ARCHITECTURE DESIGN STUDIO III
This studio emphasizes on the poetics of place and the experiential qualities of space in architecture. In the module, students are introduced to, firstly, an exploration of spatial typologies and poetics in architecture; and secondly, the concept of neighborhood and community. In their preliminary design work, students engage with literature studies and interpretation as well as translating into design of different spatial typologies (i.e. linear, spiral, spine, centric, etc) which explore the idea of architectural tectonics and experiences. Subsequently, the major project involves the design of a small scale community building (typically a Visitor Interpretive Centre) 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 architectural form that is tectonically expressive, functional and responsive to its site.
Project 1: Memorial Themed ' Journey for the 5 Senses
Task:
In a group of 4-5 students, we are required to select 2 precedents for analysis of spatial typology and poetics. The precedents can be either local, national or international example. One precedent had to either have linear or concentric typologies respectively.
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From the analysis, students had to propose 2 schemes for a Memorial themed ‘Journey for the 5 senses’. The memorials are required to be designed in the form of semi-open architecture by using two contrasting spatial types of your choice.
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The precedents that we chose was Cheng Qi Lou in Fujian Province, China and Under One Roof, Lausanne by Kengo Kuma in Switzerland.
Boards
Models
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Project 2: GENIUS LOCI: Site Analysis & Concept Development
Task:
In the same group of students from project 1, we are required to conduct an analysis of the physical conditions and the genius loci of a given site and produce a digital presentation with all the collective information recorded at macro site.
The given site was the Clan Jetties of Penang. Micro site given for the final project, Visitor Intepretive Center was Chew Jetty, Tan Jetty, and Yeoh Jetty. So as a group, we created a video for the project.
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Then, individually, we were to produce a personal interpretation hand sketches of the macro site, an analysis of the micro site which is Tan Jetty, and a initial design concept for a Visitor Interpretive Center to be built at our chosen micro site.
Hand Sketches
Boards
Project 3: Visitor Interpretive Center
Task:
The final project calls for an architectural response to design a Visitor Interpretive Center at the same given site in Project 2. The VIC should emphasize a strong engagement and relationship to the site, spatial experiences and programmatic requirements.
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The VIC had to provide a physical point of reference with visual significance that keeps alive the culture & essence of the site and to provide accommodation to house and display relevant material and interpretive material for public access and information.
DESIGN CONCEPT
Along the Weld Quay which stretches lengthwise the south eastern coastline of George Town, one can find water villages with rows of wooden houses on stilts built above the sea and connected by planked walkways. Here we can find a close knit community that has existed for over a hundred years, witnessed and contributed to the growth of the Penang port and fought hard to preserve a traditional lifestyle adrift in the urban setting. These are the clan jetties of George Town.
Situated next to the sea, water is the essence of everything of the people staying at the clan jetties. Just as sea waves moves up and down the shore, it forms and shapes the coastline, giving it a unique touch. The nature of sea water also moulds the lives of the Chinese Hokkien immigrants, allowing them to travel from China to Penang, creating jobs for them and helped preserved the jetties’ existence due to its unique characteristics.
This proposal for a visitor interpretive centre in the midst of the Penang clan jetties, at the George Town waterfront, endeavours to be constructed upon water movement and to represent the significance of water in the lives of the residents staying at the clan jetties as well as to highlight the JOURNEY of the clan jetties from the past until the present.
Materiality
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Corrugated Steel
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Concrete
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Timber
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Design Process
Spatial Poetics
POSSIBILITIES
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1. Reception
The story starts with the Chinese immigrants in China. They are facing bad circumstances in China, i.e. poverty, hunger and persecution due to change of government (Mongolian). They have heard rumors of friends and relatives that have moved out and are doing well. They seek to immigrate out of the country and look for greener pastures elsewhere.
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I enter the VIC and is greeted with a long corridor that goes all the way to the end of the VIC, with several openings along the way. Sensing movement on the top floor, I looked up to see other tourist interacting with the space. Some were looking out of the window, some were looking down the balcony towards the reception, where I was standing. One of the kids spotted me looking upwards and waved at me. Unsure of where to go, I approached the receptionist, who explained there are many spaces that I can explore and experience, but suggested to best to go downstairs first.
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UNSURE​
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2. Underground Gallery (Withdraw)
The Chinese immigrants moved out of China via ship through the sea. Being the first time travelling out of the country, they are nervous and afraid as it is uncertain of what future holds for them. They are starting live anew in a new country! New job, new house, new neighbors, new culture...etc. People don't really know who I am. Anything can happen, any (bad) can happen... What if I cannot find a job? or I get hurt? How am I going to send money back to my family? Should I move or stay here where familiarity is taken for granted? What should I do? Was it a good idea moving here?
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Following the receptionist's suggestion, I went downstairs and descended into a gallery which is dark and dimly lit. But...there is nothing on the walls. All that there is a row of chairs in which lights are focused on. It is such a long and wide space What am I suppose to do here? I can sit on the chairs right? Nah maybe I sit in the corner over there, don't want to be such an attention seeker with the light shining on me.
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TRAPPED​
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3. Underwater Gallery (Withdraw)
The day arrives for the Chinese immigrants to go on the ship. They board the ship and down into the deck they go. This will be their temporary home for the next few months. But goodness..how cramped and tight this space is. How am I going to stay in here for so long? 1 day passes, I guess I can manage . 3 days, hmm..that guy snores so loudly, must have breathing problems... 1 week, I can't stand it anymore! Someone please get me out of here! Same food everyday, getting sea sick, same view of the sea out of that pothole, just water...
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I walk to the next corridor which is straight and is also bare. Why is this place so enclosed? I wonder where does this place lead me and approached the windows along the wall. Oh..I realize that I was walking in a corridor underwater all this while.
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REALIZATION
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4. Stilts Gallery (Diffuse)
Finally, the Chinese immigrants reached Penang. Due to having no money and owning no property, the immigrants had to stay in crowded houses in nearby streets such Armenian Street and Tok Aka Lane and Acheen Street. At first, they built stilts to tie their boats to. As time goes by, the immigrants built a small sheds as a rain shelter. The sheds were soon converted into communal houses for residence and the number of houses increased henceforth.
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As I continued walking, I turn into a new corridor which has a long glass opening on one side. It is filled with water and I can see those are stilts, just like the ones that the clan jetty houses are built upon. Reading the inscription on a plaque hung on the wall, it reads " The stilts are suppose to represent the efforts and diligence of our ancestors to place foundations and settle here in Penang". This is the origin of the Clan Jetties of Penang, just as the stilts support the houses above water, our initial function was to help and support each other as well as our clansmen who just moved here to find employment and accommodation in this new environment."
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CAREFUL
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5. Stone Gallery (Diffuse)
The newly settled residents had to find work and the jobs that they were offered were not safe jobs They worked as coolies, and laborers at the Penang port and offered their boatman skills to shuttle and cargo service for the bigger ships in the sea. Some were also involved in charcoal and firewood trading.
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I went upstairs and entered another gallery. This one had stone steps to get from one end to the other. To get across, I had to carefully walk from one stone step to another. The gallery showcased pictures and displayed items such as nets, fishing hooks, and cages that the residents used in settling down in Penang.
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FREEDOM
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6. Open Deck Gallery (Reclaim)
Since its existence, the clan jetties constantly faced faced the threat of demolition by the authorities who saw their living quarters as no more than squalid slums. In the 1930s, 1941, 1960s and 2006, one or more clan jetties were destroyed, i.e. Koay Jetty (2006) was destroyed in order to make way for an apartment. In order to protect the rest of the jetties, clan jetty residents appealed for the UNESCO heritage status, which they obtained in 2008. For more than 100 years, the clan jetties has witnessed and contributed to the growth of the Penang port and fought hard to preserve a traditional lifestyle adrift in the urban setting. Now they are proud to show to the world who they are and to see what they have grown to be.
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After being contained in the gallery space for so long, I appreciate the breath of fresh air and open bird eye views looking at the sea and the other clan jetty houses.
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COMMUNITY​
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7. Open Gathering Space/ Water Gallery (Reclaim)
This space serves as a reminder for the residents of the clan jetties to preserve and treasure the heritage that they have. The act of encasing the water space with the the form expresses of the effort of conservation that has been made to preserve this place: a place protected. A small jetty walkway is built on the water as a reference to the jetty walkways in the clan jetties. The stilts supporting the walkway is made of concrete while the exposed stilts in the water is made from timber. The exposed timber stilts represents the jetties that have been demolished while the concrete stilts means the jetties' existence that will ''cemented' in Penang. The water in the gallery is filled with fresh water. This is to allow the visitors in the gallery below to see the stilts in the water.
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Aim: - able to be used by the community for community activities.
:- allow visual connection into the gallery inside.
:- act as a buffer between the private enclosed space of the gallery and the
public space of the existing temple.
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From this semester, I have learnt about spatial poetics, which the creation of feeling and emotion that the person will experience when travelling through a space. This is indeed is an important aspect of architecture and in my opinion, this aspects separates a building from architecture. Architecture can be all buildings, but not all buildings can be architecture. The quality of an architectural space is not merely a visual perception quality as it is usually assumed. The judgement of environmental character is a complex multi-sensory fusion of countless factors which are immediately and unconsciously interpreted and grasped as an overall atmosphere, ambience, feeling or mood. As Tony Hiss mentioned in his book, 'The experience of space', <<simultaneous perception, the system that we use to experience our surroundings>>. An architectural experience is multi-sensory in its essence. This interestingly, is the normal way we observe our surroundings, with all the senses at once. So thus, the need and importance of spatial poetics in architecture.
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Besides poetics, i guess this semester was mainly us students struggling to transition from manual work to digitalized submissions, i.e boards, renderings, models. It was fun and interesting learning new software and applying it here (though it involved a lot of exasperation due to computer crashing). But it was good (I guess). The final presentation was okay, just the accessor suggested to perhaps use an axonometric drawing instead to allow better understanding of spaces, instead of the sections. I agree with the accessor on that aspect. Well, what is done is done. Now the submission is over, time to hone my software skills and finding my presentation board and imagery style.
Reflection
