2015
wk michelle chang
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c ont ent s
g ra d u a t e sy n e sth e si a ap p l i e d c on stru c ti on
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u n d e rg ra d ua t e stu d i o f i re
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stu d i o ai r
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stu d i o wate r
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work e xp er i ence
d ra wi n g s
d oc u me n tati on / re n d e ri n g
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we b si te d e si gn
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blue
synesthesia
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2015
O N IN VEST IGA T IN G CO LOUR
TUTORED B Y
People natural seek meaning in our surroundings and in the everyday things we interact with; whether we do this consciously or subconsciously, we are more often intrigued by semantics than the face value information that we are presented with.
Mond Qu & Jannette Le, Adrian Bonaventura, Viet My Bui
Colour is naturally loaded with meaning. It affects how we think, governs our emotions and influences our decision making processes. However we often overlook its significance because our reactions are so ingrained they have become instinctive and not much different from a knee-jerk reaction. We are surrounded by and respond to colour everyday but yet have very little critical understanding of colour and where it comes from.
YEAR L EVEL 4
STUD IO NAM E ‘Matter’
Synaesthesia leads its audience through a journey of colour - one that delves into the experiential, travels across history and threads back through culture.
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green / y ellow
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orange / red
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purple / brown
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s ket c hes
Rhino t o Phot os hop
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pages 11-109 res earc h and proc es s
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book
pages 112-173 appendix
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g r a dua t e : a p p lie d con s t r u cti o n 2015
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render / s ket c hes
applied construction
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2015
SKY SCRA P ERS
L ECTURED B Y
This was a collaborative construction project for a skyscraper. Divided into 5 sections: stacking, structure, facade, 1:50 details and 1:5 details, we were to produce a resolution for each theme for our design each fortnight, presented on two A2 posters as shown on the left.
Giorgio Marfella
Our design had a double skin as well as a unique shape which tapered towards the middle floors. This proved challenging for the structure of our building which we resolved by having two layers of structure for our design - one externally to brace the building and an internal set of composite columns that would support the floors.
TUTORED B Y Tam Dao IN COL L AB ORATION WITH Sovina Chow Annie Ha YEAR L EVEL 4
Pages shown are my own work - my roles were to resolve parapet details, model building, diagramming and rendering.
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g r a dua t e : a p p lie d con s t r u cti o n 2015
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det ails
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unde r g ra d u a t e : s t u d io f ir e 2013
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c onan-doy le my s t ery t heat re
SHERLOCK
1/F FRONT ENTRY
MORIARTY
G/F BACK ENTRY LG
BLACK BOX
B1
CINEMA
B2
PROSCENIUM
B3
RESTAURANT
FIRST FLOOR
GROUND FLOOR
LOWER GROUND
BASEMENT 1
studio fire
BASEMENT 2
BASEMENT 3
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2013
‘T HE MISSIN G BA N D’
L ECTURED B Y
The Conan Doyle Mystery Theatre was to pay tribute to Conan Doyle and his Sherlock Holmes mysteries.
Derham Groves
This theatre was based on the dynamic between Holmes and his arch enemy Moriarty. Appearing to have a line of symmetry, the plan is in fact rotated rather than mirrored and describes the similar yet juxtaposing nature of the two characters. The different levels are also connected on alternating floors, expressing how the two characters are constantly chasing after one another. Though there is a circulatory disconnect, the floors are always visually and spatially connected representing how the two characters are always narrowly missing each other.
TUTORED B Y Mikel Roman & Lee-Ann Joy YEAR L EVEL 3
Named “The Missing Band” the design plays with simple metaphors described through form. The building is therefore deliberately simple in its geometry with a single band taken out of the main entrance to describe a missing clue that is later found elsewhere on the site.
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unde r g ra d u a t e : s t u d io a i r 2013
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phy s ic al model
studio air
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2013
GEN ERA T IVE SCRIP T IN G
L ECTURED B Y
This was a collaborative project to design a freeway sculpture marking the beginning of Wyndham City.
Stanislav Roudavski
The project explored the possibilities of generative form-finding through the use of scripting Grasshopper. Patterning was the focus and from there we looked into recursive patterning and fractal scripts. From 2D patterns the same fractal principles and scripts were then used on 3D forms which resulted in the final design.
TUTORED B Y Finn Warnock & Tom Morgan IN COL L AB ORATION WITH Yii Wei Hou Thawini Veraphong YEAR L EVEL 3
The gateway almost unintentionally had layered depth within it as it was fractal-based in its entirety - from the whole structure right down to the pattern of each panel which make up the individual blocks.
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unde r g ra d u a t e : s t u d io a i r 2013
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f rac t al s c ript / digit al model
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unde r g ra d u a t e : s t u d io wate r 2012
Embeded
Thresholds
Admin, Food, Service
One sit
PLAN 1:100
Entry
2ND FLOOR PLAN 1:100
Office
Kitchen
Boathouse Kiosk
Restaurant
Koshino H
Boats
Cafe
B O A T H O U S E at K E W
GROUND FLOOR PLAN 1:100
Axis
p h ysi cal model
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Unit to Whole
Circulation
Simple Geometry
Axis
te, two approaches
boat hous e
In this design, I focused on making use of Ando’s principles of simplicity, geometry, circulation and nature to re-design the boathouse and the spaces surrounding it. Taking inspiration from the Water Temple, The Koshino House and The Fort Worth Museum, I wanted to reconnect the boathouse to the landscape through forms, circulation and views. By defining the shape of the building, I also hoped to activate the space between the boathouse and the river and to differentiate it from the public open space on the west of the building. This feeling of enclosure is further enhanced by the sloping hill on the east of the building which the wall will be embedded into; thus creating a fluid movement from the hill to the open space with the building acting as a transitional component. Circulation and the relationship between spaces
was my main focus in the design of the boathouse. I tried to centralize the plan of the building around the café which I felt was the most accessed area of the building. Like in many of Ando’s works, I tried to create a journey for the boathouse users as they have to experience the different areas of the building – indoors and outdoors, high and low before they are able to reach the river. This further enhances the connection between the landscape and boathouse as it applies to both approaches to the building.
into and through the building. Light is accessed in the building mainly from the ground floor which would illuminate the interiors from the bottom up. This creates interest in light as things would be lit up from a different perspective and in a way that cannot be achieved outdoors. Though it is ‘unnatural’ it allows us to create a threshold between the inside and the outside in a subtle way – also while encouraging user sensitivity to the way light is integrated into the building design.
Studley Park Boathouse Michelle Wai Kay Chang 501788
As Ando’s work is always about drawing the natural elements within the building, I tried to create this effect with light and wind. Although the circulation for people is indirect, the air circulation from the top of the building at the stair to the bottom at the café entrance is fluid and direct to draw air
Views
Site Map 1:400
North Elevation 1:100
House
Unit to Whole
Circulation
Kiosk
Kitchen
Stairs
Entry
Cafe
Toilets
Section 1:100
Simple Geometry
studio water
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2012
LEA RN IN G FRO M T A DA O AND O
L ECTURED B Y
This design was developed from an analysis of Tadao Ando’s formal and conceptual style. We were first given the task of tracing plans and sections in order to understand the formal and spatial relationships of his work. Having a better understanding of the complexity hidden behind Ando’s simple concrete facades, we then were asked to design a boathouse based on his style and design principles.
Jianfei Zhu TUTORED B Y Michael Ong YEAR L EVEL 2
Inspired by the Row House courtyard, I focused on the control of circulation and thresholds to draw the surrounding natural environment into the experience of the building. This I hoped would enhance the user’s sensitivity to nature. The boathouse therefore would not only sit within the landscape but encourage users to interact with and experience the landscape through control of how nature enters the building in the form of light and views.
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w o r k ex p e rie n ce 2 0 1 4
int eriors , 9 Sout h D udley St
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renders
mult i-res ident ial, 23 f edric k s t
work experience
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2014
The work which I was involved in at T-A Square was varied as I played a supporting role to senior members of the team. This meant that I was able to be involved in projects ranging from multi-residential to hospitality and also had the opportunity to attend site visits for two commercial fit-out projects.
COM PANY
Most of my duties included rendering, some interior design work and helping out with documentation of hospitality projects. Administrative duties included liasing with the council and builders for building permits and compiling presentation slides for use in client meetings.
PROJ ECTS INVOL VED IN - Multi-residential - Residential interior - Hospitality - Warehouse
The images on this page were all sketchup models rendered using Podium annd edited in Photoshop. Designs were all done by senior staff members and I assisted with modelling and rendering.
T-A Square Architects POSITION Student intern
YEAR L EVEL Year Out
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w o r k ex p e rie n ce 2 0 1 4
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doc ument at ion
1:100 @ A1 1:200 @ A3
MC/FC/BP/YK
31 ELEVATIONS - EAST AND NORTH
A300
26 NOV '14
w e bsi t e d e s ign 2 0 1 2
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f ut ure leaders ac ademy
website design
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2012
BRIEF
CLIENT
Future Leaders Academy is an education centre in Hong Kong started by Jason Pak in 2011.
Future Leaders Academy
The task given was to redesign the company website to include information about the courses offered and also allow customers to understand Future Leaders Academy’s aim to promote critical thinking as a means of differentiating itself from other tutorial schools.
PROJ ECT TYPE Design and coding Educational sector PROJ ECT LENG TH 6 months
The website’s development is based on the open source framework ZURB that uses a customisable grid system to arrange and organise the page.
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dr a w i ng s 2 0 1 2 - 2 0 1 5
penc il on A3 2012
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penc il
penc il on A3 2012
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dr a w i ngs 2 0 1 2 - 2 0 1 5
digit al paint ing 2014
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digit al / wat erc olour
wat erc olour on A3 2015
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Thank you!
“Matilda said, ‘Never do anything by halves if you want to get away with it. Be outrageous. Go the whole hog. Make sure everything you do is so completely crazy it’s unbelievable...” –Roald Dahl
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Wai Kay Michelle CHANG MArch | BEnvs University of Melbourne m: 0479 161 052 e: mchllcwk@gmail.com
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