Graduate Portfolio for the Bartlett School of Architecture
making / material
The Making / Material section delves into projects grounded in the tactile process of material exploration and crafting. These works highlight the raw, handson approach that fuels my passion for understanding materials and their potential.
culture / tradition work experience
The Culture / Tradition section examines the cultural threads that influence my work and the ways traditional values engage with spaces. A recurring theme in my projects is the exploration of references from diverse cultural contexts.
The Work Experience section highlights my time at Park + Associates, where I contributed to projects ranging from residential developments to large-scale masterplanning.
The Ponderosa Pavilion
The Old Oak Clay Centre
The Six CLayers
The Great Wall of Mongolia
Selected works at Park + Associates
The Old Oak Clay Centre
Individual Building Project, 2023
BSc Architecture, Bartlett School of Architecture
Tutors: Luke Jones, Joseph Augustin, Christopher Burman
The Old Oak Clay Centre in Acton embraces traditional materials, with clay as its core, as a counterpoint to technology-driven construction.
Guided by five principles—public and private space, community focus, balanced design elements, and low carbon impact—the centre fosters community engagement, especially among teens.
Featuring a ceramic workshop, library, and garden, it offers spaces for creativity and social interaction. The rammed earth facade, which requires community involvement for upkeep, embodies the centre’s collaborative spirit, transforming it into a shared space rooted in sustainability and local participation.
The Old Oak Clay Centre is a project shaped by physical modeling and material testing. From concept to design process to final output, the focus has been on bringing people together through hands-on making. The 1:200 physical model highlights clay as the central material, chosen for its qualities that emphasise craftsmanship and tactile engagement.
1:200 model of ceramic workshop space
Sketches focusing on the workflow of users and their experiences.
Ground floor of the Old Oak Clay Centre.
Inspired by the Grand Mosque in Mali, the reapplication of plaster on the facade serves not only as a protective measure but also as a means to bring the community together.
Through this process, the youth gain a sense of ownership over the building. They are not just users of the space but active participants with the ability to shape its appearance. This dynamic creates a symbiotic relationship between the building and its users, fostering a space that evolves and thrives through mutual interaction.
Different types of clay is sourced from ceramic studios and dried out in order to simulate the action of using recyccled clay.
Precedent: the Grand Mosque in Mali uses facade replastering as a way of bringing community together.
A social experiment designed to assess the feasibility of communal maintenance for the proposed facade. 1:2 plaster test with different kinds of clay
1:2 rammed earth wall constructed from site sourced materials.
The spatial layout of the Old Oak Clay Centre is shaped by the workflow of a ceramic studio, organised to enhance efficiency and functionality. By dividing the studio into wet and dry zones (or clean and dirty areas), contamination between new and processed clay is minimised, creating a streamlined environment for ceramic work.
The entire space follows a 5x5 meter grid, structuring the studio into individual, manageable sections. This approach not only provides clarity to an activity-centered environment but also aligns with the centre’s commitment to a low carbon footprint by ensuring spatial efficiency.
Above the ceramic studio, a library caters to youth, offering a quieter, more personal space that complements the bustling workshop below. Outside, a ceramic garden and open area extend the centre’s community-driven ethos, inviting users to relax and engage with nature.
Sectional Drawing
visualisation of the clay workshop.
The Six CLayers
Individual Building Project, 2023
BSc Architecture, Bartlett School of Architecture
Tutors: Luke Jones, Joseph Augustin, Christopher Burman
This project draws on the Six Shearing Layers concept by Stewart Brand, exploring clay’s role across Site, Structure, Skin, Service, Space Plan, and Stuff. By integrating clay into each layer, the design seeks to reduce the carbon footprint of traditional building practices. Through a series of tests from 1:1 to 1:20 scale, the project demonstrates clay’s adaptability and eco-friendly potential, aiming to set a new standard for sustainable construction.
The Six Shearing Layers concept divides a building into Site, Structure, Skin, Services, Space Plan, and Stuff—each with distinct lifespans and functions. By utilising clay across all six layers, I aim to create a system that allows for easy adaptability and maintenance by users. This approach not only enhances flexibility but also supports the goal of extending a building’s lifespan through sustainable, user-driven modifications.
1:200 scale pavilion model .
Process model: Level changes makes the space more 3-dimensional / interactive.
Closeup of pavilion’s interior space, highlighting the layer space plan and stuff.
Steward Brand’s Six Shearing Layers Diagram
1:200 scale model visualisation
Clay mixed with straws and hemp fibre. (Skin layer of the Six Clayers)
with
ceramic tile and cemen. (Struccture layer of the Six Clayers)
Prcoess experimenting mixing different material with clay to test stability.
The Great Wall of Mongolia
Individual Building Project, 2021
Studio mOOO
Tutors: Ivan Chan, Herman Ho, Ives Ma
The Great Wall of Mongolia project, developed during an 8-week workshop with Studio mOOO, delves into the intricate cultural and historical dynamics between China and Mongolia. Using the Great Wall of China as a symbol of both division and unity, the project explored how architecture could bridge relationships between two nations while respecting their distinct identities. By reinterpreting the wall not as a barrier but as a connective element, the project sought to challenge traditional perceptions of boundaries. This exploration combined research into the historical significance of the Great Wall with innovative design strategies to create a space that fosters dialogue and cultural exchange. My involvement in the project refined my understanding of how architecture can transcend physicality to engage with deeper cultural narratives, a perspective that continues to shape my work today.
culture.
Mongolia China
The Great Wall of China sits between the border of China and Mongolia, dividing the two countries.
Reference for tower design: traditional Mongolian warrior armour
Originally constructed as a symbol of division. Could the wall’s meaning be reinterpreted in today’s context?
The Great Wall of China, one of the most ancient structures on the planet, was originally constructed to defend the First Emperor’s kingdom from its enemies. Since its inception, it has stood as a symbol of separation and division.
In a rapidly evolving world, could the meaning and symbolism of the Great Wall also evolve?
Situated along the border of China and Mongolia, the Great Wall of Mongolia addresses longstanding tensions and challenges faced by both nations. For decades, Mongolia has grappled with concerns about the erosion of its local culture, while China continues to endure annual sandstorms originating from the northern regions. This reinterpretation of the wall seeks to transform these issues into opportunities. Using the existing wall as a foundation, the design introduces a space that collects sand from the storms—turning a problem into a practical solution. Inspired by traditional Mongolian armor, the structure also serves as a cultural hub where visitors can gather and enjoy local Mongolian tea, preserving and celebrating a cherished tradition.
Rather than perpetuating division, the Great Wall of Mongolia reimagines history for the present day, fostering connection and unity while safeguarding a fading culture.
The Ponderosa Pavilion
Building Project, 2022- Present
Johor Bahru, Malaysia
Located in Johor, Malaysia, Pavilion Ponderosa is an ongoing personal project that I have taken on during my year out with a design team. The client, a Malaysian-born Chinese with experience living in the United States, envisions a home that reflects a fusion of Eastern and Western values. The goal is to create a balanced design that harmonizes traditional Chinese influences with Western aesthetics.
The design incorporates elements from both cultures. Drawing from traditional Chinese architecture, the layout includes a central courtyard and applies Feng Shui principles to organise the spatial arrangement of rooms, reflecting a deep consideration of balance and flow. Meanwhile, the facade references Western architectural influences, such as the use of repeating vertical columns for structural clarity and proportion. These columns add a sense of rhythm while maintaining the understated elegance requested by the client. By combining these cultural elements, the pavilion respects tradition while embracing a modern, harmonious aesthetic.
Roles Spacial layout, material palette, facade design; 3D modelling and rendering; presentation and discussion with client
Latest iteration of courtyard positoning, making sure it is a prominent across all the spaces.
The client, with a deep appreciation for both Chinese and Western architectural traditions, requested a design that reflects this duality. This led to an exploration of the courtyard, a key feature in traditional Chinese architecture, as the starting point. The courtyard became a focus for balancing cultural significance with modern functionality, setting the foundation for the entire design process.
These models primarily explore the position and form of the courtyard, which serves as a central element in traditional Chinese architecture. The iterations reflect a balance between the client’s preferences, the site conditions, and the need to respect cultural traditions. Each version investigates how the courtyard interacts with the surrounding spaces, ensuring it remains both functional and symbolic. The process demonstrates how the courtyard adapts to modern needs while preserving its traditional role as the heart of the home.
Visit to the client’s exhisiting house
Traditional courtyard layout in Chinese houses, for which it is positioned centrally.
Current construction stage.
CLIENT’S BRIEF
LAYOUT STUDY OF A TRADITIONAL SIHEYUAN
Bedroom for unmarried daughters
for
The traditional Chinese Siheyuan prioritizes spatial hierarchy, with private rooms deeper inside and public areas like guest quarters near the entrance. Its central courtyard fosters interaction, ventilation, and balance, serving as the heart of the home.
The house separates private and public spaces across two levels, with bedrooms on the upper floor for privacy and living areas on the ground floor for accessibility.
The guest bedroom is placed separately to maintain hierarchy and privacy, following traditional Chinese design principles.
This layout reinterprets the traditional Siheyuan courtyard by shifting it to the side, preserving its role in fostering interaction while maximizing the living area.
The Bagua is a Feng Shui tool that organises spaces into eight zones, each corresponding to a specific life aspect (e.g., wealth, health, relationships) and aligned with the compass directions. At the center is the Tai Qi, symbolizing balance and overall harmony. This framework influenced the spatial organization of the house during the design process. (Produced by applicant)
The courtyard is centered near the dining area, symbolizing harmony.
The dining area is located here to support abundance, with wooden finishes enhancing the Wood element
The entrance channels energy, encouraging professional opportunities
B. WEALTH ZONE G. FAME ZONE
The elder son’s room is positioned to provide symbolic stability to the family’s relationship.
Greenery and landscape are incorportated to reflect vitality
D. GROWTH ZONE C. FAMILY ZONE
The tea pavilion is placed here to create a calm and grounded atmosphere.
The gallery is aligned here, showcasing bold artwork to activate recognition
Latest render of the facade presented to client
The columns are added as way of not only promoting privacy, but to better connect the interior and exterior spaces.
The client preferred a Westernised approach to the facade, emphasizing transparency.
Previous iterations of the facade explored traditional Chinese materials.
Park + Associates
Selected works during Part 1 Experience, 2023- Present
Park + Associates, Singapore
During my time at Park + Associates in Singapore, I contributed to a variety of projects, ranging from residential developments to larger-scale international projects in India and Moscow. My work included producing detailed drawings for staircases, columns, and facades, as well as creating physical models to explore design concepts and refine proposals. I also focused on integrating design intent with functional requirements, ensuring that the balance between practicality and aesthetic quality was maintained throughout each project.
All the following illustrations, models and drawings are produced by the applicant during his time at the office.
SECTION A1WET KITCHEN SINK WITH OVERHEAD CABINET
This page showcases my contributions to a residential project in Singapore, where I took on a variety of responsibilities, including creating façade study models using both cardboard and 3D printing to explore massing and materiality. I was also involved in the detailed design of cabinetry layouts, kitchen furniture, and staircase elements, ensuring that both functionality and aesthetics were carefully balanced. This project allowed me to engage with the design process at multiple scales, from conceptual studies to precise detailing, and strengthened my ability to translate ideas into practical solutions that enhance the overall user experience.
Proposing staircase detailing.
Proposing dry kitchen furniture design.
Proposing kitchen cabinetry section.
Proposing roof detail..
Proposing covered drain detail..
Proposing covered kitchen cabinetry elevation.
Facade study models at 1:125 scale. Cardboard and 3D Printing.
I am currently involved in a masterplanning project in Gurgaon, India, won through a design competition. The project brief includes the development of residential towers, retail spaces, a clubhouse, and other amenities, with the sales launch scheduled for April 2025. As part of the design team, I contribute to the design of unit layouts, façade layouts, and other architectural elements. Additionally, I am actively involved in preparing client presentations, including creating diagrams and producing SketchUp models to effectively communicate design concepts.
Proposing visualisation of overall development.
Proposing section of dropoff area for residential development.
