Portfolio by Nicklaus Tang

ARCHITECTURE PORTFOLIO 2 0 17 - 2 0 19

BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE TAY LO R ’S U N I V E R S I T Y

by

NICKL AUS TANG

DESIGN STATEMENT

I am an aspiring architect with a passion to deliver the best architectural work at the intersection of creativity and logic. The fundamentals of design in today’s urban environment and how it has both profound and implicit effects on people led to my interest in the intricacies of urban planning, in particular how a single, boundaryp u s h i n g a r c h i t e c t u r e c a n b e n e f i t t h e e n t i r e c i t y.

I believe architecture and good design has the ability to enrich and empower the lives of people. However, while architectural design may posses such capabilities, one must a c k n ow l e d g e t h e l i m i t s o f t h e s e i n t e r ve n t i o n s i n o u r m o d e r n s o c i e t y. I n o t h e r wo r d s , the distinction between socially constructive design and its antithesis rests on the architect’s understanding of the urban context in both a macro and micro context as well as their underlying principles in design.

I c h o s e t o s t u d y a r c h i t e c t u r e n o t f o r t h e s o l e p u r p o s e o f d e s i g n i n g “ b e a u t i f u l s p a c e s ”. I did so because I believe the act of designing for the betterment of society is a part of o u r i d e n t i t y a s a c o l l e c t i v e b e i n g . We s t r i v e t o b e t t e r t h e l i v e s o f o t h e r s w h i c h i n t u r n m a ke s a d i f f e r e n c e i n o u r s . I f p e o p l e a r e t h e r o o t s o f a c i t y, a r c h i t e c t u r e i s t h e s o i l that it holds on to.

W O RK E X P ER IEN C E

ED U CAT ION

Ju n - Aug 2 012

In t e rn | Ma rc Arc hit e c t s

H I GH S C H OOL

• Participated in various site visits and meetings with local author

SMK Seri Bintang Utara

ity.

2007 - 2012

• Assisted in the labelling of multiple floor plans to ensure consis tency and precision.

Ju n - J ul y 2 018

In t e rn | BCT Arkit e k

F OU N DAT I ON S T U DIE S Victoria University of Wellington Class of 2016

• Person-in-charge of the 3D model and 2D CAD drawings of a double storey bungalow in Mukim Binjai, Terrengganu.

B S C A R C H I T EC T U R E

• Single-handedly modelled the window schedule of an upcoming high-rise building, The Societe at Desa Sri Hartamas.

• Mastered the use of XREF in AutoCAD as an efficient project

Taylor’s University Class of 2019

management tool for large-scale projects.

Jan - M ar 2 019

In t e rn | HM S K Arc hit e c t u re

SKIL L S

• Person-in-charge of facade designs, 3D model and post produc tion of Mukim Rantau residential development project.

SketchUp

• Managed and designed a showroom project for an upcoming condominium, Kayu Lani at Damansara Perdana.

Revit

L E A D E RS H I P EXPER IEN C E AutoCAD 2017 2 018

• Leader of a 30-member publications team that carried out an end-to-end historical conservation study on the Church of St. Theresa in Melaka.

• Led a group of 4 people to represent Taylor’s University

Adobe Photoshop

in the 2017 Greenovation Design Competition organized

by Institute of Landscape Architects Malaysia (ILAM).

• Organising committee member of the PAM International Architectural Education Conference 2018.

Lumion

CONTENT

1 GA Z EBO OF THE FALLEN HEROES

2 COM M UNIT Y SUPPORT CENTRE

3 ART CENTRE

4 CIT Y LOBBY

GAZEBO LO C AT I O N | Tama n Tu gu , Ku a l a Lu mp u r T U TO R

| Ms R a iha n a Za in u d d in

P OETI C S , A B S T R ACT ION & CONCEP T IO N

The abstraction behind the designs of both gazebos relates harmoniously with its site context – the Taman Tugu. The 66-acre park will serve as an extension to the existing, Perdana Botanical park which span over 290 acres of green space. Due to its close proximity with the National Memorial, the design of both gazebos reflects the essence of patriotism; an innate fighting spirit which resides deep within the hearts of all Malaysians.

The concept is then expressed architecturally, conforming to the design principles of both “active” and “passive” design measures. Both “active” and “passive” components represent the level of activity of the surrounding area. “Active” denote the area which supports a high level of human activity and traffic while “passive” represents an area which supports less human activity and traffic.

AC TI VE GAZEBO : RISE

The design approach of this gazebo takes the user back in time, a period in which our heroes were fighting for what we have today – our country’s independence. The process to win a war like so is a long and arduous one, in which only the determined and collected will pull through. Hence, the gazebo is a physical manifestation of these qualities. The form resembles the fallen heroes who had made the ultimate sacrifice to protect the place we call home today. The idea is expressed geometrically, with a heavy emphasis on materiality, invokes a mellow and poised conscience as users enter the space.

Upon entering the gazebo, users are able to interact with one another at ease. This interaction between users is facilitated by the orientation of the seatings within the gazebo; the seat faces each other which encourages all round communication. As for children, the seats are specially designed so that the heights of the seatings are suited to a child’s anthropometry.

E X P LOR AT I ON 1 : Ti lt & s la nt

E X P LO R AT I ON 2 : Ad d i ng a ng ula r i t y

F I N A L DES I GN

R I SE: ROO F P L AN Strategically located near the Hanging Bridge attraction and positioned according to the arc of the public pathway. The public sees the gazebo clearly regardless of which direction they come from. However, the key feature of the gazebo which complements its concept is its line of axis; which points directly towards the Tugu Negara. Users instinctively bow as they enter the gazebo, due to the entrance being designed just short of regular door heights, indirectly pays a silent homage to our fallen heroes, honoring them for their sacrifices.

The gazebo features a geometric design despite having an angular configuration evokes a sense of strength and sturdiness. This in turn allows users within to feel protected and safe.

N O RTH -E A ST E L E VATIO N

SO UTH -E A ST E LE VATIO N

SO UTH -W E ST E L E VATIO N

N O RTH -W E ST E LE VATIO N

PA S S IVE GAZEBO : SHINE

The design of Shine reflects the period after Malaysia has gained independence; a time where we are now free from the clutches of colonists and live an easy life because of the sacrifices of the fallen heroes. The underlying minor concept behind this gazebo speaks of unity; an unbreakable bond built on a common goal shared by all Malaysians. The gazebo features an organic, free flowing form that intertwines at different points and angles. This reflects the individuality within our nation; each and everyone one of us is unique and different, but we all share a common goal that is to ensure a brighter future for our children.

The entrance of the gazebo is carefully designed such that the opening is narrower than its exit, creating a conceptual telescope which allows users to peek into a brighter future. The gazebo also features a line of axis that points towards Tugu Negara. The design feature water channels bounding its edge, engaging children while the adults emmerse themselves within the natural landscape and scenery around the gazebo. The roof panels are slightly angled to allow rainwater to flow down its sides into the channel; while maintaining gaps in between so as to preserve the scenic views of the surroundings. The spaces in between the panels provide shading and air circulation, ensuring a constant breeze at all times. A poetic and mellow atmosphere is created as sunlight penetrates through the panels.

E X P LO R AT I ON 1 : Ver t i ca li t y & t w i s t

E X P LO R AT I ON 2 : C ont i nuou s cur ves

F I N A L DES I GN

SHINE: F LOOR PL A N

One of the key elements involved in the design of Shine is free flowing water. The roof of the gazebo is designed such that rainwater is gracefully directed to the curved channels around the structure and into the nearby stream. Based off the Chinese proverb, 饮水思源, the channels of water serves as a reminder to remember the source of the water when we drink; which corresponds to the conviction of commemorating those who died fighting for our independence. The channels which diverts the free flowing water to the nearby stream portrays the legacy of the fallen heroes which still lives on till today.

NO RTH EL EVATI ON

EAS T EL EVATI O N

S O UTH EL EVATI O N

WES T EL EVATI O N

COM M U N IT Y SU P P O RT CE N TR E LO C AT I O N | Tama n Fa irp a rk, Ip o h T U TO R

| Ar She n Fe i

UR B A N DES IGN & CRIME P REVENT IO N

Located in a quaint township bordering the peripheries of Ipoh city, Taman Fairpark is primarily home to Ipoh’s aged community. Established mainly as a mixture of commercial and residential district, the site underwent a gradual process of urban and social degradation. This was due to the rapid migration of youths from the town to the city centre and other districts, leaving behind a shell of a once thriving neighbourhood.

The soulless town eventually became a breeding ground for crime and homeless individuals. Caught between the town’s process of degradation and crime driven state are the community which chose to remain or those who simply do not have the means to leave, namely the single-parents. The proposed project emphasizes on the exploration of architecture as crime control as means of revitalizing the decaying community.

UR B A N DESIGN ST R AT EGIES

Understanding the conditions of the site is key to design. Addressing prevaling issues however, requires specific interventions which involves encompassing other influencing factors which extend beyond the principles of architecture. As Taman Fairpark is particularly prone to criminal activities, factors that pertain to human behavior and psychology were considered throughout the process of developing potential design strategies.

However, it is important to note that there is no form of neutral architecture, for any architecture is bound to have externalities that favor certain groups in society.

Vis ual axis Bound ary l ine Setback l ine

STR ATE GY 1 : Na t ura l Su r vei lla nce Facilitating user’s sight line to and from the site creates a form of natural surveillance.

Courtyard s Ped es trian p ath Bound ary l ine Setback l ine

STR ATE GY 2 : C i rcu la t i on & C om m on Spa ce Creating socially engaging spaces; reducing socially isolated communities leading to mutual reciprocity.

Engagem ent z one s Im p os ing views lin e s Bound ary l ine Setback l ine

STR ATE GY 3 : C lu s t er-cent r i c L ay ou t Enabling imposing views between clustered spaces & facilitating unplanned social interactions.

Territorial ity Bound ary l ine Setback l ine

STR AT EGY 4 : Ter r i t or i a li t y Creating a cognitive territory through concaved layouts; enabling surveillance on a focused area.

Internal territorie s Territorial ity Bound ary l ine Setback l ine

STR ATE GY 5 : Int er na li z i ng All St ra t eg i es Applying all strategies within building sub-spaces to strengthen the design effect.

GR OU N D F LOOR PL A N

F I R S T F LOOR PL A N

K A JAN G ART CENTR E LO C AT I O N | Jala n Su l a ima n , Ka j a n g T U TO R

| Ms Te h Be n g Xia n g

A R C HI TEC TURE AS CU LT UR AL CATALYST

Kajang’s humble beginning echoes from the Langat River. It once served as a natural node where people gather, trade and exchanged stories. The community grew steadily during the tin mining period, and commerce became an integral part of their culture.

As the community expanded, so did the town. They eventually moved away from the river, and brought along their communal culture into an urban setting.

Urban lanes and five foot walkways became the new setting for community interactions.

However, unbridled urban sprawl had caused a spur of decensitized development, stripping Kajang of its traditional businesses along these lanes. As such, the people left, and so did their culture and memories.

Soon, new migrants arrived, unaware of what it once was. The town began to lose its identity, and only remnants of the hollowed town linger.

URBAN L ANE AXIS Exi s t i n g b a c k l a n e l e a di n g t owa rds Ja l a n Re ko i s ext e n de d i n t o t h e a r t c e n t re . La n e s e r ve a s re fe re n c e a xi s fo r a r t c e n t re .

V I S UA L PER MEA B I L I T Y Vo l um e s o f a r t c e n t re i s l i f t e d upwa rds provi di n g c l e a r vi ew o f a c t ivi t i e s a n d s pa c e s o f g ro un d f l o o r.

I N T ER N A L C OU RT YA R D C o ur t ya rd s e r ve s a s i n t i m a t e s pa c e b uf fe re d by a c t ivi t y a l o n g pub l i c l a n e i n a r t c e n t re . A l s o s e r ve s t o ve n t i l a t e t h e b ui l di n g.

C OR N ER T R EAT MEN T Bui l di n g e dge s a re e m ph a s i z e d t o a t t r a c t a t t e n t i o n o f pe de s t r i a n s f ro m all angles.

PU B L I C R EA L M P ub l i c o pe n s pa c e i s de s i g n e d t o a ddre s s Ka ja n g ’s l a c k o f c o m m un i t y i nvo lvm e n t s pa c e s .

C OMMU N I T Y EN GAGEMEN T I n t e r a c t ive pa n e l s a n d pub l i c pe rfo r m a n c e s pa c e s e n l ive n t h e s pa c e .

G re e n e r i e s c re a t e s o o t h i n g e nvi ro nm e n t t o e n c o ur a ge pub l i c i n t e r a c t i o n .

FA MI L I A R FAC E Fa c a de re f l e c t s t h e t r a di t i o n a l pa t t e r n s fo un d i n o l d Ka ja n g b ui l di n g s t o c re a t e a s e n s e o f f a m i l i a r i t y w i t h i n a n m o de r n day c o n t ext .

V I S UA L C ON N EC T I V I T Y C ut s a re m a de i n t o t h e f a c a de t o a l l ow vi s ua l c o n n e c t ivi t y b e t we e n us e r s t o a n d f ro m t h e a r t c e n t re .

I N T ER AC T I V E PA N EL S Fa c a de i s de s i g n e d t o e n g a ge us e r s by i n c o r po r a t i n g m ova b l e pa n e l s .

T h i s c re a t e s a n eve rc h a n g i n g l ivi n g b ui l di n g.

MODER N T WI S T P i t c h ro o f s a re de s i g n e d i n re s po n s e t o Ka ja n g o l d t ow n w i t h a c o n t e m po r a r y a ppro a c h t o c re a t e vi s ua l e m ph a s i s .

GROUND F LOOR PL A N

F IRST F LOOR PL A N

SECOND F LOOR PL A N

F IRST F LOOR PL A N

SECOND F LOOR PL A N ROOF PL A N

S E C T I O N A L P E R S P EC TI VE

SOUTH ELEVATION

EA ST ELEVATION

WEST ELEVATION

EXPLODED A XONOMETRIC

VI EW F ROM PUBLIC SQ UA RE

V IEW TOWA RDS L A NE

VIEW F ROM A LLEY WAY

HERITAG E GA LLERY

VI EW FR O M CULTUR A L CA F E TO PUBLIC SQ UA RE

SATE KITCHEN

JOHOR BAHRU CIT Y LO BBY LO C AT I O N | Ja l a n Wo n g Ah Fo o k , Jo ho r Ba h r u T U TO R

| Ar. Al in a Cho o n g

R ETA IN I N G TA LENTS & URBAN SU STAINABIL IT Y

Most cities undergo a systematic process of urban growth and decay, and Johor Bahru is of no exception.

However, despite its rapid economic growth fueled by its unique cross border relationship with SIngapore, the city’s vision for sustainability is far from reach.

Short term resolutions or simple engineering fixes such as the reduction of crime or uplifting cultural values will not deter its inevitable decay. Instead, the single most defining factor which determines the sustainability of a city is its ability to attract and retain talents.

The need to address Johor’s inevitable decay is dependent on efforts to revitalize the city from a commercial centric district to one that upholds society’s desire to create, innovate and improve their living conditions.

DES IGN D EVELO P MENT

1.

2.

Sin g le mass with in setb ac k.

Li n e a r a xi s divi de s m a s s

3.

4.

Sub tr acti on of m ass to create

C o nve r s i o n o f l i ne ar t o cur v i l i ne ar

entr y p l aza and v i ews.

ax i s re d uce s pe rce ive d d i s t ance .

5.

6.

Fu rth er div i si on i nto 3 sep ar ate

Bui l di n g h i e r a rc hy

volu m es

7.

8.

C onnecti ng volu m es to si ngle

Volumes reflec t c urvilinea r

p oi nt.

a xis

9.

10 .

Pa ram etr i c vol u m es devel op ed

Subt ra c t ion of solid t o form

from m assi ng

spa c es a nd roof

DESIGN RESP ONSE

1.

2.

I ntrodu cti on of p u b l i c green

Aerodyna mic desig n inc rea ses

sp ace

a irflow t hroug hout building.

3.

4.

Mu l ti p l e access p oi nt dr aws

Fl o o r t o ce i l i ng cur t ai n wal l

u ser s from all di recti ons.

i nt ro d uce s nat ur al l i gh t .

5.

6.

C onti nu ati on of p u b li c access

Cha nneling pedest ria ns via

th rou gh b u i ldi ng.

c urvilinea r pa t hway.

7.

8.

C oncaved ar r ival dr aws

Uno b s t r uct e d v i ew t oward s b ack

sh op p er s from near by

al l ey s e r ve s as nat ur al s ur ve i l l ance .

com m erci al b l ock s.

E X P LO R AT I ON 1 : Spli ne s k elet on

E X P LO R AT I ON 1 : Ad d i ng volu m es

F I N A L DES I GN

FI N A L DES I GN : Ri g h t

FI N A L DES I GN : F ront

F I N A L DES I GN : L eft

GROUND F LOOR PL A N

F IRST F LOOR PL A N

SECOND F LOOR PL A N

BA SEMENT PL A N

S E C T I O N AL P E R S P EC TI VE X - X ’

S E C T I O N Y-Y’

ELEVATION A

ELEVATION B

ELEVATION C

ELEVATION D

AU G ME NT E D RE A L IT Y DA NCE ST U D IO

ACCOMMODAT ION

AU G ME NT E D T INK E R SPACE

IND U ST RIA L D E SIG N L A B

V IRT UA L E ASE L V IRT UA L POD S PRE SE NTAT ION STAG E ME D ICA L SIMU L AT ION SPACE

E XPLO D E D A XO NO METR I C

VI EW TOWA RDS ENTR A NCE D

VI EW OF R A MP TOWA RDS BUIDLING

VI EW TOWA RDS CENTR A L ATRIUM

VI EW OF V IRTUA L EA SEL SPACE

Tha n k Yo u.