VivianKuanLiYoon_1001850535_AR415_P3_FinRev

REVIVAL AR 415 ARCHITECTURE DESIGN STUDIO 4 PORTFOLIO VIVIAN KUAN LI YOON 1001850535

TABLE OF CONTENTS

1-1

CRAFTING RESEARCH

1-2

PURA TANJUNG SABTU

1- 3 CRAFTING FUTURE EXPRESSION 2-1

ARCHITECTURAL SKIN

3-1

CULTURAL CENTRE

PROJECT #1 CRAFTING RESEARCH

During these modern days, traditional arts are getting more unpopular.

To revive the crafts, we extract the features of craft and introduce the new form of traditional crafts through architecture.

WAU - TRADITIONAL MALAYSIAN KITE

WAU - REPRESENT A MAN’S LIFE CENTRAL FLOWER - IBU

WAU - MAKING PROCESS

VINES - PATH OF LIFE, MORE MEANDERING, MORE INTERESTING

1. SELECTING THE SUITABLE BAMBOO

2. THE BEST BAMBOO TO MAKE A

WOOL FRAME IS A BAMBOO THORN AND DRIED

GOLDEN DEER - PREVENT THE KITES FROM OVERWHELMED BY PATTERNS.

FLOWERS - WOMEN

WAU - MORTIFS ELEMENT

4. BAMBOO BLADES WERE

MOUNTED ON FIRE BEFORE BENDING

3. THE BAMBOO IS RUBBED BUT THE BAMBOO SKIN IS NOT REMOVED

6. A PIECE OF COLOUR PAPER IS PASTE ON THE FRAME. POKOK KENERAK

POKOK GETAM GURI

POKOK PERIA

POKOK KANGKUNG

5. THE BAMBOO MADE INTO A

FRAME AS A BACKBONE. BAMBOO BLADES NEED TO BE BALANCED. NYLON IS USED TO TIE THE FRAME.

7. DESIGN A TRADITIONAL WAU 8. AFTER INSTALLING THE ROPE REINS, THE KITE IS FULLY COMPLETE.

POKOK SERI PAGI ( MORNING GLORY )

POKOK TEMBIKAI ( WATERMELON )

PATTERN. THE FINISHED PATTERN ON THE COLOR PAPER IS THEN ATTACHED TO THE BODY.

PURA TANJUNG SABTU

PROJECT #1

KUALA TERENGGANU

PURA TANJUNG SABTU

PALACE ‘BEAUTIFUL BUT FORGOTTEN’

PURA TANJUNG SABTU PREVIOUSLY WAS A PALACE, AFTER THAT BECOMING A HOTEL AND ABANDONED AFTER 2013. WE TEND TO DO ANALYSIS ABOUT THE SITE AND INHERITED TO THE NEXT GENERATION.

DOCUMENTATION DRAWINGS OF PTS

GROUND FLOOR PLAN

ROOF PLAN

FIRST FLOOR PLAN

PERSPECTIVE VIEW

DOCUMENTATION DRAWINGS OF PTS

EAST ELEVATION

WEST ELEVATION

NORTH ELEVATION

DOCUMENTATION DRAWINGS OF PTS

EAST ELEVATION

SECTION Y - Y

SECTION X - X

SECTION Z - Z

PURA TANJUNG SABTU SPACE ARRANGEMENTS AND RELATIONS

SITE ANALYSIS VIEW ANALYSIS

SITE ANALYSIS VIEW ANALYSIS

PROJECT #1

WAU EXPRESS 2D DIAGRAM to 3D FORM

CRAFTING FUTURE

DURING THESE MODERN DAYS, TRADITIONAL ARTS ARE GETTING MORE UNPOPULAR. TO REVIVE THE CRAFTS, WE EXTRACT THE FEATURES OF CRAFT AND INTRODUCE THE NEW FORM OF TRADITIONAL CRAFTS THROUGH ARCHITECTURE.

WAU EXPRESS REDISCOVER THE MOTIFS

CRAFTING SKIN PROJECT #2

CENTER

CRAFTING SKIN

STARTING FROM THE CRAFT EXPRESS, DEVELOP THE IDEA AND DESIGN AN ARCHITECTURAL SKIN TO REPRESENT THE MIXTURE OF CRAFT AND LOCALS..

CRAFTING SKIN EXTERIOR

DESCRIPTION

DESCRIPTION

ARCHITECTURAL SKIN DEVELOPMENT

ARCHITECTURAL SKIN MEANING

FROM THE CRATING FUTURE EXPRESS, I TRIED TO TRANSFORM THE WAU’S 2D MOTIFS INTO 3D FORM. THE FLOWER MOTIFS, IN REALITY IT WAS TWIST LIKE THE DIAGRAM I SHOW AT THE RIGHT SIDE. WITH THIS AS AN INSPIRATION, I DESIGN A LONG CONNECTED ELEMENT WHICH LOOKS LIKE THE VINES.

THE FRAME OF THE LONG ELEMENT CREATING THE SHAPE OF TWISTING VINE,

FOR THE SKIN, I DECIDED TO DESIGN IN FORM, NOT PANEL. IT IS SAME WITH WAU, THE WAU’S MOTIFS IS THE SKIN, THE STRUCTURE IS THE SPACE. I BEND THE LONG ELEMENT ALONG WAU’S STRUCTURE CURVE AND ROTATE IT IN DIFFERENT POSITION, EACH LONG ELEMENT IN DIFFERENT LAYERS, CREATE THE CENTER FLOWER MOTIFS. THE CENTER FLOWER WITH EIGHT LEAF REPRESENT THE MOTHER, THE SMALL FLOWER WITH 4 LEAF REPRESENT THE WIFE, VINES ARE THE MEN.

IN THE MIDDLE , IT WAS A LAMINATED GLASS WITH ROTATABLE MECHANISM. IT ACTUALLY COME FROM THE LEAF, IN SUNNY DAY OPEN UP TO RECEIVE THE SUNLIGHT, RAINY DAY CLOSE TO PREVENT THE RAIN WATER. EACH DIAMOND SHAPE COUNTED AS ONE PANEL AND CONNECTED WITH A SPACE FRAME.

SKIN WITH SHADOW AND CONSTRUCTION

CASE STUDY

CASE STUDY

BUGA FIBRE PAVILION

MOTORIZED LOUVER SYSTEM

LOCATION : BUNDESGARTENSCHAU HEILBRONN 2019, GERMANY ENGINEER : ACHIM BECHERT, FLORIAN ROOS YEAR : 2019

LOCATION : CANADIAN PARLIAMENT YEAR : 2017

THE PAVILION SHOWS HOW A TRULY INTEGRATIVE APPROACH TO COMPUTATIONAL DESIGN AND ROBOTIC FABRICATION ENABLES THE DEVELOPMENT OF NOVEL, EXCEPTIONALLY LIGHT, STRUCTURALLY EFFICIENT AND ARCHITECTURALLY EXPRESSIVE.

THE LOUVER DESIGN COMPRISES A DRIVE BAR WITH SECTIONS OF RACK-MOUNTED AT EACH LOUVER LOCATION. THESE RACKS ENGAGE TOOTHED WHEELS MOUNTED ON THE LOUVER SHAFTS. CONSEQUENTLY, AS THE ACTUATOR DRIVES FORWARD AND BACK, THE LOUVERS ARE ROTATED.

SPECIFICATION

CONSTRUCTION DETAIL

ARCHITECTURAL SKIN DETAIL

ARCHITECTURAL SKIN DETAIL

1.

25 MM TWO STEEL PIPE SCREW WITH BALL JOINT, FORM A TRIANGLE AND CONNECT TO THE SQUARE TRUSS

2.

100 MM X 50 MM RHS STEEL SLOPED IN BALL JOINT AND SCREW IT TOGETHER FROM THE BACK TO MAINTAIN FACADE AESTHETIC

3.

1510 MM X 650 MM DIAMOND SHAPE HAVING A FRAME FORMED BY 4 100 MM X 50 MM RHS STEEL, CUT THE ANGLE DEGREE AND WELDED TOGETHER

4.

CONNECTING THE BALL JOINT TOGETHER BY 350 MM LONG BOLT

5.

25 MM STEEL PIPE WELDED WITH SQUARE TRUSSES

6.

25 MM STEEL PIPE WELDED WITH 10 MM THICK SHEAR PLATE LINKED TO THE BUILDING ROOF WALL AND SCREW INTO BY 10 MM BOLT

7.

25 MM STEEL PIPE WITH 10 MM THICK SHEAR PLATE LINKED TO THE BUILDING WALL AND SCREW BY 10 MM BOLT

8.

SOME LAYER OF SKIN DIDN’T REST ON THE GROUND LEVEL, IT IS FLOATING AND REST ON ITS STRUCTURE.

9.

MAIN STRUCTURE OF THE SKIN,CONNECT WITH THE BALL JOINT BY WELDED STEEL PIPE

10.

100 MM X 50 MM RHS STEEL WELDED TOGETHER

11.

5 MM RADIUS STEEL BAR GO THROUGH 20 MM LAMINATED GLASS, WITH ENGAGE TOOTHED WHEELS MOUNTED ON

12.

1270 MM X 500 MM X 20 MM DIAMOND SHAPE LAMINATED GLASS PASTED TRANSPARENT COLOR TINTED

13.

25 MM STEEL PIPE SQUARE TRUSSES REST ON BALL JOINT END ON ROOF LEVEL

14.

50 MM RADIUS BALL JOINT CONNECTED WITH SQUARE STEEL TRUSSES BY 25 MM RADIUS STEEL PIPE

15.

700 MM X 700 MM REINFORCED CONCRETE PAD CONNECTED WITH 400 MM X 800 MM CONCRETE COLUMN

16.

100 MM CONCRETE FOOTPATH

ARCHITECTURAL SKIN MOCK UP

PROJECT #3 CULTURAL CENTRE

TO REVIVE THE DYING CRAFTS AND PURA TANJUNG SABTU, PROPOSED A CULTURE CENTRE STRONGLY RELATED TO THE CRAFT AND THE LOCAL SITE.

CULTURE CENTRE WAU

A CULTURAL CENTRE IN TERENGGANU, WITH THE RENOVATION OF PURA TANJUNG SABTU, WITH THE REVIVAL OF TRADITIONAL CRAFTS, WITH THE NEW ACTIVITIES IN THE PLACE, WITH THE DIFFERENT NATION OF PEOPLE, WITH THE LOCAL LIFESTYLE, WITH THE TRADITIONAL AND MODERNIZATION.

CULTURE CENTRE SITE ANALYSIS

CULTURE CENTRE SITE ANALYSIS

THE SITE

PREVIOUSLY THE PEOPLE AROUND PURA TANJUNG SABTU USUALLY TRANSPORT BETWEEN THE CENTRAL CITY BY BOAT. WITH MY PROPOSED SITE, I LINKED THE POND IN PURA TANJUNG SABTU WITH THE NERUS RIVER. BY BOAT, THE PEOPLE CAN DIRECTLY REACH THE SITE.

ORIGINAL SITE

PROPOSED SITE

CULTURE CENTRE DESIGN -

STARTING FROM DEFINE THE SHAPE OF WAU, USING MOCK UP TO REPRESENT THE FORM.

-

TRY TO CONSPICUOUS THIS MODERN BUILDING

-

DEFINE THE PROGRAMME REQUIRED FOR THE CULTURE CENTRE BASED ON THE MAKING PROCESS OF WAU

-

SEPERATE THE PROGRAMME INTO DIFFERENT BUILDING OR SPACE

3 2

1

-

2

3

4

HARMONIZE THE PURA TANJUNG SABTU WITH THE MODERN BUILDING BY CREATING AN ORDER BETWEEN THE BUILDING BASED ON THE PROGRAMME, TRANSFORM THE BUILDING FROM TRADITIONAL TO MODERN BUT WITH SKIN ON THE MODERN BUILDING AS A HIGHLIGHT TO CONSPICUOUS.

4

1

CULTURE CENTRE PROGRAMME AND BUBBLE DIAGRAM MAIN PROGRAMME - BAMBOO STORAGE - PAPER MAKING - WORKSHOP - GALLERY SUB PROGRAMME - VISITOR RESIDENTIAL - CAFE - REST AREA

CULTURE CENTRE CASE STUDY

LIVING GARDEN ARCHITECTS : MAD ARCHITECTS PROJECT : HOME OF FUTURE PROJECT YEAR : 2018 MAD ARCHITECTS PRESENTS ITS MODEL FOR THE ‘HOME OF THE FUTURE’ ENVISIONING AN ‘EN-PLEIN-AIR’ ATMOSPHERE THAT AIMS TO BREAK DOWN THE BOUNDARIES BETWEEN INTERIOR AND EXTERIOR, GIVING INHABITANTS THE FEELING THAT THEY ARE LIVING IN NATURE. IN PLACE OF A TRADITIONAL HOME – WHERE WALLS AND ROOFS FORM BOUNDARIES – A CURVED, FLOATING ROOF SLOPES DOWNWARDS ATOP AN OPEN GRID-LIKE STRUCTURE.

I CHOOSE THIS CASE STUDY BECAUSE I HAVE A SIMILAR DESIGN WITH IT, THE GRID STRUCTURE OF IT IS VERY EFFICIENT WHEN DESIGNING A CURVE ROOF. ON THE TOP OF THE GRID CAN APPLY FOR MY SKIN ALSO.

EXAMPLE DIAGRAM SHOWING STRUCTURE

CULTURE CENTRE SPACE CONFIGURATION 1. BAMBOO STORAGE STORING THE EXTRA BAMBOO THAT GET FROM THE BAMBOO GARDEN WHICH WAS NOT CURRENTLY NECESSARY TO USE BY THE ARTISANS.

2. BAMBOO WORKSPACE SPACE FOR THE ARTISAN TO SHAVE THE BAMBOO AND BUILD THE WAU’S STRUCTURE. 2

1

CULTURE CENTRE SPACE CONFIGURATION 3. PAPER FACTORY 1 FIRST SPACE FOR MAKING THE PAPER, USED FOR SOFTEN THE BAMBOO SLICE, SHAPING THE PAPER, DRYING THE PAPER

4. PAPER FACTORY 2 SECOND SPACE FOR MAKING THE PAPER, DRYING THE PAPER PIECE BY PIECE ON THE INTERNAL PANEL, CUT THE PAPER SIZE AND STORING. 3

4

CULTURE CENTRE SPACE CONFIGURATION 5. GALLERY SPACE FOR ARTISAN TO EXHIBIT THEIR WORKS, PEOPLE WHO WISH TO BUT CAN DEAL WITH THE ARTISAN.

6. WAU’S WORKSHOP SPACE WHERE THE ARTISAN WORKS IN, IF THE VISITOR WILLING TO AND ALREADY DISCUSS WITH THE ARTISAN, IT CAN BE A SMALL CLASSROOM TO EXPERIENCE THE PROCESS OF MAKING WAU.

7. BALCONY 6

5

7

SPACE FOR THE ARTISAN TO RELAX AND ENJOY THE VIEW AFTER A LONG TIME OF CONTINUOUSLY WORKING WITH THE SAME THING.

CULTURE CENTRE MASTER PLAN 1.

2.

3.

4.

5.

6.

7.

ARTISAN HOUSES MUSEUM BAMBOO STORAGE PAPER FACTORY 1 PAPER FACTORY 2 GALLERY 1 WORKSHOP 1 7

4

5 6

3

2

1

CULTURE CENTRE GROUND FLOOR PLAN SCALE 1 : 300

CULTURE CENTRE FIRST FLOOR PLAN SCALE 1 : 300

CULTURE CENTRE ELEVATION SCALE 1: 250

NORTH ELEVATION

SOUTH ELEVATION

CULTURE CENTRE ELEVATION SCALE 1: 250

EAST ELEVATION

WEST ELEVATION

CULTURE CENTRE SECTION A -A

PAPER MAKING SPACE

CULTURE CENTRE SECTION B -B

PAPER DRYING SPACE

PAPER CUTTING SPACE

CULTURE CENTRE SECTION C - C

GALLERY

WORKSHOP

BALCONY

CULTURE CENTRE SECTION VIEW

CULTURE CENTRE CONSTRUCTION DETAIL

PILE FOUNDATION BASED ON MY DESIGN, I DECIDED TO USE PILE FOUNDATION. PILE FOUNDATION USUALLY USED FOR THE SITE HAS A WEAK SHALLOW BEARING STRATA MAKING IT NECESSARY TO TRANSFER LOAD TO DEEPER STRATA. THE SOIL CAPACITY IN SITE IS WEAK DUE TO IT JUST BESIDE THE RIVER. THE PILE FOUNDATION PROVIDED STABLE STRUCTURE FOR MY BUILDING AND IT WAS MADE BY REINFORCEMENT CONCRETE.

CULTURE CENTRE CONSTRUCTION DETAIL

UNDERGROUND WALL AND FLOOR THIS TYPE OF CONSTRUCTION IS A STRUCTURALLY INTEGRAL PROTECTION. THE CONCRETE IS NOT AS EFFECTIVE IN RESISTANCE OF WATER VAPOUR MOVEMENT SO IS OFTEN INCORPORATED INTO WATERPROOF MEMBRANE. BESIDE THE WATER PROOF MEMBRANE, THERE STILL HAS AN INSULATION BETWEEN THEM TO MAINTAIN THE COMFORT.

SKIN DETAIL THE SKIN IS APPLIED ON THE ROOF TIMBER FRAME, CONNECTED WITH THE CROSS POINT OF THE FRAME. THE SKIN PANEL CONNECTED EACH OTHER WITH THE SPACE FRAME .

CULTURE CENTRE SKIN PATTERN

CULTURE CENTRE SKIN PATTERN

CULTURE CENTRE EXTERIOR

FROM THE NORTH VERANDA TO CENTER

FROM THE CENTER PART TO EAST

FROM THE CENTER VERANDA TO NORTH SKIN EXTERIOR VIEW

CULTURE CENTRE INTERIOR

PAPER FACTORY 1

HOTEL ROOM SKIN VIEW

WORKSHOP

BOTTOM TO TOP

CULTURE CENTRE PERSPECTIVE

CULTURE CENTRE BIRD EYE VIEW

THANK YOU