M.A. IN ARCHITECTURE, B.ARCH.
MAUNG AYE CHANN AUGUST | 2023 ACADEMIC PORTFOLIO · TUM · IUAV MANDALAY
VENEZIA
2023
2022
2022
2016
2014
SPECIAL MENTION PRIZE, NATIONAL THESIS AWARDS
01 PLASTIQUE Reuse of La Fabricca Alta
02 CONGITATIO 03 TWO LIGHTS Chiesa di Terese
STUDIO III, IUAV
Chapel of Light
STUDIO II, IUAV
04 INNO-SOCIO-CULT 05 CACOPHONY Institute of Design
REPRESENTATION STUDIO, IUAV
500-seated theatre
DESIGN THESIS, TUM
STUDIO II, TUM
PERSONAL PROFILE
ACADEMIC
AYE CHANN MAUNG MANDALAY, BIRMANIE
ACADEMIC
2021
2021 -PRESENT
HIGH-SCHOOL GRADUATED BACHELOR OF TECHNOLOGY TECHNOLOGICAL UNIVERSITY OF MANDALAY
2017
2016
BACHELOR OF ARCHITECTURE TECHNOLOGICAL UNIVERSITY OF MANDALAY
2019
2016
RECEIVED SPECIAL MENTION PRIZE AMA NATIONAL THESIS AWARDS
2020 -21
AYECHANN907@GMAIL.COM A.MAUNG@STUD.IUAV.IT
JOURNEY ANEW
2011 2015
BURMESE 5TH JUNE, 1995
PROFESSIONAL 4 YEARS AND 5 MONTHS ENTERED FIRST JOB AS ARCHITECT SPINE ARCHITECTS.INC. PARTICIPATED IN DESIGN TEAM. 2 YEARS AND 5 MONTHS ORB ASSOCIATES. PARTICIPATED IN DESIGN TEAM. 6 MONTHS
YOMA CENTRAL PROJECT MULTIDISPLINARY PROJECT MANAGEMENT TEAM OF MIXED USED HIGH-RISE DEVELOPMENT 1YEAR AND 6 MONTHS
ITALIAN GOVERNMENT SCHOLARSHIP RECEIVED FULLY-FUNDED GRANTS TO STUDY IN ITALY
UNIVERSITÀ IUAV DI VENEZIA STUDYING MA IN ARCHITECTURE COURSE AT ONE OF THE OLDEST ITALIAN ARCHITECTURE UNIVERSITY IN VENICE.
COLLABORATED WITH ELIZAVETA PERVOVA, SELENA CABUK
IUAV 2023
PLASTIQ Reuse of La Fabricca Alta
The project submitted for the third semestre IUAV Master in Architecture, with an objective strictly to reuse or renovate a significant 19th century building in Schio, Veneto, Italia. “La Fabbrica Alta del lanificio Rossi è un edificio industriale fatto costruire da Alessandro Rossi nel 1862 a Schio. Essa rappresenta uno dei principali simboli della prima industrializzazione italiana.”
Circulation from the centre
HERITAGE BUILDING DESIGNED BY AUGUSTE VIVROUX The factory, designed by the Belgian architect Auguste Vivroux and according to Rossi “executed in the style of the Belgian and English ones” , was built in just nine months through the work of local workers and has truly remarkable dimensions: it is 80 meters long and 13.90 wide and has five floors in height, plus the attic. Inside, immense halls are divided into three spans by 125 cast iron columns ; it has 330 windows and 52 dormers [3] . It develops within the Lanerossi area, orthogonally to the original headquarters of the woolen mill, which faces its main facade towards Via Pasubio. From the outside, the factory is characterized by its reddish colour, given by the prevalent use of brick , and by the sloping roof. The many windows are slightly arched and have stone sills, stringcourses and notches that support the cornice. On the walls the heads of the iron beams, in the shape of peeled rosettes, also take on an ornamental motif. The execution of the work designed by Vivroux is attributed, on the basis of the artistic language adopted,, friend of the Belgian colleague and trusted architect of Alessandro Rossi.
1817
On the site of Francesco Rossi building is the site of the old factory of the Rossi family.
1849
Fransco Rossi building was built on the old factory foundation of the Rossi family.
1862-64
1864
Based on the design of Another wing in the south 1861, the fabricca alta was was already added to the built in the rage between building compound by 1962 through 1864 - in 1864. connection but two storeys higher than the existing 1849 Rossi building.
1865-68
1866
Largely modified from By 1866, the new chimney the original design, and tower was already built through all the complica- near the east wing. tions for the construction to be initiated, the East wing structures were implemented within the years 1865-68.
1900s
In the early 1900s, the firestaircase made out cast-iron was added to the east facade of the Fabricca alta building.
Before 1963
Before 1963, the Eastwing factories, and the south wing were already demolished. The use of the buildings changed as the Lanerossi factories were moved away.
ROOFING SYSTEM CODE
DESCRIPTION
RC1
RS2
COVERING: TRANSCLUCENT ROOF TILES FOR LIGHT TO THE TERRACE: CRYSTAL GLASS COVERING: CLAY ROOF TILES IN REDDISH BROWN COLOR. RF. STRUCTURE: RAFTERS: TIMBER RF. STRUCTURE: PURLINS: TIMBER
0.1MX0.15M RECT. CROSS SECTION
OPENINGS
RS3
RF. STRUCTURE: TOP CHORD: TIMBER
0.25MX0.3M RECT. CROSS SECTION
CODE
DESCRIPTION
DIMENSION
RS4
0.015M DIA. CIR. CROSS-SECTION
OW1
WINDOWS: TYPE 01
RS5
RF. STRUCTURE: CAST-IRON CABLE STRUTS FOR BRACING RF. STRUCTURE: TIE BEAMS: TIMBER
0.25MX0.07M RECT. DOUBLE MEMBERS
1.3MX1.9M CUSTOM-ARCHED, CAST-IRON FRAME
OW2
WINDOWS: TYPE 02
RS6
RF. STRUCTURE: KING-POST
0.32MX0.32M RECT. CROSS-SECTION
RS7
RF. STRUCTURE: HORIZONTAL BINDER RF. STRUCTURE: RIDGE BOARD
0.15MX0.15M RECT. CROSS-SECTION
OW3
WINDOWS: TYPE 03
1.3MX2.2M CUSTOM-ARCHED, CASTRON FRAME 1.3MX2.5M CUSTOM-ARCHED, WOODEN FRAME
0.08MX0.16M RECT. CROSS-SECTION
OW4
WINDOWS: TYPE 05
CLEAT: BINDER BRACKET FOR BRACING CHORD BRACKET: TRUSS SUPPORT
RECT. CROSS-SECTION
1.3MX2.7M CUSTOM-ARCHED, WOODEN FRAME
OW5
WINDOWS: TYPE 06
CLEAT : BINDER BRACKET FOR BRACING CHORD
RECT. CROSS-SECTION
OL1
LINTEL: STONE
THE STRUCTURAL SYSTEM IS MAINLY COMPOSED OF STEEL COMPONENTS AND VARIOUS SIZE OF REINFORCEMENTS STONE FRAME LINTEL SUPPORT AROUND WINDOW OPENINGS
RC2 RS1
RS8 RB1 RB2 RB3
DIMENSION -
0.1MX0.2M RECT. CROSS SECTION
CROSS-SECTION:
RECT. CROSS-SECTION
FLOORING SYSTEM CODE
DESCRIPTION
FC1
FLOORING: PLANK FLOORING: TIMBER FLOORING: TARAZZO FLOORING
FC2 FJ1 FT1 FT2
JOISTS: FLOOR MEMBERS CONNECTING BEAMS TO SUPPORT THE FLOORING: TIMBER FLOOR TRANSFER: MAIN STAIRCASE: RC FLOOR TRANSFER: EMERGENCY STAIRCASE
MASONRY DIMENSION
STAIRCASE SYSTEM COMPOSED OF IRON CAST RAILINGS AND MARBLE FINISHED CAST-IRON FIRE STAIRCASE ADDED IN THE 1900S.
CODE
DESCRIPTION
DIMENSION
SB1
BEAM: PRIMARY: TIMBER
0.3MX0.3M RECT. CROSS SECTION
SB2
BEAM: TIE(SECONDARY): TIMBER
0.3MX0.3M RECT. CROSS-SECTION
SC1
COLUMN: POST TO BEAR THE ROOF STRUCTURE: TIMBER
0.3MX0.3M RECT. CROSS SECTION
SC2
COLUMN: CAST-IRON FUTHER REINFORCED ON THE OUTSIDE WITH CONCRETE AND STEEL.
SC3
COLUMN: CAST-IRON COLUMN REINFORCED ON THE OUTSIDE WITH CONCRETE AND STEEL
SC4
COLUMN: LOAD-BEARING MASONRY
CAST IRON : 0.2M DIA. CIR. CROSS-SECTION: REINFORCEMENT: 0.3MX0.3M RECT. CROSS-SECTION CAST IRON : 0.3M DIA. CIR. CROSS-SECTION: REINFORCEMENT: 0.6MX0.6M RECT. CROSS-SECTION 0.8MX0.6M RECT. CROSS-SECTION
SJ1
BRACKETS: CAST-IRON BEAMS EXTENSION JOINTS BRACKETS: CAST-IRON PRIMARY-BEAMS EXTENSION JOINTS CAST-IRON COLUMN DAMAGE-COVER DECORATIVE COLUMN-COVER
SJ3 SJ4
DESCRIPTION
DIMENSION
MW1
IRREGULAR COARSED MASONRY: BRICK MIXED WITH LOCAL STONES
THK: 0.5M ~ 0.65M
MW2
BASEMENT WALL: IRREGULAR COARSED MASONRY: BRICK MIXED WITH LOCAL STONES
THK: 1M
MW3
LOAD-BEARING STRUCTURAL WALL: SUPPORTING THE STAIRCASE. ONAMENTATION: CAST-IRON MOTIF WORKS ON EXTERNAL WALL
THK: 0.25M ~0.3M
0.025MX 0.075M RECT. CROSS SECTION
STRUCTURAL SYSTEM
SJ2
CODE
0.6MX0.4M RECT. CROSS- SECTION 0.2MX0.24M I SECTION EXTENSION JOINTS HEIGHT: 0.63M RECT. CROSS SECTION 1M DIA. CIRCULAR CROSS-SECTION
The project was proposed to develop an institute of design in the centr
MO1
MW1
SC1 SB1
RB1
SJ1
RS3 RS7 RS6
SC2
RS5
SJ3
RB3
RB2 SJ3
SB2
FJ1
FC1
STRCTURAL VAULNERABLITIES
SB2
SJ2
CONSERVATIVE EVALUATION
PATTERN CODE
CAUSE
DECAY PHENOMENON
SC1
CRACKED TIMBER COLUMN
SC2
NON-UNIFORM DISTRIBUTIONS CRACKED POST COLUMN LEADS OF THE MOISTURE CONTENT TO WEAKENED STRUCTURAL RESULTS IN INTERNAL STRESS INTEGRITY AND IN TIME, TOTAL AND COMPRESSION FAILURE ON COLLAPSE OF STRUCTURE. VERTICAL BEARING STRUCTURES.
EROSION& REINFORCEMENT BUSTED
CONCRETE COVER BUSTED BY FURTHER EROSION IN THE REST AN EROSION IN THE METAL REIN- OF METAL MEMBERS CAN BE FROCEMENT MEMBERS DUE TO FORESEEN AND MAY CONTINUE MOISTURE ABSORBSION. TOE REDUCE THE PHYSICAL COMPOSITENESS.
SB1
CRACKED BEAM
LOWER DRYING POTENTIAL IN CRACKS RESULTS FROM EXPANTHE INTERNAL SPACE RESULTS IN SION AND SHRINKAGE OF TIMBER DECAY IN TIMBER MEMBERS AF- MEMBERS HAPPEN TOO OFTEN TER THE MOISTURE IS TRAPPED. FROM ABSORBING AND DRYING OUT OF MOISTURE CONTENTS.
SB2
MOISTURE STAINS/ TRAPPED MOISTURE IN THE THE MORE MOISTRUE IS TRAPPED BEAMS WANE OUT THE PAINTING IN THE TIMBER AND CHANGED OF EFFLORESCENCE LAYER AND LEAVE UNEVEN STAINS. TEMPERATURE OCCURED, IT IS MORE OF POSSIBILITY FOOR THE TIMBER BEAMS TO BE STRUCTURALLY WEAKENED.
RS3 RS7
DELAMINATED/ CRACKED BEAMS
TENSION FAILURE/NON-DISTRI- WEATHERING AND OVERLOAD BUTION OF MOISTURE CONTENT CAUSE THE FRAGILE WOOD MEMBER TO CRACK AND CONTINUE TO CAUSE THE CRACKS UNTILL IS PROPERLY REPAIRED.
RS5 RS6
CRACKED KINGPOST/ TIE BEAMS
COMPRESSION NON-DISTRIBUTION TURE CONTENT
RB1 RB3
CRACKED BRACKETS/CLEATS
COMPRESSION FAILURE/WEATH- SUCCESSIVE TENSION AND COMERING/OVERSTRESSED PRESSION FAILURE FROM OTHER CONNECTING MEMBERS AS WELL AS THE MOISTURE PROBLEM CAUSED THE CRACKED CLEATS.
FAILURE/ THE OVERLOAD AND TEMPERAOF MOIS- TURE CHANGE CAUSE THE EXCESSIVE SHRINKAGE AND EXPANSION TO HAVE THE KING-POST BROKEN AND CONNECTED BEAMS TO HAVE LONGITUDINAL CRACKS.
PATTERN CODE
CAUSE
PHENOMENON
MW1 MW2
SUFFLORENCE ON WALLS
ALKALINE SALTS FROM THE WITH- CALCIUM CARBONATE IS TRANSIN THE PORES OF THE SUBSTRATE PORTED TO THE SURFACE BY REACT WITH ATMOSPHERIC CAR- MOISTURE AND FORM THE BON DIOXIDE. SALT FLAKES OR PATCHES ON
MW1
DETACHMENT/ MACHENICAL DAMAGE
MW1
WEATHERING/ EFFLORENCE EXCESSIVE MOISTURE GETS INTO PROCESS AND INSTALLATION OF THE WALL IS ACCELERATED IN MECHANICS, METAL PRODUCTS COLD OR FREEZING WEATHER, WHICH CAUSES THE WATER TO THAT CAUSE THE EROSION. EXPAND AND CONTRACT INSIDE CAUSING IT TO BREAK DOWN.
MILDEW/EXFLORENCE
HUMIDITY, RAINWATER AND RAINWATER SEEPING THROUGH SNOW DISSIPATE MOISTURE THE WINDOW OPENINGS AND CONTENT. OTHER TYPES OF MOISTURE EXPOSURE LEAVES BLACK STAINS AND FUNGHI GROWTH ON THE WALLS, LEADING IT TO FURTHER
FC1
SHRINKAGE IN FLOOR PLANKS
TEMPERATURE CHANGE MOISTURE EXPOSURE.
FJ1
DELAMINATED PAINTS AND MOISTURE STAINS ON JOISTS
TRAPPED MOISTURE PAINT LAYER
AND THIN LAYERS OF FLOOR PLANKS EXPOSED TO A RANGE OF TEMPERATURE CHANGES AND WEATHERING HAVE THE SHRINKAGE AND CRONKED SURFACES OVER TIME. TRAPPED UNDER UNDER MOISTURE PAINT LAYER OVER TIME PUSHED THROUGH WITH THE PAINTS BEING FLAKED AND THE JOISTS STAINED IN ENVEN TONES.
CONCEPTUAL SECTION - NIGHT
GRAND STAIR-ROOM-SCHEMATIC PROPOSAL
SPATIAL FLEXIBILITY IN A ROOM OF HERITAGE Rooms are united or divisible with curtains, and new walls added to it are light-weight higher isulation walls, hightening the structural capacity of centuries old building.
THE MIDDLE ATRIUM In the middle of the building is the atrium filled with natural light penerated from the transclucent ethylene plastice wall, that is blown like a curtain out of the window. From the lobby is a grand staircase, a monument by itself, with all the directions of trajectories and vision angles, curated to offer a vibrant creative environment.
CONSERVATION DESIGN PROCESS
THE REUSE OF FABRICCA ALTA The philosophy of design in re-using this Schio heritage lies in the concept of fabric and wool, very familiar signatures of fluidity. The purpose to use it as a high-fashion industry push further of our idea to connect the design to a fluid fabric. As observed in the building, we admired the significance of the frame structure, that was ahead of its time and timeless stuructural beauty that conveys from a cable-braced roof truss system. While maintaining and taking importance the orginal integrity of stuctural elements and most part of soaring high, mixed cobble stone masonry wall, we desided to keep one part of the bigger piece off from its home building but to replace with far-newer foreign element, a wall of fabric.
EXISTING NEWLY ADDED DEMOLISHED
CONSERVATION DESIGN PROCESS
SCHEMATIC SECTION LONGITUDINAL
COLLABORATED WITH MATEUS GISBON, VARUZHAN KOCHKOYAN
IUAV 2022
CONGITATIO Chiesa di Terese
The project submitted for the second studio course of the IUAV master degree, the objective being a redesign of the chiesa di terese as an architectural museum. The scope of works include renovating the church, incooperating new structures to the interior, and essentially proposing an exhibtion design. “La chiesa fu edificata alla fine del XVII secolo su progetto di Andrea Cominelli e consacrata nel 1688. Inizialmente ospitava anche il convento delle Terese, soppresso nel 1810 per far posto ad un orfanotrofio. Nel XX secolo il convento fu poi adibito a dormitorio per senzatetto, mentre oggi ospita le attività didattiche di alcuni corsi di laurea dello IUAV.”
IMPRESSION- GROUND FLOOR
WALL The meaning of the wall is just as diverse as the uses of vertical surface can be, but there are at least two essential functions: providing structure, and dividing space. The two can be separated, and thus the wall itself divides into two, as the bearing wall and the partition wall: the “necessary” wall, separating roof from ground; and the contingent wall, organizing movement within the resulting container.
Koolhaas, R., Westcott, J., Davis, B., Avermaete, T., & Bego, R. (2014). Elements.
ASPIRATION stimulate visitor curiosity starting from a visual barrier condition reduce physical intervention | enhance spatial experience
ARCHITECTURAL STAGE TO ENJOY THE BAROQUE ADORNMENTS All’esterno, l’edificio si presenta con una facciata quasi completamente disadorna, con un portale centrale e due porte laterali sormontate da semplici architravi, senza alcun altro elemento architettonico di rilievo. “ L’interno è a pianta perfettamente quadrata e ricco di dipinti e decorazioni in stile barocco. Alla destra dell’ingresso è presente un ampio presbiterio e tutto attorno alla navata sono presenti diversi altari, ospitanti tutti un dipinto e separati da lesene terminanti in capitelli corinzi. “
ADDITION NOT TO RUIN New being new. The new coexisting with the old, coplimenting the old and adding forgetten value to the later. Resignifying important cultural pieces of venice and reemploying them in fresher appeals.
System for in-purpose flooding of water into the chiesa. L’aqua alta.
The curtain details
Sectional diagram
VIEW FROM THE ARTRIUM
COLLABORATED WITH ELIZAVETA PERVOVA
IUAV 2022
TWO LIGHTS Chapel of light
The project submitted for the History and Theory of Architectural representation methods studio, IUAV. The object mainly to develop one of a chain of seven chapels to be constructed on the Sacro Monte di Varese, Italia. “The Sacro Monte di Varese located in Varese , in the hamlet of Santa Maria del Monte , consists of fourteen chapels, dedicated to the mysteries of the Rosary , which lead to the sanctuary of Santa Maria del Monte , a place of pilgrimage since the Middle Ages , which serves as the fifteenth chapel.”
THE NEW CHAPEL PATH The new project directory as concerned to the course was to build a chain of chapels analogous to the historic ones, but with a purpose to mystrify the beauty of light, with references mainly given to James Turell, a prominent name in the architectures of light.
HISTORICAL CHAIN OF CHAPELS In 1604 the architect Giuseppe Bernascone , known as “il Mancino”, was summoned to design the various chapels and the scenographic route along the slopes of the mountain: he was the true artistic director of the construction of the entire devotional complex. In this way, in 1604, the Fabbrica del Ss. Rosario was started under the auspices of Cardinal Federigo Borromeo and his delegate for the sacred mountain, the archpriest Alessandro Mazenta . The greatest fervor of activity, during the seventeenth century, was obviously recorded around the chapels of the Sacro Monte. Here the artistic quality of Giuseppe Bernascone , known as “il Mancino” is appreciated first of all in his ability to represent the prayer of the Rosary “in the form of a monument”, harmoniously merging architectural structures and the landscape. This “scenographic” attitude of his - which also earned him his involvement in the construction site of the Sacro Monte di Locarno– is revealed in the double attention to how the spectator should perceive from a distance the winding of the chapels and triumphal arches along the layout of the wide cobbled street, and how the pilgrim should enjoy, from some chapels, the panorama towards the plain and the Varese lake. It is no coincidence that there are some chapels, around which runs a portico which invites the visitor to admire the surrounding landscape.
The site is chosen as to form an alignment with the chapel, the bell tower in the village seen beyond the valley, and the winter solistice sun that will come out of the mountain at 8:03 on December21.
Visitors gets down to the hidden chamber throught the two circilar paths, Ramp to the left, and the stairway to the right.
The entrance is right on the side of the hiking path, leading underground with two circular paths, one to the left being ramped way, and the opposite side with stair way. Both of the way leads to a hidden door set right outside the domed hidden chamber underground.
The chapel aligned to the bell tower in the nearby village across the valley.
Two part project, one being eliptical dome, and the other organic petal connected by a tunnel.
AS IF IT WERE BORN OUT OF NATURE The philosophy behind the design was to represent light at its most potentiality both artificially and naturally. To achieve it the building is submerged on the slope of the hill. One part of the build is built underground while the other come out to the levitating view looking down to the valley through a tunnel built across under the hiking path. Representing organic nature and the pure geometry, one absorb the similarity of flower petals and the other formed to be a dome.
Domed chamber underground, adorned with the lumia exhibtion that projects the universe-like lightings underground is then leads to the vestibule through a tunnel where the beauty of natural light will come about in Cross-shaped.
footpath
Vestibule
Tunnel
Lumia Dome
Also, the presence onf “hiddeness”, promotes the human curiosity and when it was led to the underground, instead of the visible part of the structure, shakes up the excitement and offers interesting experience of travel. The monumental status was given to the last leg of the buiding with is shaping acquiring the flower petals. Not only representing the nature, but also diffusing the natural light in to a symbolical cross-manner illumination.
Light at sunrise - Winter Solistice 8.30 am
IMITATING THE UNIVERSE UNDERGROUND LUMIA As the visitor arrive at the hidden chamber it is introduced under the dome, a overwhelming installationg of LUMIA, a light installation with colorful array of lights. The installation of lumia is as simple as it can be done b y spolighting on a crooked thin sheets of film-like materials, that are roating slowing on a turntable. The playful color refelections on the wall of the dome, in the darkness resemble as grand as to the lights of universe. Lumia is a form of art that uses light; originally associated with music but was later associated with painting. The term was coined by a twentieth-century artist, Thomas Wilfred.[1] In the early twentieth century, artists began to promote colors and light together in their works. Wilfred worked towards establishing lumia as a new form of art, but the medium has yet to achieve popular recognition.
LIGHT OF THE UNIVERSE IN THE DARKNESS After the hidden path is taken up and then it leads to the place which does not seem to have doors. But by experimenting, a hidden door is found by pushing up a crack visible to the bare eyes. Not only the place is hidden underground, but also is filtrated out of light so the visiter can actually feel as if it is going into the unknown, the darkness, it awaits for anther suprise.
Hill Slope
Underpass
Entry steps
Circular Rampway
Circular Stairway Darkness underground highlights the LUMIA light installation in the dome, essentially designed to imitate the light of universe.
Axometric section of underground chamber, the underpass and the visible parts of the chapel
Door Pushed-open
ISOMETRIC SECTIONS
THEORY AND HISTORY OF REPRESENTATIONAL METHODS CHAPEL DESIGN PROPOSAL
FOR BELVEDERE, MONTE TRE CROCI, VARESE ELIZAVETA PERVOVA, AYE CHANN MAUNG 2022 JUNE, SECONDO SEMESTRE - MA ARCHITECTURE
VIEW OF THE CHAPEL ON AND OFF-GROUND
SPECIAL MENTION PRIZE/ NATIONAL DESIGN THESIS AWARDS
TUM 2016
INNO-SOCIO-CULTURE Institute of Design - Mandalay
The thesis project for the b.arch degree, won a special mention prize in the AMA organized nationwide thesis competition. An institute, designed to fulfill the urgent need for the nation in upgrading itself to more advanced industrialized country. It is developed in Mandalay, not only located at the heart of Burma, but also is infact a cultural capital and commercial, social hub of Upper Burma. Introduced with four courses, communication design, furniture design, fashion design and jewellery design. The project was proposed to develop an institute of design in the centre of mandalay, fullfilling the urgent need of urban designers and communicative artwork professionals. It has 4 courses as the starter, fashion, communication design, furniture design and jewellery design.
CONTINER BOXES STACKED AT BAY The idea to design for Institute of Design Mandalay was mainly triggered by the container boxes stacked by the port of Yangon. Giving me thrills as I thought the trade to the nation is so much important. Burma, though in recent decades, it is struggling with instability and domestic problems, has always been a cultural powerhouse with its thousands of year old history. It still maintains its potential to be back on track again. The institute of design development is intended to help drive up this force and thus, when designing the building complex, the picturesque view of Yangon port, signifying a status of trade power is reflected.
INPORTANT CENTER FOR CULTURE AND TRADE For an institute of design, it is even more so important that it is designed as to contribute great benefits to the society, as, the student body mainly composed of some of the most creative brains would later become cultural plants in history. By inproving design of appearance, mechanism, details, communications and technology, it resulted in innovative ways of daily life, commute, transaction and the overall system of cultural trajectory.
Initial sketches
AS IF HANDING OUT TO THE STUDENTS The institute is designed with two entrances. The skeleton porch at the right side of the building project the overall appearance of the building outwards, and make the students and visitors feel welcoming. The ramp that is connected directly to it leads to the second floor of the lecture room buildings.
As the design was inired by the stacked boxes, the main structural solution chosen to achieve the form was the use of Steel truss structure. Still rarely used in Burma, but the potentiality, adaptibility and flexibility of the steel members make the structural system perfect for the building. The building’s spaces are mainly played with the skeleton boxes jointed over another with the ground levels are mainly made of the reinforced concrete.
Institute of Design - Mandalay complex seen from the front, schematic proposal
GREENERY CUT THROUGH IN THE MIDDLE Not only a place to do the teaching and learning, a university is quintessentially a place to socialize, brainstorm, and contemplate at times of thinking. The institute of design is designed as to have a forest cut through the middle of compound, connecting the greenery in the back of the site and the street side trees on the front road. The complex of building is made livable with the lush of greenery.
Institute of Design - Mandalay complex seen from the front, Orthographic model
SOLIDS PLAYED WITH VOIDS Different lecture roooms on different floors are connected with different kinds of stairs in many positions, offering a connected environment and at times of emergency, an easy eviction. The three-floored wings are breathable owing to the different positions of openings and atriums. Sectional elevation
Institute of Design - Mandalay complex seen from the front, Orthographic model
THE MIDDLE COURTYARD The middle courtyard is flancked on each side by the administrative wing and refectory on the left, and the multifunctional hall, lecture rooms on the right - with the university liberary on the toproof floor of the double-volume atrium.
View to the exhibtion area between entrance porch and the administrative wing
INSTITUTE FREQUENTED BY STUDENTS, TEACHERS, AND INTELLECTUALS students rush to arrive at the university. An impression from the front.
Lush greenery cut through the center of the compound forming a logitudinal green axis. To the left in pictures are multifuctional hall and lecture halls behind, with topmost volume being the library.
Entrance parch with ramp leading to the lecture halls
TUM 2014
CACOPHONY 500-seated Theatre- Mandalay
The project submitted for Deisgn Studio III course in the 4th year of B.Arch program at the Technological University Mandalay, Birmanie. The main objective was to develop a design for 500-seated theatre with back of the house facilities. The location was in the vicinity of Mandalay Palace compounds, the last royal palace of the burmese dynasties. The site is culturally and urbanistically significant as it can help change the surrounding context for good.
BACK OF HOUSE, HOUSE & THE FRONT
CITY THEATRE AS AN URBAN MONUMENT
The design comes about as the simple functional flows are mapped out, Front of the house that has the lobby, ticket offices and lounges in the front, the house with the auditorium and stage in the middle, the gallery over the stage for curtains and technicalities, and the back of house for the services, changing rooms, workshops and storage stays form together to constitute a functioning theatre.
Being located in Mandalay, where is nationally recognized as the heart of burmese culture, the outward expression of the theatre is culturally important. Also owing to the historic ornate golden palace compounds in the vacinity, the design for the building carry an extra need project unique expression.
Artistical expression of the building is achieved with ardent inspiration for cubism artworks, and a roughly stroked oil abstract expressionism painting- and remapping the already linear layout of theatre functions to different angled cubicle volumes. The new theatre comes out as a defining monument to the context as much as a condiment to the existing old golds.
The auditorium design preliminary sketch for visual angles and sound reflections
PIAZZA IN THE FRONT The design was developed not just to form as an stand-alone theatre but also as a public facility that general public can freely roam about around the monumental structure. In the front is the piazza and a low-water pond with water features while at the same time the sids are flanked with high-raked platforms and ponds. The general visual axis of the buildings are complimented by the reflections fell in the nearby water surfaces.
The image of buildings are images of cities. The presence of well-curated architecture can infact contribute a lot of benefits to the city and the general public. As the well-designed buildings attract the tourists and visitors, the economic activities become livened, and with the presence of artistic designs, the people’s creative activities thrived and this leads to eventually developing the country’s cultural system.
ACCESS TO THE PUBLIC The main circulation to the theatres are through ramps and stairs that are accessible from inside the lobby and connect directly to the auditorium house. From the house as weill the exist is led to the direct outside of the building on the right side, for emergency eviction. The site is composed with different networks for visitors lane, padestrian platforms, service motorways, service entrances and access to the art workshops in the back.
The Mandalay Theatre seen from the South, Composing an cubist expressionist work of art.
all the academic works shown here are done or fully participated by Maung Aye Chann
a.maung@stud.iuav.it AUGUST | 2023