ARCHITECTURAL DESIGN - III
Semester 3
The module emphasises 'experiencing space and place' in architecture. In the subject, students are introduced to, firstly, an exploration of spatial typologies and poetics in architecture; and secondly, the concept of neighbourhood and community. In their preliminary design work, students engage with studies and design of different spatial typologies (i.e. linear, spiral, spine, centric, etc.) for a simple dwelling space that explores the idea of architectural tectonics and experiences. Subsequently, the major project involves the design of a small-scale community building (e.g. gallery, small library) in the open landscape/suburban condition which engages with the spirit of place inherent within the site, the site topography, history and socio-cultural events. The design work explores the plan-section integration to achieve an architectural form that is tectonically expressive, functional, and responsive to its site. At the same time, the design exercise relates to spaces with values and culture, while emphasising the role of society in the creative architectural design process.
PARTICALITY
Particality, inspired by Kengo Kuma’s design philosophy, emphasizes breaking down architectural elements into smaller, intricate parts that create a sense of lightness, connection, and harmony with the surroundings. This concept seeks to dissolve the boundaries between spaces and materials, encouraging interaction and engagement with the environment.This approach allowed me to create a space that is both poetic and functional, celebrating cultural identity while fostering a meaningful connection to the site.
PROJECT 1A
Project 1 is designed for collective efforts in research and knowledge sharing; and for individual bodily-conscious inspiration, affective experience, expression and experimental design process. It introduces a poetic design approach and process informed by the choreography of native culture-inspired contemporary dances. Students are required to observe and document bodily movements of the Choreographic dance with Ethnographic Drawings - plan and elevation movement mapping in other words. The meanings of the dance shall be understood through reading but, more importantly, to be made sense of through the observation and drawing processes. A form-making process is introduced to achieve the creative outcome of the project A Choreography-Informed Envelope for A Bodily- Conscious, Affective, Expressive and Experimental Flagship Construct for a Pas de Deux.
Choreographic ethnography
The Making Process: Selection of Dance Genre and Choreographer
As part of the project, each Trio/Quartet group is tasked with selecting a specific dance genre and choreographer from the options provided. This ensures a diverse representation of all genres within the tutorial groups.
Genre: Traditional Chinese-Inspired Contemporary Choreography
Choreographer: Kar Kah
Description: Kar Kah is an interdisciplinary artist, choreographer, and instructor whose research focuses on the influence of Malaysian culture on traditional Chinese dances in Malaysia. Through her work, she bridges cultural narratives and contemporary performance art.
Video Reference: MOVE 2022 – Going Home
PROJECT 1B
Our sites are located in one of the developing areas of the reclaimed land zone, adjacent toan iconic performance art centre, Encore Melaka Theatre. The ‘Strait-Site’ extends into the sea from the art centre’s sea frontage entrance, forming a triangular relationship between the art centre, the park and the site. Project 1B is designed for group efforts to undertake site and vicinity recce, as well as conduct people and story inquiry.
The site findings shall facilitate further investigation, exploration, and synchronisation of the place and experience reflected in B. The Visceral. The process shall further instil the specific design methodology developed since Project 1A and continually exercised in Project 1C. It is a design process that engages with the real-world situation.
I worked under the surveyor group and had to survey the park site and strait site . As part of the surveyor group, I participated in surveying the strait site mainly for our project in Melaka. Our group had to take measurements of the site and worked together to make cad drawings . It was a fun experience to go Melaka and work with other groups as well to experience the cultural engaging with the local environment and historical context further deepening our understanding of the project's objectives. The experience of visiting Melaka, learning about its culture and collaborating with diverse team members was both enjoyable and educational enhancing our skills in site analysis, teamwork and technical drawing while fostering a greater appreciation for cultural integration in architectural design.
Site Chronicle is a Canva-Book (A4 portrait, designed and composed in CANVA)comprising the Measures outlined below, each taken care of by a specific group. Each group's work tasks may involve fieldwork and studio work. These Measures are to be made reference to/ taken into consideration during the design process of Project 1C.
PROJECT 1C
Project 1C requires students to delve into a more comprehensive architectural design
interrogation; and employ akin design methodology and approach developed in the past weeks to provide an architectural proposal for Reclaimed Architecture: <A Dance Annexe>.The project outcome is a single-volume architecture (art)-built form with a curation ofprogrammes to reclaim, preserve and promote the local native dance culture. It is an extendeddance house adjacent to The Encore, where the cultural dance programme and public engagement activities can be carried out.
My project focuses on the Baba Nyonya community and expands on the concept of particality by emphasizing the intricate patterns that define their cultural heritage. These patterns characterized by detailed craftsmanship are reflected in the building’s design to guide visitors through the space and enhance its poetic essence seamlessly connecting with the genius loci of the site.
POETIC SPACES
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Overall the project was an intense yet rewarding experience requiring me to navigate through a variety of ideas, refine my concepts and iterate multiple times to arrive at a design I was satisfied with. With invaluable guidance from Mr. Nazmi I was able to improve and elevate my design approach ensuring it met both my vision and the project’s objectives.
Inspired by the rich cultural legacy of the Baba Nyonya community, I focused on integrating their intricate patterns and craftsmanship into the design. These patterns became key elements in creating a space that not only celebrates the cultural heritage but also enhances the poetic essence of the building connecting it to the genius loci. The concept of particality was central to my approach allowing me to seamlessly incorporate cultural motifs into the architectural details making the space engaging and meaningful.