PORTFOLIO Samuel Foo J u Zh en g 2021
CONTENTS
AIR RIGHTS
COALESCE
ATRO 37
BEACON
RADIATE
TROGLO
CARAPACE
TRANSIENT
PINFOLD
ATLAS
HAND STUDY
SKIN 2
PHOTOGRAPHY
KINDRED
INTERIORS
SAMUEL FOO Hello! I’m Samuel. I have always been drawn to the beauty and creative thinking of art & design. I love how ideas can be manifested into something tangible; the process of collaboration and learning new techniques to create a final product is something that I enjoy.
samuelfoojz@gmail.com +65 98323837
EDUCATION THE UNIVERSITY OF ADELAIDE / AUSTRALIA Master of Architecture (M.Arch) Mar 2020 - Nov 2021
Bachelor of Architectural Design (B.Arch) Feb 2017 - Nov 2019
EXPERIENCE
NATIONAL SERVICE / SINGAPORE
RSP ARCHITECTS PLANNERS & ENGINEERS PTE LTD / SINGAPORE
Jun 2014 - Jun 2016
Architectural Intern Dec 2019 - Feb 2020 - Surveyed Tanglin Mall’s existing facilities and amended multiple plans for issuance to the contractor, in preparation for a major renovation - Created and edited logs of Variation Orders and Architect’s Instructions for Naval Base Primary School, Singapore. Researched on roofing materials to be used as a walkway in the school - Edited and prepared marketing floor plans for a design presentation for Shaw Theaters Balestier
WOW ARCHITECTS PTE LTD / SINGAPORE Architectural Intern Nov 2018 - Feb 2019 - Created digital and physical models of a condominium complex in Noida, India. Performed various editing tasks utilizing Photoshop, SketchUp & AutoCAD
ATELIER DESIGN ARCHITECTS / SINGAPORE Architectural Intern Jun - Jul 2018
University acknowledgement of student’s employability skills development through extracurricular activities & volunteering
- Created 3D rendered images using Lumion of a bungalow 4 Brizay Park, Singapore. Performed various editing tasks utilizing Photoshop, SketchUp & AutoCAD
2020 UNIVERSITY OF ADELAIDE GLOBAL CITIZENS SCHOLARSHIP
SOMA ARCHITECTS & PLANNERS / SINGAPORE Architectural Intern
Awarded to international students with a GPA above 6.0 out of 7
Nov 2017 - Feb 2018
ADELAIDE GRADUATE AWARD
NANYANG POLYTECHNIC SCHOOL OF INTERACTIVE & DIGITAL MEDIA / SINGAPORE Diploma in Digital Media Design (Animation)
- Assisted with 3D modelling and InDesign graphics. Performed various editing tasks utilizing Photoshop & AutoCAD. Site Survey at HomeTeamNS Sembawang
CHUBB INSURANCE / SINGAPORE Admin Assistant
Apr 2011 - Mar 2014
Aug 2016 - Nov 2016
Director’s List 2011-2014
- Processed and organised insurance documents for new & existing clients
Military Signal Operator In-charge of connecting & configuring armoured infantry vehicles
INFINITE STUDIOS / SINGAPORE Animation Intern Aug 2014 - Dec 2014 - Created and edited television graphics for Discovery Channel Asia, in the post-production department. Assisted senior designers in other small design tasks
LANGUAGE English (Native) Mandarin (Basic)
INTERESTS Magic, Photography, Travel, Fitness
GRAPHIC SKILLS Adobe Photoshop, Illustrator, InDesign, Rhinocerous, AutoCAD, SketchUp, Lumion, Hand Illustration, Physical modelling, Laser Cutting, 3D Printing
ACTIVITIES SINGAPORE ASSOCIATION PROFESSIONS REPRESENTATIVE Oct 2017 - Oct 2018
INFORMATION TECHNOLOGY OFFICER Oct 2018 - Oct 2019
CONTRIBUTIONS: - Orientation camp leader for 2018-2020 - Designed various apparel & paraphernalia - Planned & assisted events for Singaporean students - Tri-varsity Student Welcome Reception (Mar 2018) - Performed at the 2017 National Day Celebrations - Road Trip Coordinator (Apr 2018 & 2019)
AIR RIGHTS: FALCONS IN THE NEOLIBERAL CITY FINAL YEAR PROJECT: 2021 PROGRAM: PEREGRINE FALCON APARTMENTS & AVIAN RESEARCH LOCATION: NEW YORK CITY, USA TUTOR: ATHANASIOS LAZAROU THE BIRD SOMEHOW ESCAPES THE CAGE,
ANTHROPOCENTRIC
NATURE
AVIAN-CENTRIC
NOT HEROICALLY OR ROMANTICALLY, BUT THROUGH THE SLOW INEXORABLE OPENINGS IN THE OPPOSITION OF “NATURE/CULTURE”. THE BIRD IS INCIDENTAL TO - MERELY AN ODD EXAMPLE OF - THE PROBLEMS OF FREE AND CONSTRAINED MOVEMENT IN SPACE. PERHAPS SOME OF THE BIRD'S EXISTENTIAL STATUS AS A FREE ANIMAL LINGERS INSIDE CERTAIN ARCHITECTURAL FORMS - INSIDE THE TACIT WILL OF THESE FORMS TO RESTRICT FLIGHT, OR TO FLY. - CATHERINE INGRAM ARCHITECTURE, ANIMAL, HUMAN: THE ASYMMETRICAL CONDITION
Arguably one of the most intense expressions of capitalism today, New York City embodies the coexistence of the radical inequality between the rich and poor. This inequality asserts itself in the verticality of the city: New York is tall. The rich occupy penthouses and offices overlooking the city, whilst the homeless survive in the cracks of the city ’s urban and social fabric. The expanding wealth disparity creates a nucleus for highly exclusive, anthropomorphic ideals in architecture, that fail to consider its effects within the a broader ecological context. Recently, however, that ecology has changed. Some parts of New York have become taller than others.A recent architectural development in New York is the rise of the skinny skyscraper. The pencil-thin skyscrapers are occupying new heights in New York through a process of ‘air-rights’. As Oliver Wainwright writes, air-rights are bought through “a zoning policy that allows a developer to acquire unused airspace nearby, add it to their own lot, and erect a vast structure without any kind of public review process taking place.” These towers are the “global surfeit of super-rich buyers” and have been described by Durbach Block Jaggers more as ‘sky scratcher’ than skyscraper. It seems the architecture’s dominion over the landscape was first scraped, and is now being scratched.
It is estimated that between 100 million and 1 billion birds die from encounters with windows each year. This conflict has lead to New York to recently pass initiative 1482B, which requires 90 percent of the first 75 feet of new buildings to be constructed with materials that are easier for birds to identify as obstacles So, as architecture starts to work with the birds, can we rethink architecture to work for the birds? Can the verticality of the city return to the birds? Can the skyscraper start a new ecological conversation and rethink the New York skyline?
1
Tall skyscrapers with setback typologies create good roosting spots that mimic in the cliff edges of canyons and mountains
2
Orthogonal urban grid and lack of tree cover along streets create clear sightlines for falcons to spot prey easily from afar
3
Abundance of trash and litter feeds the rodents and pigeons, providing a steady supply of food for the falcons
Sky Exposure Plane
AIR RIGHTS Air rights refers to the empty space above a building, or empty lot which may be used for development. Sometimes they are also referred to as “unused” or “transferable development” rights.
High Rise
The owner of a lot with air rights could build additional stories to their existing building or sell them to a nearby building to allow them to develop a taller structure by combining the development rights from both lots.
typically inhabit
typically inhabit
create and inhabit
Low-Medium Rise
typically inhabit
Urban Infrastructure
Peregrine Falcon
Humans
AIR RIGHTS ALLOCATED TO NEIGHBOUR
Park Spaces UNUSED AIR RIGHTS
produce
Exposure to pesticides and other chemical contaminants resulted in a decline in peregrine falcon numbers since the 1940s. These pesticides cause eggshell thinning which severely lowers breeding success. Recovery efforts enabling the release of young captive peregrines helped lead to their return, and its population has grown steadily since. In addition to this, nesting boxes created by the Department of Environmental Protection have helped foster breeding, and hidden cameras placed have live-streamed the falcons, capturing the imagination of the public. This growth has occurred in spite of architecture’s ongoing conflict with birds.
HOW DOES NEW YORK CITY ENABLE THE FALCONS?
produce
Yet the sprawling concrete metropolis of contemporary New York City is a far cry from its undisturbed natural landscape centuries ago. A perverse antithesis to nature, the city paradoxically is now considered to have the largest population of urban peregrine falcons in the world. The peregrine falcon’s survival situation in New York is the manifestation of how the marginalised exist within an environment that they do not have full control over, yet somehow, manage to survive within it, by demonstrating an ability to adapt.
Small Reptiles
Small Mammals
Small Birds
BUILDING AIR RIGHTS MAXED
USED DEVELOPMENT RIGHTS ZONING LOT A
ZONING LOT B
Insects Waste / Litter
TRANSFER OF DEVELOPMENT RIGHTS
Bacteria
FALCONS IN NEW YORK CITY
Plants
Sunlight
Fungi
Other unused development rights that cannot be bought through a zoning lot merger can be purchased through a development rights transfer. These kinds of transfers are typically used when building lots are not attached or adjacent to each other. Additionally they are more complicated than zoning lot mergers and are applied in unique cases with special districts or landmarked buildings.
SKYSCRAPER TYPOLOGIES
NARROW BASE
SUPER THIN
SET BACK
LOCATION PLAN
0
2 km
Empire State Building
Chrysler Building
731 Lexington Avenue
70 Pine St
40 Wall St
425 Park Avenue
20 W 34th St, NYC Height: 443m
405 Lexington Ave, NYC Height: 319m
731 Lexington Ave, NYC Height: 246m
70 Pine St, NYC Height: 290m
40 Wall St, NYC Height: 283m
426 Park Ave, NYC Height: 262m
Pencil Tower Hotel
Steinway Tower
Central Park Tower
432 Park Avenue
One 57
53 West 53
410 Pitt St, Sydney Height: 100m Width to Height Ratio: 1:16
111 West 57th St, NYC Height: 436m Width to Height Ratio: 1:24
1225 West 57th St, NYC Height: 472m Width to Height Ratio: 1:23
432 Park Ave, 57th St, NYC Height: 426m Width to Height Ratio: 1:15
157 W, 57th St, NYC Height: 306m Width to Height Ratio: 1:11
53 W 53rd St, NYC Height: 300m Width to Height Ratio: 1:12
601 Lexington Avenue
Rainer Tower
Astor Tower
Torres de Colón
Vancouver House
Kuala Lumpur Tower
153 East 53rd St, NYC Height: 279m
401 Union St, Seattle, Washington Height: 1567m
1300 N Astor St, Chicago, IL Height: 91.14m
Calle de Génova, 2, Madrid Height: 116m
1480 Howe St, Vancouver, BC Height: 150.3m
Kuala Lumpur, Malaysia Height: 381m
4 km
FORM GENERATION
FORM EXPLORATION
Z
AMERICAS TOWER
WOOLWORTH
731 LEXINGTON
40 WALL ST
70 PINT ST
CHRYSLER
EMPIRE STATE
X
Y
Z
X
PERSPECTIVE SECTION (S2)
PERSPECTIVE SECTION (S2)
E.E S1
S2
S3
TOP ELEVATION
COALESCE DESIGN STUDIO 4: 2018 PROGRAM: MIXED USE ADDIE PLACE, ADELAIDE TUTOR: URS BETTE
The studio brief called for a design that reflected a contemporary interpretation of house for a witch/ wizard. The intention was to shift the thought process away from preconceived ideas, and instead into unusual methodologies for creating conceptual architecture that will eventually evolve into built form. The essence of the project was to bring the idea of
exploration to the forefront, within the gudelines of a defined process that lures the architect out of their comfort zone to encounter a world which is beyond their immediate surroundings. Both architects and magicians work with different ‘props’ and rely on masterful craft to create effects that transcend the world of physical things. Drawing from
personal experiences studying and performing as a magician, Coalesce combines the unique aspects of magic with architecture, curating specific spaces that aid the magician and the building’s program: a mixed-use public and private space, consisting of a performance theatre and the magician’s residence.
A magic peformance requires a precise balance of openess and deceit. Every move in the routine is carefully and extensively choreographed, to mitigate conditions for failure. The final outcome of a magic trick is determined by the amalgamation of decisions made by the audience, how the magician reacts to these decisions, and the unpredictability of the universe. No matter how prepared a magician can be, there is always a possibility where chaos manifests itself in the damnation of a magic trick. The hidden spaces mapped out were the segregated niches of the surrounding context, where the public do not have direct visual and physical access. Conversely, the open spaces mapped out the common areas where the public have easy visual and physical access. The combination of these two conditions symbolizes the blend of openess and deceit inherent to the structure of a magic performance.
Site Location
0
100m
Hidden spaces
Visible, open spaces
Combined spaces
Process based form generation
The combined maps were projected onto a volume at different elevations, creating chaotic intersections that divide the volume. The articulation of chaos into order (to create a plausible building), were embodied in the decisions to remove, retain, grow and shrink certain blocks, that would service the program of the building. The final form was further refined by manipulating these parameters.
North
South
East PRIVATE
West
Main Function
Secondary Function
Public Space
PUBLIC
Private Space
Bedroom
Magician’s Living quarters
Hidden Spaces
Open Area
Hidden Spaces Prop Room
Prop Room
Theatre
Bar
Theatre Restroom & bar
Plans & Sections
Exploded Axonometric
Trampoline & Spider Wall
Ball Court
Exploratory Spaces
Foam Pit
Rock climbing wall
Ball Pit
Café Classroom
Parents Lounge
Orphan’s accomodation
Reception Area
ATRO 37 DESIGN STUDIO 5: 2019 PROGRAM: MIXED USE GRAY STREET, ADELAIDE TUTOR: MIRAI MORITA
Atro37 is a modular mixed-use building, functioning as an orphanage, social services centre and an indoor playground. These synergistic programs informin and contribute towards each other. The building aims to bridge the disconnect between society and the overlooked orphan population of
Adelaide. Serving as a safe place where the orphans live, they are able to connect and engage with other children and their families that visit the facilities. By inculcating an awareness in the public on how other children around Adelaide live, brings into conversation of what society can do to alleviate
these problems in a responsible and constructive manner. After analyzing the common housing archetypes in the vincinity, these forms were manipulated by the linework of initial impression drawings that captured the neglected qualities of the original site. Symbolically representing the notion of a ‘home’ for the orphans.
Isometric Interior Views
BEACON DESIGN STUDIO 3: 2018 MASTER PLANNING FORT LARGS, ADELAIDE TUTOR: SAMER AKKACH
Fort Largs was originally built to repel any potential enemies from invading South Australia since 1885. In the 1960s, the site was repurposed into a police academy. Virtually untouched for over a hundered years, the fort embodies the prevalent theme of defence throughtout its life. Once built to repel, the
newly designed hotel Beacon seeks to challenge the notion of resistance, yet paying homage to the sturdy and rigid forms of the old fort. The hotel acts as a beacon, drawing attention to the site and standing out from neighbouring low lying residential housing. Located in the middle of the
site and right in front of a boulevard connected to the beach, access to the site is direct and simple. The arcing forms of the building seem to create and embrace of sorts, exuding a quality of assurance and protection for individuals nearby.
TOP ELEVATION
FRONT ELEVATION
SIDE ELEVATION
PINFOLD REPRESENTATION 3: 2019 PROGRAM: EXHIBITION SPACE NORTH TERRACE, ADELAIDE TUTOR: JESSE ZILM
Pinfold is a scaffold-like structure that provokes the user both mentally and physically. An enclosed & open space at the same time, Pinfold offers a visceral experience, merging the exhibition space and the artwork as one. The artworks hanging on the steel members can be viewed internally
and externally, both providing different sensory & spatial experiences. The entrance and exit of the space is obscured with two openings. With members jutting in the internal space, the tactility of the members encourages the user to hold on to parts of the exhibition as they navigate through
the space with intent & caution. Failure to do so might result in the user accidentally hitting one of the members. The bold colour of red combined with the visually striking barbed members, makes it a difficult structure to miss, invoking curiosity amongst visitors.
RADIATE REPRESENTATION 3: 2019 PROGRAM: EXHIBITION SPACE NORTH TERRACE, ADELAIDE TUTOR: JESSE ZILM
Radiate is an exhibition space that is designed to invoke a sense of uncertainty, manipulating the perceptions of the viewer within. The unassuming simplicity of the black box draws people in with its dominating presence, contrasting against the white walls of the room. The space of the interior walkway was deliberately restricted to 400mm,
only allowing the user to enter the space sideways. Facing a black wall while navigating inside the dark space, the user’s hands acts as seismographs; sensing their way through the space. Inside, the oppressing claustrophobia and darkness teases the user uncomfortably. Upon reaching the opening of the mirror room, the user is greeted with a gradual
intensity of light. A video is projected onto the shards of mirrors and aluminium scattered around the space, reflecting light in different directions. These reflections of reflections create dynamic light patterns around the space, enabling different viewing permutations of the distorted video.
Interior Render (Top view)
Interior Render (Bottom view)
Section
Interior Photograph
Interior Photograph
Exterior Render
TROGLO DESIGN STUDIO 6: 2019 PROGRAM: CHIMPANZEE NESTING + PLAYSCAPE -----------------------------D.R OF THE CONGO TUTOR: MARGIT BRÜNNER
In the Democratic Republic of the Congo, the Tchimpounga Chimpanzee Rehabilitation Centre provides a sanctuary for chimpanzee orphans that are victims of the illegal, but widespread, bushmeat and pet animal trades. The chimpanzees are housed in an large enclosure and seperated into their respective age groups. After feeding and temperature checkups, different groups of chimps head out to parts of the (gated) forests to learn
about living in the wild, where they will eventually be released. The sleeping quarters of the chimpanzees in the centre are not ideal, as they naturally prefer to sleep in the tree tops instead of wooden platforms. Troglo combines the needs of the chimpanzees and their keepers. A safe and dynamic structure that is a comfortable place for play and sleep, allowing chimpanzees to act out their hierarchal tendencies in different subgroups of the main troop.
Main structural lightweight recycled steel frame Supports and evenly distributes weight of the chimpanzee community across the framework
O
A1709428
Lightweight recycled steel rings wrapped with recycled plastic
PROGRAM
Secures the webbed manila rope to the rest of the structure. Creates seperate nesting boundaries for the OLD: An ephemeral human intervention, a chimpanzee/s. fissure from the natural to the man-made. Troglo
INDIVIDUAL NODE
NESTING TYPOLOGIES
SECTION 1 : 150
is a playground installation that merges the typical vertical landscape of the chimpanzees (trees), with the horizontal plane, establishing a familar yet new typology in the jungle.
NEW: Troglo combines the needs of the chimpanzees and their keepers. A safe yet dynamic structure that is a comfortable place for play and sleep, allowing chimpanzees to act out their hierarchal tendencies in different subgroups of the main troop.
Webbed Manila Rope
LOCATION PLAN Manufactured from
fibers obtained from the Abacá plant, it is the strongest natural fiber Tchimpounga, in the world. Republic of Congo Properties include:
- Resistance to weathering, fungal attack and moisture - Good abrasion resistance - Natural & biodegradable CHIMPANZEE SANCTUARY - Weather resistant - Minimal stretch
N
INDIVIDUAL MODULE
CENTRAL NODE
Capacity: 1
Capacity: 12 - 15
Capacity: 9 - 12
Chimps who prefer to nest alone are given the option to do so. A defeated male chimp after battle with the alpha may seek refuge here. A female chimp who is pregnant or with a small baby may prefer to nurse away from the group for a short period of time.
The number of individuals in a chimpanzee community varies from different regions, but in general, they may range from 100 to 150. The communities split into smaller groups formed by closely related chimpanzees, usually between 3 to 15 members.
Similar to the central node, but at a smaller scale. This gives the chimpanzees a different option for their communal space if they find that they prefer a smaller nexting typology, or have not as many group members.
1 km
EXPLODED AXONOMETRIC CENTRAL NODE
Main structural lightweight recycled steel frame
Polyester Steel Reinforced Playground Rope
Supports and evenly distributes weight of the chimpanzee community across the framework
Secures the entire structure to the surrounding trees with sturdy trunks
Lightweight recycled steel rings wrapped with recycled plastic Secures the webbed manila rope to the rest of the structure. Creates seperate nesting boundaries for the chimpanzee/s.
Recycled woven polypropylene fabric Commonly used in trampolines, sandbags, textiles, packaging. etc Tchimpounga Chimpanzee Rehabilitation Centre provides sanctuary for chimpanzee orphans, all victims of the illegal, but widespread, bushmeat or pet animal trades. The chimpanzees are housed in an large enclosure and seperated into their respective age groups. After feeding and temperature checkups, different groups of chimps head out to part of the forests to learn about living in the wild, where they will eventually be released.
Webbed Manila Rope Manufactured from fibers obtained from the Abacá plant, it is the strongest natural fiber in the world. Properties include: - Resistance to weathering,
fungal attack and moisture - Non-toxic, non-staining - Good abrasion resistance - Natural & biodegradable - Easy to clean & anti bacterial - Weather resistant - Minimal stretch - Heat resistant, reusable & durable - Light in weight with lowest density breathable or water proof with a laminated film Polyester Steel Reinforced - Easy to produce, assembly and an economic material Playground Rope NESTING BEHAVIOUR the entire structure - Excellent resistance to stress and high resistant to crackingSecures to the surrounding trees with sturdy trunks - Resistant to most alkalis and acid, organic solvents
SECONDARY NODE
CENTRAL NODE
SECONDARY NODE
RE
CARAPACE STUDIO CULTURES: 2020 PROGRAM: INTERACTIVE, TRANSITORY PUBLIC SPACE PORT ADELAIDE, SA TUTOR: ANTHONY COUPE
Carapace is a proposal for a revitalization of Port Adelaide’s elevated railway station and its immediate site. A significant stop on the Outer Harbor Line, and part of the Adelaide Metropolitan network, the station comprises a couple of platforms enclosed by easy to clean, vandal resistant, prison-like perforated stainless steel screening. At this point, the rail line crosses Commercial Road, providing a type of entry arch into the centre of Port Adelaide.
Once a vital artery that connected Port Adelaide to the rest of South Australia, the station is a long way from what it used to be and has been reduced architecturally and programmatically to its most basic function. As with many similar facilities these spaces are often seen as ‘problem’ spaces.
the urban framework, transforming it into a place rather than a non-space or unloved passing-through point. There are many options for physically and programmatically adapting the place and its unique elevated position, its signification of entry and the fascination with ‘Transport Oriented Developments.
Carapace seeks to re-consider the notions of a train station, so that it is able to play a stronger part in
Carapace is a station withthin a station, a place of pause, departure and journey at the same time.
Previous demolished form
SYMBOLISM & SYNGERIES
STRUCTURAL RELATIONSHIPS
- Any remnants?
Searching for connections and key themes
The types of columns indicate the architectonics of the station
Railway aesthetics Typologies
- Archetypes - Idiosyncrasies
STRUCTURE
Materiality
Past & Present -Concrete -Steel -Aluminium
Cultural Historical
Peak hours in the mornings and late afternoons; civilian policing
-Iron -Wood
dialouge
Society structured around train timings
Prominent Landmark
- Commuter Timings - Incubancy
- Human Density
TIME
SURVEILLANCE
- Acceleration
How people relate to reach other:
saves
- Arrival
- Security Camera Locations
- before boarding the train
- Metro Card History
- while on the train
- Perforated Steel panels
- exiting the train;
- Open Floor plan
on the platform, within &
- Face to Face seating
outside the train station
- Destination
TRANSPORT
- Passageway Increased
( Figuratively & Literally )
Vessel
- Movement - Congregation
Facilitated Grains and seeds, petroleum products,
Meeting Point
- Dormancy
- Humans - Carts - Wagon
economic
limestone, motor vehicles, cement,
- Ships - Boats - Trains
prosperity
metals and scrap metal, agricultural
- Cars - Trucks
in the area
Rapid urbanization
ENVIRONMENT
commodities, fertilisers, breakbulk and general cargo, iron ore, iron and steel, mineral concentrates, mineral sands and shipping containers.
Exports
Interface with water - Shipping Industry - Connection to the rest of the world
Identity
PRELIMINARY SECTION SKETCHES Experimentation with formal responses through drawing interventions
Combining the upper level with the extended lines of the ramp
Extending and duplicating the ramp lines, intersections with columns
Highlighting the silhouette of the station
TRANSIENT HISTORY THEORY 2: 2018 PROGRAM: PRAYER SPACE NORTH TERRACE, ADELAIDE TUTOR: KATHARINE BARTSH
In Buddhist cosmology, all objects and beings, whether in heavenly, hellish or earthly realms is always changing and inconstant. Humans undergo an endless cycle rebirth and redeath (Samsara). The three marks of existence (impermanence, suffering, and non-self ), has a strong narrative in
the doctrines of Buddhism. Transient embodies and translates these elements of Buddhism through the architecture of a prayer space. These ideas have an antagonistic relationship towards the common ‘ideals’ in architecture; where buildings are built to last, living standards of its inhabitants should be
improved, and buildings should foster a sense of place and identity. This brings into question of how can one create architecture with impermanence in mind, reveal aspects of suffering, and be detached from an ‘identity ’. Transient explores new boundaries of the expectations of a traditional prayer space.
HAND STUDY
ATLAS
PERSONAL WORK: 2015 DRAWING GRAPHITE PENCIL + DIGITAL EDITING
PERSONAL WORK: 2015 FIGURE DRAWING CONTE CRAYON + DIGITAL EDITING
We use our hands in almost everything we do, but we rarely pause and observe the intricate complexities of our palm lines and skin folds. Many of these lines were formed before we were born, but various activities throughout our lifetime continue to shape the folds of our hands, creating a design that is uniquely ours.
Instead of depicting the human body as idealised perfection like Greek sculptures, this collage of drawings to signifies the burdens of man. Figure drawings from different viewpoints are overlaid to form an impossible, dream-like composition.
2017 SEA Aquarium Singapore
2017 Chingshingtan Taiwan
SKIN 2 PERSONAL WORK: 2015 CONCEPTUAL DESIGN DIGITAL PHOTGRAPHY
In our everyday life, the interaction is between human body and clothing is usually careful to prevent damage to the fabric. I was interested to explore how a skin would transform in relation to a shifting structure underneath it. The model’s contortions and movements were constrained, shaped by the limitations of the shirt. The result is a set of images that capture how the skin folds, twists, stretches, wraps, and hangs. The elastic material interacts with the human anatomy to create a tactile, visceral, moving, energetic landscape.
2016 Anderson Bridge Singapore
2017 Umbracle, City of Arts and Sciences Spain
KINDRED PERSONAL WORK: 2015 POTTERY CLAY The tea pot and cups were moulded through a combination of hand building and wheel throwing pottery techniques. These pieces form a family: Coherent given their similar colour of glazing but distinct in their differing scale and texture.
INTERIOR DESIGN INTERNSHIP WORK: 2018 INTERIOR DESIGN RENDERING SOFTWARE + DIGITAL EDITING
Interior renders of a bungalow, for a private client in Singapore. Curating an image that would convey the atmosphere of the space in an attractive manner, requires a balancing act of light, material, perspective and composition.