P O R T F O L I O
M A N U E L L A S C U L L Y
M A N U E L L A S
I try to live by my motto of - “What is Your Art for?”- hoping that one day my art would mean something to others.
0 the’Nude Cultural Centre 1 Beach Road Community Musuem 2 Artist Dwelling 3 Abstract Visual 4 Architectural Drawings 5 Art 6 Resume
Design Ski lls Adobe Photoshop Adobe Illustrator Adobe InDesign AutoCad ARCHICad Rhino SketchUp Model Making Fine Art
S peciali sations Born 5 July, 1996 Singapore firstname.lastname@example.org +65 92777062
E xperie nce
Digital Design Production
E du cation
Design Team Noise Singapore 2016: Open Call
2015 - 2018
2016 organised by National Arts Council Commissioned to design publicity postcards that were distributed around Singapore
National University of Singapore Bachelor of Arts (Architecture) Masters in Architecture (in progress)
2012 - 2014
Meridian Junior College GCE A-Levels
Volunteer Eurasian Association (EA) 2002 - 2018 Active volunteer and representative of the Eurasian community for various community and national events
2008 - 2011
Tanjong Katong Girlsâ€™ School GCE O-Levels
2002 - 2007
St. Anthonyâ€™s Canossian Primary School
F&B Dutch Colony Coffee Co. 2014 - 2015 Immersed in the coffee industry and gained service and barista skills
Langu age Ski lls English Fluent
Hand Drafting & Illustrations
theâ€™Nude Cultural Centre is a local art centre targeted towards reviving Singaporeâ€™s dying art forms by rehousing nomad street performances and giving them a constant venue to perform. The design will be a reinterpretation of a vernacular asian theatre set in a modern context. The building will bring the streets in and cater to the spatial needs of the respective art forms. It will express the movement of the body as well as tell the narrative of a performance. The front of house and backstage will serve the needs of the separate groups to deliver them in the best frame of mind, while having a relationship with each other. To achieve so, these spaces will play with the complexity of exposure to further build or minimise intimacy between the groups. These spaces will have visibility and connectivity with the surrounding community in order to attract and include them into the art form. The relationship between these groups determines the success of the performance. Thus, the design aims to establish an intimate dialogue between the community and the performer, as well as redefine a theatre experience.
THE GREENROUTE MASTERPLAN the masterplan aims to connect the site to the existing Greenway park connector through an extended green spine that infiltrates through the programmes in the neighbourhood which are also able to spill out into the green spaces.
(left) Female Restroom, showing the shadows of the female performers getting ready (right) Street view at north elevation of night performance, showing the constast between the shadows of the performers practicing and the performance taking place
left to right: First floor (Street Level) Second Floor Third Floor (Green level)
THE JOURNEY The audienceâ€™s journey to the performance will mimic the journey of a performer leading up to his performance. The audience will first experience the dress rooms of the performers when the enter their respective restrooms. This exposure is created using translucent concrete, which will allow shadows to narrate the activity within.
The audience will get a glimpse of the performers practicing in the practice studio when they mingle at the ground floor and at the intermission foyer and bar at the second level. By using translucent glass, faded movements of bodies will expose the audience to the components of a performance beyond the performance itself.
Lastly, the audience will arrive at the theatre on the third level, which is connected to the public green street. The use of a truss stage allows for greater intimacy between the audience and the performer. The open layout of the theatre allows for flexibility for the different art forms and allows all components of the theatre to be exposure and visibile to the audience. theâ€™Nude Cultural centre redefines what a theatre exprience can be.
East-West Section (left) North-South Section (right)
STRUCTURE The core structure makes up of hollow cores for vertical circulation as well as support for the roof. The pattern created by the structure at the roof resembles the pattern of a rattan chair to allow daylight into the space while providing shade for the pavilian. Its facade is surrounded by supporting curved columns that futher expresses the movement of the body. The buildingâ€™s form resembles the extrusion of a lantern from the ground up.
Supporting Facade Columns
SITE The design aims to connect to its surrounding site, by connecting the commercial street and the public green, as well as the buildings around it. This strategy aims to include the public on the streets and in the surrounding buildings, and engage them with the art form within the centre.
Connecting Topography & Streets
Service & Fire Escape Route
Spillage onto Public Spaces
Studying the site, despite the given conventional grid and order set in the space, the community members at Beach Road would express their individuality by marking their presence beyond conventional spaces. They break free from the order and grid, as well as bleed out from their private spaces and into public spaces, blurring the boundaries between private and public spaces. Beach Road Community Museum is a creative workshop and contemporary art gallery that will showcase print artworks by local artists such as Amanda Heng. Through its artist collaborations, artworks, exhibitions and public programmes, it will engage and inspire the community in the appreciation of print and paper art practice. Being a community musuem, it’s main focus is to showcase the community’s ‘art’, which is their life and presence.
The community museum aims to celebrate the grounded characteristics of the site, by blurring the boundaries between the inside and outside environments. Parti
The community musuem aims to welcome community members and the public into the space by providing a non-forceful, comfortable open environment. Users will experience the musuem by having visual and physical connectivity among spaces. The nature and activity that lies outside the musuem is brought into the space such that dwellers in the musuem are not disconnected to the community’s ‘art’. Dwelling and transitional spaces are connected to experiencial art spaces, such that the barrier between art and user is broken.
Preserved Dwelling Spots
To reduce the disruption of the new musuem , current dwelling spots are preserved. These spaces have become memorial spaces where relationships have been forged and memories have been built. Such spaces have become the art of the community and thus should be preserved.
Frames bleed into the existing community spaces to further facilitate the communityâ€™s dwelling habits, as well as denote direction to facilitate movement into the main musuem spaces. They are used to frame views of the life outside, as well as for visual porosity. These frames are also built onto existing structures, such that they extend from these structures or use them as structural support.
Exploring the ways in which the outside environment can further bleed into the built space
Developed Plan of Key Space
With blurred boundaries between the inside and outside spaces, community members can carry out personal informal activities along side formal musuem activities. The musuem’s connectivity and openness to their current environemnt will break the barrier between private and public space. They can start to intrude into these spaces by bringing in persoanl items like red plastic chairs and take over the space. The clean and pristine musuem morphs and starts to express the community’s presence and identity, and thus ‘art’.
FLORA FOSSILS Relieved of their perisable forms and given permanance in white plaster, these fossils of nature forever carry the emotional impact of their beauty that we may overlook or forget
Relief paster casting for interiors walls of museum
Pressed flora in between glass panels are used as screens and sunshading
Morning Glory : Its natural colour has been used as a dye for craft and cooking Ixora Janavica : It has been treasured for its medical and edible benefits
There is potential for the unique characteristics and identity of the community to overgrow and take over the given built space. Overtime, the musuem visually morphs, architecturally and environmentally. Users will start to mark their presence and teritory within these spaces. As oppose to fossilised flora in glass panels, could these flora be living and breathing, thereby slowly growing and engulfing the architecture? These tangible and intangible changes will speak of the life that lies within this community. STRUCTURE Spatial Aim: to achieve a continuous frame with minimal physical barriers for visual and physical porosity. Stuctural System: a truss system is used to achieve long roof spans. a deep truss is hidden in the middle while the roof tapers outwards to mimic a thin slender exterior frame.
The commnity would be involved in creating these art pieces with the artist. These relief castings would be used as a daily print activity for users in the museum.
HEATHER HENSON creates organic geometric art using charcoal while she performs an original dance piece on a canvas. Her form of art relies heavily on her body’s dimensions and limits, where the repeated use of a single pivoted stroke creates a layered dense geometry
Artist Dwelling Antropometry creating enclosure and privacy
Boundary of Site created by Boundary of Trees
Pockets of Public and Private Spaces created by Boundary of Trees
Exposed View Points created by gaps between trees
Density of Bamboo Poles
CONCEPT playing with the idea of layering and density, the use of a single language can create various degrees of densities to form organic layers of spaces and paths
SITE The choosen site is at the deadend road that used to lead to the main wing of Gillman Barracks. Isolated away from the noise and activity, it is an ideal meditative environment to engage with the art form.
Gillman Barrack Site Plan
Public and private spaces are created without enclosure by using boundaries of trees that give varrying degrees of privacy. Bamboo poles fill exposed gaps and are layered in a grid system.
Different degrees of enclosure are created by varrying the density of a module to create a layering of spaces and paths.
First Storey Plan
Using body limits, privacy is created by restricting access through the sheer closeness of the bamboo poles that do not permit one to pass through. The high density of bamboo poles allows a private space to be free of enclosed walls. In more public areas that do no need enclosure, the bamboo poles are free to be spread out. The density of the spaces also serve as points of reference for the user to travel towards. This playground plays the userâ€™s antropometry allowing him to decide and experience his own unique journey around the ďŹ eld.
a visual study of a classical piece that broke normal conventions
TOTEM ANCESTORS (1942) Totem Ancestors is a schizophrenic piece that encompasses harmnoy within a disharmony. A form of structure lies within its disorder as Merce Cunningham performs with a prepared piano.
MUSICAL TO VISUAL EXPLORATION
MANIPULATION OF CUBE Extracting the concept of manipulating the originality of a piano, various forms are created by manipulating a cube through different rotational cut lines.
DEVELOPMENT OF A CUBOID Various manipulated cubes form a disorderly cuboid that retained structure and order that is achieved through the use of a grid.
ABSTARCT TO ARCHITECTURE A study of form and space
Breaking free from the cuboid while still maintaining a grid structure, the ďŹ nal abstract model of Totem Ancestor represents itâ€™s schizophrenia. Harmony lies within the disorientated manipulation.
With the play of volume, exposure and sight within a grid structure, a cave-like experiencial playground was created for a habital space.
The design is site responsive as the grid forms around a central existing tree, while the stilt sturcture follows the topography of the the terrain. Visual connectivity is manifested among the spaces for interaction and privacy using curated landscaping and architecture
NOISE SINGAPORE 2016: OPEN CALL
Weâ€™re looking for talented young Singaporeans to take part in Noise Singaporeâ€™s programmes! Join us for opportunities to showcase your work, deepen your knowledge, or be part of a community of like-minded people. Apply for: Showcase Submit your original creations in the genres of Art & Design, Photography or Music, and stand to be featured on Noise platforms, including the annual Festival Exhibition. Mentorship Learn from industry professionals by applying for the Noise Art Mentorship (in Photography & Moving Images or Interdisciplinary Art) or Noise Music Mentorship. Submission deadline: 2 May 2016 Join us at www.noisesingapore.com Follow us on Facebook & Instagram @noisesingapore #mixsomenoise Designed by Manuella Lynn Scully, Noise Design Team
//NOISE Design Team// Publicity Postcards for Noise Singapore 2016: Open Call organised by National Arts Council
M A N U E L L A S
Published on Mar 11, 2018