PORTFOLIO

PORTFOLIO INTERIOR ARCHITECTURE DESIGN 1 ISAACK MUJA 0328893

ASSIGNMENT 1 : DESCRY • The purpose of Assignment 1 is to focus on the development of a particular position towards a chosen interest in context of the site.

Assignment 1 implores the student to select one central theme for their projects which are: Imaginings (unbuilt, speculative), Tectonics (semiotics, structuralism), Collage (deconstruction), Poetics (phenomenology, experiential) and Liminality (transitions, fluidity, conscious/unconscious, the in between).

THEMES 1 IMAGININGS The Unbuilt and The Speculative A drawing or series of drawings that examines ideas in the ways of its own world. It does not need to be justified or legitimated by any further action.

Such drawings cannot be directly translated into buildings, nor are they intended to. They are not prescriptive and illustrative of some next step, but formulations of principles, grammar, methods of thinking and working. It creates relationships between abstract, tectonic space and form and human experiences and conditions that comprise our existence.

2 TECTONICS The Art of Construction “Flatness of surfaces and materials, uniformity of illumination, as well as the elimination of micro-climatic differences, further reinforce the tiresome and soporific uniformity of experience. All in all, the tendency of technological culture to standardize environmental conditions and make the environment entirely predictable is causing a serious sensory impoverishment. Our buildings have lost their opacity and depth, sensory invitation and discovery, mystery and shadow”.

3 COLLAGE The Art of Deconstruction Break/suppress the dominant narrative to reveal an alternative reading. It is not simply the technique of an architect who knows how to deconstruct what has been constructed but a probing which touches upon the technique itself, upon the authority of the architectural metaphor and thereby constitutes its own architectural rhetoric. “Could architecture be freed from the prevalence of the principles of classical aesthetics? Could architecture abandon functionalism?”

THEMES 4 LIMINALITY The In-Between Imagine driving to the airport at 3 a.m. with a light mist in the air. The feelings and emotions given off by a liminal space make it feel like an altered reality. Other places may feel like a liminal space regardless of the time of day or year you visit them. Whenever we are at a place during a time that’s not usual for that space, it can feel unsettling. You’ll notice that, in certain spaces under certain circumstances, you’ll experience a feeling of things being slightly off. An altered reality, if you will. When you’re interacting with a liminal space, you’re quite literally standing on the threshold between two realities.

5 POETICS Emotive “The way architecture is able to “touch” its occupants on deeper emotional or spiritual levels. It could also be the way architecture can convey beauty together with meaning that leaves one feeling more fulfilled” (Mario Lorena). Meaning of spaces which preoccupy poetry, intimate spaces such as a house, a drawer, a night dresser and spaces of wide expansion such as vistas and woods.

LOCATION : GLASS HOUSE SEPETUH

ASSIGNMENT 1 STEP 1 27/8 Picking a theme and topic of interest!

Ensuring topic and theme has a correlation.

STEP 2 03/09 Discuss fascinating, interesting possible sites in relation to interest!

Think of a verb that best describes your topic of interest.

STEP 3 10/09 (CRIT) Apply theme to a ‘conscious and live’ recording of the topic of your interest and site. How do you apply the themes and its central ideas towards your ‘reading’ of the site?

STEP 4 17/09 Developing a series of drawings that convey the expansion of the topic of interest through the lens of the theme.

STEP 5 24/09 (CRIT) Present and refine final version of descry drawings.

STEP 6 01/10 Submission

ASSIGNMENT 1 BOARD 1

ASSIGNMENT 1 BOARD 2

ASSIGNMENT 1 BOARD 3

ASSIGNMENT 2 • The application of theory towards experiential journey is developed through exploratory drawings seen through the lens of cinematic compositions (Nosferatu, Exit Through the Gift Shop, Wes Anderson, etc).

It is developed in several angles and possibilities to rigorously question its impact on occupants through a playful take on scale, intimacy, immensity, absurdity, politics, behavior, habits, futurism, speculation, divergences, peculiarities, and this will be reflected in the mannerism of materiality, scale and design expression played out in the development.

PROGRAMMATIC ITERATIONS ASSIGNMENT 2 STEP 1 08/10 Programming Sketches & Visuals for Tutorials Sensory Specificity Materiality Research Spatial Circulation Programming Precedent Studies Research

STEP 2 15/10 (CRIT) Programming Visuals Detailed Depiction of Sensory Experience/Placemaking Form making rationale

STEP 3 22/10 Submission!

LOCATION : GLASS HOUSE SEPETUH

IDEA BOARD

ASSIGNMENT 2 BOARD

ASSIGNMENT 3 • Assignment 3 is the final alchemy of all that you have developed from Phase 1 & 2 and is the culmination of the project that seeks to converge spatial principles, embodying the theory through exploratory design drawings. The range of the project is dependent on you and could have a vast assortment of possibilities in relation to exploratory drawings.

The drawings should reflect on the themes you have chosen in Phase 1.

The designs can range from a multitude of design expressions, and these expressions can be inspired from but not limited to the whimsical, social, economical, speculative, political and poetic. All designed intentions should be intimately related to the context of the site.

Final Project & Portfolio (50%) • In the final level, you will fuse the story and representation you created in Assignment 1, with the programmatic considerations you have developed in Assignment 2 to arrive at the design of a specific component space in Assignment 3.

• Assignment 3 is the final alchemy of all that you have developed from phase 1 & 2 and is the culmination of the project that will eventually give back to the community surrounding it. The range of the project is dependent on you and could have a vast assortment of possibilities. Your designs can range from a multitude of design expressions, and these expressions can be inspired from the whimsical to the social, from the economical to the poetic. All designed intentions should be intimately related to the context of the site. Despite the wide range of possibilities given, a contextual understanding of the users of the space and site would be considered an important criterion for the final project.

REQUIREMENTS (The following requirements of drawings may differ from one student to the other and could be in the form of any typology of drawing such as isometric, axonometric, experimental drawing, sectional perspective, etc) You are required to produce 2 components: 1) Perspectives Perspectives refers to the various representation methods that could be used to narrate a particular component of the space. It is also important to note that in the absence of scaled plan and section drawings, a variety of views is needed to elucidate a particular idea of your design.

2) Design Development, Research + Progressive Compilation

LOCATION : PARAMIT FACTORY PENANG

LOCATION : PARAMIT FACTORY PENANG

SELECTED AREA

PERSPECTIVE VIEW 1

PERSPECTIVE VIEW 2

PERSPECTIVE VIEW 3

PERSPECTIVE VIEW 4

PERSPECTIVE VIEW 5

AXONOMETRIC VIEW

ASSIGNMENT 3 BOARD 1

ASSIGNMENT 3 BOARD 2

PORTFOLIO • Im required to prepare a digital portfolio contain all my works from assignment 1 to assignment 3 and convey it in ISSUU app. The digital portfolio will operate as a self-guided tour of your work; and therefore, will likely contain narrative elements you develop to guide your viewer toward an understanding of each piece in the presentation.