Azeerah Ali: Architectural Design Portfolio

Portfolio Personal Design Statement

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Architectural Portfolio Azeerah Ali Selected Works 2018 - 2020

2018 Semester 3 / Year 2

Portfolio Personal Design Statement

I have always had a flair in art, primarily because I was influenced by my father’s creativity in almost every hobby he ensued, be it drawing, painting, automobile design, and even interior décor. It is from him that I gained an eye for aesthetics, perfectionism and attention to detail which I realised are the fundamental aspects in my architecture studies. From my knack in art, my appreciation of spaces within buildings and my desire to be among those who shape the forms in our cities, I aspire to reflect the identities of the places I build in, in hopes to create architecture that will never be obsolete.

I believe architecture that disseminates a strong connection with the community will always be meaningful and remembered. I sought pleasure in every form of art, be it a photograph, my surroundings, buildings as well as encounters with people. I find it captivating to observe and imagine the process and history behind each photograph, design and person. They all capture unique memories whether good or bad, and that is why I am pursuing my career in architecture. I want people to be able to capture memories with the buildings that I may create, because we are judged by what we leave behind. As I became a fully committed architecture student, the subject of modernism naturally became an interest to me as I found myself inspired by Brutalist architecture which I learned from studying about post-independence buildings in Malaysia.

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As time went by, I began to value the characteristics of various modernist architects’ style and apply them into my final studio projects.

If I were to narrow down my main muses, they would be Alvaro Siza, Peter Zumthor and Geoffrey Bawa, as I favour their balance between the environment and modern architecture. I also place a heavy priority on humanities when designing for my projects as I strongly believe that architecture goes beyond a building’s walls, and affects the people around it. I know that small steps can lead to big changes, hence why a mere project proposal is only the beginning. This portfolio encapsulates my growth as an architecture student, towards inspiring hope, taking the first step and making a difference.

2018 Semester 3 / Year 2

Portfolio Content

Content

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Selected Works 2018 - 2020

Selected Works 2018 - 2020

Portfolio Content

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PG 05

Visitor Interpretive Centre 02

PG 15

Community Swimming Centre 4

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PG 25

Heritage Learning Centre 04

PG 35

Silat Cultural Centre

Selected Works 2018 - 2020

Portfolio Visitor Interpretive Centre

01 Date August 2018 2nd Year, Semester 3

Module Architectural Design Studio III

Project Brief 5

450 sqm. with minimum (2) levels, considering climate, culture and context, to design a tectonically and poetically expressive space.

Site Location Kampung Pulai, Kelantan

Tutor Mr. Tan Teik Choon

2018 Semester 3 / Year 2

This project calls for an architectural response to design an Interpretive Centre emphasizing strong engagement and relationship to the site, spatial experiences and programmatic requirements. The interpretive centre will serve two purposes; to provide a physical point of reference with visual signiďŹ cance that keeps alive the culture, history, memory and essence of the site as well as to provide accommodation to house and display relevant materials for public access and information.

Portfolio Visitor Interpretive Centre

Visitor Interpretive Centre.

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2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

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Visitor Interpretive Centre To design a Visitor Interpretive Centre that interprets the history of Pulai as well as to design for the future through exible spaces that can meet various functional demands. The Visitor Interpretive Centre shall address the community’s needs by providing a library, event space and a kiosk at the community block. The elevated VIC shall do as little damage to the site as possible, to not disrupt the existing vehicular and pedestrian movement at the river site.

2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

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[1]

[1] Photo Montage of Visitor Interpretive Centre on SIte

2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

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[2]

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2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

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[4]

Approach The entrance of the Visitor Interpretive Centre attracts the user’s attention and intrigues them to move closer. The long stairs walkway extending towards the bridge attracts the user to enter the VIC.

The walkway allows user to identify the different options to continue their journey. Upon reaching the middle of the platform, the user has the option to enter several spaces; the cultural block, community block or continue towards the walkway trail.

The users walk along the riverside, imagining what the river used to be, a source of life with passing boats and lively activity. The river is still flowing, slowly but endlessly, urging one to just keep moving forward.

Walking along the heritage trail stretching from the river side to the lake, the user sees that the cultural block and community block is linked through this walkway because ‘culture and community is brought together by heritage’.

[2] Crossing from Reception to Cafeteria [3] Cafeteria with River & Temple View [4] Elevated Walkway Framing View

2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

Collage: Personal Interpretation of Place Everything fell into place to make Kampung Pulai what it is today. A community of strong identities, a culture brought together by heritage.

The people are moving, showing movement in the community, showing growth in the culture, and showing the link of it all, their heritage.

The river and the gold mine is where it all started, and it is where it shall continue to contribute for the future.

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2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

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“Moving Through Memories” Culture and Community are brought together by heritage. Memories of the past is what makes us the culture we are today, allowing ourselves to move forward, towards creating a better community for the generations to come. A community should be flexible, easily adaptable and comfortable. The spatial design corresponds to Kinetic Architecture, reflecting movement and to design flexible spaces for the future.

2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

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First Floor Plan 1. Cafeteria 2. Elevated Walkway 3. Reception 4. Gift Shop 5. Washroom 6. Office

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[1] Site Plan (Not to Scale)

2018 Semester 3 / Year 2

Portfolio Visitor Interpretive Centre

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View

VIC spaces are separated in the direction of the East wind for natural cross-ventilation between building blocks.

Walkway, Ground Floor Each ends of the elevated walkway are tilted to face the focal point of the view - the cave and the temple.

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Node

Walkway, First Floor The primary pathway is wider than the secondary pathway to accomodate higher circulation rate during festivals.

Cafeteria, First Floor The center foyer acts as a node for users to pause and relax before resuming their journey.

Pivot

Inside Outside

Reception, First Floor The void at the center of the gallery acts as a circulation pivot and directs users about the space.

Gallery, Third Floor The seamless boundary between inside and outside is capable through the use of movable glass panels.

2018 Semester 3 / Year 2

Portfolio Community Swimming Centre

02 Date April 2019 2nd Year, Semester 4

Module Architectural Design Studio IV

Project Brief 900 sqm. with minimum (2) levels, community support facilities through thematic exploration of environment and socio-cultural context.

Site Location 4th Mile Beach, Port Dickson

Tutors Ar. Shahira Shaharuddin Ar. Zafarullah Rozaly

2019 Semester 4 / Year 2

To propose a Community Swimming Centre based the understanding of the contextual condition of the site, its community and precedent studies. The concept came from the idea of creating a metaphorical link whereby prominent curves set the datum of the compound, guiding the spaces, the same way water guides the landscape. One water body connects to another, through the swimming pools. The marine aquarium is an eort to inculcate knowledge among the community of the aquatic life as a response to living close to waters.

PRODUCED BY AN AUTODESK STUDENT VERSION

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PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Portfolio Community Swimming Centre

PRODUCED BY AN AUTODESK STUDENT VERSION

Community Swimming Centre.

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2019 Semester 4 / Year 2

Portfolio Community Swimming Centre

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2019 Semester 4 / Year 2

Portfolio Community Swimming Centre

Ground Floor Plan (nts) The network of curves slicing the compound act as an axis and datum for programmatic circulation.

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“The River Guides the Landscape” Similarly, The prominent curved walls guide the spatial configuration of the Community Swimming Centre. The marine aquarium shall allow for a continuity of the ecosystem by drawing salt water from the river as a renewable source.

2019 Semester 4 / Year 2

Portfolio Community Swimming Centre

Section - Sturctural Detail (nts) The marine aquarium is an eort to inculcate knowledge among the community of the aquatic life as a response to living close to waters.

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2019 Semester 4 / Year 2

Portfolio Community Swimming Centre

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Exploded Axonometric (Not to scale)

2019 Semester 4 / Year 2

Portfolio Community Swimming Centre

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Mock Exploration Models & Final Model

2019 Semester 4 / Year 2

Portfolio Community Swimming Centre

Concept Translation

Water guides the landscape

Water flows through site

Methaphorical interpretation of flow

Forming a datum to guide the spaces

River meets ocean

River ceases, ending connection

Inspired connecting waterbodies “river meets ocean”

Marine aquarium connects to river

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Design features

Datum that guides spaces and users

Connection between mangrove and beach

Flexibility of space through movable panels

Hierarchy of space through roof

Various entry and exits for circulation in crowded spaces

Isolated women’s bath for privacy

Axis emphasized through transparency of glass panels

Curved walls frame the vista towards beach

2019 Semester 4 / Year 2

Portfolio Community Swimming Centre

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Waterscape In Port Dickson, the river that connects to the sea ceases at the opposite end of its course, flowing into the ground, without reaching another body of water. The flowing water of the river has the power to carve the landscape, hence the landscape of the site is the result of a sculpted landscape by the river over time.

People come and go like the waves of the sea, but they do not perish. Let it be the same for the river, revived without having an end to its course.

[5] Connecting Waterbodies [6] Mangrove River Dock [7] First Floor Lobby, Walking by Marine Aquarium [8] Entrance from Beach

2019 Semester 4 / Year 2

The aim for the Community Swimming Centre is to create spaces for the preservation and appreciation towards the waterbodies of the site; the mangrove swamp, the river and the sea. Hence, the ‘connecting waterbodies’ concept fot the design and configuration of the swimming pools is adopted.

Portfolio Community Swimming Centre

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[6]

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2019 Semester 4 / Year 2

Portfolio Learning Centre

03 Date August 2019 3rd Year, Semester 5

Module Architectural Design Studio V

Project Brief 25

1300 sqm. with minimum (3) levels, within an urban block site, addressing urban street context and user behavioural patterns to respond to the fading cultural heritage.

Site Location Jalan Stesen 1, Klang

Tutors Dr. Sucharita Srirangam Ar. Kenny Chong

2019 Semester 5 / Year 3

This project focuses on designing a Learning Centre within an urban block site. The site context is in a few urban blocks and corner-lot at Jalan Stesen 1. The objective is to empower the urban communities that are being faded by contemporary scenarios. In other words, the urban issue being the city is ‘displaced’ in its spatial character and social quality. The vision for the area is to be a place for the community, and a place with an active frontage of the streets.

Portfolio Learning Centre

Learning Centre.

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2019 Semester 5 / Year 3

Portfolio Learning Centre

1. Existing Condition

2. Site

3. Context

A ‘displaced city’ lacking engagement to local community and fading of rich cultural heritage.

How can we create a learning centre that improves the conditions of the site and the local comunity?

Relate to its immediate suroundings and become a new meeting place for the community.

4. Volume Setback

5. Daylight

6. Subtraction

Building massing is set back to allow generous user pathway through the existing alley route.

Set back from the existing shoplot, creating an interstitial corridor with optimum daylight.

Adapt the voidity seen on forms of neighbouring building, by subtracting volumes of the cuboid.

7. Permeability

8. Accessibility

9. View

Visual and user permeability through the use of arches, creating a new typology of urban fabric to revive the corner.

Easy accessibility for people with disabilities as the use of lift is implemented, for vertical circulation.

Staircase directly facing park while displaying the programs and life inside the learning centre, engaging viewers.

10. Programme

11. Skyline

12. Heritage Learning Centre

Exhibition gallery, outdoor spaces, event space, classrooms, student dormitory and an archive library of the cultural heritage.

Curved roof to enhance the character of existing shoplot pediment and to break the rigidity of the skyline.

A learning centre aimed to be unique and real with respect to the existing site conditions and user’s requirements.

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2019 Semester 5 / Year 3

Portfolio Learning Centre

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“Small Steps Lead to Big Changes” The Heritage Learning Centre aims to contribute a small difference within the micro-context of Klang. It may not change the whole of Klang overnight, but it is the starting point for the change.

The Learning Centre responds to the urban issues on site through urban interventions that can impact the community, influence youths and lead to bigger changes in the future.

1. Exhibition Gallery 2. Reception 3. Security 4. Storage 5. Street Vendor Lane 6. Refuse 7. Lift

[9] Ground Floor Plan [10] Site Plan Axonometric (Not to scale)

[10]

2019 Semester 5 / Year 3

Portfolio Learning Centre

Animating the Edge String course niches to increase the robustness between the edge of the building and public space.

Exhibition Gallery Utilising the potential of the corner as a contact point to engage the public with the Learning Centre.

Inside-Outside

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Outdoor learning space as a transition between inside and outside and as a memorable user route.

“Social Service” Staircase acts as mezzanine space that engages users within the street vendor lane.

Not just a Curved Roof The use of a double-curved timber shell enhances the user experience within the spaces.

2019 Semester 5 / Year 3

2 in 1 Double volume arch acts as floor-to-floor window for the ground floor and a unique arch window above.

Bring the ‘Outside’ In Having vent blocks inside rather than outside as an enhanced interior design feature.

Activating the Back Alley Shifting the street vendor lane inside to attract users through building because “people attract people”.

Dancing Arches A play between scale and proportion of arches to create a rhythmic movement on the facade.

“Where is your gutter?”

The building gutter at the roof overhang is connected to the rainwater downpipe within the columns.

Portfolio Learning Centre

First Floor 1. Event Space 2. Archive Library 3. Pocket Park 4. Washroom 5. Lift 6. Emergency Exit

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Second Floor

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1. Classrooms 1 & 2 2. Classrooms 3 & 4 3. Multimedia Lab 4. Collaborative Space 1 5. Collaborative Space 2 6. Washroom 7. Lift 8. Emergency Exit

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[13] Section A-A’ (Not to scale)

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[14] Sectional Detail (Not to scale) [11]

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30 Roof Precast Concrete Slab Truss Double-Curved Timber Shell Glass Panel Borosilicate Glass Block Wall Precast Concrete with Finishing on both sides

Facade Reinforced Concrete Teracotta Vent Blocks

Ceiling Plaster Finishing with Waterproof Membrane

Floor Composite Decking

Foundation Cast-in-situ Pad Footing

[14] [13]

2019 Semester 5 / Year 3

Portfolio Learning Centre

Issues of Global Concern In 2018, locals were surprised by a flash flood that affected the shops at Jalan Stesen 1. The floodwater breached the shops on Jalan Stesen, causing inconvenience and damaged goods. Hence, the proposal of the “urban wetland” with a flood warning and drainage system is to respond to the risk of natural disasters in the future [New Urban Agenda Goal].

The purpose for the inclusion of the New Urban Agendas then stemmed from the desire to inspire a bigger change, beginning with the proposal of the urban wetland.

Promote Safe, Accessible and Green Public Spaces By having an urban park and green pocket spaces in the centre.

Provide Basic Services for All Citizens Providing education, drinking water and sanitary opportunities.

Ensure All Citizens have Access to Equal Opportunities

Improve Connectivity and Support Green Initiatives

All groups of people are welcomed to benefit from the centre’s public amenities.

Reduce urban heat island by introducing green pocket spaces and an urban wetland.

Promote Measures that Support Cleaner Cities

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United Nations New Urban Agenda How can the Learning Centre play a part?

Practice proper disposal of waste through recycling bins instead of dumpster.

Strengthen Resilience in Cities to Reduce Risk of Disasters Proposing a flood warning and drainage system in the urban park to cater to flood risks.

Fully Repect the Rights of Refugees Provide education and shelter for the homeless/ refugee children.

Take Action to Address Climate Change Reduce energy consumption by incorporating natural ventilation through vent blocks.

2019 Semester 5 / Year 3

Portfolio Learning Centre

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[15] View of Learning Centre through the ‘Urban Wetland’ [16] Plan View of ‘Urban Wetland’ park

2019 Semester 5 / Year 3

Portfolio Learning Centre

Objectives Aligned

1. Capture Memory of Place A platform for the youth to learn about the history of Klang.

2. Reflect Contextual Identity Designing with reference to shophouses in Jalan Stesen 1.

To recapitulate, the design of the Learning Centre is based on the objectives [left] of creating urban interventions that can impact the community, influence youths and lead to bigger changes in the future. The objectives proposed responds to the current issues in Klang consisting of; lack of engagement among youths, forgotten heritage, dilapidated colonial shophouses, lack of green public spaces and risks of flash floods.

Thus, the solutions proposed based on the objectives comprise of; creating programmes for the youth, providing spaces to showcase the history of Klang, creating pocket parks within the Learning Centre, reviving the classic architectural elements seen in shophouses, and proposing a flood warning system and drainage system in the urban park.

[17] Double Volume of Archive Library [18] Performance/ Event Space [19] Interstitial Corridor with Natural Daylighting

3. New ‘Consistent’ Material Replicating the alley facade to maintain the historic character.

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4. Guided by New Urban Agendas A sustainable development in tandem with UN’s agendas.

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5. Reduce Urban Heat Island Proposal of an “urban wetland” and green spaces.

6. Improve Walkability Designing a walkable urban park to reduce the carbon footprint.

[18]

2019 Semester 5 / Year 3

Portfolio Learning Centre

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[19]

2019 Semester 5 / Year 3

Portfolio Silat Cultural Centre

04 Date March 2020 3rd Year, Semester 6

Module Architectural Design Project

Project Brief 35

2,000 sqm. with minimum (3) levels, emphasizing on the experience between culture and people.

Site Location Jalan Tun Tan Cheng Lock, Kuala Lumpur

Tutor Ar. Prince Favis Isip

The aim for this project is to portray the essence of the chosen culture or talent that may improve the economic value of the creative industry. Although the site hosts a variety of cultural talents, the cultural centre shall focus on Silat, a Malaysian art of self-defense.

Silat is not only enshrined in the National Heritage Act, making it part of the nation’s protected treasures but it is also recognised as an intangible cultural heritage by UNESCO (United Nations Educational, Scientific and Cultural Organization). The cultural centre will not only benefit the city, but also the country by housing and endorsing a traditional martial art that could garner international attention.

2020 Semester 6 / Year 3

Portfolio Silat Cultural Centre

Silat Cultural Centre.

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2020 Semester 6 / Year 3

Portfolio Silat Cultural Centre

1. Existing Condition

2. Site

The project is located at the Heritage Trail, Kuala Lumpur.

Setbacks established according to local authority guidelines.

Connecting axis created by linking major nodes on site.

5. Orientation Corridor tilted to face South-West prevailing wind.

6. Curved Corridor curved to widen vista and create venturi effect.

4. Visual Corridor Axis prioritised to create a visual corridor towards Central Market.

3. Contact Points

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7. Massing

Extracted to reflect visual movement and terrains in Silat.

10. Defining Spaces

Courtyards for indoor-outdoor connection with spaces.

2020 Semester 6 / Year 3

8. Controlled Heights

9. Elevated Walkway

Controlled for a cohesive perspective view for pedestrians.

Elevated walkway to Central Market as a public engagement.

11. Skyline

Flat roof created to maintain the existing site skyline.

10. Subtle Curve

As a uniform curved feature with the visual corridor.

Portfolio Silat Cultural Centre

16 Mins 11.7 Km

Silat Cultural Centre Heritage Trail, Kuala Lumpur

Persatuan Silat Kebangsaan Kuala Lumpur (PESAKA) Bandar Tun Razak, Kuala Lumpur

[20]

Pre-Design Analysis

Objectives

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Combine Tradition & Modernity To design an architecture that houses both traditional and modern practices through a contemporary and timeless design.

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Reflect Kinaesthetic of Silat in Spatial Design Incorporating ‘segi’ (angle), stances and footwork, the 4 elements of nature and representation of the “Malay Parkour”.

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Sun Path

Direct sunlight during the day, preventing thermal comfort. Vegetation on site to provide thermal comfort is also absent.

Prevailing Wind

The prevailing wind comes from the South-West direction of the site. This creates an opportunity for natural ventilation.

Paths

Users from LRT Pasar Seni and Jln TTCL can access the site through these paths.

Primary Secondary

Provide and Official Platform for PESAKA By creating spaces such as the Competition Arena and training facilities to attract youth and other Silat enthusiasts.

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Create a Memorable Cultural Experience Through inteactive hubs, walkable streets, social terraces and visual corridor to Central Market.

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Form a Catalyst to Revive the City Centre By enhancing safety and designing walkable public realm leading towards the River of Life.

Entry Points

Permeability

Nodes

The advantages of these entry points are the views to the site.

The entry points then establish multiple pedestrian paths. The site is physically permeable because it offers a number of alternative routes.

People linger at before dispersing to their separate ways.

Primary Secondary

Major Nodes Minor Nodes

[20] Sectional Perspective

2020 Semester 6 / Year 3

Portfolio Silat Cultural Centre

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Ground Floor Plan 4

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1. Reception 2. Interactive Exhibition 3. Lift Lobby 4. Segi Studio 5. Retail 6. Al Fresco 7. Refuse 8. Amphitheatre 9. Competition Arena 10. Washroom

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First Floor Plan 1. Meeting Room 2. Administrative Office 3. Director’s Office 4. Office Lobby 5. Resource Centre 6. Lift Lobby 7. Washroom 8. M&E Services 9. Storage 10. Langkah Studio 11. Gayong Studio 1 12. Gayong Studio 2 13. Gayong Studio 3 14. Silat Masters’ Rooms 15. Elevated Walkway 16. Courtyard

2020 Semester 6 / Year 3

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Portfolio Silat Cultural Centre

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Training Studios The training spaces prioritises a spacious flow for movement while incorporating complementary features inspired by the movement of silat gayong to challenge the conventional methods of silat training. The play of forms is aimed to embrace the full potential of a pesilat’s movement and agility, and reflect the true cultural value of silat.

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[22]

Stage 1 of the Jurus (Movement) begins with the transitions of footwork with the “triangle” which requires the pesilat to face the wide end of the triangle. The first training studio, Segi [Refer to Figure 22] encompasses this triangular footwork whereby rotatable partitions are placed to enable flexibility in creating divisions for individual juros training. The partitions are also primarily directed towards the open courtyard to create a focal point for the pesilat during the training.

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After completing stage 1, the following stages evolve to more specific movements because Silat Gayong is visually distinctive from other styles due to its emphasis on acrobatics including flips, diving rolls, somersaults and handsprings.

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[21] Langkah Studio, First Floor [22] Segi Studio, Ground Floor [23] Gayong Studio 1, First Floor [24] Gayong Studio 2, First Floor

2020 Semester 6 / Year 3

Portfolio Silat Cultural Centre

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Materiality The choice of material for the silat cultural centre is aimed at creating a timeless architecture that borrows brutalist elements. The warm undertone on site evokes feelings of energy and excitement but also restlessness and agitation. To complement the colours of the existing buildings would also mean designing with neutral tones and transparency with materials.

Silat Gayong movement has a rough unpolished ‘masculine’ look (Farrer, 2006), thus the choice of concrete is chosen as it is seen as humble, capable, and honest—exposed in all its rough glory, not hiding behind any paint or layers.

[25] North Elevation [26] South Elevation from Kasturi Walk [27] South Elevation from Central Market [28] South Elevation from Pedestrian Bridge Farrer, D. S. (2006). Seni Silat Haqq: A Study in Malay Mysticism. Thesis For the Degree of Doctor of Philosophy.

2020 Semester 6 / Year 3

Portfolio Silat Cultural Centre

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2020 Semester 6 / Year 3

Portfolio Silat Cultural Centre

Environmental Strategies Multiple courtyards, abundant vegetation and plantings are incorporated tocontribute to the biodiversity of the urban area. The green belt also act as a noise buffer from the adjacent road as Kuala Lumpur City Centre is prone to traffic congestion during peak hours. The green balconies also reduces solar heat gain inside the building.

Orientation of curved walls facing the South-West where the prevailing wind comes from creates a wind tunnel with venturi effect.

The adjacent training spaces are ventilated through the wind tunnel, through the operable windows. This strategy reduces the reliance on active cooling systems and reduces the impact on energy consumption.

[29] Section A-A’ [30] Section B-B’

Solar Panels

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Moveable Louvres

Venturi Effect

Green Belt

Passive Cooling

Second Floor Level FFL +8.250

First Floor Level FFL +4.350

Ground Floor Level FFL +0.450 Lower Ground Floor Level FFL -3.900

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Second Floor Level FFL +8.250

First Floor Level FFL +4.350

Ground Floor Level FFL +0.450 Lower Ground Floor Level FFL -3.900

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2020 Semester 6 / Year 3

Portfolio Silat Cultural Centre

Full Wall Section Detail Section A-A’ Blow Up 0 0.15

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Ceiling 1. Reinforced concrete slab with PVC roofing membrane 2. 9mm thk. cementitious board cut to 150mm wide painted strips 3. 50mm thk. rockwool insulation 4. Batten - Alumn. ceiling joint to manuf’s detail 5. Flashing detail to be continuous lapping 6. 150mm thk. steel purlins to manuf’s detail Facade 7. Steel I-beam to C-beam channel fixing 8. 100mm thk. fixed timber louvre batten 9. 150mm thk. steel I-beam 10. Alumn. steel framing with powder coated finish

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Wall 11. 300mm thk. reinforced concrete retaining wall 12. Reinforced concrete half-wall Window 13. 100mm thk. carbon steel frame to manuf’s detail 14. 10MM thk. glazed tempered glass to manuf’s detail Floor 15. 150mm thk. composite floor slab 16. 400mm thk. steel I-beam Planter Box 17. 300mm HT. concrete planter box 18. Treated soil mix with class 2 permeable rocks Railing 19. Alumn. steel top mount glass balustrade 20. 10mm thk. clear tempered glass panel Foundation 21. Reinforced concrete floor slab 22. Gravel as bedding layer 23. Cast-in-situ pad footing

2020 Semester 6 / Year 3