INTRODUCTION
PROJECT 1 04-13
Task 1 - Readings
Task 2 - Findings
PROJECT 2 14-20
Project 2A (Task 2) - Places of Interest
Project 2B - Urban Strategy
Project 2C - Building Strategy
PROJECT 3 21-45
Adaptive Reuse
CONTACT
(+60) 12-5508095
jackyponjt65@gmail com
EDUCATION
SJK(C) SAM TET (Primary)
POI LAM HIGH SCHOOL (SUWA) (Secondary)
UCSI UNIVERSITY (University)
WORK EXPERIENCE
Site Supervisor (CHOONG NAM FATHER & SONS CONSTRUCTION
SDN BHD ) 08/2020 - 10/2020
Site Supervisor (ZHAN FUNG BUILDERS SDN BHD ) 11/2020 - 01/2021
Site Supervisor (Intern)
(CHOONG NAM FATHER & SONS CONSTRUCTION
SDN BHD ) 12/2021 - 06/2022
INTEREST
Golfing
Charity Volunteer
Latin Dance
Photographing
Travelling
SKILLS
AutoCAD 2023
Revit 2023
Sketchup Pro 2022
Adobe Photoshop
Enscape
Lumion
D5 Render Filmora
Procreate & Hand Drawing/Sketching
Microsoft Office
STUDENT
Task 1 - Readings
Task 2 - Findings
Alvin Lau - Fragments Across Jalan Sentul and Jalan Ipoh
Max Ernst (1891-1976) was a pioneering German artist and a key figure in the Surrealist movement Known for his innovative techniques and dreamlike imagery, Ernst's works explored the realms of the unconscious and the irrational His contributions in painting, collage, sculpture, and printmaking continue to be celebrated for their lasting impact on modern and contemporary art.
Picture 1 - Of This Men Shall Know Nothing (1923)
Ernst studied philosophy and psychology in Bonn and was interested in the alternative realities experienced by the insane This painting may have been inspired by the psychoanalyst Sigmund Freud’s study of the delusions of a paranoiac, Daniel Paul Schreber Freud identified Schreber’s fantasy of becoming a woman as a ‘castration complex’ The central image of two pairs of legs refers to Schreber’s hermaphroditic desires. Ernst’s inscription on the back of the painting reads: ‘The picture is curious because of its symmetry. The two sexes balance one another.’
Forests appear frequently in Ernst’s works and recall his feelings of the ‘enchantment and terror’ of the woods near his childhood home Forests are a potent symbol in German tradition and were also adopted by the Surrealist group as a metaphor for the imagination. In this work, a small dove, which Ernst liked to use as a symbol to represent himself, is trapped among menacing trees. The shapes are created using a technique he called ‘grattage’, in which paint is scraped across the canvas to reveal the imprint of objects placed beneath
Ernst was haunted by the atmosphere of forests and by the birds which inhabit them Here, the herring-bone effect of the trees and the grainy sky reveal his technique of grattage. Layers of paint were applied to the canvas, which was pressed against a sheet of stamped metal and a rough plank and scraped. Born near Cologne, Ernst studied philosophy before becoming a leading Surrealist in Paris This work was given to the Contemporary Art Society by Miss A F Brown in 1940
The bird figure Loplop was Ernst's alter ego. This painting shows not only the artist's fascination with mythology and the primitive as subject matter (as exemplified by the bird), but also his formal interest in attaching different materials to the canvas Both of these impulses would prove vital to the work of Jackson Pollock
The Robing of the Bride depicts four figures in a sparsely decorated, almost medieval interior. The central figure is a woman, presumably the Bride, who wears a red gown open at the front to reveal her nude body, crowned with a large bird-like headdress To her left, a small green bird-man holds a spear and to her right she seems to be blocking another purple figure, with strange webbed hair In the bottom right hand corner crouches a small creature, between man, woman and sea creature Behind this group of figures is a framed picture of the central female figure, in the same dress, against a blue sky. The Robing of the Bride is an excellent example of Surrealism as Max Ernst defined it: “the future transmutation of those two seemingly contradictory states, dream and reality, into a sort of absolute reality, of Surreality so to speak ” In terms of identifying a meaning behind The Robing of the Bride, the bird-man is often considered to refer to Ernst himself, as his alter-ego “Loplop” the bird appeared in many of his works
Picture 6 - The Dark Gods (1957)
The figures in this painting have none of the baroque qualities of, for example, H P Lovecraft’s Great Old Ones, which might be a comparison (God forms embodying deep, primal forces). Ernst’s dark gods depend on simple geometric shapes, almost childlike circles and triangles, to give them life In this, though, they are ultimately more compelling than the ornate, fantastical beings common to so much ‘fantasy art’. The projection of simple lines and forms onto the formless swirling of Mystery surely describes the actual creation of the first gods, long ago in our species’ psychic prehistory: attempts to impose some simple structure on the existential darkness into which our ancestors stared as they first developed the double-edged human qualities of self-awareness and consciousness In addition, if we interpret the figure in the foreground as some kind of priest or shaman, and the face that floats above him as the god he invokes, worships, creates– then it is notable that the god is created in the image of the man who dreams him- another important insight embedded in this deceptively simple painting
Picture 7 - Birth of a Galaxy (1969)
Max Ernst painted Naissance d'une galaxie (Birth of a Galaxy) in the year of the first moon landing. The work, painted in oil, reflects upon man's yearning to explore other spheres, in a poetic vision that is at the same time tinged with irony
Picture 8 - The World of the Naive (1965)
Picture 9 - The Night Prowling Fish (1974)
Of This Men Shall Know Nothing, Forest and Dove, The Wood, Loplop Introduces Loplop, The Robing of The Bride
The Dark Gods, Birth of a Galaxy, The World of the Naive, The Night Prowling Fish
The exquisite ceramic works of art known as Peranakan tiles, often referred to as "Nyonya" or "Baba" tiles, reflect the distinctive cultural fusion of the Peranakan people, who are descended from Chinese immigrants who landed in Southeast Asia The complex fusion of Chinese and Malay elements in Peranakan culture is reflected in these elaborately patterned tiles
Peranakan tiles are a visual feast thanks to their vibrant colors and intricate patterns The patterns frequently feature a tasteful combination of plants, animals, and geometric shapes that are painstakingly combined to produce alluring symmetrical arrangements. Bold blues, bright greens, fiery reds, and striking yellows make up the color scheme, which is carefully glazed onto the surface of the tiles.
Each tile's picture conveys a story, combining tales vvvof mythology, nature, and daily life into a captivating visual narrative These tiles, whether they show birds in flight, blooming flowers, or scenes from folklore, are more than just ornamental pieces; they also serve as windows into the Peranakan people's cultural heritage and past.
Peranakan tiles are exquisitely detailed and are frequently used to embellish walls, floors, and even the exteriors of buildings They are treasured icons of a lively and diversified cultural past that continues to enthral and inspire people all around the world thanks to their enduring charm and historical relevance
Project 2A (Task 2) - Places of Interest
Project 2B - Urban Strategy
Project 2C - Building Strategy
Ink and wash painting
The main program of this project was tile’s museum The project is endowed with more and more functions besides exhibition halls, it contains restoration centre, workshop, library and office for the workers The sub-program was cafe
The form of the building was taken from outline of Peranakan Tiles After abstracting out the form, directly integrated with the remaining walls The walls were remained because the site was in UNESCO area After insert the form, it's not only shown out building, but also circulation.
The old walls have to remain, so added new wall and break down some walls to fit in the form
Added in glass for the library and cafe to get better sunlight exposure
Create walkways to link each spaces together. The walkway idea was coming from the form.
Added in garden for people to get refreshment after going through the exhibition halls
In this project, double-skin facade will be used. It is featuring two separate layers of building envelope, made of glass, with a gap between them This design enhances energy efficiency, indoor climate control, and aesthetics, making it a popular choice for modern buildings in various climates Key benefits include improved thermal insulation, natural ventilation, solar control, acoustic insulation, and an attractive appearance
Sunlight
Workshop
First Floor
Tiles Workshop
Library (mezzanine)
Library (mezzanine)
“Simplicity is the ultimate sophistication.”
