Adib-IbrahimPatel-Reflect

A JOURNEY TO SEIJAKU NO MORI: A HOUSE FOR KAZUO ISHIGURO IBRAHIM PATEL 0361088

ARC60308

ACKNOWLEDGEMENTS I WOULD LIKE TO EXPRESS MY SINCERE GRATITUDE TO MY FIRST TUTOR, AR. PATMA, FOR HER PATIENCE, ENCOURAGEMENT, AND UNWAVERING SUPPORT THROUGHOUT THE FIRST ASSIGNMENT. HER GUIDANCE GAVE ME THE CONFIDENCE TO DEVELOP THE IDEAS, AND SHE WAS ALWAYS WILLING TO HELP WHENEVER I FACED CHALLENGES, MAKING THE LEARNING PROCESS BOTH ENJOYABLE AND REWARDING. I WOULD ALSO LIKE TO EXTEND MY HEARTFELT APPRECIATION TO AR. ADIB FOR GUIDING ME THROUGH THE REMAINDER OF THIS JOURNEY. HIS KNOWLEDGE, CONSTRUCTIVE FEEDBACK, AND DEDICATION HAVE PLAYED A SIGNIFICANT ROLE IN SHAPING MY UNDERSTANDING OF ARCHITECTURE AND HELPING ME GROW BOTH AS A STUDENT AND AS A DESIGNER. LASTLY, I WOULD LIKE TO THANK THE PEOPLE I PROUDLY CALL MY FRIENDS BEFORE CLASSMATES. THE UNFORGETTABLE MEMORIES, ENDLESS LAUGHTER, SHARED STRUGGLES, AND COUNTLESS LATE NIGHTS WORKING THROUGH ASSIGNMENTS MADE THIS JOURNEY TRULY SPECIAL. YOUR SUPPORT, MOTIVATION, AND COMPANIONSHIP TURNED EVERY CHALLENGE INTO A MEMORABLE EXPERIENCE, AND I AM GRATEFUL TO HAVE SHARED THIS CHAPTER WITH ALL OF YOU.

ASSIGNMENT 2: THE SOCIAL CABANA

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ASSIGNMENT 3.1A: GROUP SITE ANALYSIS

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ASSIGNMENT 3.1B: PECHA KUCHA

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ASSIGNMENT 3.2: SEIJAKU NO MORI ARCHITECTURAL DESIGN 20-25 ASSIGNMENT 3.3: TECHNICAL 26 DESIGN OVERALL REFLECTION

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CONTENTS

ASSIGNMENT 1: PRECEDENTS 12-13 AND DIAGRAMMING

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ASSIGNMENT 2: IDEAS AND HABITABLE ARCHITECTURAL SPACE: THE SOCIAL CABANA

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THIS ASSIGNMENT INTRODUCED ME TO THE IMPORTANCE OF USING GEOMETRY AS THE FOUNDATION OF ARCHITECTURAL DESIGN. BY EXPLORING THE SQUARE THROUGH BALANCE AND SYMMETRY, I LEARNED THAT SIMPLE FORMS CAN GENERATE MEANINGFUL AND WELLORGANISED SPACES WHEN DEVELOPED THOUGHTFULLY. WORKING IN A GROUP ALSO STRENGTHENED MY ABILITY TO COMMUNICATE IDEAS, ADAPT TO CHANGING SITUATIONS, AND TAKE INITIATIVE WHEN NECESSARY TO ENSURE STEADY PROGRESS. THESE EXPERIENCES TAUGHT ME THAT SUCCESSFUL DESIGN DEPENDS NOT ONLY ON CREATIVITY BUT ALSO ON RESPONSIBILITY, COLLABORATION, AND COMMITMENT THROUGHOUT THE DESIGN PROCESS.

DETAILS

FLOOR PLAN (VIEWING DECK)

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SECTION A-A (1:50)

SECTION B-B (1:50)

MODELS

THE PROJECT CHANGED THE WAY I APPROACH DESIGN BY ENCOURAGING ME TO ESTABLISH A CLEAR GEOMETRIC FRAMEWORK BEFORE DEVELOPING MORE COMPLEX IDEAS. BEGINNING WITH BALANCE AND SYMMETRY ALLOWED ME TO CREATE A DESIGN THAT WAS VISUALLY HARMONIOUS AND FUNCTIONALLY ORGANISED. THROUGH REPEATED SKETCHING, MODELLING, AND REFINEMENT, I REALISED THAT A STRUCTURED DESIGN PROCESS PRODUCES STRONGER OUTCOMES THAN RELYING SOLELY ON INTUITION. THIS EXPERIENCE BECAME THE FOUNDATION OF MY FUTURE PROJECTS, GIVING ME GREATER CONFIDENCE IN CREATING ARCHITECTURE THAT IS BOTH PURPOSEFUL AND COHESIVE.

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ASSIGNMENT 1: PRECEDENT STUDIES AND DIAGRAMMING

THIS ASSIGNMENT SHOWED ME THAT ARCHITECTURE IS BEST UNDERSTOOD BY STUDYING THE REASONING BEHIND SUCCESSFUL DESIGNS RATHER THAN ONLY APPRECIATING THEIR APPEARANCE. WORKING AS A LARGE GROUP ALLOWED US TO SHARE IDEAS, CHALLENGE DIFFERENT PERSPECTIVES, AND LEARN FROM ONE ANOTHER. ANALYSING THE TREEHOUSE STUDIO HELPED ME RECOGNISE HOW CONCEPT, CIRCULATION, STRUCTURE, MATERIALITY, AND ENVIRONMENTAL RESPONSE COME TOGETHER TO CREATE A COHESIVE ARCHITECTURAL OUTCOME. AS A RESULT, I NOW APPROACH DESIGN MORE ANALYTICALLY BY BREAKING PROJECTS INTO INDIVIDUAL SYSTEMS BEFORE DEVELOPING THE OVERALL FORM. THIS METHOD HAS STRENGTHENED MY ABILITY TO JUSTIFY DESIGN DECISIONS AND CREATE ARCHITECTURE WITH GREATER PURPOSE AND CLARITY. LOOKING BACK, COMBINING COLLABORATIVE DISCUSSIONS WITH DETAILED PRECEDENT ANALYSIS GAVE ME A DEEPER UNDERSTANDING THAN I COULD HAVE ACHIEVED INDEPENDENTLY, AND IT IS AN APPROACH I WILL CONTINUE TO APPLY THROUGHOUT MY FUTURE DESIGN PROJECTS.

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Treehouse Studio

Treehouse Studio

Stilt Studios

Stilt Studios

Concept

Circulation

The diagramillustrates Treehouse Studio’s spatial extension system, comprising an elevated floor plate, solid enclosure walls, a transparent façade frame, and an extended timber deck. Together, these elements blur the boundary between interior and exterior spaces while enhancing natural ventilation and supporting climate-responsive tropical living.

The diagram showcases Treehouse Studio’s circulation system, comprising an external entry staircase, a central living zone, a private sleeping alcove, and a rear service core. Together, these elements establish a clear spatial hierarchy, guiding movement from active communal areas to quieter private and transitional spaces.

By : Elesha Kumar, Hawindra Widia, Ibrahim Patel, Kirana Alyna, Lauren Leong, Mikhele Ranfagni

By : Elesha Kumar, Hawindra Widia, Ibrahim Patel, Kirana Alyna, Lauren Leong, Mikhele Ranfagni

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Treehouse Studio Stilt Studios

Materiality

Timberand steeldefine Treehouse Studio’s structural and material system. Timber forms the roof, floor plate, and infill panels, providing warmth and ventilation, while steel supports the elevated frame, ensuring structural stability and efficient load transfer. Together, they create a lightweight, durable,

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Treehouse Studio Stilt Studios

Structure Thediagram illustrates Treehouse Studio’s structural system, comprising a raised floor, timber post-andbeam frame, ventilated wall panels, and a pyramidal roof truss.

Together, these elements efficiently transfer loads while enhancing passive ventilation and environmental performance, reinforcing the building’s climate-responsive design.

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ASSIGNMENT 3.1A GROUP SITE ANALYSIS

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SITE ANALYSIS

ASSIGNMENT 1: site analysis

FLORA AND FAUNA

GROUP ADIB - M2 elesha ibrahim kumar,patel, hawindra widia, kirana alyna, lauren leong, mikhele ranfagni

sensory studies

ZONE A

LOCATION : LUMUT,PERAK,MALAYSIA

ZONE C

ZONE B

SIGHT

COORDINATE :4.302020, 100.580242

INTRODUCTION VIEW FROM SITE

LOCATED IN THE WESTERN MALAYSIAN REGION OF PERAK, LUMUT. THIS AREA, OWNED BY SILVER LINE PROPERTIES, FEATURES LOWLANDS FACING THE BEACH, SURROUNDED BY DENSE FOREST AS THE SITE FACES THE MARINE BLUE SEA.

NATURAL LANDSCAPE WITH ROWS OF TALL, LUSH TREES ALONG THE ROAD THENATURALTEXTUREOFOLDTREE BARK, ANDAPILEOFDRYLEAVESANDBRANCH THAT GIVE IT A CRUNCHY TEXTURE

LEGEND

TOUCH

OCEAN CONTOUR LINES

MOON CRAB

COMMERSONIA BARTAMIA

CYLON IRONWOOD

TROPICAL ALMOND

BIRDS

FRANGIPANI

ALSONIA SCHOLARIS

ELAEIS GUINNEESIS

hear

ROAD HOUSES, BEACH SHACKS

key plan

COMBINATION OF VEGETATION AND WIND THAT PRODUCES SOUND, HUMAN INTERACTION ,AND THE SOUND OF WAVES

ROCKS

n MALABAR MELASTONE

THE SCENT OF FLOWER MIXED WITH MOIST SOIL WITH DRY LEAVES

SMELL

CLIMATE STUDIES TEMPERATURE

MONKEY

VIEW FROM SITE AFTERNOON 32–34°C

DAYTIME 29–31°C

NIGHT 24–26°C

TERMINALIACATAPPA

man-made objects IN THIS SITE,THERE ARESEVERALMANMADE OBJECTS, SUCH AS 1. ROAD TO THE SITE

THISAREA HASADISTINCT NATURAL ACOUSTIC CHARACTER AND IS MUCH QUIETER THAN OTHER BEACHES. AVERAGE NOISE LEVEL:

THE WIND PRIMARILY BLOWS FROM THE NORTH-NORTHWEST AND SOUTH-SOUTHEAST CORRIDORS. THESE WINDS ARE MOSTLY GENTLE BREEZES RANGING FROM 5 TO 10 KM/H, WITH RARE STRONGER GUSTS UP TO 30 KM/H

DAYTIME: 35-45 DBA NIGHTTIME: 40-50 DB

OCEAN

COASTLINE

ROAD

HILLS SIDE

HILLSIDE

CRICKETS AND OTHER WILDLIFE IN THE FOREST ARE HEARD FROM THE AFTERNOON UNTIL NIGHT

BEACH THE SITE OFFERS AN ELEVATED VIEW OVERLOOKING THE SURROUNDING GREENERY, DISTANT HILLS, AND COASTAL LANDSCAPE. WHICH OFFERS VISUAL CONNECTIVITY WITH THE NATURAL ENVIRONMENT, CREATING A SENSE OF OPENNESS, AND TRANQUILITY.

THE BEACH HAS SOFT AND WELL-DRAINED SAND AND THE TERRAIN IS GENERALLY FLAT WITH GENTLE SLOPES, WHICH IS USUALLY INFLUENCED BY COASTAL EROSION AND ACTIVITY OF THE TIDE

vehicle circulation

DAYTIM 65%-75%, BUT THE E TEMPERATURE CAN FEEL LIKE ABOVE AROUND 40 C

2. STALLS

NIGHT CAN REACH UP TO 90% AS TH TEMPERATURE COOL DOWN

SITE ANALYSIS DIAGRAM

SINCE THE AREA IS FACING THE SEA, WAVES ARE FREQUENTLY HEARD FROM THE SLOPE. HOWEVER, THE SOUND COULD BE DAMPENED

BY THE TREES THAT ARE SCATTERED AROUND THE SITE.

positive views

SITE SECTION

humidity 70%DURINGTHE DAY TO OVER 90% AT NIGHT OR DURING RAINY DAY

GROUND SURFACE CONDITION

noise level

WIND rose

pedestrian circulation

s.w.o.t 3.EXISTING BUILDINGS

STRENGTH

THREATS

SCENIC VIEWS TOWARDS THE SEA AND SURROUNDING GREENERY DENSE VEGETATION PROVIDES AND A SHADE COOLER MICROCLIMATE

SOIL EROSION AND SLOPE INSTABILITY ON STEEP AREAS MONSOON SEASONS MAY BRING STRONG WINDS AND INTENSE RAINFALL

WEAKNESS

OPPORTUNITY

STEEP TERRAIN MIGHT INCREASE COMPLEXITY OF THE CONSTRUCTION LIMITED ACCESSIBILITY DUE TO AND FOREST TOPOGRAPHY CONDITIONS

EXISTING VEGETATION CAN BE PRESERVED TO ENHANCE SITE CHARACTER TERRAIN OFFERS UNIQUE VIEWPOINTS AND ELEVATED USER EXPERIENCES

THE SOIL HAS A REDDISHBROWN COLOR WITH MODERATE DENSITY LEVEL AND HIGH ORGANIC CONTENT. THIS TYPE OF SOIL TENDS TO EROSE ON STEEPER SLOPES DURING HEAVY RAINFALL.

a

AT DAYTIME, FISHERMEN’S BOATS COULD BE SEEN ALONG THE SEASHORE. THOUGH NOT A SIGNIFICANT VISUAL ELEMENT, THEY CONTRIBUTE TO THE COASTAL CHARACTER OF THE SITE AND PROVIDE A CONNECTION TO THE LOCAL FISHING ACTIVITIES.

NEGATIVE VIEW DENSE VEGETATION OBSTRUCTS VISIBILITY AND LIMITS THE VISUAL THROUGHOUT THE SITE. THE UNEVEN SANDY TERRAIN AND THICK PLANT COVER REDUCE THE OPENNESS AND SCENIC QUALITY OF THE SURROUNDING LANDSCAPE. IT ALSO CREATES CHALLENGES FOR ACCESSIBILITY AND MOVEMENT.

THIS ASSIGNMENT ENCOURAGED ME TO LOOK BEYOND THE PHYSICAL CHARACTERISTICS OF A SITE AND UNDERSTAND HOW ITS ENVIRONMENTAL QUALITIES INFLUENCE ARCHITECTURAL DECISIONS. THROUGH ANALYSING LUMUT’S CLIMATE, TOPOGRAPHY, VEGETATION, CIRCULATION, AND SENSORY EXPERIENCES, I REALISED THAT SUCCESSFUL DESIGN BEGINS WITH CAREFULLY OBSERVING AND RESPONDING TO ITS CONTEXT. EXPERIENCING THE SITE'S CALM ATMOSPHERE, COASTAL BREEZE, AND CONNECTION TO NATURE ALSO HELPED ME APPRECIATE HOW SUBTLE EMOTIONS CAN INFLUENCE THE CHARACTER OF A PLACE. RATHER THAN SEEING SITE ANALYSIS AS A TECHNICAL REQUIREMENT, I BEGAN TREATING IT AS THE FOUNDATION OF THE DESIGN PROCESS. UNDERSTANDING BOTH THE OPPORTUNITIES AND CONSTRAINTS OF THE SITE ALLOWED ME TO MAKE MORE INFORMED DECISIONS THAT RESPECTED THE LANDSCAPE INSTEAD OF COMPETING WITH IT. THIS CHANGED MY MINDSET FROM DESIGNING FIRST AND ADAPTING LATER TO ALLOWING THE SITE ITSELF TO GUIDE THE DESIGN DIRECTION. LOOKING BACK, THIS APPROACH PRODUCED A STRONGER AND MORE MEANINGFUL OUTCOME BECAUSE EVERY DESIGN DECISION WAS ROOTED IN THE SITE'S NATURAL QUALITIES. I LEARNED THAT ARCHITECTURE BECOMES MORE AUTHENTIC WHEN IT RESPONDS TO ITS ENVIRONMENT, CREATING SPACES THAT FEEL CONNECTED, PURPOSEFUL, AND SENSITIVE TO BOTH THE LANDSCAPE AND THE PEOPLE WHO EXPERIENCE IT.

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ASSIGNMENT 3.1B PECHA KUCHA

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VISITING LUMUT WAS AN EXPERIENCE THAT GRADUALLY CHANGED THE WAY I PERCEIVED BOTH ARCHITECTURE AND NATURE. FROM THE MOMENT I ARRIVED, I NOTICED A SLOWER PACE OF LIFE COMPARED TO THE BUSY URBAN ENVIRONMENTS I WAS FAMILIAR WITH. THE COASTAL ATMOSPHERE, ENDLESS BLUE HORIZONS, AND SURROUNDING GREENERY IMMEDIATELY CREATED A SENSE OF CALM. AS WE TRAVELLED TOWARDS THE SITE, MY CURIOSITY GREW WITH EVERY KILOMETRE, AND I BECAME INCREASINGLY EXCITED TO DISCOVER WHAT THE LANDSCAPE HAD TO OFFER. THE JOURNEY THROUGH THE FOREST TOWARDS THE SITE WAS EQUALLY MEMORABLE. WALKING UPHILL BENEATH THE DENSE CANOPY, EVERY STEP REVEALED SOMETHING NEW, FROM TOWERING TREES AND FILTERED SUNLIGHT TO DISTANT GLIMPSES OF THE SEA. THE SOUNDS OF GENTLE WAVES, RUSTLING LEAVES, BIRDS, AND INSECTS BLENDED TOGETHER NATURALLY, WHILE THE SCENT OF FLOWERS MIXED WITH THE EARTHY SMELL OF THE FOREST. STANDING AT THE VIEWPOINT OVERLOOKING THE COASTLINE, I FELT A SENSE OF OPENNESS AND TRANQUILITY THAT ENCOURAGED QUIET REFLECTION. AT THE SAME TIME, THE DENSE VEGETATION AND UNEVEN TERRAIN REMINDED ME THAT NATURE PRESENTS BOTH BEAUTY AND CHALLENGES THAT MUST BE RESPECTED. THIS EXPERIENCE TAUGHT ME THAT ARCHITECTURE SHOULD NOT DOMINATE ITS SURROUNDINGS BUT INSTEAD RESPOND TO THEM WITH SENSITIVITY. RATHER THAN SEEING THE SITE AS AN EMPTY SPACE FOR DEVELOPMENT, I BEGAN TO APPRECIATE IT AS A PLACE WITH ITS OWN IDENTITY, MEMORIES, AND ATMOSPHERE. THE EMOTIONS I EXPERIENCED IN LUMUT, PARTICULARLY THE FEELINGS OF TRANQUILITY, OPENNESS, AND REFLECTION, BECAME THE FOUNDATION OF MY DESIGN THINKING AND INFLUENCED HOW I APPROACHED EVERY PROJECT THAT FOLLOWED.

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ASSIGNMENT 3.2: SEIJAKU NO MORI ARCHITECTURAL DESIGN

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CREATING THE FINAL PRESENTATION BOARDS TAUGHT ME HOW TO COMMUNICATE AN ARCHITECTURAL DESIGN CLEARLY AND PROFESSIONALLY. I LEARNED TO ORGANISE PLANS, SECTIONS, ELEVATIONS, PERSPECTIVES, DIAGRAMS, AND TEXT INTO A CLEAR VISUAL NARRATIVE THAT EXPLAINED HOW THE DESIGN RESPONDED TO KAZUO ISHIGURO, THE SITE, AND THE OVERALL CONCEPT. THIS STRENGTHENED MY GRAPHIC COMMUNICATION SKILLS AND SHOWED ME THAT PRESENTATION IS JUST AS IMPORTANT AS THE DESIGN ITSELF.

DEVELOPING THESE BOARDS CHANGED THE WAY I PRESENT MY WORK BY MAKING ME MORE SELECTIVE WITH INFORMATION. EVERY DRAWING AND DIAGRAM NEEDED A CLEAR PURPOSE AND SUPPORTED THE OVERALL STORY OF THE PROJECT. FOCUSING ON CLARITY, HIERARCHY, AND CONSISTENCY MADE THE FINAL PRESENTATION EASIER TO UNDERSTAND WHILE DEMONSTRATING THE DESIGN THINKING BEHIND EVERY ARCHITECTURAL DECISION.

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FINAL MODEL CONSTRUCTING THE FINAL MODEL TRANSFORMED MY UNDERSTANDING OF THE DESIGN INTO A PHYSICAL EXPERIENCE. BUILDING THE STRUCTURAL ELEMENTS, CIRCULATION, AND COURTYARD HELPED ME TEST PROPORTIONS AND SPATIAL RELATIONSHIPS THAT DRAWINGS ALONE COULD NOT FULLY COMMUNICATE. IT ALSO REVEALED PRACTICAL CONSTRUCTION CHALLENGES, ALLOWING ME TO REFINE IMPORTANT DETAILS. THIS EXPERIENCE REINFORCED THAT PHYSICAL MODELS ARE VALUABLE DESIGN TOOLS WHICH IMPROVE DECISION-MAKING AND STRENGTHEN THE OVERALL ARCHITECTURAL OUTCOME.

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MOCK UP 1

MOCK UP 2

THE MOCK-UPS CAPTURED THE PROGRESSION OF MY DESIGN FROM AN INITIAL CONCEPT TO A MORE REFINED ARCHITECTURAL PROPOSAL. THE FIRST MODEL ALLOWED ME TO TEST THE RELATIONSHIP BETWEEN THE COURTYARD, EXISTING TREES, AND STEEP SITE, REVEALING CHALLENGES WITH CIRCULATION, PROPORTIONS, AND SPATIAL ORGANISATION THAT WERE NOT OBVIOUS IN DRAWINGS. RATHER THAN VIEWING THESE AS SETBACKS, THEY BECAME OPPORTUNITIES TO IMPROVE THE DESIGN. THE SECOND MOCK-UP REFLECTED THESE LESSONS THROUGH A CLEARER BUILDING FORM, STRONGER CIRCULATION, AND A MORE THOUGHTFUL INTEGRATION WITH THE LANDSCAPE. COMPARING BOTH MODELS HIGHLIGHTED HOW EACH ITERATION STRENGTHENED THE PROJECT AND REINFORCED THAT SUCCESSFUL ARCHITECTURE IS ACHIEVED THROUGH CONTINUOUS TESTING, REFLECTION, AND REFINEMENT RATHER THAN EXPECTING THE FIRST IDEA TO BE THE FINAL SOLUTION

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THE DESIGN PROCESS SKETCH JOURNAL BECAME A RECORD OF MY ENTIRE DESIGN JOURNEY, DOCUMENTING EVERY IDEA, SKETCH, REVISION, AND DECISION FROM THE EARLIEST CONCEPTS TO THE FINAL PROPOSAL. IT ALLOWED ME TO REFLECT ON MY THINKING THROUGHOUT THE PROJECT, JUSTIFY DESIGN CHANGES, AND UNDERSTAND HOW EACH ITERATION CONTRIBUTED TO THE FINAL OUTCOME. LOOKING BACK THROUGH THE JOURNAL MADE ME APPRECIATE THE IMPORTANCE OF RECORDING THE DESIGN PROCESS, AS IT DEMONSTRATED THAT EVERY SKETCH, WHETHER SUCCESSFUL OR NOT, PLAYED A ROLE IN SHAPING A MORE THOUGHTFUL, RESOLVED, AND CONTEXTUALLY RESPONSIVE ARCHITECTURAL DESIGN.

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ASSIGNMENT 3.2: SEIJAKU NO MORI TECHNICAL DESIGN PRODUCING THE TECHNICAL DRAWINGS TAUGHT ME HOW TO TRANSLATE A CONCEPT INTO A BUILDABLE DESIGN. CREATING SECTIONS, CONSTRUCTION DETAILS, STRUCTURAL CONNECTIONS, AND JUNCTIONS MADE ME CONSIDER HOW EVERY ELEMENT WORKS TOGETHER AS A COMPLETE SYSTEM. THIS EXPERIENCE ENCOURAGED ME TO RESOLVE TECHNICAL CHALLENGES ALONGSIDE THE DESIGN PROCESS RATHER THAN AFTER IT. AS A RESULT, MY DESIGNS BECAME MORE REALISTIC, COORDINATED, AND TECHNICALLY RESOLVED, GIVING ME GREATER CONFIDENCE IN COMMUNICATING BOTH THE ARCHITECTURAL VISION AND ITS CONSTRUCTION.

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OVERALL

OVERALL REFLECTION ARCHITECTURAL DESIGN 2 HAS BEEN ONE OF THE MOST REWARDING AND CH DISCOVERED THAT ARCHITECTURE IS FAR MORE THAN CREATING VISUALLY AP PLACE, AND DEVELOPING A MEANINGFUL DESIGN PROCESS. EVERY STAGE OF PRODUCING SKETCHES, MOCK-UPS, TECHNICAL DRAWINGS, PRESENTATION STUDENT AND

ONE OF THE BIGGEST CHALLENGES WAS TRANSFORMING AN ABSTRACT CONCE SITE'S NATURAL QUALITIES AND THE PERSONALITY OF THE WRITER. THERE WE ME TO REVISIT SKETCHES, RETHINK SPATIAL ARRANGEMENTS, AND CONTINUA TAUGHT ME THAT STRONG ARCHITECTURE IS RARELY ACHIEVED THROUGH TH AND THE WILLINGNESS T

THIS MODULE HAS SIGNIFICANTLY STRENGTHENED MY CONFIDENCE IN CONC MODEL MAKING, AND VISUAL PRESENTATION. MORE IMPORTANTLY, IT HAS CHAN UNDERSTANDING THE USER, THE SITE, AND THE STORY BEFORE CONSIDERI OUTCOME BUT ALSO OF THE JOURNEY THAT LED ME THERE. AD2 HAS TAUGHT M THAT EVERY SKETCH, CRITIQUE, AND REVISION CONTRIBUTES TO

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L REFLECTION

ON AD2 (≈250 WORDS) HALLENGING MODULES I HAVE UNDERTAKEN. THROUGHOUT THE SEMESTER, I PPEALING BUILDINGS; IT IS ABOUT UNDERSTANDING PEOPLE, RESPONDING TO F THE PROJECT, FROM ANALYSING LUMUT AND STUDYING KAZUO ISHIGURO TO BOARDS, AND THE FINAL MODEL, CONTRIBUTED TO MY GROWTH AS BOTH A D A DESIGNER.

EPT INTO A PRACTICAL AND BUILDABLE DESIGN WHILE REMAINING TRUE TO THE ERE MANY MOMENTS WHERE IDEAS DID NOT WORK AS EXPECTED, REQUIRING ALLY REFINE THE PROPOSAL. ALTHOUGH THIS PROCESS WAS DEMANDING, IT E FIRST IDEA. INSTEAD, IT IS DEVELOPED THROUGH PATIENCE, PERSISTENCE, O LEARN FROM FAILURE.

CEPTUAL THINKING, SITE-RESPONSIVE DESIGN, TECHNICAL COMMUNICATION, NGED THE WAY I APPROACH ARCHITECTURE. I NOW BEGIN EVERY PROJECT BY ING THE FORM ITSELF. LOOKING BACK, I AM PROUD NOT ONLY OF THE FINAL ME TO EMBRACE CHALLENGES, TRUST THE DESIGN PROCESS, AND RECOGNISE O BECOMING A STRONGER AND MORE THOUGHTFUL ARCHITECT.

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