Ridzwan Wan Pauzi Melbourne, AUSTRALIA Kuala Lumpur, MALAYSIA +61 401 574 893 +60 3 4266 2550
wridzwan@gmail.com
port f o l i o .
2013
“Supply and demand regulate architectural form. “ - adolf loos
project. Designed by rationale is one way to consciously understand its cognitive, and leads through the process of discovery.It focuses on recognizing, sensing, and imaging possible
R E V o L u T I o N A R Y . C H I V A L R Y . S T R u G G L E . A D V E N T u R E . R E B E L L I o u S
reinterpreting cinematic experience Ernesto Guevara is an inspiration to every human being who loves freedom. This memorial itself is revolutionary. It commemor ates CHE’s life as a person, as a revolutionist. The rebellious character and aggressive appearance has been trans-
che guevara
MEMORIAL
02/2010
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 y et 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.
section
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tea 42
pavilion Learning through Making The brief for this project was to investigate and explore how spaces are cre ated 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
03/2009
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 y possibilities of change and adaptation.
residential practice
o FFICE: CMC Designworks C-8-3 Megan Avenue 1 No 189 Jalan Tun Razak 50400 Kuala Lumpur
Gallery at Heeren Street is a n insertion of contemporary 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 pa rty walls and supports the new bo x 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 gener al preservation method, from a fresh perspective thus evokes the perception of memory. The ma in 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 a nd tectonic composition in its material richness and modulated spaces of the design approach.
adaptive re-use
03/2008 precedents studies
phenomenology 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 intuitiv e 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 sensitiv e 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 f or 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 architeco n 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 man 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 assist in the making of an en vironment 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 hu man 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 unco ver 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 pro duce 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 understand ing is not really a successful approach into visualizing the phenomena of the existential environment. Character of architecture includes the materiality sense and tactile is real environment from what is produce in the digital form 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 comprehensiv eness (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 & Krof f, 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 spa tial 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 w ay 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 ha ve generated enough consciousness and awareness to store in the mind. The language of permanence and change in the world is understood when archiimages 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
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
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. o 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.
highlands
tea center 02/2010
design process
sketches to study models
structure points out of the natural vista for any audience that take pleasure in the wonderful geography of ‘Titiwangsa’ Mountain range that divide peninsular Malaysia to its east coast and the west coast. A viewing deck as a metaphori
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cal absorber invite passer invites road users to stop by. Overhanging café which interacts with the landscape o�ers a memorable setting for tourist and visitors of this place. The idea of tea when it brews and absorbs the water which then transforms its properties was inevitable. Having visitors wander around this center would give the tea company known better by its brand. Here architecture solutions are address to how it could function in an analytical way.
architectural detailing
NORTH
early penang
boutique.edu.museum 10/2009
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
7
[+3.20m]
19
[+0.60m]
[+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
section a - a’
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 experi-
alleyway elevation
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.
The funeral hall and art center is the building typology proposedfor this piece of architecture. The building is programmed according to; the functional aspect of a basic funeral event and the op erational 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 f uneral event. The main celebration hall sits on an island with the main communal area intersects to it. The concept an d idea of depar ture drives this design that laterform the whole architecture. Departure is also viewedd as a separator, where a funeral also has this notion of discontinuity. By seg gregating the spaces for art and funeral idioms, the main hall for the event of funeral is departed from the main ar t 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.
capturing scenes - micro
capturing scenes - macro
capturing scenes - silhouettes
departure
funeral centre 06/2010
area distribution
The funeral hall and art center is the building typology proposed. Programmed according to; the functional aspect of a basic funeral event and the operational basis of an art center. From the main entry drop o�, 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 interpreted as a separator, where a funeral has the notion of discontinuity.. Some of the spaces of funeral hall and art centre are inter-related to its functional requirements of a funeral event and art center operations. These spaces departs when the moment it is used while having for both typology to operate accordingly.
capital cultural
ability
ustain
s social
niche
niche factor - ability to meet demands and supply a social environment - building to play the role towards a social sustanability
capital - the underpinning and core fabric of community - a sense of civic commodity and identity
social sustainability - network of contribution and social cohesion as a step for social sustanability
social sustainability
contextual archeology
1860 1889
ild bu
ing
b ed od rc o l o sc
y
t im
ne eli
1938 1956 2011
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 v alue. 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 the locals and visitors alike.
launceston gaswork 05/2011
HERITAGE CONSERVATION
Function follows Form DOVECOTE STUDIO Snape Maltings (U.K) Haworth Tompkins
interaction user
funtion
growth
dwell
operation activities
building culture
When users become involved with the events and operational state of the building within; building culture would most likely instituted
building culture
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 loca ted. Through the mo ve ment between the external, the thresh old and the internal spaces, a change of scale in dimension, materiality and spatial quality are experience by the user. The 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.
ground
mid. level
upper. levels
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cafe
laundry bar
weft space
fashion institute
gallery
gallery
workshop
designers loft
what is public living room?
transit hub
TOTAL AREA 3455M2
cafe
BATH HOUSE
230M2
URBAN CAMPING
900M2
REASEARCH CENTER
900M2
INFO EXPO AREA
595M2
PUBLIC LIVING ROOM
830M2
SPACE PROMINENCE
info & news
archieve
digital access
BATH HOUSE
SECONDARY
URBAN CAMPING
PRIMARY
REASEARCH CENTER
STAND ALONE
INFO EXPO AREA
CORE SUPPORT
PUBLIC LIVING ROOM
CORE SPACE
CIRCULATION DIAGRAM
bathouse
DIRECT CO-EXIST CO-EXIST ADJOINING urban camping
FUNCTIONAL RELATIONSHIP EXPLANOTORY DIAGRAM OT A
STREET LEVEL
URBAN CAMPING 900M2
RELATIVE TO PUBLIC LIVING ROOM/BATH HOUSE PRIVACY / REMOTENESS
BATH HOUSE 230M2
SECONDARY SPACE
RELATIVE TO PUBLIC LIVING ROOM/URBAN CAMPING PRIVACY / EXPERIENTIAL
PLOT C
PLOT B
PRIMARY SPACE
MORRISON ST
ARGYLE ST
DAVEY ST
lounge
used mainly during summer
URBAN [rooftop ] CAMPING
meeting seminar 2nd dwg. room
roof
ce
main drawing room
roof
studio cojoined
digital lab
CORE SUPPORT
CONTINUITY FROM PUBLIC LIVING ROOM COMMUNAL / EXPERIENTIAL
steam room
dorm
dorm
dorm
hot pool
sauna
dorm
dorm
dorm
cool pool
shower / pvt. bath
reasearch studio
INFO EXPO AREA 595M2
change room
views towards cove, isolated spaces
side space long gallery
main gallery space
library admin
reading lounge communal space
PUBLIC LIVING ROOM 830M2
laundromat
STREET LEVEL / MAIN / DIRECT ACCESS COMMUNAL / INTERACTIVE
PUBLIC OPEN SPACE
D. R. R.
gen. lockers easy ac
commute spaces
kiosk
WC
TRANSIT LOUNGE
ADMIN
DAVEY ST.
bike lockers
info / expo. function area
ELIZABETH ST.
access for public and urban campers
urban
intervention
hobart
10/2011
exchange
cafe
DIRECT ACCESS
kitchen ADMIN
news mags area
lounge / rest area
ARGYLE ST.
individual entry and access point
book store
MORRISON ST.
everyday info center
MORRISON ST.
adjoining to existing info centre cess to main road
CORE SPACE
REASEARCH CENTER 900M2
STREET LEVEL / DIRECT ACCESS PRIVATE &SEMI PUBLIC
INTERNAL LANEWAYS
PL
STAND ALONE SPACE
DIRECT ACCESS
ARGYLE ST ELIZABETH ST
EE
EE
T
W A
R
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TE PA
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.
OS RN
Swin Centre
TE R RO W
P TAFE
T RE E ST BA N
E
ST RE ET
U TH BA
BR IS
K PA TR IC
BRO OKE
R AV
T
T RS
R ST
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 arca de and laneway. Here overlapping nodes of the building as
Domain UTAS Menzies
EE
ENU E
CA M
PB
EL L
ST
PuBLIC FLoo R SPACE are traced out onto the site. this allows segreration for visitors of large
Theatre Royal
RE E
T
Hospital RE
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M AR
Concert Hall KE T
AR G
ST R
EV AN AC
HU NT E
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TR EE
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demographics
UTAS Art
TMAG
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H W
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HOBART CBD CONDITIONS T EE TR
M
AC Q
U
AR IE
DE S
ST RE ET
RN LB U U G O
Elizabeth Street Pier
PA RD S
EE T
P
ST R
S
Franklin Square
Franklin Wharf
AN KL IN
ST
FR
RE
RE E
T ST
MU RR AY
ST
W AT CH OR N
RE ET
AR F
Bus M Mall all ST
S
TO N
LL IN
RI NG
CO
HA R
DA VE
Y
Mall
YL E
PL
EE T
ST
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ST R
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ST RE E
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LIV
LE
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VIL EL M
H
PO O
BE T
T
EL IZA
PARK
St David’s Park
T
AC E
SA Y
O
RO
AD
TO DS
EAT
EN
MO NTP
PD
Collegiate School NORTH
ART SPOTS
6
P
ARTS FOCUS HOT RETAILS BUS MALL
tourist
city dwellers
students
city workers
local visitors
families
GREEN AREA BATTERY SQUARE
SITE
CL
contextual analysis
Salamanca Square
GLA
HA M
UTAS Conservatorium
NE
AD
ET
ELI ER RE TR
RE
STR
R
EE T
Y BA
ST
P
Salamanca Place
ND
E
MONA FERRY
CASTRAY ESPLAN ADE
RUNNYMEDE STREET
DA VE
EE
PL
SOUTH STR EET
CA
KELLY STRE ET
T EE ST
M AN
Y
LA
ET
R
SA
R
Cinema ST
STRE
AC K
ON
RR
RRIS
MO
BA
mt. wellington
existing solid walls
A
site
C B
topography and its physical grain concentration spaces
built area plots
fragmented layes
A C B
axis and key views
development outcome
laneways
negative space
void intersection
CIRCULATION
CIRCULATION
CIRCULATION
CIRCULATION
op laz
a
south
east
corn
market above
er
tra
m
sto pt
market below
SOUTH MELBOURNE
MARKET MORE
FOUND SPACE
market and civic place
CONS TRUCT ED SPACE roof canopy / skate plaza pop up market floor
FOUND SPACE
cafe canopy / mph
skate and parking canopy pop up market floor
CONS TRUCT ED SPACE
market and civic place
axial plaza
market canopy
market above
to recuperate existing market condition with an active open space in the form of an intangible public space driving school / car park
market and civic place
market underground car park
et condition with an active open space in the form of an intangible public space
exp
tric
ome
xon
da lode
10/2012
canopy signifies programs singular building placement
canopy terrain canopy sitssits onon terrain projected from one side projected from one side
canopy canopy points points towards towards vantage vantage point point heaviness heaviness of of light light material; material; levitate levitate quality quality
plaza
FOUND to recuperate existing condition with active open space of an axial plaza SPACE
to recuperate existing market condition with an active open space in the form of an intangible public space
FOUND SPACE pedestrian pedestrian axisaxis
CONS TRUCT ED SPACE
MARKET CANOPY
CONS TRUCT ED SPACE
traffic traffic
SOUTHEAST SOUTHEAST SOUTHEAST CORNER CORNER CORNER
PROGRAM MONTAGE
tram tram NORTHEAST CORNER
cafecafe canopy canopy / mph / mph
co rner - a contour line at
8
5m
northwest
co rner tram bridge main vehicular tra ffic
co rner - b contour line at
northeast
poppop up up market market floor floor
11
5
8m
cecil cecil street street
11m
co rner residential seconda ry roundabout
co rner - d contour line at 8m co rner residential tram stop , pedestrian
southwest
market and civic place
driving driving school school / car / car park park
co rner - c southeast
skate skate andand parking parking canopy canopy
market block
co rner comme rcial and industrial main vehicular roundabout
contour line at
roofroof canopy canopy / skate / skate plaza plaza
8
market market and and parking parking market market canopy canopy
to recuperate existing market condition with an active open space in the form of an intangible public space
south elevation coventry street
coventry street elevationsouth 1:500elevation coventry street
longitudinal section
1:500
N
york street
plaza floor
1:1000 coventry street
TomDavid Architecten Unveils Rainwater Harvesting Leaf Pavilion for Casablanca, Morocco The iconic Marina Barrage, the realization of a vision twenty years ago, is set to boost Singapore's Water supply, alleviate flooding in the low-lying city areas and become a hot spot for recreational activities.
water PAVILiON hope tower
FISHERMANS BEND 6/2013
pavilion monument freeway
1
INTERSECTION
PROXIMITY
GRADIENT
1
main plant
SOLAR pavilion
SOLAR pavilion
RADIAL
waste pavilion
bus / train stop
ARTERIAL
sus. energy PAVILiON
public / private
hybrid building
social and city SUSTAINABILITY hybrid architecture
ADAPTABLE TO PROGRESS OF CHANGING ENVIRONMENT
SHERMANS BEND
energy generation and management
THE NEW CBD
water collection and management
planning, engineering, architecture, landscape, technology sustainable environment building, social, infrastructure
food supply
waste management
URBAN culture and public space
adaptable to change
transportation NORTH planning and mobility management
1 CORE 2 UNIT
1
1
HYBR
FISHERMANS BEND SUMMER JAN 15th
WINTER JUN 15th
2
2
9 AM 5 2
9 AM
5
5
5
6
2
6
12 PM
12 PM
8
1 2 3 4 5 6 7 8
1 NORTH
4 PM
CORE ROOM LIVING KITCHEN DINING CORRIDOR STORE WASTE
http:
summer sun winter sun
With cool redu
Sites acce over neig and
ventilation
garden floor
N
hot air
4 PM
GO IDE ST =
hot air
hot air
atrium tower 1
tower 2
1 2 3 4 5 6 7 8
7
Sites date neig
CORE CAFE OFFICE WC COURTYARD BIKE STORAGE RETAIL CARPARK
6 1 6
solar panel
solar farm
5 1 4
3 5 8
2 2
5
solar collecto
SOLAR STRATEGIES
HOD
DLE
GRID
E ORIENTATION = 15 & 20 deg North E ORIENTATION = 30 & 20 deg North t
urhome.gov.au/technical/fs43.html
rientation the need for auxiliary heating and duced, resulting in lower energy bills and enhouse emissions
g N-S are ideal because they receive good rthern sun with minimum potential for ing by neighbouring houses. In summer g houses provide protection from low east n.
g E-W should be wide enough to accommoacing outdoor space. Overshadowing by g houses is more likely to occur on these sites.
setbacks
z
setbacks
setbacks
x
HYBRID TOWER
x = z + roads
solar aesthetic = tower / monument
Ridzwan Wan Pauzi s3375028
parameters - section curve, stadium shape, stadium height
parameters 0 - first attempt of model
parameters 1 - change section curve shape
parameters 2 - change section curve properties
parameters 3 - change outline properties
Ridzwan Wan Pauzi s3375028
solo house
Bachelor of Architectural Design Royal Melbourne Institute of Technology , AUSTRALIA 2013
Bachelor of Environmental Design
(Architecture RAIA/CAA PART1)
University of Tasmania, AUSTRALIA 2011
Diploma in Architecture Technology Taylors College University, MALAYSIA 2007 - 2010
Architectural Association Visiting Student Program Designed Geographies, SINGAPORE 2009
Architecture nurtures the individual a disengagement with the mun dane, a hatred of the indi�erent. It yields for a better environment. With appraisal of rational thought systems; imagination and inno vation is produced. New conditions are formed, adapt and ampli
I recognize architecture from its idea; of past and the present. Archi tecture progresses as well as associated. Some are inspired, oth
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were limited. But with fewer amenities, improvisation takes place and a much clear understanding breeds. Architecture is possible with the amount of knowledge, experience and skills I had acquired. Concluding with a more mature architectural application, I found myself to realize architecture by design and by rationale. It is one way for me to consciously understand it’s cognitive, and leads upon an achievable intent. The metaphorical reason lies within the rela
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on recognizing, sensing, and imaging possible creative outlet.
theories and practice. Romanticized by art, design and environments, for the optimist; architecture is more than just that. It has ideals of
fers assurance to the situation. Through rigorous process, it acquires
Ridzwan Wan Pauzi
It gives value to the intangible; it dwells in the aesthetic and rational.
consistency
Melbourne, AUSTRALIA Kuala Lumpur, MALAYSIA +61 401 574 893 +60 3 4266 2550
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port f o l i o .
2013
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