PORTFOLIO - Year 2014

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

T

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

ET

P

M AR

Concert Hall KE T

AR G

ST R

EV AN AC

HU NT E

P

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EE T

SS

TR EE

T

E

ST

RE ET

demographics

UTAS Art

TMAG

ET

RE E

T

H W

P

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

P

ST R

EE

ST RE E

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ER

ST

LIV

LE

L

T

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

wridzwan@gmail.com

port f o l i o .

2013

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