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LAI ZHI ZHEN 1 001 747 42 7
AR 415 Architecture Design Studio 4 Tutor by Ms. Nisa, Ms. Yusra, Mr Huat Lim, Ms. Shaliza and Mr Fahmi
A B O U T
M E
;
Lai Zhi Zhen 1001747427 21 year old th 26 October 1999 +6011 1083 9189 SPM Qualification 5As Diploma in Architectural studies in UCSI University with CGPA 3.85 Currently study Bachelor in Science(Hons) of Architecture in UCSI University Instagram @nini.cle
01
Manifesto
Visionary representation Design intention
02 Pavilion
03
Case study Craft museum
C O N T E N T
P R O J E C T I
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M U S E U M
G L O W
C R A F T
DEFINE
CRAFT MUSEUM
Craft museum is our national identity which is a way to gain a fuller understanding of the culture and story behind the crafts. Craft museum is connecting the culture to form a better understanding of different cultures and lifestyle in the past. Over time, our lifestyles are evolving. The division between high and low art will be dissolved, with heritage providing contrast to popular culture. Therefore, the craft museum is playing an important role by preserving art and craft that was once practiced, things that make our country unique, it can remind visitors of our national origins.
Since the craft museum acts as a physical documentation of our craft, culture, and indigenous people, it is slowly becoming a place of research and educational institutions to the people rather than just enjoy visiting. These crafts can educate the visitors of their previous way of life, the importance of the crafts and our national identity will be preserved by wider the visitor's range of knowledge. Many books are limited to certain information about our history, so museums are important to display those timelines and perspectives that may be overlooked in textbooks to increase the joy of the learning process especially for the students. By educating the visitors to our national culture can avoid our national identity from fading away. In my opinion, learning through the museum instead of textbooks can motivate the interest in our youth and keep our national identity alive. For example, the most famous craft museum in Malaysia, National Art Gallery acts as an important role of national identity which is collecting of our crafts, history and culture.
OF HAVING A CRAFT MUSEUM
IMPORTANCE
AIM Education is important, it is a way to inherit the importance of national identity and history. I am aiming to create a kind of museum for educational purpose by creating the joy of learning process and enhancing student motivation through architectural ways.
PROBLEMS AND ISSUES
FACED BY CRAFT MUSEUM
In this era, everyone has a smartphone on hand all the time. No matter what happens in our daily life, the smartphone brings a lot of convenience to us. Education is no exception. For example, due to this epidemic, every student must rely on smartphones or tablet to learn knowledge. This has proven that the internet can always replace physical learning style. From the data research by Jay Donovan in TechCrunch, the average age for a child getting their first smartphone is now 10.3 year and 64% of kids have access to the Internet through their smartphone today, compared to just 42% in 2012. Therefore, a lot of students would like to learn the knowledge of crafts online instead of visiting the craft museum. In my survey research of UCSI University students, there are 34.3% out of 70 people don't even know the existence of craft museum, and 32.9% of people are not interested in it. In this case, we can see the craft museum has less attraction to the young generation as the method of the showcase of craft is lack of interaction and monotonous. Craft museum is being buried and lack of exposure to the people. Over time, the value of the craft museum will slowly fade and been forgotten, and lastly no longer to been visited by the young generation.
TO ADDRESS THESE ISSUE
WAYS Based on the elaborateness of the student's descriptions who are likely visit to the museum, they had mentioned about high personal and visiting the craft museum embraced long-term learning impact because they have opportunities to ask questions and closely examine crafts and artefacts by seeking out information from the source provided in the museum. However, physical learning style could help the student to have a deep impression and provide more interaction between the craft and people. Students are more likely to remember the knowledge of their visit. Some students like learning with their friends, therefore, the social interaction is important to support the student of sharing of their experiences enhances learning. Visits are highly social experiences which can control their learning when discussing with their friends rather than sitting in the classroom. As a teacher, the teacher should motivate for school trips, valuing these as learning and chances for social and educational opportunities. School trips should be connecting with enhancing student motivation and change in setting or routine and student enjoyment.
On the architectural aspects, today's museums have evolved to become a social keystone of communities. Besides, the expectations of the experience of 'typical' museum from the visitor have changed. Craft museum is no longer a place for adoration and quiet contemplation. The ways of exhibitions have to become more aggressive, more tactile and more interactive.
Craft museum is a place of discovery for the student, so that museum which is design with the easy and accessible act of exploration is great. Architecture can create space from a different angle and develop new perspectives by creating a new path for discovery, prescriptive route and breaking away from the traditional linear pathway to helping develop more perspectives and more conversation. Besides, architecture also can trigger a student's curiosity by providing a new experience at every turning point by creating a space that consists of rooms of different sizes and dimensions.
The physical properties such as the use of light, acoustics, materials, colours, building forms and texture of museum space can contribute to our reaction to the craft and help enhance the student's experience and become part of the story being told. Therefore, technology plays a growing role in forming an immersive user experience. Over the past few years, craft museums have to introduce more technology. The ways of exhibit the craft are more interactives and mostly in video-based. By referring to the Spy Museum, there is making use of the technology to share the stories and to collect data. They are trying to get away from static display by composed in a scene to tell a story to the visitors.
Furthermore, there are a lot of tactile things to provide the ability to touch and see the crafts and use more mechanical interactives which functioned as supplementing the digital experience. In Japan, there is a company named teamLab, the museum is an immersive series of projections where visitors can walk in and it is moving from the physical museum to fully digital basis at a very quick pace.
In my point of view, due to a constant push of technology, we cannot be lost of the tactile things which can be touch and experience with senses beyond sight. This is the thing that technology couldn’t make it. For example, with VR, you cannot truly interact with sense even though you are placed into an immersive world. This should be clarified repeatedly what can we do with the virtual reality to make it more adaptable. There is also a way to make things more experiential to the students nowadays and multisensory to improve the process of the learning experience.
The futuristic museum is lying in more creative and innovative ways to have the integration of different technology and method to deliver an attractive and highly memorable experience. It creates a learning way that student can’t learn in the classroom. In my opinion, learn while you’re being entertained is the main key.
Other than that, architecture can stimulate a student's passion by creating a workshop and encourage the student to make their crafts during their visit and educate them through the story behind the crafts. Learn while making will strengthen their grasp of the crafts. Instead of being a place for the student to learn, it can also a place for entertainment and discussion. While the futuristic museum is always a mixture of the medium, message and creative manner. Setting up of leaving the visitors feeling spiritually moved and educated to be our ultimate goal and leave a lasting impact that adds real value to the visitor’s life.
Craft education is important, I believe that focusing on our young generation’s development is the most important contribution we can make in the architectural way.
CONCLUSION
Kindly click the link below for the Research of Craft museum (Group Work) https://designstudio42021.wixsite.com/my-site
V I S I O N A R Y
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EDU-JOURNEY
S TO R Y T ELLIN G JOUN EY
INTERACTIVE
HIERACHY
BRUDER K L A U S KAPELLE
PAVILION
ARCHITECTURE
GROUND FLOOR PLAN
ROOF PLAN
LACED SEAMS
NORTH ELEVATION
RIGID EDGE
FABRIC TENSILE
EAST ELEVATION
STEEL FRAMING TO FOUNDATION
SECTION X-X
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I N T E R A C T I V E EXHIBITION SPACE
W O R K S H O P
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L I B R A R Y
A R C H I E V E
R O O M
C O U R T Y A R D
S E R V I C E S
CRAFT
SHOP
O F F I C E
THE
ORIGIN
STORY TELLING
I N T E R A C T I V E
THE PLAY
E X H I B I T I O N
S P A C E
D A LA NG
THE PUPPET
P U N A KA W A N
G UNU NGA N
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ORIGIN
IN
THE
EAST
JAVANESE
PERIOD
Shadow theatre is believed to have been adopted by the hindu court of bali during indianisation.
PRE SE NT -DA Y J AVA NE SE SH ADO W PUPPE T Evolved into their extremely elongated & almost non-figurative style during the period of muslim rile, thus reflecting islam’s ban on making a human image in Malaysia
Plot of wayang kulit (javanese drama performance) = lakon Meaning = the course of events / action
STORY TELLING
Derived from 4 sources:
I N D I A N R
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M A B A B B A R A T A A
J A V A N E S E L A T E R
M
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Y
A
P R I N C E
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P A N J I
C Y C L E
S T O R I E S
A
G R E A T
B A T T L E
THE PLAY
LE FT S IDE : E VIL P ART Y
RIGHT S IDE : G OOD CHA RAC RT E RS
ART OF THE NARRATOR SKILLED IN: - RECITATION
- SINGING - VOCAL CHARACTERISATION OF ROLES - ELEVATED AND VULGAR LEVELS OF THE LANGUAGE
- ALONG WITH MANIPULATING THE DALANG
PUPPET UN FRONT OG SCREEN
MUSIC IS ESSENTIAL TO THE PERFORMANCE MUSICAL INSTRUMENT: - GONGS - METALLOPHONES - XYLOPHONES - DRUMS - FLUTES
- ZITHERS - STRINGED INSTRUMENT
THE
PUPPET
SEEN AS A GOD IN THE GUISE OF A CLOWN WHO HELPS THE HERO ACHIEVE HIS GOAL WITH KINDNESS & HUMOUR. - ONE OF THE MOST SACRED PUPPET OF WAYANG KULIT SET IS, NOT A NOBLE HERO BUT SEMAR, THE HEAD OF THE SERVANT CLOWNS
K U L I T
(PUNAKAWAN) OF GOOD PARTY.
SEMAR CHARACTERISTIC: - OLD
O F
W A Y A N G
PUNOKAWAN
- SHORT-LEGGED - FLAT NOISE
- SOFT BREASTS & ROUND BOTTOM, HE IS REGARDED AS A HERMAPHRODITE, THE “FATHER & MOTHER”OF HIS SERVANT SONS. - THE MOOD OF A PERFORMANCE USUALLY BECOME INTENSIFIED WHEN THEY APPEAR ON THE SCREEN
M O T H E R
- FAT
THE WORLD M OUNTA IN
TREE OF LIFE
COSMIC ORDER
GUNUNGAN
SYMBOL OF THE “WAYANG WORLD”& A KIND OF “CURTAIN” - MARKING THE BEGINNING OF T PLAY , CHANGES OF SCENCES AND AT THE END - USED SPECIAL EFFECT SUCH AS STORMS/DISRUPTION OF THE COSMIC ORDER
S P A T I A L
I D E A
T H E ORIGIN
S T O R Y TELLING
THE
PL AY
DALANG PUNAKAWAN
THE PU PPET
GUNUNGAN
B I G
SMALL
B I G
ENCLOSED
L I G H T
VOLUME
SMALL
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DARK
BRIG HT
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R E L A T I O N S H I P P R I M A R Y SECONDARY
O F
S P A C E S
C I R C U L A T I O N CIRCULATION &ARCHIEVE ROOM OFFICE
E N T R A N C E SERVICES
WORKSHOP
V I E W
COURTYARD
EXHIBITION
LOUNGE
OUTDOOR SCULTUREDISPLAY AREA
/PARK
INTERACTIVE EXHIBITION
C R I T E T I A
M A T R I X
T E S T
K I T
F O R
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S P A C E
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ALLOW NATURAL LIGHT
ALLOW CIRCULAT ION PARKING
LORRY
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ONE WAY END
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1. DROP OFF 2. OUTDOOR SCULPTURE GARDEN 3. NIGHT BAZAAR 4. OKU CARPARK & CARPARK 5. STORAGE 6. LOADING BAY 7. ARCHIVE ROOM
X
8. SERVICES
12
9. TREE OF LIFE 10. COURTYARD / AMPHITHEATER 11. OFFICE 11
12. CARPARK
10
4
7 9
6
8 5
3
X
2 1
G R O U N D S
C
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F L O O R 1
:
P L A N 3
0
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9. TREE OF LIFE 10. COURTYARD / AUDITORIUM 13. LIBRARY
X
14. SURAU (FEMALE) 15. WASHROOM (FEMALE) 16. CAFÉ STORAGE 17. CAFÉTERIA
23
18. CRAFT SHOP
19. WASHROOM (MALE) 20. SURAU (MALE) 21. JANITOR
22. LOCKER AREA
10
23. WORKSHOP
16 17
15 14
18 9
13
19 20 21
X
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3
2
1
F I R S T S
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P L A N
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N I G H T
B A Z A A R
M A I N
A T R I U M
C
A
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CRAFT
SHOP
LIBRARY
LOCKER
AREA
C O U R T Y A R D / A U D I T O R I U M
W
O
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K
S
H
O
P
9. TREE OF LIFE 24. GALLERY I : THE ORIGIN 25. GALLERY II : STORY TELLING
X
26. GALLERY III : THE PLAY 27. THE LINK 28. GALLERY IV : THE DALANG 29. GALLERY V : THE PUPPET 30. GALLERY VI : GUNUNGAN
26 27 25
28
9
24
29
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S E CO N D S
C
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F LO O R 1
:
P L A N 2
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0
THE PLAY
X
STORY TELLING
THE
ORIGIN
D A LA NG
THE PUPPET
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G UNU NGA N
S E CO N D S
C
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F LO O R 1
:
P L A N 2
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0
THE
ORIGIN
S T O R Y
T E L L I N G
T H E
P L A Y
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L I N K
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T H E
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