architectural portfolio | selected works by kenneth chen by Kenneth Chen

SELECTED WORKS BY KENNETH CHEN

"A beautiful, fulfilling life."

â&#x20AC;&#x153;For us, building a structure resembles the weaving of a story. A thrilling fantasy begins in the familiar world around us, but then, at some point, carries us off to another world altogether. Through architecture, we hope to discover methods by which the struggle with reality can take us beyong more extensions of our daily lives, and by which we can create a peaceful yet variegated world that welcomes everyone and everything associated with it.â&#x20AC;? Maki Onishi + Yuki Hyakuda

Kenneth is a graduate student at the Singapore University of Technology and Design, currently pursuing the Master of Architecture. He values sensitive, thoughtful design, and bespoke problem solving which he applies to all his projects. He aims to design architecture supported by a strong narrative, capable of viscerally moving people from all walks of life through time, memory, and culture. It is his goal to create within every person a sense of fulfilment through spatial experience. When he isnâ&#x20AC;&#x2122;t inundated with studio projects, Kenneth runs a small hand embroidery business and enjoys film photography. He also designs and writes for Hinterland - a local zine that discusses culture and the things left unsaid in society.

kcws71@gmail.com | +65 96533727

EXPERTISE

CURRICULUM VITAE EDUCATION

SINGAPORE UNIVERSITY OF TECHNOLOGY AND DESIGN 2014 - 2017 | Bachelor of Science (Architecture and Sustainable Design); 2018

| Recepient of the Kumpulan Akitek Design Award

| Master of Architecture

NATIONAL JUNIOR COLLEGE 2010 - 2011 | GCE 'A' Level

ST. JOSEPH'S INSTITUTION 2007 - 2009 | GCE 'O' Level

SHANGHAI SINGAPORE INTERNATIONAL SCHOOL 2005 - 2007 | International Baccalaureate (Middle Years Program)

_______________________________________________________________________ CAD MODELLING

Rhinoceros, AutoCAD, Sketchup, Revit (BIM), V-Ray PARAMETRIC DESIGN Grasshopper, Python

GRAPHIC DESIGN

Adobe Photoshop, Adobe Illustrator, Adobe InDesign, Adobe Lightroom WEB

Adobe Muse

EXPERIENCE

P .A .C

2016 | Architectural Internship (6 months): Assisted in a large scale masterplanning and architectural project for the urbanisation of a township located in Shanghai, China BHATCH ARCHITECTS

2017 | Architectural Internship (4 months): Assisted in the design of a new residential project;

Assisted in the architectural study and design of a new commercial project; Assisted in the production of architectural detailed drawings to be submitted for tender; Assisted in several site visits and studies KYOTO INSTITUTE OF TECHNOLOGY

2016 | Winter Exchange: Collaborative exchange with architecture students at KIT; Researched on Japanese architecture; Production of a book detailing research in Kyoto INUJIMA WITH KAZUYO SEJIMA

2017 | Rejuvenation: Participated in a collaborative revujenation project initiated by Kazuyo Sejima of SANAA to reimagine the rapidly aging Inujima island in the Seto Inland Sea of Japan BUILDING CONSTRUCTION AUTHORITY

2016 | Outreach Program: Hosted prospective architecture students; Conducted campus tours SINGAPORE INSTITUTE OF ARCHITECTS

2015 | ArchiFest: Docent for architecture tours; Assisted in headquarter duties SINGAPORE UNIVERSITY OF TECHNOLOGY AND DESIGN 2015 - 2017 | University Ambassador: Conducted public outreach programs; Representative for Architecture and Sustainable Design; Volunteered for Open House events; Led campus tours for prospective students; Conducted tea sessions with prospective students

OTHERS

CURRICULUM

CORE STUDIO

Architecture Core Studio I, Architecture Core Studio II, Architecture Core Studio III, Sustainable Design Option Studio I, Sustainable Design Option Studio II ARCHITECTURAL THEORY

Paradigms of Adaptation, Urban Housing Typologies COMPUTATIONAL DESIGN

Introduction to Design Computing, Digital Design and Fabrication, Building Information Modelling (BIM)

ENGINEERING AND STRUCTURE

Architecture Science and Technology, Architectural Structure and Enclosure Design, Architectural Energy Systems, Integrated Building Design HUMANITIES

History Theory and Culture I, History Theory and Culture II,

History Theory and Culture III, Ethics of Leadership, The Multicultural Archipelago

_______________________________________________________________________ POACHED MAGAZINE

2014 | Writer: Covered arts, culture, society, and lifestyle topics HINTERLAND ZINE

2017 - 2018 | Designer and Writer: Contributed content to a self-published, collective zine HAND EMBROIDERY

2014 - 2018 | Owner of a small, home-based embroidery business

2013 | Took part in Singaporeâ&#x20AC;&#x2122;s first craft market (The Handmade Movement) ORCHESTRAL MUSICIAN (TROMBONIST)

2008 - 2017 | A member of school-based orchestras since 2008; EXCO Member of the NJC Symphonic Band; Singapore Youth Festival 2008 (Gold with Honours); Singapore Youth Festival 2011 (Silver); External performances

SINGAPORE ARMED FORCES

2012 - 2014 | Military Service: Corporal at the 23rd Battatlion Singapore Artillery; Operated the High Mobility Rocket Launcher (HIMARS); Designed ephemera for events held in the battalion

一,

二,

三,

CONTENTS

四,

五,

六,

七,

BUKIT: LIBERATED LIVING Term Six / Core Studio / Mentor: Oliver Heckmann

BOTANICA : THE LOCAL KITCHEN Term Nine / Core Studio / Mentior : Maria Warner Wong

UNIT : REIMAGINING THE SINGAPORE HOME Term Six / Core Studio / Mentor: Oliver Heckmann

REMEMBRANCE : STORIED SPACES Term Eight / Core Sutdio / Mentors: Erwin Viray, Jason Lim

CORRIDOR : A FAMILIAR SPACE ? Term Seven / Core Studio / Mentor: Linghao

KIMONO : FROZEN FABRIC

Term Two / Digital Design and Fabrication / Mentor: Stylianos Dritsas

ELEVATE : UPGRADING AN EVERYDAY JOURNEY Term Two / Digital Design and Fabrication / Mentor: Stylianos Dritsas

In this place that belongs to me, I am able to transcend my usual self. Here, I can love liveliness whilst loving calm; I can love company whilst loving solitude. On this night, I am alone under the light of the pale moon where I can think about everything at once, or nothing at all, and because of this I am freed.

一, BUKIT : LIBERATED LIVING

Singapore is the quintessential twenty-first century city, where steel and glass dominates the downtown areas; where the everyday flat or condominium is generically designed for maximum economy. The idea of community has all but been diminished, even though there is a growing need to share space. I have never been a fan of bringing back the “kampong” (colloquial Malay for “village”) spirit in housing projects - a far too romantic and far fetched notion. In this project I chose to challenge the commonly understood ideals of privacy, and what it means to be truly be ‘free’ and liberated in society. How might families function socially, both within the family and amongst neighbours, in the future where physical and psychological boundaries have loosened? Dwindling resources also indicate the need for space sharing and for residents to take reponsibility of more than just their personal spaces - how might a situation like this work out? How might a place like Bukit Batok, a residential township in West Singapore, accomodate a completely new type of high density residential living?

The site contained several layers of vegetation that made it a prominent landmark in the vicinity. This made it important to preserve this green layering in an already densely man-made town.

Circulation came mainly from the residential areas surrounding the site, several schools, and the train station. Access points were then identified as potential shortcuts. In addition, a potential congregation node was identified in the middle of the intersections between access paths. This gave rise to the typlogy an open court in this location in order to encourage open social interaction.

I used a grasshopper code to exaggerate the existing topography such that a building form appeared to grow out of the site, around an open courtyard. Parts of the growth were then carved out based on areas in which open or green spaces could potentially be placed. Following this, I levelled the growth into habitable floors and contoured them. The resulting building form could, as such, accomodate generous open communal spaces and green areas on each and every floor.

Level 13

Level 09

Level 07

Level 05

Level 03

Studio Unit

Family Unit

Large Unit

Only upon closing your eyes will you have boundless dreams, so do not let the fog of your regrets darken your past. For your memories may be made up of a thousand broken pieces, and these porcelain fragments will piece together your tomorrow.

äş&#x152;, BOTANICA : THE

LOCAL KITCHEN

Singaporeans are convinced from a young age that we are essentially "resourceless". We import almost all of our food, commodities, and even some of our water from foreign nations, and it is no surprise that we have all but forgotten our nation's past as a rich, fertile garden. Once an experimental garden under the colonial British administration, Mount Emily is a remnant of this past. This project is situated in Mount Emily Park, and challenges the notion that truly local food is impossible. By shaping a decentralised kitchen around lush patches of edible vegetation and the natural topography of the site, Botanica melds Singapore's rich culinary tradition with truly local ingredients. The experience through this kitchen is extremely sensorial, fully engaging all senses - from the smells of rempah frying in a wok, right down to the rhythmic sounds of a mortar and pestle. As we look forward to a future where technology reigns, it becomes ever more important to keep ourselves grounded in time, culture, and memory.

A study on traditional Southeast Asian cooking techniques as well as local edible vegetation was conducted first. The idea was to, first and foremost, accentuate what it means for something to be truly "local" as opposed being a remnant of colonialism.

To relate the information gathered to the human senses, I proceeded to study how the human body moved and positioned itself to the different culinary technique, as well as how the human body related tself in scale to different types of vegetation. This ensured that the experience I wanted to create could engage visitors in the most sensorially engaging manner possible.

A site study carried out of the area around Mount Emily revealed the park's proximity to Tekka Market, a historic wet market that remains popular even today. This connection between these two locations allow them to activate and serve one another.

The site has an interesting, undulating topography that I chose to integrate as part of the sensorial experience. This roof plan shows the walkable roof that meanders through the existing trees, meeting the topography at different points. This allows visitors to step on and off the walkable roof and interact with the programs beneath the roof. This has also resulted in a relatively low roof height (maximum of 3 metres), which creates a more intimate experience.

Preparation Kitchen

Social Kitchen 1

Social Kitchen 2

Reading Space Administration

Bathrooms

Amphitheatre

Section AA'

Section BB'

Section CC'

Eighty-eight years. No desires, nor attachments. Let us return home. When the water clears, the moon appears.

三, UNIT : REIMAGINING THE SINGAPORE HOME

Singapore is the quintessential twenty-first century city, where steel and glass dominates the downtown areas; where the everyday flat or condominium is generically designed for maximum economy. The idea of community has all but been diminished, even though there is a growing need to share space. In this project I chose to challenge the commonly understood ideals of privacy, and what it means to be truly be ‘free’ or liberated in society. How might families function socially, both within the family and amongst neighbours, in the future where physical and psychological boundaries have loosened? Dwindling resources also indicate the need for space sharing and for residents to take reponsibility of more than just their personal spaces - how might a situation like this work out? How might a place like Bukit Batok, a residential township in West Singapore, accomodate a completely new type of high density residential living?

In a typical apartment, homeowners often activate their living spaces with potted plants placed in various configurations around the home, such as in scattered clusters, central clusters, or strips near windows. This is especially true in tropical countries where the direction of sunlight remains relatviely constant through the year.

In this project, I inverted this idea such that the home could be surrounded, linked, and activated by a green strip. All experiences in the home originate from the green strip. For example, upon awakening, one could experience walking through this green strip on the way to the living room.

Consisting of three former flat units, the new unit is split into two floors that are connected by the green strip. The traditional concept of a fixed living room was overcome through this green strip, allowing inhabitants to move freely through and between the green strip and the various spaces of the home. In all situations, inhabitants are able to view, appreciate, and interact with the plants.

Open Study

Sleep Pod (Master)

Sleep Pod

Sitting Space

Bathroom Open Kitchen

By using the green strip to physically link all programs within the unit, I attempted to challenge the common understanding of privacy and to also draw residents out of private spaces to spend more time amongst the greenery. At the same time, the density of the plants could be controlled, covering areas of the house that may require more privacy. The area bounded by the green strip is intentionally left void, leaving it open to the eccentricities of the individual residents. This concept fully utilises the vast amounts of sunshine Singapore experiences, with its full height windows. These large portals not only support the growth and health of the plants, they increase natural ventilation and challenge the need for artificial cooling systems as well.

White clouds drift through the cerulean sky: Into its boundless spirit I entrust the frustrations of my life and the conundrums of my love and they are obliterated. In my pure, naive heart I hear a reply. Like a spoonful of cold spring water, Like a magpie in the breeze, Like flowers by the lake, At once it is clear.

ĺ&#x203A;&#x203A;, REMEMBRACE : STORIED SPACES

Initiated by Kazuyo Sejima and Erwin Viray, this project was based on the island of Inujima, located in the Seto Inland Sea of Japan. Historically, the island was home to a thriving mining community which was displaced after the demand for materials was lost. Faced with a dwindling number of inhabitants, the island is ageing rapidly with an average age of 65. Upon visiting the site, the large number of abandoned houses in various states of disrepair struck me. I pursued an investigation on how the islanders perceived death, and how they felt with regard to the topic of memory and time. The islanders reflected a lasseiz-faire attitude to death, and were grateful having lived such a fruitful life on the island. Yet, they could not help but wish that their stories and the homes the built could somehow be remembered. My project is a architectural articulation of the remembrance of memory and time, comprising of three simple, small "houses". Designed to be constructed with existing materials available on the island, the spaces are envisioned to resonate with the life, activities, and stories of the island so that visitors can continually interact with the inhabitants, even long after their passings.

The three plots of land chosen on the island were located near the port of embarkation, giving future visitors direct access to these spaces. Some areas were chosen for their locations having a lower chance of human traffic, allowing quietness to prevail. Other areas were chosen for their prominence in order to attract attention.

Studying the various states of disrepair and abandonment of the buildings on the island, I discovered that there were three primary sensorial conditions that could be achieved with the existing spaces on the island.

Yesterday, oh Yesterday, how beautiful you were! Yesterday has gone, and Today is filled with futile regret. Yet in regretting the passing of Yesterday, we forget the passing of Today. Like a river time flows, and with time the flowers wither. Sezie today; regret nothing tomorrow.

五, CORRIDOR : A FAMILIAR SPACE?

The typical HDB flat in Singapore is utilitarian in nature, compromising luxury for a maximisation of space in order to keep housing prices affordable. This extends to the corridor as well, where the typical HDB corridor is designed as a simple spine of at least 1.2m (for safety clearance), but often reaches widths of 1.5m and above. Residential units are lined up next to one another along the corridor, and the other side of the corridor opens out into the outside world. Yet, plants, storage boxes, bicycles, clothes lines, and even religious altars are some of the many ways residents have taken over this shared space. It is not uncommon to see people relaxing in the corridor on an old sofa, chatting with neighbours. Children run down the corridor to see their friends, while parents lean against the parapet having conversations about school and work. Coupled with the interracial regulations stipulated by the government, unique communities are born organically in this otherwise utilitatian space.

A distinct departure from the typical typology of the HDB flat most people are familiar with, Block 668A of Waterway Ridges assumes a brand new form. Here, the corridor is conceived much like a sky bridge that links two ends of the block. Each end is further split into two sides, each containing two units. Upon interviewing residents, one common sentiment was that every resident lived in relative isolation. This was likely due to the typology of the branched corridor, perhaps designed as an attempt to provide privacy to each residence, a value of life that Singaporeans have grown to desire more as the the country becomes more metropolitan and, arguably, Westernised. Yet, one wonders whether or not this form might provide a different set of evolutionary characteristics. Is this corridor subject merely to isolated neighbours who live side by side?

Considering the very atmosphere of the corridor, one wonders how the corridor might change in time to come. Unlike typical corridors, this corridor might be seen as a luxury - a relaxing journey on the way home. The generous airwells surrounding the corridor allow wind and diffused light in, at times providing sufficient light for plants to grow, and at other times creating a pleasant atmosphere for complete relaxation. In this sense, one might wonder if the corridor might become a conversation space for residents? Could the corridor become a playspace for kids? What about the corridor as a breezy alfresco dining spot? What, truly, are the potentials of this corridor, and what might this corridor become with the ever-changing attitudes of Singaporeans?

This set of watercolour illustrations imagines the various potentials of the corridors spanning all 14 floors of the flat, through the course of a single day. While various types of community is expressed on some floors, other floors express a degree of neutrality as well. In some situations, enmity is expressed, perhaps due to shifting social perspectives that occur naturally with time. While the potential of the corridor is extensive, it is clear that ever-changing social values play critical roles in shaping the corridor. Today, we see reflections of certain aspects of foreign society, for instance, in the corridor in the form of Scandinavian furniture. In time, when Singapore establishes itself even more as an independently conceived nation, what will the â&#x20AC;&#x153;Singapore Styleâ&#x20AC;? be?

The clouds are her clothing and the flowers are her face. In the spring breeze, the dew drops on the flowers accentuate their vibrance. If this beauty does not reside in the jade mountain of the immortals, Then, beneath the moonlight, she must be in the terrace of the fairies.

ĺ&#x2026;, KIMONO : FROZEN FABRIC

The CNC machine is capable of creating molds by removing portions of a material, thus leaving the negative volume of that material. In this project, I tested the limits of the CNC process by trying to achieve the texture and folds of a fabric - a visual quality known to be so difficult to replicate that only master sculptors from antiquity like Michaelangelo and Bernini were able to carve marble to resemble thin, draped fabric. Through the manipulation of a code and the rigorous testing of various material combinations, I was able to achieve an effect that mimicked folded fabric.

By setting X, Y, and Z as 40, 5, and 25 respectively, I finalised our final surface as shown on the above. By splitting the final surface equally into three separate surfaces, able to create three different tiles with three different colours that could still be connected to each other to form a continuous pattern.

To ensure that each tile had a similar consistency, I measured and used the same amount of plaster powder and water for each tile that was casted. To compensate for the excess water from adding the acrylic paint, I also added excess plaster powder to the mixture.

To mimick the ribbed texture of a Japanese fabric, I did not layer our mould with putty as it would cover the delicate scalloped edges produced by the CNC machine. Instead, I lightly coated the mould with Vaseline to ensure an easy release of the casted tiles.

Across this land I soar: the earth becomes a vast highland; an endless range of mountains. Across this land I soar: the eagle becomes a king; the forests are his mighty generals. But the cliff is the strongest adversity of all: it faces the wrath of the ocean, yet only the empty skies embrace it. Across this land I soar, gazing at the highlands whose shadows swallow me whole As if I were a canoe, quietly floundering in the eternal sea.

ä¸&#x192;, ELEVATE : UPGRADING AN EVERYDAY JOURNEY

This project began as a meditation on the ingenuity of the elevator - a contemplation on how one steps into an elevator and watches the doors shut, then magically steps out into a completely different setting merely seconds later. Inspired by the transportive ingenuity of the elevator, it is designed as an exuberant invitation into the otherwise stoic elevator we have become so accustomed to that we have forgotten the engineering brilliance behind it. Designed parametrically then handcrafted with wooden dowels, ELEVATE assumes the form of triangulated geometries that alternate between meshed surfaces, created by weaving cotton cords, and opened surfaces. The dowels that form the triangulated forms are joined together by 3D-printed ABS joints that were developed with a code.

A lofted surface was developed based on set points on the existing frame around the lift doors. The surface was designed to undulate inwards and outwards, exposing and covering different areas of the original frame (for instance, it curved around the floor directory and lift buttons panel). The curved surface was triangulated into a mesh, which produced the form above. Nodes for the joints were then identified and labelled.