FACULTY OF ENGINEERING, TECHNOLOGY AND BUILT ENVIRONMENT
SCHOOL OF BUILT ENVIRONMENT AR 415 DESIGN STUDIO 4 YEAR 2 SEMESTER 2 ASSIGNMENT 4:
PORTFOLIO SUBMISSION: 22 OCTOBER 2021
PREPARED BY:
1001851356 SIDNEY LUKE CHIN WEN JIAN
PREPARED FOR:
MR. AHMAD FAHMI ZAINAZLAN MR. CHAN CHIEW CHUEN MR. HOCK HUAT LIM MS. TAN SHIN BIAN MR NG ZHIA ZHING DR. ALLEN LAU KHIN KIET
Table of contents Introduction ------------------------------------------------------------------------------- 4 ASSIGNMENT 1 – ARTISTIC MANIFESTO 1A – Manifesto ---------------------------------------------------------------- 7 1B – Kajang Site Analysis ---------------------------------------------------- 17 ASSIGNMENT 2 – MASTERPLANNING & TECTONIC PAVILION 2A – Langat Basin Masterplan ---------------------------------------------- 27
2B – Tectonic Pavilion -------------------------------------------------------- 32 ASSIGNMENT 3 – ART GALLERY 3A – Interim Progress Culmination ----------------------------------------- 43 3B – Final articulation -------------------------------------------------------- 51 Conclusion -------------------------------------------------------------------------------- 80
Name
Sidney Luke Chin Wen Jian
Date Of Birth Hometown Hobbies
15TH March 2000 Kota Kinabalu, Sabah, Malaysia All sports, playing music, gaming, eating
Education
• Chung Hwa, Bandar Seri Begawan, Brunei • Tshung Tsin, Sabah, Malaysia
With the strictness of the paternal Malaysian and grace of the maternal Canadian, there is at times, I struggle with identity to build lasting relations with people. Each character of my identity, is a story to tell that holds value and meaning that I inculcate in my architecture. Over this past semester of 2021-07 Design Studio 4, identity was a crucial aspect that defined each student’s journey towards their individual final design. A heartfelt gratitude to all the lecturers for guidance in lectures or comments, but especially to Sir Huat Lim for challenging me to see outside the box of structured Malaysian architecture or rigid design briefs to understand that architecture is about ideas, bridging the history, present and future to the built or unbuilt environment. By these hardships, are our individuality and identity supplemented. Likewise in architecture, the genius loci and citizens of a vicinity are the best version’s of ourselves, and learning to champion a place’s identity in architecture we design is crucial to great architecture. 4
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PROJECT 1A
TECTONIC IDENTITY MANIFESTO
PROJECT 1B
KAJANG SITE ANALYSIS
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TECTONIC IDENTITY MANIFESTO ESSAY PROJECT 1A (i)
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1.0 Introduction and Abstract Kajang is one of the most popular cities in Malaysia that is rich in history and important site context for architecture students to relate to city planning and building planning. However, contrary to the common understanding that Kajang once was a plentiful resource for tin mining, rubber tapping and oil, it has unfortunately lost its identity by progressively become a residentialcity suburb that is mostly known for serving good food, namely satay. This present time of satay glorification and modernization of people and place has stranded Kajang’s progress.
MANIFESTO
The rationale of this manifesto, in regards to the site analysis and research conducted at Kajang city; is to display our knowledge in conveying the knowledge learnt towards a potential art gallery that may enliven and rejuvenate the site for the better. This following manifesto contains questions that lead me towards my conclusion, that of which was the choosing of an art type that compliments my site and a personal redefinition of an art gallery that may help lead me to my final proposed art gallery design, that being bronze sculpting. 8
MANIFESTO
2.0 Art Gallery, Aim and Target? Art, a word as broad as daylight and as subjective as far as the human mind can comprehend. An art gallery simply put, in a ‘lame man’s’ terminology would be “that” building filled with people’s art pieces who can draw well. However, more often than not, the experience throughout an art gallery or museum is not bounded by four walls, but by man’s imagination which is what brings the story and sentiment to life. This tangible building of mere ‘scribbles’ was arguably first historically introduced in 1734, now called the Capitoline -
Museum, located in Rome, but that’s another topic for another time. Ever since the formation of collections of art under one roof, nations of people worldwide were inspired to do the same for example the Louvre Gallery 1793 in France, ‘White Cube’ Museums 1895 in the United States and the Alte Pinakothek 1836 in Munich. Originally, art galleries such as the Brooklyn Museum (USA, 1905), were intended only for the wealthy, powerful and highly ranked officials. Their aim in the past compared to the 21st century have dramatically changed -
however, to cater to the general public. In today’s day and age, the aim and target are crucial in achieving a sustainable art gallery. Realistically, the aim is to provide testimonial exhibits for people to enjoy, manifesting a story along with it, while the target is sales and recognition of the artist or 5 gallery. Hence in my opinion, it can be inferred that when a person or gallery chases the target of success more than the passion of creating art, issues will arise, which leads me to my next point of artistic identity. 9
3.0 Importance of Artistic Identity? Artistic identity is arguably the most vital factor that leads to success. Legendary artists such as Leonardo Da Vinci, Pablo Picasso or even Zaha Hadid all had their own artistic identity and individuality that made them iconic in their own fields of study. Identity by itself, is paramount to just about everything there is in the world, from sales and marketing to patentability and infringement, to decision making and even forging important public relations and relationships. Artistic identity is synonymous. The importance of
MANIFESTO
artistic identity is so important due to its ability to depict a testimony, as it manifests a lot of different aspect of a person. When artists are in the process of making art, shards of his/her’s identity are manifested into their work, often revealing an inspirational story that is authentic to the artist. When Steve Jobs was young, he had a problem with dyslexia and dropped out of school early in life. However, he pursued his lifelong passion of electronics and life story as his artistic identity to create the infamous keyboard-less Apple iPhone, loved by many. 10
4.0 Issues faced by young contemporary artists. As artistic identity of artists is of the highest importance and second to none, understanding the hindrances of artistic identity and individuality will reveal the root of problems and issues faced by young contemporary artists in this 21st century. From my current level of knowledge and experience in life, I have concluded that a person’s culture is the greatest factor of impeding the culmination of an artistic sense of identity. Children and the younger generations of the 21st century have been raised in a culture of electronic reliance more than any era of history. More often
than not, the upbringing of children with electronic gadgets have robbed the younger generation of their childhood, their wits, and their artistic sense. I believe this is why young contemporary artists struggle to come up with fresh ideas and contentment about life, because a majority of their time was spent communicating digitally. Dr. Allen Faber even states: “ Cultural institutions are integral to the creation of identity.” Hence, a good social culture and sufficient life experiences, is cornerstone to the building blocks of individuality and artistic identity.
MANIFESTO
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4.0 Issues faced by young contemporary artists. Another stumbling-block to the creation of artistic identity is persistence and perseverance. From personal experience, the first few weeks or months of architectural conceptualization could be a breeze due to initial motivation and inspiration. However, as time passes, motivation is bound to burn off. Countless people worldwide have the passion for art, but not the perseverance to go far due to the nature of what makes successful art; that being “Practice, practice and more practice.” (Carnegie Hall, n.d.) According to a survey by Byrne (2016), she states only 10% of art school graduates actually make a living from their artwork. After 3-4 years of art school no matter if its architecture, graphic design or arts, practice and motivation hand in hand is significant to a success career.
In other retrospect’s, the issues faced by young contemporary artists is inconsistent income. The reality of a young, common artist (especially in Malaysia) is that there is often no fine line between drawing for fun and drawing for a livelihood, and hence a common artist is often paid little to nothing for their efforts. To be successful as an artist is to have a reputation of exquisite craft that is top-tier. But the prospect of a ‘exquisite art’ is a highly subjective. This is the reason why having a distinct artistic identity/individuality sets you apart from the other 7.9billion people worldwide. For example, what set deconstructists Zaha Hadid and Daniel Libeskind’s apart was having the identity of curved and fragmented Deconstructivism respectively. Both candidates of ‘exquisite’ art made a livelihood from the passion of making art.
MANIFESTO
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5.0 Ways to address through architectural conceptualisation
MANIFESTO
Firstly, strong cultural and family ties bonded with a good relationship with the immediate environment is foundation to creating artistic identity that helps tackle the issues leading up to artistic identity. With a good culture and habits starting from young, a person’s mental and physical capabilities would be prepared to push the limits of the artistic spectacle. When tackling these issues through architectural conceptualization, narrative storytelling to me is pivotal in setting a good first impression with a lasting reputation. As Tyrion Lannister from Game of Thrones explains, “…it is not armies, nor flags, nor gold that unites people, but stories…” Stories have the power of uniting people because it relates to a group of people when faced by a certain challenge in time or space. In architectural conceptualization, young contemporary artists need to use their inspiration from life to their advantage by passionately communicating a story that unites the people viewing the art piece. When people look upon the art, it spurs the viewer’s imagination to run wild and to leave with a rejuvenated and positive attitude and mindset. 13
5.0 Ways to address through architectural conceptualisation
MANIFESTO
In addition to problem solving through architectural conceptualization, a strong identity is critical, to provide relatability among viewers that entails unity. For example, historically in 1865 (New York), the French politicians gifted the USA the Statue of Liberty representing liberty and unity among the two great nations of the 19th century. Similarly, 10 good art is able to relate nations of people regardless of race, gender or religion into a synergy of unity. Furthermore, architectural conceptualization has a lot to do wayfinding through accessible paths of travel and infographics. In some occasions, the delivery of information via signage and effective mapping is just as important as the artwork itself. This character of architectural conceptualization specifically tackles the logical thought process of the artist, through communicating problem solving solutions that ensure a viewer arrives at his/her art. The concept of making things accessible to the public requires the sort of perseverance that develops the artists soft skills and communication skills that will be valuable in the long run.
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6.0 Bronze sculpting to describe Kajang
MANIFESTO
First impressions are no doubt crucial in every relationship, be it with people, things or places. Much art these days actually in tend to “wow” viewers, but the art that depicts first impressions in terms of Kajang, is sculpting. Sculpting’s ability to depict art 3 dimensionally is unmatched as it not only depicts a strong first impression, but it frames a portrayed story in a frameless dimension. The art of sculpting compliments what has been lost in Kajang, that is appreciation and sentimentality towards the identity and history of Kajang. According to Kajang Heritage Walk (KHW), the formation and establishment of Kajang began with the cultivation of tin mining and rubber back in the 1850s. However, the decades of hard work and effort to set up a functional town and society, has slowly diminished due to economic and social factors. Subjectively, the process of Kajang’s formation (decades of development past and to come) and the process of sculpting is synonymous, both requiring time and tender-loving care to ensure forward compatibility. 15
6.0 Bronze sculpting to describe Kajang
MANIFESTO
Furthermore, to reiterate, Kajang used to sustain through a good production of tin and copper mining for Malaysia. Both mined metals combine to produce a valuable product of bronze. And hence to be specific on art that compliments Kajang, is bronze sculpting. Bronze sculpting has not been popularized in Malaysia, but bronze sculptures of the past such as Richard the Lionheart by Carlo Marochetti or The Thinker by Auguste Rodin have made its mark in history. The interesting character of bronze is its ability to change color. Over the course of about 30 years, a patina forms over the sculpture, turning its original brownish red appearance to a dullish-green color.
My viewpoint is, Kajang needs a landmark to be proud of that unites the people, what better way to marks its progressive unity through colour changes of bronze sculpting itself. 16
IDENTITY MANIFESTO COLLAGE PROJECT 1A (ii)
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7.0 Conceptual collage – (combined)
MANIFESTO
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8.0 Timeline creation
MANIFESTO
Identity found in the Loops of history
Procession of overcoming hardships
Stabilised contentment
Bronze being a symbol of Kajang relevance
1500s-1870s
1870-1990
1990-Present
Past-present-Future
Artistic Identity
History of tin mining
Financial
Pollution
Future
Labyrinth
River
Resilience
Ownership
Program
Action w/ cmnty.
Flood mitigation
LAGUNA GALLERY 2021
• • • • • • • • • • •
Emergency center Time x Significance Management Café, kopitiam Excursions Library Bronze significance Prolong the exp. Awareness Landmark Interactive facade
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KAJANG SITE ANALYSIS PROJECT 1B
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24
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PROJECT 2A
LANGAT BASIN MASTERPLANNING
PROJECT 2B
TECTONIC PAVILION
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LANGAT BASIN MASTERPLANNING PROJECT 2A
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CONCEPT COLLAGE
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29
30
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TECTONIC PAVILION PROJECT 2B
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INTRODUCTION According to data from national institutions, CRED (Centre for Research on the Epidemiology of Disasters) and UNISDR (UN Office for Disaster Risk Reduction), it has been reported circa 2016 that disasters from climatic changes have soared. Even in the Malaysian region, we have experienced remnants of climatic changes that manifest no remorse. SO? Architects has proposed an alternative that may save countless Malaysian lives, especially in the studied region spanning the Langat river basin such as Kajang, Banting and Dengkil; where floods no longer are surprises. It is vital and necessary that the government show interest in aiding the needy in times of emergency, however I believe architects, engineers and all other construction personnel have a responsibility to produce flooding mitigation and interventions for the public. One way or another, we must help each other stay safe, and those being aided be grateful for the contributions.
River analysis and site analysis
Problem and solution of 4 sites
General proposed interventions
Site perception collages
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As a result, SO? Architects have emerged in 2019 with their interpretation of flood intervention. The design approach proposed by SO? Architects was to provide a functional means to survive on water until catastrophe normalizes. Hence, the solution was by designed the Fold or Float Emergency Shelter, that when multiplied will be come a “floating city”.
Perspective of Emergency shelter
Prototype of design
“Floating city” concept over time
Front elevation
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TECTONIC PAVILION
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PHYSICAL MODEL The following 1:40 scale model is a representation of the Fold or Float shelter by So? Architects. The representations are as stated: To construct, I first glued and taped 2 styrofoam Superstructure: blocks together as the foundation/substructure. I. Hatched model board represents the corrugated zinc Then, I cut the balsa wood sticks to correct roof sheeting lengths as per the real pavilion and used super glue to stick them together accordingly and II. The balsa sticks represent the galvanized steel framing rigidly. Substructure: Next, I cut model board of proper lengths and taped them to the framing of the building. I. The styrofoam represents the concrete pontoons
The main frame and foundation
Beams to deal with lateral load
Zinc sheet as protective membrane
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STRUCTURE ANALYSIS
Diagram showing load transfer
Diagram showing weathering load transfer
From the diagrams, it shows the transfer of loading when loads are applied. The area of investigation is to conduct a loading test to estimate the breaking point of the structure, as well as buoyancy test to investigate the capability to float during a flood. 37
DIGITAL MODEL
WINTER
SUNSET
MORNING
NIGHT
38 NOON
Video link https://youtu.be/OGb3N6j1AVQ
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CONCLUSION
40x70mm GALVANISED STEEL ANGLED COLUMNS
In conclusion, this case study has been useful in identifying the flooding mitigation tactics and intervention methods in structural sense, and to respond to the flooding culture of Malaysia and in situations worldwide. I am pleased to have learnt on the structural side of construction and how to increase overall buoyancy and structural capabilities that was definitely vital for Laguna Gallery.
40x150mm GALVANISED STEEL ANGLED COLUMNS Exploded Axonometric of Structure
Moment before break
Moments after break
Break towards the left side
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PROJECT 3A
INTERIM PROGRESS CULMINATIONS
PROJECT 3B
FINAL ARTICULATION
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INTERIM PROGRESS CULMINATIONS PROJECT 3A
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MANIFESTO
MIND MAPPING Bronze alchemy
Time and imptance
Combat diseases
Emegcy. center History of tin mining
Future
Prolong exp.
Managem ent
Manifesto progress
Pollutionrain.heat. smoke. noise
Artistic Identity
Labyrinth
River
Resilience
Flood mitigation
Ownership Financial
Awareness Interaction w/ comnty.
Kopitiam
Excursions
Program
Facade
Landmark
Manifesto of Kajang and bronze significance
Library
Chill place
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CASE STUDIES
IDEAS
Jewish Museum, Berlin / Daniel Libeskind i.Ominous, realistic ii.Personal-level experience through levels, linearity, & misdirection iii.Intellectual interpretations of spaces
Holocaust Museum, L.A. / Belzberg Archi. i.Hopeful, informative ii.Experience through linearity, information and intentional design inconsiderations iii. Architecture + personal interpretation
Lightwells and skylights look like a tin mining scene, where it increases the hapticity of people to interact with the building. 45
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SITE VISION
PROGRAMMING Perc
Area m2
Visual
Foyer, canteen
20%
200
Guided visual of surrounding
Library, bookstore, souvenir shop
10%
100
Video of river landscape
Gallery, Gallery workshop, BoH
40%
400
Enclosed, focused on art with limited view to site
Theatre, movie room
20%
200
View of river landscape
Toilets
5%
50
View of walls
Office, storage
5%
50
View of floor belows
Spaces
Stairs
Lighting
-
-
-
OWNERSHIP
INTERACTIVE VICINITY 9000
Space
42000
5000
6500
2500
No railings Contrast of light Light wells
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Different staircases illustrate a different process of bronze sculpting Spark curiosity of the unknown and unseen
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Central orifice in building acts as central-core lighting for building The orifice can act as gathering area
Walls, columns, floors
-
Daylighting and artificial lighting change mood on irregular columsns
Facade
-
SCOPE
ELEVATED
Interactive, sentimental, iridescent, practical, inclusive
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SITE VISION
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SPATIAL VISION
I-
BRIDG E
REJUVENATED PARK
I
II
View from bridge
BRIDG E
II-
IV LANGAT RIVER
III
SATAY GALLERY
BRIDGE
SATAY CANTEEN
II
I
View from pedestrian pathway
III-
III
View from road
Tree
-5m high -2.5m coverage
IVIV III
IV
View from boundary
II I
Theater, library, discussion rooms Toilets, storage room, M&E Bookstore, souvenir shop, gallery Central foyer, kopitiam space, satay selling etc. Gallery, back-of-house,
Morning sun
Evening sun
First floor
First floor gallery Second floor gallery
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TRANFORMATIVE SKETCHES
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FINAL ARTICULATIONS PROJECT 3B
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PRESENTATION BOARDS
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53
54
55
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DETAILING OF BOARDS
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THE VICINITY 1.
Beautify pathway with benches, trees and pathway that facilitate movement to both ends of highway
2.
Make settlement with MRT to make new exit option, from bridge to land below. Aids wayfinding and tourism.
3.
Landscaping for facilitating movement towards site and awareness of river
4.
Create new options for residents and tourists to enter site from opposite bank
5.
Remove fences or gates and break down abandoned building
6.
Add interactive bridge, for future potential of fishing zone
7.
Provide some landscaping to form a small park that invites residents from the vicinity, and an aesthetic view from building
8.
Proposal for the abandoned park rejuvenation process, repair/upgrade bridges to (8), may be part of a whole city planning project 58
8
5 7
6 3 4
2
1 Boundary line New pathways Fence line Proposed walkway Proposed bridge-way
MOOD BOARD
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8.0 Timeline creation
MANIFESTO
Identity found in the Loops of history
Procession of overcoming hardships
Stabilised contentment
Bronze being a symbol of Kajang relevance
1500s-1870s
1870-1990
1990-Present
Past-present-Future
Artistic Identity
History of tin mining
Financial
Pollution
Future
Labyrinth
River
Resilience
Ownership
Program
Action w/ cmnty.
Flood mitigation
LAGUNA GALLERY 2021
• • • • • • • • • • •
Emergency center Time x Significance Management Café, kopitiam Excursions Library Bronze significance Prolong the exp. Awareness Landmark Interactive facade
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Aim
Internal
External
Vision
DESIGN APPROACH
a.
Bronze art to tackle topophilia of tin-mining from the past, satay selling-city to cater to the genius loci of the present, and potential green city to counter climate changes of the future
a. Past: Sentiment and recognition of the past achievements Present: Not to be caught up in contentment of temporary success, Future: Forward thinking towards a bright resilient future against climate change
b.
A sense of arrival from afar.
c.
But upon reaching, no specific viewpoint is final. Every instantaneous visual is distinct but not final.
b. Landscaping pathway towards the site emphasizing river and intro to gallery c. Building with no defined elevation. That comes with an iridescent, kinetic façade.
d.
Welcoming site on the macro level
e.
Randomized sequence to view art, spurring on user’s curiosity and personal interpretation.
e. Multiple entrances that bring users to different art and one designated exit
f.
Slow down the user experience to create impact, awareness and sensation
f. A gallery of labyrinth typology
g.
A 热闹center with resilient typology, catering to needs at different times
h.
Ownership from the people of Kajang
d. Sidewalks, cycling path, engaging both sides of the river, rejuvenate park
g. Transformative spaces that allow scall-scale to large-scale gatherings h. “Please touch my façade” attitude, gallery programs, groundbreaking ceremonies, satay shows, sculpting competitions, festivals 61
OVERALL SCHEME
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BRONZE SCULPTING PROCESS
STEPS 1-5
MOULDING PROCESS
STEPS 6-10
PATINA FORMING
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TESTIMONIAL RELEVANCE
MOVEMENT AND ACCESSIBILITY
• •
Past effort, present comfort Future direction
• Slow down user experience • User decision making
• •
HIERARCHY
GALLERY EXPERIENCE
of Space User volume
• Hapticity • Porosity
CONCEPTUAL SCULPTING PROCESS 64
Conceptual form
Elevated building
Hierarchy of spaces
Central foyer datum
Structure as facade
MASSING65
“LABYRINTH-ING”
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FACADE MODEL 67
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NIGHTIME VIBES 69
DAYTIME TRIBES 70
OWNERSHIP AND ICON 71
SENSE OF ARRIVAL 72
ANTICIPATION THROUGH ACCENTS 73
SPACE3 AND DECISION MAKING 74
LABYRINTH OF SEQUENTIAL REPETITIION 75
AUDIO-VISUAL HAPTICITY 76
MULTIPURPOSE INTERACTIVE HALL 77
CULTURAL X FINANCIAL 78
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4
6
798
Conclusion The end of semester 4 of Architecture degree marks the realisation that architecture is a tough sport. I may be physically talented when it comes to sports, but when it comes to the architecture, it is my weakest sport of all. Like most activities, it requires experience and a drive towards being the best of the best. This semester, I believe I learnt and conducted myself so much better than other semesters because I understood discipline of hard work, and drove myself harder to attempt to be the best.
Not only that, I couldn’t have ended the season without my coach of this architectural sport, Sir Huat Lim, who was critical to helping me succeed and surpass this semester. I owe my heartfelt gratitude of creating something I love, because as the adage goes; “find something you love, and you wouldn’t stop working (designing). 80
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