KONG REN HENG ARCHITECTURE PORTFOLIO
PERSONAL STATEMENT Architecture is not just about the aesthetic of a building exterior, rather it is the idea the building tries to convey, as well as the solution it tries to provide for the users it caters to. It can be said that architecture is an answer to a need, as architecture provides shelters for people, from simply wanting a home of their own to creating sanctuary for orphans and homeless and so on. In addition, architecture can also provide something more metaphorical to raise awareness, such as a monument of war that reminds people the mistake of the past, or a visitor interpretive centre in the forest that focuses people’s attention to alarming environmental issues. Moreover, architecture caters to what the surrounding communities need. For instance, a new library provides a platform for knowledge and encourage people to read or a new market improves the environment for hawkers and attracts more people to increase their income.
In order for an architecture to respond to what the community needs, it is imperative that the contexts of the site is studied. The contexts of a site include its characteristics, perks and weaknesses. These traits could be physical or non-physical, ranging from the vehicular movement, user categories to the history and culture at the site, and many more. By understanding these contexts, from its weakness comes the issues that are present on site, and from there informs the needs of the surrounding community. In addition, by studying the strengths of the site comes its potentials, which offers opportunities to provide not just what the community needs, but something even more. Therefore, understanding contexts is very important in order to answer the need appropriately and effectively, so that the building is practical and functional.
While studying contexts can inform the needs and potentials of a community, the message an architecture tries to tell is not restricted to its programs only. In fact, it can also be conveyed with the form of the building. For instance, The Crystal designed by Daniel Libeskind as an extension to the existing Royal Ontario Museum at Toronto, Canada tells the profound relationship between old history and new innovation with its contrast. On the other hand, the Sendai Mediatheque designed by Toyo Ito in Sendai-Shi, Japan blurs the line between the street and the interior library spaces by using a full glass facade which also brings out the vibrant interior activities onto the exterior. To me, this is what architecture is, an answer to a need, a platform to help community, and an embodiment of a story.
Name: Kong Ren Heng D.O.B: 25/03/1994 E-mail: kongrenheng@hotmail.com Phone: 012-7965534 E-portfolio: rhubidium.wordpress.com
PROFILE
Languages 1. Mandarin (native proficiency) 2. English (fluent secondary language) 3. Malay (fluent secondary language) Skills 1. Adobe: Photoshop, InDesign, Illustrator 2. Autodesk: AutoCAD, 3ds Max, Revit 3. Rhinoceros 4. Sketchup 5. Microsoft Office
LANGUAGES AND SKILLS
Taylor’s University, Malaysia AUG 2013 - JUL 2016 Bachelor of Science (Hons) in Architecture CGPA: 3.32/4.00 Foon Yew High School, Malaysia JAN 2007 - OCT 2012 1. Unified Examination Certificate (UEC) 2. Sijil Pelajaran Malaysia (SPM)
EDUCATION
Taylor’s University, Malaysia 1. Chinese Independent School Scholarship 2. Scholars Development Programme 3. Dean’s List (semester 2 and 3.5) 4. Led a team of 20 students in Measured Drawings and Documentation module (semester 3.5) Foon Yew High School, Malaysia 1. Foon Yew Micro Computer Society 2. Vice Treasurer and in charged of general affair
CURICULUM ACHIEVEMENT
CNC Architect, Malaysia JAN 2016 - MAR 2016 1. Internship Student Assist senior staff in drawings production, submission documents compilation and site meetings Taylor’s Johor Bahru Regional Office DEC 2013 - FEB 2014 1. Student Helper Assist in brochure management, course counseling and data input
WORKING EXPERIENCE 1. Able to work as a team 2. Diligent and willing to learn 3. Self-motivated 4. Positive thinking
PERSONAL
CONTENT PAGE
Retreat House for A Herbalist
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Visitor Interpretive Centre
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Brickfields Community Library
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UNESCO Social and Cultural Centre
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An Unfortunate Lucky Guy
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RETREAT HOUSE FOR A HERBALIST
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Kuala Selangor Nature Park is a place vibrant with natural elements. In the forest area, various herbs can be found and excitingly almost all plants can be used as herbs to treat illness or wounds. The site chosen for the Herbalist is approximately 250 metres along the main pavement after the entrance and 20 metres deep into the forest to the south. The retreat house is located at an open field surrounded by trees.
LOCATION PLAN (NTS) The need of a herbalist and the contexts of the forest are studied and these factors informed the design of the retreat house. The form of the retreat house is inspired by the “mix and match� of herbs to form a remedy. Squares each tilted and oriented to different angles are combined together to form the plans of the house. Furthermore, only natural materials, mostly timber, are used to represent the humbleness and gratitude of the herbalist as herbs comes from the nature.
DESIGN DEVELOPMENT
SITE PLAN (NTS) 07
A forest site is chosen as many types of herbs can be found. From the site section, from the main pavement to the retreat house, there is a variety of herbs growing along the way.
SITE SECTION A-A’ (1:300)
Living room
FIRST FLOOR PLAN (1:200) Toilet Kitchen
Dining room
Raised platform
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Bedroom
FIRST FLOOR PLAN (1:100)
The roof on the living spaces and kitchen are more rigid compared to the curvy roof on the bedroom. This differentiates public and private space.
The strips on the wall resemble the foliage of a tree. When light passes through it creates a sense of living in the forest, blending the boundary between indoor and outdoor.
The openness of the retreat house is inspired by herbalist himself who embrace the nature. Incense that repel bugs and mosquitoes made by the herbalist are used indoor as well.
AXONOMETRIC (1:300) 09
EXTERIOR PERSPECTIVE
INTERIOR PERSPECTIVES
The curvature of the roof above the bedroom follows the curvature of the roots of the tree on top, signifying respect to the nature.
BACK ELEVATION (1:300) The main platform does not obstruct the trees in the middle. When the leaves (herb) fall, the Herbalist can pick them up and make them into remedies.
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SECTION B-B’ (1:150)
Sketches on natural lighting influence the ambiance of the spaces.
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VISITOR INTERPRETIVE CENTRE
Pulau Besar, Malacca is known for its mystical atmosphere and characteristics. There are numerous legends to be found on the island, such as the split rock, the trees that grows on a rock, the haunted resort, and so on. Most people who visited the island came for the myths, seeking to understand them and find spiritual fulfillment. While the island is shrouded in a mist of myths, most of the legends are expressed through nature. Without nature, the story cannot be told. Thus the visitor interpretive centre aims to re-introduce people to appreciate the nature on the island instead of focusing only on myths.
The form of the visitor interpretive centre is about making a statement. Different with surrounding contexts, visitors take in the contrast and stimulate their thoughts of having a brand new perspective - look at nature instead of the myths and legends.
EXTERIOR PERSPECTIVES 13
Angular floor plan creates contrast.
Vary the level of the spaces.
Marina Resort
The contexts of the site, mostly its history and stories are studied. The message the visitor interpretive centre tries to convey is to re-introduce nature to the people who visit the island instead of only focusing on the myths and legends.
Triangles forming multi-faceted form becomes a statement.
DESIGN DEVELOPMENT
The site of the VIC is chosen due to its prominent existing building, the Marina Resort. Rumoured to be haunted, it is one of the embodiment of myths and legends. Moreover, moving from the resort towards the ocean, the landscape transits from existing structure to sand, and to the sea. This journey of transition resonates with the message behind the VIC.
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SITE PLAN (NTS)
M&E Storage Female toilet
Souvenir Shop
Reception
Office Male Toilet
Cafeteria
The circulation pattern on ground floor is not linear. Visitors are free to explore the cafeteria, souvenir shop, approach the reception and so on.
GROUND FLOOR PLAN (1:200) 15
The shading on site is found at the Marina Resort. There are no significant shading on the beach. The site also has abundant wind flow, with the prevailing wind coming from the sea.
The VIC has a huge window in the third gallery facing the sea to capture prevailing sea breezes, and release them from the opening on the roof in the second gallery.
Ventilation Prevailing wind
Sea
CLIMATE ANALYSIS
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SECTION B-B (1:350)
SECTION A-A (1:200)
Due to the angle of the facade, gutters and rainwater down pipes are installed to prevent water accumulation.
LEFT ELEVATION (1:350)
RIGHT ELEVATION (1:350) The windows are tilted following the angle of the facade, acting as shading devices to reduce heat gain from the sun.
FRONT ELEVATION (1:200) 17
The first gallery space showcases the island’s myths and legends, marking the start of the journey.
Natural light through a slit on the wall guides user to the next gallery space. The intensity of light changes as weather changes, a metaphor to the power of nature.
First gallery
The second gallery space features an opening on the roof, where sunlight and rain enter, and wind from cross ventilation exits. The room showcases the power of nature.
Second gallery
Third gallery
The third gallery space is the end of the journey which gives users a view of the sea, the most prominent view of nature on site, and a place to contemplate.
INTERIOR PERSPECTIVES 18
The circulation pattern on first floor is linear. The visitors are encouraged to visit the galleries in sequence, from first, second to third gallery, experiencing a journey of transition from myths to nature.
FIRST FLOOR PLAN (1:200)
Idea sketches on how the nature, represented by different weather, influence the ambiance of the space.
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COMMUNITY LIBRARY
Brickfields, at the heart of Kuala Lumpur is a city able to sustain itself through its various mini enclaves, such as educational, institutional and transportation nodes. The site has a high walkability where different user groups, namely the students, visually impaired and tourists are able to travel to and fro easily. Also, old heritage buildings can be found around the site, contributes to the Heritage Walk. The community library sits at a hustling spot where pedestrians and vehicles circulate around it busily, seeking to provide a platform to enhance the integration between categories of people in the Brickfields community by providing community interaction spaces as well as to uphold the city’s heritage with an archive.
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EXTERIOR PERSPECTIVE 21
The contexts of the city is studied to determined the potential user groups of the community library as well as the programs that help the different categories of people in the Brickfields’ community to bind with each other. Each user group has its own path pattern. They share some nodes but do not actually interact with each other. The community library seek to provide interaction spaces to enhance the bonding.
Different user groups circulation informs overlaying floor concept
OVERLAYING CONCEPT
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WALKABILITY
YM
CA
Community programs such as book club, experience sharing by the visually impaired, children reading to the visually impaired are proposed to strengthen the interaction between different user groups.
M M ogh ah ul al
PROGRAMS
m
ba
nt h
an
am du lS
Garden - Relax and chat space
Ab
Sa
Vi Sum ew m Ho er te l
lta n
Tu n
Su
lan
Community spaces are emphasized with glass box transparent design contrasting with other more solid spaces and natural light from the skylight above.
Ja lan
Ja
ad
Braille reading area - Children reads to the visually Workshop impaired -Sensory: Sound of children playing, - Experience sharing for motivation fragrance of flower
SPACE HIERARCHY
Se Vi ntra sta l
SITE PLAN (NTS) 23
Book resources
Storage Administration and management
Toilets
Information board
Book resources
Kitchen
Cafe
Reception
Community interaction zone 1
Workshop
Community interaction zone 2
Bookstore
Flexible gallery space
The braille reading area for the visually impaired at community interaction zone 1 is connected to the bookstore and the children’s area upstairs through the mezzanine floor 1. The sound of children playing and people chatting at the bookstore ease the isolation the visually impaired may feel, as well as help them navigate around the space.
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GROUND FLOOR PLAN (1:300)
Toilets Kid’s area
Discussion room
Borrow/return counter
Multipurpose Hall
Toilets Computer laboratory
Artifacts display gallery
Meeting room Office
Book resources
Archive History wall
Study area
FIRST FLOOR PLAN (1:500)
SECOND FLOOR PLAN (1:500) The louvres at the front and rear facade corresponds to the hierarchy concept of transparency versus solid. A wider distance between louvres correspond to community spaces and a closer distance correspond to other more solid spaces. Roof level 15180
Third floor 10180 Mezzanine floor 2 7680 Second floor 5180 Mezzanine floor 1 2680 Ground floor 180
FRONT ELEVATION (1:300) 25
The overlaying of floors and mezzanine floors on top of each other represents the circulation patterns of different user groups in Brickfields.
Visual connections are maintained between floors and the activities happening in the community spaces can be seen from other spaces to encourage interaction.
A garden is provided for the people of Brickfields to interact with each other, whether it is by playing chess, playing in the playground or simply sit down and chat.
INTERIOR PERSPECTIVES
Rain water harvesting Insulation Green wall Pump
RAINWATER HARVESTING
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SECTIONAL PERSPECTIVES A-A (NTS)
Full height window
Louvres
The transparency of the computer laboratory combined with the new technology such as online database and tablets marks the shift of Brickfields from old heritage site towards modern.
However, the archives adjacent to the computer laboratory reminds people that history and new innovation can co-exist. Connection of louvres to slab
INTERIOR PERSPECTIVES
Floor slab
LOUVRES DETAIL (1:10)
In addition to providing sun shading, different spacing between louvres creates different lighting level and correspond to the concept of transparency versus solid in terms of spatial hierarchy.
Roof level 15180
Third floor 10180 Mezzanine floor 2 7680 Second floor 5180 Mezzanine floor 1 2680 Ground floor 180
SECTION B-B (1:300) 27
UNESCO SOCIAL AND CULTURAL CENTRE
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Portuguese Settlement, Malacca is a tourist attraction as it is the home to Malacca Portuguese descendants. Even though the people are socially unique and rich in culture, the site lacks Portugueseness as there are no major landmarks that portray an identity of Portuguese. Their identity is fading. The UNESCO Social and Cultural Centre seeks provide a platform for the people to practise and share their culture, thus sustaining and enhancing their identity. The centre, combine with a master plan proposal, also provide quality public spaces for the people to interact with each other, therefore strengthening the bond in the community.
EXTERIOR PERSPECTIVE 29
1. Strengths -Pleasant sea view. -Abundant wind flow. 2. Weaknesses -Lack of greenery and shading on site. -Limited access for traffic. -Bad water quality. -Smelly back lane. 3. Opportunities -Food and tourist attraction. -Unique social and cultural identity. -Job opportunities and improve income. 4. Threats -Environmental issues. -Fading community identity.
ORIGINAL SITE PLAN
SWOT ANALYSIS 1. An exit route is created to divert the exit traffic. 2. Pedestrians from the existing outdoor car park are encourage to go through the Portuguese Square and arriving at the pedestrian entrance of the UNESCO centre. 3. Smelly back lane is converted to green space that connects pedestrian from residential area to the Portuguese Square.
4. Service trucks can reach the seafood restaurants at the other side. 5. The pavement material follows existing material in front of the seafood restaurants to break boundaries and create a unified public space experience.
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6. Pockets of green space at the site to provide shading and quality public spaces.
MASTER PLAN (1:1000)
Elevated design so as not to obstruct views and visual axis from existing buildings.
Double volume spaces in between single volume spaces create emphasis and welcoming openings facing the nodes and sea .
Openings allows uninterrupted wind flow and natural lighting to reach into the building.
Sea wave concept Inspired by the importance of sea in Portuguese People and change in identity is adopted as wave is a change in sea surface.
Large openings at activity spaces are arranged at facing nodes and entrance, to have a visual connection between visitors and the activities inside, raising curiosity.
DESIGN STRATEGIES The UNESCO centre provides a platform for the Portuguese people to share their knowledge and culture to other people. By continuing practising and sharing the culture, their identity is enhanced and maintained.
Ground floor amphitheatre and flexible-exhibition space provide opportunities for a variety of activities to happen on site, creating a more vibrant public spaces.
Multi-purpose hall is provided to suit a variety of needs, be it performance, speech or community meeting.
Three aspects of their culture are chosen: food, performance and language, which translate into culinary workshop, dance studio and language classroom.
PROGRAM DIAGRAM 31
The pedestrian entrances and vehicular entrance, differentiated by timber and concrete finish flooring respectively, faces nodes on site, which are the Portuguese Square, seafood restaurants and the vehicular access.
Lower ground car park is ventilated by openings on the steps above ground
VENTILATION DIAGRAM LOWER GROUND FLOOR (1:650) 32
GROUND FLOOR PLAN (1:400)
FIRST FLOOR PLAN (1:400)
All external windows are operable to ensure maximum cross ventilation.
SECOND FLOOR PLAN (1:400) 33
The facade of the UNESCO centre as well as the rhythm of the roof follow the wave concept. The facade is constructed with timber panels, a representation of the lost mangrove trees when the sea shore is developed.
EXTERIOR PERSPECTIVE As the facade is fairly exposed to the sun, parts of the timber cladding could be replaced with photovoltaic cell to utilize solar energy.
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SOUTH ELEVATION (1:400)
The visitor interpretive centre frames views of the sea from horizon to the seafront construction to raise awareness on environmental issue and culture crisis.
The amphitheatre act as a public gathering space where a variety of activity can occur, one example is the Branyo cultural dance.
The creole language the Portuguese people speak, a mixture of 16th century Portuguese, Malay and some dialect languages can be taught in the language classroom to preserve their identity.
INTERIOR PERSPECTIVES Double volume spaces in between single volume spaces resonates with the wave concept and create emphasis on important spaces.
SECTIONAL PERSPECTIVE A-A (NTS) 35
THE UNFORTUNATE LUCKY GUY
An Adaptation of Malaysian folklore, Pak Belalang, a comic produced for the elective subject, Architecture and Comics: A Visual Narrative, I have enjoyed the module as I occasionally sketch comics during my free times. The story tells a kind-hearted guy who helped a girl in a mall and later on discovered that his luck had improved tremendously. What lesson awaits him at the end of the story? Following is the comic I produced in a group of two students, The Unfortunate Lucky Guy.
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THE END. THANK YOU!
My other work can be browsed at https://rhubidium.wordpress.com/
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