‘FLAVE’ HIDE-OUT 1 ARCHITECTURAL DESIGN STUDIO 2 TRANSLATING FEEL INTO FORM MASK FRONT VIEW MAN-MADE LAKE furious anger sharp mystery SIDE VIEW Flave Hide-out is designed to create a personal space within a public space of a walkway. By integrating seat in the design, it creates personal study area at site. The natural, raw timber color enhances the fluidity and organic shape of Flave. Slits design allows natural ventilation and lighting, while allowing user to view the surrounding environ- ment, especially the man-made lake. CONCEPT HIDE - OUT ‘FLAVE’ WRAPS AROUND COLUMN TO CREATE INTIMATE SPACE GROWTH WITHIN FLUID FORM FLUID FORM rigorous REINTERPRETATION OF FORM
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‘FLAVE’ HIDE-OUT 1ARCHITECTURAL DESIGN STUDIO 2
TRANSLATINGFEEL INTO FORM
MASK
FRONT VIEW
MAN-MADELAKE
furiousanger
sharpmystery
SIDE VIEW
Flave Hide-out is designed to create a personal space within a public space of a walkway. By integrating seat in the design, it creates personal study area at site. The natural, raw timber color enhances the fluidity and organic shape of Flave. Slits design allows natural ventilation and lighting, while allowing user to view the surrounding environ-ment, especially the man-made lake.
CONCEPT
HIDE - OUT
‘FLAVE’ WRAPS AROUND COLUMN TO CREATE INTIMATE SPACE
GROWTH WITHIN FLUID FORM
FLUID FORM
rigorous
REINTERPRETATION OF FORM
‘THE CRASH’ 2ARCHITECTURAL DESIGN STUDIO 3
SCULPTURINGFORM TO INDUCE FEELING
LIGHT & SHADOW:IRREGULAR FORMATION & OPENINGS FOR DISTINCTIVE LIGHT & SHADOW EXPERIENCE TO CREATE SENSE OF CHAOS
BIG & FREE SPACE:IGNORE SURROUNDINGS
PRESSURE:SPACE BECOMES SMALLER & INTENSE
COMPACT:FEEL DEPRESSION, CRAWLING UP & DOWN TO COMPLETE JOURNEY
MILD SEVERESLIGHTLIGHT
LIGHTLIGHT
LIGHT
ENDSTART
‘The Crash’ is an architectural explo-ration to study feeling created by form. The idea is translated from the poem ‘On the K-T Boundary’ by S.R. Compton to give the message of ‘A single journey towards destruc-tion’.
0 1 2mLONGITUDINAL SECTION
BLENDINGINTO SITE
N
‘TOROCK’ CLUBHOUSE 3ARCHITECTURAL DESIGN STUDIO 2
The site is located at beach beside Pantai Kerachut, Pulau Pinang. ‘Torock’ is designed to restrict viewing angle of the user to sea and forest, which are the best spots for bird-watching. Eaves connects 4 masses physically and allows spaces above the roof to be utilized for bird-waching during nightime, also provides shade during daytime. It resemblems the existing rock form which can be climbed, or sat by visitors.
ROOF AS SITTING & SHADING DEVICE
GATHERING SPACE (BBQ AREA) DEFINED BY BUILT-FORM & EXISTING LARGE ROCKS
SEKINCHAN VISITOR INTERPRETATIVE CENTRE 4ARCHITECTURAL DESIGN STUDIO 3
The interpretative centre allows visitors to analyze the transformation of Sekinchan town with time by capturing the past events through views. It tells the story of the town from past to present as visitors proceed higher up the floors. The ''paddy-temple'' exhibition space tells the story of early paddy plantation which encouraged the development of cultural aspect by drawing visual relationship between the paddy field and temple. The story is told in an intimate exhibition space by views and hearing through digital sound projectors. To further enhance the experi-ence in the interpretative centre, different textures and lighting condi-tion are used in each exhibition space. Lastly, weathering effect on the exterior surface concrete signifies the effect of time on the interpreta-tive centre that captures the past events. It stands steadily in landscape of Sekinchan as the keeper of time.
VOLUME & LAYERSCONCEPT VOLUME VIEWS
LOCAL CHINESETEMPLE
TEM
PADDY FIELDTEM
OPENING TO FRAMECULTURAL SIGNIFICANTELEMENT / VIEW
TEM
The contrast of solid & void is expressed ; The solid monolithic visitor interpretative centre stands steadily in the vast paddy landscape of Sekinchan. The bright viewing portals encourage visitor to focus on the framed element visually. The dark cubical space creates an intimate viewing experience.
Published in Architecture Malaysia MagazineVol. 25 Issue 6 - Emerging Voices
SEKINCHAN VISITOR INTERPRETATIVE CENTRE 5ARCHITECTURAL DESIGN STUDIO 3
‘PEOPLE-PEOPLE’ EXHIBITION SPACE
1. RECEPTION2. PUBLIC GATHERING SPACE3. PEOPLE - PEOPLE EXHIBITION4. PEOPLE - PADDY EXHIBITION5. PADDY - TEMPLE EXHIBITION6. PADDY -SWIFLET FARM EXHIBITION
Published in Architecture Malaysia MagazineVol. 25 Issue 6 - Emerging Voices
Published in Architecture Malaysia Magazine SEKINCHAN VISITOR INTERPRETATIVE CENTRE 6
SECTION A-A SECTION B-B SECTION C-C SECTION D-D
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9. TOILET8. RESOURCE CENTRE7. MULTIPURPOSE ROOM6. PADDY -SWIFLET FARM EXHIBITION5. PADDY - BANANA PLANTATION EXHIBITION4. PADDY - TEMPLE EXHIBITION3. PEOPLE - PADDY EXHIBITION2. PEOPLE - PEOPLE EXHIBITION1. RECEPTION
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8 899
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CENTRAL VOIDFOR DAYLIGHT& VENTILATION
AUDIO SPEAKER
TEM
ARTIFICIALLIGHTING
TEM
ARCHITECTURAL DESIGN STUDIO 3
0 1 2m
0 1 2mEAST ELEVATION NORTH ELEVATION
VISITORS SUBMERGE INTO PADDY FIELD AS PRELUDE INTO THE INTERPRETATIVE CENTRE
7LEARNING SPACE FOR REDISCOVERING THE FOREST
Orang Semai Community has forest knowledge but they have only little understanding about the science behind these theories. By providing simple experimental learning, Orang Semai would develop a better understanding about the forest. These experimental learning focuses on elements at site, such as water, rock, soil and wood. Walls are used to enhance the concentra-tion in the learning process and encourage users to interact (with 5 senses) with the elements.
