PORTFOLIO
OF
WORKS
2010
hafiz wan pauzi
“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 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 by its timeline. Many other feature and cause to name a few, political, economy, communication, and society had played a great deal into shaping a place of progressive evolution. Design thoughts are varied. 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 a responsibility for the people who carved and create the new artificial landscapes to accommodate its functional necessity and aesthetic value to give a better way of living to this existential. Imagineering was once described by Le Corbusier to how architecture production is concerned. The ability to see possibilities that lies in every projects and working along with the restriction around it, helps to create the final project as accurate as possible to be utilized. Although the design individuals may had put in critical thoughts and possibilities that could arise after, the discontinuity of the designer to let life interact with the architecture itself is the most crucial moment to how it would shape the environment. Having to explore architecture for the past few years, the matter that interest me the most in architecture are of spatial adherence, tectonic and composition as well as the interaction in between user and its timely environment had played a great deal of influence in my personal design venture. Process and result in design, had as well varied to each production because different approaches and apprehensions had been thought out to its suitability of the individual projects. Working in actual local practices has as well been an eye opener to the contrasting operations occurs in school and real world state that are open ended to its discussion.
design gesture
ABSTRACT
In my naïve perspective, Malaysia as a young country had grown progressively to how it had become today. Critical developments of the capital city only expanded after its independence and now, it is probably in hazard of untamed growth. As a minor individual living in this country, my endeavor in this field of study and work is to bea a part and assist the insight of this rejuvenation where I am able to, and preserve its tranquility and realationships for future generations. 10/2010
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 a culture influence the design of a building because of the landscape, nature and its typology. Some culture resides on the hill, flat land and some near a water source. And different culture has different construction method to resist the land. The weather and climate of culture influence the shape and form of the building. Tropic geography and rain region usually have pitch roof and shade to resist rain water and heat from the sun. Different region have different source of material and its production process. Skilled craftsman from different culture gives different style of building decoration and finishes. Diverse customs and tradition of a culture gives a building design to be diverse in its plan and layout. Different spaces have different use in customs for a specific culture. Chinese courthouse usually have courtyard for special events or festivals. Certain culture lives on building with multipurpose use. A two storey shop house for example perform as commercial area on the ground floor and residential above. Ornaments, building characteristic, colors and style are usually a continuity of their tradition which has its own symbolization, myth and belief. The culture organization also influences the function for a specific building type. Palace for some culture has unique design which is apparently different in its design.
Different culture has different religion, history and ancestral background. Certain religious buildings of a culture incorporate the traditional design in its form, plan, space and shape. In china, a mosque looks similar to a temple and different from mosque in Middle East and still has the same use. Just the design is different because of their culture and architecture history. The ancestral art, crafts, building technique, and education influence the building design because of tradition and routine continuity. This can be seen on colors and form style use. Different culture has different ornaments and decoration which relates to their history. In my perspective, culture is as well affected to development and growth of a certain context. Economy and political adherence may cause the shape of its city. Building design influenced by a certain culture creates a better movement towards future building design or its progressive culture lifestyle. A certain culture influence many aspects of building design generally because of the region, tradition and customs as well as religion. It tells a story of its past and history and gives a meaning and significant for a certain building. Visit to Hanoi, Vietnam was an aboservation study trip to experiance cultural and architecture influences of french colonization and its current independence progress. Like most of abstract topography cities, a mixture of story carved behind these buildings and its people. 07/2008
contextual archeology
PERSPECTIVE
.hafiz wan pauzi .portfolio .2010
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 NorbergShultz 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
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
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 box lounge
exterior and interior perspective
plans and sectional cuts
Modernism, Formalist, Regionalism and Neo-Tropicality style in design. The language of form, space and order is emphasizes on horizontality through over sailing eaves and prismatic forms and the careful use on material texture, color, and contrast. 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 space, form and nature combine as one to reflect on history of another time and another world.
night and day perspective, contrasting its existential
additions and existing
the new architecture relates with the existing
precedents studies
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 within 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
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 : Retrieved 12th February 2008 http://www.architectureweek.com/2001/1114/design_1-1. html : Retrieved 12th February 2008
.hafiz wan pauzi .portfolio .2010
Revolutionary is the language of CHE’s life, the charismatic idealist persona and his heroic death had given him a new breath. Today people resounds his live in fighting against a common cause, for a new beginning and for hope. The memorial is design to commemorate 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. Having a path along the memorial with different levels gives the phenomena of struggle and adventure. The event of grieve and enlightenment by a common caused are experienced throughout the space in distance and near. Ernesto Guevara is an inspiration to every human being who loves freedom. This memorial itself is revolutionary. Points out to humanity a new path and think about the future, to transform reality, of self and to serve for the unknown future, to be free from reality.
Born 14th June 1928, Rosario, Argentina. Death 9 October 1967 La Higuera, Bolivia (executed). Nicknamed as El Fuser (the furious serna) due to his aggressive style of playing rugby in college. there is the temptation to dismiss Guevara as a frenetic dreamer consumed by the movement and romance of revolutionary action. 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. ‘The beginning shall not be easy, it will be extremely difficult‘
REVOLUTIONARY.CHIVALRY.STRUGGLE.ADVENTURE.REBELLIOUS
02/2010
a’
a
che guevara
MEMORIAL
section a -a’
plan
‘HASTA LA VICTORIA SIEMPRE’ forever onwards towards victory
artist impression
elevations
.hafiz wan pauzi .portfolio .2010
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 travelled.
streetscape
10/2009
early education
BOUTIQUE MUSEUM
street facade
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
8
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
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’
ground floor plan
first floor plan
FIRST FLOOR PLAN
north elevation
east elevation
.hafiz wan pauzi .portfolio .2010
NORTH
site context
interior spaces
presentation model
section a - a’
alleyway elevation
.hafiz wan pauzi .portfolio .2010
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.
absorber*->absorbing->absorbtion->scatter=->expansion
6.46 128 6.38 128
h Ra
nc e
Berincang
4.85 128
LIPIS
Guard House
5.50 127
5.86 127
7.91 127
2.15 127 2.19 127
House
0.07 127
Water Tank 5 7.63 1277.4 127 7.44 127 8.83 127 6.85 8.59 127 127
4.88 127
Link Fence
3.34 127
0.74 127
3.53 127
RTL=1277.97 2.03 127 0.64 127
0.31 127
1.09 127
5.93 127
2.47 127 2.95 127
3.24 127
1.81 127
Tapah
3.51 128 3.85 128 3.81 128 Bus
2.54 128
Stop
2.72 128
2.79 128
1280 m 6.49 127
3
Ringlet
2.89 128
KEY PLAN
not to scale
LOCATION PLAN
not to scale
1.30 128 2.08 128
TBM PH 144 1 : Nail On Top Retaining Wall RL 1281.00m - Assumed
1
2.19 128
5.33 127
Sungai Batu Pipeh
Kg. Pulai
PERAK
3.10 128
1.7 Ta 128 rR oa d
1.71 128
0.93 128
1.10 128
1270m
0.72 128
0.39 128
G ua rd
6.03 126
7.08 125
8.41 7.62 125 125
Link
Tar
e Fenc
5.18 125
9
8.0 Road 125 Hose 9.10 Reel 125
7.73 Guard 125 7.86 House 125 5.11 125 .07 125
9.73 125 9.57 125
1260 m 8.56 125 8.73 125 8
8.4 125 5.21 125
9.12 125
9.49 125
9.19 8.85 125 6 125 9.1 125 Tank
RTL=1266.83 Factory
5.25 125
5.54 125
Cameron Bharat Tea Factory
9.08 127
7.56 4 127 1280.3
1.75 126
9.37 125
Oil 9.24 125
9.77 127 0.26 128
4.87 126
0.02 126 9.93 125
Shrine
7.46 125
7.42 125
3.60 2.60 126 126 s Stair 4 0.731260.9 126
1.33 126
9.65 127
6.30 126
8.38 127
2.18 126 1.82 126
1.32 126 1.24 126
0.68 126
9.60 125
9.59 125
9.42 127
8.52 127 9.00 127 8.80 127 8.37 127
2.69 126
0.50m 8.34 8.47127 127 8.21 127
Ta r Ro ad
0.30m
1.76 126
Hose Reel 7.43 125
0.73 126 0.77 126
il Ra
0.36 126 0.38 126
1.50 126
06/2009
442
13656
94 8834
4.13 128 3.26 128
Stai rs
6.41 127
5.05 128
203
Kg. Bt. Bentung
3.81 128
4.73 128 4.86 128
4.78 128
8 4.64 2.701284.2 128 128 0 2.90 2.72 1282.7 128 128 Water 0.82 128 Tank 2.79 2.72 128 128 7.65 127 8.28 127 Shrine
441
Kg. K. Medang
4.00 128
Proposed Site
38
8337
i
7.56 128
Kg. Sentang
Ub
Bungalow
Kg. Lembu
4.44 128
5.02 128 4.94 128
(Sharlimar Cottage)
CAMERON HIGHLANDS Tanah Rata Ringlet
4.61 128 5.58 128
gai Sun
5.78 128 3 5.1 128
Tanah Rata
Lin k Fe
Kg. Raja Kg. K. Terta
5.95 128 5.29 128
.design development
N
Proposed Site
5.21 128
ta
6.16 128 5.47 128
2.71 128
N
KELANTAN Tana
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.
7.78 127 7.55 Co 127 1 ncr 8.3 ete 127 Dra
5.21 127
in
8.58 127
5.18 125
5.18 127
5.07 127 5.45 127 4.55 127
4.88 126
8 6.23 1274.8 127 5.43 126
4.41 127
4.15 127 4.93 127 6.08 126
3.51 127
3.64 127
6.51 126
2.96 127
3.81 127
6.69 126
Ta rR 7.08 126
3.37 127
7.57 126
DA
RY
TB SE
absorbtion
LEGEND: Tar Road
Fire Hydrant
Concrete Drain
Telekom Post
Guardrail
Gate
TEA CENTRE
Sump
Electric Post
RTL
Roof Top Level
IL
Drain Inv. Level
TBM
Signboard
stri an
Pa
d 2.28 127
2.77 127
th
2.89 127
3.09 127
2.64 127 Co nc re
6.12 126
7.96 126 Ta
E K LIN
r Ro ad
3.94 127 3.57 127
9.92 126
5.49 126
7.15 126
Fenceline
S
LIN
AC
Pe de
7.87 126
E
oa
2.94 127
3.33 127
Stai rs
UN BO
3.18 127
1.39 127
9.13 126
te
1.62 127 Dr ain
des tria n Pat
9.76 126
9.22 126
Voi d
Pe
8.56 126
9.96 126
1.34 127
2.42 127
h
0.95 127
0.81 127 S 2.18 127 1.81 127 1.08 127
1.67 127
0.73 127
Ringlet
1.88 127 1.53 127
1.30 127
7.66 126
Reference Mark / Temp. Bench Mark
NOTA : 1. All measurements shown are in meter 2. Planimetric Control are based on True Bearing with Assumed Co-ordinates 3. Vertical Control based on TBM PH 144/1 (RL:1281.00mm) - Assumed Level 4. Contours shown are existing surface contours. Details shown are the existing Featurg during survey and to be comfirmed on site prior to any construction work
site plan
ground floor plan
The location for the new tea centre attracts passer-by’s; mainly from the northwest. A forty meter cantilever bridge can be seen from moderate distant inside a vehicle travelling down towards the city centre. Traffic heading up will meet the entrance elevation of the centre after passing two sharp turnings from the southeast. Having the main space for the centre located below main street level creates isolation into experiencing the site without interference from the road. Nature is absorb while enjoying a cup of ‘Bharat’ tea.
.conceptual productions
lower ground floor plan
.hafiz wan pauzi .portfolio .2010
section a - a’
section b - b’
construction detail section and physical model
south east elevation
street front elevation
Due to the logistic and construction constraints, the IBS system is adopted on overall design decisions. In general, IBS System is a construction technology which divided to Post and Beam, Planar, Volumetric, and other individual components and small elements. Mostly are prefabricated parts and are at used in diversity and design orientated program thus rejects the inflexibility of designing with IBS system.
.hafiz wan pauzi .portfolio .2010
Visitors are drawn towards the aroma lingering off the creepers along the wide inviting pathway. As the pathway narrows, converges and swirls, visitors are brought closer to the aromas of ‘masala’ spice plants. Having savored the exquisite flavors from within the enclosed pavilion path, visitors are brought out to the open, suddenly exposed once again. Yet they continue to tread the path leading them to the ‘masala’ surprise. The bare soil flooring and natural wooded seating of the pavilion tea setting, resembles the rich earthy flavors of the ground. ‘Masala chai’ spices. Seated amongst nature savoring ‘masala chai’, every sip reveals yet another essence that lingers on. The pavilion is journey specific, rather than form specific. Its form reflecting the discovery passage the visitor gets to experience. Just like Masala tea, the wooded pavilion stands eternally, its wood aging gracefully with time, exposure to vegetation and climatic variances. The memory of ‘masala’ essence lingers on.
03/2009
lingering
conceptual sketches
path
destination
destination
tea for two
PAVILION
journey plan
model montage
physical models
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 architectural proposition.
front elevation
rear elevation
section a - a’
.hafiz wan pauzi .portfolio .2010
This residential is designed for old couple that wants a retiremen t home of a unique kind. The proposal was to have ramps that connect each level to ease walking and a huge open area for gathering purpose. The client also mention about his car collections and her interest in gardening. The final design was an elongated building with a massive wall façade. A basement car park sits or the site with a garden deck above it. Elements of plane and volume intersect each other to its relationship with the local context. In working environment, the process of design and built are orientated to cost, client and contextual concerns of interest between the designer and region. Each aspects of architecture from its early production up to the finished building will endure many possibilities of change and adaptation to its current.
OFFICE: CMC Designworks C-8-3 Megan Avenue 1 No 189 Jalan Tun Razak 50400 Kuala Lumpur
09/2010 site plan
office practice
RESIDENTIAL
plans
.hafiz wan pauzi .portfolio .2010
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. In 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. The notion of time also plays an important role to gain the departure concept. When a certain function is being held here, it create a feeling of getting away from the real moment thus achieving a spiritual and confined experience to the events of a funeral or art celebration. 06/2010
departure
FUNERAL CENTRE
plans
programe
section
.hafiz wan pauzi .portfolio .2010
gateway at the drop off deck
montage
interior of the hall
presentation model
.hafiz wan pauzi .portfolio .2010
construction
interiors
conceptual sketch
.hafiz wan pauzi .portfolio .2010
Bio
Wan Mohammad Hafiz Ridzwan bin Wan Pauzi 28, Jalan Setiawangsa 2A, Taman Setiawangsa, 54200 Kuala Lumpur, MALAYSIA +60342579039 / +60193581803 hafizpauzi@gmail.com
Status
Working Freelance, recently completed Diploma in Architectural Technology from Taylor University College, Malaysia (2010)
Practical Experience
Ranhill Contractors (2005 May – Jan 2006) NEUFORMATION ARCHITECT (2006 Jun – 2007 July) CMC Designworks (2010 May – Sep)
Interest and hobby
Soccer, rollerblading, golf Painting, Travel, Photography
Architecture interest
spatial sculpture, design gesture, Build ability, contextual archeology
hafiz wan pauzi
ABOUT
Education
1995 to 1999 Secondary school Sekolah Menengah Al-Amin, Gombak (SPM/O-Levels) 2000 to 2001 Kolej Matrikulasi Pulau Pinang (Pure Science Matriculation - CERTIFICATE) 2002 to 2003 University of Tasmania (Bachelor Environmental Design - INCOMPLETE) 2007 to 2010 Taylors University College (Diploma in Architecture Technology) *Certificates in AutoCAD and 3D softwares
Highlights
- top ten final UAC architecture competition - aa visiting student, singapore (Designed Geographies)
.hafiz wan pauzi .portfolio .2010
i tried my best i thought it was right to what I did was not the way if only i knew cause really i cud do better hypnotized every time you beside me in the present i wasn’t surprise thought that time had pause on that moment u gave me expectation and I am naïve inexperienced to this place im immature to you i gave back hope and whispered in your ears As I do believed you that you would complete me entirely I’m there for you And its time like this I miss you the most
agagadgadsga
art joy the imagination
ARCHIEVE
03/2008
Scuptures, Sketches of spatial studies, paintings for design and art studios, calligraphy for design communication
.hafiz wan pauzi .portfolio .2010