University of Technology Sarawak (UTS) Bachelor of Science (Hons) in Architecture, Year 2 Semester 1
History & THEORY of Architecture II BSA4323 THOMAS TANG HING PING BSA21090019
Lecturer: AP AR IAN AIK-SOON NG
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2 https://www.architecturaldigest.com/gallery/zaha-hadid-greatest-works-slideshow
University of Technology Sarawak (UTS) Bachelor of Science (Hons) in Architecture, Year 2 Semester 1
History & THEORY of Architecture II BSA4323 THOMAS TANG HING PING BSA21090019
Lecturer: AP AR IAN AIK-SOON NG
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A collection of work under:
HISTORY & THEORY OF ARCHITECTURE II School of Built Environment (SBE) Year 2 Semester 1, Studio 3
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Table of Contents FOREWORD…………………………………………………………………………………………………………………………………………………………………………………… 6-7 INTRODUCTION …………………………………………………………………………………………………………………………………………………………………………… 8-9 Exericse 1ax The arts & Crafts Movement In Sarawak…………………………………………………………………………………………………………………… 10-17 Exercise 1bx Column spacings……………………………………………………………………………………………………………………………………………………… 18-23
Exercise 1DxMy dun hat………………………………………………………………………………………………………………………………………………………………… 24-27 Exercise 1Cx Timeline …………………………………………………………………………………………………………………………………………………………………… 28-31 Exercise 1dx Bario and Me…………………………………………………………………………………………………………………………………………………………… 32-41 Assignment 1.1 Sketches……………………………………………………………………………………………………………………………………………………………… 42-52 Assignment 1.2 Sketches ……………………………………………………………………………………………………………………………………………………………… 53-59 Assignment 1.3 Sketches ……………………………………………………………………………………………………………………………………………………………… 60-65 Assignment 1.4 Sketches …………………………………………………………………………………………………………………………………………………..………… 66-71 Assignment 2 Model…………………………………………………………………………………………………………………………………………………………………… 72-85 Assignment 3Portrait Painting, Contemporary art………………………………………………………………………………………………………………………… 86-89
EPILOUGE……………………………………………………………………………………………………………………………………………………………………………………. 90-91
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A screenshot of our very first HTA || class together, how fast time flies.
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FOREWORD I had a blast in my undertaking of History and Theory of Architecture II. This is duly credited to our lecturer, AP AR lan Aik-Soon Ng, for curating the course to be mindprovoking, pleasant and immersive. It has all contributed to a very exciting, humbling and amazing learning experience for me. All the exercises given forced me to put more juice into my brain! I have been looking forward to this class all semester but alas, all good things will come to an end. I must take this opportunity to immortalize my gratitude to Mr. Ian, for guiding the class critically throughout the whole semester whilst being friendly and understanding. Many thanks extended as well, to my study group mates; Vinson, and Mohamad Mahathir - where all my group projects take place- for being cooperative, easy to work with and for being such cool people. And to studio 3- of course you guys are swell as well. Thomas Tang Hing Ping 22th January 2022 Kuching 7
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INTRODUCTION This booklet documents all assignments done under the course, History and Theory of Architecture II. We began with exercises 1ax to 1dx. These exercises are classroom driven and a result of the activities and discussions during the classes. 1ax: The arts and crafts movement in Sarawak, done in a group is an application of what we've learnt on our first foray into HTA I|| to our local context. 1bx: Column spacings, also done in a group was a curiosity born after a sharing session from one of our classmate's trip to China. 1bx: my DUN hat is an exercise on building identity. 1cx: Timeline is a cumulative effort in assigning our learnt lessons into the Charles Jencks evolutionary tree. 1bx: Bario and me is a studio- related assignment which prodded us to think critically of our design project in terms of Bario and the Kelabits, and theory of architecture. These are followed up by assignments ASN1 to ASN3. ASN1: sketches is a set of sketches done after each lecture to document our understanding and analysis on the architecture or art theory learnt in class. ASN2: Model, Art Tower Mito would be a grouped model making to understand the construction of the selected architectural theory. Finally, ASN3; Portrait painting, Liminal is a reflective self-portrait done in a style of a selected art period.
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Exericse 1ax
The arts & Crafts Movement In Sarawak Contextual application of ACM theory
With Vinson, and Mohamad Mahathir 10
The arts and craft movement is fundamentally critique on the rapid industrialization of the arts. The industrial revolution has transitioned the craftsman climate from "the artist as the master" and brought forth the "death of the artist.'. This movement started in the British isles and advocated for traditional building methods, materials and typology. A building that most closely represented these ideals in Sarawak would be the Old Sarawak state Bishop's House. 11
http://cwfoodtravel.blogspot.com/2010/01/kuching-hidden-gems-bishop-house.html
The hill where Bishop's House stands is known as College Hill. The hill and the surrounding area which make up the Anglican Mission was given by Rajah James Brooke in September 1848 to Reverend Francis Thomas McDougall who arrived from England with his wife Harriette in the same year. The Bishop's House and Chapel were designed by Rev. McDougall himself and it was put together with local labour and materials under close supervision by a German shipwright carpenter named Theodore Auguste Stahl who found himself out of work after the ship he was employed on was shipwrecked in the Straits of Malacca. Rev. Mcdougall hired Stahl when they met in Singapore before heading over to Sarawak. Stahl's knowledge of carpentry was to prove invaluable in the years to come. Stahl eventually married Elizabeth Richardson who was a maid to Harriette McDougall and even taught classes in industry and carpentry in the new school. He returned to Singapore with his wife in 1858 after spending 10 years in Kuching. 12
http://cwfoodtravel.blogspot.com/2010/01/kuching-hidden-gems-bishop-house.html
The Bishop's House was completed in 1849. It is believed to be the oldest European-style dwelling house in Sarawak and the only building from the period of James Brooke still standing. The building has served a wide variety of uses since its first conception. Not only was it the residence of the missionaries, it also served a role as school, store, dormitory, girl's and matron's rooms and the first dispensary in Kuching with Rev. McDougall as the doctor. It was most likely Rev. McDougall's role as a doctor which saved the Bishop's House from being attacked during the Chinese Miner's Rebellion on 18th February 1857. The rebels did not attack the building although they targeted all the houses of the Europeans. The Bishop's House ended up being a safe refuge during the terrifying few days for Europeans as well as converted Chinese Christians who feared for their safety. 13
http://cwfoodtravel.blogspot.com/2010/01/kuching-hidden-gems-bishop-house.html
The Bishop's House was originally constructed all of wood. In 1885, the ground floor was reinforced with brick, mortar and plaster. In 1912 it was again renovated with the addition of a garage, bathrooms and a porch which was an extension of the sitting room upstairs. Today the Bishop's House serves as the Anglican Bishop's residence upstairs with his offices on the ground floor. 14
http://cwfoodtravel.blogspot.com/2010/01/kuching-hidden-gems-bishop-house.html
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http://cwfoodtravel.blogspot.com/2010/01/kuching-hidden-gems-bishop-house.html
The house has undergone some renovations recently. Though it was not carried out strictly according to conservation principles, fortunately it is relatively intact. 16 http://cwfoodtravel.blogspot.com/2010/01/kuching-hidden-gems-bishop-house.html
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Exercise 1bx
Column spacings Symbolism beyond structural elements
With Vinson, and Mohamad Mahathir
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http://cwfoodtravel.blogspot.com/2010/01/kuching-hidden-gems-bishop-house.html
https://www.aboluowang.com/2016/0728/776778.html
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In ancient Chinese beliefs, people used to associate the number palace's room to the number of column. 4 columns = 1 room/space. Therefore, there is a set span between columns to symbolize a set number of room. If a column happens to differ in size, it means there is size of a room/space in the building. An example of columns equal to the number of rooms would be the Hall of Supreme Harmony. Inside this hall, there are 72 columns with equal length between all of them, this means that there are 18 full/proper rooms/spaces inside this hall. 23 https://www.ucbaike.com/etagid124713b0/
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This whole idea of having 1/2 spaces/rooms came from an old tale of The Yong Le emperor. The Yong Le Emperor wanted to build the Forbidden City, and intended to build 10, 00o rooms in one of the palace to symbolize good fortune. Unfortunately, one day, he had a dream that the Jade Emperor ( Emperor of Heaven) told him that only divine beings of the Heavenly Palace is qualified to have 10, 000 rooms. It is extremely disrespectful to the Gods if he insisted to do it. The Yong Le Emperor however still intended to go along with he original plan. To work around the rules of the divine, he decided to reduce the amount of rooms by half which is 9, 999 ½ rooms, just falling a bit short behind the 10, 000 rooms.
https://www.scbao.com/sc/1523217.html
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These difference in column widths and numbers then translated into meaning. Columns in traditional Chinese architecture is normally used to differentiate spaces. Different spaces have different sizes, thus different distances between the columns. Ming Jian : Entrance, used for family meetings Ci Jian : Located on both side of Ming Jian, smaller than Ming Jian Shao Jian : Next to the Cl jian, smaller than Ci jian, used as firewood store place Jing Jian : It defines the last corner room or space Corridor: A side corridor, it is a % space of the room 22
https://www.scbao.com/sc/1523217.html
https://kknews.cc/zh-my/history/5orv5ek.html
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Exercise 1Dx
My dun hat Building identity
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25 https://www.tripadvisor.com.my/HotelsNear-g298309-d15515063-Kuching_Waterfront-Kuching_Sarawak.html
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Pith Safari Jungle Helmet African Summer Hat W/ Sweatband Toyo Dark Tan Natural I selected him because his materials and functionalities are ideal for our Malaysian climate and geography.
My new look detracted from the building's overall cohesion and diminished its intricacy. However, it gives a feeling of mystery, a sense of fascination, and draws your attention to the whole
structure. In certain ways, though, it is also highly valuable. Or it appears to be attractive. And I believe it will be more difficult to construct than previously. As well as functional flaws.
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Exercise 1Cx
Timeline Assigning learnt theories to the Charles Jencks timeline
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Exercise 1dx
Bario and Me Introspection of design studio 3
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Bario community school
Self Growth And Germinate Agriculture
The developing art and culture of mixing architecture with agriculture is known as agritecture. It is characterised by total integration and a new architectural lens through which to see agricultural and rural farming. Although agriarchitecture is a novel concept, its origins may be traced back to ecologically conscious towns and villages. Vertical farming, which enhances green density and plant development, may be interlaced inside the building. Outside, living walls, rooftop gardens, green staggered terraces, and other buildings are examples of agriculture. The breath is the force that pushes life. And this grey-green decoupage of agriculture and architecture will go a long way toward turning our buildings into living spaces. 34
Bario community school
Site
Paddy and agriculture became an inspiration - the Kelabits being a agrarian community makes up a large part of identity to the Kelabits in Bario; even more so when it has translated to their main source of economy in the contemporary world. 35
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I think barrio and kelabit, their religion can be brought into the architecture, because their religion is Christianity, Westen culture. 37
But they also retain their own traditional culture, and integration will form their special culture and their traditional long houses and totems can also be brought into the architecture. 38
Agriculture is the century's evolving art and culture of unanimously blending architecture and agriculture. It is defined by an absolute integration and a fresh lens to view agriculture and urban farming from an architectural perspective.
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Agriculture is a relatively new term but its roots travel all along with green-conscious cities and communities. It can be interlaced within the building through vertical farming that amplifies the green density and plant growth. And this grey-green decoupage of agriculture melting into architecture will go a long way in turning our structures into breathing space. 40
I want to make them progress. So mydesign is a bit modern, But at the same time retain their culture into my final design.
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Assignment 1.1
Sketches Analysis of architectural periods and theories
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Assignment 1.2
Sketches Analysis of architectural periods and theories
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Assignment 1.3
Sketches Analysis of architectural periods and theories
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Assignment 1.4
Sketches Analysis of architectural periods and theories
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Assignment 2
Model Jean-marie Tjibaou Cultural Center In New Caledonia
With Vinson, and Mohamad Mahathir
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The Jean-Marie Tjibaou Cultural Centre (French: Centre culturel Tjibaou), on the narrow Tinu Peninsula, approximately 8 kilometers (5.0 mi) northeast of the historic centre of Noumena, the capital of New Caledonia, celebrates the vernacular Kanak culture, the indigenous culture of New Caledonia, amidst much political controversy over the independent status sought by some Kanaks from French rule. It opened in June 1998 and was designed by Italian architect Renzo Piano and named after Jean-Marie Tjibaou, the leader of the independence movement who was assassinated in 1989 and had a vision of establishing a cultural center which blended the linguistic and artistic heritage of the Kanak people. The Kanak building traditions and the resources of modern international architecture were blended by Piano. The formal curved axial layout, 250 metres (820 ft) long on the top of the ridge, contains ten large conical cases or pavilions (all of different dimensions) patterned on the traditional Kanak Grand Hut design. The building is surrounded by landscaping, which is also inspired by traditional Kanak design elements.
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When the Matignon agreements were signed between the representatives of France and New Caledonia, Jean-Marie Tjibaou, the Kanak leader of the independent movement, had mooted a proposal to set up an Agency for the development of Kanak Culture with the objective of promoting Kanak linguistic and archaeological heritage, promote Kanak handicrafts and the arts, encourage cross-regional interactions and evolve design and conduct research activities. This plan was implemented after Jean-Marie Tjibaou was assassinated, to assuage local feelings. The French President ordered that a cultural centre on the lines suggested by Tjibaou be set up in Nouméa. The "Jean-Marie Tjibaou Cultural Centre", which identifies Kanak culture and identity, was formally established in May 1998.However, based on a competition for designing the centre dated to 1991, the work was assigned to Renzo Piano and it was constructed between 1993 and 1998. The inaugural cultural director was Emmanual Kaserhou and the museum curator Susan Cochrane. The project was quite controversial because of its luxurious and monumental nature.
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The exterior part of the huts is given an ancient appearance whereas the interior of each hut has rectangular space (for housing permanent and temporary exhibitions, administration offices and studio spaces), where all amenities feature modern technology. The space within each hut was achieved by discarding the central pillar, a deviation from the traditional Kanak hut design. In the circular design of the hut’s shells, the height to diameter ratio was reduced giving more space, which also resulted in greater dynamic ventilation, as was corroborated by wind tunnel tests. The cases have giant curved ribs or staves, which are made of iroko slats and steel connections and which also act as climate control devices. The outer ribs are a curved assembly of slats, which are joined to a straight vertical rib that together form part of the case structure. The staves are designed in such a way that the individual pieces appear as if they are woven together. The roof is made of corrugated aluminium sheets. It has a double roof system, which contributes to the play of shadows. The bottom of the wall, formed by the arc of the staves, has special louvers, called nacos. The nacos open and close in tandem automatically by computer control calibrated to the speed of the wind. The double roof system also allows air to pass through the roof unchecked. During the monsoon season, the winds that blow over the cases are very strong, the compound curve of the cases resists the wind, with the nacos facilitating this action further by allowing air to pass directly through the cases.
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The materials used in the building of the conical domes consisted of laminated wood and natural wood, concrete, coral, aluminium castings, glass panels, tree bark and stainless steel. The iroko (Clorophora excelsa) timber used extensively was imported from Africa (native to tropical Africa, from Sierra Leone to Tanzania); it was decided to use iroko because it was durable, and mostly resistant to attack by insects, fungi and mould. The frames of all cases were prefabricated in France and assembled on-site.
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Assignment 3
Portrait Painting, Contemporary art Artistic self-reflrction 86
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Contemporary Art The range of materials, shapes, topics, and even historical periods is a hallmark of contemporary art. It's "recognised for its lack of unifying organisational principles, philosophy, or theology." "Time-based" art is my favourite among them. I once read a biography of a person's life. It just has two parts: a beginning and an end. It made me reflect on myself; I simply felt like there wasn't enough time, and I was really worried. Always tell myself not to spend their time. Nonetheless, I squandered a lot of time without being aware or self-indulgent. Two timelines are depicted in this picture. One timeline depicts the passage of time. I am a self-disciplined person. I believe I have a strong grasp of time and am in complete control of the situation. Those few rectangles, too. I use the grid to represent the unexpected events. Another timeline of me demonstrates my perplexity and the time I squandered. I utilise a lot of rectangular grids to represent events I don't care about or know about, which makes me look like a data bug. I'm not sure when my time will come to an end. So it's fine to go with the flow and be self-righteous on occasion, but there are moments when I believe I should slow down? Look around me, look at the present, look at my family, there are incidents that I have never paid attention to or been aware of. Alternatively, grasp the moment and dash madly toward your objective, oblivious to everything around you.
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screenshot of our last HTA II class together, revision session for final exam.
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EPILOUGE This course has encouraged me to think critically in regards of architecture theory and the social zeitgeist behind each movement. Past and present; it all comes back to a long, long line of narrative spanning across the centuries. There is an undelaying theme in the expression of self, personal thoughts, growth and locality. As theory doesn't exist in a vacuum nor it should be placed on a pedestal- a white, marbled one. We recontextualized how these theories could fit and aid us in design as well as how well it meshes with our personalities and ideologies. This course ended on a very fruitful harvest, and I look forward to learning more regarding history and theory of architecture as I move forward in my architectural journey.
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The architectural design should not only have its own style, but also coordinate with the style of the whole city.
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