Peter David 2022 I Selected Works

PETER SANTOSH DAVID

psantoshdavid@hotmail.com www.projexex.editorx.io/peterdavidwww.linkedin.com/in/peterdavid98

ABOUT

Hi, my name is Peter. I’m currently a Senior studying Architecture and Sustainable Design (ASD) at Singapore University of Technology & Design (SUTD). As a designer, I believe in the importance of experimentation, trying out new methods and am passionate in arcology, bringing elements of nature into Architecture.

May 2019 - Present

Jan 2015 - Nov 2016

May 2021 - Sep 2021

Jan 2021 - April 2021

Sep 2020 - Dec 2020

Sep 2019 - Dec 2019

Dec 2021 - Jan

May 2020 to June 2020

21 September 2019

Oct 2019 to Jan 2021

May 2019 to May 2020

ACADEMICWORKEDUCATIONEXPERIENCESRESEARCH

SKILLSSingapore

University of Technology & Design (SUTD)

Bachelor of Science (Architecture and Sustainable Design)

Tampines Junior College

GCE ‘A’ Levels Certificate

Subjects: H2 Physics, H2 Chemistry, H2 Mathematics, H1 Economics

Woods Bagot (W-B)

Created Grasshopper Solar Glare Analysis using Ladybug plugin.

Lucidity (Core Studio II)

Interior Design Intern Project

renders, mood boards and collages for projects:

Sun Tower, Vietnam, Ho Chi Minh HP Office Interior, Taiwan, Taipei

PROJECTS

Individual Unreal Engine Project, designing a ‘Proto-Cemetery’.

Used Rhino and AdobeXD to do documentation, drawings and diagrams.

ProducedMembermodels,

Produced a final short film for the site-less cemetery and narrative.

Science & Technology)

Worked in a team of 4 people to create a shelter based in Livorno, Italy.

Creating envelope and frame structure based on wind and thermal conditions.

Received RenewFibre Asia Architecture Science & Technology Award 2021.

Kleep Klean (Design Final Project) Product Designer

Worked in a team of 5 people to create a modified nail clipper with vacuum.

Created poster and video using Adobe Illustrator and Premiere Pro. Use 3D Printers to create different prototypes for the design.

CO-CURRICULAR ACTIVITIES

Circuit Disrupt Competition

ProductFacilitatorDesigner&CoordinatorDesigner&Project

ShelterSUTDMakerspaceBands(Architecture

ArchiTecture Outreach Programme (ATOP)

PARK(ing) Day 2019

Member

Product Designer & Project Member

Secretary & Workshop Facilitator

Performer & Lights Crew Project

Rhinoceros, AutoCAD, SketchUp, Enscape, Revit BIM, Adobe Suite, UE4 & Vray Film/Photography, Dreamweaver, Premiere Pro, Sketching Grasshopper, 3D Printing, Lasercutting, CNC Mill, Waterjet, Zund Cutting

Rene Tan, Student. Peter David Corbusier Paris Studio Design Option Studio

‘The Social Villa’ redefines the modern family units more gracefully, weaving in pockets of public spaces. These act as a stage for neighbors to interact and overlap, forming a larger family unit. Interactions between neighbors are encouraged by injecting overlooked public spaces with productive and engaging activities. These activities are blended into the everyday, strengthening the community support spirit.

Located at the old Mowbray Camp Site in Ulu Pandan, the site is split into 6 estates with red representing the red spine as the urban trail between the existing Sunset Way in the east to Pine Grove area in the west , green as the existing Ulu Pandan Park Connector that stretches to the Clementi Forest Trail which is being built and blue as the Ulu Pandan Canal.

PRECINCT MASTERPLAN

SITE MAPCOLLAGE

The public space generator explores various program to incorporate into the precint at various scales; personal, neighborhood and estate. While this is not prescriptive, it allows an understanding of what the form has to provide for such interactions and uses between the community.

SOCIAL-ECOLOGICAL DIAGRAM

An understanding of both social and ecological needs also allow for opportunities to create spaces in which both could mutually benefit from each other. This ties in with the public space generator as well as shows the transformative experience when a resident first enters the precint and travels deeper, exploring both private and public spaces and integrating into such a community.

PUBLIC SPACE GENERATOR

AXONOMETRIC

The housing block is comprised of groups with various 2-bedroom and 4-bedroom apartments catering to both smaller and larger family types. The focus of the project is on the various intermediate spaces (areas highlighted in blue as seen in the L3 floorplan) between the units as a shared kitchen space that expands the tradition family unit and creates a sense of community within the residential block.

Moreover the void spaces allow for visual connectivity between the levels as well as to the podium where more social activities take place. This further encourages residents to move and explore beyond the confines of the unit and to participate in various social activities.

NARRATIVE

A millennium has passed since 2020. A thousand years since the year of the ‘Digital Dissimulation’ which foreshadowed the dark fu ture in which the Earth was plunged into as the strains of viruses did not stop but continually evolved. Overcrowding remained an is sue even with the highest recorded death toll in that year. However, with many losing their loved ones at unexpected places and times, practicing the rituals of funerals and last goodbyes became almost impossible in a world that was bound to an online dimension.

As a result, Lucidity was born. A place where one can enter a metaphysical dimension from anywhere and to be able to be with their loved ones as they pass from this world to the next. Located among the cliffs of what was left standing the forests of Zhangjiajie National Forest Park was the first of its kind. The deceased is digitized before the funeral and memories extracted are separated into 3 beacons: personality, possessions, and power.

When one visits Lucidity through this metaphysical dimension to mourn or remember the deceased, one is brought to the singularity point which then branches out to the 3 segments that one can explore in phases. Personality encompasses the emotions and think ing of the one who has passed. Possessions refer to the materials and objects that were held close to them, a material artefact of immaterial value. Power refers to influence and contributions that they had on others. At the singularity point, one can choose from a list of approved people that have passed to visit. From there, one must travel through bridges to any of the 3 beacons of memories.

After one has finished viewing these memories, the beacon would light up to the stars as a symbol of respect and love for those who remembered the people who have come and gone. Each of the beacons are of different colors: blue, orange, and green so that one can remember the segments of memories that have been accessed, and after all 3 have lit up, one is then transported back to the physical reality as one has reached the state of lucidity.

Lucidity itself is maintained by a few workers and environmental designers who create the worlds and rooms inside lucidity for those to visit and enter. Those who live closer and are able to travel can choose to come in and actually practice their own funerary ritual in the designed room and simulated world that the designers create in order to create a more rounded journey for the deceased to pass from the physical to the metaphysical.

Lucidity seeks to provide clarity in a world of confusion such that the deceased can be properly mourned and so that families and friends are not limited to physicality or location when wanting to celebrate and be with those who have passed.

Translating the Narrative into a 2D diagram. Understanding involved parties such as the physical and digital visitors as well as workers. Creating the different units of spaces and developing the logic and strat egy of a central atrium space as a common ground which all other spaces; including mem ory vaults, ceremony, cryo, design labs and living spaces revolve around.

From the 2D Diagram, I began to shift different spaces in the Z-Axis to create a 3D Diagram and dimensionality to the nar rative, understanding the hier achical nature of the ceremo ny and its

ARCHITECTURESHELTERSCIENCETYPE:

TEAM CHRISTOPHER OOI, PETER DAVID,

RACHEL CHEAH

From May to October, Livorno experiences warm and humid sum mers, with the temperature shooting up to 89 Fahrenheit. To reduce heat during the warm summer, the western wall of the structure has a kink strategically placed, to direct the South-West summer wind and southern sea breeze towards the door opening. The sea-facing window opening allows the sea breeze to enter and cool the inte rior of the envelope. The window opening is angled downwards at 60 degrees to prevent the sun rays from entering during summer.

From November to April, Livorno experiences long, cold and windy winters. We angled the roof downwards towards East to diverge the South-East winter winds. The window opening allows the sun rays (comes from a lower angle in the winter, 45 degrees) to pass through the envelope, providing heat to the shelter.

SUN PATH DIAGRAM

WIND ROSE DIAGRAM

Our shelter is located along the steep slope of the mountain terrain spe cifically, overlooking the Tyrrhenian Sea. It experiences the warm tem perate climate of Livorno, Italy.

Our structural frame comprises beams, slabs, side and roof trusses to resist both lateral and vertical loads. From each side of a section, a tri angular side truss connects the second floor to the roof and the foun dation. They are held together by the tension forces of the second-floor horizontal beam.

The shelter mainly uses different forms of wood (timber and X-straw-di nary veneers). Using such renewable materials reduces the Global Warming Potential (GWP) while optimizing the thermal insulation of our shelter.This structure also reduces any negative ecological effects through various methods, using locally sourced materials and not cut ting down any trees by nestling our shelter in between them. Sourcing materials locally mitigates the embodied carbon emissions during trans portation. Situating our shelter in-between the trees, not only provides a sense of privacy but also shadows during summer.

MICRO SITE MAP

SITE PHOTOGRAPHS

VIEWS

PERSPECTIVE SECTION PLAN

After32

the Midterm Review, we revisited the form of our luminaire and thought about how we could reduce its blocky form. Thus we decided to remove the outer enclosure after being inspired by the Frank Lloyd Wright’s Tailesin Lamp with its more open form, transforming our luminaire from being enclosed to more deconstructed, making it more lighter and higher appreciation of the inner wiring of the lamp.

INITIAL SKETCHES

REVIEWING OF PROTOTYPE

SELECTED

CONSTRUCTION PROCESS

SELECTED IDEAS

PROTOTYPE

The Lux Plantae, a tabletop plant lamp, is a deconstructed rendition of the familiar Jenga tower. Inspired by plants, it recreates an artificial form of nature to bring about a serene and organic ambience through the interplay of light and shadows while at the same time, still retaining a practical use for reading and work.

Overall, this was a really fun and rewarding project as we not only learnt the different aspects of light, plays between dark and light, shadows, different lighting fixtures and how architects incorporate lights into their buildings, we also got to experiment and trying creating effects on our own and brought about our ideas of creating this artificial plant light source.

ALEXANDRA

WOODLANDS,

Re38Growth

as part of the Urban Forest Option Design Studio was an opportunity to study and research ecological processes and practices, specifically looking at Alexandra Woodlands as the site. My team selected the species of bees to look into and research further as a specific target species to help re-introduce into this site due to their impera tive ecological service in which they provide and the lacking numbers in the area.

In order to this, we studied sun and water runoff in our site mapping as well as under standing their ecological behaviour, specifically with flora and fauna as their main food source. Thus our goal would be to create an urban infastructure which could help prolif erate the growth of plants which would not only increase food supply for bees but create this supercharged park for humans as well.

Tactics of surface folding and plant swatches were thus employed in this strategy to create to produce this terracing effect across the park which can be seen in our specu lative section.

SURFACE FOLDING TACTIC

ECOLOGICAL

FLOWERING STRATEGY

SPECULATIVE SECTION

SITE MODEL 1BUILDING MODEL

SITE MODEL 2

These

‘Tendere’ inspired by the works by Chiharu Shiota as

WOODS BAGOT,

The Sun Tower project was a mixed use commercial tower with podium retail levels as well as office levels above. I was tasked to help with much of the concept presentations including modelling, reference and mood boards, collage and renders. Ren ders included typical interior spaces of lift lobby and washroom. Using Sketchup and Enscape, I learnt not just technically, but understanding materials and lighting, as well as workflow in developing scenes.

FINAL RENDERS

TYPICAL LIFT LOBBY RENDER

TYPICAL

TYPICAL

GLASS ART INSTALLATION MELBOURNE, AUSTRALIA (2017)

ARCHIFEST CITY HALL, SINGAPORE (2016)