PORTFOLIO BARTLETT 2024

ACADEMIC

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02

THE MIND MACHINE

THE STORY - TELLER

PERSO NAL

A N G I E L E E X I A O F O N G ARCHITECTURE

PORTFOLIO

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04

05

SWALLOW & SPIT

THE MACHINE FOR DYING

THROUGH THE FORKING LABYRINTHINE (WIP)

PRO FESSI O NAL

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07

SEMUA HOUSE

BLOCK D @ THE FIVE

I NST AL L AT I O N

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09

10

THE STAR / KL

RED SMOKE

CORAL

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THE MIND MACHINE Year: 2021 Location: Johor Bahru, Johor.

Program: Mental Health and Consciousness centre

The purpose of this project is to address the issues of rising mental health problems in Malaysia, the stigmatization of accessing mental health and the lack of mental health education amongst the general population. The project aims to understand how the inner workings of the mind works, through conscious and unconscious thinking; to use techniques that are able to tap into the conscious and unconscious thinking in translating abstract thinking into tangible architecture design; and to design a mental health centre that offers consultation, therapeutic treatment, and educates the users on how the mind works, through an explorative journey of space that is translated from the designer’s own conscious and unconscious mind. A wide series of studies regarding consciousness and behaviour, such as of Sigmund Freud’s theory of psychoanalysis and unconsciousness, the levels of consciousness such as animal consciousness, self conscious, higher consciousness, artificial consciousness, and methods to stimulate the conscious and unconscious mind have been used as an effort to try to understand the most familiar yet mysterious thing in the world - the human mind.

Using the surrealist technique of summoning the unconscious mind - surrealist drawing automatism. I created a drawing without thinking of composition, idea, concept, just mindless abstract ideas straight from my unconscious mind.

Then, to decode the drawing’s elements, I used a generative adversarial network, GauGAN by nvidia to segmentize the drawing and create a highly realistic scenery, thus using artefact consciousness to perceive my unconscious mind.

I then repeated the process of segmenting the landscape and producing a new highly realistic scene, until the first image is non recognizable. This questions the legibility of artefact consciousness - is consciousness of machines similar to that of a human’s?

A f ic tional retelling of life in a me ntal a sy lum of a nameless y outh In Johor B ahr u in 1 9 2 0 .

A f ic tional retelling of life dur ing the C OV ID-1 9 pand e mic of a name less y outh in Johor B ahr u in 2020.

au to matic dra wi ng e m b r acing t he irra ti ona l a nd un conscious

//s t udyi ngt he c o n fu s i o n co mput e r pe r c e p t i o n ge n e r a t i v e a dv e r s a r i a l n e t w o r k

i t e m i z e d

f r e q u e n c y

Item

No

Item

Circle

61

House

4

Square

35

Arrow

26

h u m a n

o f

r e i t e r a t i o n

f o r m

m a ki n g

No

Dotted path

20

Pillar

7

Crossed path

10

Extruded plane

8

Clustered

4

Dislocated cube

5

Arch

3

Irregular blob

15

Space in space

10

Steps

8

Intersected

4

Strip

7

Diamond

6

Light

3

s i t e

pla n

p l e a s a n t w he e l t h e c row n of t h e m in d m a c h in e offers a n ost a lgic t a ilored ex perien c e

t ow e r f r i ght

of

t h e pa rk’s c ent erpiec e a da pt s it s freefa ll ex perien c e ba sed on user’s em ot ion a l st a t e. fit t ed w it h L ED panels that change im a geries t o a lign w it h t h eir em o t ion a l journ ey

pow e r e d by qu ant u m s u pe r c o m p u te r a ll

user ex perien c es in t o t h e m in d m achi ne are tailored t o ea c h person ’s m in d a n d be ahv i ou r.

CCTV c a m era s a n d rec ordin g device s are f i tte d t h rough out t h e sit e, c a pt urin g beh a vi ou ral nu ance s a n d em ot ion s. Da t a is fed rea l t im e into the dv ance d proc essin g syst em , sh a pin g t h e overal l atmos phe re of t h e obst a c le pa rk, a djust in g lighti ng, s ou nds , a n d in t era c t ive elem en t s a c c ordi ngl y.

02

THE STORY - TELLER Year: 2021 Location: Kota Tinggi, Johor.

Program: Library and Theater Kota Tinggi, one of the most historically rich towns located in the state of Johor, Malaysia, holds many hidden stories and tales. Once being the capital of Johor, it holds many remnants of its past such as ruins, tombs, and legends. However, as Johor develops, it has forgotten the town that was once the heart of Johor.

While in a micro context, the site is located within the educational district of Kota Tinggi town. Where a deeply rooted issue with the education system of Malaysia is highlighted - a lack of creative outlet amongst the youth.

Deriving elements from the literature and filmography of Kota Tinggi is the Story - Teller, a contrasting blend of two vastly different typologies - a Library and Theatre, which represents itself as a solution to the underappreciated history and rigid education system.

Presentation Video

Animation Video

03

SWALLOW AND SPIT A Depository of Creative Experiments Pieter Bruegel the Elder once described an artist’s role as ‘swallowing’ the landscape and ‘spitting’ it back onto the canvas.

I am trying to do just that. Exploring my daily behaviours and beings, my environment and community and spitting them into musings of experimental art and ideas. The works here are not meant to be complete or final but meant to be processes and ideas, and act as a collection of random bits and bobs from my everyday – even the section title came from an art exhibit I had visited in Malaysia.

Welcome to Swallow and Spit : A Depository of Creative Experiments.

1.

Automatic Drawings (Ink and Tracing Paper) Works featured are experiments of automatic drawing on various moods and environments – from birthdays to funerals – from bedrooms to trains – from states of happiness to depression.

right thing, right way, right time ink on tracing paper 29.7 x 42.1 cm

2. Installation Work In collaboration with fine artist, Ryan Naga, I am creating a large scale hanging installation titled ‘Shape of Memory’, created with zip ties, forming vague abstract forms of memories.

3.

Generative Artwork (gauGAN and Touch Design) Working in a multidisciplinary collective of artists, industrial designers, and generative artists inspired me to pick up and toy with generative design – studying and experimenting with generative artworks and its future potential collaborations with my own future practise.

untitled ink on tracing paper 2000 x 60 cm

more than happiness ink on tracing paper 29.7 x 42.1 cm

Shape of Memory Drawing inspiration from artists such as Hsieh Tehching and Agnes Martin, I have always been fascinated with the idea of meditative practises that aim to capture the abstract and the everyday. From a distance, the thousands of interconnected zip ties imprinted with tiny words translate into a unified veil, almost like a tapestry. Everything seems relentlessly the same. Upon examination, out of this sameness arises difference. This relates to the interconnectedness of everything, how our current existence, our current knowledge, and all our stories are a result of an infinite series of chain reactions from lives that came before us and lives that exist alongside us.

generative scene practise 1

There is something quite magical about using the connectedness, translucence, and breathability offered by zip ties as a visual metaphorfor the vastness of memory and the interconnectedness of existence.

With the humble zip tie as the focal point, the everyday object is elevated and perhaps even celebrated through repetition and individual customization that evokes a sense of timelessness and contemplation.

touch designer practise 1

generative scene practise 2 touch designer practise 2

04 MACHINE FOR DYING (WIP) Year: 20 23 Proje ct typ e: Con cep tua l Crematorium Role: C onc ept an d N arr ative Design Team: Ad am Ikh wan Sa ifu l Rizal,Safuan Fikri , A ngi e L ee, Kr ist ine Low, Ian Thum Phase : D eta il Des ign As I climbed higher, the city’s hum began to fade, And a silent world of stone and steel took its place.

Above, the sky was endless, stretching far and wide, While below, a tower of the dead reached towards the sky.

Each floor held secrets, stories lost to time, As the living moved ever upwards, leaving the dead behind.

But as I looked upon the rows of tombs, A strange beauty emerged from the ruins.

For in this place of death and decay, Nature had taken hold, and life found a way.

The green tendrils of ivy crept up the walls, As the bodies within returned to the earth’s call.

I watched as the cycles of life played out, The constant exchange of death and renewal, without doubt.

And though the dead may be gone, their legacy lives on, As their bodies become part of the earth, where life is born.

In this vertical graveyard, high above the fray, I found a reminder of life’s fragile, fleeting way.

But in the midst of the decay and the final rest, A reminder that even iin death, we are forever blessed.

Game Asset

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Paradox of Choice

THROUGH THE FORKING LABYRINTHINE (WIP) Year: 2023 Location: The Forked Labyrinthine Project type: Game Development Role: Concept Designer, Asset Designer, Game Mechanic Team: ChongYan Chuah, Angie Lee, Kristine Low, Ian Thum Phase: Concept Development

Allegories based on personal attachment to an object in our life

Automatic Drawing created based on sentimental object

My mother’s dress

“Through the Forking Labyrinthine” is an allegorical journey through the complex and ever-changing maze of life, beckons players to explore not only the intricacies of gameplay but also the depths of philosophical inquiry.

The protagonist, a nameless monkey, awakens in a bewildering maze without any recollection of their past. As players take the reins, they are thrust into a labyrinthine world where the very essence of existence is brought into question. An allegorical voyage into the human experience, spanning the stages of life—adulthood, adolescence/childhood, and toddlerhood. Each stage is depicted through intricate and symbolic environments, offering players a multi-faceted exploration of existence.

As players progress through the maze, they are confronted with choices that lead to different pathways, echoing the myriad decisions one makes throughout their life. The complexity of these choices and the uncertainty they bring are beautifully embodied in the ever-expanding web of possibilities in the game. Like the allegorical monkey, players are encouraged to question the paths they choose and the nature of existence.

She wore it when she was 25 years old 35 years ago She wore it when she was younger prettier maybe happier 35 years ago She wore it when she was full of dreams, hopes aspirations of what could be 35 years ago She gave it to me when I was 25 years old 35 years later I wore it when she grew grey hair, her skin sagged, her legs not as pretty as they used to be 35 years later I wore it when she hoped more than anything I’d chase my dreams 35 years later But in the back Sometimes id wonder What mom’s life would be if all her dreams did come through While I live my life in My mother’s dress

3 Dimensional forms based on automatic drawing for game asset libray

Maze Overall Plan

06

EXISTING TOWER

REDEVELOPMENT OF SEMUA HOUSE LEVEL 2 Year: 2021-2024 Location: Kuala Lumpur Project type: Redevelopment Role: Lead Feasibility Study Lead Concept Designer Assistant Detail Development Team: Shin Tseng, Immesh Nantha, Angie Lee, Muhammad al-Shoufi Phase: Construction

NEW ‘WOVEN’ NEW VOIDS ‘TEETH’ DUPLEX NEW FEATURE

LEVEL 1

FLOATING Located in the bustling Jalan Tunku Abdul Rahman, GARDEN a famed textile district in Kuala Lumpur. Semua House is set to be the catalyst of the traditional textile hub of Malaysia, Buzzing with sights, smells and sounds, this BASEMENT 1 downtown area pulses like a truly Malaysian heartbeat rhythmically and quintessentially diverse in its offerings and outlook.​ The new Semua House is poised to be a space where commerce and community thrives. Various BASEMENT 2 voids were carved in the building, allowing a physical connection to the bustling neighbourhood.

Whereas various vertical connection, mainly the atrium staircase was introduced bridging the space together.

NEW VOID NEW DROP OFF

NEW VOID

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THE FIVE BLOCK D Year: 2022-2024 Project type: Adaptive Reuse Location: The Five, Damansara Heights Kuala Lumpur Role: Lead Concept Designer Assistant Detail Development Team: Shin Tseng, Immesh Nantha, Angie Lee, Muhammad Haziq Phase: Submission Approval A redevelopment of the old HELP University building block into an ‘urban living room’ in the heart of the retail masterplan of The Five, Damansara Heights.

50% of the space was demarcated as public space, which informed the striking removal of 50% of the façade and Level 1 floor plate, allowing a porous entry across the entire space. While a series of lush tropical plants have been thoughtfully placed throughout, immersing visitors in a serene tropical paradise. In the voided corner of the building, a hanging ficus tree is suspended in the centre, vivaciously growing with the space.

08

THE STAR / KL Location: Year: Role: Team: Phase:

Kuala Lumpur 2021 Design Assistant Jun Ong, Ronald Lim, Sunil Raj,Angie Lee, Viktor Zeidler Completed

FISSION, FUSION & FACETS In 2015, “Star” was born in the quiet, industrial town of Bu tterworth, Penang. It then dissolved and disappeared into dormancy. In 2021, at the tail end of a pandemic, a phenomenon takes place in the heart of Kuala Lumpur. A starburst. Its new host, known as the Air Building, is a composite of raw concrete and shards of metal situated on the threshold between nature and city. Moulded by time, materials and energy, the new “Star” takes on a starburst form created by an accelerated fusion of various surrounding elements. As a result, intense trajectories of light are formed, extending beyond its host and onto the textured, cultural tapestries of the city. Throughout its time here, “Star” will learn, adapt and provide us with new facets of thinking as terrestrial, cosmic and human beings. Like all organic matters, the decay of “Star” is celebrated.

Over time, its illumination is reduced and after 112 days, “Star” dissipates and lives on in hyperspace till it finds a new host.

TUBE JOINTING DETAILS

VIDEO LINK

CORE DETAIL

PHYSICAL MODEL

09

RED SMOKE Location: Year: Role:

Jakarta 2023 Detail Designer Site Management Filmography

Team: Phase:

Jun Ong, Angie Lee Completed

‘BROWNIAN MOTION’ Consisting of 150 metres of light tubes and 500 metres of ropes and strings; the installation is inspired by the smoke imagery formed by the “Brownian Motion.” This phenomenon is known as the uncontrolled or erratic movement of smoke particles due to their constant collision with other fast-moving molecules.

Bursting through the “AirDrop” crates, a singular particle flashes across the void, leaving behind its complex, glowing red trajectories.

ACRYLIC TUBE QUANTITY

ACRYLIC TUBE DETAIL PACK VIDEO LINK

OVERALL 3D

ACRYLIC TUBE TYPICAL DETAIL

STEEL CRATE DETAIL

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132

Team: Phase:

Kuala Lumpur 2023 Core Design Team Prototyping Material Procurement Fabrication Installation Jun Ong, Ng Xiao Lan, Angie Lee, Wong Yee Roe, Dexter Ng Completed

Like corals engulfing a bridge, the installation is an immersive geometrical reef composed of a web of wire modules. These hand-bent icosahedron wire modules are adorned in a spectrum of folded coloured surfaces, evoking the vivid textures of corals. By day, this installation harnesses the sun’s rays to cast ever-shifting patterns of coloured shadows. At night, they come to life with an immersive, underwater-like glow, enveloping visitors in an ethereal oceanic aura.

R108

Location: Year: Role:

218

CORALS

On site module placement

Skin Design

Truncated dodecahedron