Final Portfolio submission

Hi guys,

Please note that the final submission for the compiled and collated portfolio will be this Wednesday, July 25 between 4pm to 6pm (late submissions will not be tolerated).

I will place two submission boxes outside my office in Level C5, one for Group A and the other for Group B.

Kindly place your portfolios neatly in these boxes. Your folio should be submitted as loose pages in an envelope. Please make sure that your name and ID# are clearly labelled on the envelope.

If you have any queries, please contact me via email. Otherwise, good luck with the last bits of the semester as well with your exams.

All the best!
Shyn.

Ps. please post this announcement on your FB page. Thanks!
Pps. to Design Comm students in my tutorial group, I have (finally) finished assessing them. You can pick them up from outside my office as well. I have placed them together in a single plastic sleeve on the floor outside the staff offices on level C5. Please come collect them asap for feedback and comments. Thanks for that too!

ANNOUNCEMENT FOR DESIGN STUDIO

Dear all,

Please be informed that I will be briefing you on the requirements for the Internal Review tomorrow in class. For Group A, this briefing will take place at 11am, Group B at 2pm. Attendance is compulsory and critical.

As we are just mere days away from the submission, this will mean that you need to finalise your design schemes with your tutors by tomorrow. In order to aid the finalisation of your design and getting the advice you need to progress towards completion, you will need to show sufficient visual material to your tutors. So please have with you: your study models, site models, orthographic drawings, sketches and any additional drawings such as perspectives and axo. Everyone should have started on their models and orthographic drawings by now.

Please take note of this and inform your fellow peers.

Thank you and I will see you all tomorrow.
Shyn.

Postscript:

In developing your designs, think about these two things:
1) What is the spatial quality you're creating? What is the poetics of space in your scheme?
 - poetics of space quite simply refers to the atmosphere you're creating. Think about the difference of spatial quality and experience of a church and a storeroom. Why are the two spaces so different in experience? What are the architectural elements (ie. ceiling height, choice of materials and textures, window openings size and type) that have been used/manipulate/modified in order to create that resulting spatial quality?

2) How is your design grafted?
- does your design meet the requirement of being grafted? What is the definition of grafted? How is your design grafted to your site? Is it grafted to the wall or ceiling? Is it grafted to the ground or onto a pillar?

 

What is being grafted here and how?

Design Studio 1: Interim Submission requirements

Hi Studio 1 troop,

Just a few general announcements and advice for the coming Monday [June 11] Interim review:

Format of review
- it will be in the format of a pin up. Each student will get 5 minutes to present and 5 minutes feedback.
- please have all your works pinned up (drawings, sketches) and laid out (models) according to groups by 8.30am [Group A] and 2pm [Group B]. This means that you will have to be at the studio half an hour before to organise yourselves into your groups and rearrange (and properly subdivide) the studio space for the purpose of the presentation. Have your site models ready and conveniently placed in your group's space too. The review will commence precisely at the above stated times.

What we will be looking for
-  your design scheme, and proposed idea in relationship to the site and function you are providing for your user. Which means two very important things you must be designing with: (1) SCALE, and, (2) SITE
- make sure all drawings and models are done to SCALE. This shows your consideration of the human scale in relation to your scheme. You can choose to draw and model either at 1:50 or 1:20 or even in both scales, depending on the nature of what you need to explore with the model and drawings and how.
- make sure all drawings and models are drawn and built with SITE CONTEXT. Your study model should sit within a model of your site, and your drawings (floor plans, section and elevation) should include the surrounding site. Without this, it shows us that you are not considering the information which you all have worked so hard to gather in your site analysis exercise in the last two weeks. Why waste all that precious effort hah?
- make sure all drawings and sketches are presented neatly and consistently on A3 butter paper. If you have been drawing on A4s, don't worry! (or swear or throw them away) Just stick them onto A3 butter papers and tadaa! they are re-usable for presentation purposes.
  

 

 Make the drawings work for you. Let even a single section say more about just the inside of your design, it can talk about how your building relates to its surroundings, and people approach your design. A site plan can also contain your floor plan. The question is how do you contrast the site from your building to make your design stand out.
Link: http://openbuildings.com/buildings/roku-museum-profile-39085



 

 Make models. MANY models. But with a purpose in mind, several questions to address and answer.

  
 
 And make these models work for you (not vice versa).
Link: http://gabriellevoogt-projectmanagement.blogspot.com/2011/02/architectual-biennale-showed-award.html




Time management
- I don't call you guys a troop for nothing. It's been a long battle and you guys are physically (some potentially mentally, some frighteningly emotionally) weary and tired from the last eight weeks. Good news is, we're halfway there. Bad news is, we've got six more weeks to go and you guys are way too burnt out for your own good. You have to pace yourself. And in order to do so, please plan and manage your time and other resources well!

NOTE: Resources here include the following - money (please don't incur car damage and accident fees from lack of sleep), materials (don't find yourself cursing in the middle of the night for flattening your technical pen nib after having slammed it by accident onto your drafting table out of frustration of having lack of sleep), and energy (read: LACK OF SLEEP)

- please start exercising the habit of keeping track of how long you spend working on an assignment. And when I say work, it doesn't include checking FB on your iPhone or Angry Bird-ing off your iPad every half an hour. Every minute counts. Finish your work then go enjoy surfing, tweeting and Bird-ing in your free time. Focus and get your work done WELL in the minimum amount of time. I'm sure you all are trying to crack your head around how to get an extra 25th hour in your short and overfilled day.

Tracking your time means that you will know that inking an axo will take you two days (instead of two hours before submission *cough cough* ortho *cough cough*).

This means that ideally you should finish your axo by Saturday and start inking before Saturday evening. Split and manage your hours on Sunday smartly between Dcomm and Design Studio.

And yes, we are aware of your BMaterial and CultureHistory submissions. Thus, it is only realistic to expect that you will only continue work on the other two subjects after the submissions (and frankly, after you have properly rested).


Guys, I cannot stress enough the importance of working smart as opposed to simply working hard, and producing quantity over quality. Time to shift your mindsets and approach to your studies. This is for one reason alone now: to prevent yourselves from burning out and losing your minds even before the semester ends.

Best of luck over the weekend, hoping that the examples here will inspire you to soldier on!
Shyn.

Ps. for students in my tutorial group for DComm, sincerest apologies for having been absent today. As En.Wan may have informed you, I will see you guys for a brief replacement session next Monday after Group B's Studio class at 5pm to 6.30pm. Will see you then!

FINAL ANNOUNCEMENT OF THE SEMESTER - ARC1115

Hi everyone,

This is the final announcement of the semester. Hope you enjoyed the semester and the subject as much as we the lecturers had.

FINAL PIN-UP AND EXTERNAL REVIEW

1. I have updated the presentation room layout, in addition to attaching a new image with this email outlining how you should pin up and submit your works. Please (everyone) peruse these LAYOUTS, and make sure you do not pin up at the wrong areas!

There has been instances where some students have repeatedly pinned-up at the wrong areas. By doing so, you are inconveniencing your guest crits. Please respect their time and effort.

2. I will be assigning Ceavs in charge of CODA, and Seng Poh in charge of Studio12. Please ensure that the works are pinned up accordingly, and the rooms are spotless and clean. As you will be submitting on a Sunday, you will need to inform the security/FM to open up the room on that period of time. Please liaise with Shyn on this as I will not be around.

3. The partitions will be placed in the rooms by Friday, I believe. You will need to bring in an additional 6 tables (possibly from Studio 1) into CODA.

4. I am hoping that everyone can take instructions to ensure the success of your crit. We are very proud of the works that you have produced and we want the works to be presented well.





WHAT DO I NEED TO BRING FOR MY FINAL SUBMISSION - 4 DEC?

1. All models in ONE box + butter paper

2. Presentation boards, pinned up

3. Pins for the partition boards and masking tape for the walls/glass

4. A PRINTED final copy of your portfolio, in a plastic folder/wrap, plus your name and ID clearly labelled on the plastic folder/wrap

5. Group A1 installation panel

WHAT TO DO ON THE DAY OF THE REVIEW?

1. The times given are indicative of the order of your presentation. Keep track of your presentation order. You may present earlier, or later.

2. Don't be late. If you are late, you need to go back in line.

3. Only the presenters and the crits will be in the presentation rooms. The rest of you may wait along the corridor, but try not to make too much noise.

4. Do use your group site model. Talk about the design from your perspective, not the perspective of your lecturers.

A1 Installation Panel

Please follow this layout/grid. Use images and sketches. Print in A1 and pin up on submission day.

Penultimate (Design Studio Internal Review)

Hi everyone,

Final reminders:

1. Four A3 boards only. please pin up your works by 9am (group A) and 2pm (group B). Reviews will start on time. If you submit late, you will not be allowed to present.

2. Please pin your boards on the partitions according to groups. Arrange your boards vertically (i.e. board 1 above board 2 above board 3 above board 4) so that everyone can pin up.

3. Place your sketch models on/in a box. Label your sketch models, preferably.

4. All drawings must be hand drawn and all text on your design boards must be hand written.

5. Drawing scales and north point. Do not make mistakes on these things.

6. Re-composition using computer graphic programs are allowed. But the scale of the drawings on your printed boards must be indicated and accurate. A re-scaled drawing must be labelled to the print size. If you do not understand this, do not use computers for your design boards.

7. Additionally, please print and staple a black&white draft of your portfolio for this subject for projects 1 and 2. This shouldn't take too much of your time. Think simple layouts.

Some other announcements:

1. Portfolio binding payment of RM30. Group leader please collect the portfolio fee on the day of presentation. Please arrange this before the presentation.

2. To those who has not paid their bus fee (Fildzah, Xian Song, Samaneh, Derrick, Jamie, Xueyi, Kieran, Lee Xin and Najath), please be responsible and pay up by the day as well.

3. Submission date for architecture design studio and portfolio has been confirmed on Dec 4, one day before the presentation date.

4. To those who cannot make it for final presentation, you are to submit the works to me prior. Your work will be assessed without verbal presentation.

5. By the way, attendance for design class has been disappointing. I know there are a lot of submissions, but your time management is your responsibility. There will be NO extensions whatsoever.


All the best!

Something To Think About...

1. Think about material properties. Be sensitive of the materials that you have chosen. The more considerate/rigorous you are with the choices you have made, the better.

i.e. what is glass? is glass merely about transparency? of physical separation but not visual separation? of transparency, and yet at the same time reflecting its surroundings? What are the geometrical limitation of glass? What are the implications of using glass (beyond the original intent) on the building design, atmosphere, etc.


2. Whatever you come up with needs to be relevant to "architecture". Architecture does not necessarily refer to building, but a way of thinking about material, structure, space or place-making. Beware of using symbols and forms that do not relate to architectural structures.


in case you are confused, remember this: design a space! always think of the design criteria.

Architecture Design Studio 1 Feedback & Assessment Criteria

General Feedback

1. Many of you could not convincingly communicate your design ideas and how that relates to either your client, site, or the design process. Beware of coming up with a concept irrelevant to these key considerations

2. We have noticed that, for the most part, the design process lacks rigour/thoroughness. At this stage, it shouldn't be about choosing a design from a series of unrelated sketch models, but developing a design through a continuous refinements of the models.

A simple, well executed idea is preferred to an ambitious idea, poorly executed

3. Be aware of practical ascpects. How do you get in? Are you blocking your neighbour's access? How do you create shelter?

4. Not acceptable to see models that do not fit into the site model, or new site models completely different to the group model

5. Too much text on butter paper and often unreadable set of sketches. Poor drawings and drawing without context. Consider diagramming.

6. Please note that your first presentation of the completed work is on Wednesday, Week 14 (i.e. Nov 16). You are expected to finish everything by then as there are NO classes after. To those who has not shown any work, consider yourself warned to fail the project.

Final Presentation Boards requirements:

a) hand drawn on A3 paper. proper line work, line types and line weights.
b) four A3 boards maximum
c) all drawings scaled and labelled with architectural handwriting
d) clear layout and composition
e) if you need to add images, please glue onto board. This applies to a computer photomontage.
f) preferably, you should have either an axonometric, sectional/x-ray axonometric or perspective, sectional perspective. one drawing to describe the exterior with context, an one drawing to show the quality of the space
g) process needs to be clearly described/ represented in visual form


Assessment Criteria and How To Achieve Them

1. Is there evidence of design thinking through rigorous process? (sketch models, sketches, diagrams)?
CLEAR THOUGHT PROCESS, CLEARLY REPRESENTED AS A SERIES OF SKETCH MODELS, A SERIES OF SKETCHES, OR A SERIES OF DIAGRAMS. KEY WORD: CLEARLY REPRESENTED

2. Are the design ideas and concepts successfully translated and carried through visually via drawings and model-making?
ARE YOUR IDEAS SUCCESSFULLY TRANSLATED INTO THE FINAL DESIGN? HOW HAVE YOU ACHIEVED THIS? HAVE YOU SUCCESSFULLY TACKLED THE SITE/PROGRAMMATIC ISSUES WHILE MAINTAINING THE INTEGRITY OF YOUR DEIGN INTENT?

3. Does the formal expression demonstrate a compelling/cogent response of the design idea?
THIS IS GENERALLY ABOUT DESIGN AESTHETICS. IT NEEDS TO LOOK COMPELLING AND INTERESTING ENOUGH. SOMETIMES A GOOD IDEA DOESN'T NECESSARILY TRANSLATE INTO THIS. THE DESIGN NEEDS TO HAVE ENOUGH 'ORIGINALITY' THAT SETS IT APART FROM THE CONVENTIONAL.

CHOOSING THE RIGHT SITE IS ALSO IMPORTANT.

4. Does the design demonstrate an understanding of: experiential space and ergonomics?
DRAWINGS & MODELS. TRY A LIGHT STUDY, PHOTOGRAPH AND PLACE THEM ON YOUR BOARDS. YOU NEED TO SHOW HOW PEOPLE OCCUPY AND USE THE SPACE, AND YOU NEED TO SHOW THE INTERNAL/EXTERNAL RELATIONSHIP OF THE ARCHITECTURE.

5. Are the amount of drawings and models adequate in describing the design intent?

6. Are the drawings legible ? Are they labelled properly and clearly?

7. Is there quality and cohesiveness in the visual modes of representation?

8. Is there an attempt to convey atmospherics and spatial experience, and/or the connection between interior and exterior?

9. Is there clarity and conciseness from the verbal presentation?


Final Notes

Next presentation will be on Wednesday, next week. We expect you to work towards achieving the above criteria.

Jarmusch Quote

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.” ― Jim Jarmusch

Slides

Click here for the slides from the last lecture.

Architecture Design Studio 1

1. Please ensure that you have read the brief for project 3
2. For next Monday, there is a butter paper + sketch model submissions
3. Remember that attendance is compulsory and very critical for these final few weeks

Cage Helmet by Milliner, Heather Huey

Light

Nikon FM2
50mm

In case you are interested in History

A VERY Simplified History of Melaka. Excerpts from the Management Plan and the UNESCO WHS Dossier:

"The Melaka founder prince was said to be Parameswara, which meant ‘prince
consort’, was the husband of a Majapahit princess in Java. He was a prince from
Palembang, the capital of Srivijaya, and who was involved in the war of succession
before fleeing to Tumasek (Singapore). There he was reported to have killed the
Siamese regent who ruled the island, and was driven by armies from Pahang or
Patani, which were vassals of Siam. He wandered around until he reached the
estuary of a river, later known to be the Melaka River, and rested under a tree.
While resting he was said to have noticed a mouse deer being chased by a dog, but
the former retaliated back, notwithstanding its smaller size, and managed to chase the
dog away. This demonstration of steely courage was taken by Parameswara as
a symbol of fortune for him. He asked around for the name of the place. Since
none knew, he named it after the tree under which he was resting, the Melaka
tree. Thus Melaka was founded. Under Parameswara’s rule this small fi shing
settlement became a thriving port. "

"Melaka’s glory under the Malay sultanate ended in 1511, when the Portuguese
captured the ‘fabulous eastern empire’, under the command of Alfonso de
Albuquerque. The reputation of Melaka must already have reached them much
earlier. In 1509 a group of traders led by De Sequeira had landed in Melaka,
but were attacked and some were killed. De Albuquerque who had succeeded in
capturing Goa in India, decided that it was the best opportunity for him to rescue and
avenge his fellowmen and capture Melaka and the famous spice trade. By controlling
it, Portugal became the new power to be reckoned with in Europe. About Melaka,
a Portuguese had once said, “Whosoever holds Malacca, had his hands on the
throat of Venice, for the goods that were transacted in Melaka had very high values
in Europe.” They were also keen to spread their Catholic religion against the Muslims
who were fi ghting against them in the wars of the Crusades."

"In the 17th Century other European traders were actively plying the sea
routes between India and China through the Straits of Melaka. Two of the most
important traders were the Dutch and the British. The Portuguese infl uence at
this juncture had begun to decline. Its empire had become too large and their
home base was too far away. Melaka had repeatedly been attacked by the Malay
neighbours, such as the former Melaka Malay sultans who had settled in Johor
in the south of Melaka, the upcoming Acenese (Achenese) rulers who were
contending as the new heir to the Malay Muslim power in the archipelago, and the
Dutch who had succeeded in subjugating Java. Between the Dutch and the British,
the former were more advanced as they were able to ally with the local rulers. In
the attack of Melaka, the Dutch received support from the Malays in Johor. After
a fi ve-month siege, the Portuguese surrendered in 1641, 130 years after they
had forever removed the Malay sultanate from Melaka."

"After the conquest of Melaka, the Dutch merely took over the infrastructure left
behind by the Portuguese. They occupied the fortress, A Famosa and renamed it
Porta de Santiago. The coat of arms of the Dutch East India Company and the
date 1670 were engraved on the gate. St. Paul’s College was used as part of the
fortress and later as a burial ground for high ranking Dutch offi cials. The Dutch
later built their own fortress on St. John’s Hill which was armed with eight cannons.
In 1650 the former Governor’s residence was converted into the red terracotta
Stadthuys (Government House) for the Dutch Governor and his retinue."

"Events in Europe also changed the history in Melaka. Holland was defeated
by Napoleon and the Dutch king had to take refuge in England. The monarch then
agreed to hand over Melaka and other possessions in the East to the British for
protection until the Napoleonic wars were over. Thus, Melaka came into British
hands between 1795-1818. By this time (1786) the British had already occupied
Penang which was named the Prince of Wales Island."

Urban Morphology

"Melaka began as a fisherman’s village along the Melaka River. The rise of the Malay Sultanate marked the beginning of Melaka as an important regional empire. A bridge was built on the river to accommodate the infl ux of migrants from its surroundings. The river, together with the hill forms two important geographical elements defi ning the town of Melaka. Upon the colonisation by the Portuguese, the A Famosa was constructed at the foot of St. Paul’s Hill. During the Dutch era, the urban structure of Melaka town became more planned. Streets were clearly defined and it was also during this period that the construction of brick shophouses and townhouses began. When the town of Melaka and its fortress was temporarily handed over to the British in 1795, the demolition of the fort under the directive of William Farquhar took place."

"Today, the Porta Santiago remains the only standing physical reminder of the fort of Melaka. Under the Straits Settlements, Melaka rapidly expanded during the early 19th Century. The streets became linear and wider to accommodate the rise of private vehicles, and consequently the blocks of shophouses have also become increasingly orthogonal. Today, Melaka continues to grow as a series of reclamations ensued, causing the historic city to lose its original relationship to the sea."

"1980s had brought rapid changes to Melaka’s urban fabric. Emphasis was given to tourists’ related development, as it was clear that Melaka offers a significant attraction to both domestic and foreign visitors. A large area at Ayer Keroh next to the new highway became the focus of hotels, theme parks, restaurants and anything that can persuade the tourism industry to attract tourists instead of just relying on one source of attraction that was generally focused on Melaka’s rich heritage resources. The city centre’s role as seat of administration and most of the government department around St. Paul’s Hill for over 500 years came to an end when they moved to another administrative centre at Jalan Hang Tuah in 1980’s and later in the 21st Century to Ayer Keroh. In 2010 this administrative centre was hived off to form the heart of a new administrative municipality called Hang Tuah Jaya and thereby effectively ending the historic ties with the old trading port as an administrative centre."

Upeh: the Historic Residential and Commercial Precinct of Melaka

"The settlement on the right bank of the river roughly encircle by the river and the sea and what is Jalan Kubu today was known as Upeh in the Portuguese period. The area roughly correspond with the part of the Core Zone on the right bank of the river. This was the area that was used during the Sultanate era as a market place as well as residence for the transitory inhabitants."

"The name Upeh was fi rst used during the Portuguese period to refer to this part of the WHS. Eredia identifi ed four ethnic quarters in Upeh, namely Kampung Java in approximately the same location as the square in Jalan Kampung Pantai today up to the river bank at Lorong Hang Jebat, a Kampung China just north of this area, and a Kampung Keling running parallel with the coast. At the northern end of what is Jalan Tun Tan Cheng Lock today was the Bendahara residence and in the triangle between Kampung China, Kampung Keling and the earthen ramparts (tranqueira -Portuguese ) lies the Malay settlement or Kampung Bendahara."

"While Upeh is to a lesser extent fortified, the fortifi cations are far from satisfactory. It had been recorded that during some of the sieges by more powerful forces the residents of Upeh was fl ed to find refuge within the Fortaleza da Malaca."

"Upeh reemerged as Bandar Melaka during the Dutch period and became the place as Governor Bort described in his report of 1678 “where the richest inhabitants and foreigners lived”. Francis Valentijn’s view of Melaka for the sea circa 1720 appears to confirm his report. The street pattern of Bandar Melaka is by now quite recognisable. The Dutch burghers had settled in what used to be Kampung Keling and Heeren Street (Jalan Tun Tan Cheng Lock) and Jonker Street (Jalan Hang Jebat) had been laid out and the area including the occupationally specialised lanes behind Jonker Street Goldsmith Street, Blacksmith Street and Kampung Kuli came to be known as Kampung Belanda. The Indian Muslims relocate further inland to the area known as Kampung Pali roughly corresponds with Kampung Kekek today. The Javanese had been displaced by the Kelings or south Indians and relocated themselves across the river just north of Jalan Bunga Raya today. To date the northern end of Lorong Hang Jebat is dominated by the Indian community and the local Chinese refer to this street as “Keling Road” No mention was made of a Kampung China although it is recorded that Chinese burials were beginning to spread over Bukit China. By 1678 it was recorded that there were no less than 310 buildings of which no less than 128 were made of bricks in Bandar Melaka."

Assignment Brief 2B and 2C currently on BB7

Dear all!

Please download and refer to your assignment briefs on BB7. Due apologies for not having these documents up sooner.

Good luck and have a good day in Malacca tomorrow!

Shyn.

Site visit Details

Location: Melaka Town (UNESCO WHS, Core Zone)
Date: 8 October 2011, Saturday

Itinerary:

7.30 am
Meet at Taylor’s lakeside campus
Briefing

8.00 am
Bus departs

11.00 am
Bus arrives at Melaka town

11.15 am
Site visit and physical documentation (Task 1: in groups)

1.30 pm
Lunch

2.30 pm
Discovering the trades and people of old Melaka (Task 2: individual sketchbook exercise)

5.00 pm
Debriefing

6.00 pm
Dinner

7.00 pm
Bus leaves for Kuala Lumpur


To Do:

1. The purpose of the site visit is to document a chosen site for Project 3: A Grafted Space

2. Students will be divided into 8 groups, as per the grouping in Project 2A. Each group is to choose one site. You are required to conduct a simple site analysis where you will document and measure the site (Task 1). The map provided describes the boundary of your possible sites.

3. You may seek advice from the lecturer as to what is a suitable site. The site should be suitable for a grafted space (i.e. lane way, a derelict shophouse)

3. Groups must be together at all times, until the documentation of the site is complete.

4. Task 2 is a sketchbook exercise. From the list of possible clients, students are encouraged to explore the site and learn more about any of the trades and activities related to the site i.e. sketches, interviews, profiling

5. The sketchbook must be presented to the respective lecturers on Monday. A draft site analysis must be presented on Wednesday, 12 October

Client List:

wayang kulit (tok dalang)
mime
chef/cook (eg. chicken rice ball)
carpenter
recycled material collector
cosmetic surgeon
undertaker
erhu player
joss stick maker
trishaw driver
nyonya beaded shoe maker / kebaya seamstress
silver/goldsmith / jewellery maker
locksmith
rattan furniture craftsmen
butcher
imam
cultural anthropologist
popiah skin maker
historian
milliner
counterfeit goods seller
sculptor / building craftsman

MELAKA SITE VISIT

1600 map

detail of 1916 map

Core Zone, UNESCO Heritage Site

Red line demarcates the boundary of your chosen sites.
This is the map that you will use.

Notification to all Sem 1 students

Hello everyone,

1. Please keep your work space clean and free of clutter

2. Do not block other's path if you are working along the corridors. Avoid the use of corridors, if there are available rooms

3. As the CAAEM visit will happen this week, please cooperate with the FM and faculty in ensuring that the spaces are kept clean

Spread the word :)

Thanks again,

Faiz

axonometrics

Gaetano Pesce


McNab Gage Potts Pollock

Morphosis


Tom Ngo

Anderson Anderson Architecture

delta, three-dimensional grafitti relief


Hadid Knapkiewicz Dunn Ganjei



More references:
http://rndrd.com/

some shots of the statue

Studio 1 Announcement

Pooject 2A commences this Monday. Click here for the brief.

As I have mentioned last week, please do some research on architectural model-making. I would also advise you to look up for basic design principles before the class on Monday.

For monday, please make sure you bring these:

1. COMPLETE model making tools
2. Bits of cardboard
3. Brief

Regards.