Portfolio 2017-2019

‘17 ‘19 that Architecture Portfolio 2017-2019 select works

by C.J

The quality of a space or place is not merely a visual perceptual quality as it is usually assumed. The judgement of environmental character is a complex multi-sensory fusion of countless factor which are immediately and synthetically grasped as an overall atmosphere, ambience, feeling or mood.

The relationship between emotion, memories and architecture always exists. For example, architecture can trigger emotion even just an architecture element. Architecture always inspired people and made people curioused to know about the story behind the buildings. Memorials design can trigger pride, sadness, or gratitude. Similarly, other building types can yield surprise or canteen mellow one’s mood.

It all becomes a matter of how a particular place is designed - to trigger emotional response in its occupants. Architecture influence our emotions and perceptions through various factors inchluding spatial, light, and geometry, right down to the very materials that are used in its realisation. When the architecture can connect emotionally with its occupants, its message and its meaning can be felt more deeply. Thus, leaving a lasting impression.

This experience is multi-sensory in its very essence. Furthermore, each space and place are always an invitation - to and suggestion - of distinct acts: spaces and true architectural experiences are verbs.

John Dewey, the visionary American philosopher (1859 - 1952) explains the unifying character of the spirit of place as a specific quality: An experience has a unity that gives it its name, that meal, that storm, that rapture of friendship. The existence of this unity is constituted by a single quality that pervades the entire experience in spite of the variation of its constituent parts. This unity is neither emotional,, practical, nor intellectual, for these terms name distinctions that reflection can make within it.

My approach to architecture is the imaginative expression of personal memories and emotions. Design an architecture through senses - using architectural principal like materiality, composition, scale, proportion, rhythm, transparency, and articulation. Trying to create an architectural journey where the narrative pushes and pulls at different emotions.

Chee Jia Xin Bachelor of Science (Hons) in Architecture tel: +65 97536433 / +6016 7070909 e-mail: angelacjx@hotmail.com

Chee Jia Xin

Bachelor of Science (Hons) in Architecture mobile: +6597536433 / +6016-7070909 e-mail: angelacjx@hotmail.com d.o.b: 4 November 1996

hello,

I am Jia Xin, an architectural graduate from Taylor’s Universiry Malaysia with the result of second class honors, upper division. Excellent analytical thinking. Highly adaptable to change. Good learning capacity and willing to learn. Able to work as a team and independently. Enjoy exploring architecture through architectural principle such as materiality, composition, scale and proportion, rhythm, transparency and articulation.

For more works info, please visit : https://www.behance.net/cjiaxin https://issuu.com/jiaxinchee

education info, Bachelor of Science (Honours) in Architecture, Taylor’s University Malaysia

August 2016 - July 2019

- Second Class Upper Honours - Awarded Dean’s List High Distinction Award during semester 6 - Awarded Dean’s List High Distinction Award during semester 4 - Tertiary Merit Scholarship 2016

GCE ‘A’ Levels, Sunway College Johor Bahru Malaysia

July 2014 - November 2015

- Result: 1A 2Bs - Tan Sri Dato’ Seri Dr. Jeffrey Cheah Entrance Scholarship 2014

SPM (equivalent to GCE ‘O” level), SMK Laksamasna KT, Johor, Malaysia

January 2009 - December 2013

- Result Obtained : 3A+ , 6A , 1A-

awards, Dean’s List High Distinction Award

August 2019

Bachelor of Science (Honours) in Architecture during semester 6, Taylor’s University Malaysia

Dean’s List High Distinction Award

August 2018

Bachelor of Science (Honours) in Architecture during semester 4, Taylor’s University Malaysia

Tertiary Merit Scholarship 2016

August 2016

Bachelor of Science (Honours) in Architecture, Taylor’s University Malaysia

Tan Sri Dato’ Seri Dr. Jeffrey Cheah Entrance Scholarship 2014

July 2014

Sunway College Johor Bahru, Malaysia

participation, Religious Traditional Architecture Meas.Dwg & Model Exhibition - host by Centre for Modern Architecture Studies in Southeast Asia (MASSA) - religious traditional building: Cheng Hoon Teng Temple, Malacca - https://www.behance.net/gallery/84441065/measured-drawing-CHT

August 2018

working experiences, RSP Architects Planners & Engineers (Pte) Ltd, Singapore

October 2019 - Present

Akitek Jururancang (Malaysia) Sdn. Bhd, Johor Bahru (Malaysia)

January 2019 - February 2019

- as Architectural Assistant - job scope including produce architectural working drawings, review and check drawings for compliance with authorities’ requirements, complete tender drawing package, 3D modelling.

- as Intern - job scope including amend architectural drawings for authorities submission, 3D modeling and construction drawings - project engaged: Westin Desaru Coast Resort, Johor (Malaysia) Masjid Semerah, Muar (Malaysia) - religious building

Machines Sdn. Bhd, Johor Bahru (Malaysia)

December 2015 - March 2016

- as retail sale associate - familiar with Apple’s product, liaised with a vast variety of customers to fulfil customers’ telecommunication needs.

Hao Ji Agency, Johor Bahru (Malaysia)

- as administration assitant - process and prepared purchased order, issue invoices and assist customers with purchased order inquires.

references, Mr. Bryan Chee

part time lecturer, Taylors’ University Malaysia, mobile: +60125698801 email: dnyks@yahoo.com

Ar. Mohamad Zafarullah B Mohamad Rozaly senior lecturer., Taylors’ University Malaysia. mobile: +60122733654 email: zafar.rozaly.arch@gmail.com

December 2013 - June 2014

The quality of a space or place is not merely a visual perceptual quality as it is usually assumed. The judgement of environmental character is a complex multi-sensory fusion of countless factor which are immediately and synthetically grasped as an overall atmosphere, ambience, feeling or mood.

The relationship between emotion, memories and architecture always exists. For example, architecture can trigger emotion even just an architecture element. Architecture always inspired people and made people curioused to know about the story behind the buildings. Memorials design can trigger pride, sadness, or gratitude. Similarly, other building types can yield surprise or canteen mellow one’s mood.

It all becomes a matter of how a particular place is designed - to trigger emotional response in its occupants. Architecture influence our emotions and perceptions through various factors inchluding spatial, light, and geometry, right down to the very materials that are used in its realisation. When the architecture can connect emotionally with its occupants, its message and its meaning can be felt more deeply. Thus, leaving a lasting impression.

This experience is multi-sensory in its very essence. Furthermore, each space and place are always an invitation - to and suggestion - of distinct acts: spaces and true architectural experiences are verbs.

John Dewey, the visionary American philosopher (1859 - 1952) explains the unifying character of the spirit of place as a specific quality: An experience has a unity that gives it its name, that meal, that storm, that rapture of friendship. The existence of this unity is constituted by a single quality that pervades the entire experience in spite of the variation of its constituent parts. This unity is neither emotional,, practical, nor intellectual, for these terms name distinctions that reflection can make within it.

My approach to architecture is the imaginative expression of personal memories and emotions. Design an architecture through senses - using architectural principles like materiality, composition, scale, proportion, rhythm, transparency, and articulation. Trying to create an architectural journey where the narrative pushes and pulls at different emotions.

contents i. that visitor interpretative centre exploration of the spatial qualities, materiality, transparency pg 8

ii. that art and leisure centre exploration of the materiality, transparency, rhythm pg 18

iii. that learning centre for community exploration of the materiality, articulation, scale and proportion pg 32

iv. that cultural and innovation centre exploration of the materiality, transparency, scale and proportion, spatial qualities pg 42

Visitor Interpretative Centre term | semester 3 site | Tan Jetty, Georgetown, Penang exploration of spatial quality, materiality, transparency.

the clansmen’ house

The Clansmen The ideation of the design is an element of simplicity that retains memorable memories of the villagers. The everyday lifestyle of clansmen is simple. They tend to appreaciate things arounf them and are easily contented. Why do I say do? The door for chasing the bustling city life has always been open, the accessibity to materials such as beautifil and luxury houses has alwasy been possible, instead, they choose to stay in the jetty.

view of chew jetty

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view of yeoh jetty

‘MaZu’ Temple in tan jetty

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The Intention The intention of my visitor interpretative centre (VIC) is to build a building that looks simple but also valuable inside. A place that keep the valuable memories of the villagers. People that don’t have any clue of their culture maybe think that the clansmen are having stranger mind.

Hence, this centre also act as a medium that paints a clear picture of the clansmen’ culture to the public. Some people would not comprehend the choice of these clansmen staying in the jetty and that is when social segregation and isolation would occur.

THE FORM Triangular form are choosed as basic form for the VIC because most of the buildings form along the jetty are in form of cuboid.

The triangle symbol is a simple one, but is also one with a great amount of meaning behind it. It can be symbolize past, present and future; feeling , emotion and creation. It also act as a symbol of unity that the unicity of the clansmen is what we need to learn from them.

Besides, the triangular form are introduced at the end of the jetty and from a loop when visitor reach the end of the jetty.

entrance

void for courtyard

slope

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VERTICAL RELATIONSHIP The continuous staircase allow the visitor go to the roof deck from the ground floor without entering the visitor interpretative centre.

VISUAL CONNECTIVITY AT DIFFERENT FLOOR LEVEL The opened-air design of the centre allow the visitor have more visual connectivity with each other even if they are at different floor level of the visitor interpretative centre.

public

private

SPATIAL HIERACHY

OBSERVATION GATHER SPOT

The visitor centre are seperated into two block. The left part of the building which is double storey tend to have more public spaces. However, the right part of the building is more private. Spaces such as office and storage room will be located at here.

Obeservation gather spots are provided to the visitor to ensure they have the best glance of view of the clan jetty.

SHADING DEVICES

CROSS VENTILATION

Shading devices are designated in order to provide the visitor a more comfortable space during the visiting.

Natural ventilation systems help increase the flow of cool air coming in and assist the hot air going out. This increases building air flow naturally.

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MATERIALITY

The walls of the centre are made of timber but covered by metal meshes. The metal mesh would resemble the social segregation by the public used to living lavish lifestyles, and the timber then resembles the burning passion and enthusiasm of the very clansmen of the jetty.

VISUAL CONNECTION

The building is designed to be open air, that enable different visitors at different floor level of the centre to have more visual connectivity with each other.

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WARM WELCOME

A lobby with double height volume greets the visitors and welcome them with hints of grandness. Visitor will also feel less oppressed, relaxed and stressless.

ENGAGE WITH THE NATURE

The void of the center of the building is exposed to the ocean.

Although the sea water maybe turbid, but fish-watching is possible for the visitors.

CURIOUSITY

Dim lights installed in the gallery space that plants a mysterious feeling onto the visitors luring the curiousity out of them to be exposed to the past of the clansmen.

INHERIT & RECEIVE

From the courtyard, visitors are able to see shadows of people walking on the pieces of translucent glass above them.

This image reflects the history of the clansmen, that their ancestors worked really hard to give their younger generations a better life to live in.

SPACIOUS

Tha facade of the courtyard allow sunlight to float the interior space importing liveliness and positive energy to the space.

CONSOLIDATE

A deck that has a magnificent view of one of the jetties allows the visitors to be secluded by the outside world. This gives them a strong feeling of merging into the culture and the entire jetty.

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Art and Leisure Centre term | semester 4 site | Taman DR Seenivasga, Ipoh exploration of materiality, rhythm, transparency.

site

About the Site Ipoh - the capital city of the Malaysian state of Perak. It is the third largest city in Malaysia by population. Taman DR Seenivasga, is a large urban park opened in the early 1950s. After the site visit, the park is actually not that active and lively. The facilities is not well maintanced, the equipments are quite old and rusty.

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There’s many structure in the park are built using metal. However, this remind me that Ipoh is also famous for their tin in the early days.

That’s why there is a tin musuem inside the park. But sadly, the tin mining musuem is already shut down.

SOLID OR LIGHTWEIGHT? A poster collaged from some of the element that installed inside the park. However, those rusty and old metal structure inspired me the most during the site visit.

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The Intention The intention of the leisure center is to serve as a bridge to bring back the enthusiastic of local people toward the park.

Through redefining the aesthetic point of view of the people using solid and lightweight architectural elements. “not everything has to be new to be pretty, it has beauty in everything.

A leisure centre with theme as Art & Leisure will provide a set of space such as theater, flea-market space, workshop, studio and exhibition gallery etc. It is hoped that this place will serve as a watering hole for local creative artist. A place where creativity take flight, interdisciplinary ideas may be exchanged through diverse activities including art festivals, seminars, and workshops. In order to inspire more creative thinking.

DESIGN CONCEPT Solid to lightweight actually undergo transition from solif to translucent, translucent to transparent and transparent to temporarty. So, applied this into space hierachy, it will become privat, semi-private, semi-public and lastly public.

PROPOSED PROGRAMMED A series of programme that can be happened in this art and leisure centre.

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P R I VAT E SEMI PUBLIC

PUBLIC

PUBLIC REALM

HIERARCHY OF SPACE

Space around, between and within buildings that are publicly accessible including streets, squares, and open spaces. These areas and setting support or facilitate public life and social interaction.

The hierarchy of space categoried into public, semipublic and private. Most of the public space are located at the ground floor as ground floor is more accessible.

INGRESS AND EGRESS

LANDSCAPE

The centre have multi-entrace that can capture all of the public who come drom different direction.

Trees are introducted into the site to achieve environmental, social-behavioural, and aesthetic outcomes.

CONNECTING PEOPLE

SUN PATH AND WIND DIRECTION

A network of spaces that create and strengthen connections between people and people. They are environments for interaction and exchange of ideas that impact the quality of the urban envinronment.

Sun movement and wind direction.

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Art and Leisure Centre A two (2) storey art and leisure centre which have multientrance on the ground floor. Most of the public space such as cafeteria, bazaar, exhibition space and gallery are located at the ground floor. The artist can rent the space to showcase their art pieces to the public. Some spaces such as workshop, studio and office are located on the floor floor. Visitor can join

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the class and learn some hand-crafting skill in the workshop or studio. The studio featured with the partition wall that the user can customize their space’s size according to their needs. There’s a theater which the roof trusses are designated to be exposed. Activities such as film screening, concert or performing can be happened at here.

aerial view

WORK-IN-PROCESS MODEL Throughout the project, few models are made to test out the form and massing of the building. Initially, five (5) conceptual model are made based on the arranging method, void, cluster, connected, stacking and segmented.

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Materiality The main material used in this building are steel colimn and beams, bricks, zinc roof and glass. There is two type of roof: glass roof and zinc roof. Glass roof was introduced to allow more sunlight to penetrate into the space and make the space more energetic.

However, zinc roof are used to insert the sense of privacy. Brick wall are mostly used in the ground floor because it provide the sense of solid and rawness. Partition wall are used to make the space more flexible and easy to adjust.

THE MODEL Photo of the final model showing that the steel beam and columns as the main materials to support the structure.

ROOF Glass panel roof allow filtered sunlight to float into the building.

However, zinc roof used to introduce the sense of privacy of the space.

FIRST FLOOR More private spaces such as office, workshop and studio.

STRUCTURE Steel as the main material of the centre to provide the sense of lightweight and openess.

GROUND FLOOR Open spaces included gallery and exhibition spaces, reception, cafeteria, bazaar and theater.

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exterior render (view from the courtyard)

interior render (corridor of theater)

interior render (covered event space)

interior render (view of cafeteria)

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20m

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0m

10m

20m

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Learning Centre for All term | semester 4 site | Jalan Stesen 1, Klang exploration of materiality, articulation, scale and proportion.

The Intention The intention of the learning centre is to provide a place that inspired the self-confidence of the children through the exploration of the learning centre. Every children have their own specific needs and abilities, so this centre will look into the scale appropriateness of the children. Hence, it will psychologically to make the children feels belonged and comfortable while enhancing their motoric and cognitice skill.

Besides for the children, this learning centre for all also provide a series of programmes to the community of Klang.

For examples, the library, market space, exhibition space, art workshop, cooking workshop, gathering space, cafe and et cetera.

RHYTHM The repetitive forms and elements implanted into the facede of the architecture. Repetition refers to a pattern in which same size, shape or colour is used again throughout the design.

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front elevation

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front elevation

side elevation

Materiality A simple facade will be introduced into this building in order to reflect the most naice characteristics of the children. Hence, most of the finishing used in this building are raw such as raw concrete wall, and exposed timber structure. “People attract by the other people.�

By adding the rotational timber louvers facade, it allow varies degrees of transparency that give subtle hints about insides of the building. This tent to attract the curiosity of pedestrian on what is happening inside the building.

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Components The complex of the learning centre will be divided into three (3) main components: the core, the library and the mini house.

THE CORE A learning centre that provide workshop to the community, no only for the adult but also scale appropriate for the children. Promote relationship between parent and children while learning some new skill.

THE LIBRARY A community library that provide comfortable working space to the community. Also having an reading area that dedicated for the children.

THE MINI HOUSE A place to bring up children’s innovation and imagination through various role-playing activities. Stimulate children’ self-confidences.

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rear elevation

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The Core

ROOF Flat roof with double roofing (insulation) and skylight.

THIRD FLOOR storage (tools) art lab i (handcrafting workshop) art lab ii (sketching workshop)

SECOND FLOOR storage (ingredients and kitchen uses) cooking lab (cultinary workshop) tasting lab (dining area)

FIRST FLOOR deck (open space) childcare area (timber structure with translucent polycarbonate shell)

GROUND FLOOR open space (event space: art exhibition / sunday market)

CONTINUOUS FIVE FOOT WALKWAY continues the five foot walkway from the neighbouring shop houses to protect the user from rain and shines.

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The Library

ROOF Flat roof with double roofing (insulation) and skylight.

SECOND FLOOR co-working space study area

FIRST FLOOR library library for children cafe

GROUND FLOOR cafeteria space

The Mini House GROUND FLOOR living room

ROOF half gabled roof with exposed timber trusses allow natural light to flood the space.

OPEN SKYLIGHT a small ladder leads to a low raised area where the children can read and play, or alternatively pop their heads out through the open skylights to look out into the main learning center.

laudry area (children can put clothes into the washing machines and then hang up the clothes to let them dry.) kitchen (further equipped with frying pans, forks, knives, spoons, cups and refrigerators to store foods.) dining area (children may enact their mothers, by making a meal from various ingredients, decorating the table with flowers, and also arrange the dishes while dining.)

MATERIALITY Translucent polycarbonate sheet let the children to have visual engagement with the rest of the learning centre. However, parents can monitors their play without unnecessarily interfering.

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sectional perspective a-a’

41 sectional perspective b-b’

Culture and Innovation Centre term | semester 6 site | Jalan Maharani, Muar, Johor exploration of materiality, transparency, scale and proportion, spatial qualities.

About the site Muar is situated between Singapore, Johor Bahru, Melacca and Kuala Lumpur. These main cities offer higher job oppurtunities and better education compared to those of Muar. Hence, most of the youngsters decide to leave the town and pursue their careers and this causes the shortage of younger generation in Muar. As a result, the population in Muar either is too young or too old as the middle age group is missing.

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Most of the local people said that they are going to shut down their family business because their children do not want to take over them. Consequently, hands-on skills such as furniture making and traditional cultinary techniques are not able to be passed down from generation to generation.

The cultural dilution occurs too frequently due to globalization and it’s concerning that the Muarian culture will be forgotten slowly in near future.

The Programme The implementation of the cultural and innovation centre begins with “constructing a platform for integration innovation� as a starting point: a cultural and innovation centre that elevates and promotes the existing culture in Muar.

The centre serves as a part of the solution to reverse the current issues in Muar. The main idea is to attract more prople to visit Muar as well as to reignite the local’s pride of being a Muarian. With the authentic culture, the role of this centre is to create an environment whereby people can innovate

within the existing culture and be experimental with traditional materials and techniques, in order to create interesting hybrids of both.

The cultural innovation centre promotes consolidating contemporary culture through multifunctional capabilities and facilities in anticipation of constructing an arena for the experimentation and showcase of existing culture to the public. It is a platform that encourage interdisciplinary collaborations, internal cultural exchange and educational research.

site

Co-creation program Artists are required to submit their proposals and their project should be relevant to the local culture in Muar. The artist-in-residence will be provided with accommodation in the centre. During their residencies, these artists will introduce their proposals to the public and hold an exhibition at the end of the program.

artist approach to the culture and innovation centre

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apply for co-creation program, submit proposal

work and live on-site

meet community, plan and conduct workshop, hold exhibition

collage image showing the culture of muar

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SITE RESPONSE Design strategies that show how the building response to the site.

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site plan

Discussion Space

Reading area

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Exhibition gallery

Surau

Open staircase

Corridor

The space

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physical model - exterior view

physical model - roof of audio / visual gallery

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physical model - ariel view

physical model - roof of audio / visual gallery

physical model - ariel view

physical model - open staircase

east elevation

south elevation

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SECTION Y-Y’

SECTION X-X’

Exterior Perspective

For more works info, please visit: https://www.behance.net/cjiaxin or https://issuu.com/jiaxinchee