Portfolio1 by Jessie Tang

PORTFOLIO

JESSIE TANG 唐悦思 ARCHITECTURE STUDENT. PHOTOGRAPHER. GRAPHIC DESIGNER

建筑.摄影.平面设计 SINGAPORE UNIVERSITY OF TECHNOLOGY & DESIGN ARCHITECTURE & SUSTAINABLE DESIGN FINAL YEAR BACHELOR OF SCIENCE (ARCHITECTURE) CUMULATIVE GPA 4.29

新加坡科技设计大学－建筑与可持续设计系四年级 +65 98586358 jessie.nma@gmail.com http://jessiedesign.wix.com/portfolio

ACHIEVEMENTS & EXPERIENCE 成就与经验

Student Correspondent

学生摄影记者

2005

North-West CDC Outstanding All Rounder Student Award

Campus Builder Programme (LIBRARY DESIGNER)

西北社区理事会杰出多方位学生奖

新科大建校计划（图书馆设计）

2008

2009

Innova JC Finland Exchange Programme

NTU Research Programme GOLD

星烁初级学院芬兰交流计划

南洋理工大学研究计划金奖

2010

Research Assistant at International Design Centre (Architecture)

Finalist Space Nutures Programme

新科大麻省理工国际设计中心研究助理（建筑设计类）

空间家具公司青年设计师培育计划（决赛晋级）

2011 & 2013

Asian Leadership Programme with Zhejiang University

浙大新科大领袖交流计划（传统艺术再设计）

2014

2015

Architectural Assiociation Visiting School Lyon Mud, Body & Scripts

建筑联盟学院里昂访校（泥土，造型与编程）

Summer Internship Tianhua Architecture Shanghai

天华建筑实习

SKILLS 技能

建模

犀牛建模

Grasshopper for Rhino

模型制作

Physical Model

编程与参数设计

渲染

LANGUAGE 语言 CHINESE ENGLISH

JAPANESE

中文英语

日文

001

COLLABORATIVE LIBRARY SUTD DOVER CAMPUS, SINGAPORE CAMPUS BUILDER PROJECT 2011

This was a project I took charge of while being a Campus Builder at SUTD. Together with a professional architect, we worked on the Design of the SUTD Dover Library based on the vision of the Head Librarian. Our inspiration emerged from the collaborative nature of SUTD as well as itâ&#x20AC;&#x2122;s anchorage on technology. Based on these factors, we envisioned a new spatial environment that entwines all elements. The result was the transformation of the traditional library into an open collaborative environment.

Anchoring on the paradigm shifts on how students obtain information, we created a hierachy of spaces using various shelving units. These units acted as both a buffer between the spatial zones as well as a unifying element that ties the spaces together. There are 2 types of shelving units, both of different systems. One explores the idea of shelves stacking and overlaying while the other explores the rotational effect of shelves. In both cases, the structural integrity of the material was challenged.

002

A LETTER BACK HOME ZHEJIANG UNIVERSITY, CHINA ASIAN LEADERSHIP PROGRAMME 2011

This project was done in collaboration with Zhejiang University in China where we explored on the topic of service design. Through a series of research and brainstorming, we narrowed our design scope to the elderly and discovered the issue of severe communication breakdown betweem the tech-savvy generation and the non tech-savvy elderly community. In China, most youths do not stay with their grandparents and hence face to face communication is hard. And the situation is aggrevated when they failed to find a common form of communication.

The elderly are more used to hard copy hand written letters while the youths prefers emails and instant messages. With this scenario in mind, we decided to form a bridge between the 2 parties by offering a device that translates youthâ&#x20AC;&#x2122;s messages into a hard copy print out for the elderly, and also scans the elderlyâ&#x20AC;&#x2122;s letter into digital format. In addition, this device can also embed photos and imagery. In making the prototype, we also explored the technical possibilities of the hardware and software.

003

FIN.LAMP SINGAPORE INTRODUCTION TO DESIGN 2012

This project was an assignment that tests our knowledge on laser cutting and 3D modelling. This was made using 1.55mm greyboard and assembled together without glue. My inspiration for the geometry comes from the flower bud waiting to bloom. When the light is lit, a flower petal pattern emerges from the tips of the petal.

004

MODULAR STRUCTURES SUTD DOVER CAMPUS, SINGAPORE INTRODUCTION TO DESIGN 2012

In this project, I tried to explore how modular systems come together to form a structure. I started of with a 2 sided comb structure as I was inspired by how the teeth could join together without any additional joining devices. Upon optimizing my base geometry, I obtained the results of 3 teeth on each side. The resulting structure was rather solid, only supported with 2 base modules. The final prototype was created using thick plywood and cut using the bench saw. The edges were sanded to 45 degrees for a more dynamic look on the arches of the structure.

005

WEAVING LAMPSHADE SINGAPORE DESIGN COMPUTATION 2013

006

SLOT BUILDING SUTD DOVER CAMPUS, SINGAPORE ARCHITECTURE CORE STUDIO 1 2013

The slot building project was a intervention to an existing site in SUTD Dover Campus. It aims to connect 3 different building blocks together while considering a set of highly complicated limitations. The design was inspired by SUTDâ&#x20AC;&#x2122;s core value of a collaborative learning community. By studying the internal collaborative spaces around the campus, various elements contributed to the spatial quality of the final design. This includes a double crossed stairway on the 3rd floor and a platform amphitheatre area looking into the entrance of the school. At the 4th floor, special seating area

directs to the sunset where the view is the most spectacular. this is futher connected to the rooftop spaces. The spaces interconnects one another with an overall element of shelving grids with the intention of expanding the library to the outdoor space.

007

GATE HOUSE SUTD DOVER CAMPUS, SINGAPORE ARCHITECTURE CORE STUDIO 1 2013

This project examines how a gate system could become an icon of the school front. My project illustrates how the creativity and flexibility could work with a rigid frame. With this I adopted the accordion origami folding technique as my gate.

008

MASSING CONCRETE BUGIS, SINGAPORE DIGITAL FABRICATION 2014

This project focuses on using shape grammars to create a modular mass that can be concrete casted for efficiency. 3 rules were applied: Cutting along edges; 180 rotations; shifting. In our explorations we wanted to achieve modularity efficiency and simplicity. Our design includes 3 identical blocks arranged in different orientations.

009

OASIS STAGE SUTD DOVER CAMPUS, SINGAPORE ARCHITECTURE CORE STUDIO 1 2013

010

URBAN HOUSING GEYLANG, SINGAPORE ARCHITECTURE CORE STUDIO 3 2014

Geylang as a culturally vibrant district sees all the dynamic interactions along its five-foot way. The strong presence of the heritage shophouses gave life to the environment, and thus my main design inspiration. I studied closely the various profiles of the five-foot way and abstracted them into sectional profiles. Thus translating into a massing block. These new interpretating of five-foot way formed a multipurpose public shared space with the SOHO residents. In the day, these five-foot way spaces could easily extend into the apartments itself, while at night, it can be closed up to form more proviate spaces.

The facade of the apartment blocks are more bold facing the five-foot ways, while more conservative facing the main road. The profiles of the five-foot way is emphasized by the extrusion of the floor and ceiling slabs and is made of a different material. To respond to the bustling ground floor, many blocks features a higher floor to ceiling space for shops and eateries to occupy. The staggering of the blocks then offered a varied perspective of the streetscape.

TRANSLATED SECTIONAL PROFILES INTO BUILDING BLOCK

OBSERVING 5 FOOT WAY SECTIONAL PROFILES ALJUNIED ROAD

GEYLANG ROAD

LORONG 24

LORONG BACHOK

ABSTRACTING SECTIONAL PROFILES

SECTION ABSTRACTION 1: ANGLED 5 FOOT WAY

MARKET

COMM COMMERCIAL

CONVENIENCE

COFFEE SHOP

RELIGIOUS

KTV/ CLUB UB

RETAIL SECTION ABSTRACTION 2: NORMAL O 5 FOOT WAY

COFFEE SHOP

COMMERCIAL

SECTION ABSTRACTION 3: SKINNY 5 FOOT WAY

RELIGIOUS

CONVENIENCE SHOP SECTION ABSTRACTION 4: EXTERNALLY ANGLED 5 FOOT WAY

KTV/CLUB

MARKET

CLOSED SECTION ABSTRACTION 5: PULLED 5 FOOT WAY

SPLIT UNIT

COMMUNAL SINGLE UNIT

COMMUNAL DOUBLE UNIT DUPLEX

WOMEN’S CENTRE

RETAIL

AD NG RO

GEYLA

SITE PLAN 1

NORTH ELEVATION

1 2

4 7 10

6 14 15 7 8 9

8 9

16 17

10 11

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

Roof 50mm screed 10mm waterproofing layer 40mm Insulation Automated window system driving motor 12mm Frosted glass panel Automated window system control Precast concrete Seamless Fold Slide Door system Full glass railing 25mm Anti Slip White concrete Paint 400mm RC Beam 150mm Concrete Slab 25mm Plaster ceiling board 50mm Screed layer 70mm Glass roof system 50mm Concrete facade panels 20mm Window with wood frame 50mm Concrete paint 150mm Concrete wall.

DETAIL

011

URBAN CANOPY CHINATOWN, SINGAPORE MATERIAL COMPUTATION 2015

This project seeked to explore interesting canopy geometries that is structurally challenging across a 5m span, only supported at the 2 ends. By using a irregular wave profile, a more structurally stable canopy is formed. The structural materials used for structural testing is hollow steel tubes. However, to enhance the cultural elements of the site at Chinatown, these steel tubes will be transformed to appear like long bamboo sticks weaved together. The various design geometries were parametrically generated using Grasshopper for Rhino and tested using Finite Element Analysis.

SERIES OF DEFLECTION TESTS

SERIES OF STRESS TESTS

SURFACE MATERIALS USED: Glass FRAME MATERIAL USED: Stainless steel MAXIMUM FRAME STRESS: 49.92 MPa MAXIMUM SHELL PRINCIPLE STRESS: 8.56 MPa MAXIMUM DEFLECTION: 29.53 mm WEIGHT: 536,081.75 Kg

012 SUSTAINABLE CANOPY LIVING TYPOLOGY TANAH MERAH, SINGAPORE SUSTAINABLE OPTION STUDIO MANUEL DER HAGOPIAN STUDIO 2015

UNITS

CANOPY MODULES

CANOPY CLUSTERING

CANOPY MULTIPLICATION

Cross ventilation

eco 1

cross ventilation

units core circulations

Circulations

NORTH SOUTH FACING

Type of units

eco 3

LOWER HEAT GAIN

eco 2

65 m² unit 90 m² unit 110 m² unit

SOLAR POWER

RAINWATER CATCHMENT

EAST WEST FACING NATURAL VENTILATION

SCHEMATIC SECTION

CANOPY RESIDENTIAL CLUSTERS

DIAGRAM ILLUSTATION

MASSING STRATEGIES GEYLANG, SINGAPORE ARCHITECTURAL ENERGY SYSTEMS 2014

As w e increased our building porosity, the building height is also raised to fit all 120 units.

We punctured more voids into our massing t o primarily promote cross ventilation across all our blocks. These spaces also serves a s green communal spaces the residents could enjoy.

The ground floor has relatively bigger holes to extend the pedestrian circulation along the streets. T O further facilitate circulation, w e positioned our commercial units a t the ground floor (highlighted in Grey)

W INITIAL MASSING

E SITE RESPONSE 1: We wish to create spatial spaces similar to that of back alleys found on site. This led to us creating 3 linear blocks.

SITE RESPONSE 2: Aligning front to main street (Geylang Street)

SITE RESPONSE 3: Openings oriented towards the NS direction, avoiding direct sunlight.

The adjustment also affected the geylang road street elevation.

Wind does not flow into the alleys

There is less variation along the street elevation

Wind flows directly into the carved alleyways.

THUS WE CREATED A TERRACED GEOMETRY

MASSING DEVELOPMENT 1

Initial massing unable to fit in the required units. The new geometry has too much solar gains due to having the terrace face the East West direction.

MASSING DEVELOPMENT 2

MASSING 1 has ventilation issues.

However certain faces now still face the East West sun.

FINAL MASSING VERSION 1

We attempted to minimise east west facing The new units by redirecting the building geometry. concept ing. We created

geometry also enabled the alleyway to be extended throughout the massalso retained the courtyard spaces from Massing Development 2.

FINAL MASSING VERSION 2

We attempted to create more cross ventilation across our massing by adding a diagonal void that harness the prevalent wind and redirecting them into our alleys.

We also further enhanced our cross ventilation vertically by creating voids near the lift core.

The new geometry also allowed more connections from the entry points into the building.

Long linear alleyway concept diminished.

1.INTRODUCTION

ARCHITECTURAL ANALYSIS

WEAVING ARCHITECTURE AND NATURE

NAOSHIMA, JAPAN HISTORY THEORY AND CRITICISM 2013 ABSTRACT

Landscape from its beginnings has a man-made connotation with associated cultural process values. The idea of having a landscape does not suggest anything natural at all. Yet there are instances of projects where the landscape itself suggests natural connotations as though there is no interface between nature (site) and culture (architecture). In Chichu Art Museum, Tadao Ando made a radical decision to create an underground space to create minimal changes to the current natural environment, exposing only very basic geometries as the openings for the underground gallery. He transformed the site into a natural work of art, interfacing with the internal works of art. On the other hand, Frank Lloyd Wright’s Fallingwater transforms the original site into a beautiful monumental landscape and brings nature into the house by using materials found on site, creating natural experiences through his architecture. Yet the ideas of the interface between Nature and architecture are translated very differently for the 2 projects. Ando’s idea of the interface was a stark exposed one while Wright’s was more clear and rational. This paper seeks to find out whether one of their interpretations questionable, or it is just harder to comprehend one than the other. Keywords: Nature; Integration; Art; Landscape; Culture

The concept of museums since the late 18th century evolved through 3 different phases. The first generation are mostly built by royalties as part of their collections, the second generation museums are more particular in presenting artworks and collections in their raw form, where exhibition spaces are designed to segregate the works from any context using spaces that is pure and abstract. As art works progressed further, artists evolved to creating works that aremore specific, works that interact with surroundings and also visitors. This concept itself brings out the definition of cultural landscape by Sauer (Sauer 1925, 46), where the art works themselves represents the cultural interference to the surrounding natural landscape. Here, the architect undertakes a special role as the direct influencer to the landscape. The Chichu Art Museum by Tadao Ando is one of the first of the 3rd development of museums, specially designed to house the works of Claude Monet, Walter de Maria and James Turrell, or on a higher level, to integrate their works with the natural environment. The way Tadao Ando created his cultural landscape, interfacing with nature with his strong use of man made materials concrete and glass, gives us a new perspective on how one interfaces with their surroundings.

2.THE ORIGIN The concept emerged due to a similarity between the artists in the history of art - they question modern art and architecture and the “quality of aesthetic experience” in a three-dimensional space. By congregating them into one space could form “a place for aesthetic experience” (Hatakeyama and Miyamoto 2005, 83). The chosen site was based on the likes of the initial client, Soichiro Fukutake whom had a special liking towards the views of Seto Inland Sea and other islands from a place

in Naoshima (Hatakeyama and Miyamoto 2005, 83). The site was a good match with a three dimensional space envisioned by Monet - a space that by itself is a piece of art giving birth to the idea of a space that blends art and architecture together seamlessly. Hence instead of a monumental building sitting on the site, the building took the form of an underground building with no apparent form. The visitor world experience each artist’s space, one by one independently, and was prevented from looking at the building as a whole. Upon gathering all the experiences, they would then discover the structure in its entirety, and the relationships and arrangements between spaces. The final museum itself embodies a mastery of light and materials that seek to reconnect with the elements of “art and nature”. To maintain the existing environment and aesthetics of the site, Ando chose to ‘bury’ the museum underground. Only a series of concrete openings and geometrical skylights float among the greenery .He dedicated a separate space for each of the artists’ gallery, bounding them together with a triangular courtyard that connects all the exhibition spaces via a mixed sequence of spaces - light and dark, open and closed.

3.THE INTERFACE From Section 2, we understood that Ando made the decision to integrate art and nature as one by placing the building underground thus giving Chichu its name. Yet in his design, we see stark signs of man - made influences to the site, the most obvious being the introduction of concrete volumes that encompasses the entire site. As visitors enters the 27,700 square foot reinforced-concrete Chichu Museum, they will discover the diminishing sunlight taken over by the disorientating semidarkness. The tunnel-like passageway provides a full separation from the external

environment and leads them into a square-ish forecourt carpeted with green stalks of bamboo-like grass (Pollock 2005, 116). This initial experience that Ando created as his entrance sounds rather intimidating. The uniqueness and unfamiliarity created a rather daunting feeling, and nature is nowhere mentioned or considered when one enters the space. Is the integration with nature only a surface treatment to the architecture by infusing the building underground? Perhaps Ando was looking more into interfacing art and architecture together rather than interfacing the culture with nature. For our interpretation of a seamless interface with nature seem to be different from Ando’s radical representation of nature in his work. Yet where did our interpretation come from? One of the historical buildings that perfectly epitomize the concept of one with nature is Frank Lloyd Wright’s Fallingwater. Wild animals live near it; Trees surround it; Water swirls underneath; huge boulders rest at its feet; the house’s terraces echo the pattern of the rock ledges below. Fallingwater seeks to find harmony with nature. Instead of scoping a natural landscape for its inhabitants, the Kaufmanns, Frank integrated the waterfalls with the architecture and hence integrated the falls into their lives. Wright furthered the integration with nature via his selection of materials. He kept his selection to merely 4 materials - sandstone, reinforced concrete, steel and glass and integrated them as part of the natural environment. All the stone at Fallingwater was quarried from the bottom of the waterfalls. Beams are designed in an arc shaped just so to allow tree to grow through the trellis. The chosen concrete was of a pale ochre color to match the back of a fallen rhododendron leaf (Hinnman 2011, 40). Exposed steel was painted red to give a raw feeling; reminding people of the red color of iron ore and also

of the fiery method used to create steel. Clear glass was used to extend the nature into the interior of the house, sometimes becoming reflective like mirror-like surfaces of a calm pool, and at night, disappears to eliminate any distinction between the interior and exterior. Understanding Wright’s design and linking it to integration with nature seemed almost redundant as the building encapsulates the whole concept. It is simple to relate the earchitecture as part of the landscape and the concept of integration was strongly showed in every angle, which was not seen for the case of Chichu Art Museum. As a 3rd generation museum, perhaps we should not judge the interface at its mere surface. Was there more to its looks for the Chichu art museum? From the Periphery of Architecture, Ando wrote “Nature in the form of water, light and sky restores architecture from a metaphysical to an earthly plane and gives life to architecture. A concern for the relationship between architecture and nature inevitably leads to a concern for the temporal context of architecture. I want to emphasize the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience.” (Ando 2005, 465) Ando’s interpretation of the interface between architecture and nature showed that it should not be merely a visual effect, but a more in-depth understanding and experience towards nature. It is thus reasonable to feel that what Ando is doing with his architecture was in particular, to isolate natural elements in blending them with the architecture. Yes one would not feel the natural environment, for we have never experienced nature in its rawness. Our idea of sunlight goes together with landscape, with clouds, with mountains and seas. We do not see light as a unit on its own.

This ideology was translated rather well in the Chichu Art Museum project. For Monet’s Gallery where the water lilies situate, the experience starts with changing your shoes to soft indoor slippers at the shoeboxes followed by a vacant room before the exhibition gallery. The dim experience diminishes through the rectangular open entrance, where silky light trickles in. Once we enter the Monet’s room, the transparent veil of light surrounds us. The completely white atmosphere, the white frames, white walls, white ceiling, and white floors seem to be representative of the raw sunlight, as it fills the environment. This enabled the paintings to have an illusion that it is relieved of its bindings to the frame and joins the space as floating scenery. The gentle ramp that circulates around the central triangular courtyard features a slit in the walls, exposing elements of light into the dim passageway creates a transition of space yet connecting the spatial qualities of the Monet gallery to the other galleries. This triangular courtyard exposes only rough stones at its surface, propelling vision from the visitors towards the sky. In James Turrell’s Installation of the Open Sky, visitors are given the opportunity to enjoy the natural sky via a framed skylight and observe the changes where visitors may see sunlight shining through the window, clouds drifting by or a lingering evening glow. The entire approach of Chichu Art Museum in integrating with nature forms a critical questioning of the natural environment. It forcefully brings out nature via the use of concrete envelope. The physical interface here is the concrete building, although man-made, it seems to be the perfect medium to bring the isolated nature into the art and architecture. The Chichu Museum is thus a successful effort between the architect and the artists, people and nature, acting as a specific artwork in itself. Even the form as seen from the exterior, is like an art piece, infused within

the mountains. This made the argument in section 3 invalid as the approach took by Ando in creating a dramatic entrance was justifiable if his intention of integrating with nature is as discussed. The isolation of nature to provide the integrated experience is not a new concept. Even in Wright’s Fallingwater, we can see hints of this method used. In integrating the waterfall into the architecture, instead of scoping a view, Wright chose to situate the house right on top of it. The Kaufmanns’ could experience everything about the falls except the visually, making the entire experience a more holistic one.

4. CONCLUSIONS The design development resulted in the design of a Museum that integrates art, architecture and nature. Although Ando’s use of concrete seemingly is a great mismatch to its natural surroundings, upon analyzing historical case Fallingwater by Frank Lloyd Wright, and forming a new interpretation radically different from Fallingwater, we discovered new ways of evaluating the use of concrete in the case of Chichu Art Museum. Concrete in this case was a rational material as it isolates the natural elements and framing them for a new experience, which integrates with the architecture. Thus we can conclude that Ando’s Chichu Art Museum did achieve what it set out to explore, “to rethink the relationship between Nature and People.” In fact, it is a much more successful interpretation of the interface between nature and culture as Chichu is not merely an architecture with Artworks as its inhabitants, but rather Chichu itself is a representable artwork that unites with the other artworks.

REFERENCES Ando, Tadao, Francesco Co, and Vittorio Gregotti. Tadao Ando: complete works. 1995. Reprint, London: Phaidon, 2005. Goldberger, Paul. “ARCHITECTURE VIEW; ‘Laureate’ in a Land of Zen and Microchips.” The New York Times, April 23, 1995. http:// www.nytimes.com/1995/04/23/arts/archit ecture-view-laureate-in-a-land-of-zen and-microchips.html?pagewanted=all&src =pm (accessed December 2, 2013). Hatakeyama, Naoya, and Ryoji Miyamoto.Chichu Art Museum: Tadao Ando builds for Walter De Maria, James Turrell, and Claude Monet. Ostfildern: Hatje Cantz, 2005. Hinman, Kristen. “America’s Greatest Work of Arch itecture.” American History 46, no. 4 (October 2011): 32-41. Academic Search Complete, EBSCOhost (accessed December 2, 2013). “How Fallingwater Is In Sync With Nature.” Bukisa http://www.bukisa.com/articles/358116_ how-fallingwater-is-in-sync-with-natur (accessed December 2, 2013). Jodidio, Philip, and Tadao Ando. Tadao Ando at Naoshima: art, architecture, nature. New York: Rizzoli, 2006. Pollock, Naomi R. 2005. “Tadao Ando buries his arc hitecture at the at the CHICHU ART MU SEUM so only the voids emerge from the earth.” Architectural Record 193, no. 10: 116-123. Academic Search Complete, EBSCOhost (accessed December 2, 2013). Sauer, C ‘The Morphology of Landscape’, 1925 p.25 in Carl Sauer (ed), University of Cali fornia Publications in Geography (1919 1928); 2.2 (1929); 19-53. Waggoner, Lynda S., and Frank Lloyd Wright. Fall ingwater: Frank Lloyd Wright’s romance with nature. Fallingwater, Pa.?: Fall ingwater, Western Pennsylvania Conser vancy ;, 1996.

PHOTOGRAPHY

PRODUCT SHOTS 2011-2015

PHOTOGRAPHY

VARIOUS GENRES 2011-2015

OTHERS

RENDERINGS 2011-2015

+65 98586358 jessie.nma@gmail.com http://jessiedesign.wix.com/portfolio