Undergraduate Architecture Portfolio

[PORTFOLIO] Ronald Teck Yih Wong 42404 Bachelor of Environments Application ID:

University of Melbourne

[The Sanctuary] 2 RONALD WONG uonald@hotmail.com 0420892017

Skills Photoshop Illustrator InDesign Rhinoceros 5.0

Education 2010

Malaysian Certificate of Education (SPM)

2011

Australian Matriculation (AUSMAT)

KBU International College, Bandar Utama, Malaysia

2013

Bachelor of Environments

University of Melbourne (Major: Architecture)

AutoCAD

[Meier Boathouse] 10 [Longing for Secrets] 13

SMK Sungai Maong, Sarawak, Malaysia

V-ray Rhinoceros Microsoft Office

[H2O.Play] 6

Experience Tuition Teacher (High School Mathematics)

Hope Resources, Kuala Lumpur, Malaysia. (2011-2012) Global Architecture Profiling (GAP) Exhibition 2015 Organizing Committee Easter Camp Victoria Treasurer 2015 Overseas Christian Fellowship (OCF)

Senior Publicity Officer (Design Team) 2014 Malaysians of Melbourne Univeristy (MOMU)

[Other Works] 15

Image: translucent concrete facade displays the silhouette of the tree within the inner atrium. metaphor for a person’s ‘inner radiance’ once one achieves inner peace.

The Sanctuary Studio Fire (Year Level 3) Individual work 2015 4 million

2045 8 million

Docklands development

CBD urban sprawl

2015 4 million

2045 8 million

West Melbourne

urban consolidation pressure from both Docklands and CBD

Docklands development

CBD urban sprawl

Brief

The Project Brief was set in the year 2045.

In 2045, population growth and urban development pressure from both the Melbourne CBD and Docklands development will cause the site, West tree column grid to transform Melbourne into an urban hub of placement structure overcrowding and hecticness. The building is designed to cater to the needs of the two major user groups of the building, the Yoga Association and the National Association for the Visual Arts.

Concept The Sanctuary is a motel and business headquarters

2015

2045

2015streetscape 2045 4 million 8 million West Melbourne

urban consolidation pressure from both Docklands and CBD

Docklands development

CBD urban sprawl

grid structure

tree column placement

downpipe

2015

streetscape

2045 West Melbourne

urban consolidation pressure from both Docklands and CBD

downpipe

that is designed to bring about inner peace and tranquility to its inhabitants as well as its surrounding.

The ideation of the building concept stems from ‘meditation’. During meditation, the meditator shuts off their surroundings and focuses on the inner column in order to achieve a calm state of mind. The grid being tree placement structure Sanctuary translates this into an architecture concept in which the users will have a central focal space while the surrounding site is shut off.

Programme

outdoor/yoga

bedroom office

restaurant seminar

gallery

lobby

Programme + Concept

Strategies The spatial programme is strategically planned so that several spaces will benefit from the “inneroutdoor space”, which also acts as the central Selffocal space. For example, the motel bedrooms and outdoor/yoga Zen Awareness business headquarters office will benefit from the bedroom ‘positive energy’ from the ‘outdoor space’. Also, the ‘outdoor space’ willoffice act as an interstitial space for the circulation between officereflections and restaurant. simplicity nature difference

Strategies

in levels

Zen

SelfAwareness

Zen

simplicity

nature

restaurant

seminar gallery Apart from the concept, the Sanctuary utilizes several different strategies to help the users lobby Slowing achieve a calm state-of-mind.

Down

Strategies

Meditation

: Incorporation of nature and simplicity into design.

Self-awareness: Being aware of your own body helps

the user self-reflect. veiled movement transition Slowing down :

Changes the pace of the peoplespace living spaces buffer

in a hectic and fast-paced world.

Meditation : Isolation. Shuts out distractions.

Slowing Down

transition spaces

movement buffer

reflections

difference in levels

Meditation

veiled space

2

Level 5-7 Bedrooms

Bedroom Suite Meeting Room

Level 4 Informal Meeting Spaces

Office

Office

Hot Yoga

Central Green Space Level 3

Outdoor Space

Stepping Stones

Massage Parlour Outdoor Space Bar & Kitchen

Waterwall

Dining Booth

Level 2 Restaurant

Serene Architecture

The section above shows the sequence of spaces as one journeys through the building. As shown, the bedrooms overlooks into the internal courtyard which houses the greenery.

The vertical circulation space from the office to the restaurant can also be seen in the section. Within this space, water from the internal courtyard flows down a waterwall into the restaurant. The waterwall acts as a buffer between the atmosphere of the restaurant and the circulation space, as one journeys from a lively space into a quiet place.

Simple Design

*The physical model was made to be dismantlable in order to explaination purposes during the building’s presentation.

Only relevant floor slabs are made for the interior spaces.

Level G

Car lifts

Main entrance Zen rock garden

Lobby. Reception

The plain facade is intentional. The idea behind the simple facade is drawn from the simplistic design motives of architects such as Tadao Ando and Peter Zumthor. These architects often create ‘blank wall’ spaces, often making people wonder whether the space is undesigned, but in reality is intentionally placed in order to help people achieve a sense of meditation.

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1

Journey

The Sanctuary is like a piece of poetry. It is meant to be experienced and enjoyed.

Therefore, the way of explaining the building will be in the form of storytelling.

As one enters the Sanctuary from Batman Street, the person is greeted by a small zen rock garden before entering the lobby.

The direct association with nature subdues the person’s busy mind.

If one chooses, he may join a seminar or view the gallery on level 1. However, the person take the lift directly to level 2, and enjoy a cup of tea in the restaurant.

The restaurant is designed in a such a way that users can isolate themselves within veiled booths, as if hidden within a bamboo garden. On the other hand, a person might choose to roll-up the curtains to enjoy the scene of the artificial waterfall in the middle of the restaurant.

Listening to the streaming waters that cascade down into the pool of water. The person sips his tea as he watches the sparkling sunlight dancing on the water’s surface.

Beautiful.

3

After ascending the steps up the waterfall, one arrives on the level that contains the outdoor space. This floor houses a hot yoga room as well as a massage parlor.

The courtyard is visually hidden by vines hanging from the floor above. The vine curtain creates a veiled space that allows the occupants to meditate in peace.

2

A movement buffer in the form of stepping stones slows the users down as they cross the stream to enter the courtyard.

4 2

1

3 4

B1&B2

Carpark PLANS 1:400

G

LOBBY. RECEPTION

1

HALL/GALLERY. SEMINAR SUITES

2

RESTAURANT. BAR

3

HOT YOGA. INNER COURTYARD. MASSAGE

4

5 The office space is also designed to soothe the minds of office workers. Entering the office corridor, the employees are met with glass walls that reflect and promote self-awareness. To further tranquilize the employee’s mind, paths on gravel are put in place before a person ascends into a meeting room.

The design of the main office space is catered for the main user groups, the artists and the yoga people. Employees can work while having the opportunity to appreciate the indoor garden.

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4

6

The beds are designed to stimulate selfawareness as one steps up onto a wooden platform before climbing into bed.

Furthermore, hotel guests can enjoy the view of the courtyard, while having the curtains drawn to shut out the sight of a possibly messy room.

5

4

4

OFFICE. INFORMAL MEETING SPACE

Finally, for a motel guest or a tired worker, the bedroom suites are the perfect location to unwind after a busy day.

5-7

BEDROOMS

5

Ideation Biomimicry

In order to create a structure that could support human weight on water, the design process had to sought answers from Mother Nature.

The Victoria Amazonica is the world’s largest water lily. The water lily is able to support the weight of a small human on top of it.

By learning and understanding how water lily floats, the natural floatation mechanism was adopted into the design.

The buoyancy of the water lily comes from air pockets created by intercellular space between spongy parenchyma cells. To further enhance its buoyancy, a web-like structure interconnects the air bubbles.

H2O.Play

The sheetweb spider was another inspiration from nature that was adopted into the design. The web is spun by the spider over grass for support. By combining the two concepts from nature, an initial design sketch that would form the basis of the design could be created.

Precedent

The Net Blow-up Yokohama was several other projects by Numen/ For Use were used as precedents.

The use of a net system closely resembled that of the sheet-web

and therefore was chosen to be used as a design precedent.

Studio Air (Year Level 3) Individual work

CERES Community Environment Park

CERES Community Environmental Park is a place where people have a chance to learn about sustainability and engage with nature.

Chosen Site

Taking advantage of the communal density of CERES, the design is intended to be located relatively close to CERES. H2O.Play will participate as an ‘event’ alongside various events held as CERES.

Buildings & Roads

Greenery

H2O.Play is a design project that is aimed to bring the community of CERES closer to nature and have a direct interaction with the creek.

On the other hand, H2O.Play is a temporary installation that gives an opportunity for the local community to delight in an extraordinary experience — to walk, play, run, sit, jump on water.

The fantasy of playing on water will be realized and experimented upon in this studio with the help of parametric computation. The following pages in the portfolio showcases the design process from ideation, digital simulation to planning.

Greenery (Denser)

Merri Creek

Due to the nature of H2O.Play being an ‘event’, it will have to be a temporary installation. Therefore the design will rely on existing structural systems along Merri Creek for support.

CHOSEN SITE

CERES

The CERES Community Environmental Park is a ‘event’ alongside the various events held at CERES. social hub for the local community. People generally Therefore, the design needs be located within

The specific site was chosen due to its close walking distance from CERES as well as its positioning of trees that will be the structural support for the net.

The specific site was chosen due to its close distance from the park and also the existing trees at the area. My

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ion

Digital Model Simulation

Utilising the Rhino and Grasshopper engine, simulations between the interaction of the inflatable balls and the net membrane could be analysed. By anchoring the ends of the net to the location of the trees and by manipulating the position and sizes of the inflatable balls, the grasshopper engine enabled the continuous testing of the outcome of the simulation. Computation turned the design process into a cyclical process of producing various iterations.

The diagrams showcase the iteration that was selected as the finalised design for this studio. The sizing of the balls allow the topology of the net to be transformed into an interesting floating landscape above the water.

The computation approach also enabled the simulation of ‘events’ that would occur in the real world. Such events include the deflation of the inflatable balls as well as the live loads exerted on the system by people.

Another feature that was added to the system was the incorporation of ‘water balls’ that would counteract the anti-gravitational nature of the inflatable balls.

Inflation

Deflation

Water Balls

7

Section A-A 1:100

B

A

Engaging Nature

B

The inflatables supporting the net membrane are in spherical form in order to match a biophillic design.

The main aim of the design is to provide an escape from the hustle and bustle of everyday life.

Therefore, the biophillic form aims to soothe the tensioned mind.

A Section B-B 1:100

Also, the form of spherical balls allows people to relate to various ball objects found in the realm of play. Since the birth of a person, the ball object has always had an association to play. From the baby’s play ball to the Zorb Ball of New Zealand, the ball form has always been etched into the human sense of play.

Engaging Nature

The inflatables supporting the net membrane are in spherical form in order to match a biophillic design. The main aim of the design is to provide an escape from the hustle and bustle of everyday life. Therefore, the biophillic form aims to soothe the tensioned mind.

Plan 1: 200

Also, the form of spherical balls allows people to relate to various ball objects found in the realm of play. Since the birth of a person, the ball object has always had an association to play. From the baby’s play ball to the Zorb Ball of New Zealand, the ball form has always been etched into the human sense of play.

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Inflatable Sphere Prototype 1

Fabrication

Due to the limitations at the FabLab, digital fabrication of inflatable objects were not possible. Therefore, most of the fabrication process documented are done with hand.

However, computation was used to aid the fabrication process of the inflatables.

Inflatable objects that are created in a 3D software such as Rhino are usually very curvaceous and contain many doubly-curved surfaces. The doublycurved surfaces are hard to unroll directly on Rhino.

As mentioned in the previous page, the process of fabrication starts with meshing NURBS sphere made in Rhino then testing out the mesh configurations required to achieve a spherical shape when inflated.

2. Converted into mesh

1. Outlines of patches are traced onto plastic.

2. The plastic is cut with guidance of the tracing.

3. The edges of the plastic are connected by heat sealing.

4. The connections are taped to The main construction element of the net consists of weaving and ensure air-tightness.

The use of knots is excellent in this case because it allows Net 3. Inflation of mesh. Reset configuration of mesh if outcome not satisfactory.

1. NURBS sphere created in Rhino

In order to solve this problem the following steps can be undertaken with Grasshopper: 1. A curvaceous form (sphere) is be created in Rhino.

2. The NURBS object is translated into a mesh with a low polygon count with Grasshopper.

3. The low polycount mesh is then inflated in Grasshopper to check whether the mesh would achieve a similar form close to that of the original.

This process is a cyclical trial-and-error process and requires intuition on how the inflated mesh would turn out.

4. The objective is to be able to unroll the mesh with fewest patches possible while being able to achieve the original form once inflated.

The main construction element of the net consists of weaving and knots. In this prototype, the main net structure is taken from a fishing net and then weaved into the primary rope structure. The primary rope structure is then connected to the trees via knots.Fabrication:

for ease of erection and dismantling. The design is meant Prototype to be temporary and therefore the use of knots addresses these issues well. The use of knots also goes well with the biophillic theme of the design instead of using permanent Themetal use of knots is excellent in this case because it allows for ease The outcome of the inflatable is bolt connections. knots. In this prototype, the main net structure is taken from a fishing net and then weaved into the primary rope structure. The primary rope structure is then connected to the trees via knots.

of erection and dismantling. The design is meant to be temporary satisfactory. It gives a spherical and therefore the use of knots addresses these issues well. The use of inflated form. However, the knots also goes well with the biophillic theme of the design instead problems lie in the leakages. of using permanent metal bolt connections.

4. Unrolled surfaces are outlined and printed on paper to continue on fabrication process.

There were several weaknesses found in my first prototype. First of all, the connections (heat seal & tape) were not strong enough to withstand the pressure. A stronger connection would be needed.

Also, the majority of the leakages occur at the ‘capping’ of the ball.

This problem can be solved by minimising the surface of the capping and increasing the area of of the side strips.

Heaving Line Knot tied to tree for a strong connection.

Secondary rope to secure net to rope.

Primary Rope Net interwoven into primary rope.

Anchor into muddy soil for mandatory ground connections that allow people to access the net.

Outline of unrolled surface is traced onto vinyl plastic

Tabs are heat sealed with an iron

Areas that are hard to heat seal are closed with duck tape

The following photos show the physical simulation between the net and the inflatable sphere. In this case, a prefab inflatable ball is used due to its ability to resist tension from the net.

Final Outcome

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Meier Boathouse Studio Water (Year Level 2) Individual work

Learning from the Master- Richard Meier Studio Water focuses on understanding a Master Architect’s technique and incorporate it into the design. In the studio, Richard Meier’s technique and style was chosen to design this boathouse.

Meier always references from the site in order to generate the form of his architecture.

For example, Meier would draw from the surrounding urban fabric pattern and merge it with the landscape’s contours in order to generate a building’s plans. Next, Meier would simplify the referenced form into simple

rectilinear shapes. Therefore, the plans of the boathouse was generated with such a technique.

The form of the plan was generated by combining the famous Hoddle Grid with the Yarra River bends, particularly the river curve in which the original Studley Park Boathouse is located.

The rough form obtained is then simplified into rectilinear shapes in order to be used in the plan.

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Meier Meier Boathouse Boathouse

BOAT STORAGE BOAT STORAGE

B

B KIOSK

HIRE COUNTER

KIOSK HIRE COUNTER

by Ronald Wong

by Ronald Wong

B

BOAT WORKSHOP BOAT WORKSHOP

The Studley Park Boathouse is located at a very The Studley Park along Boathouse is located a very unique river bend the Yarra.

For at this very reaunique river bend along For this reason, I have decided to usethe theYarra. alignment of very the city son,and I have decided toshape use thetoalignment the city grids curved river obtain myofform. grids and curved river shape obtain my form.

Richard Meier draws from thetosurrounding urban Richard Meier draws from landscape the surrounding urban fabric as well as the natural in order to fabric ashis well as the natural landscape in order to generate form. generate his form.

A

A GROUND FLOOR PLAN

GROUND 1:100 FLOOR PLAN 1:100

Respecting the Yarra

The idea of my building focuses on the interstitial The idea of my building focuses on the interstitial space that navigates the user through the building. space that navigates the user through the building.

For this very reason, I have mainly focused my study For this very reason, I have mainly focused my study and precedented ideas from the House in Old Westand precedented ideas from the House in Old Westbury.

The house contains three different circulation bury. The house contains three different circulation patterns expepatternsininorder orderfor forthe theuser userto toexplore explore and and experience to my my riencethe theinternal internalspaces spacesdifferently. differently. Similiar Similiar to design, I want the users to be able to experiece the design, I want the users to be able to experiece the interior difinteriorspaces spacesasaswell wellasasthe theviews views to to the the Yarra Yarra differently. ferently.

Richard the RichardMeier Meierlikes likesframing framinghis hisviews. views. Therefore, Therefore, the design framed designofofthe theboathouse boathousefocuses focuseson on provided provided framed viewsforforthe theuser userespecially especiallythe thepeople people in the open views open cafe. airair cafe.

PLANS 1:300

SITE PLAN 1:500 1:500 SITE PLAN

Paying homage to the Yarra River due to the boathouse’s location, the interstitial space in between the two masses represents the Yarra River curve that gave rise to the initial plan form. In order to strengthen the representation of the concept, boats are hung in the interstitial space, as if people are looking at the bottom of the boat underwater.

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ws for the user especially the people in the open afe.

Image: cafe overlooking the riverbank

Image: restaurant. a more private dining space

Dining Along the Yarra The restaurant and cafe spaces are placed strategically in the programme so that these spots overlook the river. Paired with the hanging boats, the view of the river brings atmosphere to the dining places.

The restaurant is placed further back from the river in order to create a more secluded atmosphere. The restaurant is a more private dining area B-B therefore it is located at the top SECTION 1:100 most floor, away from distractions and noise pollution from the crowds along the riverbank.

SECTION A-A

SECTION B-B

1:100

1:100

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The Longing for Secrets Studio Earth (Year Level 2) Individual work

SECRETS

The theme for the brief in Studio Earth was secrets.

Therefore, the brief that was chosen for this project was the “Longing for Secrets.” A secret is most powerful when its existence is known but when it is still kept a secret.

The concept of this design was to create spaces that invokes a sense of curiosity but prohibits entry.

FORM & MATERIALITY

Concrete is a mass structure. It protects. It hides. It is timeless.

Concrete is used for the entire structure in order to tell users that there is ‘something’ inside the building.

Also the stacked architecture gives a feeling of existing corridors at different levels to travel to, to reach the end of a journey. In this case, the end of the journey is the revelation of a secret.

SITE Chosen site: Open field on Herring Island

In order for the secret to have maximum impact, its existence has to be known. Therefore, the site chosen is at an open field on Herring Island. The site is clear of trees, therefore it will serve as a blatant announcement for the architecture.

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the user. The stairs that lead up to p allows skylight to pour and onto ect of light onto the steps invokes ngingness. This is the climax for the be known.

LEVEL TWO LEVEL TWOLEVEL THE FORBIDDEN SECRET ABOVE THE FORBIDDEN SECRET ABOVE TWO

A that lead up to A Level Two is an area that cannot be accessed by the user. The stairs PLAN 1:100 PLAN 1:100 LEVEL TWO Level the area is disconnected. The opening on the top allows skylight to pour and ontoTwo is an area that cannot be accessed by the user. The stairs that lead up to PLAN 1:100 B B the area is disconnected. The opening on the top allows skylight to pour and onto the steps in which a person cannot reach. This effect of light onto the steps invokes A A A A B THE FORBIDDEN SECRET ABOVE the powerful anduser. brings thethat feeling longingness.

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The on the topthat allows skylight to pour and ontobe known. the area is disconnected.

TheTwo opening onthe the top allows skylight to pour and onto Level is an area that cannot be accessed byopening the user.

The stairs lead upato B of the architecture of secrets, a secret that never be known. in of which person cannot reach.

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Level Two is an area that cannot be accessed by the user. The stairs that lead up to PLAN BBY YOUTH THE FORBIDDEN SECRET ABOVE LEVEL1:100 TWO SECRETS UNLOCKED the area is disconnected. The opening on the top allows skylight to pour and onto A A PLAN 1:100 SECRETS UNLOCKED BY YOUTH B THE FORBIDDEN SECRET ABOVE Level Two is an area that cannot be accessed by the user. The stairs that lead up to the steps in which a person cannot reach. This effect of light onto the steps invokes A A SECRETS UNLO B THE FORBIDDEN SECRET ABOVE the area The opening on the top allows skylight to pour powerful emotions and brings out the feeling of longingness. This is the climax for the Level Twoisisdisconnected. an area that cannot be accessed by the user.

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Level Twoisisdisconnected. an area that cannot be accessed by the user.

The stairs thatand leadonto up to the area The opening on the top allows skylight to pour of the architecture of secrets, a secret that never be known.

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C

LEVEL TWO

LEVEL TWO LEVEL TWO LEVEL TWO

GROUND LEVEL

LEVEL LEVEL TWO TWO

GROUND LEVEL GROUND LEVEL GROUND LEVEL

LEVEL ONE PLAN 1:100

LEVEL ONE PLAN 1:100

LEVEL ONE PLAN 1:100 B

C

B

C

LEVEL ONE SECTION PLAN 1:100

A

A

PRECEDING EXPLORATION

A

PRECEDING

PLAN LEVEL1:100 ONE B PLAN 1:100 EXPLORATION B In the POINT/LINE/PLANE exercise in the

C

A

SECTION A-A A

B The idea of disconnected stairs was taken The falling light on the steps is inspired by from my previous design.

The art of incomearth studio, weThe explored the idea ofBthe Tadao Ando’s Church of Light. Also, inCthe In the POINT/LINE/PLANE exercise in the falling light on the A steps is inspired by AB plete architecture that separates the userthe idea of the architecture of Tadao ‘becoming’. the exerexercise on MASS, the ‘light space’, I used earth studio, we explored Ando’sInChurch of Light. Also, in the from the destination createsof a feeling of cise, the podium createon was created by space’, I used light interestingly. The beams of light were architecture ‘becoming’.

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A-A 1:100 planes towards to time capsule.

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Also, in the door’. planes towards to time capsule. This gives sign, using light as a personaliy to drive the hiearchy. from my previous design. The art of incomhiearchy.

SECTION A-Aan effect 1:100 architecture of ‘becoming’. In the exerexercise on MASS, the ‘light space’, I used the time capsule of greater feeling of longing.

The idea of disconnected stairs was taken In the POINT/LINE/PLANE exercise in the falling light on the steps is inspired by plete architecture that separates the user cise, the podium create was created by light interestingly.

The beams of light were hiearchy. fromcolumns my previous design. art of incomearth we explored the idea of the ao Ando’s Church of Light. Also, in the SECTION A-A 1:100 from the destination creates a feeling of studio, planes being extruded from the earth. This set next to mass of the space,The The idea of disconnected stairs was taken In the POINT/LINE/PLANE exercise in the falling light on the steps is inspired by SECTION B-B 1:100 plete architecture that separates the user architecture of ‘becoming’. In the exerrcise on MASS, the ‘light space’, I used SECTION B-Bof raising 1:100 idea giving light a ‘character’ of strength and from my previous design. The art of incomdesire and curiosity to reach the end of the earth studio, we explored the idea of the ao Ando’s Church of Light. Also, in the SECTION A-A 1:100 levels of earth is used in my from the destination creates a feeling of cise, podium create was created by interestingly. light were The ofindisconnected stairs was taken In the POINT/LINE/PLANE exercise in the et falling light onThe thebeams steps isofinspired by design of the gradual ascension the 1:100 support. I used thisidea idea my current deSECTIONofB-B plete architecture that separates the user architecture of ‘becoming’.

In the exerrcise on MASS, the ‘light space’, I used the journey, in which in this case is the find desire and curiosity to reach the end of planes being extruded from the earth.

This nextAndo’s to massChurch columns the Also, space, from my previous design.

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This gives n, using light as a personaliy to drive the hiearchy. out the secret at the endarchitecture of thestudio, ‘corri-of design of the gradual ascension of pport. I used this idea in my current deplete architecture that separates the user from my previous design.

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Also, Iinused the the time capsule an effect of greater ing of longing. door’. planes towards to time capsule.

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The beams of light were architecture of ‘becoming’.

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The beams of light were hiearchy.

SECTION B-B 1:100 the journey, in whichtoinreach this case is theof find desire and curiosity the end idea of raising levels of earth is used in my giving light a ‘character’ strength and planes being extruded from the earth.

This set next to mass columns of the space, SECTION B-B 1:100 SECTION 1:100 out the secret the end the ‘corrithe journey, in at which inC-C thisofcase is the find design the gradual of the support.

I used this idea inof my currentand deidea ofof raising levels ofascension earth is used in my SECTION C-C 1:100 giving light a ‘character’ strength SECTION B-B 1:100 door’. out the secret at the end of the ‘corriplanes towards to timeascension capsule. This gives sign, using light this as aidea personaliy to drivedethe design of the gradual of the support.

I used in my current SECTION C-C 1:100 door’. the time capsuletoan effect of greater feeling of longing.

SECTION B-B 1:100 planes towards time capsule.

This gives sign, using light as a personaliy to drive the hiearchy. the time capsule an effect of greater feeling of longing. hiearchy.

PRECEDING EXPLORATION N EDING EXPLORATION

THE FORBIDDEN SECRET ABOVE

PRECEDING EXPLORATION

Level Two is an area that cannot be accessed by the user.

The stairs that lead up to the area is disconnected. The opening on the top allows skylight to pour and onto the steps in which a person cannot reach.PRECEDING This effect EXPLORATION of light PRECEDING EXPLORATION onto the steps invokes powerful emotions and brings out the feeling of longing-ness. This is the climax of the architecture of secrets, a secret that never be known.

LEVEL ONE SECTION B-B 1:100 PLAN 1:100 SECTION B-B 1:100

SECTION C-C

1:100

LEVEL ONE LEVEL ONELEVEL ONE THE TIME CAPSULE

1:100

SECTION C-C

1:100

SECTION C-C

1:100

ime capsule is a message to be e generation. The entire body tect it against the test of time. rial of the concrete structure. The s light to filter through brings out of the time capsule can be seen mpse of the silhoulette of the time

C

C

1:100

B

Level 1

SECTION A-A SECTION C-C 1:100 SECTION A-A

1:100 1:100

SECTION B-B

1:100

SECTION C-C

1:100

PREVIOUS EXPLORATION PREVIOUS EXPLORATION Concrete is a mass struct PREVIOUS EXPLORATION

PREVIOUS EXPLORATION

It hides. It is timeless.

LEVEL ONE

THE TIME CAPSULE

1:100 1:100

SECTION C-C

Concrete is used for the e ture in order to tell users th ‘something’ inside the bu stacked architecture give existing corridoors at diffe travel to, to reach the en In this case, the end of th revelation of a secret.

1:100

Level G

The time capsule is put on display on level 1. The time capsule is a message to be C-C 1:100 GROUND SECTION LEVEL The time capsule is put on display on level 1.PLAN The time capsule is a1:100 message to be opened in 200 years time, a message for the future generation. The entire body B SECTION C-C 1:100 opened in 200 years time, a message for the future generation.

The entire body of the time capsule is cast in black marble, to protect it against the test of time.

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GROUND C LEVEL PLAN 1:100

LEVEL ONE

B

ate their ownallows illusion of the existence of afor secret behindsize the unreacheable space. The time capsule is merely a gimmick. It is the ‘secret’ at the end of its corridoor.

The concealed space has a small door that only human beings smaller B This The time capsule is merely a gimmick.

It is the at the of itsof corridoor.

A makes the user think that more secretes will be‘secret’ contained atAend the end the corri-This makes the user think that more secretes will be contained at the end of the corrito pass through. The secrets contained inside the space are only known to kids. The doors at the ground level and level 2. The time capsule is a tool for the user to crecret’ at the end of its corridoor. This doors at the level 2.of The time capsule a tool for the user space. to create their ownground illusion level of theand existence a secret behindisthe unreacheable space has a sky light that luminates the entrance of the space.

This can be seen as an ate their own illusion of the existence of a secret behind the unreacheable space. ntained at the end of the corriinvitation welcoming gesture to enter the space. The light also gives security for apsule is a toolor forathe user to creSite section at 1:500 behind the unreacheable the parents to let theirspace. kids wander into the space.

B C

AC

C B 1:100 B SECTION B-B 1:100 SECTION A-A SECTION 1:1001:100 SECTION B-B C-C 1:100 SECTION B-B SECTION A-A

1:100 SECTION A-A

1:100

B

C

C C

SEC

B SECTION B-B UNDERGROUND 1:100 MAZE In previous developments I created an undeergroun A could let peopleAwander underground maze had s were tight and narrow tha kids to pass through certa SE SECTION A-A 1:100 C C

1:100

SECTION C-C SECTION C-C

A

A

LEVEL LEVEL ONE ONE

SECRETS UNLOCKED BY YOUTH Level G

B A

THE TIME CAPSULE

LEVEL ONE LEVEL ONE LEVEL ONE

1:100 C

The exterior architecture of the building h cealed space has a small thatarchi only Thedoor exterior A A pass through. The secrets contained cealed spaceinsid ha SECTION A-A 1:100 The idea of disconnected stairs was taken pass through. The LEVEL ONE from my previous design. The art of incomSECTION A-A that 1:100 space has a skythe light luminates LEVELThe ONE exterior architecture C user The PLAN 1:100 of thethat building hides a space under earth.

The cot plete architecture separates the C PLAN 1:100 as an invitation or a welcoming gesture The space has a ts the destination creates a feeling of C cealed space has afrom small door that only allows human beings for smaller size oto rity for the parents to letas their kids wande an invitation B B desire and curiosity to reach the end of the journey, in which in this case is the find pass through. The Bsecrets contained inside the space are only known to kids.

B ritythe forbuilding the parent hid out the secret at the end of the ‘corri- The exterior architecture of door’. cealed space has a smallofdoor that onlyhid al The exterior architecture the building A A A A light that luminates the pass through. secrets contained inside The space has a sky entrance ofThe the This can be cealed space has a space. smallof door that only al The exterior architecture the building hid pass through.

The contained inside cealed space hassecrets aThe small dooralso that gives only a asdisconnected an or a welcoming gesture to enter the space. light TheSECTION idea of stairs was taken B-B invitation 1:100 The space has The a sky light that luminates the from my previous design. The C art of incomSECTION A-A 1:100 pass through. secrets contained SECTION B-B 1:100 inside rity forthat the the space. plete architecture separates the userto let their kids wander into Cparents as invitation a welcoming gesture to Thean space has aorsky light that luminates thee from the destination creates a feeling of rity for the parents let their wander ine as an invitation orsky atowelcoming gesture to desire and curiosity to reach the end of The space has a light thatkids luminates the the journey, in which in this case is the find EXPLORATION rity for invitation the parents let their kidsgesture wandertoin asPREVIOUS an or to a welcoming out the secret at the end of the ‘corriPREVIOUS EXPLi rity for the parents to let their kids wander door’.

SECTION B-B SECTION B-B SECTION C-C

B

B-B PLANSECTION 1:100 1:100

A

C

The falling light on the steps is inspired by Tadao Ando’s Church of Light. Learning from Ando, light is used in the design as a personality to drive the feeling of longing.

LEVEL ONE THE TIME CAPSULE

1:100

A

B B-B SECTION

C

SECTION B-B

Level 2

A

C B

C

SECTION A-AB-B1:100 SECTION 1:100 SECTION A-A 1:100

B

A

C

C

1:100 B

A LEVEL ONE PLAN LEVEL 1:100 ONE

C

B

B

A

B

B-B

BC

B

B

Level 2

GROUND LEVEL GROUN

1:100

1:100

14

Other Works

Facade detail

Roof detail

Foundation

Concrete Panel Connection

House in Pound Ridge Model

Printmaking Work

Construction Design

Assignment to build a physical model of an architect’s building. The model was to be built without the aid of digital fabrication tools. The model above showcases Richard Meier’s House in Pound Ridge. The model was selected for exhibition.

The overarching theme for the collection of prints above is “Wolves”. The works above are done throughout the printmaking winter intensive.

Assignment to build a detailed construction model with the construction drawings are guidelines. The photos above shows the degree of detail that went into creating the model.

Studio Water (Year Level 2) Pair work

Breadth Subject Individual work

Year Level 3 Pair work

15