PORTFOLIO
M U H A M M A D A N S H A R U D D I N B I N S U H A I M I
MUHAMMAD ANSHARUDDIN BIN SUHAIMI CONTACT
I aspire to be a muhdanshar@gmail.com
spatial designer
194348X@mymail.nyp.edu.sg
an opportunistic one, ansharuddinee
EDUCATION Diploma in Spatial Design Nanyang Polytechnic 2019 - 2022 GCE 'O' Emath Private Candidate 2018 GCE 'O' & 'N' Level Mayflower Secondary School 2013 - 2017 PSLE Ang Mo Kio Primary School 2007 - 2012
a catalyst of change and a creator of experiences, unbounded by rules.
SOFTWARE
SKILLS
Autodesk AutoCAD l 3Ds Max l Revit Trimble Sketchup Adobe Photoshop l Illustrator
JOB
EXPERIENCE
Retail Associate Uniqlo September 2016 - January 2017 Retail Associate Uniqlo February 2018 - March 2019
Basic understanding of sales principles and customer service practices Knowledge of customer and market dynamics and requirements
ACTIVITIES NYP SDN Club Logistics August 2020 - Present
Involved in planning of school events
NYP Strongman Club Team Member May 2019 - Present
Competed in a competition in Singapore Polytechnic
MFSS Student Council Board President 2015 - 2016
Led the board in a variety of school events and programs
28 38
Defining the City
02 CONVERSING WITH SPACES Music for Everyone
03 SEEING THE UNSEEN
Compilation of Other Works : Drawings, Study Models, Software Renderings, Photography, Journal
STNETNOC
FO ELBAT
02
01 CITY OF SUBTLE SEDUCTION
01
city of subtle seduction DEFINING THE CITY
Project 1 To design a program in a space in the city to host a certain activity based on my understandings and findings of my city slice.
CITY OF SUBTLE SEDUCTION
MY CITY SLICE
Walking the slice exposes me to a lot of spatial qualities that are rather intricate, providing me with opportunities to uncover the mystery behind them. These are spaces that I deem as good spaces. Good spaces hides their identities where I am not able to see all the way through, thus a journey paves out as I take on the challenge to explore and try to understand them.
TWO - WAY DIALOGUE Good spaces are quality spaces. Quality spaces are spaces that allow for two way dialogue to take place. This means that they communicate to their occupants through their forms and aesthetical images. They influence how we behave in the space. By walking towards, retreating from, walking around the perimeter or simply staying stagnant, the space responds differently.
DEFINING THE CITY
04
05
06
CITY OF SUBTLE SEDUCTION
How is the city a 'City of Subtle Seduction' ?
anticipation - is a feeling that I was subconsciously feeling throughout the later visits. I was seduced by the spatial images of certain spaces which were very subtle. The images I was seeing were rather playful. It is as if they were playing "push and pull" with me, like a tug war.
& imagination I was constantly seduced to imagine a lot of things. The spatial qualities of certain spaces in the slice gave me the impression that they were playing "hide and seek" with me. They conceal yet reveal themselves in a very subtle manner. DEFINING THE CITY
07
CITY OF SUBTLE SEDUCTION
WHAT IS SUBTLE SEDUCTION? Seduction is often referred to enticing a person to engage in a relationship or to induce to engage in a sexual behaviour. It is the act of manipulating a particular someone based on physical attraction and desire - winning their the love or sexual favour. However, seduction can also simply mean to have a form of engagement and collaboration with the spaces around us. Just like an artist who reveals his own process of creation to his audience, giving up a measure of control over his works, which in turn allows viewers to have their own understanding and definition of his ideas, spaces can do the same too - a two way dialogue, a straightforward yet complex engagement. To do so, the space needs to have a pulling factor that attracts occupants to do so. It needs to lure them in a subtle way such that they are "trapped" in this "push and pull game". The space could also playfully conceal and reveal its spatial qualities, inviting them to explore the space in a more intimate manner. This is where our 5 senses could be involved manipulating our sensory information.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
PERCEPTIONS PERCEPTIONS People perceive things differently. We all engage selectively, choosing some thing that makes more sense to us while ignoring others. Our physical characteristics influence how we perceive and choose to respond to information. Our psychological state also influences what we read and listen to, and why we do things in a particular manner. Our perceptual set involves our attitudes, beliefs, and values about the world. Ultimately, my device will aid in extending the perspectives of my users in many ways, both positive and negative . With this I am able to see that understanding their perspectives takes on new analysis and observation. Ultimately, it allows me to see things very differently and thus question myself why are some things not the way I deem them to be. The lenses that I have created for my device allow my users to see through a "different set of eyes". These lenses are equipped with filters, filters that tamper with our naked eyes, forcing them to see things differently.
BLURRED LINE
; to allow certain colours in my slice to be hidden to expose the others
; to allow users to question what is real and what is not
S P AC E
F R AME
S P AC E
F R AME
COLOUR - BLIND
slice device
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
STRAIN
; to allow thoughts and vision to be narrowed down further
; to reconfigure users' vision to allow them to see different things
S P AC E
F R AME
S P AC E
F R AME
CONSTRAINTS
slice device
WOUNDS
; to allow users to capture motion in frames
; to allow more flexibility of interpretation, to play around with the regularities and irregularities of lines and surfaces
S P AC E
F R AME
S P AC E
F R AME
CHRONO - FRAME
slice device
DEFINING THE CITY
11
CITY OF SUBTLE SEDUCTION
EPHEMERALITY OF SPACES I think for me personally, what I find interesting about my device is that it allows me to see the ephemerality of some spaces. It taught me that not everything that we value or deem to be of significance, has to be a material or a certain aesthetical images. I must say in which some were subtly seductive in the sense where they made me imagine things. It also shows me the impermanence of certain things in my slice, be it due to intervention of nature or human interaction, that these are momentary and never permanent. The only way for us to experience is to be involved both physically and psychologically.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
Based on all my slice visits, with or without the device, I translated my research and findings into the study model as shown.
TRANSLATING MY FINDINGS INTO
Front View
Back View
Top View
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
The profile of the slice is accompanied by elements of intervention that speaks subtle seduction.
A 4 METRE STUDY MODEL
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
WhiteBox
a space for collaboration.
DEFINING THE CITY
CITY OF SUBTLE SEDUCTION
WHAT DOES IT MEAN TO BE A SPACE FOR COLLABORATION? The word collaborate is so overused and overhyped. It is becoming meaningless. Even with the launch of intranet software, video technology, and other collaborative tools, some people still suffer from, and complain about, poor collaboration. This forced me to contemplate the true nature of collaboration and explore its many dimensions. By looking into the existing collaborative spaces from across different fields, I will be able to further understand what a unique and truly a collaborative space would look like. Eventually, coming up with a design that challenges the people's perception and understanding of space whilst providing them with shared intimate spaces to exchange values, opinions and knowledge with others.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
LOOKING BACK INTO MY SLICE
The site that I will be choosing has to hold potentials that allow for collaboration to take place seamlessly. It needs to have an exiting pulling factor that would attract people to come to the area, possibly an area where there are already crowds on the daily. The site also needs to be accessible yet secluded in such a way that the space I will be designing is exclusively for my target users.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
SITE CHOSEN
UE Square (Office Tower)
Kenzo Tange 81 Clemenceau Ave, Singapore 239917
Clemenceau Avenue
Robertson Walk
River Valley Road
Fort Canning Park
Coleman Street
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
PLAN UE Square Residences
INTERIOR
EXTERIOR DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
UE Square Office Towers
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
INTERIOR DESIGN CONCEPT - PERSPECTIVE VIEWS
A SPACE FOR SEEKERS, ASPIRANTS AND THE CURIOUS.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
INTERIOR DESIGN CONCEPT - PERSPECTIVE VIEWS
A SPACE FOR SPEAKERS, THINKERS, DOERS, AND IDEA-GENERATORS.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
INTERIOR DESIGN CONCEPT - PERSPECTIVE VIEWS
A SPACE FOR DREAMERS, OPPORTUNISTS AND POTENTIALS.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
INTERIOR
DESIGN CONCEPT - SPATIAL QUALITIES & EXPERIENCES
E x p o s e d H i d d e n S p a c e s
The main entrances of the 2nd floor are quite rather introverted spaces. Spaces that
do
not
broadcast
themselves,
allowing occupants to discover the undiscovered
journey
such
that
it
effortlessly expands to the bigger spaces.
B o l d P e n e t r a t i o n The natural light that comes into the space are rather very broadcasting and purposeful. They creep into the space at specific angles and openings of the building such that they highlight certain elements in the space. The presence of light exposes the openings and closings of the building in such a way that they help to emphasise the intricacy and simplicity of the overall layout of the building and in a way, weightlessness.
DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
INTERIOR
DESIGN CONCEPT - SPATIAL QUALITIES & EXPERIENCES
S t a g n a n t T r a n s i t i o n i n g
The
thin
experience
walls of
allow
the
transitioning
spatial between
spaces while being physically present in one. This is made possible by the close proximity between walls angled at a an obtrusive manner. As clear as they can be seen as a space divider that influences how the space occupants move around within, they do not speak so much of being restrictive and confined like a typical concrete wall.
T w o W a y D i a l o g u e
The black-coloured walls will manipulate and encourage their sense of movement. Any direction they walk towards to or simply laying their eyes onto, new, foreign and to a certain extend, alienating spaces will be unveiled upon them. As they maneuver around the space, they are actually "stripping" the rooms apart, "tearing" down the walls, trying to uncover what is hidden and exposed. DEFINING THE CITY
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CITY OF SUBTLE SEDUCTION
INTERIOR
DESIGN CONCEPT - SPATIAL QUALITIES & EXPERIENCES
C o n d e n s e d & E x p a n s i v e
The black-coloured walls will manipulate and encourage their sense of movement. Any direction they walk towards to or simply laying their eyes onto, new, foreign and to a certain extend, alienating spaces will be unveiled upon them. As they maneuver around the space, they are actually "stripping" the rooms apart, "tearing" down the walls, trying to uncover what is hidden and exposed.
T h e N e w N o r m a l
Developing a concept where we no longer have to view chairs and tables as an
immediate
starting
point
upon
entering a room. I would like to push the occupants to explore different standing positions in what this could be an experimental work landscape. DEFINING THE CITY
26
CITY OF SUBTLE SEDUCTION
READ THE FULL COPY : https://issuu.com/muhdanshar/docs/city_of_subtle_seduction DEFINING THE CITY
27
02
conversing with spaces MUSIC FOR EVERYONE
Project 2 To design a program in an everyday space that allows occupants to experience using a product or a service of a brand, differently.
CONVERSING WITH SPACES
on the go.
Design Statement To make Spotify truly tunable anytime and anywhere for everyone, where listeners from all walks of life can tune in to Spotify with ease and comfort. The design will also promote a sense of inclusivity and exclusivity in the shared space to accommodate the different taste buds and channel preference. At the same time, providing a platform for advertisers to advertise their advertisements.
MUSIC FOR EVERYONE
30
CONVERSING WITH SPACES
CREATING THE FUTURE WITH THE PRESENT Tuning into Spotify in a totally new different way while borrowing the settings of one of our everyday landscape public transportation spaces.
MUSIC FOR EVERYONE
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CONVERSING WITH SPACES
My design layout consists of two segregated spaces - spaces of inclusivity and exclusivity. This is where in the first half of the shared space, commuters are able to tune into the same Spotify channel, interacting with one another in some way. Whereas on the other half of the space, commuters can tune into their own preferred channel using the built-in system located within the seat itself with their own listening devices.
INCLUSIVITY AND EXCLUSIVITY
This space or I would say this system borrows the idea of a typical train or a bus, the tap in tap out, wide windows and the uniform order of the seating arrangement - but its uniqueness lies in the close interaction commuters have with it. The fact that they can enjoy listening to their favourite songs and podcasts for free, while on route, give them the best commuting experience they can ever have especially during long rides.
MUSIC FOR EVERYONE
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CONVERSING WITH SPACES
MUSIC FOR EVERYONE
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CONVERSING WITH SPACES
MUSIC FOR EVERYONE
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CONVERSING WITH SPACES
MUSIC FOR EVERYONE
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CONVERSING WITH SPACES
MUSIC FOR EVERYONE
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CONVERSING WITH SPACES
READ THE FULL COPY : https://issuu.com/muhdanshar/docs/conversing_with_spaces MUSIC FOR EVERYONE
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03
liberating fixed identity COMPILATION OF BRAND IDENTITY WORKS
Project 1 To create visual concepts that provide instant connection to the services and products of the brand, building credibility and brand recognition.
LIBERATING FIXED IDENTITY
FACIAL CLINIC & RETAIL STORE
The spaces within the facial clinic are designed in such a way that abide by the brand's working culture and philosophy. They are also aligned to the product line of the brand, a touch of subtle boldness.
BRAND IDENTITY WORKS
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LIBERATING FIXED IDENTITY
BRAND IDENTITY WORKS
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LIBERATING FIXED IDENTITY
BRAND IDENTITY WORKS
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BALOO The Friend You Need
Project 2 To create visual concepts that provide instant connection to the services and products of the brand, building credibility and brand recognition.
LIBERATING FIXED IDENTITY
BALOO The Friend You Need
HOUSEKEEPING COMPANY
The company adopts a rather familiar and simplistic identity that makes itself stand out from its local competitors.
BALOO The Friend You Need
BALOO The Friend You Need
BRAND IDENTITY WORKS
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LIBERATING FIXED IDENTITY
BALOO The Friend You Need
Need a hand Need a hand with your household chores?
Let us
cleaning the
help
house?
you!
BALOO
181 Duxton Road
The Friend You Need
BALOO The Friend You Need
One Call Cleans It All!
Singapore 238896 +65 6123 4567 www.baloo.com
One Call Cleans It All!
BRAND IDENTITY WORKS
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LIBERATING FIXED IDENTITY
BALOO The Friend You Need
BALOO The Friend You Need
ALL PURPOSE Cleaning Solvent 150ml | 5.07oz
BALOO The Friend You Need
BRAND IDENTITY WORKS
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LIBERATING FIXED IDENTITY
Services
BALOO
Hire a Cook
Lovato
The Friend You Need
Hire a Handyman
109 Ang Mo Kio Avenue 4 #10 - 10
Welcome!
Hire a Cleaner
9123 4567
Vacuuming & Mopping *5977
Email Address lovatodemi@gmail.com
Booking History
MAY 2021 Password
Surface Disinfection
.........
Surface Disinfection
Sliding Doors, Cabinets
Ironing 8 Pieces of Clothing
Total Hours
Login Sign Up
(Weekly Package) 3hrs
Forgot Password?
$75
Ironing
Book Again
Cleaning Tips
Quick Recipes
Vacuuming & Mopping
Soup
Surface Disinfection
Pasta & Risotto
Do It Yourself Painting
Buy the Best Supplies
Aglio Olio
Ironing
Don't cheap out on paint and brushes. Cheap brushes are false economy. Purchase the best brushes you can afford, clean them well, and they will last you a lifetime. A $3 brush is going to make it look as if you smeared
Bedroom Cleaning
paint on the wall with a rake. And the bristles will fall out into the paint. It is also important to buy the best paint you can afford.
STEP 1 : Take Out Thrash
YOU WILL NEED :
Begin by taking care of simple, everyday messes. If you don't already have a small wastebasket in your room, we recommend getting one. Whether it's from tearing tags off clothing to late-night snacking, small trash can build
Spaghetti. Fresh garlic. Olive oil. Chilli flakes/ red pepper flakes.
up easily. Throw away any trash around the room first, then empty the wastebasket.
Parsley. Parmesan cheese.
it will go on longer time. fingerprints painting job
easy, offer the best coverage and, last a Plus, you will be able to wash off grubby without taking off the paint. And the whole will go quicker and easier, and look better
in the end.
Cover Furniture When painting a room, do not bother lugging all the furniture out of the room. Instead, push all of the furnishings to the center of the room. Instead, push all
BRAND IDENTITY WORKS
47
04
seeing the unseen
COMPILATION OF OTHER WORKS: STUDY MODELS, SOFTWARE RENDERINGS
SEEING THE UNSEEN
OPEN AN SPA
DRAWINGS
49
SEEING THE UNSEEN
D CLOSE CES
DRAWINGS
50
SEEING THE UNSEEN
CAPTURING MOTIONS IN STAGNANT SPACES
STUDY MODELS (SOFTWARE)
51
SEEING THE UNSEEN
SPACES OF TOMORROW
STUDY MODELS (SOFTWARE)
52
SEEING THE UNSEEN
OCCUPIED GAPS
STUDY MODELS (PHYSICAL)
53
SEEING THE UNSEEN
REGULAR IRREGULARITIES
STUDY MODELS (PHYSICAL)
54
SEEING THE UNSEEN
CONTRADICTING SPACES
STUDY MODELS (PHYSICAL)
55
SEEING THE UNSEEN
OCCLUSION & REVELATION
STUDY MODELS (PHYSICAL)
56
SEEING THE UNSEEN
REVEALING THE HIDDEN
STUDY MODELS (PHYSICAL)
57
SEEING THE UNSEEN
BLURRING THE IN-BETWEEN
STUDY MODELS (PHYSICAL)
58
SEEING THE UNSEEN
COMPLEXITY IN SIMPLICITY
STUDY MODELS (PHYSICAL)
59
SEEING THE UNSEEN
SYMMETRICAL ASYMMETRY
STUDY MODELS (PHYSICAL)
60
SEEING THE UNSEEN
STUDIO APARTMENT
MOODY GLAMOUR
SOFTWARE RENDERINGS (3DS MAX)
61
SEEING THE UNSEEN
HDB 3 ROOM FLAT (LIVING ROOM)
MOODY GLAMOUR
SOFTWARE RENDERINGS (3DS MAX)
62
SEEING THE UNSEEN
HDB 4 ROOM FLAT (KITCHEN)
WHITE-AND-WOOD
SOFTWARE RENDERING (3DS MAX)
63
SEEING THE UNSEEN
HDB EXECUTIVE FLAT (LIVING ROOM & BEDROOM)
SUBTLE BOLDNESS
SOFTWARE RENDERING (3DS MAX)
64
SEEING THE UNSEEN
CONDO (LIVING ROOM & BEDROOM)
LOUD SIMPLICITY
S O F TSWOAF RT EW R A ER N E DREERNI D NE G RS I N ( SGKSE T ( RCEHVUI T P)
65
SEEING THE UNSEEN
HDB 3 ROOM FLAT
PLAIN SERENITY
SOFTWARE RENDERINGS (SKETCHUP)
66
SEEING THE UNSEEN
ARCHITECTURAL PHOTOGRAPHY
67
SEEING THE UNSEEN
PHOTOGRAPHY
68
SEEING THE UNSEEN
MONOCHROME PHOTOGRAPHY
69
SEEING THE UNSEEN
PHOTOGRAPHY
70
SEEING THE UNSEEN
PEOPLE PHOTOGRAPHY
71
SEEING THE UNSEEN
PHOTOGRAPHY
72
SEEING THE UNSEEN
´´VOID´´ PHOTOGRAPHY
73
SEEING THE UNSEEN
PHOTOGRAPHY
774
SEEING THE UNSEEN
PHOTOGRAPHY
75
SEEING THE UNSEEN
PHOTOGRAPHY
76
SEEING THE UNSEEN
Architectonics
Understanding Structural Designs & Spatial Qualities
Conversing with Spaces with a Questioning Mind Identifying
and
understanding
the
various basic systems for structural design, what makes them work and appreciate time,
with
their
evolvement
regards
to
over
technology,
history and cultural contexts.
JOURNAL
77
65
SEEING THE UNSEEN
Exposing the
The use of two-way frame allows for the compartmentalisation of the shared spaces within the building. This give off the impression that the occupants are cocooned from the city life while still simultaneously affording them direct access to it.
HIDDEN Academy of Art and Architecture (1993) Wiel Arets
Loud subtle
Herdenkingsplein 12, 6211, Maastricht, The Netherlands
presence.
The use of glass here is probably one of the most amazing way of it being used. As modern architecture has developed
Designed by Wiel Arets Architects, the
and is still developing, it goes to show
project contains a simple and refined
that glass has become more and more
material
valued as a major construction material,
palette
of
traditional
glass
blocks and a concrete frame. According
rather
to the design team, this combination of
practicality for windows and doors. The
limited building-products has allowed it
glass blocks allow the academy to stand
to
in
maintain
its
classic
character
and
than
sharp
being
contrast
viewed
with
as
the
architecture around it, representing the
construction completion over 20 years
perfect meeting of the past and the
ago.
present.
The decision to use glass blocks was
Glass has also allowed it to camouflage
rather a bold one as much of Maastricht
itself with the existing elements of the
was previously built up in sandstone
city, providing an enclosed public space
construction
brick-centric
that achieves an intimate and secluded condition from the main areas of urban
the gap between the lack of brick-laden
activity - somewhat purposefully hiding
façades throughout the city and the need
itself.
for a more light-filled civic structure in a
occupants and everything else that is
dense metropolitan zone.
inside.
However,
natural one, exposes the openings and closings of the
it
also
reveals
further emphasising the intricacy and simplicity of the overall layout of the
its
building and in a way, weightlessness.
Two Way Frame (Case Study 02)
Spatial Quality : Exposing the Hidden
7
Just like the one-way frame, a two-way frame also consists of pair or a series of beams supported by columns. The only difference between the two structural systems can be seen on the weight of the load acting on the slab is distributed.
loads
Two Way Frame (Case Study 02)
Spatial Quality : Exposing the Hidden
THE UNSEEN
In two-way frames, the weight of the load acting upon the slab is supported in both directions, thus the need for reinforcement on both sides as well. A two-way frame structural system is normally more preferred as it allows for more high volume of spaces to be present despite it being more costly to be constructed.
lateral
8
SEEING
WHAT IS A TWO WAY FRAME?
The
be it a man-made or a
building very clearly -
Dutch cities. The blocks served to bridge
most
The presence of light
simple.
older
withstand the natural elements since its
unlike
Versatility kept
mere
are
independently resisted by shear walls. Two-Way Frame (slab) with a Flat Plate This particular type of two-way frame on the ground level uses a flat plate with a series of columns supporting it. This structural system does not use beams between columns or drop panels and it is usually suited for lightly loaded floors with short spans.
False Ceiling
Two-Way Frame with Beam Supported Slab
The beams on this level are hidden behind the false ceiling where the light fixtures and other electrical compartments are stored in.
Series
of
columns
are
In this particular structural system, two pairs of beams are used to support the slab. This is to to ensure that the heavier load acting on the upper level can be supported.
used
repetitively on both the horizontal and vertical axis of the building. They
are
strategically
constructed in such a way that they are accurately on top of one another and spaced out equally, ensuring
that
the
weight
distribution is equal on all sides.
Two Way Frame (Case Study 02)
Spatial Quality : Exposing the Hidden
9
Study Model 01
Spatial Quality : Seeing the Unseen
55
READ THE FULL COPY : https://issuu.com/muhdanshar/docs/architectonics_journal JOURNAL
78
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I believe that a good designer is an even better storyteller; by telling a great story, one can create a vision and guide the direction of an idea that improves the way we live, work, and play and also exchange values, opinions and knowledge. Safe to say, these works thus far, have provided me with a platform to do just that.