Page 1


A B O U T M

E

NAOMI JEMIMA NG Ph: 0451492600 E: naomi.jemima.ng@gmail.com L: English, Cantonese, Chinese FB: /naomi.ng HTTP://naomijng.wordpress.com


E D U C AT I O N 2014-16 Bachelor of Environments [First Class Hons], University of Melbourne, Australia 2012-13 IB Diploma, Sha Tin College, Hong Kong 2007-11 IGCSE, Sha Tin College, Hong Kong

E X H I B I T I O N S & F E AT U R E 2016 MSDx Studio Fire Exhibition, Melbourne School of Design 2016 MSDx Construction Design Exhibition & Exhibition

WORK

Poster

feature, Melbourne School of

Design 2017-18 Student Architect, Grimshaw Architects Melbourne, Australia 2015 Student Architect Assistant, BC&A, Hong Kong

2015 Studio Water Exhibition, University of Melbourne 2015 Digital Design and Fabrication: 2nd Skin Exhibition Poster/Feature, University of Melbourne

[2 Months]

2015 Interview + Feature article on IB Paintings,

AWARDS

2014 Published works in book 'mirrors with memories' and magazine 'Voice XXI' By ESF, HK

'Student Art Guide'

2017 Deans Honours Award Year 3, Melbourne University,

Australia (top 3% of weighted

average in relevant year)

SKILLS Autodesk AutoCAD

2016 Deans Honours Award Year 2, Melbourne

Autodesk Revit

University, Australia 2015 Deans Honours Award Year 1, Melbourne

Mcneel Rhinoceros 3D Grasshopper 3D

University, Australia

Sketchup Vray

2014 Bachelor of Environments Interstate Pathway Scholarship, University of Melbourne, Australia

Lumion

2013 Visual arts academic award 2013, Sha Tin College, Hong Kong

Enscape Kerkeythea Adobe Photoshop

MEMBERSHIP

Adobe InDesign Adobe Illustrator

Architecture Association Visiting Member Australian Institute of Architecture SONA Member

Adobe Lightroom Adobe Acrobat + reader Microsoft office:word, publisher, PowerPoint, excel

COMPETITIONS 2016 Superstudio 'Conversations by the Pool', Australian Institute of Architects

REFEREES

2015 Advanced Architecture Contest 'Productive City',

Sonya Parton, Studio Tutor,

Mark Irving, Studio Tutor,

University of Melbourne, AUS

University of Melbourne, AUS

sonyaparton@gmail.com

poirv@hotmail.com

IAAC x FABLAB barcelona


C

O

N

T

E

N

T

AND SO THE STORY BEGINS...

S


academia

II

I C A T A LY T I C

STUDIO FIRE: THERAPUTIC

INTERVENTIONS:

& WELLBEING CENTER

'INNO-HUB' 11 01

III

V

STUDIO AIR:

S T U D I O W AT E R .

DIGITAL DESIGN &

AQUA-CLOUD

‘ S T U D L E Y PA R K

FA B R I C AT I O N :

B O AT H O U S E '

2ND SKIN

35

43

25

construction

VI

IV

other

VII

VIII

CONSTRUCITON DESIGN:

CONSTRUCITON

WORK EXPERIENCE:

O LY M P I C P A R K F O O T B A L L

A N A LY S I S

MELBOURNE AIRPORT T2

CLUB

THE CAVE HOUSE

ARRIVALS HALL PROJECT

47

49

53

IX

MISC. SKETCHES, PA I N T I N G S , P R I N T S +

55


A

R

C

H

I

T

E

C

T

U

R

E


I N N O V AT I O N A S A N ‘ U N F O R S E E N J O U R N E Y ’

1

Full journal: https://issuu.com/naomijng/docs/naomi_j_ng_699616_aavs_journal *Images from online sources, 2016


01 SUMMER, 2016

ARCHITECTUAL ASSOCIATION X MELBOURNE UNIVERSITY tutor:

H o l g er K eh n e , G us t a v D u i s i n g

in collaboration with angela wang

‘CATALYTIC INTERVENTION’ AN INNOVATION HUB

OLD

NEW

from hierarchy to wirearchy

Australia is experiencing a period of significant economic change, shifting from the current commodity production of industry to a so-called ‘knowledge economy’, fueled by innovation. Aligning with the government’s federal ‘Innovation Strategy’, I strive to ignite an influx of business innovation as an intervention to existing empty streetscape along Swanston and Queensbury street, finding form through program. The project sees innovation as a result of a new era of

business models; networking.

crowdfunding

and

‘Inno-hub’ brings the vir tual nature of crowdfunding into physical space, Promoting innovation through small scale businesses of fast turnover, high flexibility, and a networked structure as It is the age of the collective rather than the autocratic leader. Hence spaces within the ‘inno-hub’ is fluid and interchangeable, as we see innovation as an unforeseeable ‘exchange.

2


3

AXONOMETRIC DIAGRAM

*Design: collaborated efforts with Angela Wang. Diagrams individually produced.


s i t e a n a ly s i s : v ac a n t w a r e h o u s e s o f t h e manufacturing era reactivated by flexible new startups. the program: consisting a 3 month tryout period that stimulate ideas and persuades funding.

AIN ED UN MA INT SIBU VACA NT NE SS ES

CA RS DO

MI NATE PE OP LE OV ER

UN IN V IT IN B G & P O U R H N E IG H IL IN O O D BG JUN K

T OR SP GS AN IN TR ND U R O O AJ RR M SU

I N H E R I T E N C E O F V I RT U A L S TA RT U P S We b ro u g h t t h e n o t i o n o f c ro w d s o u r c i n g i n a p h y s i c a l s p a c e b y p ro v i d i n g s h o r t ’ t r y o u t p e r i o d s ’ f o r s m a l l b u s i n e s s e s a t a l o w rent- expanding if they succeed or replaced by others if they f a i l . 6 0 % a r e f l e x i b l e s p a c e s f o r s m a l l b u s i n e s s to a d a p t to a n y function, while 15% are reserved for information halls and for l a r g e r ‘s u c c e s s f u l ’ b u s i n e s s e s . A s t e p p e d t e c to n i c i s a d o p t e d a s e a c h s t e p s p r e a d s i n to p l a t f o r m s ; I n s t e a d o f b e i n g a n e l e m e n t o f t ra n s i t i o n , ‘ t h e s t e p’ flexi-spaces

fast turnover= high success rate**

i s r e d e f i n e d a s a f l e x i b l e a n d s e l f - e m p o w e r i n g s p a c e o f i t s o4w n r i g h t to e n c o u ra g e v i s u a l t ra n s p a r e n c y a n d h y p e r - i n t e ra c t i o n .


melbourne university 1km

The seemingly abandoned warehouses holds symbolic significance for its industrial past.

Hence,

repurpose

our

approach

emphasizes

over replacement. By uniting

the negative area with existing buildings, laneways and back of house spaces are reactivated into a central hub to encourage hyper-connectivity, simultaneously ghosting its past and welcoming to future.

rmit university 0.5km

From circulating around into interweaving into site

state library 2km Abandoned

f ro m

its

glorified

past,

the site is situated between universities and research institutes, oppor tune for innovative collision. emphasis on the threshold space between cores

The new business model is intervened i n to s i t e t h ro u g h m a k i n g u s e o f t h e c u r r e n t a b a n d o n e d w a r e h o u s e s i n o u r q u a d ra n t . A

fe a t u r e

that

s to o d

out

to

us

was

neighbouring cores. While current use is very much ver tical and linear- we strive to p ro m o t e a f l u i d n e t w o r k b y o p e n i n g u p e x i s t i n g b u i l d i n g s . Fo c u s i n g o n n e g a t i v e s p a c e , t h e ‘' I n n o - h u b'’ p u l l s u s e r s f ro m t h e cores of existing buildings and emerges t h e m i n to a c o l l e c t i v e ‘ t h r e s h o l d ’ s p a c e , p ro m o t i n g e n c o u ra g i n g

individual

m a k i n g p ro c e s s e s .

5

a u to n o m y

unconventional

and

decision


DI SSE CT I ON AN ALYSI S: C OR E S AS POI NTS OF AT T R ACT I ON

current use: circulation confined in individual buildlings

envisioned use

+

extrapolating existing cores

interconnected network

= negative space

connection through negative space

INITIAL FORM WITH STEPPED TECTONIC

6


AL

RM

FO

To retain as much of the current

EA

AR

spaces as possible, a regular grid overlay to

was

functions

reshaped of

the

to

respond

space,

CIRCULATION

which

gathering

space,

spaces,

formal

modular meeting

A RM

A

RE

LA

includes 5 main functions: Informal

O

INF

flexi-

VERTICAL CIRCULATION

spaces,

enclosed formal spaces (e.g. lecture halls) and enclosed informal spaces (e.g. workshops). The trope of the design is categorized under 2 paths, a circulation between platforms (above IM PR

ground) and the space between the

E PIN

YS

AR

ground and the platforms (ground level). We

see

platforms

the as

‘journey’

the

E

PIN

YS

AR

ND

O SEC

FUNCTIONS

within

attraction

point

itself. The minimal use of par titions crafts implied corridors and walls while drawing a strong sense of self-

NEGATIVE SPACE

navigation. Thin frames, as the main structural system promotes porosity to showcase internal functions, yet

EXISTING SITE

conceals enough to retain a sense of mystery, provoking curiosity for spectators to seek fur ther.

Development sket che s e x pl ori n g s pac e of f set f or int er nalized h ype rc on n e c t i vi t y

ABOVE GROUND sp ac e s of ins pirat ion & coll aboration bt artup s , talks, exhibits GROUND LEVEL c omm u n i t y orient ed, s paces of invitation p o p up s , s talls , green spaces

7

S E CT I O N


LEGEND paths to cores existing cores route main cores secondary entries main entry tempoary spaces non-lettable floor area formal spaces-offices casual spaces G/F open market neighbouring buildings

FLO O R PL AN

8


CH

S OS CR ARK P

AC

ET

R ST

TH H

UG

RO S

NG

DI

IL

BU

ER

S

NG

DI

L UI

B

OV

WHAT IS IN IT FOR THE FUTURE? I n n o v a t i o n i s n e v e r e n d i n g - a n d s o i s t h e i n n o - h u b . I t s e n ro a c h m e n t t h ro u g h , a l o n g a n d o v e r e x i s t i n g b u i l d i n g s i n a p a ra s i t i c m a n n e r s e e s a g ro w t h i n h y p e r - c o n n e c tivity and flourishing innovative business in the potential future; rendering the hub a s m o r e t h a n a n a t t ra c t i o n , b u t b u i l d i n g a n e m p i r e o f i t s o w n .

9


‘A M I L L E N I A L’ S I N N O V AT I O N ’

10


a theraputic journey from public, private to seclusion

SITE PL AN: a narrative from public to private

11


02 SEMESTER 2, 2016

STUDIO FIRE

t u t o r : m a rk i r v i n g

I n d i v i du a l

‘ASCENT INTO CONSCIOUSNESS’ THERAPUTIC & MENTAL WELLBEING CENTER

1

2

3 1 public gesture: connectivity to street+neighbours 2 implement internatlized programe > stretch to reach apex 3 encase with roof & facade

T h e i n d i v i d u a l a p p ro a c h e s t h e underpopulated intersection of Batman St and Spencer St with a purpose- a form of spiritual e n l i g h t e n m e n t , a c h a n c e to f a c e o n e s e l f a n d r e f i g u r e o n e’s p o s i t i o n i n t h e w o r l d . T h e ‘ T h e ra p e u t i c c e n t e r for mental wellbeing’ includes a c o m b i n a t i o n o f c o m p l e x p ro g ra m s such as consulation suites, galleries a n d o f f i c e s t h a t s e e k to b r i n g v i s i to r s t h ro u g h a s p i r i t u a l j o u r n e y o f 5 s t a g e s - e m p h a s i z i n g t h e t ra n s i t i o n

f ro m t h e p u b l i c to p r i v a t e . t h e g ra d a t i o n w a s d o n e t h ro u g h implementing an urban gesture e n c o u ra g i n g public c o n n e c t i v i t y, implementation of the privacy h i e ra r c h y ’a s the main p ro g ra m s p a c e , ( Fo r m f i n d i n g t h ro u g h l o o k i n g at the negative space, cutting blocks f ro m b l o c k s ) b e f o r e t h e b u i l d i n g w a s encased with a screening facade and ro o f to r e s p o n d to n a t u ra l c o n t e x t . 12


Fro m c o n c e a l m e n t i n to a m o r e comfor table, expressive private s p a c e - T h e j o u r n e y t h ro u g h t h e building strips away layers of p s y c h o l o g i c a l b a r r i e r s to a p o i n t o f s e l f - r e a l i z a t i o n a n d v u l n e ra b i l i t y. The building is organized in a way that anticipates a journey of 5 stages which are predominately d e f i n e d b y t h e l e v e l o f p r i v a c y. Upon (1a) a p p ro a c h i n g the b u i l d i n g , v i s i to r s w i l l e n t e r a n arcade system with open public spaces (1b), before entering the main atrium space (2). The atrium space has two main means of ver tical circulation, staircase f o r t h e j o u r n e y a n d a n e l e v a to r f o r e f f i c i e n c y, ( 3 ) t h e l e v e l o f p r i v a c y i n c r e a s e s a n d u s e r g ro u p s decrease, until they reach a s e c l u d e d s e l f - m e d i a t i o n ro o m ( 4 ) before leaving the building and refacing the world in a renewed state of mind (5).

13


14


S TAG E 1 : A P P R OAC H S T A G E 2 : P E R I P H E R A L C O N S C I O U S N E S S / AT R I U M

15


T H E R A P U T I C / M E NTA L W E L L B E I N G P R O G R A M M E C I R C L E

MEANS OF VERTICAL CIRCULATION

The healing journey is seen as a looped cycle ra t h e r t h a n a l i n e a r o n e ; h e n c e , i n s t e a d o f a m e r e t ra n s i t i o n f ro m p u b l i c to p r i v a t e - i t a l l o w s v i s i to r s t h e a b i l i t y to r e f a c e t h e p u b l i c . T h e staircase system emphasizes the notion of the j o u r n e y w h i l e e l e v a to r s c a t e r m o r e f o r e f f i c i e n c y. 16


P ro g ra m s a r e c a t e g o r i z e d b a s e d o n l e v e l s o f p r i v a c y w i t h a s t ro n g e m p h a s i s on ver ticality: P u b l i c : r e t a i l & r e s t a u ra n t S e m i - p u b l i c ( l a rg e g ro u p s ) : G a l l e r i e s , Offices, Cour tyard and Seminars Semi-Public (Small G ro u p s ) : Consulting Suites, Hotel Private: Meditation Room for one T h e i n t e r n a l f o r m i s g e n e ra t e d l a r g e l y t h ro u g h l o o k i n g a t t h e n e g a t i v e s p a c e s a n d c u t t i n g a w a y c u b e s f ro m c u b e s , resulting in floor plans that are split i n to h a l v e s t h ro u g h a d o u b l y l o a d e d c o r r i d o r. W h i l e t h e b u i l d i n g f o c u s e s m o r e o n t h e i n t e r n a l i z e d t h e ra p e u t i c p ro g ra m , the building r e fe r e n c e s religious architecturewhere the j o u r n e y l e a d s to a n a p e x : t h e s e l f m e d i t a t i o n ro o m . H e n c e , t h e b u i l d i n g stresses on the relationship with the s k y, w h e r e c o n n e c t i o n to t h e l a r g e r c o s m o s a c t s a s a t h e ra p e u t i c s t ra t e g y.

17


18


19 S TA G E 1 : ENTRANC E / C O M M U N IT Y

S TA G E 5 : RETURN / HEALING

S TA G E 2 : P E R I P H E R A L C O N S C I O U S N E S S / AT R I U M


FLOOR PL ANS

20


21 S TA G E 2 : PERIPHERAL CONSCIOUSNESS

S TA G E 3 : A S C E N D I N G TO H I G H E R L E V E L S O F P R I VAC Y

S TA G E 4 : S E L F - M E D I T AT I O N R O O M


FLOOR PL ANS

22


C O N S T R U C T I O N + M E C H A N I C A L C O N S I D E R AT I O N

In terms of construction, the building is capped with a skilion roof to maximize sunlight into the meditation room. It is cased with prefabricated concrete panels with descending window sizes that respond to the level of privacy, and outermost sheltered by a parametrically modelled faรงade which follows a twisting screen system, evoking a sense of mystery and allurement. Metaphorically, the twisting screening system veils and unveils the building in the same manner mental patients veil and unveils themselves to the world.

parametric twisting facade system

openings based on level of privacy

WINDOW ARRAY

SCALE AND MOVE

SCALED FOR SENSE OF 'MASS'

23


section model

24


O V E R A R C H I N G P R O C E S S - F R O M S C R I P T I N G T O FA B R I C AT I O N

25

full journal: https://issuu.com/naomijng/docs/journal_final_ng_naomi_com2


03 SEMESTER 2, 2016

STUDIO AIR

In

tutor: sonya parton

collaboration with

V a n ess a H o

‘AQUA-CLOUD’ PARAMETRIC & ENVIRONMENTAL PAVILLION FOR MERRI CREEK

CATEGORY 1 METABALL GEOMETRY ITSELF

GROUPMATE’S IDEAS

CATEGORY 2 BUILDING UP REVERSE ENGINEERED SCRIPT

CATEGORY 3 CUTTING FROM/ PATTERNATION

SUCESSFULL HYBRIDS

ANALYSIS AGAINST CRITERIA

CATEGORY 4 INTRODUCE NEW GEOMETRIES

DIVERGING IDEAS

HYBRID & CONVERGING IDEAS

COMBINED HYBRIDS

MY IDEAS

SUCESSFUL DESIGNS

PROTOTYPING

CONVERGING IDEAS

HYBRID & DIVERGING IDEAS

CONVERGING IDEAS

‘FUNCTION FOLLOWS FORM’

Studio Air is unconventional in a sense that it adapts a function follows form philosophy; exploring the possibilities of p a ra m e t r i c d e s i g n t h ro u g h a r i g o ro u s d i v e r g i n g a n d c o n v e r g i n g p ro c e s s . T h e s t u d i o i n vo l ve s 3 m a i n s t a g e s : ( 1 ) D eve l o p i n g a ra n g e o f i t e ra t i o n s o n a s e l e c t e d p ro j e c t t e c to n i c , s p e c i f i c a l l y t h e m e t a b a l l , ( 2 ) m e r g i n g t e c to n i c s w i t h s t u d i o p a r t n e r to g e n e ra t e a h y b r i d

s c r i p t f ro m G ra s s h o p p e r 3 D a n d ( 3 ) a p p l y i n g t h e u n i v e r s a l s c r i p t i n to a c o n t e x t s p e c i f i c b r i e f . U l t i m a t e l y, t h e ‘A q u a C l o u d ’ s e r v e s a s a p a v i l l i o n , b r i d g e a n d w a t e r f i l t ra t i o n s y s t e m in Merri Creek that unites man with the marine biosphere by elevating e n v i ro n m e n t a l a w a r e n e s s t h ro u g h p a r t i c i p a to r y d e s i g n . 26


F I G . 1 D E C O M P O S I N G O U R PA R A M E T R I C T E C T O N I C : M E S H FA C E M E T A B A L L S

F I G.2 IT E R AT I O N + O P T I M I Z AT I O N O F M E TA-B A L L T E CTO N I C

VARIATION/01

CULL=TF

1LAYER

VARIATION/01

SET METABALL NUMBER OF POINTS & LOCATION

VARIATION/02

CULL=TF(WITH-GEOMETRY)

VARIATION/02

POINT NUMBER=3

REDUCE MESH NUMBER (90% REDUCTION)

TURN TRIANGULATED PANELS INTO QUADRANGLES THROUGH CATMULL CLARK SUBDIVISION

VARIATION/04

CULL=TFFF

2LAYER

POINT NUMBER=1

CHANGE SIZE OF RADIUS/ THRESHOLD ACCORDING TO FLOW DIRECTION

VARIATION/03

CULL-TFFFFFF

3LAYER

VARIATION/03

POINT NUMBER=7

5LAYER

VARIATION/04

POINT NUMBER=10

VARIATION/05

CULL=TFFFFFF

2LAYER-LARGE-OFFSET

VARIATION/05

VARIATION/06

POINT NUMBER=15

POINT NUMBER=20

GET QUADRANGLE MESH SURFACES

C O M B I N I N G T H R O U G H M E TA B A L L F O R M , T E N S I L E S U R FA C E S BASE GEOMETRY OF METABALL

The first stage looks at the potential of p a ra m e t r i c m o d e l l i n g t h ro u g h s c r i p t i n g a selected t e c to n i c : meta-ball, an organic n-dimensional g e o m e t r y. By disassembling the fundamental principles i n to f ra m e s , n o d e s , s u r f a c e s a n d i n f i l l s [ F i g . 1 ] , r e f i n e m e n t to t h e s c r i p t e x p l o r e d new modes of performative optimization t h ro u g h a n i t e ra t i v e f o r m - f i n d i n g p ro c e s s [ F i g . 2 ] . T h ro u g h c o l l a b o ra t i o n , a g e o m e t r i c hybrid of meta-balls and tensile surfaces w a s c u ra t e d , p r e d o m i n a n t l y f o c u s i n g o n t h e c o n s t ra i n t s o f p h y s i c s o n t h e c ro s s bred form [Fig.3]. SET METABALL NUMBER OF POINTS & LOCATION

CHANGE SIZE OF RADIUS/ THRESHOLD ACCORDING TO FLOW DIRECTION

CREATE A MESH RELAXED SURFACE

REDUCE MESH NUMBER (90% REDUCTION)

TURN TRIANGULATED PANELS INTO QUADRANGLES THROUGH CATMULL CLARK SUBDIVISION

GET QUADRANGLE MESH SURFACES

FIND POINTS ON METABALL

INPUT PLUGIN PANEL THROUGH BOX MORPH

MODIFY STRENGTH OF TENSILE FORCE ACTING ON PANELS TO SEE ELASTIC BEHAVIOUR

BASE GEOMETRY OF METABALL

STRUCTUAL OPTIMIZATION (VIA KANGAROO PHYSICS)

NEW APPROACH FOR FABRICATION (VIA ATTRACTOR CURVES)

CREATE A MESH RELAXED SURFACE

SET METABALL NUMBER OF POINTS & LOCATION

CHANGE SIZE OF RADIUS/ THRESHOLD ACCORDING TO FLOW DIRECTION

REDUCE MESH NUMBER

SET ATTRACTOR POINT/CURVE

TURN TRIANGULATED PANELS INPUT PLUGIN PANEL THROUGH DRAW ARC BETWEEN INTO QUADRANGLES THROUGH BOX ENDMORPH POINTS

FIND POINTS POINTS ON ON METABALL METABALL FIND (90% REDUCTION)

CATMULL CLARK SUBDIVISION

MODIFY STRENGTH OF TENSILE ADJUST PANEL THICKNESS GET QUADRANGLE MESH FORCE ACTING ON PANELS TO (BENDING DEGREE OF ARC) SURFACES SEE ELASTIC BEHAVIOURTO ACCORDING TO PROXIMITY ATTRACTOR CURVE

SELECT ‘X’ PANELS

BASE GEOMETRY OF METABALL

STRUCTUAL OPTIMIZATION (VIA KANGAROO PHYSICS)

FIG.3 DEVELOPMENT OF HYBRID GEOMTRY 163.0

UNROLL BASE GEOMETRY OF METABALLS EXPLODED

162.0

TAG PANELS

ORIENT TAG ONLY TO SQUARE GRID

161.0 160.0

UNROLL BASE GEOMETRY OF METABALLS UNEXPLODED

27 NEW APPROACH FOR FABRICATION (VIA ATTRACTOR CURVES)

TAG PANELS FIND POINTS ON METABALL

UNEXPLODED TEMPLATE TO BE PRINTED 1:1 AS REFERENCE FOR FABRICATION DRAW ARC BETWEEN END POINTS

173.0

183.0

172.0

182.0

193.0

192.0

203.0

202.0

213.0

212.0

SET ATTRACTOR POINT/CURVE 171.0 181.0 191.0 201.0 211.0 170.0

180.0

190.0

200.0

ORIENT PANELS TO SQUARE

CREATE A MESH RELAXED GRID SURFACE

COMBINE THROUGH BAKING

210.0

ADJUST PANEL THICKNESS (BENDING DEGREE OF ARC) ACCORDING TO PROXIMITY TO ATTRACTOR CURVE

FIND POINTS ON METABALL

SELECT ‘X’ PANELS

INPUT PLUGIN PANEL THROUGH CREATE SQUARE GRID BOX MORPH

STRUCTUAL OPTIMIZATION (VIA KANGAROO PHYSICS)

FOR FABRICATION

163.0

173.0

183.0

162.0

172.0

182.0

193.0 192.0

203.0 202.0

213.0 212.0

ORIENT PANELS TO SQUARE

SET ATTRACTOR POINT/CURVE UNROLL GEOMETRY,


RAPID PROTOTYPING

M E C H A N I C A L D E TA I L S

col 1: cable-tie flexi-joint, fabricated faces col 2: reused cap fixed joint, fabricated frame col 3: permanent eyelets, elastic flexi-faces T h e s e c o n d s t a g e i s a p ro c e s s o f ra p i d p ro to t y p i n g i n w h i c h p ro b e w a y s o f t ra n s l a t i n g t h e s c r i p t i n to p h y s i c a l s p a c e , e x p l o r i n g t h e i r i m p l i c a t i o n s o n i n t e ra c t i v i t y, c o n s t r u c t a b i l i t y a n d f l e x i b i l i t y. T h ro u g h i n c r e m e n t a l r e f i n e m e n t , t h e f i n a l f o r m ( l e f t ) u t i l i z e s t e n s i l e s u r f a c e s i n p l a c e o f m e t a - b a l l f a c e s , f i xe d w i t h e y e l e t s a s n o d e s . T h e s e f a c e s m a ke u s e o f t h e ‘c a t m u l l - c l a r k s u b d i v i s i o n’ , w h e r e e a c h u n i q u e f a c e i s a p p l i e d w i t h d i f fe r e n t t e n s i l e s t r e n g t h s to f o r m a s m o o t h g ra d i e n t .

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29

M O D E L // I L L U M I N AT I O N E F F E C T S


1

D E S I G N D E V E L O P M E N T + FA B R I C AT I O N P R O C E S S

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M E C H A N I C A L D E TA I L S

D E S I G N D E V E L O P M N T + FA B R I C AT I O N P R O C E S S

1 partner’stensile surface prototype 2 combined tectonic prototype 3 refining + experimenting prototype with mechanics 7-9 fabrication

30 *Design, Physical Modelling & scripting: collaborated efforts with Vanessa Ho. Photographs, graphics: idividual works.


M E R R I C R E E K : H I S T O R Y, PRESENT AND FUTURE?

SITE PLAN

E NVIRO, INT ERACT IO & ED UC AT IO

W H AT I S ' I N T E R A C T I O N ' T O U S ?

S tag e thre e invo l ves ap pl y in g th e adaptabl e sc r ipt into M e r r i c re e k . I ts infam o us his to r ic al ties wi th wate r p o llu tio n an d van dalis m p roje c te d to us as main d esign o p p o r tuni ties . H e n c e , o ur ag e n da fo c uses o n thre e at tr ib u tes: e nviro n m e nt , e du c atio n an d par ticipato r y inte rac tio n . Le n din g th e m o d e l of railway s tatio ns fo r i ts similar i t y in spatial ar ran g e m e nt , th e d esign se es to ac ti vate c o nn e c ti vi t y of t wo trails via a b r id g e & b uildin g a re latio nship b et we e n mar in e life an d mank in d . T hro u gh o u t f i ve ways whic h th e sc r ipt is u tilize d , I anticipate a jo ur n ey that ini tiall y allures visi to r s passi ve l y, e du c ates o ur im pac t thro u gh ac ti ve o bse r vatio n an d ul timate l y ex p oses visi to r s to c o nse qu e n c es/rewards (in fo r m of a wate r fo untain) d e p e n din g

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o n th e ir ac tio ns .


P E R F O M AT I V E O P T I M I Z AT I O N T H R O U G H A N

S T R U C T U A L A N A LY S I S O F A N T I C I P A T E D

IT E R AT I V E P R O C E S S

S T R E S S T H R O U G H A LO G R IT H M I C C O M P U TAT I O N

03a culled panels for min shading 01a round pods

01b merged pods

03b low-poly striped glazing

exploded-structual frame

exploded-window frame and panelisation

02

p a ss i v e

c a f e + o b ser v a t o r y

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active

i n t er a c t i v e b r i d g e

01

p a ss i v e

i n f o rm a t i o n p o ds

05 04

active

u n der w a t er museum - p o d

re w a rd / c o n se q ue n c e

w a t er f i l t r a t i o n

+

fountain

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st r ate gi c mode l of lo ndon bridg e railway station

adapti n g to me r r i creek as a threshol d to activate two si de s & e stabli sh r e latio nship with river

A lthough fundamentally disparate in function, the London bridge station was used as a precedent that predominantly inspired the strategic design approach. As a central strip that lies bet we en t wo spaces of distinct character, London Bridge station successfully dissolves the segregated spaces through its f luid, unconventionally out ward looking plan, not only reconnecting relationship bet we en the t wo spaces , but also the relationship with the train trail itself. T he strategic model was adopted to the bridge as the threshold activating thre e spaces: the Merri Cre ek , S umner Park and Merri Park to encourage a journey of interactive edutainment, from passive to active.

33

SITE PLAN


INTRODUCTION I N F O R M AT I O N P O D S

an informative intervention

lo w e r lv l - i n w a r d lo o k i n g , social interaction

outward looking, landscape observation

route 1-transparency across two space

route 2- detour for relationship with water

networked trail, encourage act of searching

viewing pods, learn about pollution on marine life

visual transparency with water source & affect on us

purification as collective responsibility, fountain symbolic of our efforts

SOCIAL INTERACTION C A F E / O B S E R VAT O R Y

passive visitors on predefined routes

sedimentation tank

filter

added chlorine

CONSEQUENCE U N D E R W AT E R P O D W A L K

pump

E X P L O R AT I O N + E D U C AT I O N U N D E R W AT E R P O D W A L K

filter

TRANSITION INTERACTIVE BRIDGE

water in

pump fountain

water filtration & purification process from river to fountain

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IMPLEMENTING FUNCTION IN PRIMITIVE FORMS AS METHOD OF FORM FINDING

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04 SEMESTER 2, 2015

STUDIO WATER tutor: francis wai I n d i v i du a l

STUDLEY PARK BOATHOUSE

main precedent takeaways: harmony with people, nature and built space

LEARNING FROM THE MASTERS: SANAA- A CHILD’S DREAM

The ‘Studley Park Boathouse’ emulates the formal architectural language & design processes of forefront contemporary Japanese architects Seijima and Nishizawa (SANAA). Havng undergone high-level analysis on selections of their projects, this project implements the underlying ideation

of harmony and respect between built space, nature and people and applies prominent motifs such as fluidity, expansiveness, simplicity in materiality for a bouthouse consisted of boat worksops, storage, retail, restaraunts and offices. 36


M O RIYAM A HO U S E C AS E S T UDY These models were done as case study of SAANA architect’s Moriyama House to explore how visual transparency, openness and privacy are counterbalanced through fragmented spatial arrangements. The positive/negative relationship between laneways and building blocks also acted as a crucial basis for how the ground floor of my design was carried out.

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First part of the boathouse, ‘riverdale’, built by the burns family.

Form retained till today. However it is aging and used for functions to make up for decreasing public interest.

Photograph of studley park 1890 with emerging infastructure

How can it recapture the interest as Victoria’s oldest boathouse?

Reconstruction of the boathouse in 1935, one year after the big flood in 1934.

S I T E A N A LY S I S

Painting of Kew, still habituated by aboriginals

distinct segreagation of functions

RESPONSE TO SITE/ FORM FINDING

functions-

01

l o c a l f l o r a / t rees

lo c at i o n a n a ly s i s

natural light around, shaded by trees

su n p a t h -

footprint of existing boathouse to inform location of ground level functions

02

abundant local flora and fauna vegetation-

a path option from a selection that avoids disruption of trees

03

As the ideation is to set harmony between nature, people and built space , the form was largely informed by site analysis and its natural context. Design decisions were made to minimize the obstruction to the existing site, not cutting into natural land and minimal removal of existing vegetation. Functions and floor spaces were arranged as is on the ground floor and fit in a ribbon on the first floor, imitating the design development process of SANAA.

topography-

steep slope induces flooding risk

04

i m p l eme n t a t i o n o f f o rm

for above ground level according to path

OFFICE

STATIC PRIVATE

1/F

W.C.

STATIC PUBLIC

G/F

G/F

DYNAMIC PUBLIC& PRIVATE

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C I R C U L AT I O N D I A G R A M

G/F SAANA PRECEDENT

G/F

1/F

OFFICE

KITCHEN

OFFICE

FREE SPACE (RAMP)

COURTYARD

BOAT WORKSHOP RIVER

WC

RESTARAUNT

BOAT STORAGE

CAFE

FREE SPACE (RAMP)

KITCHEN

COURTYARD

TAICHUNG C U LT R A L C E N T E R

FREE SPACE (RAMP)

COURTYARD KIOSK

KIOSK

WC

RESTARAUNT CAFE

DYNAMIC

BOAT WORKSHOP RIVER

FREE SPACE (RAMP)

COURTYARD

BOAT STORAGE

KIOSK KIOSK

S TAT I C

ROLEX LEARNING CENTER

OUTWARD LOOKING

FOOTPRINT

VIEWS+ENTRY POINTS

1/F SAANA PRECEDENT

S T R U CT UA L L AYO U T

M O R IYA M A H O U S E

21C. MUSEUM OF CONTEMPORARY ART

- S PA C E S

PERIMETER

As p e ct s o f t he b o at h o u se b o rro w fo rmal l a n gu a ge s f ro m SAAN A’s p ro jec ts an d emp loyed to fo r m u l a t e m y o w n reper to ire. Hav in g d iv id ed d y n a m i c a n d s t atic sp ac es in to t w o levels, d esig n re fi n e m e n t a d o pted I n ten t io n al simplic it y amid st v i e ws , f o o t p r i n t an d st ru c tu ral layo u t to u lt imately p ro m o t e a p p re c iat io n fo r n at u re. T h e c o u r t ya rd is a primar y mo t if in t h e p ro jec t, l i qu e f y i n g t h e relat io n sh ip bet w een peo ple a n d n a t u re , s e r v in g as a c o mmu n ity h u b th at

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+ S PA C E

G R I D-A R R AY

S E R P I N T I N E PAV I L I O N

ROLEX LEARNING CENTER

e ncourage s ocial amalgamation. It is e ncircled by a fluid, r ibbon-es que ramp that ge ntly unifies the two levels . No s ingular view is s pe cifically frame d to allude expans ivity along the organic, undulate d path. T his is achieved by minimizing obs tr uction from columns , which may be amply ar raye d along its gr id, but re tains vis ual trans parency through its s lende r build. It’s s imple, almos t childlike qualities de em the s pace s uitable for familie s , children, dis abled and e lde r ly alike .


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Consist of a cafĂŠ, retail, boat storage/workshop, outdoor areas and Back of House, the boathouse borrows the core principals of harmony among people, built space and nature into its form; the main tectonic juxtaposes fragmented cubic modules on the ground floor with a fluid, undulating space on the second floor.

GROUND FLOOR

F I R S T F LO O R R E S TA R AU NT

RIVER VIEW

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D a i l y r u n n i n g of b oa th ou se b e co m e s a c ommu n i ty h u b for l e i su re , s o ci a l i si n g a n d h ob by - g oer s.

T O D AY

Night t ime boat house can m ake u s e of t he cent ralized void as a g at h e ri n g space f or st ar gazing+ cam pi n g .

TONIGHT

W h i l e B oat h i re c l os e s i n w i n t e r, s pac e c an be u s e d f or w i n t e r m arke t s , fe s t i val s , pe r f orm an c e s an d pu bl i c s k at e ri n k .

NEXT WINTER

W h e n n at u re t ake s ove r, th e a b ove gro u n d l eve l w i l l be c om e t h e a c tive s p a c e , s im i l ar m an n e r as an e n c lo s e d f o re s t tra il.

NEXT FEW DECADES

S O U T H - W E S T E L E V AT I O N

G / F P L A N - F R A G M E N T E D C U B E S - M O V E M E N T I N N E G AT I V E S PA C E

1 / f P L A N - F L U I D S PA C E - M O V E M E N T I N P O S I T I V E S PA C E

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04 SEMESTER 1, 2015

D I G I TA L D E S I G N & FA B R I C AT I O N tutor: michelle emma james + paul loh

Collaboration with Samuel Coleman

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Is architecture the manipulation of space and our response to it? If so, could architecture be wearable? Our ‘Second Skin’ poses as a wearable structure that reacts to the notion of Personal Space; It falls in a relaxed state when in harmony with its direct environment, but activates a defense mechanism at moments of extreme discomfort, violation or attack. The second skin swells; shards erect and strike out. The kinetically responsive second skin is largely aided by means of digital modelling, translating ideas into wearable structures.

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what is personal space to us?

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*Design & fabrication: collaborated efforts with Samuel Coleman. Photography: Rosie Gunzberg. Graphics: idividual


raising shards

lifting shards frame

PAT T E R N AT I O N I N B I O M I M I C R Y The exponential growth found in the shoots and fruits of pineapple are examples of algorithmic patternation found in nature. Yet, its uncontrollable variables provokes a sense of organized chaos that predominantly inspired our second skin as a form of biomimicry.

t elevation: relaxed

Front elevation: discomfort

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1a

2 1b

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assembly + fabrication

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05

SEMESTER 1, 2016

CONSTRUCTION DESIGN tutor: annika bree field Individual

MODEL DE TAILS

T h e s e c t i o n a l s t r u c t u ra l s t u d y o n t h e ‘ We s t p a c Center/Olympic park community facility’ in B a t m a n Av e n u e b y C roxo n R a m s ay A rc h i t e c t s s h o w s c o n s t r u c t i o n m e t h o d o l o g i e s , p ro c e s s e s and materials used within real-world commercial buildings.

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OVERALL SECTION LOOKING OUT

E x p r e s s e d a s a ‘s t r i p p e d ’ a xo n o m e t r i c d ra w i n g & a 1:20 physical model, the purpose for each b u i l d i n g e l e m e n t a n d c h ro n o l o g y o f c o n s t r u c t i o n was carefully examined, analyzing the relationship/conflicts between design intentions a n d fe a s i b i l i t y o f c o n s t r u c t i o n .


13.6

SECTION B1 AXONOMETRIC DRAWING

13.7

13.8

13.11

1.0 SITE WORKS AND FOUNDATION 1.1 FILLED GRAVEL 2.8M DEPTH. 1.2 SILTY CLAY 5.9M DEPTH. 1.3 BASALT AT 11.15M DEPTH. GOOD STABLE SOIL 1.4 NATURAL TOPOGRAPHY WITH 1:100 (1.2M) FALL AND 100MM SITE STRIPING 1.5 STABILIZED SAND BACK FILLED

13.9

13.5 13.10

2.0 FOOTING SYSTEM 2.1 VAPOUR BARRIER WITH CHEMICALLY TREATED TERMITE PROTECTION 2.2 BORED PIER FOOTING: CONCRETE STRENGTH 40MPA, BOTTOM AND TOP COVER 60MM, BEARING CAPACITY OF 5000KPA, SIDE FRICTION 500KPA. 400 DIAMETERS, 6N24 BARS, R10LIG@300 CTS. 1400MM DEEP TOO MODERATELY TO HIGHLY WEATHERED BASALT SOIL.

9.1

3.0 GROUND FLOOR SLAB 3.1 120MM REBATED BLOCKWORK AS DOOR GUIDE TRACK 3.2 2 X REINFORCED SQUARE MESH 40MM HEIGHT AT TOP AND BOTTOM OF SLAB WITH TRENCH MESH. GB1, GB2, GB3, GB4, POST TENSIONING SLAB 3.3 BAR CHAIRS TO HOLD REINFORCING TO POSITION

9.2 10.4

4.0 CONCRETE COLUMNS AND DOORS 4.1 IN SITU REINFORCED CONCRETE COLUMNS WITH CHAMFERED CORNERS AND PAINTED FINISH 4.2 COLUMN REINFORCEMENT, WITH STARTER BARS FROM FOOTING TO CONCRETE COLUMNS (SUPPORTED BY 2 LIGATURES) 4.3 D0.64 (STEEL SWING DOOR, POST TENSIONING, FRAMELESS SHOPFRONT, STEEL PLATE REVEALED, MEASURED ON SITE, SMOOTH SURFACE AND PAINT FINISH. METAL PLATE 8MM

13.1

13.2

11.1 13.3 10.2

13.4

4.0 NOTE [NOT ON DRAWINGD0.63 AND D0.65 (POST TENSIONED, BIFOLD DOORS, FRAMELESS SHOPFRONT)

10.1

10.3

5.0 5.1 5.2 5.3 5.4

7.2

11.3

8.7

7.3

6.0 STRUCTURAL COLUMN AND BEAMS 6.1 OFFICES 150 RAKED EXPOSED UNIVERSAL COLUMN WITH PAINT FINISH. GRADE 300 PLUS. 6.2 EXPOSED RAKED UNIVERSAL BEAM WITH PAINT FINISH. GRADE 300 PLUS.

7.4 8.6

7.1

6.2 9.1

7.0 1F CEILING 7.1 APPLIED SUSPENDED CEILING WITH CUSTOM FOLDED SERVICE TRAY ON PLY BACKING 7.2 10MM SUSPENDED PLASTERBOARD CEILING 7.3 MDF BULKHEAD 7.4 CABLE TIES CONNECTING TO UPPER BEAMS

6.1

7.0 NOTES: RAKED BLINDS X4 WITH SS GUIDES

5.3

8.0 FACADE GLAZING SYSTEM (WINDOW SILL AND LINTEL) 8.1 GLAZING PANELS CONNECTED BY RAKED ALUMINUM MULLION SUPPORT BLADES 8.2 SPANDREL INSULATION 8.3 DOUBLE GLAZING SPANDREL PANEL 8.4 STEEL SHELF ANGLE MECHANICALLY FIXED TO SLAB EDGE TO SUPPORT WINDOW SILL 8.5 STEEL PLATE MULLION MECHANICALLY FIXED TO SLAB EDGE 8.6 MC3 VMZINC FLAT LOCK FOLDED FLASHING AND GALVANIZED STIFFENER AT AN ANGLE. FULLY SEALED WITH SILICON SEAL, BACKING ROD AND NEGATIVE JOINT 8.7 ALUMINIUM TRANSOM

5.4

12 16.8

16.5

11.2 16.7

16.4 16.3

1F SLAB + FLOORBOARD CONCRETE CANTILEVERED EDGE BEAM 180 AND 220 THICK SLAB POST TENSIONING BARS DOUBLE SQUARE MESH

16.6

9.0 TRUSS AND FACADE SYSTEM 9.2 200 X 90 PARALLEL FLANGED CHANNEL TOP AND BOTTOM CHORD (RT3) 9.2 VERTICAL AND DIAGONAL SQUARED HOLLOW SECTION 75 X 4.0 SCALE 1:50

10.0 FAÇADE CLADDING 10.1 MC2 CLADDING- VMZINC INTERLOCK PANEL- 1MM THICK, INTERLOCKED WITH 5-18 MM JOINTS 10.2 VAPOUR PERMEABLE MEMBRANE 10.3 SUB FRAMING CHANNELS 10.4 BREATHER MEMBRANE

8.2 8.3 5.1 8.5

5.2

8.1

8.4

15.1 16.2

12.0 JOINERY 12.1 PLASTERBOARD WALL LINING AND FLOOR SKIRTING

14.2

14.3

14.4

16.1

1.1

11.0 SILL 11.1 SILL HOOD CANOPY FRAMING 11.2 14.5 75 X 5.0 SHS STUB WITH 1500 SPACING. 6 CFW TO CAST IN METAL PLATES (STUB IS THE LIGHT BLUE FRAME) 11.3 MC3 VMZINC FOLDED FLASHING

14.1

15.3

SCALE 1:50

4.3

4.2 1.2

3.1

13.0 ROOFING SYSTEM 13.1 FOLDED COLOR BOUND BOX GUTTER, INSULATION AND FULL BOX GUTTER ASSEMBLY 13.2 INSECT SCREEN (NEXT TO INSULATION) 13.3 YELLOW ROOF FLASHING NEXT TO GUTTER: APRON FLASHING, ROOF SHEET, PLYWOOD BACKING, AND BLANKET INSULATION, 13.4 BULK INSULATION 13.5 COLOURBOND FOLDED ZINC FLASHING (CAP) WITH BREATHER MEMBRANE AND PLY SUBSTRATE AND GALVANIZED STIFFENERS 13.6 BONDEK INTERLOCKING ROOF DECKING AT PITCHED ANGLE 13.7 BLANKET INSULATION 13.8 VAPOUR PERMEABLE MEMBRANE 13.9 BULK INSULATION IN BETWEEN PURLINS 13.10 PURLINS 13.11 TENSION ROD CROSS BRACING

4.1 2.2

15.2 2.1

1.4 3.2

14.0 EXTERNAL GUTTER 14.1 FOLDED COLOURBOND BOX GUTTER AT PITCHED ANGLE WITH ROOF SHEET AND PLYWOOD BACKING 14.2 INSULATION 14.3 BONDEK 14.4 FOLDED COLOURBOND FLASHING 15.0 OUTDOOR CAFE 15.1 FULLY WELDED 100 UNIVERSAL COLUMN 15MM THICKNESS 15.2 BOLTED TO 600 X 600 X 400 DEEP PAD FOOTING UNDER STEEL MEMBER 15.3 RIDGE BETWEEN PAVED CONCOURSE AND OUTDOOR SEATING AREA 16.0 FASCIA 16.1 BRICKS: MINIMUM 15MPA, STRETCHER BOND, 25MM CLEAR OF SOFFIT OF SLABS AND BEAMS, FILLED WITH COMPRESSIBLE FILLER AND SEALANT. FIRE RATED. WEEP HOLES 1000SPACING MAX 16.2 FOLDED SOFFIT FLASHING WITH BREATHER MEMBRANE AND PLYWOOD SUBSTRATE AND GALVANIZED STIFFENERS 16.3 SUSPENDED TIMBER CEILING WITH SUBSTRATE AND FRAMING 16.4 CONNECTED TO UPPER BEAMS THROUGH INSULATION WITH CABLE TIES 16.5 PLYWOOD BRACE TO HANGER 16.6 CAVITY FLASHING 16.7 STUDS MECHANICALLY BOLTED TO 1F SLAB ON PFC 16.8 SHELF BRICKWORK TO ANGLE

1.3

1.5

LOCATION PLAN: SECTION B1

48 *Drawing & Model: individual work based off design by Croxon Ramsay Architects.


06 SEMESTER 2, 2015

C O N S T R U C T I O N A N A LY S I S tutor: matthew john borg Individual

S TAG E 1 2 : F I N A L F I N I S H E S

2 stages were selected f ro m a s e r i e s o f 1 2 p l a n s and sections – in which outline the construction p ro c e s s e s o f t h e ‘c a v e h o u s e’ by McBride Charles Ryan Architects in Rober ts Road, Belmont. Beginning f ro m e xc a v a t i o n to f i n a l f i n i s h e s , each stage of construction was documented t h ro u g h examining p h o to records and working d ra w i n g s . The relationship between b u i l d i n g e l e m e n t s , t e m p o ra r y structures, equipment and labor p ro v i d e d elevated understanding to w a r d s p r i v a t e r e s i d e n t i a l p ro j e c t s .

S TAG E 1 2 : F I N A L F I N I S H E S & L A N D S C A P I N G


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These are selected works from the project ‘ 'People in the City' ’, exploring the urban conditions of Hong Kong. Majority of these works trace the implications of my grandfather’s dementia in a city where East meets West, old meets new. From close details of drapery to cityscapes, the blend of oil and acrylic paint was used as the medium to convey the ways in which dementia affects perceptions of home and place.

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1-Drawings of drapery during a study in textiles, 2-These sketches capture the memories of places that made an impact to me during my time in Melbourne, Australia.

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T Y

Naomi Ng Portfolio 2016-18  

For M.arch I/M.arch I AP Harvard GSD, Yale YSOA, Cornell APP, University of Pennsylvania PennDesign, UC Berkeley CED, Columbia University G...

Naomi Ng Portfolio 2016-18  

For M.arch I/M.arch I AP Harvard GSD, Yale YSOA, Cornell APP, University of Pennsylvania PennDesign, UC Berkeley CED, Columbia University G...

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