supervisor: Dr Sharifah Salwa Bt Syed Mahdzar

P.03//: DeafSound, Urban

Sekolah Kebangsaan Pendidikan Khas (Cacat Pendengaran), Kampung Bahru

Sek. Keb. Kampung Bharu

Sek. Keb. Men. Puteri Wilayah

Proposed Site

Padang Bola Sepak Kg Baru

Jalan Raja Abdu llah

ket From Cho w Kit Mar

Image Above: History of Education Parcel at Jalan Raja Abdullah, Kampung Baharu and its current state

1942 â&#x20AC;&#x201C; 1945: Japanese Occupation;

1946 - 1961: English-Malay School:

1962 - 1987 : Deaf School

1988 - Present : Sek Keb Pendidikan Khas

Teaching the Malays as a part of Propaganda Plans & the school were intended as a Japanese administration office.

Educate Malays pertengahan tahun 1984, telah diserahkan oleh kerajaan Malaysia kepada Kementerian Pendidikan Malaysia.

First in KL Bangunan ini telah dijadikan sebagai pusat pembelajaran yang dikenali sebagai Pusat Khas Pendengaran.

pada ketika itu juga Sekolah Kebangsaan Pendidikan Khas Kampong Baharu diberi nama.

ABSTRACT: Deaf person cannot rely on sound or spoken signals for orientation and wayfinding. Visual elements are therefore important factors in the enhancement of wayfinding information in a building. This study applies Space Syntax techniques â&#x20AC;&#x201C; Visibility Graph Analysis (VGA) as a tool to explore the visual relationship and space configuration, which could enhance the wayfinding information of deaf person

for the Proposal of Deafspace Learning Centre at Jalan Raja Abdullah. The study summarize with discussions of the usability of space syntax between wayfinding and space configuration in the Kampung Baru Deafspace Learning Centre. Keywords: Visibility, Wayfinding, Deafspace, Visibility Graph Analysis

Mr Ismail, 65; Retired Second Generation Community: • Used to see community activity being held in KSS when he was young • Play on the field when he was young and got scold by his late mother • Remember KSS as a community space to discuss Kg Baru issues • All of his kids studied in the school

Puan Siti, 44; Deaf Teacher Her education starts there: • Remembers playing at the streets with her friends after school • School sport used to be combine with deaf and normal school when she was young • Actively interact with the deaf kids when she was young • Currently feels the all of the school is segmented

Nurul & Liza, 11; Student In her primary at SK Kg Baru: • Walked back home immediately after school with her friends • Play mostly nearby the house, as her parent did not allow her to play far • do not have a deaf friends

Image Previous: Image of the intergration of exposing music for the deaf kids in the Sekolah Pendidikan Khas KB (cacat pendengaran) by DeafBeat Malaysia Source: SKPKKB, 2017 Image Above: Identifying the sense of place at the area using a un-structured interview Image Right: Simulation of the visibility in the educational parcel using Space Syntax

P.03//: DeafSound, Urban

Deteriorating A Sense Of Place

A Mono-Functional Space

An Unsafe Street

PROBLEMS The past (interviewed) suggested a place with vibrant interactions and participations, now its all been deteriorating.

PROBLEMS Various function are confined to specific geographical areas creating a numbers of precints dominated either by school, retail or housing.

PROBLEMS Majority of all the streets are filled with traffic and making it unsafe for kids to wonder around and plays.

CONSEQUENCES The livelyness of the place is a burden to the area, making each of the school is segmented with each other

CONSEQUENCES The lack of diversity and mix in functions within specific areas has a number of side effect. Generally there are fewer experiences and fewer attraction in each area.

CONSEQUENCES The streets here are turned into sevice corridors for the freeway and generally the public realm is under-developed compared to other part of the city

A Placemaking Programming

A Inclusive And Lively Place

A Safer Street For Kids

Input • Implement shared streets • Eco/social medians to slowed down traffic • Flexible programming throughout the day to activate the space

Input • Ensure an accessible place for all • Encourage and promote activation on laneways • Arrange festivals or programs spurring new initiatives and partnership

Input • Create a visible place for the kids to play • Ensure inclusive access to public space • Reduce on street parking • Widen footpaths where appropriate • Improve legibility of the public domain through better signage and reduction of clutter

Develop a place for the community to participats and activate whilst keeping the existing topology

Develop a multifunctional place with a close integration between various function

Develop an attractive and safe pedestrian environment

P.03//: DeafSound, Urban

“—They do it because they are

naturally drawn to the human interest and activity they find on a healthy street. - Jane Jacob.

P.03//: DeafSound, Urban

Sounds are made by vibrations. that typically propagates as an audible wave of pressure, through a transmission medium such as a gas, liquid or solid. A loudspeaker generates a sound wave: The areas where the air molecules are pushed together INFRASOUND

ULTRASOUND

Frequency is measured in the number of particle oscillations (cycles) in one second. Music is organized sound and a combination of those sounds that have pitch. Pitch is the quality of the sound, making it high or low. When these pitched sounds combine, they make music

BELOW 20 Hz

20 - 20,000 Hz

OVER 20,000 Hz

Sensory Substitution System

Sensing Music

Music Image Above: Diagramatic explanation regarding the sensory substitution system, sensing using other senses. Source: David M. Eagleman, 2015. Brain and Behavior: A Cognitive Neuroscience Perspective. Stanford University School of Medicine

? Sensory Element

Neuronal Messages

Human Brain

Image Left: Diagramatic explanation regarding the sensory substitution system, sensing using other senses. Source: Much of the information about animal perception in this chapter and in Chapters 14 and 16 come from the excellent book Engineering Animals: How Life Works by Mark Denny and Alan McFadzean.

Pre-lingually Deaf

Post-lingually Deaf

those who are deaf before they learn to speak and understand language. Apprx. 95% of all deaf children are prelingually deaf.

those who experience profound hearing loss after they have learned to speak and understand language.

KIDS/ADULTS occurred before they began to speak either born deaf or lost their hearing before the age of one

COCHLEAR IMPLANT

ADULTS Deaf after the acquisition of speech and language hearing loss is gradual

HEARING AID

â&#x20AC;&#x153;â&#x20AC;&#x201D;However, deaf person Image Above: classification of deaf person. Source: Ministry of Health. Obtained from. Matron Cheoh Siew Tin (Family Health Development Division, Ministry of Health) on 17 May 2013.

can experience music in ways that differ from hearing people would experience it, but they can definitely derive pleasure in a full capacity. 45

P.03//: DeafSound, Urban INTERACTIVE SOUND TO VIBRATION & LIGHTS The sound that we hear is basically made up from mechanical vibrations produced by an Audio Sound Transducer used to generate the acoustic waves, and for sound to be “heard” it requires a medium for transmission either through the air, a liquid, or a solid. Also, the actual sound need not be a continuous frequency sound wave such as a single tone or a musical note, but may be an acoustic wave made from a mechanical vibration, noise or even a single pulse of sound such as a “bang”. CONVERTING SOUND INTO VIBRATIONS The sound that we hear is basically made up from mechanical vibrations produced by an Audio Sound Transducer used to generate the acoustic waves, and for sound to be “heard” it requires a medium for transmission either through the air, a liquid, or a solid. Also, the actual sound need not be a continuous frequency sound wave such as a single tone or a musical note, but may be an acoustic wave made from a mechanical vibration, noise or even a single pulse of sound such as a “bang”.

Image Above: Diagramatic explanation regarding converting sound into vibrations and light for the deaf to ‘hear’ the music

P.03//: DeafSound, Urban

“—the notion of music being a part

of a deaf individual’s life may seem contradictory, there is evidence that deaf musicians are able to compose and perform music at a high of level

Project 04:

DEAFSOUND: Music For The Deaf Learning & Awareness Centre Client: DeafBeat Malaysia

Dissertation Title: WAYFINDING FOR THE DEAF THROUGH VISIBILITY GRAPH ANALYSIS OF DEAFSPACE Supervisor: Dr Sharifah Salwa Bt Syed Mahdzar

P.04//: DeafSound, Thesis

Image Below: British Sign Language Description: Both hands open with tip of index finger touching tip of thumb. Hands move side to side in small arcs (as if conducting). Definition: Pleasant sounds made by voices or instruments. Source: https://www.british-sign.co.uk/

ABSTRACT: This dissertation addresses the broad question of understanding whether and how a combination of the deaf musicians and their rehearsal space in order to identify factors, which contribute to the adaptability and spatial layout efficiency for the deaf ensemble. In addition, research include the 3 objective which firstly are to identify and classify the type of deaf musicians and the factors of the deaf sensing music, the data were then be analyze the relationship between visibility and spatial layout of music rehearsal studio for the deaf ensemble, and finally, based on the findings, the recommendations to enhance the adaptability of rehearsal studio for the deaf musicians are being proposed. Initially, a variety of secondary data collection was conducted to find out the factors they used to â&#x20AC;&#x2DC;listenâ&#x20AC;&#x2122; to music and how their listening experience might be enhanced. Information obtained from this data collection were used to guide the initial concept of exploring visibility and vibration in a music rehearsal studio. In order to improve the adaptability of 52

rehearsal studios, comparative studies were used between three chosen spaces to analyze the existing attributes of their spatial layout and by using a Space Syntax as a calculated method, Visibility Graph Analysis had been conducted to validate the overall visual performance of the chosen spaces. In addition, data obtained from the findings were then being translated into a proposed solution of rehearsal space. The proposed solution undergoes the rigorous data analyzing before determining the recommendation to enhance the adaptability of rehearsal studio for the deaf. Therefore, this research work has shown considerable potential in enhancing the visual and touch performance can significantly change the way of rehearsal studio adaptability towards the deaf experience music. Hence, the findings presented here will add to the knowledge of accessibility for the hearing-impaired in a physical environment and decline the misconception of assuming that music can only listen using the ears.

Unfortunately, though, the rights of Deaf people are often overlooked, especially in developing countries. Societal prejudices and barriers prevent Deaf people from enjoying full human rights; for Deaf people the major barrier is lack of recognition, acceptance and use of sign language in all areas of life as well as lack of respect for Deaf people’s cultural and linguistic identity.

Image Above: Exclusive design approach in the way of the existing human behaviour in the school parcel Image Previous: DeafBeat Malaysia performance at Damansara Peforming Arts Centet (DPAC) Source: Inner Voice, 2016. http://www.diversecity.my/ event.php?id=13

Most of the Deaf people do not get any education in developing countries and approximately 80 % of the world’s 70 million Deaf people do not have any access to education. Only about 1-2 % of the Deaf get education in sign language. Particularly situation of Deaf women and children is weak. Legal development and recognition of sign languages promotes Deaf people’s equal participation in the society.

“—Particularly situation of Deaf

women and children is weak. Legal development and recognition of sign languages promotes Deaf people’s equal participation in the society. 53

P.04//: DeafSound, Thesis

The students enjoyment of music was not necessarily determined by their level of hearing, but more often by their definition of listening

Comprises deaf youth who are totally deaf and achieve great goals with music performance. DeafBeat is a world renowned deaf performer; Perform @ China, Singapore, Berlin, & many

GONG

TRIANGLE

Poster: RECENT PERFORMANCE in KL ART FEST

DRUM

Students were found to engage in music primarily through performing in the areas of sign singing, moving to music, playing instruments and vocalising.

Percussion Music

LIMITED INSTRUMENT

Easy to learn and play especially for the deaf

Due to lack of technologies regarding music experience for the deaf

Percussion Setup

POOR VISUAL REACH

Arc Setup for orientation and communition between the performer

deaf musician uses their main eye sight for communitation and ques

Parquet Flooring

LACKING OF VISUAL QUES

vibration and influence on the rhythm of the music

Conductor & Board

POOR ACOUSTIC

Control the percussionist beat and rhythm

FOR NORMAL MUSICIANS GREAT ACOUSTIC FLOOR’s VIBRATES FLEXIBLE ARRAGEMENT VISIBLE TO THE CONDUCTOR

FOR DEAF MUSICIANS PERCUSSION

POOR VISIBILITY

WIND & BRASS

POOR SPACE, MOBILITY & PROXIMITY

STRINGS MUSIC DIRECTOR

COLOUR DISTURBANCE POOR MUSICAL EXPERIENCE *Cross Reference On Deafspace Principles

Image Left: DeafBeat Malaysia; training method for the deaf to que music and their training studio are different than the normal hearing person training studio and method Source: Author, 2018. Interview with Deaf Founder, Deaf Beat Training Center. Source: DeafBeat, 2017. INNER VOICES - Deafbeat 10th Anniversary @ Damansara Performing Arts Center (DPAC), Damansara Perdana, Malaysia. http:// deafboleh.blogspot.my/ Image Right: Deaf Singer-song writer (Mandy Harvey’s performing at America’s Got Talent Source: Moniuszko, Sara M. “Watch this deaf singer win Simon Cowell’s heart on America’s Got Talent”, USA Today, June 7, 2017

MANDY HARVEY she was majoring in vocal music education before she was deaf

Profoundly Hearing Loss (result of the connective tissues disorder Ehlers-Danlos syndrome)

BAREFOOT

To sense the rhythm, vibration of the music

VISUAL TUNER

digital tuner to practice singing in tune

PRACTICE

P.04//: DeafSound, Thesis

NORMAL HEARING

MILD HEARING LOSS

25 - 150 DB

MODERATE HEARING LOSS

55 - 150 DB

PROFOUND HEARING LOSS

90 - 150 DB

TOTAL DEAFNESS

20 Hz - 20,000 Hz

0 - 150 DB

STRING INSTRUMENT Tuba, 33Hz - 349Hz Violin, 240Hz - 3550Hz

WIND & BRASS INSTRUMENT Bassoon, 65 - 587Hz Piccolo, 600 - 3950Hz

PERCUSSION INSTRUMENT Timpani, 65Hz - 256Hz Xylophn, 350 - 2000Hz

SINGER & PERFORMER

0 DB

Voice, 73Hz - 880Hz

Every level of deafness are somewhat capable of hearing something

NORMAL HEARING Normal person can learn and play anykind of musical instrument without any difficulties

PERFORMER HEARING: RHYTHM: COMPLEXITY:

Voice, 73Hz - 880Hz

HEARING: RHYTHM: COMPLEXITY:

Tuba, 33Hz - 349Hz Violin, 240Hz - 3550Hz

STRING INSTRUMENT

WIND & BRASS INSTRUMENT HEARING: RHYTHM: COMPLEXITY:

Image Above: DeafBeat Malaysia; training method for the deaf to que music and their training studio are different than the normal hearing person training studio and method Source: ABRSM, 2014. Making Music Report 2014. Supporting the teaching and learning of music in partnership with the Royal Schools of Music Retrieved, https://gb.abrsm.org

Bassoon, 65 - 587Hz Piccolo, 600 - 3950Hz

PERCUSSION INSTRUMENT HEARING: RHYTHM: COMPLEXITY:

Timpani, 65Hz - 256Hz Xylophn, 350 - 2000Hz

YMCA COMPLEX: DEAFBEAT TRAINING STUDIO

PHILHARMONIA CENTRE: CONCERTO ORCHESTRA LA FILHARMONIE

Year Established: 2015 Users: Deaf Musicians Musicians: Percussionist Performer No of Musicians: 10 Pax Space Dimension: 12 x 6 x 3.5 (m)

Year Established: 2010 Users: Musicians Musicians: Orchestras Set Performer No of Musicians: <50 Pax Space Dimension: (16 x 14) x 10 x 10

ADAMS CENTER: ORCHESTRA REHEARSAL ROOM Year Established: Users: Musicians: No of Musicians:

2017 Musicians Orchestras Set <50 Pax

Space Dimension:

(18 x 16) x 12 x 6

*BASED ON CASE STUDIES

REHEARSAL STUDIO

SPATIAL ANALYSIS THROUGH VISIBILITY

VISUAL REACH

ANALYSIS & SWOT

SPACE, MOBILITY & PROXIMITY ARCHITECTURAL TECH.

COLOUR AND LIGHTING ‘SENSING’ MUSIC PROPOSED SCHEME

OPEN STAGE PLAZA

MUSIC WORKSHOP

LEARNING ROOM

REHEARSAL STUDIO

CONCERT HALL

P.04//: DeafSound, Thesis

ISOMETRIC PLAN

VISIBILITY ANALYSIS

STEP DEPTH ANALYSIS

WHITE WALLS

GLARE WINDOW

PARQUET FLOOR

LAMINATED FLOOR

Image Above: Simulation using Space Syntax to calculate the visibility integration insede a rehearsal space

VISIBILITY SPACE, MOBILITY, AND PROXIMITY COLOUR AND LIGHT ‘SENSING’ MUSIC

Radial array positioning of percussionist; the most suitable arrangement for the deaf musians 1000 mm radius per musician, making them easy to play the instrument and using their sign language Poor lighting conditions such as glare, shadow patterns, backlighting interrupt visual communication Poor sensing music experience but laminated flooring give a small impact

P.04//: DeafSound, Thesis

ISOMETRIC PLAN

Image Above: Simulation using Space Syntax to calculate the visibility integration insede a Proposed rehearsal space

VISIBILITY SPACE, MOBILITY, AND PROXIMITY

VISIBILITY ANALYSIS

STEP DEPTH ANALYSIS

COOL; PASTEL COLOUR

DIFFUSED LIGHT

SUSPENDED TIMBER FLOOR

STAGGERED STAGE

Radial array positioning of percussionist; arrangement for the deaf musians to see the conductor and each other 1200 mm radius per musician, spaces enable singers to move, communicate and play through space uninterrupted

COLOUR AND LIGHT

Proper Electric lighting and architectural elements used to control daylight can be configured to provide a soft, diffused light

‘SENSING’ MUSIC

Visual ques are located infront of the stage while vibrotactile located at the surround of the musicians

P.04//: DeafSound, Thesis

Proposed Site

Sekolah Kebangsa (Cacat Pendenga Sek. Keb. Kampung Bharu

aan Pendidikan Khas aran), Kampung Bahru

Padang Bola Sepak Kg Baru Sek. Keb. Men. Puteri Wilayah

STEP 5: DIFFUSE LIGHT

STEP 4: VISIBILITY & WAYFINDING

STEP 2: PROGRAM DISTRIBUTION

P.04//: DeafSound, Thesis

STEP 9: REDUCING REVERBERATION

STEP 8: LIGHTWEIGHT STRUCTURES

STEP 7: KINETIC SOUND

P.04//: DeafSound, Thesis

GROUND FLOOR PLAN scale: NTS

P.04//: DeafSound, Thesis

FIRST FLOOR PLAN scale: NTS

SECOND FLOOR PLAN scale: NTS

P.04//: DeafSound, Thesis

Chptr 05:

DEAFSOUND: Music For The Deaf Learning & Awareness Centre Client: DeafBeat Malaysia

Dissertation Title: WAYFINDING FOR THE DEAF THROUGH VISIBILITY GRAPH ANALYSIS OF DEAFSPACE Supervisor: Dr Sharifah Salwa Bt Syed Mahdzar