Shawn Lam Design Portfolio - Sep 21

S HAW N LA M DESIGN PORTFOLIO

S H AW N L A M Shawn is a second-year NUS Architecture student. His passion in design is to create meaningful works that intrigue and evoke emotions. He believes that architecture is about carving out spaces to shape human behaviour. He is interested in creating humancentric spaces that positively connect people and communities.

Shawn believes in giving back to the community with design works and has produced and led numerous projects with this aim. He currently pursues this interest by serving as an executive committee member of The Architecture Society (TAS).

In his free time, Shawn enjoys cycling, photography, and Lego. If not for Architecture, he would probably be trying to become the next Steven Spielberg.

CONTENTS A R C H IT E C T U R A L D R AW I N G S

PA N T H E O N

2

O R T H O G R A P H Y , O R D E R AN D G E OM E T R Y

S T AT E C O U R T S

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I N T E R I O R IT Y AN D E X T E R I O R IT Y

A R C H IT E C T U R A L D E S I G N

J A R D E N D E S PAI N

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S H O P H O U S E I N D U X TO N H I L L

S U N D A Y N I G H T W I T H S P R I N G F LOW E R

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C O M P U T AT I O N A L D E S I G N T H I N K I N G

SIRIUS

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M AT E R I A L & T E C T O N I C S

HOME 2.0

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A R T G A L L E R Y AT M A P L E T R E E C I T Y I I

FILM PRODUCTION

Z R AC

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SHORT FILM

D O N ’ T CA L L M E B AC K

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MUSIC VIDEO

GRAPHIC DESIGN

PEAK

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ST U D E N T M AGA Z I N E

S E L E CT E D WO R K S

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A L B U M C OV E R + P R OMOT I O N A L P O ST E R

P H OTO G R A P H Y

FOCUS

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P H OTO S H O OT

PEAK SAN FRANCISCO

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B R AN D C A M PA I G N

L AN D S CA P E S A SELECTION OF IMAGES

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PANTHEON ORTHOGRAPHY, ORDER AND GEOMETRY The plans, elevations, and sections of Pantheon were studied and analysed for ordering principles - grid, repetition, rhythm, axis, symmetry, and geometry. From the section drawing of the building, it can be observed that there is symmetry, repetition, and rhythm in the composition of the interior detailing in the domed rotunda. The roof coffers are observed to be aligned in symmetrical and repetitive order centred around the central oculus. The lower levels of the interior show that the corinthian columns and alter are positioned in a rhythmic order composed of triangular and semi-circular shaped decorative roofs. The building is observed to be placed on a north to south axis. There is symmetry on the exterior when observed from the front. The building’s plan incorporate ordering principles as well. When the columns of the building are solely extracted, geometrical compositions are discovered.

2

S TAT E COURTS INTERIORITY AND EXTERIORITY The perspective drawing constructed was derived from looking at the various spaces passed by when entering the building. The serial drawings on the left show the forms observed from moving from the exterior and interior. The serial movement explores the building’s composition and geometry with a primary focus on the main atrium space. The building’s form & atrium are the key areas focused on the final drawing.

The perspective drawn in the final perspective drawing was chosen to depict the atrium’s geometry and the spaces that surround it on the various levels of the building. The drawing breaks down the sequence and circulation of users in the building.

4

JARDEN DES PAIN SHOPHOUSE IN DUXTON HILL Henri Labrouste re-intepretated classicism in a unique manner, in which he took a step further to combine classicism and 19th Century innovation. His distinctive style utilises the buildings scale and context to atalyse create impactful spaces. The extent of these effects were studied and applied to the site at Duxton for a bakery.

Likewise to how Henri’s Libraries were the Gardens of Babylon for Books, the building’s aim was to be a temple for bread - a paradise that one can bake and live in perfect harmony. This is produced through the blend of nature, as well as well thought spaces which were designed with the client’s schedule of accomidation, and with a central focus on the central oven’s chimney.

Life in the building revolves around the central chimney which interlaces the public and private space with a double helix stair case. The unique structure allows the two spaces to ineract with one another while staying seperate.

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Vegetation on Site

Spatial Relationship

Massing

Public Space + Helix Stairs + Private Space

Public Space + Helix Stairs + Private Space + Green Column

Green Column

The Hearth

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Central Chimney

Central Chimney + Cladding

Central Chimney + Cladding + Double Helix Stairs

Double Helix Stairs Dual Pathways

Plans

Level 1

Level 2

Level 3

Level 4

Public Entrance Display Area Bakery Kitchen Bakery Storage Public Toilet - Male & Female Staff Entrance Staff Quarters Staff Toilet Private Home Entrance

Main Commercial Dining Area Living Room Private Kitchen Private Dining Area Powder Room

Bedroom Bathroom

Roof Top Garden Commercial Dining Area Laundry Room Study Room

Roof

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Section B1

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Section B2

Section B3

Section B4

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S U N D AY NIGHT WITH SPRING FLOWER C O M P U T AT I O N A L D E S I G N T H I N K I N G Every Sunday evening my grandma tunes in to Channel 8 to watch what is supposedly the greatest epic of our lifetime - 春花望露 (Spring -Flower). The show is about the family affairs of several families which are followed over the decades. The controversial events are often small domestic affairs between these families. Each episode of the show is an hour-long and contains many long dialogue scenes. I often find watching these shows with my grandma very sluggish and repetitive. However, I find the corresponding interaction between my grandma and the show fascinating. Throughout an episode, my grandma would be making comments to express her feelings towards a certain character. As such, I was interested in mapping the interaction between my grandma and the show. Through observing my grandma watch the Taiwanese soap opera - Spring Flower, I collected data on her interaction with the show. Data points on her facial emotion, body posture, sound, and verbal reaction were collected and coded into a form through methodical, systemical translation in rhino.

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13

extracted srf - iso

extracted srf - elevation facial emotion tracking

volume

emotional score

show by minute

4 MINUTE

8 MINUTE

31 MINUTE

FINAL MODEL Four curves were picked to be developed into physical forms. They were selected based on the key focal points of the show and the amount of interaction my grandma had with the show.

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27 MINUTE

31 MINUTE

31 MINUTE

4 MINUTE

8 MINUTE

27 MINUTE

4 MINUTE

8 MINUTE

27 MINUTE

SIRIUS M AT E R I A L & T E CT O N I C S GROUP PROJECT The projact explored the concepts of modularity and parametricism with wood sticks for a pavilion and bridge structure. An innovative module, composded of six interlocking sticks, formed the invidual modular components of both structures. The module takes advantage of the tension and compression forces within a module to form a strong component that can be connected with one another at the six corners of the module. The unique design was the result of comprehensive studies made with the material choice and reviews on existing strcutural systems.

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P AV I L I O N

WEIGHT (g)

The pavilion, situated in front of SDE3, can be seen as a gateway

350

to the rest of the faculty. Here, we wanted to introduce a space

NO. MODULES

for guests and students entering or leaving the building. The shifting transparency of the structure draws people into the space, while sufficiently secluding and shading them while inside.

140

S U P P O R T S 2 KG D I S T R I B U T E D

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BRIDGE

WEIGHT (g)

The bridge links SDE3 and SDE4 on the 3rd and 4th levels and

355

use of the space is mostly transient. We carried on the ethos of

NO. MODULES

SDE4’s facades through our module by selectively allowing light and the surrounding landscape through to illuminate the space while maintaining a level of ambiguity between inside and outside.

142

S U P P O R T S 1 KG M I D - S PA N

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HOME 2.0 A R T GA L L E R Y AT M A P L E T R E E C I T Y I I The concept of the gallery begun by looking at its intent, which was to meet the needs of the users of the space and the two sculptures. As the two primary artworks are forced into this space, a focus was placed upon the needs of the sculptures.

The space was designed to meet the needs of the sculpture

while

maintaining

a

constant

awareness

to

the

reali-

ty of the site in which the works have been forced to call home.

The Acrobat’s maker did not specify how the work should be particulary displayed. The work suggest fluidity, movement., and transformation from one state to another. As such, the space around the Acrobat focuses on its attributes with amphitheatre that allows the work to be viewed from all angles and at varying heights.

While for the Reclining figure, Henry Moore had pre-determined that the most ideal site for his work was in the rolling hills of the english countryside with long views against the open sky with fields of grass and a few trees. The site of the gallery did not have these qualities.

Thus, the design attempts to morph the nature of the space closer to the ideal setting for the sculpture. While doing so, it is conscious of the realities of the site. Hence a sense of artificality is maintained in the visual and interactive elements of the gallery.

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ZRAC SHORT FILM Zrac explores the dynamic relationship between our emotions and body language. The film reflects this relationship through a micro lens on the physical motions of a hand. The film examines a small fragment of one’s body to show how expressive limited movements can be. Through the technique of green screen and manipulation, this relationship is animated out in the film. tinyurl.com/ZRAC-film

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DON’T CALL BACK MUSIC VIDEO The music video is a reflection on the experience of a one sided relationship.

It tells the story of a beaten up and depressed girl

hallucinating about the person she loves. The visual narrative ventures goes from reality into fantasy to emphasize the exhilarating feelings experienced by the girl. This state is further accentuated by the the heavy contrast in colour between segments. The film ultimately does not aim to define the emotions experienced, rather it tries to resonate with nostalgic experiences of relationships. tinyurl.com/dontcallback-musicvideo

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PEAK S T U D E N T M AGA Z I N E In 2016, Shawn took the initiative to revamp his high school’s Media team by founding a new school editorial team (TES Editorial Team).

With the mission to engage students with student life at the school via digital media, Shawn and his team have done various community-based projects and services. This includes a quarterly Student based magazine, school news dissemination through social media pages, providing live coverage of sports games and performances, running school-wide writing, arts, and film competitions, and helping to provide media coverage for school events. The team is now one of the largest clubs in the school and it provides students with a platform to show off their talent in writing, art, and media. Shawn has also helped ensure organizational sustainability by running training programs for various roles in the team to bring up new leaders and members. tinyurl.com/PEAK-Issue1-magazine tinyurl.com/PEAK-Issue2-magazine

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WHERESHUDIGO ALBUM COVER

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A L I E N WA R E GAMING EVENT P O S T E R + E - I N V I T AT I O N

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FOCUS P H OTO S H O OT This series was taken in response to a series of terrorist attack on France in 2015. The series serves as a reflection of the human (psychological) impact the events by exploring the themes of vulnerability and desolation amidst chaos.

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PEAK SAN FRANCISCO B R A N D CA M PAI G N This series was taken to help promote two brands - PEAK & TES Editorial Team. The shoot attempts to blend the brands in an urban context by utilising the city as a frame.

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JADE MOUNTAIN ASCENT

Y O S E M I T E VA L L E Y

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G L AC I E R L A K E H U T

C O LU M B I A I C E F I E L D

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