SERENE WONG 16 Tai Keng Avenue | Singapore 535500 e: email@example.com c: 92278747
Personality Traits Self-driven and conscientious youth Takes pride in her work Amicable and energizing team player Very approachable Work well under stress Good Listener Technical Skills AutoCAD SketchUp Pro VRAY Adobe Illustrator CC Adobe InDesign CC Adobe Photoshop CC Microsoft Office Hand Sketching Model Making
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National University of Singapore 2011-Present Bachelor of the Arts (Architecture)*
Swan & Maclaren May-August 2014 May-August 2013 Architectural Intern
Temasek Junior College 2009-2010 A levels (Knowledge & Inquiry, Mathematics, Chemistry, Physics, Project Work) Anglican High School 2005-2008 O levels (English, Chinese, Higher Chinese, E Mathematics, A Mathematics, Chemistry, Physics, Geography, History, Social Studies) Paya Lebar Methodist Girlsâ€™ School (Primary) 1999-2004 PSLE (English, Mathematics, Chinese, Higher Chinese, Science)
DP Architects November-January 2013/14 Architectural Trainee National University of Singapore August 2013 Research Assistant Colin K. Okashimo & Associates May-June 2012 December 2011 Intern Riding for the Disabled Association June-August 2011 Airbus Helicopters December-June 2010/11
The Kent Ridge Common W: http://kentridgecommon.com/ 2012-Present Student Journalist
Honors & Awards
Exhibitions & Publications
2014/15 Overseas Student Exchange at TU Munich, Germany
2014 NUS Design Yearbook
Tay Kheng Soon’s School of Doing June 2012 Treehouse designer
Recipient of NASA Exchange Award
2013 Organizer of ArchiTours (part of ArchiFest) Swan & Maclaren Corporate Brochure CityEx Exhibition @ URA Noise Singapore Exhibition UMNUS Encounters with Ipoh: Familiar Spaces, Untold Stories Publication Exhibitions @ Ipoh, Perak and NUS Museum Landscape in a Box @ Singapore Art Museum
Scalebar 2011-2012 Printing Operater
2013 NUS Architecture Representative for a dialogue with President Dr. Tony Tan in Malacca, Malaysia Top 10 Shortlist for Masterplan Design in Mount Faber Ideas Design Competition Recipient of BCA Built-Industry Sponsorship 2012 Recipient of the Dean’s List Recipient of One Star Kayaking Award
2012 Plywood Structure Exhibition @ East Coast Park URBANATURE, NUS Year 1 Exhibition @ Lor24A Geylang 2010 Walking with Diabetes Publication for TOUCH Community Annual TJC Calligraphy Exhibition
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DESIGN WORK 05
Honey Bee Farm
Beyond the Wall
The Poetâ€™s Residence
The Bicycle Shed
House In The Hill
House At The Pier
Landscape In A Box
Tree Houses @ Kampung Temasek
47 Familiar Spaces, Untold Stories: Encounters With Ipoh 49
* This portfolio contains the design work of Serene Wong, unless otherwise noted all work in the portfolio was created solely by Serene. In cases where items were co-developed, it is understood that Serene played a significant role in their creation.
[YEAR 3 STUDIO] AUGUST - NOVEMBER 2013
HONEY BEE FARM
Site: Infill site behind Bishan Library The Honey Bee Farm is a coalescence of hardscape with softscape. This design scheme builds on the concept of connecting circulations and integrating production and consumption processes.
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Tubular steel structure with net fabric infill encompassing the bees’ pollination space
Tubular steel structure with net fabric infill enclosing the human walkway
Turf on rooftop Sky lights
Public gathering space with contours serving as benches
Beekeepers’ Rest House
Entrance of bees’ pollination space
Outdoor service path to hydraulic service lifts Indoor Food Stalls Link bridge for production spaces Packaging area of honey products Bee Hives Honey House Public Washroom
Access to Beekeepers’ Rest House
Speciality Store selling bee-derived products and souveniors Cafe selling hyper local honey products and light refreshments Public Washrooms
Turf on rooftop Outdoor stalls selling food and beverages to go
BEES’ CIRCULATION BEEKEEPERS’ CIRCULATION CONSUMERS’ CIRCULATION
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There is a constant rhythmn of rituals observed from the activities of the Consumers, Honey bees & Beekeepers. Consumers visit the farm on a daily basis, for their breakfast lunch and dinner fix. On weekends, the numbers are much higher all throughout the days. Honey bees are most active during midday, and do not alter their foragiing habits unless drastic weather conditions (i.e. rainfall) occur. There is activity in the hive 24/7. Beekeepers do routine checks and maintainance on the bee hives and fruit orchard. Such activities occur during the periods where the bees are not actively foraging for food. It allows time for beekeeper to interact and mingle with the consumers during the midday period.
The site is located in a transition area betweem large commercial developments and medium high-rise residential blocks. It serves as a mode where residents and shoppers can congregate at or transit through to another part of the site - in short, a one stop dining and immersive nature experience. I am focusing on the idea of moving away from a passive production - consumption relationship, to a more dynamic one. Usin`g the idea of fragmentation, I want to spread out the production process across a larger area in the form of cluster units. The 3 mains processes of production occur at 3 places: the bee hives, the honey house and the packaging area. This is to create pockets of in-between spaces for consumers to mingle for more integration. This allows for the multi-layering of different circulation paths and activities.
[YEAR 3 STUDIO] JANUARY - APRIL 2014
BEYOND THE WALL
Site: Ghim Moh Link This project is focused on designing a pleasant and secure cohousing cooperrative for multi-generational families to live together.
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Lightwell Rooftop Garden
Community Space : Function Room
Community Space: Laundry Room Rooftop Garden
Community Spaces : Childcare, Gym
Underground Carpark Access Community Green
COHOUSING COOPERATIVE The design is shaped by the site forces like current human and traffic circulation. Adopting a rectilinear boundary, the interior elevation flows organically as a mimicry of the complex and chaotic interactions of a residential community. A terra-cotta facade is both warm and inviting for residents and visitors alike. The residentials are layered and interweaved with social spaces and communal gathering spaces on every floor. This accomodates the spontaniety and casual demeanor of a cohousing community. The ground floor is sculpted as an inverse of the the spaces above and offers visitors a private and intimate space to linger in.
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GROUND FLOOR where residents and visitors can meet and interact
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Playground Lift Lobby Central Community Green Underground Carpark Access Bicycle Shed
FIRST FLOOR where the multi-generational residents interact in the pockets of community spaces outside their apartments
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Student Apartment Elderly Apartment Family Apartment
THIRD FLOOR where the residents of the co-housing community can contribute and participate in communal activities
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Gym Childcare Centre Rooftop Garden
[YEAR 1 STUDIO] Spring 2012
THE POETâ€™S RESIDENCE
Site: 717 Jalan Pinang, Kampung Glam Conceptualization of a conducive home and poetry space based on the design philosophy of esteemed poet, Edwin Thumboo
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acoustic panels on RC roof slabs
structural steel column
frameless glass paarapet
RC load bearing walls Legend: frameless glass accordion doors
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Poetry Reading Space
10 Bathroom 11 Master Bedroom
The basis for this scheme is built upon selected works of poetry by Edwin Thumboo, namely “The Way Ahead”1 and “Renovation”2. These poems are relevant to the urban context. In order to initiate more people into the literary community, a gathering space dedicated to poetry sharing and appreciation will be the constant magnet that draws the influx of people into this house. Entry to the residence begins at the front, similar to that of a shophouse. The 5-footway, light well and entrance hall have been respected in accordance with a typical shophouse typology. The inclusion of acoustic qualities in the poetry appreciation space translated into a stepped pavilion-like roof where the voices of poets will be enhanced when a literary night session is in session. The row of planters surrounding the perimeter of the public space serves as a privacy buffer as well as a noise buffer that dampens the external noises from the busy roads.
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Building upon some of Thumboo’s fundamental ideas about the nature of the city and the implications of renovating a house, these scheme tries to draw on those ideas: “A City is for people, for living/ For walking between shadows of tall buildings”1 and “I want to feel pure the wind /Glazed by dark narrating shadows”2 expresses the desire for a living space flanked by some form of shelter from the tropical climate. “And though we rush to work, appointments/ To many other ends, there must be time to pause/ Loosen the grip of each working day, /To make amends, to hear the inner self /And keep our spirits solvent” 1 and “Lusty crickets in the loam”2 describes the living space as one that reinvigorates the inhabitants and provide some sort of comfort and relaxation. This is represented as circulation through the residence. It is a narration of the hierarchical sequence from the more public entrance hall, to the living room and dining area to the higher levels where the privacy increases as one reaches the bedrooms. The stairwell is integrated with the light well and included long in-between floor landings where one can pause, survey the vicinity and enjoy the moment. “A City should be the reception we give ourselves, /What we prepare for our posterity”1 and “I want to taste sharp the petai /Straight from the curling pod /To hold the village in my mouth”2 Here he describes the living space as one that welcomes someone , especially the future generations. He uses the petai metaphor to articulate a similar idea and this is something in line with his role as a literary pioneer of Singapore. In this scheme, it is interpreted as an attempt to initiate more individuals into the literature community. Thus, the poetry sharing space is an essential aspect to the design of Thumboo’s house.
[YEAR 2 STUDIO] AUGUST - NOVEMBER 2012
THE BICYCLE SHED
Site: East Coast Park Synthesis of the conceptual ideas of speed and the needs of a cyclist through the experimentation of plywood construction.
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SEAT JOINTS These joints cleverly ride on the opportunity of offering a much needed seat within the space besides adding to structural stability. Sturdy, unimposing and sublty beautiful; these joints perform both structurally and aesthetically.
SEAT JOINTS - DETAIL 2
H JOINTS The joinery devised resulted from a need to make the structural elementsâ€™ extensions length-wise to create ample internal headroom space.
V BRACING AND G JOINTS - DETAIL 1
V BRACING AND G JOINTS V-shaped braces link the see-saw to the main structure and bend gently, attuning to the strucutral language throughout.
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G-shaped joints clamp the see-saw together and also accomodate a dowel on which it pivots.
The structure reflects the essence of synergy. It is the interaction of distinct yet similar elements in creating a synergistic experience. This synergistic experience draws inspiration from the idea of peripheral vision through speed and movement. The design concept draws from the inital abstraction drawings done for design development. The materiality conveys this idea through the accordion structure. Tension and compression forces hold the various joints in place and they express a spring-like quality which allows the bicycle shed to be flexible on site and yet inherently stable. Every aspect of this design, right down to the joints and bicycle parking mechanism were thoroughly refined and syngerized to adhere closely to the idea of creating a spring-like quality. The notion of challenging the limits of plywood as a rigid, dense and planar material were clearly expressed in this design.
[YEAR 2 STUDIO] AUGUST - NOVEMBER 2012
HOUSE IN THE HILL
Site: Dairy Farm Nature Park Conceptualizing the dual nature of the forest context as familiar and forboding, and a reflection of landscape processes in Singapore.
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6 Public Bathrooms 7 Staircase to Roof Garden
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This architecture is about responsive enclosure and landscape, looking at Singaporeâ€™s drastic approach to landscaping i.e. land reclaimation this design is a suggestion of how to sew up the artificial landscape. The use of lines in the scheme was to recreate depth in the forest. Abstraction of experiential drawings and experiential models set up the premises for the design. Duality of experience between what is local and familiar against what is foreign and forboding was used to conceptualize the circulation path. The design stemmed from a glyph on the site - a staircase built into the hill. It was a great design because of the good site integration and comfortable riser height and these ideals were amplified in the scheme. Platforms of various sizes were translated from the geometric qualities of the hill. The play of fast and slow movement allowed an enjoyable journey through the structure. Two private quarters are located in the thick pillars beside the exhibition spaces and the journey culminates into a rooftop garden. The privacy of the residents are ennsured as the entry to the residences requires an indirect approach unlike the public spaces that have direct accessibility.
[YEAR 1 STUDIO] JANUARY - APRIL 2012
THE WINDCATCHERâ€™S HOUSE
Site: MacRitchie Reservior Design an environmentally sensitive home for single occupancy in a natural setting
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large horizontal louvres
timber staircase bookshelf
variation of egg crate sun-screen aluminium frame sliding door
brick masonry walls
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The atrium is celebrated with light through the large foldable glass shutter that gives access to the porch. The distinction between the different spaces are demarcated by the widths of horizontal louvres. Closer, longer louvres suggest a darker and more private space while vice versa results in a brighter, more public space. The bathroom is traditonally a private space, in this design the notion of privacy is challenged by lowering it into the ground and enclosing it with natural vegetation to provide an adequate degree of solitude.
The choice of vertical louvres selectively improves the degree of natural lighting. The constrast intended is one of transiting from solid to voild; from heavy set brick walls to diaphanous timber louvres and finally the unimpeded deck that hovered slightly over the MacRitchie Reserviorâ€™s water margin. The roof is pitched towards the reservoir to subtly reinforce the progression of the liberation of the man-made construct.
This resort is strategically located for the user to carry out leisure activities like reading, golf spectating and sun-tanning. In this scheme, brick is used to contrast the natural context as a man-made statement. The approach to the retreat is a quiet journey amongst the tall grass that enhances the solitude of the site. Skewed walls serve as a subtle gesture of passive climate design to better facilitate air circulation within the building. At the same time, it highlights the asymmetric nature of the natural world. The asymmetrical design of the roof further reinforced that. The spaces are arranged in a hierarchical sequence that centres around the main atrium space. The bathroom is traditonally a private space, in this design the notion of privacy is challenged by lowering it into the ground and enclosing it with natural vegetation to provide an adequate degree of solitude. This would allow one who is sitting in the bathtub to be acquainted with the natural context.
[YEAR 2 STUDIO] JANUARY - APRIL 2013
HOUSE AT THE PIER
Site: Cashin House, Lim Chu Kang Lane 9A The Cashin House has a precarious quality both structurally and visually. This design scheme builds on the concept of precariousness for an educational institution.
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Structural Steel roof grid
Structural Steel roof grid
3 3 Steel footpath
Wall partition with insulation
3 Steel footpath 3
Steel staircase Steel columns
3 Steel columns Wall partition with insulation 4
Steel staircase 1
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Cashin House pier
The aim of this scheme was an attempt to extend and amplify the experiential quality to the larger site to reinforce the uniqueness of the Cashin location. Precarious is defined as  having little or no foundations  exposure to risk  (perceived) structural instability. The structural concept explored is the cantilever - the projection of rigid structural members from vetical support, one in which the projection is great in relation to the depth. Experiementations pushed the notion of cantilever to an extent that is visually precarious yet still structurally stable. The consideration of aesthetics and clean geometry resulted in a massive yet slender form. The overall geometry is defined by the exisiting structures on land as wll as that of the cashin pier and seawalls. The continuity of the dual structures join the conversation of extending the concept to the whole site. Entry to the building starts at diagonally opposite ends, the circulation takes the form of narrow corridors suspended from hanging volumes off a cantilevering structural grid. The structure is reinforced steel with glass and insulated partition wall infills.
[ARCHITECTURE CONSTRUCTION] FEBURARY 2014
Site: Lelystad, The Netherlands An indepth analysis undertaken by my studio of the structural system behind the design of Agora Theatre by UNStudio.
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[SITE ANALYSIS] JANUARY - APRIL 2013
LANDSCAPE IN A BOX
Documentation of Hong Lim Park and conceptualization of an exhibit for Singapore Art Museum
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The history of Hong Lim Park represented by superimposing layers on each other to show the fragmentation of interaction and circulation.
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[ENRICHMENT] JUNE 2012
TREE HOUSES @ KAMPUNG TEMASEK Site: Ulu Tiram, Johore Malaysia Design and construction of Tree Houses at Kampung Temasek, Tay Kheng Soonâ€™s School of Doing.
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[URBAN STUDY FIELDTRIP] JUNE - JULY 2012
FAMILIAR SPACES, UNTOLD STORIES: ENCOUNTERS WITH IPOH Site: Old Town and New Town of Ipoh, Perak This project focused on urban studies as well as measured drawing practice on venacular architecture in the region. In-depth studies were conducted on the city’s heritage and assessment of the current state of development.
The outcome of the architectural and heritage studies done in Ipoh culminated in a public exhibition at the NUS Museum as well as in Ipoh together with a publication titled “Familiar Spaces, Untold Stories: encounters with Ipoh” Collaboration with the Perak Heritage Society together with the University of Malays and the National University of Singapore made this project an overwhelming success.
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FAMILIAR SPACES UNTOLD STORIES encounterswithipoh
NUS MUSEUM OPENING HOURS: 10am - 7.30 pm (Tues - Sat) 10am - 6 pm (Sun) Closed on Monday and Public Holidays University Cultural Centre 50 Kent Ridge Crescent National University of Singapore Singapore 119279 T: (65) 6516 8817 E: firstname.lastname@example.org
Located in New Town along Jalan Mustapha Al-Bakri is the home of Ipoh’s last charcoal sellers, Mr. and Mrs. Woo. The smell of charcoal permeates the store front and this, dark, charcoal-stained space leaves a lasting impression on any visitor. The elderly Mr. Woo conducts his daily business of packing charcoal for his patrons in this area. However, in less than a year from this documentation in 2012, the shophouse lease would have expired and Mr. Woo’s charcoal business will have to cease. Much of what is documented will become history. Hence, this study was done with the pressing need to document every detail of this century-old shophouse..
NUS Museum a comprehensive museum for teaching and research. It focuses on Asian regional aart and culture, and seeks to create an enriching expeience through its collections and exhibitions. The Museum has over 7,000 artifacts and artworks divided across four collections and exhibitions. The Lee Kong Chian Collection consists of a wide representation of Chinese materials from ancient to contemporary art; the South and Southeast Asian Collection holds a range of workss from Indian classical sculptures o modern pieces; and the Ng Eng Teng Collection is a donation from the late Singapore sculptor and Culltural Medallion recipient of over 1,000 artworks. A fourth collection, the Straits Chinese Collection, is located at NUS’ Baba House at 157 Neil Road.
[COMPETITION ENTRY] JANUARY 2013
A showcase of artworks done as part of my artistic hobby. Sketches, pencil and ink on paper.
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Clockwise from previous page: 1. A sketch of Parkview Square Faรงade, Bugis Calligraphy Ink and Pencil on paper 2. Greyhound Pencil on paper 3. Metamorphosis and the Squrriel Pencil on paper 4. Tricerabot Pencil on paper
[HOBBY] DECEMBER 2014
A showcase of photographs taken as part of my artistic hobby. Agfa Silette Compur-Rapid camera
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c: 92278747 e: email@example.com
Published on May 13, 2013