PORTFOLIO - Year 2012

20 i 12 Fo

hafiz

RidzWan Pauzi

hafizpauzi@gmail.com

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about hafiz

ridzwan wan pauzi

Wan Mohammad Hafiz Ridzwan Wan Pauzi 28, Jalan Setiawangsa 2A Taman Setiawangsa, 54200 Kuala Lumpur, MALAYSIA +60342664550 / +60123891234 hafizpauzi@gmail.com

Status

Working Freelance, recently completed Bachelors of Environmental Design University of Tasmania (2011) Practical Experience

Ranhill Contractors (2005 May – Jan 2006) NEUFORMATION Architects (2006 Jun – 2007 July) CMC Designworks (2010 May – Nov) ADJ Architecture (Dec 2010 - Jan 2011)

Interest and hobby

Education

1995 to 1999 Secondary school: Sekolah Menengah Al Amin (SPM/O-Levels) 2000 to 2001 Kolej Matrikulasi Pulau Pinang (Pure Science Matriculation - CERTIFICATE) 2002 to 2003 University of Tasmania (Bachelor Environmental Design -

DEFFERED)

2007 to 2010 Taylors University College (Diploma in Architecture Technology) 2011 University of Tasmania (Bachelor of Environmental Design) *Certificates in AutoCAD and 3D softwares

soccer, rollerblading, painting, utilitarian objects, travel, literature

Highlights

Architecture interest

top ten finalist UAC architecture competition

spatial sculpture, design gesture, build-ability, contextual archeology speculative consideration

aa visiting student, singapore (Designed Geographies)

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design gesture “Architecture is art. I don’t think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a much polluted art in the sense that it’s polluted by life, and by the complexity of things.”

-Renzo Piano

Having to explore architecture for the past few years; the matters that astounded me the most are of its spatial adherence, build ability, tectonics and compositions as well as the interaction in between user and its present environment. Modernism period of style and movement had as well influenced a great deal of attention in my personal design venture.

Design thoughts and production are of diversity in many aspects. In my opinion, there is neither accurate nor wrong way in the process of producing an architectural work. In general, I would say it is an important responsibility for the people who carved and create the new artificial landscapes to accommodate its functional necessity and aesthetic value as to allow people better ways of life in this existential state.

From the earliest architecture discussed in history classes until today’s debatable designs, architecture has shape the world to its contextual recognition and familiarity supported mainly by its timeline. Many other features and causes to name a few, political, economy, communication, and society had played a great deal into shaping a place of progressive nations.

Processes and results in design had as well varied to each production phase because different approaches and apprehensions had been thought through to best suit each projects. Working in actual local practices had as well been an eye opener for me because of their contrasting operations occurs in studios at school and real world state which are open ended to its discussion.

Imagineering was once described by Le Corbusier to how architecture creation was concerned.

The ability to see possibilities that lies in every projects and working along with the restrictions helped to create the final project as accurate as possible to be fully utilized. Although the design individuals may had put in many critical thoughts and possibilities that could arise before and after, the discontinuity of the designer to let life interact with the cease architecture itself is the most crucial moment to how it would further shape the environment.

In my naïve perspective, Malaysia as a young country had grown progressively to how it had become at the moment. Critical developments of its capital city only expanded after independence. It is probably now in hazard of untamed growth, as they tend to avoid many important issue of current architectural significant. As a minor individual living in this country, my endeavor in this field of study and work is to be apart and assist the insight of this rejuvenation where I am able to, and to preserve its tranquility and relationships for future generations to come.

01/2012

Culture came from a Latin word ‘cultura’ originally from ‘colere’ which means to cultivate. It consist patterns of human activity with symbolic significant importance. Also refers to the way of life for a society that includes art, science and moral systems. Thus have different codes of manners, dress, language, religion, dialect, rituals, laws and beliefs. Different cultures have various building design in its style, shape, form, ornaments, material that used for buildings and the construction method to suit the region, customs and tradition as well as religion.

Region and geography of cultures influence design of buildings interacting with its landscape, nature and commonly vernacular. Skilled craftsman from different culture gives different style of building decoration and finishes which distiguish particular traditions.

In my perspective, culture is as well affected to development and growth of a certain context. Civilization change and growth adherence cause the shape of its city. Building design influenced by a certain culture creates the history of its progressive culture growth. A certain culture influences of building design generally relates with their region, tradition and its contextual event.

Visit to Hanoi, Vietnam was an aboservation study trip to experiance cultural and architecture influences of french colonization and its current progress. Like most context, a mixture of story carved behind these buildings and this part of south eat asia culture.

07/2008

contextual archeology

culture .hafiz wan pauzi .portfolio

rev o l u ti o nary . chivalry . str u ggle . advent u re . rebelli o u s

Ernesto Guevara is an inspiration to every human being who loves freedom. This memorial itself is revolutionary. It commemorates CHE’s life as a person, as a revolutionist. The rebellious character and aggressive appearance has been translated into the components of the monument that evoke a sense of conflict and doubt, the phenomena of struggle and adventure. There is temptation to dismiss Guevara as a frenetic dreamer consumed by the movement and romance of revolutionary action. Nicknamed as El Fuser (the furious serna) due to his aggressive style of playing rugby in college. There is much to admire in Guevara, and yet there is also uneasiness. In rememberance, the memorial would perform as a public gathering place to anyone who believes in revolution. The architecture of the memorial gives a silent poetry of the romantic idealism that symbolize the rebelious, revolutionary, adventerous character of Che Guevera.

che guevara

MEMORIAL

02/2010

section

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The brief for this project was to investigate and explore how spaces are created from the making of architectural elements: architectonics in relation to a given set of requirement. In a group of four, we were assigned to design a pavilion structure for 2 people to have tea. The boundary for this structure is 3m x 3m x 3m square and must not extend beyond it. The pavilion must consider the relationship of the tea and culture that we have chosen in the final proposition. Within the enclosed pavilion path, visitors are brought out to the open, suddenly exposed once again. The bare soil flooring and natural wooded seating of the pavilion tea setting, resembles the rich earthy flavors of the ground. The pavilion is journey specific, rather than form specific. Its form reflecting the discovery passage the visitor gets to experience.

03/2009

tea 42

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pavilion

This residential is designed as a retirement home of a unique kind. Ramps was proposed to connect each level as it ease walking and a huge open area for gathering purpose. The client has a car collections and a passion in gardening.

In result, an elongated building with a massive wall façade leading towards basement car park which sits or the sits above a garden deck was visualized. In working environment, the process of design and built are orientated towards cost, client and contextual concerns of interest between the designer and client mainly. Each aspects of architecture from its early production up to the finished building will endure many possibilities of change and adaptation.

OFFICE: CMC Designworks C-8-3 Megan Avenue 1 No 189 Jalan Tun Razak 50400 Kuala Lumpur

residential practice

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The former Launceston Gasworks site has a high significance heritage value that is retained in the proposed design by few strategies. First, the existing fabrics are retained and resurrected by considering their visual and experiential value. The Gasholder in red steel is transformed into a public space where a viewing deck is to be installed.

This will create a new concentration space for Launceston city context and as a marker for a new public place. The Remaining gasholder will accommodate a pond and a sculpture to commemorate the previous history of the site. All the existing building will have new adaptive structure that penetrates to give them a better architecture performance. The landscape which occasionally is holds a market or agora is traced out with public altruistic features such as a small stage and open square. Their intended uses can be simultaneously altered according to situation. Vegetation of mostly from local landscape will be spread around the site to aware the visitors of what the island have to offer. To assist the whole context and design concept, an information centre is located adjacent to the city park which is one of the heritage building. The Urban Warp and Weft proposal that is concentrated on the textile industries are integrated with a public park. This ungated artificial landscape is an extension of city park that frequently used by the locals and visitors alike.

launceston gaswork 05/2011

HERITAGE CONSERVATION

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Threshold is at the intersection space between three buildings. The form and structure is mounted to the main entry of CGW building where it has a 24 hours access and the most user dedicated spaces are located. Through the movement between the external, the threshold and the internal spaces, a change of scale in dimension, materiality and spatial quality are experience by the user. The height and depth of the threshold filter an intersection between the horizontal and vertical areas around the building.

It distinguishes the separation of internal and external space by its transparency and play of light. It as well present as a marker for circulation around the site.

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A

A

14

[0.00m]

5

VOID

LEGEND up

LEGEND [-0.60m]

13 6

15 [0.00m]

up

3

14

4 12

[+0.60m]

VOID

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

17

MAIN EMTRANCE LOBBY OFFICE RAMP GALLERY LIBRARY DISSCUSSION RM WC MALE WC FEMALE WC DISABLE CAFE SHOP KITCHEN M/E ROOM ENTRY EXIT STAIR

16 17 18 19 20 21

[+1.90m]

1:12 ramp

VOID

RAMP GALLERY LANDING INTERACTIVE GALLERY PHYSICAL GALLERY AV ROOM EXIT STAIR

21 16 up

VOID

20

8

VOID

1:12 ramp

1:12 ramp

10 2

19

[+0.60m]

7

[+3.20m]

[+3.80m]

9 up

up

18 11

up [0.00m]

[0.00m]

1

N

N

via Lebuh Muntri

via Lebuh Muntri A’

A’

FIRST FLOOR PLAN

early penang

edu.museum .hafiz wan pauzi .portfolio

10/2009

NORTH

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Penang was recently named as UNESCO heritage place. Architecture of these places normally has a long history to how it’s been built and lived. Mostly are shop houses that attach to its roofs, side by side. And few buildings in between these shop houses are most likely temples, schools, mosque, and other public architecture like buildings.

Urban pattern of the site are separated by axis of lanes that is pleasantly walk able. Although some of the walls are bare stucco, the surface tells a story that only can be experienced firsthand by the conscious. The existing school has a linear hall that its axis can be continued by the museum.

This boutique museum is proposed to be built in different sight. To distinguish its heritage itself and to be part with the communal lots, Penang Early Education Museum is modestly contrasted to its neighbors. Public space is related with the school by having a library at the bottom facing it and is used by the student. Spaces are segregate by the program of how the museum will be visited.

Education is an adaptation of knowledge and discovery trough a certain period of time and its experience of event and place. From this idea the boutique museum is govern by ramps that display the experience of discovery by timeline up to the main space and lingers back along the same path.

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Surrounded by field of tea plants covering the natural topography of Cameron highlands, a horizontal cantilever structure points out of the natural vista for any audience that take pleasure in the wonderful geography of ‘Titiwangsa’ Mountains range that divide peninsular Malaysia to its east coast and the west coast. This structure functions as a viewing deck and as well as an absorber to invite passer bys of the main road. Overhanging café with a floating roof is a neither interior nor exterior interacts with the landscape. The erection of the building is in IBS construction that made it possible to float.

The idea of absorption derives from the land topography in relations to vehicle movement around the site.

Tea is made when the leaves absorbs the water then a transformation occurs to its properties. For this building, it was inevitable that by having visitors loiter around its compound the tea company would be known better by its brand. Here architecture solutions are address to how it could function in an analytical way. Scattering the building exceptional form in association with the tea name will do wonders.

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highlands

tea center 02/2010

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The funeral hall and art center is the building typology proposed for this piece of architecture. The building is programmed according to; the functional aspect of a basic funeral event and the operational basis of an art center. From the main entry drop off, the left side of the building accomodates the art center spaces while the right side is a core circulation space for the whole building where it leads directly to the main space for funeral event. The main celebration hall sits on an island with the main communal area intersects to it.

The concept and idea of departure drives this design that later form the whole architecture. Departure is also viewedd as a separator, where a funeral also has this notion of discontinuity. By seggregating the spaces for art and funeral idioms, the main hall for the event of funeral is departed from the main art center piece.

Some of the spaces of funeral hall and art centre are inter-related and collides to its functional requirements of a funeral event and art center operations. These spaces departs when the moment it is used. Having the similarity of communal and publicness, the building as a center for both typology can operates accordingly.

departure

funeral centre 06/2010

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FUNCTIONAL RELATIONSHIP EXPLANOTORY DIAGRAM PLOT A

PLOT B

PLOT C

used mainly during summer

roof

URBAN [rooftop ] CAMPING

meeting seminar 2nd dwg. room office

main drawing room

roof dorm

dorm

dorm

hot pool

dorm

dorm

dorm

cool pool

reasearch studio studio cojoined

digital lab

sauna

steam room

shower / pvt. bath

change room

views towards cove, isolated spaces

side space long gallery

main gallery space

library admin

reading lounge communal space

laundromat

D. R. R.

gen. lockers

commute spaces

kiosk

WC bike lockers

info / expo. function area

TRANSIT LOUNGE

ADMIN

ELIZABETH ST.

access for public and urban campers

cafe

kitchen ADMIN

ARGYLE ST.

individual entry and access point

urban

intervention

hobart

10/2011

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news mags area

lounge / rest area

book store

MORRISON ST.

DAVEY ST.

everyday info center

MORRISON ST.

adjoining to existing info centre easy access to main road

the concept of the urban living room is to shelter, transit, accomodate event spaces and recreational area for both visitor and community. the approach of its organization relates to the spaces of a house, where a main entry, living space and backyard language is applied. the overal ground floor and parts of the first floor are concentrated as a public space. A PUBLIC FLOOR SPACE are traced out onto the site. this allows segreration for visitors of large number. the rest of floors caters the private space of the program. Existing walls around the building on site are of solid and opening planes. Schematic approaches are considered amongst the visibility of the walls and axis of view and circulations. The new spaces of proposed buildings are orientated along the solid walls to provide fabric and passage continuum.

The area is tabulated according to its importance of use. The core area of ‘public living room’ provides segregation towards other facilities around the site. Interaction between the user and building occurs at the arcade and laneway. Here overlapping nodes of the building as whole occurs. The change of level at the site is maintained to spread the area for user traffic.

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elemental

construction

detail

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10/2011

other works: art, joy for imagination

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Gallery at Heeren Street is an insertion of contemporary four flat-roofed modernist boxes within the old long narrow shop house of a dense and narrow urban site. The original walls and roof of the shop house that were collapsing is given a new life with the use of steel beams to stabilize the party walls and supports the new box structures.

The gallery glows at night as lantern internally and to the streetscape to produce spatial experience all around.The project offers a poetic response to the present and the past.

While not appropriate as a general preservation method, this highly specialized and specific retreat honors the past from a fresh perspective thus evokes the perception of memory. The main idea of the shop house is to celebrate poignant and poetic contrast of old and new. The meditation boxes position looks as if it was a part of the whole composition of the sharp edge planes. The room for meditation is enclosed withi n the masonry volume pierced by slots to introduce a play of shadow and light within. Simplicity to its surface richness, transparency of foliage, screens, and walls with innovative way thinking about density and is a sophisticated elemental and tectonic composition in its material richness and modulated spaces of the design approach.

03/2008

adaptive re-use

Goad, Philip, Pieris, Anoma. New Directions in Tropical Asian Architecture. Singapore: Periplus. 2005. http://www.pushpullbar.com : Retrieved 11th February 2008 http://www.chi-athenaeum.org/intarch/2006/ia697.html : Retrieved 11th February 2008 http://www.archidose.org/Dec03/121503.html : VRetrieved 12th February 2008 http://www.architectureweek.com/2001/1114/design_1-1.html : Retrieved 12th February 2008

precedents studies

Phenomenology is highly personal and interpretive venture (Seamon, 2002, Phenomenology and Environmental Design section, para.1). It is easy to see too much or too little as it is a spontaneous intuitive affair which involves feeling and thinking. Architecture involves the process of intuitive awareness and discovery. Great values of phenomenology are potential to provide a place for dialogue between designers and the social. Attention to human experience in critical analysis of the design process may ensure that primacy of spatial experience is not lost to the complexities of the development of the design.

Juhani Pallasmaa (1996) discussed on vision and senses in architecture phenomena where it engages to be inspiring and life enhancing as to how phenomenology concerns to the body. It is a direct contact with phenomenology and architecture as he discussed on how human body and architecture engage to each other. Christian Norberg-Shultz views architecture as a sensitive medium where the intention of modern architecture is a character of ‘belief’ rather than a worked-out method of purpose and affects to human phenomenological values and is not in a formal language (Jenks & Kroff, 1997, p.33). Kent C. Bloomer and Charles W. Moore talks on body, memory and architecture where they propose that into making a memorable place for the body, architecture is concern with comfort to the conscious attention and sense to what we know, believe and think or experience (Jenks & Kroff, 1997, p.71). Steven Holl’s theory dealt with phenomena and experience of place to the nature and environment.

Two direction of phenomenology in architecture were identified. On the right there is the ‘positivist’ that takes phenomenology as its objective and as to the subjective approach in design as its absolution. While the ‘deconstructivist’ and ‘post-structuralist’ relativism are questioning the phenomenology in its commonality, continuity, pattern and order are on the left (Seamon, 2002, Making Better Worlds section, para.1). Both sides are in the effort to see and understand human experience and meaning of architecture tactility in order to strive for balance between person and world, feeling and thinking, research and phenomenon as well as experience and theory.

spatial sculptures .hafiz wan pauzi .portfolio

Approach of phenomenology emphasizes that material world plays a significant role in quality of human life because human are always everywhere immersed in their worlds that which in part is physical (Seamon, 2002, Making Better Worlds section, para.3). Architecture and phenomenology examine behavior, experience, meaning in descriptive and interpretive manner as in their everydayness happenings. People and environment compose an indivisible whole and it is a significant account inside architecture. Existential of a specific individuals and group assist in the making of an environment as to the context of the site for the experience and phenomena to be in successfulness. Spatial experience is strongly related to phenomenology as it engages the sense of the place to the human awareness. Concern of architecture to construct things that allow an essence of relationship between human as part of the world is crucial in architecture spatiality.

The existential purpose of built-forms (architecture) is to make a site become a place and to uncover the meanings that are potentially presented in the given environment.

Architecture is drawn in a two dimensional view and may be further explored in a three dimensional model. Modern technologies allow architecture to be produce in great visual and experimented through in digital perspective. It is a positive move towards a new dimension of architecture but in concern of spatial experience and phenomenology, the modern method of understanding is not really a successful approach into visualizing the phenomena of the existential environment. Character of architecture includes the materiality sense and tactile is flattened in drawings. Human are static and distant to the real environment from what is produce in the digital form and the spatial experience of the finish product may be beyond reach.

Decoration in architectonic language might concern on the phenomenology and spatial experience productivity. In everyday use decorative is essential to present itself as accident rather than substance. It doesn’t claim to be central, décor are to be more distracted rather than attentive and as the secondary function that demands totality to the space comprehensiveness (De Sola-Morales, 1997, p.70). Decoration improves the spatiality of space as object and subjects to more an intense reality and may be an after image of poetry to design and art.

When designers create a phenomenon to a certain work of art, as an example a building (architecture), Christian Norberg-Shultz suggested that method that urges the ‘return to things’, as opposed to abstraction and mental construction is crucial (Jenks & Kroff, 1997, p.33). Understanding by designers to the group or users experience is critical in phenomenology of building’s spatial experience. Contrast to functional aspects where the spatial experience is put aside to more the physical aspect of consideration. Phenomenological approach into design will facilitate the spatiality consciousness of the space as to function in emotional way to the user’s experience and to environment as whole along the practical way of the building will function.

Architecture may aim for poetics of revealing to the phenomena relation between spatial arrangement, light and material provide a space as a changing unity that resolved by experience. All of this technique requires human motifs as it would just be an empty show or fashion.

Architecture is capable to direct consciousness towards reality and dream and allow humans to sense themselves of existential and where they are in the world. This is the concerns to phenomenology theory as it can be applied in architecture to create a better way of living. Art is backbone to experience of reality. This is the existential concern to experience of a certain environment or space that can be remembered because of its uniqueness and its affect to the body that have generated enough consciousness and awareness to store in the mind. The language of permanence and change in the world is understood when architecture is experienced first hand rather than through the images of static and moving pictures phenomena. From these explanations of theories, architecture language of spatial experience and phenomena may be enhanced to the point where a built environment (architecture) including their life forms is in one connection of phenomenological cycle. Phenomenological consideration of the internal and external is critical to create an experiential way to live in contact to its various acts of consciousness, thus acts for an aesthetic appreciation. Today, architecture have experience crisis to the thread of authentic experience.

05/2008

phenomenology