ARC60708
Bachelor of Arts (Hons) in Interior Architecture
E-PORTFOLIO AIAD 1
April 2024 - August 2024
Manishka Mahesh Anchan
PHASE 1
KITH
In the first phase, we had to explore the chosen site and location, and analyze a scenario that can be the main narrative of the project. We will need to speculate/unveil the narrative within the purposed theme and start to construct series of scenarios that responds to the context. Phase 1 implores us to express our discoveries through methods such as speculative drawings, photography, films, lyrics, poems and short stories. My concept was inspired by the site I chose at Petaling Street, which is a Nyonya cafe housed in a pre-war shophouse, called Old China Cafe.
My project aims to revive the Baba Nyonya culture in Petaling Street through its cultural motifs and crafts. In Phase 1, I created a narrative in the shape of tiles, showcasing different motifs and their meanings used in Nyonya culture and crafts like the phoenix resembling beauty and longevity or the crane representing purity. These motifs are not just decorative elements; they carry significant cultural and historical symbolism, each telling a story of the rich heritage of the Nyonya community.
Crit 1
Initial concept- Past vs Present of Kuala Lumpur inspired by the May 13, 1969 riots.
CRIT FEEDBACK: too 'sensitive' of a topic to work on, people don't want to talk about it focus more on the present than past narrative/topic/idea is too general/zoomed out more social study than narrative so zoom in and focus on something specific
D E S I G N P R O C E S S
Research & Inspo (Miro)
Changed my narrative/topic after the feedback from crit. I chose to do Baba Nyonya food and architecture inspired by the site I chose for Phase 3 : Old China Cafe
Petaling Street is an area that represents the coexistence of the three distinct cultures in Malaysia, hence, reviving Baba Nyonya culture here helps preserve and promote a unique blend of Chinese and Malay traditions.
D E S I G N D E V E L O P M E N T
Through this narrative, I want to showcase the different kinds of motifs and patterns used in the Peranakan culture. These include the elegant Peonies, which symbolize wealth and honor in Chinese tradition, and the mythical Qilin, a creature that represents prosperity and protection, and the meticulous Kasut Manek beadwork, which showcases the detailed craftsmanship of traditional Nyonya shoes. These motifs are not just decorative elements; they carry significant cultural and historical symbolism, each telling a story of the rich heritage of the Nyonya community.
S U B M I S S I O N
PHASE 2
POSSIBILITY ARCHITECTURE- LIVE PROJECT
As an extension of Phase 1, we worked in groups to propose an exploratory live project. The scope of the project depended on each group and could encompass a wide array of possibilities in relation to exploratory drawings.
The ideas should address the needs of the site. 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.
D E S I G N P R O C E S S
F I N A L D E S I G N
FABRICATION
INSTALLATION @ REX KL
PHASE 3 03
GLIMPSES OF KITH
In Phase 3, I focused on deepening the design expression based on the themes established in Phase 1. I chose to explore the traditional craft of Nyonya batik-making, a practice that holds deep cultural significance and requires meticulous skill. I began by creating detailed 3D models using SketchUp to visually capture each stage of the batikmaking process, from the application of wax to the dyeing of the fabric. These models formed the core of my design, helping to represent the intricate steps involved in this traditional craft. Engaging in this intricate process of Nyonya batik-making allows users to gain a deep understanding of traditional motifs and their meanings as creating their own batik pieces enables users to connect with the Nyonya culture on a personal level.
Then I used my 3D models to generate curated drawings that effectively communicate the story and aesthetic of my project. By combining various visual components and textures, the curated drawings enabled me to portray the traditional and tactile aspects of batik production in a way that is both innovative and artistic.
DESIGN PROCESS
Research & Inspo (Miro - tutorial 1)
2
D e s i g n d e v e l o p m e n t
D E S I G N P R O C E S S
Tutoria3
03 DESIGN DEVELOPMENT
Final presentation/crit
P E R S P E C T I V E S
C U R A T E D D R A W I N G 1
CURATED DRAWING 2
F I N A L C O M P O S I T I O N
F I N A L R E V I E W D A Y
REFLECTION
First and foremost, I want to thank Miss Fatimah, Miss Yasmin, Miss Chelsea, and Miss Aisya for their unwavering support and guidance throughout this semester. Reflecting on the semester, each phase presented its own unique challenges and opportunities for growth.
In Phase 1, when my initial concept was rejected during crit, the feedback bummed me out because I’m someone who loves diving into history, and I was excited to bring that passion into my project. Next when I shifted my focus to the Baba Nyonya culture, I faced another challenge. The culture itself is so rich and vast that narrowing it down to focus on one aspect for my project was quite difficult. It took a lot of research and iteration to finally find a specific angle that felt right and manageable.
Phase 2 was another learning curve, involving group work to propose an exploratory live project. I was part of the structure group, where we faced the significant challenge of fabricating the structural components of our project. The process was physically demanding, especially since it was mostly the girls who consistently showed up for the fabrication work. There were a lot of arguments and misunderstandings among the three groups, which made the process even more challenging. However, despite the difficulties, we eventually learned to cooperate and work together to complete the project in quite a tight timeframe. The process was exhausting, but the sense of accomplishment we felt after contributing to the creation of structural pieces was huge. The experience taught me the importance of resilience, teamwork, and communication, and I was really proud of what we achieved together in the end.
In Phase 3, "Nyonya Threads" came to life as I focused on deepening the design expression from Phase 1 and creating a main program for the project. This phase was particularly challenging because it required me to shift from the logical and structured mindset I had developed during my internship to a more creative and imaginative approach. There were a few weeks where I was quite sick, and this seriously hindered my progress. Falling behind was incredibly stressful because I was determined to do well this semester and as I tried to catch up, I found myself feeling a little lost, especially when it came to producing the curated drawings. I hit a plateau, unsure if my drawing approach was correct.
