Keryn Liew
portfolio
CONTENT CURRICULUM VITAE
0 4
HEREAFTER GIVING
06
GARMENT PALIMPSEST
1 2
SILVER STOREFRONT
2 0
COMPOSING BALANCE
PAPER LANTERN
2 8 3 4 4 0
APPLIED CONSTRUCTION
4 4
MUSING LINES
5 2
TECTONIC GROUNDS
5 6
IN.MOD PAVILION
Image of cover page : graphic illustration 2013.
E D U C AT I O N 2016-2017
Masters of Architecture The University of Melbourne, Australia JULY 2017
AA Lugo Analog Photography Workshop Architectural Association School of Architecture : Visiting School 2013-2015
Bachelor of Environments (Architecture)
Keryn Liew
kerynlzx@gmail.com http://issuu.com/kerynliew +61451980506 (AUS) +60168390506 (MSIA) Date of Birth : 29 May 1993 Citizenship : Malaysian
As a graduate architect, I am interested in the narrative of architecture. I seek to discover architectural detailing that speaks spatial atmospheres and deals with intimacy.
The University of Melbourne, Australia 2011-2012
Australian Matriculation First City University College, Malaysia 2006-2011
SPM (Year 11 Equivalent) Sabah Tshung Tsin Secondary School (STTSS), Malaysia
EMPLOYMENT September - October 2015 Student Architect at Martino Leah Architects, Melbourne 3D visualization and town planning drawings
CIVICS AND LEADERSHIP 2015
Organising Committee Member (Catalogue Design Team) Global Architecture Profiling (GAP), University of Melbourne curation of an architectural exhibition and catalogue publication
Chief Designer (Marketing Department) Malaysian Games, Malaysian Students' Council of Australia (MASCA) poster, banner, sponsorship proposal and information booklet publication 2014
Administration Ministry Overseas Christian Fellowship, University of Melbourne Senior Publicity Officer (Design Team) Malaysian Society of University of Melbourne (MoMU) posters and banners design for events 2013
IT Officer Malaysian Society of University of Melbourne (MoMU) monthly e-booklet publication, website administration 2006-2011
Secondary School Graduation Committee (Head of Design Team) Class Monitor President of STTSS Strings Ensemble

AWA R D S A N D R E CO G N I T I O N S 2017
University of Melbourne Global Scholars Award 2016
Young CAADRIA Award Collaborative researched paper on digital architectural design
Dean's Honour Award for outstanding academic achievement in 2015 2014-2015
Architecture Design Studio: Fire Featured Work on Exhibition Architecture Design Studio: Air Selected Work Exhibition Architecture Design Studio: Water Selected Work Exhibition 2013
Wyvern Medal - Queen's College, University of Melbourne Medal for academic excellence of an average of First Class Honours across all subjects 2011
Public Service Department of Malaysia (JPA) Scholar Full scholarship for studies (Architecture) in Australia 2008-2010
STTSS Prestigious Vice Chairman Board of Governor's Award STTSS Outstanding Student Service Award STTSS Outstanding Artistic Achievement Award Champion of State Trilingual Speech Competition Second Runner Up of National Trilingual Speech Competition
SKILLS Adobe Illustrator Adobe InDesign Adobe Photoshop AutoCAD Rhinoceros Grasshopper Sketchup 3DMax
LANGUAGE English Mandarin Chinese Malay Cantonese Hakka Chinese
Card Cutter Laser Cut 3D Printing
REFEREES Scott Woods Studio: Gift to the City VII (The Musing Lines) Leader woods.scott@unimelb.edu.au
Alessandro Liuti Studio: Air (IN.MOD Pavilion) Leader alessandro.liuti@unimelb.edu.au
Christina Bozsan Thesis: Hereafter Giving Supervisor christina@boarch.com.au

0 1 H E R G I
E A F V I
T E R N G 2017 YEAR 5
CONTENT : POLITICAL AND SOCIAL RESEARCH, CIVIC ENGAGEMENT EXPLORATION, PLACE-MAKING
Full Design Journal available for view at https://issuu.com/kerynliew/docs/hereafter_20giving
Project Brief
Australia is well known for its transplant industry globally, most citizens are aware of the opportunity for organ donation, yet many did not register to be a cadaver donor. It then comes to the question : Could architecture assist in the idea of rethinking the body of human and its ownership? The question of a loop cycle of life and death is to be considered. In the current debate of organ donation registration system in Australia, with further relation to the global issue of organ trafficking, a speculative architecture of advocacy is thus to be investigated. This thesis therefore, explores how a new cemetery that is inclusive of mortuary, advocacy and columbarium for organ donors could be integrated into existing cemetery models. Driven by the concept: act of giving as a celebrated aspect, a new morality of death is to be discovered. This is done in order to test the celebrated implementation of an architecture of a new tier of "sacred gifts", a new morality that grows from the existing necropolis.


Site Context
The Melbourne General Cemetery was selected as a testing ground for such a proposal, given the significance of the site within Melbourne and it is already at capacity. The definition of new morality here, is not grounded to any religions as compared to the existing layer below. Categorised based on the "absence in body", each deceased givers are celebrated and seen beyond just a memorial. This provokes a new experience of discovery, a discovery of a multilineage of the context, organ donation. As such, the many fragmented identities of the existing necropolis ( tombstones, gateways and path routes) are extrapolated and heightened to engage in a journey that aligns with the new tier of activity, similar yet different to the layer on the ground. It is therefore, a new system that incorporates these assets found on ground to key experiences of exemption, frames and procession that further align with spaces that provide the act of giving.


Aerial Plan

Narrative
This project is directed into an architecture that programs spatial experiences, circulating routes and form compositions derived from the fragmented identities as mentioned before.
BILLBOARD: An administration office, an advocacy gateway for organ transplant
Experimentation in form, structure and materiality that enhance the response of design to the element of giving is done, while not forgetting the amplification of identities on site for a cohesive experience to the new tier.
OFFERING : A columbarium of celebrated givers
CLEANSING : A mortuary exclusively for organ donors,
Intentionally composed of distinct architectural compositions to give and take in balancing both moments of personal grieving and public awareness.
0 2 g a r m e n t p a l i m p s e s t 2017 YEAR 5 CONTENT:CITYPLANNING,COMMUNITYLIVINGTYPOLOGIES, PLACE-MAKING,ARCHITECTURALHERITAGEINTERVENTION, MULTI-USE PROGRAMMING
Project Brief
The initial concern of this project is to re-establish a better identity and livability of Victoria Crescent. This is an exploration to the extent on what works best for a sustainable Abbotsford in terms of community engagement in a hybrid working environment. Back to the 1800s, there is a continual evolution of garment making from leather, to fabric manufacturing and textile printing in Abbotsford. It is as if there is an invisible loop of garment industry projected. Therefore, as a continuation, the site would be intensified as a garment precinct. By introducing a transparent system from production to consumerism, the project targets a flux of designers and makers from amateur to professionals.This precinct would be heightened as a garment cycle.
The Palimpsest of Garment in Abbotsford
Level 4
HISTORICAL EVOLUTION
1897 1901 Fellmonger operation Wool scouring
1905 Belt making
1917 1920 Sauce and jam Woollen fabric manufacturing
1970 Textille Printing
Level 3 PROFESSIONALS
STUDENTS
VISITORS
THE CYCLE OF GARMENT
OP E
N E AC SP N PROFILE VATIO ELE
Commercial 30 m 20 m 10 m 0m -10 m
Industrial Education
0m
40 m
80 m
120 m
160 m
0m
3m
5m
8m
10 m
Residential 26 m 24 m 22 m 20 m 18 m
Heritage Listed Vegetation
SUBT LE B OU ND AR Y
Activity Hotspot Subtle Boundary Morning Afternoon Night Evening
N TIO
KEW
IN D USTR
EAST MELB
OURNE
IAL
FEN
CE
VICTORIA ST
Fragments of Abbotsford 
1:4000
Back in the 1800s, Abbotsford is first established as an industrial area, yet it is now in the process of transformation. With its location at the Melbourne CBD edge, it is designated as one of the major activity centres in the Melbourne 2030 plan. Residential housing is now the major fragment that forms the area, however, it is interesting to realize that there are still shadows of the past casting on each street. Industrial elements are dominantly portrayed in every corner of this suburb, with mostly warehouses fencing Yarra river. Vehicles are the main moving objects circulating the streets while pedestrians are hardly seen walking around the path. A subtle boundary is formed that separates the land and the river, as if there are isolated fragments that are to be discovered to reconnect Abbotsford.
EC RS TE IN
GIPPS ST
T
COLLINGWO OD
IC FF RA
Time
The Palimpsest of Garment in Abbotsford
Level 4
HISTORICAL EVOLUTION
1897 1901 Fellmonger operation Wool scouring
1905 Belt making
1917 1920 Sauce and jam Woollen fabric manufacturing
1970 Textille Printing
Level 3 PROFESSIONALS
STUDENTS
VISITORS
THE CYCLE OF GARMENT
Prototype and Design Consultation
Pattern Drafting
Sample Construction
Line Production
Material Sourcing
Fabrication
Showcase
Level 2
ENCLOSED/PRIVATE
OPEN/PUBLIC
Small Co-working Space
Individual Study Nooks Photoshooting Studio
1 Bedroom Apartment
Outdoor Working Area
Studio Cubicle Living
Conference Room 3 Bedrooms Apartment
2 Bedrooms Apartment
Large Co-working Space
Fashion Archive Collection Fitness Gym
Seminar Room
Gallery Carpark Area
Fabrication Workshop
Printmaking Lab
Outdoor Communal Space
Resource Library
Garment Material Supplier Store
Computer and Print Zone
Casual Co-working Space
Study/Learning Space
Courtyard Local Designers’ Retail
Fashion Retail
Level 1 Fashion Runway
Back of House (Showcases) Convenient Store Underground Fashion Runway
Utilising the fast pace potential in peripheries and in-between corridors
Cafe and Pop Up Stores
Intersecting planes to reconnect existing buildings
Forming a continuum in the cluster of architectural elements
Residential Units Maintain heritage continuum in roof profiles after opening of space
vertical connection (lift core)
Lecture Theatre
Ground Level
Commercial Lots Institutional Area Communal Facilities Makerspace Basement
Modify thresholds for storefronts along the street
Increase setback for main entrance area
SITE INTERVENTION
CIRCULATIONS - WALKWAYS,BRIDGES,STAIRCASE
Programme
Residential and commercial blocks would be densified to first establish the cycle of consumerism in this garment precinct. As seen from this diagram, the project is separated to three different fragments.
bik e of
sio n ten
road through
to Mayfield Street
ex
To further sustain the identity of this area, an exchange of knowledge and experience among the new primary target residents (the makers) is embraced. A fashion institute is thus the anchor to the exchange within the garment precinct, with retails from garment material sourcing to the end consumed product of fashion that is focused on the ground level.
pa th
Collaborative makerspace with work stations are accompanied with the student housing along this linear row; whereas a focus on neighbourhood and communal living is catered for the professionals and others along the other edge.
 0
10
20
30
40
50 M
vertical connection (lift core)
Residential Units Maintain heritage continuum in roof profiles after opening of space
Ground Level
Commercial Lots Institutional Area Communal Facilities Makerspace Basement
Modify thresholds for storefronts along the street
The main thresholds to the building targets first the consumers of garment along the street edge and second, the institutional zone. Existing buildings are carved to create a laneway in between that serves mainly for cafes and a recreational corridor. As seen here, three different experiences are provided to heighten the mixed use of building with landscape. First, the sunken lane that directs people to underground retails and to the communal area along the river; that has another alternative as a sunken fashion laneway when required. Second, the facade that is retained to serve as an ambiguous portal between the old and new and the elevated corridor that provides an outlook towards Victoria Crescent setback for main entrance area onceIncrease people enter the institutional zone of the precinct. SITE INTERVENTION
CIRCULATIONS - WALKWAYS,BRIDGES,STAIRCASE
SITE SECTION 1:500 0
10
20
30
40
50 M
As fabrics play an important starting material for the generation of this garment cycle, the intervention between what a storefront could work with the specified residents is considered. Housings around this area targets more on hybrid interchange of knowledge; hence, pockets of working area is inserted along the apartments with the aid of the corridor as a shopping catalogue of fabrics to the residents. To provide a strong collaborative environment of creative workspace, voyeurism is also embraced. The cantilevered working spaces with movable walls that are exposed to the street serves as a living billboard to the neighborhood of the garment precinct.
19
21
22 18
20 24
23
17
16 15 10
14
8
11 9
12 7 13
5 6
3 4
2
1
Public Entrance
Private Entrance
1 Main Drop Off Area 2 Atrium 3 Casual Work space 4 Conference Room 5 Convenient Store 6 Outdoor Communal Space 7 Resource Library 8 Study/Learning Space 9 Cafe and Pop up Stores 10 Cafe 11 Back of House 12 Fitting Rooms 13 Fashion Retail 14 Local Designers’ Retail 15 Courtyard 16 Fashion Runway 17 Garment Material Supplier Store 18 Outdoor Deck 19 Residential Carpark 20 Small Co-working Space 21 Individual Working Nooks 22 Printmaking Lab 23 Large Co-working Space 24 Underground Fashion Runway 25 Student Working Space 26 Student Accommodations
25
26
GROUND FLOOR PLAN 1:500 0
10
20
30
40
50 M
0
SECTION A 1:200 20 M
10
TYPE A - FAMILY PRIVATE HOUSING 1 BEDROOM APARTMENT 40sqm 5 units (accommodating 2 people) 2 BEDROOMS APARTMENT 55-65sqm 60 units (accommodating 3-4 people) 3 BEDROOMS APARTMENT 70-80sqm 25 units (accommodating 5-6 people)
+7.00
28
29 38
+8.00
+22.00
27
30
+7.00
+19.00 32
31
+8.00
33
39
34
TYPE C - HYBRID COMMUNITY STUDIO APARTMENT 20sqm 16 units (accommodating 1 person)
35
+8.00
1 BEDROOM APARTMENT 30-40sqm 8 units (accommodating 2 people) +9.00 +9.00
2 BEDROOMS APARTMENT 55-65sqm 10 units (accommodating 3-4 people)
40
41
+20.00
3 BEDROOMS APARTMENT 65-75sqm 10 units (accommodating 5-6 people) +8.00
42
43
+9.00
44
36
+8.00
45
Rail fixtures as supporting hangers for leftover fabrics or half done products
46
Glass screen wall as creative brainstorming board
37
+8.00
TYPE A - STUDENT ACCOMODATION WORKSPACE IS DIRECTLY OUTSIDE APARTMENT UNITS +9.00
27 28 29 30 31 32 33 34 35 36 37
Fabrication Workshop Individual Working Nooks Computer and Print Zone Large Co-working Space Cafe and Lounge Area Fabric Drapes Meeting Room Fashion Archive Collection Photoshooting Studios Fashion Showroom Collaborative Working Space
38 39 40 41 42 43 44 45 46
LEVEL 3 FLOOR PLAN 1:250 0
10
Fitness Gym Seminar Room Casual Co-working Space Teaching Room Study Area Conference Room Fabrication Area Large Printing Zone Conference Room
TYPE B - FAMILY PRIVATE HOUSING WORKSPACE IS ACCESSIBLE BELOW
LEVEL 7 FLOOR PLAN 1:250 20 M
0
10
20 M
TYPE C - HYBRID COMMUNITY GARMENT RETAIL IS ACCESSIBLE BELOW WITH SMALL WORKSPACE AVAILABLE OUTSIDE APARTMENT UNITS
TYPE A - STUDENT ACCOMMODATION 1 BEDROOM APARTMENT 30sqm 92 units (accommodating 1-2people)
FORMAT OF RESIDENTIAL UNIT
0
10
SECTION B 1:200 20 M
0 3 S I L V E R S T O R E F R O N T 2016 YEAR 4 CONTENT : GRAPHIC REPRESENTATION, STUDIES ON ARCHITECTURAL PHENOMENOLOGY, CAD DETAILING, PHYSICAL MODEL MAKING
Project Brief
A play of identity is explored in this fictional storefront for Andy Warhol and the superstars. Verticality is embraced in this design, creating a type of personal journey and voyeurism to be participated. Diverse capability of multiple functions in a defined space is created, exploring the idea of interactive participation of the users to an architecture. Forming dual experiences, a contrast within spaces is thus defined. Spaces are arranged with the focus on flexibility and personal interpretations of spatial quality. It is a storefront that aims to intensify the identity of the participant of the architecture.
TH
EP
LA YO
FS
TH
TR
UC
TU
RE
-E
XP
OS
UR
E
EP
LA YO
FF AC A
DE
- PA
RT
ICIP AT IO
N
THE STOREFRONT A PLAY OF IDENTITY
“Andy did not want to be the centre of things. he wanted to watch and see other people’s reactions and how people lived their life.” The curiousity in discovering oneself and another contributes to the approach of the design intention of this storefront. What is it like to be observed; and what is it like to be observing? This idea of determining the recognition of identity between the superstars and the public is examined. Verticality is embraced in this design, creating a type of personal journey and voyeurism to be participated. Diverse capability of multiple functions in a deened space is created, exploring the idea of interactive participation of the users to an architecture. Forming dual experiences, a contrast within spaces is thus deened. Spaces are arranged with the focus on exibility and personal interpretations of spatial quality. After all, it is a storefront that aims to intensify the identity of the participant of the architecture.
mezzanine oor RL.3.00
Design Intent
typical gallery oor RL6.00 - RL14.00
The storefront here, acts as a display suite of what is produced on top - the silver factory. Visitors from the public is celebrated as the major participants of the space; while Andy and the superstars would be hidden, having a rather enclosed access through the core elevator to their working space - the factory. Contrasting dual experiences are formed for the superstars and the public. Small space with quick linear access for superstars. Large space with a long voyage for the public.
observatory oor RL.18.00

Scenario One (Plan and Section Detailing)
Visitors become an artwork themselves when they reach the point where they are viewed as a focus of human flow from the outside. The choice is up to themselves whether they want to circulate the vertical tower, experiencing a journey of voyeurism combined with narrow lane way, view towards the bottom tiny atrium and then to the highest where they could have a visual peek towards the activities of superstars in the factory.

Scenario Two (Plan and Section Detailing)
With reference to Andy Warhol's appreciation of branding of ordinary items, artworks are printed on translucent films, displayed to be seen as market products of such branding from the outside. The density of opacity would be altered when visitors take the films, and thus provides a movement of tonal change on the outer facade.

The grand stairs that he takes, is echoed with rattling sound from the steps and casting streamlines of skylight. Appreciating the pixels of Warholism through the carved shelves on his left, accompanied with recognisable noises of Warhol superstars below on his right; the grand walk leads him to the second gallery.

The elevator is utilized as a multi-functional space for the superstars. Deals and interviews are done within this tiny area. Interviews are done in Warhol screen-test method through installed cameras in the elevators. No interviewer would be engaging directly with the superstar; heightening the identity of superstars.

0 4 C O M P O S I N G B A L A N C E 2015 YEAR 3 CONTENT : CONCEPTUAL TRANSLATION, 2D DRAFTING, FUNCTION PROGRAMMING, VISUAL RENDERINGS, LASER CUTTING, ARCHITECTURAL DOCUMENTATION
Project Brief
Senses in architecture is something that sparks the design approach of this project on a motel with yoga and visual art practices in the year 2045. By the definition of balance, it could be further explained as the balance in a shift of structural core, the balance of looking at the past and present innovation; the balance of experiencing and creating the art of experience.
Site Analysis
A very highly residential area it would be in 2045, the project aims to target residents around as one of the targeted users, apart from tourists; as present site is observed to be rather dull and quiet.
CIRCULATION AND ROAD HIERARCHY
FUTURE BUILDING OVERSHADOWING
Design Concept
From the initial concept of the design, jenga blocks that focuses a lot on balancing is used to generate designs. Balance is created in this interesting interdependency of columns. Structure is hence solely generated from an iteration assembled, mirrored and translated. CURRENT BUILDING TYPOLOGY AND MATERIAL CURRENTBUILDINGHOURSOFOPERATION (DAY)
CONCEPT OF JENGA : BALANCE IN STRUCTURE
CURRENTBUILDINGHOURSOFOPERATION (NIGHT)
DIRECTSEPARATIONOFTARGETED SPACES
CIRCULATION OF BUILDING
ZONING OF PROGRAM
VERTICAL CONNECTION
LOBBY
GALLERY INSPIRED BY ALEXANDER CALDER ON BALANCE OF MOBILE
MOVABLE TENSION STRINGS IN COMMUNAL AREAS
SUITES IN THEME OF BALANCING
EXTERIOR VIEW OF MAIN ENTRANCE
UG : CARPARK & PLANT ROOM 1
LEVEL 04 : RESTAURANT& BAR
LEVEL 09 : CARETAKERS' RESIDENCE
GROUND : CIRCULATION SPACE
LEVEL 01 : MOTEL RECEPTION & OFFICE
LEVEL 02 : SECRETARIATS & YOGA STUDIO 1
LEVEL 03 : SEMINAR SUITES
LEVEL 05 : CIRCULATION SPACE & GALLERY
LEVEL 06 : GALLERY
LEVEL 07 : GALLERY & OUTDOOR TERRACE
LEVEL 08 : YOGA STUDIO 2
LEVEL 10 : SUITES & OUTDOOR TERRACE
LEVEL 11 : SUITES 2
LEVEL 12 : SUITES 3
LEVEL 13 : PLANT ROOM 2
PLANS 1:1000
PRIVATE ZONE [Balance of Touch] Movable tensional strings perceived as instable structural screen walls connecting three levels of suites along the corridor.
TRANSITION [Balance of Sight] Contrasting balance of complementary colors used for art installation inspired by Alexander Calder (originator of mobile).
PUBLIC ZONE [Balance of Sound] Fine aperture transmitting sound between levels, depending on noises and footsteps of public activities.
SECTION 1:600

FACADE PANELS While wanting to have glass panels to inclose exterior faces and frame views, perforated panels are introduced as an additional shading. Pattern is derived from traits of bricks.
BAMBOO STRUCTURE As a sustainable material, its strength to weight ratio is larger than bricks and timber. Thus, is used as secondary structures to the cantilevered blocks, mainly at the lower part of the building.
TIMBER CLADDING Timber is used to match the color scheme of the site. It is also a subtle reference to jenga, thus acts as facades to the core structure of the building.
G
IN
AZ
GL
AL
UR
T UC
R
ST
EAST ELEVATION
NORTH ELEVATION

0 5 I P
N . A V I
M L
O I O
D N
2015 YEAR 3 collaborative pair work CONTENT : ALGORITHMIC SCRIPTING, VISUAL RENDERINGS, 3D PRINTING, PROTOTYPE FABRICATION, ARCHITECTURAL DOCUMENTATION
Full Design Journal available for view at http://issuu.com/kerynliew/docs/test
Project Brief
Proposed as an installation for the CERES Environmental Park along Merri Creek, In.(flatable) Mod.(ular) responds to the need of proper light settings and an event venue in the Park. As its name, In.Mod uses spherical inflated modular PVC elements as voussoirs for a freeform spatial catenary system. This modular sphere packing systemallowseasy-to-fabricate,formwork-freeand dry construction while providing a material system with the features for an acoustic optimization.
This project was further developed as a case study for a paper for the CAADRIA 2016 Conference with my partner and studio leader. Full Paper available for view at http://papers.cumincad.org/data/ works/att/caadria2016_405.pdf
SEATS
LIGHTING ALONGTHE CURVE SEATS
PERFORMING AREA
SITE : CERES PARK, MERRI CREEK
Site Analysis
The generation of form finding is done with a review in reflecting the characteristics of site as listed on the left.
PM AM
VEGETATION
SUN PATH
CIRCULATION
ZONING
Form-finding Process
Modular layout before (left) and after (right) the application of sphere packing algorithm. The sphere packing clusters the pattern towards the stage, with patterns controlled through a set of variable radii. Attractor points hence define the points that shall become part of the structure, and those that are ground-restraints, and those that would be discarded. 3 moduli are defined according to the radius: 0.25m, 0.5 and 1m.
Design Technique
TRIANGULAR MESH
PACKING WITHIN DELAUNAY MESH
PACKING OPTIMIZATION
Surface patch is done to the final form boundary before meshing the surface. The mesh is refined with triangular mesh for even distributed mesh pattern. Spheres are packed in a delaunay format to minmimize gaps among the spheres.
SURFACE PATCH
FORM FINDING
MESH SURFACE
TRIANGULATE MESH
SPHERE PACKING
Workflow Diagram
DIRECTION OF WIND PRESSURE TOWARDS THE MODULAR SPHERES
MOVEMENT ASSUMPTIONS OF THE BACKDROP OF INSTALLED MODULAR ELEMENTS
Flexibility of form
CONSTRUCTIONJOINTS
PERMANENTANCHOR
MODULAR SPHERE (TOP VIEW)
OVERALL INSTALLATION
MODULAR SPHERE (INFLATED)
Construction System
JOINT IDENTIFICATION
PLAN OF PERMANENT ANCHORS
WEST ELEVATION OF PAVILION
UNROLLED PANELS
PROTOTYPE OF INFLATABLE SPHERES
BOLT AND NUT (inflatables to permanent anchors) PLAN OF OVERALL STRUCTURE
SNAP FASTENERS (inflatables to inflatables)
CONCEPTUAL PROTOTYPE
3D PRINTED MODEL AT 1:50 SCALE
0 6 P L
A A
N
P T
E E
R
R N
2013 YEAR 1 CONTENT : DIGITAL FABRICATION, DIGITAL DESIGN, RHINOCEROS 5.0, GRASSHOPPER INTERFACE
Full Design Journal available for view at h t t p s : / / i s s u u . c o m / k e r y n l i e w / d o c s / m o d u l e _ 4 - _ f a b r i c a t i o n Project Brief
Deriving geometric rules based on patterns found in nature, the lantern is designed digitally using Rhinoceros 5.0 and fabricated from a 2D cutting template which is output through card cutter. The multiple intricate paper panels are then hand folded and assembled; fusing digital technology with craft sensibility.
The Y-curve segment in this pattern of nature is explored and developed. It forms a concept behind the design of the final lantern with consideration of aesthetic purpose and also mass customization. It opts to create a design that serves to the external atmosphere through light and shadow, hence, experimentation of digital design and model representation is done throughout the semester.
Influenced by the materiality and soulfulness of living things, the implications of benefiting geometrical patterns is exploited in this project. The structure of the lantern is hence formed from the Y-curve segment, with the approach of movements in nature, to create a geometric rule of formal design.

0 7 A P P L I E D C O N S T R U C T I O N 2016 YEAR 4 CONTENT:STRUCTURE,SPACEEFFICIENCY,CONSTRUCTION DETAILS, TECHNICAL DRAWINGS
Project Brief
Documenting a design development proposal with key envelope details for a tall office building located in Melbourne CBD.
292 EXJHIBITION ST
FACULTY OF ARCHITECTURE BUILDING AND PLANNING MELBOURNE SCHOOL OF DESIGN ABPL90118 APPLIED CONSTRUCTION 2016 DRAWN BY
KERYN LIEW, LIAN CHEN NG, TONG KE
MELBOURNE VIC 3000
STACKING: MODEL AND 3D VIEWS/DIAGRAMS SCALE
1:500/A2
GROUP
5D
ASSIGNMENT 1.1
DATE
DWG NO.
A1.1
15.06.2016
REV.
Senior Tutor: Dhara Patel Author
1.1 FEASIBILITY
Student ID
Keryn Liew Ker Yeeng
610143
N IO BIT HI EX
CROWN
EN
T
ST
ARD NG LTO
TR OB ES
C AR
LA
EXHIBITION ST
LA TROBE ST
SHIFT
HORIZONTALITY AND VERTICALITY
STACKING AND SPLICING
TILT
SKY-RISE
HIGH-RISE
MID-RISE
TR OB ES
T
N TIO I BI
ST
H GREEN EX FACADE
EN
IN NEW
ARD NG LTO
OUT OLD
MEDIA MESH SHIFT AND TILT
STACKING AND SPLICING
The location of the tower is tilted to be along the central axis of the overall plane of Carlton Garden, which offers users more visual access towards the landscape area.
Through the spliced body of the building in response to surrounding height and form of buildings, a harmonious integration into the environment is provoked, minimising the sense of oppression for urban dwellers.
HORIZONTALITY AND VERTICALITY
CONCEPT
LOW -RISE
C AR
LA
EXHIBITION ST
LA TROBE ST
FACADE
The use of a traditional layout of the horizontality and verticality of plane is used in the design concept of the building.
CORE
Located at the edge of the city, a prime location that overlook Carlton Garden, the design of the tower is intended to draw a contrast of old and new, inwards and outwards with respect to the feasibility and functionality of an office building. The building is designed to create a statement at its location, without losing the respect of building formation to the surrounding. The use of a traditional layout of grids is implemented. The design of our proposed building could be seen as a resemblance of the surrounding buildings, depicting as a multiple functional combination as a whole. This is eventually one of the development trend of high-rise buildings nowadays for time and space Intent savingDesign opportunity. In response to this, the building is formed through the splicing of plates, contributing to the cuts of orthogonal as seen in the exploded Located at the edge the city,into green facades, a design opportunity to promote natural ventilation while reducing urban heat effect. Relating to the diagram above. These wereof translated a prime location that overlook concept of inwards and outwards, the design serves to contribute a co-relationship of the users inside and out. By tilting the tower to more exposure of Carlton Carlton the design of Garden, visualGarden, access towards the landscape of Carlton area is offered to the users inside the building. the tower is intended to draw a of old and new, inwards Withcontrast simple approach in massing and plan cuts, the building makes use of orthogonal grid spaces to consider rentable spaces. Consistent floor plates were anddespite outwards with respect to the extension of green facades. Through the green facades that focus mainly on the north and west, a new working formed the additional cantilevered feasibility and functionality environment is created for the usersofofan these offices. Productivity is believed to be highly improved when greenery is implemented in a working environment. A office building. in The building is as a buffer and social zone to these working people in the floors below. The proposal here thus focuses on the sky pool is introduced the crown, acting designed to createwithin a statement efficiency of occupations the designed spaces. It is also worth mentioning that the sky pool here is installed as a representation of a damper pool, providits location, without losingBy benefiting the height of the building and its prime location, an additional feasible consideration was applied to the ing aatconsideration of stability in design. respect building formation to as to promote the building as a statement to the surrounding, media meshes are installed, creating the opportunity for double façadeofskin of the building. Again, the surrounding. office workers inside to communicate with the outsiders through advertisements or messages broadcasted through the façade. Lifts are the main transportation for the building. To save space and promote efficiency, the floors are categorized into zones of: low-rise, mid-rise –high rise –sky rise - crown, thus zoning the lifts into these zones, allowing the core to shrink smaller in size as it ascends upwards. This is done by having lifts that serve lower zones to be located at the outer rim of the core. By ensuring the rentable spaces to spread out to the perimeter of the building footprint, the core is thus located at the center of the building, providing more flexibility in the layout of functional spaces that surrounds it.
20M
EB1
IB1
IB1
MID-RISE
800MM*800MM STEEL (610UB 125) IN CAST CONCRETE
450MM THICK CONCRETE SHEAR WALLS
HIGH-RISE
700MM*700MM STEEL (610UB 125) IN CAST CONCRETE
300MM THICK CONCRETE SHEAR WALLS
SKY-RISE
600MM*600MM STEEL (610UB 125) IN CAST CONCRETE
300MM THICK CONCRETE SHEAR WALLS
CROWN
610UB 125
200MM THICK CONCRETE SHEAR WALLS
SB1
EB1
PB1
IB1
PB1
DOWN
EB1
PB1
IB1
UP
SB1
SB2
PB1
PB1
SB1
IB1
1000*1000MM STEEL (610 UB 125) IN CAST CONCRETE
IB1
5200
2 A2.2
1:100
3 A2.2
MID-RISE TYPICAL FLOOR PLAN 1:500
4 A2.2
IB1
5100 B
SB2
EB1
4925 C
4925
4925 48500
D
E
EB1
4925 F
5100 G
2
EB1
SB2
EB1
3
SB2
IB1
SB2
EB1
A
A-A SECTION CUT
IB1 SB2
EB1
1 A2.2
SB1
SB2
4100
EB1
SB1
PB1
SB1
SB1
5
4
PB1
IB1
EB1
EB1
PB1
PB1 EB1
SB2
IB1
DOWN
PB1
SB2
150MM BONDEK CONCRETE SLAB
6
EB1
IB1
PB1
7
SB2
UP
IB1
SB2
EB1
SB1
PB1
SB1
PB1
SB2
EB1
IB 1400*800MM
PB1
SB1
PB1
IB1
5100
600MM THICK CONCRETE SHEAR WALLS
5100
CORE SHEAR WALLS
COLUMNS 1000MM*1000MM STEEL (610UB 125) IN CAST CONCRETE
8
SB1
5200
LEVEL LOW-RISE
SB2
IB1
5200
IB1
EB1
SB2
SB1
9
EB1
SB2
41900
SB2
EB1
SB2
4100
EB1 SB2
6550
EB1
SB2
6550
EB1 EB1
4100
PB1: 1400W*800D CONCRETE PRIMARY BEAM SB1: 1200W*600D CONCRETE PRIMARY BEAM SB2: 1400W*600D CONCRETE SECONDARY BEAM IB1 : 1400W*800D CONCRETE INTERMIEDIATE BEAM EB1: 600W*600D CONCRETE EDGE BEAM
EB1
5200 H
1
4100 I
LOW RISE TYPICAL FLOOR PLAN 1:250
5 A2.2
HIGH-RISE TYPICAL FLOOR PLAN 1:500
SKY-RISE TYPICAL FLOOR PLAN 1:500
Flow separation from upstream face top (Increased velocity and negative pressure on the roof)
Flow separation from upstream face sides (Increased velocity and negative pressure on the sides)
6 A2.2
TYPICAL CROWN FLOOR PLAN 1:250
Down wash 292 EXJHIBITION ST
POINT LOAD SYSTEM
WIND LOAD SYSTEM
FACULTY OF ARCHITECTURE BUILDING AND PLANNING MELBOURNE SCHOOL OF DESIGN ABPL90118 APPLIED CONSTRUCTION 2016 DRAWN BY
KERYN LIEW, LIAN CHEN NG, TONG KE
MELBOURNE VIC 3000
ASSIGNMENT 2.2 STRUCTURE : MODEL AND 3D DIAGRAMS
GROUP
5D DWG NO.
SCALE
1:500/A2
DATE
REV.
A2.2
15.06.2016
0
00
R2
1200WB425 EXPOSED COLUMN ON ROOFTOP
BOTTOM TO TOP PERSPECTIVE VIEW OF CROWN LEFT - STRUCTURES AND OUTRIGGERS TO SUPPORT THE STAINLESS STEEL MESH AT THE TOP OF THE CROWN RIGHT - IMPRESSION OF STAINLESS STEEL MESH ACTING AS DOUBLE FACADE
6 A5.3
2 A4.3
CRADLE TWO MEN (180 DEGREE MAX. SWING)
DOUBLE FACADE STAINLESS MEDIA MESH AT NORTH AND WEST LADDERS TO ROOF ACCESS BMU GARAGE
RAINFALL DIRECTION TO DRAINAGE RAIL GUIDE FOR CONCRETE BMU TRACK
LINE OF PARAPET (AT HIGHER ROOF)
LINE OF PARAPET 4 A5.3
4 A4.3
GLAZED ROOF (SKYLIGHT) AT SOUTH
1 A4.3
ROOF PLAN
BMU TRACK
STEEL OUTRIGGER
1:500
310UB46 EXPOSED COLUMN ON ROOFTOP 4MM ALUCOBOND PANEL PARAPET 4MM ALUCOBOND PANEL OPAQUE SPANDREL UNIT
310UB46
150UB18
STAINLESS STEEL
150UB18 EXPOSED BEAM
WIRE MESH INTERWOVEN
STEEL OUTRIGGER
ON ROOFTOP
WITH LED LIGHTS
700
1300
1800
2000
2 A4.3
R.L +329.80 L65
PARTIAL PLAN 1:50
R.L +324.80 L64
WITHOUT STAINLESS STEEL WIRE MESH
CRADLE TWO MEN PLATFORM
TELESCOPIC JIB WITH MAXIMUM EXTENSION OF 30M
POSITION IN OPERATION
570 BMU SYSTEM S21
1800
4MM ALUMINIUM PANEL
STAINLESS STEEL WIRE MESH
STEEL OUTRIGGER WITH STAINLESS STEEL WIRE MESH
3 A4.3
4MM ALUMINIUM PANEL ROOF MEMBRANE
ELEVATION 4 A4.3
1:100
THE DESIGN INTENT OF THE ROOF PARAPET IS TO HAVE A WALKABLE PLATFORM ALONG THE PARAMETER BETWEEN THE HIGH DOUBLE FACADE AND THE BMU TRACK FOR MAINTENANCE PURPOSE. STAINLESS STEEL MEDIA MESH IS USED AS AN OVERHANGING FACADE THAT COVERS THE CROWN, SERVING AS A SIMPLE ICON TO THE ALREADY COMPLEX TOWER OF THE SKYSCRAPPER. THE POOL LEVEL AT THE CROWN IS VISIBLE DUE TO THE CUT OF OVERHANGING MESH AROUND THE FACADE. THE ROOFTOP IS ACCESSIBLE BY SERVICE LIFT AND STAIRS, ADDING TO THE CONVENIENCE OF BUILDING MAINTENANCE. COX GOMYL U-TYPE BMU MADE FROM STANDARDISED COMPONENTS AND ARE DESIGNED TO BE ECONOMICAL, THIS BMU HAS EXTRA ADVANTAGE OF HAVING A HIGHER MAST. THIS HENCE RESPOND TO THE CROWN DESIGN DUE TO ITS ABILITY TO GO OVER HIGHER WALL WITH EXTRA REACH CAPABILITY. SINGLE FIXED-LENGTH JIB, WITH JIB SLEWING 2 METER SELF-POWERED CRADLE
COUNTERWEIGHT
DETAIL C
WEATHER BARRIER
310UB46
700
MAST COULD BE HEIGHTEN UP TO 10M
100MM CEMENT SCREED 70MM ROOF INSULATION WATERPROOF MEMBRANE 150MM BONDEK SLAB
DETAIL B R.L +329.80 L65
3 A5.3
OPAQUE SPANDREL PANELS
4 A5.3
DRAINAGE OUTLET
MEDIAMESH V6XH5.0 STAINLESS STEEL WIRE MESH INTERWOVEN WITH LED LIGHTS. 3M SPAN AND 4M LONG. C-C CABLE 100MM ROD 2.9MM
4 A4.3
SECTION A 1:50 292 EXHIBITION ST
FACULTY OF ARCHITECTURE BUILDING AND PLANNING MELBOURNE SCHOOL OF DESIGN ABPL90118 APPLIED CONSTRUCTION 2016 DRAWN BY
INDIVIDUAL - KERYN LIEW 610143
MELBOURNE VIC 3000
ASSIGNMENT 4.3 GENERAL PLAN AND SECTION OF TOWER PARAPET AND FACADE MAINTENANCE ACCESS SCALE
DATE
1:50/A2
15.06.2016
GROUP
5D DWG NO.
A4.3
REV.
BMU TRACK
RRC-1 EXTRUDED ALUMINIUM RAFTER RETAINER CAP
L
E
DR
RBC-1 EXTRUDED ALUMINIUM BEAUTY CAP
L FA
1.5MM EPDM CLOSED CELL BEDDING TAPE
N
AI
2%
AG
STAINLESS STEEL ROUND BOLT ThermoTech™ CLEAR I.G.U LAMINATED LOW E COATING GLASS (10MM) VLT 78%
OVERFLOW POINT OF OUTLET OVERFLOW CLAMPING RING 100MM CEMENT SCREED
EXTRUDED EPDM GASKET (CONTINUOUS)
310 UB 46
45MM SARNAFIL THERMOPLASTIC WATERPROOFING MEMBRANE
RM-1 EXTRUDED ALUMINIUM RAFTER W/SNAP IN ALUMINIUM CLOSURE 15O UB 18
XXXX XXX
CONCRETE SLAB
FOIL FACED R1.3 THERMAL INSULATION SHEET
XXXX XXX
R2
00
0
WATER CUT-OFF MASTIC 150MM BONDEK CONCRETE
SETTING BLOCK STEEL OUTRIGGER BRACKET
M20 BOLTS
DRAIN PIPE CONNECTED TO CORE PIPES
SUMP
4°
530 UB 92 GUTTER FALL
1
14 600MM X 150 MM BOX GUTTER
RRC-1 EXTRUDED ALUMINIUM RAFTER RETAINER CAP
2 A5.3
STAINLESS STEEL MESH INTERWOVEN WITH LED PARAPET
1500MM
MINIMUM PITCH OF 1:14 TO PREVENT POOLING WATER ON GLASS
1 A4.3
ThermoTech™ CLEAR I.G.U LAMINATED LOW E COATING GLASS (10MM) VLT 78%
PARTIAL PLAN 1:50
2 A5.3
3 A4.3
SECTION DETAIL A : SKYROOF 1:10
SECTION DETAIL B : DRAINAGE 1:10
1800
GDK Mediamesh® V6 V6xH5.0 T316 STAINLESS STEEL MESH INTERWOVEN WITH LED 15O UB 18 POWDER COATED 15O UB 18 POWDER COATED M6 BOLT
700
FASCIA CLEAT PLATE WITH M3 BOLTS STEEL OUTRIGGER BRACKET
3 DEGREE FALL
310 UB 46 POWDER COATED 4MM ALUMINIUM PARAPET CAPPING TIMBER SHIM ALUMINIUM SUB-CAPPING
THERMAL SEPARATOR
SILICON SEALANT
SILICON SEALANT
2MM ALUMINIUM FLASHING
10MM ALUMINIUM CLADDING
ExoTec TOPHATS 124MM X 35MM X 1.15MM GAUGE THICK
HARDIEWRAP REFLECTIVE SAFE-GARE WEATHER BARRIER (2750MM X 30 000MM)
PERMASTOP BUILDING BLANKET WITH WIRE MESH BACKING
PINK BATTS WALL R1.5 INSULATION
10MM ALUMINIUM CLADDING
200MM STEEL STRUCTURE
BMU SYSTEM NUT AND LOCK NUT TO ADJUST LEVEL ANCHORAGE PLATE
100X50X60 RHS
FASCIA CLEAT PLATE (C PURLIN) WITH M20 BOLTS
2MM ALUMINIUM FLASHING CONCRETE UPSTAND BEYOND
LEVELLING MORTAR BMU TRACK 10MM RUBBER PAD
STACK HEAD
200MM CONCRETE UPSTAND
SAG ROD SILL TRANSOM
2% FALL
M12 BOLT TO MULLION WITH 5MM FLAT WASHER FLOOR ANGLE BRACKET WITH SERRATED WASHER 2MM ALUMINIUM FLASHING WITH BACKING ROD ARDEX WPM 615 TPO ROOFING MEMBRANE 45MM SARNAFIL THERMOPLASTIC WATERPROOFING MEMBRANE 150MM BONDEK CONCRETE SLAB
M20 BOLT 125 L 12 STEEL ANGLE
FIRE PROTECTION SPRAY FOAM
RONDO KEYLOCK CONCEALED SUSPENDED GRID
FASCIA CLEAT PLATE (C PURLIN) WITH M20 BOLTS
ALUMINIUM ROD WELDED TO HANG STEEL MESH
530 UB 92 POWDER-COATED STEEL
SPANDREL Seraphic™ NIGHT SKY CERAMIC PAINTED GLASS (8MM) R2.5 MINERAL WOOL INSULATION
MINERAL WOOL R2.5 ACOUSTIC INSULATION
BLIND PELMET
SUSPENDED GRID FURRING CHANNEL GDK Mediamesh® V6 V6xH5.0 T316 STAINLESS STEEL MESH INTERWOVEN WITH LED
5 A4.3
SECTION DETAIL C : DRAINAGE 1:10 292 EXHIBITION ST
4 A4.3
ELEVATION
FACULTY OF ARCHITECTURE BUILDING AND PLANNING MELBOURNE SCHOOL OF DESIGN
1:10
ABPL90118 APPLIED CONSTRUCTION 2016 DRAWN BY
INDIVIDUAL - KERYN LIEW 610143
MELBOURNE VIC 3000
ASSIGNMENT 5.3 KEY CONSTRUCTION DETAILS TOWER PARAPET AND FACADE MAINTENANCE ACCESS SCALE
DATE
1:5/A2
15.06.2016
GROUP
5D DWG NO.
REV.
A5.3
0 8 m u s i n g l i n e s (gift to t h e c i t y ) 2016 YEAR 4 CONTENT:ARCHITECTURALTHEORY,CONCEPTUALTHINKING, ARCHITECTURAL CURATION, PHYSICAL MODEL MAKING
Project Brief
With reference to Joseph Kosuth's "One and Three Chair", the idea is presented in three different media/devices to suggest the concept of museums are nothing without musing lines. Highly based on Rosalind Krauss' "Sculpture in the expanded field", architecture in this project is dealt with the notion of axiomatic structure. A fictional world is created to contain the chosen museums with gallery designed specifically for artists based on real interviews.
Jurgen Habermas - Roland Barthes - Bernard Tschumi - Marshall McLuhan - Lebbeus Woods Sphere
Conveyance
Event
Definition
Musing line is defined here as a line of thought configured by the participation of people within architectural space. Between the built and the people, lies an invisible matrix of musing lines that strengthen the significance and defines the space of museums in the world. Similar to Bernard Tschumi's statement: architecture is nothing without events; museums are nothing without musing lines. Nothing is sealed, these musing lines resonates outside the institution. By uncovering this layer of lines, it is made visible, tangible to the consciousness. People realize that their thinking creates the museum sphere. It is an experimentation on how these musing lines from each museums, penetrates outwards along the linear corridor. The idea here is to utilise Lebbeus Woods' 2005 project (System Wien) to explore Jurgen Habermas' concept of Public Sphere and Roland Barthes' 1967 essay, The Death of the Author. The musing lines are read as a new understanding of the circulation through the corridor. These lines are formed with identities that respond to both the galleries and museums in the following pages. First, the orthogonal character for the Perez Art Museum that represents frontality and labyrinth; whilst the zig-zag character represents layers and misrepresentation from the gallery in Royal Ontario Museum.

Medium
Experimentation
Gallery for The Drone Opera by Matthew Sleeth in Perez Art Museum
By compartmentalizing the performance system into different cubes within the cube, the entire performance could still be experienced as a whole outside the gallery space. Yet, it would be unknown to the visitors of what is creating the show, or even, whether the show is a live performance or a looping track.
Gallery for AVAF Sao Paulo Installation in Royal Ontario Museum
Throwing one's perception off by making the wall overscaled, visitors now are only given a fragment of the work. This impossibility to view the work in its entirety hence is the play to how the definition or identity of the artwork could be altered by the visitors. The newest breaks the spatial vanishing point, creating a bridging from the new to the old; shifts the focal point of the threshold to a distinct change from the old to the new.

0 9 T G
E C T O N I R O U N D
C S
2015 YEAR 3 collaborative team work CONTENT : DIGITAL FABRICATION, DIGITAL DESIGN, RHINOCEROS 5.0, ARDUINO CODING INTERFACE
Full Design Journal available for view at https://issuu.com/udmk/docs/ t g _ 2 0 1 7 _ j o u r n a l _ - _ i s s u u Project Brief
This is a 1:1 prototyping to deliver an interactive installation via experimentations on arduino coding, digital fabrication of mechanism and structure. Through site and light mapping, the form is positioned and structured for its maximum performances in motion and responses; resulting in a blooming interactive installation that is light responsive.
cog system stepper motor mount
Flower Mechanism
The mechanism of the folding flower is driven by the folding forces from motors attached to the acrylic arms, reprogrammed by Arduino. The sensors, motors and Arduino form a feedback loop provided by people's interaction.

160gsm canson paper
0.9mm sprung steel wire
60gsm rice paper
_ and thank you. Keryn Liew