PROJECT BLUEPRINT

Graduation Exhibition (Design Book)

2007-05-04T22:17:00.000+08:00

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Graduation Exhibition (Full Model of Clifford Pier)

2007-03-13T21:13:00.000+08:00

ARTS METROPOLIS ( X-Museum-Panels)

2006-12-29T12:19:00.000+08:00

ARTS METROPOLIS (X-Museum - CAD)

2006-12-22T14:47:00.000+08:00

ARTS METROPOLIS ( X-Museum-Interior Renders)

2006-12-21T15:44:00.000+08:00

Configuration Axonometrix

Main exhibition area

Mini Theatre

ARTS METROPOLIS ( X-Museum-Illustrations)

2006-12-21T13:07:00.000+08:00

“the idea of accumulating everything… to enclose in one place all times,… all forms, all tastes, a sort of perpetual and indefinite accumulation of time in an immobile place”

Akira Kurosawa’s life and his masterpiece are accumulated inside an “immobile place” called the X-Museum.[1] Thus, X-Museum is based on the emotions that are being depicted in Akira Kurosawa’s Ran. It is about the increasing intensity of being in the state of despair that ultimately leads to tragedy. To depict this, the museum consists of a total of six corridors. These corridors are the main areas where people can experience the rising intensity of despair by having extrusions on both sides of the corridor walls. This extrusion varies in the depth and they are used to depict the scenes from the movie as well as to display the objects used in the production of the movie. By making each corridor longer, thinner and lower in terms of size, user can experience that the extrusion is closing in on them. This makes the atmosphere more threatening to the users when they go through each corridor.

[1] Foucault,M., The Order of Things, 1994

“As one unfolds or explicates an implication, one is led to another, which in turn helps
rethinks the first while pointing to others- folds coming from folds.”

The entire museum is designed in such that when people are through with one corridor, they are only presented with an open space and an entrance to the next corridor. These open spaces are presented to the people as a form of transition area just as the movie has when it needs to go to the next scene.[1] This creates the folding effect in such that when one has unfolded the first corridor, he will recall the experience he gets from the first when he goes through the second corridor. Furthermore, there is a mini theater in the middle of the museum and it is only accessible towards the last corridor of the museum. To excite the people of this, the extrusion of some of the corridors consists of window so as to allow people to have a sneak peek at the interior of the theater.

[1] Rajchman,J., The Deleuze Connections, 2001

“… presentation remains essentially tied to the original represented in it.… the relation of the picture to the original is basically quite different from than in the case of a copy. It is no longer a one-sided relationship…. By being presented it experiences… an increase in being… it is only by being pictured that a landscape becomes picturesque.”

The scenes that are being displayed in X-Museum are in some ways a presentation of the original masterpiece.Texts are also used in place of images as a copy to reflect on the original script that Akira Kurosawa wrote. By relating these texts and images, one can understand who Akira Kurosawa is and what is his masterpiece, Ran, is all about. Texts are also used in place of images as a copy to reflect on the original script that Akira Kurosawa wrote.[1]

The material used for the extrusion at the corridors varies with each function. Some of them are covered with cushion as they exist as seats while some are hollow on the inside to allow certain objects to be displayed. Most of the surfaces of these extrusions depict images or scenes from Ran. As the people walk through, they can understand what the movie is all about and at the same time, understanding Akira Kurosawa as a person through this movie.

[1] Gadamer,HG., Truth and Method, 1989

ARTS METROPOLIS ( X-Museum-sketches)

2006-12-21T09:16:00.000+08:00

2006-12-20T15:01:00.000+08:00

Director :Akira Kurosawa

Title :RAN (chaos)

Date :1st June 1985

ARTS METROPOLIS ( X-Theque - renders )

2006-11-15T19:29:00.000+08:00

Illustration of Design Element

Illustration of Design Element
Entrance Area

Individual Portal and Forum area

ARTS METROPOLIS ( X-Theque)

2006-11-15T19:07:00.000+08:00

“The question of arrangement on earth’s inhabitants is not just one of knowing whether there will be enough room for all of them-…- but also one of knowing what is the relations of vicinity, what kind of storage, circulation…”

In the case of X-Theque, the vicinity as mentioned above can be paralleled to the relationship of it with Microhabitat, X-Museum, Artist’s Dam and the sea surrounding it. With this in mind, the design of X-Theque become more interactive as it leaks to the X-Museum by having projected images of what is happening inside toward the X-Museum. The façade is also made to simulate the transparency of the site and thus, allowing views from and to the X-theque. The program of this project is grouped into several categories: registration and management area, individual simulation points and group simulation points that can serve as forum areas. [1] All these determine the “kind of storage” that X-Theque will house.

“The space of our primary perception, of our dreams and of our passions, hold within itself almost intrinsic qualities: it is light, ethereal, and transparent or dark, uneven, cluttered. Again, it is a space of … flows like spring water, or fixed space…”

The design concept for this project is to set a contrast between transparent and opaque and combining them simultaneously. [2] The two characteristics are always far apart from each other in their meaning, but X-Theque fuses both of them in a form of combination of both to define a specific space. The opaque element is expressed in the folding of snake-like objects that run throughout the entire site and formed a loop. These folds are to create a space where it “flows like spring water”. The direction and amount of this folding element is dictated by the programs of the site which includes individual portal, group or forum space, etc. Thus, individual simulation portal are placed in strategic locations where the folds are perpendicular to the ground.

The group simulation points or forum areas are made to express the transparent which is the direct opposite of the opaque folding elements. The usage of glass with different types translucency and texture allows it to filtrate the amount of lights and set some space to be more private. The transparent elements is not only limited to the vertical boundary of the group or forum space but even the floorings are made transparent by using double glazing of glass to strengthen the idea. In all these areas, the folding elements entered and combined with the transparent to materialize the areas. These transparent areas are the “fixed space” of the X-Theque.

As the façade of the site is glass, the view toward the X-Theque becomes quite general. Due to this, there are some protrusions on the façade to let users from outside to be able to focus on certain specific areas. Most of these protrusions are made to show the individual simulation points clearer from outside. Thus it allows the X-Theque to showcase its activities inside.

[1] Foucault,M., The Order of Things, 1994, p.351
[2] Foucault,M., The Order of Things, 1994, p.351

ARTS METROPOLIS (X-Theque - sketches)

2006-11-10T14:53:00.000+08:00

Workstation System Proposal

2006-10-26T18:39:00.000+08:00

Singapore Furniture Design Award 2007

2006-09-26T17:49:00.000+08:00

ARTS METROPOLIS (Theatre of the Arches - CAD)

2006-09-12T13:50:00.000+08:00

ARTS METROPOLIS (Artist's Dam - CAD)

2006-09-11T14:22:00.000+08:00

ARTS METROPOLIS (Artist's Dam & Theatre of the Arches)

2006-09-10T18:58:00.000+08:00

Artist’s Dam and Theatre of the Arches are two main bodies of art, visual art and performance art. The design idea for these two compounds is derived from the fact that the word art means many things. It exists in many forms and expressions. Thus, this flexibility of forms is being cultivated in both spaces as architectural elements.

This space is designated for visual art centre, featuring painting, ceramic, sculpture studio and many more. The mass enters here for various reasons: studying, viewing and relaxing. The space therefore is categorized based on these circumstances. This creates two kinds of arrangements: horizontal and vertical arrangement. The horizontal arrangement involves grouping different kinds of studios together under one level. On level one, sculpture 3D studio and ceramic studio is merged and located at the left hand side as these two studios produces a physical 3 dimensional works of art. The drawing/painting studio and computer room that produces visual art on papers, are located at the right hand side. This arrangement allows the studios to have a direct access to the gallery space above or below them.

On level 2, there are only gallery spaces on both sides and lots of open air area. This level is meant for the people to relax and escape from the activities around them. The lecture theatre is located in the middle of the highest floor. This creates a focal point for the entire area. The vertical arrangement involves clustering the areas on the left and right side. Sculpture 3D studio, ceramic studio, gallery 1 and restaurant are clustered into one program while drawing/painting studio, computer room, gallery 2, fashion studio and photography video room are clustered into another.

As the communication has to spread not only horizontally but vertically as well, connectors are placed on strategic areas. These connectors are in a form of glass tubes that runs through spaces above and below them. Some of these functions as staircases and some as elevator. By adding these vertical connectors, the communication among the mass are made efficient. There are a total of four connectors spread across the area. The first one connects sculpture 3D studio, ceramic studio, gallery 1 and restaurant. The second one is an elevator that runs through all levels to the lecture theatre. This is the main entry to the theatre. The third and fourth ones are located at the right side, connecting drawing/painting studio, computer room, gallery 2, fashion studio and photography video room.

The design idea for this space is carried through from Artist’s Dam where an expression of art is transformed into architectural elements. While the idea is the same, it is being seen at a different perspective. It now focuses more towards the ability of multi-functional elements. Walls can exist as ceiling to another space and floor to another space. This idea is being carried out on the overall design. Performance art is divided into three focuses: creating performance, perfecting performance, and invitation to the mass. Thus the area is divided into three main compounds. The first compound that is located at the lower right hand side consists of dance and drama studio, music rooms and music chamber. This is where performance is created from scratch.

The second compound is at the upper right hand side of the area. This includes sound and percussion studio and three ensemble space. This is where performance is being perfected before they are presented to the public. In this compound, patios are provided which overlook the sea view. They allow the performers to rest and to relax.

The third compound is located at the left hand side and it holds the concourse area and the performance theatre directly above it. The concourse space is made to have high ceiling so as to create a grand entrance for the public. This space is where public are invited to enjoy the performing works of art that has been perfected. These three compounds are interlinked by a web of “arteries” . This web uses a mixture of staircases and ramps and creates a visual experience for the people who view it from the foyer at level 1.
The toilet area is separated from the three compounds to form its own distinctive presence. The form of it is dictated mainly from the interior arrangement. As a result, the entire structure looks like a piece of sculpture floating in the sea, only connected by bridges at different levels.

Theatre of the Arches also uses the glass tube connectors as a form of communication devices. Here, there are total of 4 connectors. The first one is an elevator that carries a large amount of people from concourse area to the performance theatre to the open air rehearsal hall. The second one is located among the web of “arteries”. The third one is at the second compound and the last one is at the first compound.

ARTS METROPOLIS (pre-exhibition panels)

2006-08-26T18:05:00.000+08:00

Nissan Design Forum - panels

2006-08-14T16:55:00.000+08:00

Nissan Design Forum

2006-08-14T16:45:00.000+08:00

ARTS METROPOLIS (Microhabitat - panel)

2006-06-10T17:50:00.000+08:00

ARTS METROPOLIS (Microhabitat)

2006-06-10T17:30:00.000+08:00

Inner box and outer box.

The inner box consists of working and sleeping area, placed in between kitchen and bathroom. It is a flexible space as it can switch from public space to private by drawing partition between each cell. This partition is in a form of a side-sliding cupboard. When all of these are opened, the entire inner box is divided into smaller cells to accommodate a single person each. This allows privacy to be contained according to the user. By allowing the bed to hide underneath the floor, the entire cell is converted into a working space, allowing maximum usage of activities inside it.

The gap between the two boxes is designated for public communication and relaxation of users. This includes the gallery area along the length of the inner box, living space that acts as meeting room and trap door behind leading to the garden. These areas of the microhabitat are to allow users to relax after being confined in the inner box. There is also moment when the inner box is gone. This happens when the kitchen is opened up and the door panel of each cell is hidden in the walls. Through this, The inner box has disappeared and the microhabitat is one complete space.

Surface material of inner box is mirror so as to reflect sunlight and artificial lights to create optical illusion inside and outside the microhabitat. The mirror applied to the inner box allows it to possess the flexibility of material transformation at all time. Because of this, the inner box seems to change its look depending on the time and day and lighting inside.

Dress (panels)

2006-01-21T16:40:00.000+08:00

Dress (renders)

2006-01-21T16:06:00.000+08:00

Dress - sketches

2006-01-21T15:40:00.000+08:00

Body, Space and Philosophy

Book: The Primacy of Perception
Chapter: Eye and Mind
Author: Maurice Merleau-Ponty

“The body’s animation is not the assemblage or juxtaposition of its parts. Nor is it a question of a mind or spirit coming down from somewhere else into an automaton; this would still suppose that the body itself is without an inside and without a “self.” There is a human body when, between one eye and the other, between hand and hand, a blending of some sort takes place – when the spark is lit between sensing and sensible…”

The definition of a body is not the physical structure or combination of organs such as: heart, lungs, hands, stomach, etc. The real human body is also not defined as some spirit that moves the physical body, which is empty inside. Even to a Cartesian, body is seen as a dummy or an “outside[1]”. It means that it is only acts as a shell for the real “body”.

A body exists “when, between one eye and the other, between hand and hand, a blending of some sort takes place”. The body consists of senses such as: eyes, hands, mouth, etc. These senses allow us to experience the world and to know the world. These senses must work together harmoniously with each other and work hand in hand. When these senses work, they give out something to the world or the sensible and in return, the world gives back to our senses. Therefore, a body is an experience of interaction with the world using our senses as a whole and not as individual.

This experience of senses happens inside space and time. It is able to take place as body experience changes. For example: when we touch and apple, our hand moves and changes occur. These are evidence that time is involved because when something is in time, it succumb to changes. As the time is involved in the body, space must also be there. Space is defined as having the three elements of dimensions, which are height, width and depth. According to Maurice Merleau-Ponty, depth is what makes space exist. Being “derived from the other two[2]”, depth has both height and width inside it, and thus it is “no longer a dimension” but it is “the experience of the reversibility of dimensions[3]”. For example: a picture is flat and does not have the element of depth in it. It is not able to experience changes but the real world has it and it gives a sense of distance to an object and give volume to it. It is now able to make dimensions change.

Therefore, our experience of sensing the world can only occurred and contained in a changing environment, which is inside space and time.

[1] “A Cartesian does not see himself in the mirror; he sees a dummy, an “outside.” Which, he has every reason to believe, other people see in the very same way but which, no more for himself than for others, is not a body in the flesh.” (Merleau-Ponty,M., 1964, p.170)

[2] “The picture is a flat thing contriving to give us what we would see in the [actual] presence of “diversely contoured” things, by offering sufficient diacritical signs of the missing dimension, according to height and width. Depth is a third dimension derived form the other two.” (Merleau-Ponty,M., 1964, p.170)

[3] “Depth thus understood is, rather, the experience of the reversibility of dimensions, of a global “locality” – everything in the same place at the same time, a locality from which height, width and depth are abstracted, of a voluminosity we express In a word when we say that a thing is there.” (Merleau-Ponty,M., 1964, p.170)

MDA (multi-dimensional apartment)-panels

2005-08-08T14:27:00.000+08:00

MDA (multi-dimensional apartment)

2005-08-08T14:16:00.000+08:00

MDA (multi-dimensional apartment)-sketches

2005-08-07T21:32:00.000+08:00

“Does “open architecture” mean that the architecture, the building, is not complete, or that it is transparent, or has no doors or windows? No, it does not mean any of that. To us, “open architecture” means architecture that is initially not for a specific purpose, self-sufficient structures that form differentiated spaces, spaces that do not pin down the future user but self-sufficiently offer him a range of possibilities.” Wolf D. Prix

Courtplay - panels

2004-10-10T14:12:00.000+08:00

Courtplay

2004-10-10T14:01:00.000+08:00

Primer 3 (Music of the Axes)-panel

2004-09-20T13:58:00.000+08:00

Primer 3 (Music of the Axes)

2004-09-20T13:46:00.000+08:00

Primer 2 (SubFluid)

2004-06-20T13:43:00.000+08:00

Primer 1

2004-05-01T13:33:00.000+08:00

THE CHOICE – by Max Lucado

2004-04-01T01:18:00.000+08:00

He placed one scoop of clay upon another until a form lay lifeless on the ground. All of the Garden’s inhabitants paused to witness the event. Hawks hovered. Giraffes stretched. Trees bowed. Butterflies paused on petals and watched. “You will love me, nature,” God said. “I made you that way. You will obey me universe. For you were destined to do so. You will reflect my glory, skies, for that is how you were created. But this one will be like me. This one will be able to choose.”

All were silent as the Creator reached into Himself and removed something yet unseen.

A seed. “It’s called ‘choice’. The seed of choice.” The creation stood in silence and gazed upon the lifeless form.

An angel spoke, “But what if he…”

“What if he chooses not to love?” the Creator finished. “Come, I will show you.” Unbound by today, God and the angel walked into the realm of tomorrow. “There, see the fruit of the seed of choice, both the sweet and the bitter.”

The angel gasped at what he saw. Spontaneous love. Voluntary devotion. Chosen tenderness. Never had he seen anything like these. He felt the love of the Adams. He heard the joy of Eve and her daughters. He saw the food and marveled at the warmth.

“Heaven has never seen such beauty, my Lord. Truly, this is your greatest creation.”

“Ah, but you’ve only seen the sweet. Now witness the bitter.”
A stench enveloped the pair. The angel turned in horror and proclaimed, “What is it?”

The Creator spoke only one word: “Selfishness.”

The angel stood speechless as they passed through centuries of repugnance. Never had he seen such filth. Rotten hearts. Ruptured promises. Forgotten loyalties. Children of the creation wandering blindly in lonely labyrinths.

“This is the result of the choice?” The angel asked.
“Yes.”
“They will forget you?”
“Yes.”
“They will reject you?”
“Yes.”
“They will never come back?”
“Some will. Most won’t.”
“What will make them listen?”

The creator walked on in time, further and further into the future, until He stood by a tree. A tree that would be fashioned into a cradle. Even then, he could smell the hay that would surround him.

With another step into the future, He paused before another tree. It stood alone, a stubborn ruler of a bald hill. The trunk was thick, and the wood was strong. Stony brow of another hill. And soon he would be mounted on it. He felt the wood rub against a back he did not wear.

“Would you go down there?” The angel asked.
“I will.”
“Is there no other way?”
“There is not.”
“Wouldn’t is be easier not to plant the seed? Wouldn’t is be easier not to give a choice?”
“It would,” the Creator spoke slowly. “But to remove the choice is to remove the love.”
He looked around the hill and foresaw a scene. Three figures hung on three crosses. Arms spread. Heads fallen forward. They moaned with the wind.

Men clad in soldiers’ garb sat on the ground near the trio. They played games in the dirt and laughed. Men clad in religion stood off to one side. They smiled. Arrogant, cocky. They had protected God, they thought, by killing this false one.

Women clad in sorrow huddled at the foot of the hill. Speechless. Faces tear-streaked. Eyes downward. One put her arm around another and tried to lead her away. She wouldn’t leave. “I will stay,” she said softly. “I will stay.”

All heaven stood to fight. All nature rose to rescue. All eternity poised to protect. But the Creator gave no command.

“It must be done…” He said, and withdrew.

But as he stepped back in time, He heard the cry that He would someday scream: “My God, my God, why have you forsaken me?” He wrenched at tomorrow’s agony.

The angel spoke again. “It would be less painful…”

The Creator interrupted softly. “But it wouldn’t be love.”

They stepped into the Garden again. The Maker looked earnestly at the clay creation. A monsoon of love swelled up within Him. God’s form bent over the sculptured face and breathed. Dust stirred on the lips of the new one. The chest rose, cracking the red mud. The cheeks freshened. A finger moved and an eye opened.

But more incredible than the moving of flesh was the stirring of the spirit. Those who could see the unseen gasped. Perhaps it was the wind who said it first. Perhaps what the stars saw that moment is what has made it blink ever since. Maybe it was left to an angel to whisper it: “It looks like…it appears so much like…it is Him!”

The angel wasn’t speaking of the face, the features, or the body. He was looking inside – at the soul. “It’s eternal!” gasped another. Within the man, God had placed a divine seed. A seed of his self.

The God of might had created, not a creature, but another creator. And the One who had chosen to love had created one who could love in return. He spared not even Himself to bring about the salvation of man. He knew He could lose us and yet created us. The most beautiful of all is that He gave us a choice to love him back because He first loved us. Sometimes the choice is ours. We have to choose God first before we can fall under the protection of His wings of love. He chose the painful path and has been patiently waiting for you to choose Him. It’s your turn now.

HE CHOSE THE NAILS – by Max Lucado

2004-03-01T22:32:00.000+08:00

I don't know if the angels do entrance interviews in heaven, but if they do, this one would have been fun to witness. Imagine the thief arriving at the Pearly Gates Processing Center.

ANGEL: Have a seat. Now, tell me, Mr....uh...Thief, how did you come to be saved?

THIEF : I just asked Jesus to remember me in his kingdom. Sure didn't expect it to happen so quickly.

ANGEL: I see. And just how did you know he is a king?

THIEF : There was a sign over his head:"Jesus of Nazareth, the King of the Jews." I believed the sign and- here I am!

ANGEL: (Taking notes on a pad) Believed...a...sign.

THIEF : That's right. The sign was put there by some guy anmed John.

ANGEL: Don't think so.

THIEF : Hmmm. Maybe it was that other follower, Peter.

ANGEL: Nope, wasn't Peter.

THIEF : Then which apostle did it?

ANGEL: Well, if you really want to know, the sign was Pilate's idea.

THIEF : No kidding? Pilate,huh?

ANGEL: Don't be surprised. God used a bush to call Moses and a donkey to convict a prophet. To get Jonah's attention, God used a big fish. There is no person he won't use. Well, that about wraps it up. (Stamps paper) Take this to the next window. (Thief begins to exit) Just follow the signs.

"I WILL SPEAK TO YOU IN YOUR LANGUAGE" Pg.42-43