Design Studio_Semester 4_Portfolio

AR415 Architecture Design Studio 4

Architecture Portfolio Prepared by:

Gilbert Tan Hong Tzer 1001849978

Lecturer:

Ms. Yusra Zulkifli Mr. Ahmad Fahmi Zainazlan Ms. Hanisah Binti Nordin Mr. Lim Hock Huat (Huat Lim) Ms. Shaliza Mokhtar

UCSI UNIVERISTY KUALA LUMPUR 1 SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT Bchs Of Degree in Architecture Semester 4 (Jan – May 2021)

Table of Content

Cover

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Table of Contents

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Project 1A : Crafting Research – Craft Museum Manifesto 1B : Group Research – Digital Visualisation Website

3–5 6 - 12

Project 2 : Visionary Representation ‘‘Craft Museum’’ Exhibition Display Pavilion

13 - 33

Project 3 : Craft Museum / Cultural Institution Ornamental Facade

34 - 65

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Assignment 1A

Crafting Research - Manifesto

Prepared by:

Gilbert Tan Hong Tzer 1001849978

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4

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Assignment 1B

Group Research – Digital Visualisation Website

Prepared by:

Gilbert Tan Hong Tzer 1001849978

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Website – https://2021janar415.wixsite.com/craft-museum

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Website – https://2021janar415.wixsite.com/craft-museum

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Website – https://2021janar415.wixsite.com/craft-museum

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Website – https://2021janar415.wixsite.com/craft-museum

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Website – https://2021janar415.wixsite.com/craft-museum

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Website – https://2021janar415.wixsite.com/craft-museum

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Assignment 2

Visionary Representations ‘‘Craft Museum’’ Exhibition Display Pavilion

Prepared by:

Gilbert Tan Hong Tzer 1001849978

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RATTAN RATTAN ART ART MUSEUM MUSEUM

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Theories of Architecture

Visionary Representations

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What is

Rattan Art? Rattan art is an art and craft which made from rattan through rattan weaving. As rattan is a very flexible and durable material which it can be strengthened after weaving, so this material often used in the furniture products like chairs and tables. Rattan also can be peeled into smaller size which is usually used for crafting handbags, baskets for the women in early era to bring it go to market. For food serving, rattan also made used in plates and bowls to serve the solid food, food and vegetables. Rattan craft is one of the most historical inventions, originating from Southeast Asia, with the longest trend in used of material since 17th century.

THE TRADITION OF RATTAN IN EARLY MALAYSIA. The trend of rattan crafts in Malaysia was during 70s to 80s era where rattan had became a household material. The trend started from the trading port of Melaka where rattan material had been traded into Malaysia from Indonesia. Since then, the technique of rattan weaving had been spread through the Northweast of Malaysia. In 1891, a woven rattan ball sport had been invented in Kelantan called Sepak Takraw. This sport had been popularly played through Melaka in the 12th century. Due to its usefulness, many people in East Malaysia made used rattan in their culture while rattan vine was found in Sabah Sarawak. Many rattan weaving pattern had been invented like mixing of circular and cross pattern, pattern with flowers, braided pattern and others. As rattan is a very economical and socio-cultural material, the trend of rattan crafts had been carried down to a few generations.

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History Of

Rattan Craft In Early Malaysia Based on the history research, rattan material and furniture was first imported from Indonesia to Melaka trading port in early 70s. The technique of rattan weaving had been carried through Northwest states in Malaysia and invented many other rattan weaving patterns. The patterns invented gave people inspiration as other rattan woven products started to pop out during the rattan trendy period. Sepak Takraw, the rattan woven ball, had been first created in Kelantan and the game is carried into Melaka with the purpose of exploring the market of Sepak Takraw. In the East Malaysia, the locals found rattan resources as rattan had a wide population in Borneo. They created new rattan products like rattan fist trap in Sarawak and new weaving pattern by mixing different colours of rattan strip to create flower or birds pattern like rattan bag and basket in Sabah.

Woven Rattan baskets & bags

Sepak Takraw Kelantan

Sabah

Rattan Fish Trap Sarawak

• The origin of rattan products started in trading port of Melaka.

• The technique of rattan weaving is the one inherited the most, not the crafts.

• Rattan heritage revealed in Melaka, Kelantan, Penang, Ipoh, Sabah and Sarawak in early 70s and formed a trend during 70s and 80s.

Rattan Furniture Melaka, Ipoh, Penang

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The Material

Rattan Species

Local name

Uses

Korthalsia spp.

Calamus ornatus Plectocomiopsis geminiflora Myrialepis paradoxa Calospatha scortechinii Daemoncrops calicarpa D. leptopus D. kunstleri D. angustifolia D. melanochaetes D. grandis Calamus manan C. viridispinus C. longipathus C. javensis C. tumidus C. exilis C. caesius C. axillaris C. apeciosissimus

Rotan dahan R. mantang R. giling (R.rilang)

Rattan strip/split and furniture components Rattan peel, core, furniture components and walking sticks Handicraft items

R. kertong

Handicraft items

R. demuk

The fruits are occasionally eaten (very rare species). Hardly of commercial interest

R. lumpit R. bacap R. bulu landak R. getah R. getah R. sendang R. manau R. kerai gunung R. kunyung R. lilin (R.mendon) R. manau tikus R. paku R. sega R. sega air R. sega badak (R. semut) R. semambu R. sirikis R. jernang

The leaves and stalk are used for making roof & handicraft items The leaves are used for making cigarette papers by the aborigines The leaves are used for making thatch Rattan core and furniture components Rattan core and furniture components Furniture components Rattan core, furniture components walking sticks Rattan core, skin and binding materials The leaves are used for making cigarette papers by the aborigines Binding materials Rattan core, furniture components and walking sticks Binding materials Rattan core, skin, furniture components and handicraft Rattan core, skin, furniture components and handicraft Rattan core, skin, furniture components and handicraft

C. scipionum C. paspalanthus C. didymophylla C. propinqua C. micracantha C. castaneus C. lobbianus C. erinaceus C. insignis C. ornatus C. perakensis var. perakensis C. luridus C. viridispinus C. perakensis var. crassus C. laevigatus C. balingensis

R. jernang R. jernang R. cucor R. cucor kelabu R. bakau R. batu R. dok R. duduk

Furniture components and walking sticks The fruits are edible Rattan strip/split rattan, fruits are a source of dragon's blood (dye) Rattan strip/split rattan and the fruits are a source of dragon's blood (dye) Rattan strip/split rattan and the fruits are a source of dragon's blood (dye) The leaves are use for making roof and the seeds can be used for medical purposes The seeds is edible Rattan core, skin and rattan strip/split Rattan core, skin and handicraft items Furniture components Walking sticks

R. kerai R. kerai gunung R. tekok gunung

Rattan core and handicraft items Rattan core, skin, furniture components and handicraft Walking sticks

R. tunggal R. tanah

Rattan core, skin, furniture components and handicraft items Rattan core, skin, furniture components and handicraft items

Rattan (from the Malay rotan) is the name for roughly 600 species of old world climbing palms belonging to subfamily Calamoideae.

Rattan is also known as manila, or malacca, named after the ports of shipment Manila and Malacca City, and as manau (from the Malay rotan manau, the trade name for Calamus manan canes in Southeast Asia). The climbing habit is associated with the characteristics of its flexible woody stem, derived typically from a secondary growth, makes rattan a liana rather than a true wood.

In Malaysia, a tropical country with average climate 30°C, is the best place for rattan growing.

The population of rattan in Malaysia is averagely high among Southeast Asia. Estimated a total number of rattan plants found in Permanent Reserve Forests is 32.7 million, around 106 species, mostly found in Pahang.

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The Material

Rattan Species Famous Species in Malaysia

Calamus ornatus a.k.a Rotan Mantang

Myrialepis paradoxa a.k.a Rotan Kertong

There are over hundreds of species found in Malaysia where these four are the species which are famously used in a few segments. Rotan Mantang and Rotan Dahan are famous in use of making furniture.

These two species are thicker in size and have larger strength to be the structure bone of furniture. For Rotan Kertong and Rotan Giling, both are smaller in size and have a high flexibility that can allow them to bend. These species often used as handicraft and weaving materials after processed into rattan strips.

Other species like Rotan Sega and Rotan Semambu are the rarer and higher quality rattan species. Rotan Sega has lighter in colour while Rotan Semambu has a reddish colour. Both have varies of diameter and the thicker ones have similar surface and characteristic with bamboo stem. They are creatively used in making higher quality furniture, handles and binding basketwares.

Calamus caesius a.k.a Rotan Sega

Plectocomiopsis geminiflora a.k.a Rotan Giling

Korthalsia spp. a.k.a Rotan Dahan

Calamus scipionum a.k.a Rotan Semambu

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Manufacturing Process

Rattan Core

Raw material

Washing the raw rattan to remove the still intact inner epidermis of the leaf sheath adhering and dirt.

Drying the rattan under the sun to prevent stain fungi and wood boring insects during storage.

Bundling the processed rattan in weights of 50kg or 100kg by categories and grades.

Sorting the dry rattan stem peeling into consistent diameter according to the grades to prevent resources 20 wasting.

Process Of Making

Rattan Furniture

Burning with fire 3 torch and do curing on the naturally existed bend

Assembling and winding the thicker stand as the structure of the furniture

Weaving out the shape of the 7 rattan hand by hand using dampened and softened rattan

2

1 Resources

Smoothing the 5 surface by using sandpaper and clamp

Cutting into measurement with using table saw

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4

8

Toasting the rattan with fire torch while bending it

Finished it by burning with fire torch and applying a coating 21

Type Of

Rattan Woven Pattern

Open Mesh Webbing

Medium Close Woven

Diagonal Weave

Circular Weave

Nu-kane webbing

Superfine twill

Mixing of rattan weaving pattern

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Problem & Challenges Of

Rattan Art Museum Due to more and more cheaper manmade materials slowly being introduced to this modern technologies era, the traditional natural material like rattan has being faded over times. Current generations prefer modern materials over contemporary materials due to trends, prices, styles, conveniency and usages. Handmade rattan arts need lots of time to produce especially rattan furniture. From traditional way of processing rattans, to hand weave the rattans together into one piece. It also takes lots of time, effort and money.

Luckily the trend of rattan furniture has being brought back, thanks to many café and restaurants which wanted to style their interior with 80s mood. It isn’t easy to preserve and protect the culture of handmade rattan arts in a craft museum. Many issues may need to be concerned like finance, managements and supplies. Market demand may be low enough to attract the newcomers to learn and experience as there aren’t many rattan makers left. Many youngsters prefer to choose modern technologies over culture heritage. Many rattan arts like furniture are made by machines which may be lacking of qualities and durability over human-made.

Other than that, due to lack of market demand, it also causes many rattan vine suppliers to leave the market and soon the material will be faded out in the market completely and experience supply shortage.

The key of success in managing the museum is by receiving sponsorship from the federal government of Malaysia and organization like World Wide Fund for Nature (WWF). This can help to achieve another level of recognition of Malaysia rattan arts around the world. Besides, rattan vine suppliers also have the role of maintaining the rattan palm tree plantation and limiting the amount of raw rattan vine harvested to achieve sustainability. By dealing an open partnership with local suppliers such as Rinaat Cane Sdn Bhd and rattan maker company such as Rattan Art Furniture Sdn Bhd, this can help to ensure the consistent quality of rattans being supplied and quality rattan art work being produced in the craft museum to prevent waste of resources. Next, organizing rattan arts exhibitions like rattan sculptures exhibition can let the passionate rattan artists to showcase their art works for the public to enjoy especially art lovers. Furthermore, art talks can be held monthly by inviting famous Indonesia rattan artists like Joko Avianto for sharing his art works by using rattans and his experiences on rattan sculpture around the world. By having new inspirations, local art artists can have more creative ideas on designing with rattans and display out to the public in the craft museum. Other than that, visitors are allowed to be a rattan artist too while signing up for the workshop in the craft museum to design their own rattan arts like sculpture of handicrafts. The workshop can regenerate the interests of visitors towards rattan arts and learn the techniques and skills of rattan weaving.The craft museum will have several programmes be held in the craft museum like history and rattan weaving knowledge lessons, rattan arts making workshop, traditional process of rattan demonstration by experienced rattan craftsman and others. Besides, events like rattan arts competitions, famous rattan artists’ 23 artworks exhibitions, art talk by famous rattan makers and others will also be organized every month or during festive seasons.

Macro Site Analysis

TARGET VISITORS

1. Students From UKM • University and secondary school nearby 2. Tourists To Visit Balai Seni Negara & National Art Gallary • Site in the middle of Balai Seni negara and National Art Gallery 3. Older Generations • Trendy period during their era 4. Rattan Lovers • Many rattan shop nearby

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MICRO SITE ANALYSIS

Programmatic Plan & Functional Spaces

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MICRO SITE ANALYSIS

Bubble Diagram

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RATTAN PAVILION

Design Concept The design concept of curve rattan weaving is to embrace the rattan weaving technique and the characteristic of rattan which brings a flexible and durable building material the loose type rattan weaving pattern is applied to the pavilion design as to combine natural characteristic of rattan to the design. The inner structure is using slanted wooden posts where the rattan is woven around them. The sloping style from the beginning to the end is to allow people to sit on the rattan woven structure at the lowest point. This is also meant to embrace the rattan furniture back to its trendy period.

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ORTHOGRAPHIC DRAWING

Site Plan

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ORTHOGRAPHIC DRAWING

Floor Plan

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ORTHOGRAPHIC DRAWING

Front & Rear Elevation

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ORTHOGRAPHIC DRAWING

Left & Right Elevation

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RATTAN PAVILION

Material Selections

RATTAN STRIPS

TIMBER POSTS

CONCRETE SLAB

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RATTAN PAVILION

Physical Model

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Assignment 3

Craft Museum / Cultural Institution Ornamental Facade

Prepared by:

Gilbert Tan Hong Tzer 1001849978

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RATTAN ART MUSEUM By: Gilbert Tan Hong Tzer 1001849978

Rattan Art Museum

AIM OF THE RATTAN ART MUSEUM 1.

2.

3.

4.

5.

6.

7.

8.

To preserve and restore the existing culture of handmade rattan art from being eliminated by times.

To increase the exposure of Malaysia’s rattan arts in nowadays generation to help improve the economy in Malaysia.

To inherit the skills and techniques of making rattan arts from generations to generations.

To teach the youngsters to make DIY rattan arts by using traditional rattan weaving skills and techniques.

To inspire the modern artists, combine their design with rattan arts thus regenerate the interests of nowadays generations.

To bring back the rattan trend in house decorations and furniture.

To improve the market of rattan in the whole Malaysia.

To gain more appreciations in handmade rattan arts by engaging the community in rattan plantations and material productions.

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Rattan Art Museum

SPANISH PAVILION FOR SHANGHAI EXPO 2010

CASE STUDY

Shanghai, China

Design Concept The Spanish Pavilion for the 2010 World Expo of Shanghai seeks to reflect upon the Spanish climate. The architect groups aimed to recover the extraordinary craft of wickerwork in order to bring it back to life and to reinvent it as a new construction technique. Besides, the role of the pavilion is also meant to bond up the relationship between the Spanish and the Chinese from both country by mixing the Chinese elements into the design.

The semi-transparent quality of plant fibre textiles are presented on the external layer of the tubular structure by pieces of wicker weave stretched over slightly distorted rectangular tubular metal frames create a strong exterior light diffused as it enters the interior through the overlapping space frames of wicker and steel. Not only in daytime, at night, the interior lighting brighten up the whole pavilion through the semi-translucent rattan meshes, creating a perspective of glowing rattan basketry from the exterior.

The overall form of the pavilion is created by two large curvatures, in order to wrap up the public space and create a better visitors’ experience while visiting. The curvatures stretched out to wrap around the other required public spaces and private spaces, formed an opened double space interior in the public spaces and enclosed in the private spaces.

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Rattan Art Museum

SPANISH PAVILION FOR SHANGHAI EXPO 2010

CASE STUDY

Shanghai, China

Main Public Spaces

Private Spaces

Basic Public Spaces

Design Strategies Apply To My Craft Museum First design strategy could be applied in my craft museum is the space orientation and circulation of the Spanish Pavilion 2010. The relationship between spaces are widely bonded. Example like the circular plaza marks the entrance to the building and splits it into a wing of exhibition space and a wing with offices and the restaurant. From the plaza, visitors may funnel in, making the entrance not only dramatic but also adventurous with so many people crowded together.

Visitors may arrive at a long cave-like tunnel, whose rounded, rough walls are used as giant projection screens. Here, bones hang from the ceiling and a flamenco dancer jumps to life from a supposed slumber on the floor stage. Then visitors may move into a high-ceiling room sliced by five long, thin video screens and enclosed by dark walls finished with what appears to be a cross between lace and lava. Finally the route opens into a bright, open space dominated by the giant baby created by Spanish director Isabel Coixet and more wicker panels. The interrelated spaces circulation brings a storylike flow of tour inside the pavilion thus bring up the visitors’ experience to another level. I applied this design strategy in the circulation of the internal spaces by linking up all the spaces together to one curving corridors.

Not only that, another design strategy been used on the façade design is that the implementation of mixed culture design elements in aiming to adapt the locals’ interests and relationship when visiting the pavilion. The idea of mixed culture design elements are very useful in targeting the visitors and their interests when visiting your museum. Like the thousands of rattan panels hang around the exterior of the pavilion not only enhance the bonding of the Spanish and the Chinese, but also used as innovatively reinvent it to another new construction techniques in design. The rattan panels also improve the interior experience and exterior perspective of the pavilion as when the sunlight is filtered and penetrates through it, and also when the interior lighting lighten up the whole pavilion and seen from the exterior just like a glowing rattan basketry. I applied this strategy in my craft museum as the rattan façade to enhance the interior with natural lighting and shading usage.

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Rattan Art Museum

CASE STUDY

SPANISH PAVILION FOR SHANGHAI EXPO 2010 Shanghai, China

Façade Details As the steel framing is the main support, it curves all the way to the ground until a 1000mm (L) x 500mm (W) x 300mm thick reinforced concrete footing as support platform to transfer the loads of the superstructure to the ground. the connection between the framing system and the footing is by using a metal plate with nuts to lock it in place.

The external layer of the framing system is attached with series of rattan woven panels in order to filter the direct sunlight into the internal spaces. The rattan panels are all handwoven by Chinese craftsmen and hundreds of breeds were selected to showcase the mosaic texture as one of the Chinese elements. The rattan panels are 1000mm (W) x 2000mm (L) in rectangular plane. They bend the panels into series of curvature as this is to adapt the curvature form of the pavilion while also to recover the extraordinary craft of wickerwork in order to bring it back to life and to reinvent it as a new construction technique. The connection from the panels to the framing system is by using one horizontal steel truss with metal plate and nuts to lock into place.

Besides, to separate the internal and external spaces, one layer of 1000mm (W) x 1500mm (L) x 20mm thick glass glazing is built in the internal layer. The glass glazing is used to improve the internal experience by enhancing the light penetration through the rattan woven gaps on the panels. Not only in daytime, the internal lighting can be seemed “glowing in a rattan sculpture” at night from the exterior perspective. In order to attach the glass glazing together onto the framing system, the engineers applied a connection of spider cable net to joint the glazing together and hold into place on the framing system.

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Rattan Art Museum

1

Design Intention The design of Rattan Art Museum is inspired by the characteristic of flexibility and stretchability of rattan. The form of the museum is created by three curvatures place on site. In order to play around with the curves, volumes are created by wrapping up with the curves to form a functional space. Concave curves entrances may let the visitors feel welcomed when entering.

Other than that, public spaces like exhibition halls are open designed as these spaces are the main functional spaces in the museum. I designed the museum with a story-liked space orientation which all the spaces are connected to the main circulation. Two curves are narrower in distance to form a potential pathway so that visitors can have a better museum tour experience when visiting.

Required Public Spaces

2

Lots of rattan elements are applied in the museum design as the aim is to recover and reinvent the extraordinary craft of wickerwork in order to bring it back to life. The external of the curves are cladded with rectangular rattan woven panels as to filter daylight when penetrating through and enhance the internal lighting.

Required Public Spaces

3

Required Public Spaces

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Rattan Art Museum

Macro Site Analysis • Located at a potential museum spot. Share a land with Istana Budaya and Balai Seni Negara • Surrounded with rattan art shops and studio within 10KM from the site • An university & a secondary school nearby • Opposite Hospital Kuala Lumpur

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Rattan Art Museum

Micro Site Analysis – Site Condition

N

• Sun path

• Vegetation

• Noise & Airbonde Pollutant

• Vehicle circulation

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Rattan Art Museum

Micro Site Analysis – Site Condition

View In To Site

View Out From Site

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Rattan Art Museum

Bubble Diagram - Functional Space Main Public Spaces • Exhibition Halls, Semi-Outdoor Gallery, Courtyard, Pavilion Required Public Spaces • Lobby, Handicraft Shop, Cafeteria Semi-Private Spaces • Workshop, Storage Private Spaces • Toilet, Surau, Office

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Rattan Art Museum

Programmatic Diagram

Semi-Outdoor Gallery

Main Exhibition Hall Cafeteria

Wax Gallery

Handicraft Shop Workshop Lobby

Front

Rear

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Rattan Art Museum

3D Massing

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Rattan Art Museum

Form Model

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Rattan Art Museum

Façade Sectional Drawing

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Rattan Art Museum

Façade Model

Internal Curtain Wall Rattan Woven Panel - Skewed 9900mm (h) x 2000mm (w) rectangular timber frame with rattan woven on it, arranged in tilted 15° hang on the steel framing structure.

- Floating Transom Supported By A Steel Rod Bone Welded To The Steel Structure With 1445mm (H) X 2000mmm (L) X 20mm Thk. Glass Glazing Fit On Each Section.

Single Diagonal Braced Steel Structure - Supporting the roof, rattan panel, curtain wall, 150mm dia. Vertical bracing with 100mm dia. & 1500mm width internal bracing transfer load through the reinforced concrete slab to the reinforced concrete spread footing foundation.

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Rattan Art Museum

Ground Floor Plan

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Rattan Art Museum

First Floor Plan

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Rattan Art Museum

Front Elevation

Scale 1 : 200

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Rattan Art Museum

Left Elevation

Scale 1 : 200

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Rattan Art Museum

Right Elevation

Scale 1 : 200

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Rattan Art Museum

Rear Elevation

Scale 1 : 200

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Rattan Art Museum

Section A-A & Section B-B

Section A-A

Section B-B

Scale 1 : 200

Scale 1 : 200

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Rattan Art Museum

Entrance Perspective Exterior Perspective

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Rattan Art Museum

Entrance Perspective Night Exterior Perspective

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Rattan Art Museum

Semi-Outdoor Gallery Perspective Exterior Perspective

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Rattan Art Museum

Exterior Perspective

Outdoor Courtyard Perspective

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Rattan Art Museum

Lobby Perspective Interior Perspective

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Rattan Art Museum

Main Exhibition Hall Perspective Interior Perspective

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Rattan Art Museum

Wax Gallery Perspective Interior Perspective

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Rattan Art Museum

Sectional Perspective One-Point Perspective

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Rattan Art Museum Rattan Art Museum 3D Model Walkthrough

Link : https://youtu.be/C_AE0GW-Fwg

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