Ean's Portfolio
Contents
http://issuu.com/yeeann
Profile
Pg 5
Curriculum Vitae
Pg 6-7
Studio Air
pg 8-11
Carbon Neutral Star-Gazing Platform: The Infinity Platform, 2014
Studio Earth Studio Water
E.A.N ELoquent Accurate Ardor Novel
Monument at Herring Island: Changing Perspectives, 2014
Boathouse at Studley Park : Reflections, 2013
Virtual Environments Construction Design Site Tectonics
Lantern: Natural Interference, 2013
McBride Charles Ryan Architects Pentleigh & Essendon Grammar School, 2014
Relocation of the Farnsworth House at Maribrynong River: Caldera, 2014
Other School Projects
Hobby Since 4 years old
Hobbies: Photography and Traveling My Logo highlights my Goals as a Designer . I seek to become a passionate and eloquent designer That creates novel designs that are appropriately resolved for construction.
2
Screen Design
Pg 14-15
Pg 16-17
Pg 18-19
Pg 20-21
Pg 22-23
Collages and Illustration
Hobbies: Sketching and Painting
Pg 12-13
http://instagram.com/tanyeeann
Screen Design druing my internship at Capstone Alumnium
Pg 24-25
Pg 26-27
Pg 28-29
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Yee Ann (Ean), Tan http://issuu.com/yeeann
About Me My interest in architecture developed from
I was given the opportunity to learn and
my initial love for drawing and painting. In
hone my digital rendering skills (eg. Learning
addition, I have always had a passion for
Software such as Rhino, Illustrator, Indesign
the Sciences and curiosity about how things
Vray plugin and Photoshop), allowing me
worked. Therefore, it was natural that I was
to pursue my dreams. The course fanned my
drawn to architecture which satisfies both
interest for the arts and design, deepening my
my passion for aesthetics and my scientific
understanding of architecture.
nature. I hope to keep learning and developing my Initially I was unable to design using the
skills in digital presentation to become a
computer and most of my designs were hand
competent architect.
My goal is to design spaces that are functional
drawn. However, through my course of study in
with well resolved details to ensure the users’
the University of Melbourne,
comfort over the lifetime of the construction.
Sketching Hand Models
I personally believe that Form should never
Laser Cutting
compromise Function.
Card Cutter
Proficiencies 3D Printing Microsoft MicrosoftOffice Office
Sketching Sketching
InDesign InDesign
Hand HandModels Models
Photoshop Photoshop
Laser LaserCutting Cutting
Illustrator Illustrator
Card Card Cutter Cutter
Rhinoceros5.0 5.0 Rhinoceros
3D 3DPrinting Printing
Autocad Autocad Grasshopper Grasshopper
Microsoft Office
3D Max Max 3D
InDesign
Revit
Photoshop
Google Sketchup More about Me:
Illustrator Rhinoceros 5.0
Autocad Facebook: https://www.facebook.com/tanyeeann/media_set?set=a.125842878401.105944.635078401&type=3
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Issuu: http://issuu.com/yeeann
Grasshopper
Instagram: https://instagram.com/tanyeeann/
3D Max
Vsco: http://tanyeeann.vsco.co/journal/p/1
Revit Google Sketchup
5
Curriculum Vitae http://issuu.com/yeeann
Education
Work Experience
Referee
2012-2015
2009-10 (Nov- Feb)
Bachelor of Environments (Major:
Capstone Aluminum ,Malaysia
Capstone Aluminum ,Malaysia
Doro Retail ,Singapore
Doro
Architecture) , University of Melbourne
Quality Control Assistant:
Mr Tan Hua Tian : 017-7968586
Promoter:
Meryl: +65 96602981
I assisted in the quality control and
Riady: 010-7103173
I Learned more about Men’s high fashion.
Referee 2014 (December Sales)
Jan-Feb 2014
conducted various quality control checks
Working at Tangs Orchard gave me the
Winter Exchange Program, Stuttgart
on the aluminum extrusion. In addition, I also
opportunity to speak to people of different
University
dabbled in Stock taking and the Checking
walks of life. It also taught me how to best
During the exchange I learnt about
of Quantity for Production. During my time
present my product to customers. This skill
20th Century Architecture and had the
there I oversaw the construction process
is something that could be applied to
opportunity to visit some of them. In addition,
of Curtain wall project for Singapore’s Park
presenting my design to clients, Hence I am
I am blessed to have had the opportunity
Hotel and Australia’s Macquaire Library and
very glad that I have got the chance to
to travel around Europe and experience
Medical Center
work there.
different cultures in breadth. Furthermore, I manged to learn basic German, so that I am
2012 (Jan-May)
able speak and understand German at a
D’Collage Art School ,Singapore
D’Collage Art School ,Singapore
Capstone Aluminum ,Singapore &
Capstone Aluminum Singapore
rudimentary level.
Art Teacher:
Mrs Suzanne : +65 96352468
Malaysia
Mr Tan Hua Joo : +65 96750752
2014-5 (Dec-Feb)
I taught art to Primary School Children.
Building Facade Designer’s Assistant/ Third
2010-2012
Through the experience I learnt how to deal
Party Quality Control Personnel for IGLU
Singapore Armed Forces
with children as well as had the chance to
Project in Brisbane:
During my service term I was given the
explore some new painting/drawing mediums
opportunity to hold a leadership position, as
that I did not frequently use.
Working in the Singapore branch, I had
a Sergeant. From the experience I learnt how to lead men for missions and duties.
the opportunity to understand the process 2012-2013 (Nov-Jan)
of getting BCA (Singapore) approval
Minesco ,Melbourne
Minesco ,Melbourne
for curtain wall details, where I played
2008-2009
Quantity Surveyor Assistant:
Eunice : +61 458972859
a part in amending Shop Drawings and
Catholic Junior College
I was assigned the role of stock taking and
Jessica: +61 433656720
Panel Drawings for the Facade company
While studying for my A Levels, I took part
inspection of glazing panels for the compa-
Capstone. In addition I learned different
in various co-curriculum activities such as
ny’s projects. Through the inspection process
components and features of windows and
Canoeing, Overseas Community Involvement
(of ensuring precision of panel dimensions)
the Curtain wall Unitized Panels.
Projects and developed my personal
, I was exposed to architecture, shop and
hobby of sketching and painting. I was also
fabrication drawings. During the internship I
I also visited the branch in Malaysia ,where
awarded the National Youth Achievement
facilitated in various projects namely, Upper
I was antiquated with several key personnels
Award (Gold) by the President of Singapore
West side Podium and the Prima Pearl Tower,
in the glazing and curtain wall testing. I was
in 2009.
in Melbourne.
fortunate to get first hand dialogue with
2003-2007
2014 (June)
Anglo Chinese School (Barker Road)
Janho ,Brisbane
Janho ,Brisbane
Intern facilitating an Engineer Designing
Allan: +61 426200210
structural details:
nx2005ky@163.com
Aluminum Power Coating Company (iCoat) in Malaysia and a Precasting Company (Coninco). During my time there I have had the
During my internship, I had the chance to
opportunity to design a privacy screen for a
learn more about fabrication and basic
client of Capstone Aluminum.
shop drawings, over the duration I oversaw the commencement of Queensland Childrens Hospital.
6
7
Studio Air
Pilgrimage
Infinity Platform
Figure 55: Mapping out where the pods would orient towards.
A P B L 3 0 0 4 8 / 2 0 15
@ Sonder Hoved Pier
Towers
Sanctum
TREE detail
,QĂ€ QLW\ 3ODWIRUP
n Figure 5: Solar Anaysis of the model to identify the ideal panels to mount the solar panels on. Figure 1: Infinity Platform
7KH ,QĂ€ QLW\ 3ODWIRUP
Figure 6: Shows the orientation points in which the pods are directed to. These oriented views could be utilised to frame constalations
Design Concept: My design concept is “To Humble Users in face of the Vast Space & Cosmos invoking a
Figure 55: Mapping out where the pods would orient towards.
sense of profoundness.�
“The most important scientific revolutions all include, as their only common feature, the dethronement of human arrogance from one pedestal after another of previous convictions about our centrality in the Algorithmic Process cosmos.� Stephen Jay Gould
302.
47
79
Figure 4: Infinity Platform Perspective Section revaling the Conceptual possiblities of the space
Figure 56: James Turrell’s Dividing the Light installation 8 Se
cti
Figure 81: Perspective cut of Section AA Mega Tree and the lift that is within the Mega Tree
on
AA
179.71
Figure 2: Infinity Platform Plan
This diagram shows the Proposed spatial breakdown of the Mega Tree. The circulation of the structure does not follow the pod’s surface but through the internal platforms. The intersection of the pods and the platform at different angles creates unique passageway to the Pods which frames the constellations.
n
Figure 57: View out of the Ursa Major Constellation pod 30.05
Carbon Neutral Star Gazing Platform: The Infinity Platform
Iterations Generated for the Branching of the Pod units Figure 7: The spatial experience that users would have in the pods
Process Figure 58:Algorithmic Section cut of a constellation viewing pod
James Turrell Inspired Pod Orientation Concept
104.6
10
1
3
10.38
James Turrell’s spatial designs, where he
To access the Mega Tree Users can access from
Figure 82: Plan annotating the circulation access
50.00
Hoved Pier at Copenhagen Harbor, Refshaleøen.
The Infinity Platform Project is based on the SCALE 0
50
100
This Star Gazing Mega structure seeks to :
2014 LAGI Competition Brief. To fullfil the brief
100
METERS
Figure 3: Infinity Platform Section
0
"T NFOUJPOFE CSJFn Z QSFWJPVTMZ TQFDJm FE QPET XPVME GBDFT UIF constellations while others would be oriented as windows or as openings to views.
63.90
2. The ramp to the access corridor and to the lift.
18
The opening of the Decahedron would be orient towards constellations. Drawing inspiration from James Turrell’s architecture designs, which frames parts of the sky.8
inspiration from (Figure 9).
1. The Ground Floor through the central axis to the doors that open The Platform is Situated at Sonder up to theInfinity lift.
N
framed views was a precedent that I drew
100
200
400
FEET
1. Generate Clean Solar Energy
C-21
Figure 55: Mapping out where the pods would orient towards.
requirements and to fullfil my design intent. Figure 8 (above): Design iterations for the Mega treee structure Figure 9 (Left) : James Turrell’s Dividing Light Installation
2. Become Copenhagen’s New Iconic
Utilising Grasshopper I generated design
Public Space.
iterations and selected the design that
3. Attract Visitors to faciliate both the Old
responded to the solar conditions to gener-
The images above showcases the Iterations of
(flea market) and New (Tourist attraction)
ate solar energy, to fulfill the brief.
structure. The chosen orientation and design
Figure 43-54 : Mega tree pod branching iterations
the different branching designs of the Mega Tree JT JOnVFODFE CZ UIF PSJFOUBUJPO PG UIF PQFOJOH The opening would direct the users to either
8
programs of the site.
constalations, views of the city or parts of the Figure 56: James Turrell’s Dividing the Light structure. installation 8
Figure 57: View out of the Ursa Major Constellation pod
9
Figure 58: Section cut of a constellation viewing pod
Pilgrimage
Infinity Platform
Studio Air A P B L 3 0 0 4 8 / 2 0 15
@ Sonder Hoved Pier
Sanctum Towers
Construction Detail I generated several construction detail proposals for the Star gazing Pods. Details 1-3 have a different jointing system and asthetic quality. I tested these designs by prototyping them with a 3D print model to understand the joint systems. Ideally, I would have had the parts fabricated in a factory
Prototype Design 1
Prototype Design 1
and tested to ensure the compliance with
the structural requirments. The decision Detail to use
1Detail 1
cirular hollow sections and circular joint pipes is because they are readily available in the market. Figure 11: 3D print of the Chosen construction joint (Detail 1)
Figure 17: 3D print of the Model on site
Figure 18: Card model of the Mega tree structure to provide a greater resolution to the strucural form of the design.
With the 3D printed details I was able to identify issues that the joints had and resolve them.
Figure 111: Detail 1 Circular Joint pipes11
Figure 111: Detail 1 Circular Joint pipes11
Detail 1 Components
2 gn Prot esiotype Design 2 D pe toty Detail 2 Pro 2 tail De Figure 109: Detail 1
Detail 1 Components
Prototype Design 3 Prototype Design 3 Detail 3Prototype Design 3 Detail 3 ents
pon
om
2C
es ns r t pip ctio t fo join ow se a slo lar h ll ircu r ho s wit 1. C ircula ring . C riable 2 Figure 110: Detail 1 components a . l 3. V pane anels the etal p Figure 110: Detail 1 components 4. M tail
De
1. Circular joint pipes 2. Circular hollow1.sections Circular joint pipes 3. Metal panels. 2. Circular hollow sections
3. Metal panels.
Detail 3
Figure 19: Entrance to the Infinity Platform at Sonder Hoved Pier.
Prototype Design 3 Figure 12: Diagram of the Chosen construction joint (Detail 1) Detail 3
Figure 109: Detail 1
Fig
e ur
Fig
ure
11
2:
De
11
2:
De
ta
il 2
ta
il 2
Detail 2 Components 1. Circular joint pipes 2. Circular hollow sections 3. Variable rings with a slot for the panel 4. Metal panels.
C-
33
Figure 116: Bolt on metal plate Fig
Fig
ure
11
3:
e ur
De
ta
il 2
11
co
Detail 3 Components
il 2
eta
:D
113
1. Angled joints 2. Steel plates where Bolts will be attached to. 3. Metal panels.
ents
co
on mp
m
De
C-
33
ta
po
il 2
ne
co
nts
m
po
ne
nts
Figure 114: Detail 3
Figure 115: Detail 3
Figure 114: Detail 3
C-32
Figure 112: Detail 2
ure
Fig
tail
11
e 2: D
s
Figure 113: Detail 2 component
Figure 114: Detail 3
joints Detail1.3Angled Components
2. Steel plates where Bolts
be attached to. Detail will 3 Components 1. Angled joints 3. Metal panels. Steel plates 1.2.Angled joints where Bolts will be attached to. Bolts 2. Steel plates where 3. Metal panels. will be attached to.
3. Metal panels.
Figure 115: Detail 3
2
Figure 115: Detail 3
Figure 114: Detail 3
2 n ign 2 esig e Des yp D ot e ot yp 2 Pr ot il ot ta 2 Pr Detail De
3:
ure
C-32
Figure 116: Bolt on metal plate 12
Detail 3 Components
Fig
12
Figure 116: Bolt on metal plate 12 Figure 116: Bolt on metal plate 12
Figure 115: Detail 3
3
C-3
p s io m ent ipe ect slo a r Co n t p s 2 po join esow iownitsh t fo il m ll t ta Co lar t phipo segcs a slo Deil 2 cujoinlar owrin ith ta Cir rircuhollblegs w ls. De r riarin el 1.culaCla ne Cir 2.cu Vale an pa. 1. Cir 3r.iab pl talels 2. Va thaene Mpean 3. e p 4t.al th Me 4. on
s
en
ts
ns t fo
r
C-34
10
C-33
Figure 13&14: 3D print & diagram of the Detail 2 construction joint
Figure 15 &16 : 3D print & diagram of Detail 3 C-34 construction joint
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Interference Interference
Interference Interference Scale 1:100
ChanGing Studio Earth PersP ectives
The Space at the basement level where the time capsule is located
A P B L 2 0 0 2 7 / 2 014
Scale 1:100
@ herring island
Scale 1:100
The Space at the basement level where the time capsule is located
Pilgrimage
Infinity Platform
the view faeen creates ctions. n relate to as
Chan Ging Pers Pectives
Scale 1:100
In this section the concrete slab acts as a screen which blocks the view facilitating the concept of changing one’s perspective. The Screen creates differential visual out-come when looked at from differing directions. The concrete planes also creates a space where children can relate to as a place to hide and conceal through play.
Towers
Sanctum
Figure 23: Perspective view of the 1:100 Design Model
Ground Floor Plan
Scale 1:100
Figure 24: Plan of the Design Model with an exposed roof
Figure 25: Interior view of the Design Model
My design communes with the site’s
My Design Model (Figure 23-25) showcases
topography and seeks to evoke an
both the exterior and interior components.
understanding of the revealing nature of a
(Figure 26-27) shows the choice of materials
‘secret’ .
and the visual outlook of the design.
Scale 1:100
1
2
Figure 20: ‘Changing Perspectives’ Rendered on the Site. 3 7
7 4
Changing Perspectives
1
2
3 7 4
Scale 1:100 Section 2
Section 1
“ There are things known and there are things unknown, and in between are doors of perception.” Aldous Huxley In this assignment I was tasked to design a
6
Section 2
Section 1
6
5
6 5
6
3
Section 2 2 1
place of secrets. exploration ofModel 1:100 Basement levelThrough -not tothe scale both the site and the defintion of secrets, I decided to situate my designed space in the most exclusive spot of Herring Island.
Figure 21: Changing Perspective Plan
Figure 26: Interior space of the Model and how it interacts with sunlight.
The Space at the where the Plan time capsule is located Figure 22:basement Changinglevel Perspective
locks the view fae Screen creates g directions.
12
Figure 27: Digital render of the interior space
Scale 1:100
13
rreflections rreflections rreflections
Studio Water A P B L 2 0 0 2 8 / 2 014
@ Studley Park
Interference Interference
Chan Ging Pers Pectives
Emerging past the curved facade to see the 2 passage ways.
Jetty
Infinity Platform
Section B nce ntra ry E
a
Prim
32
Interference Interference
ChanGing PersP ectives Yarra Bend River
31
Pilgrimage
Entering the building and out into an enclosed ramp towards the Restaurant.
33
34
35
36
37
Section A
ry ce
n tra En
‘ Reflections’ is situated along the picturesque Yarra Bend River. The site is surrounded by a 360 degrees of lush greenery. To the north it overlooks the meander of the river. To the south is Studely Park Road that overlooks the site on a cliff. To the East lies the Yarra Bend River Park where which attracts picnicking and jogging. To the West, is the continuation of the cliff that oversee south of the site.
From Studley Park Road
Design Agenda: To design a boat house that allows various users to Reflect, relax and rest.
Figure 28: ‘Reflections’ Rendered into the site, Studley Park
Design Concept: Reflections - The physical reflection of the constructed elements - The mental reflective state of mind induced through the spatial experience.
Reflections
Section B
7
4
Sanctum Design Concept map
Section B
“To create architecture is to put in order. Put what in order? Function and objects.” Le Corbusier 7
6
27
7 3
8
8
5
9
9
20
21
9 11
22
In this Module, students tasked ways. analyse Walking straight moving along the curve of the kiosk and boat storage. Emerging past the curved facade to see were the 2 passage The view when emerging out of the vestibule towards the ramp and toilets. Entering the building and out into an enclosed ramp towards the Restaurant. 10 25
16
10 Section A 12
11
13
8 23
10
1
14
26
5
15
19
8
2
Towers
da
n co
Se
3D Perspective of ‘Reflections’ Car Park Space
1. Boat-storage 2. Kiosk 3. Kiosk staff entrance 4. Entrance to Restaurant 5. Ramp to Restaurant 6. Kitchen 7. Refrigerator/ Cold storage 8. Dump waiter 9. Dry Storage 10. Kitchen Staff Locker space/ Kitchen entrance 11. Male Toilet 12. Female Toilet 13. Ramp to 1F 14. ‘Courtyard’ open space
a Master Achitect’s styles and adapt their
24
18
Section A
17
designing principles to recreate an orignial 11
13
design. ‘Reflections’ is inspired by the Master
15. Balcony 16. Office 17. Toilet 18. Ramp to Rooftop Garden 19. Cafe 20. Cafe Counter. 21. Cafe Storage 22. Restaurant 23. Waiting area 24. Vestibule to the toilet 25. Toilet 26. Bar 27. Spiral stairs to loft of the Restaurant
Architect, Le Corbusier. Le Corbusier is a Figure 29: Plan of ‘Reflections’
Rationalist and designs space that are functional. ‘Reflections’ is Situated along the Yarra River at Studley Park. The form of the structure is
The loft: A Private space within the Restaurant.
Restaurant. The curvature and the sky-lighting facilitates the movement to the seats
Figure 31-33: Model of ‘Reflections’ showing (31-32) the structure/form and (33) the boat shed.
both an literal and methaporical reflection of
ramp.
Figure 34-37 : Digital renders of the (34)vestibule, (35)outdoor space at the back ,(36)the Restaurant and (37)the loft in the Restaurant.
the River Bend. Figure 30: Section AA of ‘Reflections’
In this Design, I employed Le Corbusier’s 5 Ramp for canoes to enter the Jetty.
Points of architecture and his philosphy of
14
Kitchen: Linear layout of the kitchen equipment.
Restaurant. The curvature and the sky-lighting facilitates the movement to the seats
Rationalism. Walking straight moving along the curve of the kiosk and boat storage.
The loft: A Private space within the Restaurant.
15 The view when emerging out of the vestibule towards the ramp and toilets.
Learning points pointsfrom fromprototypes prototypes ointsLearning from prototypes
Virtural Environments
rreflections rreflections rreflections Interference Interference
Interference Interference
Prototype 3 (Fusion of 2D and 3D panels on outerskin) Prototype 1 (2 Skin Concept) Prototype 2 (2 Skin Concept) Prototype 3 (Fusion of 2D and 3D panels on outerskin) Prototype 1 (2 Skin Concept) Prototype 2 (2 Skin Concept) Prototype 3 (Fusion of 2D and 3D panels on outerskin) Concept) Prototype 2 (2 Skin Concept) A P B L 1 0 0 0 8 / 2 0 13 Paper Lantern
ChanGing PersP ectives
Chan Ging Part 1 Pers Pectives Assembly drawing Assembly Drawing
Part 4
Part 4
Part 1
Pilgrimage Infinity 5. The use of dashed lines to facilitate the 1. To decrease the offset as the structure was 3. Success in the 3D panel by 5. creating the dashed varied lines 5. The use of dashed lines to facilitate the The use to facilitate 1.the To decrease the offset as the structureinwas 3. by Success in the 3D panel by creating theofvaried offset as structure was 3. Success the 3D panel creating the varied constructionthe process. The dashed lines created a over exposed offset with point attractor creating the core and construction process. Theadashed lines created a Platform construction The unique dashedand linesdesirable created over exposed offset with the point attractor creating the core process. and offset with point attractor creating core and effect in periphery effect in both the lantern and the Part 4
Part 4
unique unique and in and desirable effect in periphery in both the lantern and thedesirable effect periphery effect in both the lanterneffect and the 2. To invert tabs and increase the length of tabs shadows casted. This is based on the Complex 2 1. Accentuating the form ofPartthe lantern increase length tabs casted. on the Complex 2. Tothe invert tabsofand increaseshadows the length of tabsThis is based shadows casted. This is based on the Complex 1. Accentuating the form of the lanternthe form of the lantern 1. Accentuating in order to attach the inner skin to the outer skin core theme from the recipe. e innerinskin to the outer skin core theme from order to attach the inner skin to the outer skinthe recipe. core theme from the recipe. 5HÁHFW WKH FRQFHSW RI FRUH DQG 5HÁHFW WKH FRQFHSW RI FRUH DQG 3 4. The inner layer was not evident 5HÁHFW WKH FRQFHSW RI FRUH DQG when the periphery with the glowing lines enclosing Part the 4. The inner layer was not4.evident when The inner layerthe was not evident periphery when the with the glowing lines enclosing the periphery with the glowing lines enclosing the Part 2 3D layer was above it. Hence lead to the form. Partmain 2 3D layer was above it. Hence lead to above the 3D layer was it. Hence lead to the main form. main form. conceptualizing of the central core concept. conceptualizing of the central core concept. conceptualizing of the central core concept. Figure 37: ‘Interference’ outer skin 6. The lighting effect clearly brings out the theme 6. The lighting effect clearly brings outeffect the theme 6. The lighting clearly brings outfragments the theme of complex core where the light of complex core whereofthe light fragments complex as core where lightaway. fragments disperse they are the further disperse as they are further away. disperse as they are further away. Part 2
Sanctum Towers
Part 3
e Tan Y 8 57360 5 3) p Grou ter (1/201 s Seme
This subject is aimed to help First Year
Through the exploration of the Leaf veins
students develop computation This materials. as my precedent, Testing of literacy. different ThisI derived a pattern and g of different materials. This Testing of different materials. courseas requires students to fabricate a paper incorporated itThis into my paper lantern. ot desired it did not allow was not desired as it did not allow was not desired as it did not allow ght to pass through. Hence any light to pass through. Hence lantern. This assignment advises students to The interplay between the 2- and any to pass through. nting any shadows to belight any preventing shadows to Hence be use biomimicry to design. 3-dimensional representations of the pattern preventing any shadows to be d casted casted led to my concept of interference.
on Module 3: Fabrication Module 3: Fabrication
Part 3
Construction Order:
Construction order:
1. Part 1 (Inner Core) 1. Part 1 (inner core) 2. Part 2 2. Part 2 3. Part 3 3. Part 3 (not closing the structure 4. Part 4 4. Part 4
7. The use ofand different panel types (2D and 3D) 7. The use of different panel types (2D 3D) 7. The use of different panel typeslayers. (2D and 3D) to distinguish the 3 separate to distinguish the 3 separate layers. to distinguish the 3 separate layers.
n)
Figure 38-40: ‘Interference’ outer skin components
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Part 3
The to use black and Ivory card to further 8. The use black and Ivory8.card further 8. The use black andwith Ivory card to further layers distinguish layers with the distinguish lighting effect with thethe lighting effect with the 0RGXOH 5HÁHFWLRQ distinguish layers with the lighting with the glowing the ends whereeffect ivory card is used. glowing on the 5HÁHFWLRQV 2 ends where ivory on card is 2used. Figure 41: ‘Interference’ Assembly Drawing 5HÁHFWLRQV glowing on the 2 ends where ivory card is used. Interference 0\ ÀQDO ODQWHUQ IXOÀOV WKH GLIIHUHQW DVSHFWV RI P\ UHFLSH 9. the However there is a lost of the0\ ÀQDO ODQWHUQ IXOÀOV WKH GLIIHUHQW DVSHFWV RI P\ UHFLSH core 9. However there is Unit a lost of complex core 1. Base 1. complex Base Unit -Using the pentagonal base pattern as the panelisoption 9. However there a lost of the complex core -Using the pentagonal basea pattern as the panel option concept in the form hence decided make ahence concept in to the to “Inform all chaos theredecided is a cosmos, in make alla concept in the form hence decided to make 2. Repetition FHQWUDO FRUH IRU WKH ÀQDO PRGHO FHQWUDO FRUH IRU WKH ÀQDO PRGHO 2. Repetition -3 layers distinguished with 1. the type of surfacedisorder panel 2. a secret order.” FHQWUDO FRUH IRU WKH ÀQDO PRGHO -3 layers distinguished with 1. the type of surface panel 2. The different card type (Ivory and Black card)
The different card type (Ivory and Black card)
3. Scaling -The central section(black card) is bigger than the 2 sides. 4. Rotation -The 3D grid has a skew rotation.
Page
Carl Jung
3. Scaling -The central section(black card) is bigger than the 2 sides.
The design was a success. The double skin 4. Rotation
stucture created a spectactular -The 3Dinterference grid has a skew rotation.
Page 13
Page 13 5. Complex core pattern. The inteference pattern is seencore from 13 5. Complex Page -The offsets are bigger at the black strip as compared to -The offsets are bigger at the black strip as compared to the Ivory card. the light fragments that arethe projected onto Ivory card. -The ivory card glows with perforated glow on the ivory -The ivory card glows with perforated glow on the ivory card with a central area brighter the 2nd skin of the lantern and the fractal card with a central area brighter -The central core -The central -The diffraction of lights more light fragments at pattern the cen- illuminating out of the lantern. core -The diffraction of lights more light fragments at the central region tral region Figure 42: ‘Interference’
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D1: First Floor Concrete Slab S32 135 mm thickness D2: Slab reinforcing mesh located 20mm from the top and bottom of the slab’s surface
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D1: First Floor Concrete Slab S32 135 mm thickness D2: Slab reinforcing mesh located 20mm from the top and bottom of the slab’s surface
E1 Brick Wall E2 10 mm mortar bed E3 Brick Ties 600mm space each way $ 7RS OD\HU P GHSWK 'DUN *UH\ 6LOW\ VDQG ÀOO PHGLXP ( %ULFN 5HLQIRUFHPHQW dense, moist and occasionally contains rocks gravel) (Where mass concrete is located) E5 40mm Brick Cavity (Isolation Joint) $ 6HFRQG OD\HU P P 3DOH *UH\ 6LOW\ 6DQG ÀOO YHU\ E6 Cavity Grout dense and moist) 6WDEOH IRXQGDWLRQ KHQFH WKH ÀOOLQJ WR WKLV ]RQH E7 Damp-proof course A3: 3rd layer (1.20m-1.50m)- Grey Brown Orange Mottled Sandy ( :HHS +ROHV
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C1: SF4 (Edge Beam) C2: PF4 (Pad Footing) & *URXQG Ă RRU &RQFUHWH 6ODE DQG 6/ 5HLQIRUFHPHQW C4: Bar Chairs C5: 50mm Compacted sand-bed below each plane of the raft slab. C6: 0.2mm Black polythene membrane C7: Edge rebate for brick wall 150mm & 5HEDWH IRU 6OLGLQJ GRRU IUDPH
/ PP &RPSUHVVHG FHPHQW VKHHW L2: Plywood L3: Acoustic Lining / 5RQGR .H\ ORFN V\VWHP L5 Furring Channel
L5 Furring Channel M1:Carpet M2: Blinds N1: Up stand N2:Weathering N3: Overlap N4:Overhang N5: Drip N6:Drain N7: Weep 1 %UHDN /DE\ULQWK N9: Sealant joint and gasket
Construction Design
“God is in the Detail.� Ludwig Mies Van Der Rohe
Yee Ann Tan 573608 Tutorial 6 Tim Derham
Ryan Firm
Yee Ann Tan 573608 Tutorial 6 Tim Derham
Through this project. I was able to learn more about the construction of an actual building and understand the beauty and importance of Details.
M1:Carpet M2: Blinds N1: Up stand N2:Weathering N3: Overlap N4:Overhang N5: Drip N6:Drain N7: Weep 1 %UHDN /DE\ULQWK N9: Sealant joint and gasket
This project also tested my model making and Drawing skills. Yee Ann Tan 573608 Tutorial 6 Tim Derham
Figure 44-50 : Construction Design Charles Mcbridge’s Pentleigh & Essedon Grammar School Model
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Site Tectonics
Caldera
A P B L 2 0 0 47 / 2 014
@Maribyrong River Figure 54 shows the Plan of the landscape design. Figure 55-56 shows the rendered image of the site.
SITE PLAN ASSESSMENT TASK2 (AMMENDED) FARNSWORTH HOUSE AT MARIBYRNONG RIVER 1
Figure 51: Caldera inspired landscape for the relocation of Farnsworth House.
3: OVERVIEW RENDER H HOUSE AT MARIBYRNONG RIVER
Caldera
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NAME YEE ANN, TAN (EAN) (573608)
DRAWING SIZE. A2
Date 29/10/14
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SCALE 1:500
NAME YEE ANN, TAN (EAN) (573608)
DRAWING SIZE. A2
Date 29/10/14
Figure 54: Plan of the Caldera landscape and ramp design.
“ Solitude is a place of Purification” Martin Burber Through this Subject I tested different ways to manipulate the landscape. For this Project I wanted to create a home isolated from the public, while still able to enjoy the natural landscape of the site. Drawing inspiration from the Caldera landscape, I appropriated it to Figure 52: Ramps to go to the Farnsworth House
ASSIGNMENT 3: SUN SHADOW STUDY 1 (21 March 7:40AM ) FARNSWORTH HOUSE AT MARIBYRNONG RIVER
Figure 55: Rendered pan view of the site
the site.
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NAME YEE ANN, TAN (EAN) (573608)
DRAWING SIZE. A2
Date 29/10/14
The Caldera Design included a water feature at the immediate site, bringing qualities of the river to the living space.
Figure 56: Rendered view of the Ramps to go to the Farnsworth House
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ASSIGNMENT 3: OVERVIEW RENDER 2 FARNSWORTH HOUSE AT MARIBYRNONG RIVER
Figure 57: Conceptual model of the site
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NAME YEE ANN, TAN (EAN) (573608)
DRAWING SIZE. A2
Date 29/10/14
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Other School Projects Collages and Visual Communication
These are some of my projects I have done in Printing Collage and Social Engagement and Visual Communications.
Figure 58-62 : Collages and visual communication assignment.
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Hobbies - Sketching & Painting Drawing since I was 5 years old.
Here are some of my paintings and sketches. 63
64
Drawing has always been a passion of mine
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and I have drawing and painting since I was 5 years old. Figures 54 and 70 were completed when I was 15 years old for my Art Portfolio. I continue to draw during my free time and seek to find opportunities to draw.
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72 Figure 63-67 : Sketches and Paintings 67
Figure 68-72 : Sketches and Paintings
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Hobbies - Traveling & Photography https://instagram.com/tanyeeann/
Figure 91- 98 : Photos of my travelling adventures.
I have been blessed with the opportunity to travel around the world and see Figure 73- 90 : Photos of my travelling adventures.
beautiful architecture. To preserve these memories, I take photos to document my life experiences. I have been doing this since 2009. I use various social media, such as Facebook and Instagram to help me store my memories.
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Screen Design For Capstone Aluminium, Johor Bahru
Here I used a random black and white image to map out the perforations in the plane. After which I inputted the data collected from the previous step to map out the opening size and perforation zones.
Prior to installation, we tested the visual mock
Here I used a random black and white image to map out the perforations in the plane. After which I inputted the data collected from the previous step to map out the opening size and perforation zones.
up for the actual screen. Having achieved the desired outcome the screens were sent for powder-coating. After the screen was coated
After inputting the image data I used sliders to control the opening size (radius) and the minimum penetration which simulates the fabrication limitation which might occur.
they were then installed on site.
After inputting the image data I used sliders to control the opening size (radius) and the minimum penetration which simulates the fabrication limitation which might occur.
Figure 103: CNC punch machine at Capstone Aluminum
Figure 104 : Test Sample for the Aluminium Screen
45mm to edge of 10mm diameter circle
20mm 10mm 50mm CTRS
Figure 99 : (Test) Grasshopper Image mapper function.
Figure 100-102 : The 3 different Designs presented to the client. 1(top): Lines (Bars) 2(middle): Leaves (Foliage) SUNSCREENinPANEL DESIGN 2 3(bottom):Birds Flight (Flights of fancy)
I have been blessed with the opportunity to
I recommended the third design as it had a A-37
design a number of Privacy Screens during
direct relationship with the bird cages which
my internship at Capstone Aluminium. These
hang adjacent to the fence, along the eaves A-37
screens were necessary for the client’s house,
of the pavilion. The final design mapped out
as there were no plants along one section
birds flying from one end to the other.
SCALE 1:25 PAPER SIZE :A3 DRAWN BY: EAN DATE: 2 Feb 2015 REV: 2
of the fence. Using Grasshopper, I designed Perforated Screens with the Image mapper
The decision to use 10 and 20mm
function.
perforations was based on the specifications
Figure 105 : On Site installation of the screens.
Figure 106 : On Site installation of the screens.
of the machines at Capstone and to fullfil the I came up with 3 different design options for
primary purpose of the privacy screen.
the client. I created the designs in response to a site visit and conversation with the client, Mr Lee.
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