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WE I Y I NGSABRI NA

PORTF OL I O Se l e c t e dWor ks


As simple as it can be, As complex as it needs to be.

WEI YING SABRINA

PORTFOLIO


CONTENTS


NG WEI YING SABRINA DATE OF BIRTH : CITY : NATIONALITY : PHONE : EMAIL : PORTFOLIO :

EDUCATION 2013 - 2016 :

Taylor’s University Lakeside Campus

2012 - 2013 :

Universiti Tunku Abdul Rahman (UTAR)

2007 - 2011 :

S.M.K. Seafield

AWARDS & RECOGNITION 08. 2014 :

Dean’s List Award,

03. 2014 :

Book Prize Award for Architectural Design Studio 2,

03. 2014 :

Dean’s List Award,

08. 2013 :

Dean’s List Award,

05. 2012 :

UTAR Top Achiever Scholarship,

6 January 1994 Kuala Lumpur Malaysian +60 133739947 sabrina.wy6@gmail.com sabrinahd94.wix.com/rouge-rhythm

PROJECTS & FABRICATION 2015 :

PAM Annual Student Works Exhibition

2014 :

Paying It Forward: Community Service Project

PROFESSIONAL EXPERIENCE 01. 2016 - 03. 2016 :

Design Collective Architects (DCA),

02. 2014 - 03. 2014 :

the Architectural Network (tAN),

02. 2012 - 10. 2012 :

MY Art Studio (Sri Manja Branch),


DESIGN STATEMENT �

A childhood spent collecting acacia coral seeds in my neibourhood park led me to a life transfixed by the coexistence of nature and humanity. The coral seeds, scattered acrossed grassy fields of the park was like a hood of community and that when I look closely enough, I found that each seed is like li no other. Some are fragmented, partial and deformed, either worned out under the harsh weather or just simply came to grow imperfect. Just like the community itself, beauty can be found amongst the imperfections and impernaments. Perhaps being emphathetic to my surroundings and the community by sur looking inward and outward, to notice the detail in everyday life and to place them in the context of the world at large is what I strive for in my architectural design. Emphathetic and human-centered design is what I believe in when I begin my architectural design process. Humans form strong spatial relationship with a particular building itself when thy feel that they are at their safest. Every human

seeks for some means of escape, perhaps a private sanctuary. a personal “me” space where they can be free of their social titles. Emphatic designs are a no perfect design. Conversely it is focused on what will benefit the users and sustaining humanities in the place making process, rendered in creating a piece of architecture perfect for the community. The memory and essence of a place is what I have always retained in my design to evoke a sense of belonging in the people. A building may be meaningless, but the memories are real. Throughout my journey in Architecture has come to make me realise that by abandoning preconceptions about ‘what should’ and instead focusing on what will benefit the community, the design solutions are ooen hiding in plain sight. My goal is to forge ahead with what the future has to offer, hoping to find the futu balance between humanity in architecture with the rapid modern standardization.


HAIRDRESSER’S RETREAT HOUSE Modular Capsule House of Joy

The given client for this retreat house project is a hairdresser. She is someone who is constantly open to new ideas, keeping up with the latest trend with an artistic flair. The modular capsule retreat house is designed for the client with transformable spaces that links to the unconventional lifestyle that she has. unco Located on the open space on top of

Malawati Hill, Kuala Selangor, the modular capsules are arranged in linear form that hugs along with the contour of the proposed site. The spaces are designed with considerations of the human anthropometry anth and activities of the hairdresser that reflects her flexible, unconventional and expressive nature.


One point interior perspective view of the Retreat House. Rendering done with AutoDesk 3ds Max.


SITE INFORMATION

The Melawati Hill of Kuala Selangor was one of the administrative centre dated back in 18th to 19th century. Architecture ruins and forts could be found on site, which were built back in the reign of the Selangor Sultan and later fell to the Dutch in 1784. The open ďŹ eld site for the retreat house is located on the hill top of the Melawati Hill, where the ruins of Altingsburd Fort is found. The site contains various historical relics and artifacts, including a lighthouse overlooking the coast of Klang, the ruins of the ford, royal graves, a musuem of Melawati Hill and the poisonous well. The hill now serves as an recreational park for visitors and the location of the open ďŹ eld is situated o the crowd of the park, rendering it a suitable choice for a retreat house. With the big old trees that lined along the front of the open ďŹ eld, a sense of serenity and melancholy washed over the entire ďŹ eld.

RETREAT HOUSE DESIGN The Modular Retreat House functions as a habitable architectural space.With the transformable spaces of the modular capsule units, each planes and surfaces are utilised. The retreat house is designed in a minimalist cylindrical form that stacked on one another. The simplicity of the form is able to enhance and bring out the quali ties of the interior spaces within that emphasizes on user experiences, which is the key element of the entire house. Four of the six capsule units are rotatable and the other two on the top of the contour is ďŹ xed. The private and semi-public spaces are arranged in relation to the site context, with spaces such as the study and sleeping area facing towards the open ďŹ eld, away from the densed tourist spot.

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A

1

2

3

N.T.Scale

A

FLOOR PLAN

4

5

6


CAPSULE CONFIGURATION GUEST OVER CAPSULE A

CAPSULE B

CAPSULE C

CAPSULE D

CAPSULE E

CAPSULE F

SECTION A - A N.T.Scale

LEISURE

SLEEPING

WORKING


Viewing Deck & Studio

Kitchen & Dining

Dressing & Sleeping Area

Stars gazing during nighttime

Sectional Perspectives of the Hairdresser’s Retreat House. Ink and Watercolour.


VISITOR INTERPRETIVE CENTRE A Journey of Rediscovery and Fulfillment

Situated on the hilltop of Pulau Besar, Malacca, the Visitor Interpretive Centre is heavily informed by the geography of the site. The massing strategies are inspired by the holy split rock found on site, which is believed to bring blessings for those who manage to wedge themselves into the 27cm gap and touching the end of the split rock. The idea of multi-layered is explored, which reflects the island that coaches

that coaches visitors to explore further and deeper within. Multi-layered steps are splayed at the base of the three massing, achoring them firmly to the ground. The main gallery spaces are cantilevered towards the view of the serene golfcourse. Solid and voids of the massing massin are manipulated to define the hirarchy of spaces within. Green roofs are also introduced to resonates with the current’s golfcourse on site.

Exterior Perspective view of the Visitor Interpretive Centre. Rendering done with AutoDesk 3ds Max.


SITE INFORMATION

Located just off the coast of Malacca, Pulau Besar Besa is the island attributes to many of the legends and stories that are long imprinted among the locals. The island also serves as a place of pilgrimage to a number of the local Indian Muslims, with histories and religious activities dated back to the 17th century. The island, also dubbed as the mysterious

island or the holy island among the locals serves as a place for meditation and getaway for those who seek spiritual fulfillment. The design of the Visitor Interpretive Centre was heavily Interp influenced by the context of the island, with the intention of strengthening and enlightening the visitors’ and locals belief towards the mystical island.

MOOD & DESIGN INTERPRETATION

REDISCOVERY

Forming personal perception towards the site

Sketches of the inspirations on site during the pre-design process. Ink and Watercolour.

INNER PEACE

Into the realm of spiritual dwelling


SITE PLAN N.T.Scale


MASSING STRATEGIES

Sources, legends and rumours made up the history of site

The massing is developed further with cantilever being the dominant block with staircase in between.

The massing is projected from the central point of the existing club house. Steps are splayed out at the base.


Pocket spaces are formed to display artifacts and relics by insetting the wall at rear end of the Dark Gallery

One point perspective of the Dark Gallery of the Visitor Interpretive Centre. Rendering done with AutoDesk 3ds Max.


A 1

8 9

2 7

6

3

A

LOWER GROUND FLOOR PLAN N.T.Scale

SECTION A - A N.T.Scale

Orthographic Drawings of the Visitor Interpretive Centre

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10

4


A

2

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A 1

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GROUND FLOOR PLAN N.T.Scale

FRONT ELEVATION N.T.Scale

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Front Elevation of the Library. Rendering done with Autodesk 3ds Max. Street photomontage by Chuah Wei Hong.


THE BRICKFIELDS PROJECT A Community Library full of Wonder

Community libraries speak volumes about our communities. The Brickfields Community Library is an urban infill project nestled within the urban communityhood of Jalan Sultan Abdul Samad, Brickfields. The idea of the community library is to restore the lost vitalit vitality of reading in this digital era with the idea of playful architecture that stimulates exploration and discovery among the users. The massing strategy

responded to the current site condition by connecting the main road in front to the rear of the library where the back alley morning market is. The locals are able to access to the library with ease without disrupting the current activities of the back alley mornin morning market. Automatic vertical louvers and translucent panels facade design is generated to achieve a sense of continuity in streetscape.


SITE INFORMATION

MASSING STRATEGIES

The ground floor of the building is set back at 10 . for the 10 foot walkway

The lee side the ground floor is pushed in to enable access from the front to the rear, where the market is.

Volumes are subtracted at strategic locations to enable natural lighting to lit up the reading spaces.


Atrium Skylight

Double Skin Facade

Industrial Grating Infinity Bookshelves

Internal Garden Reading Area

Children’s Reading Area

Timber Contour Playscape

Sectional Perspective of the Community Library


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B

A

B

A

GROUND FLOOR PLAN N.T.Scale

SECTION A - A N.T.Scale

Orthographic Drawings of the Community Library


B

A

B

A

FIRST FLOOR PLAN N.T.Scale

SECTION B - B N.T.Scale


UNESCO MATERIAL ART GALLERY & CENTRE Blurring the Lines between Art and Architecture Flanked by massive solid walls, the UNESCO Material Art Gallery & Centre (MAGC) is designed with 4 solid and curved walls juxtapositioning at the visual axis of the Capitol Threatre Site. The subtraction and addition of the dierent geometry of the building resonates with the Capitol Theatre site by presenting itself as a massive sculpture-like building that serves as an art space of interaction and communication among the public, artisans and art works. The swooping

copper roof planes of the MAGC is projected towards one of the multiple axis point on site, drawing visitors in with its simple form of raw geometry that celebrates the vast quality of spaces within. The project focuses on the interaction and participation of the public with the art making process, rather than the moment of its completion. Spaces that are exible, useful, or even useless, can become motivation of creation, intergrating art works, public and the building as a whole.

Exterior view of the UNESCO Material Art Gallery & Centre. Rendering done with Autodesk 3ds Max.


SITE INFORMATION

Malacca was listed as one of the UNESCO World Heritage Site back in 2008. Since then, regulatories and guidelines in retaining Heritage Buildings had been set up and restoration works have been carried out. This UNESCO Centre project is located at Jalan Bendahara, near the cross-road junction of Jalan Bendahara and Jalan Munshi Abdullah of Malacca Town, Malacca. It falls under the ed edge of the UNESCO Heritage Buffer Zone, which is the transition zone between the Heritage Core Zone ( Jonker Street and The Stadhuys) and the development zone. The existing site sits the Capitol Theatre, an Art Deco style theatre with historical value among the locals. It is one of the most prominent movie theatre in Malacca Town back in the 1930s - 1970s. The Capitol Theatre was abandoned in the 90s and the existing ruins of the theatre gives off a sense of granduer which reflects the function and programme of the past. Most of the adjacent buildings were in the range of 1- 5 storey tall, built during the Art Deco era, with distinct Dutch and British Colonization influences.

JALAN MUNSHI ABDULLAH

JALAN BENDAHARA jALAN BUNGA RAYA

The development of the site is being regulated by the City Council of Malacca (MBMB). Thus, the existing Art Deco gable wall portico of the Capitol Theatre is expected to be retained for this project to align with the guidelines of Heritage Buildings set by the local authority.

DESIGN STRATEGIES

Solid walls are placed juxtapositioning the visual axis on site.

A series of colonnades are reinterpreted at the rear end of the existing portico to created a continuos journey.

Curves are introduced to celebrate the existing trees on site with vibrant street activities. A courtyard is created by slicing the curves and change of floor levels.

Staircases are inserted at the in-between spaces of the walls to create a linear journey for the 3 galleries.


With a curved solid wall and projection of the swooping copper roof, the drop-o and entrance is set back from the bustling back street to create a forecourt that celebrates the vibrant street activities on site. st A courtyard with landscape area is designed at the West wing to create a connection between the backlane and the building. Open stringer staircases are designed to complement the bare and sleek outlook of the building. slee

North-west view of the UNESCO Material Art Gallery & Centre. Rendering done with Autodesk 3ds Max.


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View of the Grand staircase at courtyard.

WEST ELEVATION N.T.Scale

Interior perspectives of the MAGC. Rendering done with Autodesk 3ds Max.


View of the Material Art Gallery space.

NORTH ELEVATION N.T.Scale


GROUND FLOOR PLAN N.T.Scale

SECTION A - A N.T.Scale

Orthographic Drawings of the UNESCO Material Art Gallery & Centre


FIRST FLOOR PLAN N.T.Scale

SECTION B- B N.T.Scale


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The use of contrasting concrete textures of the curved and straight walls exhibits the materiality of space and its poetic qualities.

Interior view of the foyer area. Rendering done with Autodesk 3ds Max.


Sabr i na’ sAr c hi t e c t ur ePor t f ol i o Al lRi ght sRe s e r ve d

Sabrina's Architecture Portfolio 2016  

Selected works of various Architectural Design Studio projects done in my Bachelor of Science (Honours) in Architecture Degree in Taylor's U...

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