Studio 3 Degree Final Review

PLEASE PIN UP BY 900H, TUE 1 DEC 2009 IN STUDIO 2 AND 3 ON LEVEL 8.

Depending on the wall space available you might have to take turns to pin up in batches.

All the Best!

DEGREE 3 PORTFOLIO

To your studio rep's inquiry about portfolio content:

Every piece of studio work that earned you some marks towards the total should be represented in your portfolio.

As to how much surface space you allocate to each piece, that is usually (and craftily) led by what makes the best impression. The whole folio should be a unified testimony to a learning, improving and creative mind.

Should look good la.

Design Studio 3 (Degree) Project 2c: Schedule of Accommodation

• washroom - 2 WC, 2 urinals, 2 basins (min for male)
• washroom - 3 WC, 3 basins (min for female)
• disabled washroom - 1 WC with 1 basin
• archive, library - resource room, air conditioned with internet
• cafe - include sitting, kitchen or yard
• theaterette - 25 seater min with air conditioning
• admin office
• gallery
• m&e room
• entrance/ foyer

TUTORIAL NOTES

Dip Studio 3, here are my notes on the forthcoming assessment criteria which we discussed yesterday.

CLARITY OF IDEAS (Basis & Resultant)

Taking your design intention to fruition with clear and convincing design outcomes

• Self consistency
• effectively and clearly communicated
• you have a right to your own opinion but do back it up logically

APPROPRIATENESS OF DESIGN TO (CORRELATE) FUNCTION & FORM (Rank 2)

"Form follows function follows form" (ian ng)

• usable by users -- "practical"
• buildable by builders -- "simple"

RICHNESS & ARTICULATION OF DESIGN (Rank 4)

• Phenomenology
• Poetics
• Sequencing of spaces
• Variety of spatial typologies
• Meaning (Why?)

RESPONSE & SUITABILITY TO URBAN CONTEXT (Rank 1)

• Site Response
• Neighborhood Response
• City Response
• National Response
• World Response

TECHNICAL CONSIDERATIONS OF DESIGN (Rank 3)

• Structure and Construction (architectonics)
  
• Environmental Control (temperature, relative humidity, lighting, etc.)
  
• Fire Safety (crowds, means of escape, etc.)
  

DESIGN PREOCCUPATIONS - THE DISSERTATION

It's been madness this sem! Too much upheaval...barely time to breath.
The D is at word count 50,960. But that's draft.
pant~~

Maybe another 10,000 more..

ARCHITECTURE IS BASED ON FAILURE

.... yeah, someone once said that.

this post that came in the mail was just too good to pass by. For couples, actually, but you gotta do a bit of extrapolating.

by Dennis and Barbara Rainey

October 23

The Fear of Failure

1 Peter 4:8
Love covers a multitude of sins.

In an address to a nation divided by the Civil War, Abraham Lincoln underscored the need to persevere in spite of failure. He said, "I am not concerned that you have failed. I am concerned that you arise." The following excerpt, which appeared in an advertisement in the Wall Street Journal, also emphasizes this point:

You've failed many times although you may not remember. You fell the first time you tried to walk, didn't you? You almost drowned the first time you tried to swim. Did you hit the ball the first time you swung the bat? Heavy hitters, the ones who hit the most home runs, also struck out a lot. R. H. Macy failed seven times before his store in New York caught on. English novelist John Cracey got 753 rejection slips before he published 564 books. Babe Ruth struck out 1330 times, but he also hit 714 home runs. Don't worry about failure. Worry about the chances you miss when you don't even try.

In a performance-oriented culture such as ours, failure belts us like a punch in the stomach. Repeated failure often results in a knockout blow, and many people give up altogether. As Comedian W. C. Fields once quipped, "If at first you don't succeed, then quit. There's no use in being a fool about it."

The problem is that a life with little failure is a life of little risk. This type of life may appear to offer safety and security, but it actually leads to guilt, boredom, further apathy and even lower feelings of self-esteem. God designed and commissioned us to be productive-many times that demands faith and risk.

Does your mate have the freedom to fail? Is he or she assured of your love-no matter what mistakes he or she makes? By slowly forging in your mate the freedom to fail, you'll help him or her become more open to change, more willing to take risks and more confident in decision making.

Prayer:

That God will give you enough faith to move beyond your fears and trust Him even in the midst of failure.

Discuss: Evaluate your own fear of failure. Are you a risk taker? Are decisions difficult? How would you evaluate your mate? What can you do to encourage him or her to move past fears?

A NICE DISRUPTION IN THE STUDIO

To My Students of Deg Studio 3:

THANK YOU FOR THE AWESOME BIRTHDAY SURPRISE THIS AFTERNOON!

I was very touched.

Architectural Design Studio 3

Abstract Postcards

Middelsburgh Bastion, Malacca

.

.

.

Uncovering the Truth.....Billy

.

Stirring Up Deep Memories.....Billy
.

Reflection.....Billy
.
Curiosity.....Rach

Tangible and Intangible Boundaries.....MJ

.

Curiosity.....MJ

.

Roofscape.....MJ

.Density of Construction.....MJ

.

Domination.....Rach

Dwarfness.....Rach

Protection.....Billy

. Niven

Niven

Niven

Niven

Overwhelming History.....Chuen

.

Neverending Malacca....Chuen

.

MC

Irony of Past and Present.....Chuen

.

Curiosity.....Chuen

.

Azim

Sam

Sam

Sam

Sam

BOROBUDUR BREAK

I'm off to Yogyakarta for the weekend. See you all next week!

BOOKS FOR SALE - UPDATE

Here's the updated list..if it's got a name after the price then it's sold to that person.
Happy Reading, New Owners! Would be nice if u dropped me a line and share a thot or two on how you liked them! Cheers!

No
Title
Author
Price
Sold
1
The Opposite of Fate
Amy Tan
6.00
Jo-Ann
2
The Kitchen God's Wife
Amy Tan
3.00
S. hoong
3
Joy Luck Club
Amy Tan
3.00
S. hoong
4
An Artist of the Floating World
Kazuo Ishiguro
4.00
S. hoong
5
The Remains of the Day
Kazuo Ishiguro
4.00
S. hoong
6
Confession of a Mask
Yukio Mishima
4.00
Jo-Ann
7
Memories of a pure Spring
Duong Thu Huong
4.00

8
Novel without a Name
Duong Thu Huong
4.00
Kat Yip
9
Paradise of the Blind
Duong Thu Huong
4.00

10
The Famished Road
Ben Okri
5.00
S. hoong
11
Modern Malaysian Chinese Stories
LVSingho & Leon Comber
3.00
S. hoong
12
Malaysian Short Stories
Lloyd Fernando
3.00
Iris
13
Flowers in the Sky
Lee Kok Liang
2.00
S. hoong
14
Songs of Innonce & Experience
William Blake
1.00
Kat Yip
15
Wild Swans
Jung Chang
5.00
Kat Yip
16
Lord of the Rims
Sterling Seagrave
5.00
Flo
17
Madame Bovary
Gustave Flaubert
4.00
Kat Yip
18
The Christmas Book V1
Charles Dickens
3.00
Jo-Ann
19
The Christmas Book V2
Charles Dickens
3.00
Jo-Ann
20
Collected Short Stories V4
W.Somerset Margham
2.00
C.Quah
21
Two years in the Melting Pot
Liu Zong Ren
5.00
Kat Yip
22
Love & Vertigo
Hsu- Ming Teo
5.00

23
War at Work
Khoo Kheng-Hor
2.00
Eszura
24
Heaven Can Wait
Tal Ben-Shahar
1.00
S. hoong
25
Bethany
Anita Mason
3.00

26
Two Cities
Neil Shee Hen
2.00

27
A Book of Five Rings
Miyamoto Musashi
3.00
Iris
28
Admiring Silence
Abdul Razak Gurnah
3.00
Eszura
29
An Equal Music
Vikram Seth
3.00
S. hoong
30
The Art of War
Graham Brash
2.00
Way Wen
31
Heroes
Karim Raslan
4.00
Jo-Ann
32
The Republic of Wine
Mo Yan
4.00
S. hoong
33
The House of Blue Magoes
David Davindar
5.00
S. hoong
34
A Potrait of the Artist as a young man
James Joyce
3.00
Flo
35
Lord Arthur Savile's Crime
Oscar Wilde
2.00
Thulsi
36
Face Off
Sabri Zain
3.00

37
Faith Lies
Jeffrey Lin Sui Yin
5.00
Kat Yip
38
A Visitation of Sunlight
Aaron Lee S. Yong
3.00
Kat Yip
39
Testing the Silence
Alvin Pang
3.00

40
Echoes of Silence
Chuah Guat Eng
5.00
Flo
41
Silverfish New Writing 1

4.00
Oca
42
Silverfish New Writing 2

4.00
Oca
43
Silverfish-Short Stories 3

4.00
Oca
44
Sir Vidia's Shadow
Paul Theroux
6.00
Flo
45
Life & Death in Shanghai
Nien Cheng
4.00
Flo
46
Hitler: a study in tyranny
Alan Bullock
2.00
Iris
47
Crime and Punishment
Fyodor Dostoevsky
2.00
Thulsi
48
The Bone People
Keri Hulme
2.00
Eszura
49
Watership Down
Richard Adams
2.00

50
Jane Eyre
Charlotte Bronte
4.00
C.Quah
51
Wuthering Heights
Charlotte Bronte
4.00
C.Quah
52
Far from the Madding Crowd
Thomas Hardy
2.00
Flo
53
The Prince
Niccolo Machiavelli
2.00
Flo
54
Amsterdam
Ian Mc Ewan
4.00
Flo
55
Love in the time of Cholera
Gabriel G. Marquez
4.00
Ham
56
The Quiet American
Graham Green
4.00
Oca
57
A Memoir of the Craft on Writing
Stephen King
4.00
Flo
58
The Crocodile Fury
Beth Yahp
4.00
Oca
59
Soul Mountain
Gao Xingjian
5.00
S. hoong
60
Daughter of China
Meihong Xu
5.00
S. hoong
61
Pavilion of Women
Pearl S. Buck
1.00
S. hoong
62
The Good Earth
Pearl S. Buck
1.00
S. hoong
63
The Hidden Flower
Pearl S. Buck
1.00
S. hoong
64
Come, My Beloved
Pearl S. Buck
1.00
S. hoong
65
Against the Grain
Shirley Geok-Lin Lim
10.00
Kat Yip
66
Among the White Moonfaces
Shirley Geok-Lin Lim
4.00
Flo
67
Joss & Gold
Shirley Geok-lin Lim
5.00
Flo
68
Memoirs of a Geisha
Arthur Golden
3.00
Kat Yip
69
S.E. Asia Write Back -1
Skoob
5.00
Flo
70
The Pen is Mightier than the Sword -2
Skoob
5.00
Flo
71
The Jungle is Neutral
F. Spencer
3.00

72
Pride & Prejudice
Jane Austen
4.00
C.Quah
73
The Wave
Morton Rhue
2.00

74
Eight Plays
Huzir Sulaiman
10.00
Iris
75
Eldest Son
Han Suyin
10.00
S. hoong
76
The last time I saw Mother
Arlene J. Chai
5.00
Kat Yip
77
Eating Fire & Drinking Water
Arlene J. Chai
5.00
Kat Yip
78
Tales fr the South China Seas
Charles Allen
5.00
Kat Yip
79
From Poor Migrant To Millionaire
Chan Wing
1.00
Eszura
80
Japan in the Passing Lane
Satoshi Kamata
3.00
Flo
81
Success and Succession
Frank WK Tsao
2.00

82
The Bride groom
Ha Jin
5.00
Flo
83
Man of the Family
Ralph Moody
5.00
S. hoong
84
Crossing Cultures
(Research Litt)
10.00
Flo
85
Stories for My Mother
Chong Sheau Ching
3.00
Serena
86
The Reader
Bernhard Schlink
5.00
Jo-Ann
87
From Prince to Prison
Raja Petra
2.00
Serena
88
Orwell
Raymond Williams
2.00

89
Lord of the Flies
William Golding
2.00
Sold
90
Rice
Su Tong
4.00

91
Paddy Clarke Ha Ha Ha
Roddy Doyle
5.00
Oca
92
The Merlion and the Hibicus
Series of Poems
5.00
Eszura
93
Life of Pi
Yann Martel
5.00
Jo-Ann
94
Shame
Salman Rushdie
4.00
Jo-Ann
95
Sentenced to Death
Salman Rushdie
5.00
Jo-Ann
96
Imaginary Homelands
Salman Rushdie
6.00
Jo-Ann
97
Son of the Revolution
Liang Heng
4.00
Flo
98
Disgrace
JM Coetzee
4.00

99
Foreign Bodies
Hwee Tan
4.00
Kat Yip
100
Norwegian Wood
Haruki Murakami
4.00
Iris
101
The White Hotel
DM Thomas
2.00

102
Letter to Alice
Fay Weklon
2.00

103
A Flag of the Island
VS Naipul
2.00

104
Finding the Centre
VS Naipul
2.00

105
Among the Believers
VS Naipul
2.00

106
The Mimic Men
VS Naipul
2.00
Thulsi
107
In a free State
VS Naipul
2.00

108
The Return of Eva Peron
VS Naipul
2.00

109
India: A Wounded Civilasation
VS Naipul
2.00

110
Without a doubt
Marcia Clark
3.00
Flo
111
Sons and Lovers
DH Lawrence
1.00

112
Apocalypse
DH Lawrence
2.00
Flo
113
Three Novelles
DH Lawrence
2.00
Flo
114
Lady Chatterley's Lover
DH Lawrence
3.00
Flo
115
Women in Love
DH Lawrence
2.00
Flo
116
The Four Faces
Han Suyin
4.00
S.Hoong
117
Cast but one shadow & Winter Love
Han Suyin
4.00
S.Hoong
118
The Enchanteress
Han Suyin
4.00
S.Hoong
119
A Mortal Flower
Han Suyin
2.00
S.Hoong
120
A memoir of Han Suyin
GM Glaskin
3.00

121
Inside the Whale
George Orwell
4.00
Flo
122
Decline of the English Murder
George Orwell
4.00
Thulsi
123
Homage to Catalonia
George Orwell
4.00
Flo
124
Nineteen Eighty Four
George Orwell
4.00

125
Down & Out in Paris & London
George Orwell
4.00
Flo
126
Animal Farm
George Orwell
4.00

127
The Malayan Trilogy
Anthony Burgess
4.00
Oca
128
Earthly Powers
Anthony Burgess
4.00
Flo
129
A Clockwork Orange
Anthony Burgess
2.00
Flo
130
First Loves
Philip Jeyaretnam
2.00

131
The Crow Eaters
Bapsi Sidhwa
3.00
Flo
132
Herzog
Saul Below
4.00
S.Hoong
133
Things invisible to see
Nancy Willard
2.00
Flo
134
The Stolen Child
Colin Cheong
3.00
Flo
135
Notes from a small Island
Bill Byson
4.00

136
World's End
Paul Theroux
4.00
S.Hoong
137
The Kingdom by the Sea
Paul Theroux
4.00
S.Hoong
138
Financial Free (1)
Edmund Cheah & Co
2.00

139
Financial Free (2)
Edmund Cheah & Co
2.00

140
Follow your Heart
Andrew Matthews
3.00

141
Make all Things New
Anna Pearce
2.00
Flo
142
Simply Living
Anna Pearce
5.00

143
How to Teach your baby to Swim
Claire Timmerman
2.00

144
At the Court of Pelesu
William R. Roff
4.00
Flo
145
The Great Depression of 1990
Dr. Ravi Batra
2.00
Flo
146
The World's Religion
Sir Norman Anderson
2.00
Flo
147
Hour of Assasins
Cecil Rajendra
2.00

148
Waiting for Godot
Samuel Beckett
2.00
S.Hoong
149
Halfway Road, Penang
Ghulam-Sarwar
2.00
S.Hoong
150
The Malay Dilemma
Mahathir Mohd
4.00
Flo
151
Street of the Small Night Market
Sylvia Sterry
3.00

152
The Frist-Book Market
Jason Shinder
5.00

153
The Menopause, HRT & You
Caroline Hawkridge
3.00

154
The Better Man
Anita Nair
4.00

155
The Demon-Haunted World
Carl Sagan
3.00

156
Asia Tenggara
EHG Dobby
3.00

157
Once Upon a More Enlightened Time
James Finn Garner
3.00
Flo
158
Nineteen Eighty-four
George Orwell
3.00
Charm
159
The woman who walked into doors
Roddy Doyle
3.00
Flo
160
A Bamboo Flower Blooms
John Tan BL
5.00

161
Venice in Color
Lorreta Santini
4.00

162
Assisi and the Basilia of St Francis
Renzo Chairelli
4.00
Charm
163
A Tour of China

4.00

164
Urbino
Luciano Giamboni
4.00

165
Rome & Vatican
Loretta Santini
4.00
Charm
166
History of the World
JM Roberts
5.00
Melanie
167
The Romans in Britain
Howard Brenton
2.00
Flo
168
The Cultural Melting Pot
Robert Tan
1.00
Flo
169
Figments of Experience
Goapl Baratham
3.00

170
Singapore Chinese
SH Tan
2.00
Flo
171
Bedroom Bloopers
Gyles Brandreth
1.00

172
The Dead Sea Scrolls Deception
Michael Baigent
4.00
Flo
173
North-East Asia
Lonely Planet
4.00

174
Bali Handbook
Bill Dalton
4.00
Melanie
175
Malaysia, S'pore & Brunei
Lonely Planet
4.00

176
A Modern Guide to SYNONYMS
Readers Digest
8.00
Melanie
177
Living & Leading with limitations
Wong Kim Kong
4.00

178
The Eye of the Needle
Roy Mc.Cloughry
4.00
Flo
179
Believers in Business
Laura L Nash
6.00
Flo
180
Choices of a lifetime
Stuart Briscoe
5.00
S.Hoong
181
Where is God when it hurts
Philip Yancey
5.00
Benny
182
Drunk before Dawn
Shirley Lees
5.00
Flo
183
The Purpose Driven Life
Rick Warren
5.00
Benny
184
Passion and Purity
Elisabeth Elliot
5.00

185
The Final Boundary
Adrian Plass
2.00

186
You are what you think
David Stoop
5.00
Thulsi
187
The Gnostic Gospel
Elaine Pagels
4.00
Flo
188
The 7 Seasons of a man's Life
Patrick M. Morley
12.00
Flo

(a set of 4 books)



189
Wisdom to live by
Roland Chia
2.00

190
My Utmost for His Highest
Oswald Chambers
4.00

191
Half time
Bob Buford
4.00

192
A Spiritual Healthcheck of the church
NECF
3.00

193
Prophets & Personal Prophecy
Dr.Bill Hamon
8.00

194
Becoming a Contagious Christian
Participant Guide
1.00

195
Hot Topics Tough Questions
Bill Myers
4.00

196
Sucessful Home Cell Groups
Dr. David Yonggi Cho
5.00

197
Experiencing God
Henry T. Blackaby
10.00

198
Preparing for Adolescence (w/book)
Dr. James Dobson
10.00

199
Bound by Honor
Gray & Greg Smalley
5.00
C.Quah
200
The 7 Habits of Highly Efficient Family
Stephen Covey
5.00
Melanie
201
Writer's Little Book of Wisdom
John Long
2.00
Eszura
202
Parent's Little Book of Wisdom
Buck Tilton
2.00

203
You just don't Understand
Deborah Tannen
4.00

204
Baby Making Technology & Ethics
Susan Downie
4.00

205
Real Boys
William Pollack
10.00
C.Quah
206
Bringing up boys
Dr. James Dobson
6.00
Melanie
207
Getting Ready to Read
Betty D Boegehold
5.00

208
The Too Precious child
Lynne Williams
3.00
Flo
209
How to develop your child's gifts &
Martha Cheney
10.00
Melanie

Talents in Volcabulary



210
How Children Learn
John Holt
4.00
Melanie
211
Letting go
Robin Kriegsman
4.00
Flo
212
Give your child a superior mind
Siegfried & T. Engelmann
4.00

213
How to raise a brighter child
Joan Beck
4.00

214
Love is never enough
Dr. Edward Chan
3.00
Charm
215
Why Men Don't Listen
Barbara & Allan Pease
5.00
Charm
216
The New Hide and Seek
Dr. James Dobson
10.00
Charm
217
I love you by why are we so different
Tim Laltaye
6.00
Charm
218
You can teach your child Sucessfully
Ruth Beechick
10.00
S.Hoong

(grades 4-8)



219
He hit me first (when Bros & Sis
Louise Bates Ames
4.00
Melanie

fight)



220
How to survive the Male Menopause
Geoffrey Aquilina Ross
3.00

211
Trends Magazine
Home & Apartment
2.00
Way Wen
212
Trends Magazine
SEA Kitchen
2.00
Way Wen
213
The NAUI Textbook
Entry Level Scuba Diving
2.00
Way Wen
Children Books
1
AOP Bible Grade 8 Unit 5
AOP
10.00
2
Learning Language Arts thru Litt
Tan Book
60.00

(Student and teacher set)
3
Piano Lesson Made Easy - Lina Ng
Level 2
1.00
4
Piano Handbook (LCMM)
Grade 5
2.00
5
Piano Handbook (LCMM)
Grade 6
2.00
6
Theory Workbook (ABRSM)
Grade 6
5.00
7
More Piano Time
Pauline Hall
2.00
8
Tunes you like Bk 1
Mark Nevin
1.00
9
The Concise Illustrate Book of Dinosaurs
Rupert Matthews
3.00
10
Digimon
A Ryan Nerz
2.00
11
The Little Prince
Antione De SE
4.00
12
Nature


Thulsi
13
The best of Sentimental hits V1
3.00
14
Piano Pieces for Children
Series No.3
15.00
15
Favorite Piano Solos V1
3.00
C.Quah
16
Favorite Piano Solos V3
3.00
C.Quah
17
The Ultimate Show-me-How Activity Bk
10.00
18
Happy Prince & other
Oscar Wilde

Thulsi

BOOKS FOR SALE

I'm moving on to another phase :) and clearing out my personal library. Here's part of my 28 yr collection going at garage sale prices. Pick up personally, please. (Can't be sentimental about things...~sigh~)

Novels/Books for Sale (Part 1)

Item No
Title
Author
Price RM

1
The Opposite of Fate
Amy Tan
6.00
2
The Kitchen God's Wife
Amy Tan
3.00
3
Joy Luck Club
Amy Tan
3.00
4
An Artist of the Floating World
Kazuo Ishiguro
4.00
5
The Remains of the Day
Kazuo Ishiguro
4.00
6
Confession of a Mask
Yukio Mishima
4.00
7
Memories of a pure Spring
Duong Thu Huong
4.00
8
Novel without a Name
Duong Thu Huong
4.00
9
Paradise of the Blind
Duong Thu Huong
4.00
10
The Famished Road
Ben Okri
5.00

11
Modern Malaysian Chinese Stories
LVSingho & Leon Comber
3.00
12
Malaysian Short Stories
Lloyd Fernando
3.00
13
Flowers in the Sky
Lee Kok Liang
2.00
14
Songs of Innonce & Experience
William Blake
1.00
15
Wild Swans
Jung Chang
5.00
16
Lord of the Rims
Sterling Seagrave
5.00
17
Madame Bovary
Gustave Flaubert
4.00
18
The Christmas Book V1
Charles Dickens
3.00
19
The Christmas Book V2
Charles Dickens
3.00
20
Collected Short Stories V4
W.Somerset Margham
2.00

21
Two years in the Melting Pot
Liu Zong Ren
5.00
22
Love & Vertigo
Hsu- Ming Teo
5.00
23
War at Work
Khoo Kheng-Hor
2.00
24
Heaven Can Wait
Tal Ben-Shahar
1.00
25
Bethany
Anita Mason
3.00
26
Two Cities
Neil Shee Hen
2.00
27
A Book of Five Rings
Miyamoto Musashi
3.00
28
Admiring Silence
Abdul Razak Gurnah
3.00
29
An Equal Music
Vikram Seth
3.00
30
The Art of War
Graham Brash
2.00

31
Heroes
Karim Raslan
4.00
32
The Republic of Wine
Mo Yan
4.00
33
The House of Blue Magoes
David Davindar
5.00
34
A Potrait of the Artist as a young man
James Joyce
3.00
35
Lord Arthur Savile's Crime
Oscar Wilde
2.00
36
Face Off
Sabri Zain
3.00
37
Faith Lies
Jeffrey Lin Sui Yin
5.00
38
A Visitation of Sunlight
Aaron Lee S. Yong
3.00
39
Testing the Silence
Alvin Pang
3.00
40
Echoes of Silence
Chuah Guat Eng
5.00

41
Silverfish New Writing 1

4.00
42
Silverfish New Writing 2

4.00
43
Silverfish-Short Stories 3

4.00
44
Sir Vidia's Shadow
Paul Theroux
6.00
45
Life & Death in Shanghai
Nien Cheng
4.00
46
Hitler: a study in tyranny
Alan Bullock
2.00
47
Crime and Punishment
Fyodor Dostoevsky
2.00
48
The Bone People
Keri Hulme
2.00
49
Watership Down
Richard Adams
2.00
50
Jane Eyre
Charlotte Bronte
4.00

51
Wuthering Heights
Charlotte Bronte
4.00
52
Far from the Madding Crowd
Thomas Hardy
2.00
53
The Prince
Niccolo Machiavelli
2.00
54
Amsterdam
Ian Mc Ewan
4.00
55
Love in the time of Cholera
Gabriel G. Marquez
4.00
56
The Quiet American
Graham Green
4.00
57
A Memoir of the Craft on Writing
Stephen King
4.00
58
The Crocodile Fury
Beth Yahp
4.00
59
Soul Mountain
Gao Xingjian
5.00
60
Daughter of China
Meihong Xu
5.00

61
Pavilion of Women
Pearl S. Buck
1.00
62
The Good Earth
Pearl S. Buck
1.00
63
The Hidden Flower
Pearl S. Buck
1.00
64
Come, My Beloved
Pearl S. Buck
1.00
65
Against the Grain
Shirley Geok-Lin Lim
10.00
66
Among the White Moonfaces
Shirley Geok-Lin Lim
4.00
67
Joss & Gold
Shirley Geok-lin Lim
5.00
68
Memoirs of a Geisha
Arthur Golden
3.00
69
S.E. Asia Write Back -1
Skoob
5.00
70
The Pen is Mightier than the Sword -2
Skoob
5.00

71
The Jungle is Neutral
F. Spencer
3.00
72
Pride & Prejudice
Jane Austen
4.00
73
The Wave
Morton Rhue
2.00
74
Eight Plays
Huzir Sulaiman
10.00
75
Eldest Son
Han Suyin
10.00
76
The last time I saw Mother
Arlene J. Chai
5.00
77
Eating Fire & Drinking Water
Arlene J. Chai
5.00
78
Tales fr the South China Seas
Charles Allen
5.00
79
From Poor Migrant To Millionaire
Chan Wing
1.00
80
Japan in the Passing Lane
Satoshi Kamata
3.00

81
Success and Succession
Frank WK Tsao
2.00
82
The Bride groom
Ha Jin
5.00
83
Man of the Family
Ralph Moody
5.00
84
Crossing Cultures
(Research Litt)
10.00
85
Stories for My Mother
Chong Sheau Ching
3.00
86
The Reader
Bernhard Schlink
5.00
87
From Prince to Prison
Raja Petra
2.00
88
Orwell
Raymond Williams
2.00
89
Lord of the Flies
William Golding
2.00
90
Rice
Su Tong
4.00

91
Paddy Clarke Ha Ha Ha
Roddy Doyle
5.00
92
The Merlion and the Hibicus
Series of Poems
5.00
93
Life of Pi
Yann Martel
5.00
94
Shame
Salman Rushdie
4.00
95
Sentenced to Death
Salman Rushdie
5.00
96
Imaginary Homelands
Salman Rushdie
6.00
97
Son of the Revolution
Liang Heng
4.00
98
Disgrace
JM Coetzee
4.00
99
Foreign Bodies
Hwee Tan
4.00
100
Norwegian Wood
Haruki Murakami
4.00


Novels/Books for Sale (Part 2)
No
Title
Author
Price

101
The White Hotel
DM Thomas
2.00
102
Letter to Alice
Fay Weklon
2.00
103
A Flag of the Island
VS Naipul
2.00
104
Finding the Centre
VS Naipul
2.00
105
Among the Believers
VS Naipul
2.00
106
The Mimic Men
VS Naipul
2.00
107
In a free State
VS Naipul
2.00
108
The Return of Eva Peron
VS Naipul
2.00
109
India: A Wounded Civilasation
VS Naipul
2.00
110
Without a doubt
Marcia Clark
3.00

111
Song and Lovers
DH Lawrence
1.00
112
Apocalypse
DH Lawrence
2.00
113
Three Novelles
DH Lawrence
2.00
114
Lady Chatterley's Lover
DH Lawrence
3.00
115
Women in Love
DH Lawrence
2.00
116
The Four Faces
Han Suyin
4.00
117
Cast but one shadow & Winter Love
Han Suyin
4.00
118
The Enchanteress
Han Suyin
4.00
119
A Mortal Flower
Han Suyin
2.00
120
A memoir of Han Suyin
GM Glaskin
3.00

121
Inside the Whale
George Orwell
4.00
122
Decline of the English Murder
George Orwell
4.00
123
Homage to Catalonia
George Orwell
4.00
124
Nineteen Eighty Four
George Orwell
4.00
125
Down & Out in Paris & London
George Orwell
4.00
126
Animal Farm
George Orwell
4.00
127
The Malayan Trilogy
Anthony Burgess
4.00
128
Earthly Powers
Anthony Burgess
4.00
129
A Clockwork Orange
Anthony Burgess
2.00
130
First Loves
Philip Jeyaretnam
2.00

131
The Crow Eaters
Bapsi Sidhwa
3.00
132
Herzog
Saul Below
4.00
133
Things invisible to see
Nancy Willard
2.00
134
The Stolen Child
Colin Cheong
3.00
135
Notes from a small Island
Bill Byson
4.00
136
World's End
Paul Theroux
4.00
137
The Kingdom by the Sea
Paul Theroux
4.00
138
Financial Free (1)
Edmund Cheah & Co
2.00
139
Financial Free (2)
Edmund Cheah & Co
2.00
140
Follow your Heart
Andrew Matthews
3.00

141
Make all Things New
Anna Pearce
2.00
142
Simply Living
Anna Pearce
5.00
143
How to Teach your baby to Swim
Claire Timmerman
2.00
144
At the Court of Pelesu
William R. Roff
4.00
145
The Great Depression of 1990
Dr. Ravi Batra
2.00
146
The World's Religion
Sir Norman Anderson
2.00
147
Hour of Assasins
Cecil Rajendra
2.00
148
Waiting for Godot
Samuel Beckett
2.00
149
Halfway Road, Penang
Ghulam-Sarwar
2.00
150
The Malay Dilemma
Mahathir Mohd
4.00

151
Stree of the Small Night Market
Sylvia Sterry
3.00
152
The Frist-Book Market
Jason Shinder
5.00
153
The Menopause, HRT & You
Caroline Hawkridge
3.00
154
The Better Man
Anita Nair
4.00
155
The Demon-Haunted World
Carl Sagan
3.00
156
Asia Tenggara
EHG Dobby
3.00
157
Once Upon a More Enlightened Time
James Finn Garner
3.00
158
Nineteen Eighty-four
George Orwell
3.00
159
The woman who walked into doors
Roddy Doyle
3.00
160
A Bamboo Flower Blooms
John Tan BL
5.00

161
Venice in Color
Lorreta Santini
4.00
162
Assisi and the Basilia of St Francis
Renzo Chairelli
4.00
163
A Tour of China

4.00
164
Urbino
Luciano Giamboni
4.00
165
Rome & Vatican
Loretta Santini
4.00
166
History of the World
JM Roberts
5.00
167
The Romans in Britain
Howard Brenton
2.00
168
The Cultural Melting Pot
Robert Tan
1.00
169
Figments of Experience
Goapl Baratham
3.00
170
Singapore Chinese
SH Tan
2.00

171
Bedroom Bloopers
Gyles Brandreth
1.00
172
The Dead Sea Scrolls Deception
Michael Baigent
4.00
173
North-East Asia
Lonely Planet
4.00
174
Bali Handbook
Bill Dalton
4.00
175
Malaysia, S'pore & Brunei
Lonely Planet
4.00
176
A Modern Guide to SYNONYMS
Readers Digest
8.00
177
Living & Leading with limitations
Wong Kim Kong
4.00
178
The Eye of the Needle
Roy Mc.Cloughry
4.00
179
Believers in Business
Laura L Nash
6.00
180
Choices of a lifetime
Stuart Briscoe
5.00

181
Where is God when it hurts
Philip Yancey
5.00
182
Drunk before Dawn
Shirley Lees
5.00
183
The Purpose Driven Life
Rick Warren
5.00
184
Passion and Purity
Elisabeth Elliot
5.00
185
The Final Boundary
Adrian Plass
2.00
186
You are what you think
David Stoop
5.00
187
The Gnostic Gospel
Elaine Pagels
4.00
188
The 7 Seasons of a man's Life
Patrick M. Morley
12.00
(a set of 4 books)


189
Wisdom to live by
Roland Chia
2.00
190
My Utmost for His Highest
Oswald Chambers
4.00

191
Half time
Bob Buford
4.00
192
A Spiritual Healthcheck of the church
NECF
3.00
193
Prophets & Personal Prophecy
Dr.Bill Hamon
8.00
194
Becoming a Contagious Christian
Participant Guide
1.00
195
Hot Topics Tough Questions
Bill Myers
4.00
196
Sucessful Home Cell Groups
Dr. David Yonggi Cho
5.00
197
Experiencing God
Henry T. Blackaby
10.00
198
Preparing for Adolescence (w/book)
Dr. James Dobson
10.00
199
Bound by Honor
Gray & Greg Smalley
5.00
200
The 7 Habits of Highly Efficient Family
Stephen Covey
5.00

201
Writer's Little Book of Wisdom
John Long
2.00
202
Parent's Little Book of Wisdom
Buck Tilton
2.00
203
You just don't Understand
Deborah Tannen
4.00
204
Baby Making Technology & Ethics
Susan Downie
4.00
205
Real Boys
William Pollack
10.00
206
Bringing up boys
Dr. James Dobson
6.00
207
Getting Ready to Read
Betty D Boegehold
5.00
208
The Too Precious child
Lynne Williams
3.00
209
How to develop your child's gifts & Talents in Volcabulary
Martha Cheney
10.00

210
How Children Learn
John Holt
4.00

211
Letting go
Robin Kriegsman
4.00
212
Give your child a superior mind
Siegfried & T. Engelmann
4.00
213
How to raise a brighter child
Joan Beck
4.00
214
Love is never enough
Dr. Edward Chan
3.00
215
Why Men Don't Listen
Barbara & Allan Pease
5.00
216
The New Hide and Seek
Dr. James Dobson
10.00
217
I love you by why are we so different
Tim Laltaye
6.00
218
You can teach your child Sucessfully
Ruth Beechick
10.00

(grades 4-8)

219
He hit me first (when Bros & Sis fight)
Louise Bates Ames
4.00

220
How to survive the Male Menopause
Geoffrey Aquilina Ross
3.00

211
Trends Magazine
Home & Apartment
2.00
212
Trends Magazine
SEA Kitchen
2.00
213
The NAUI Textbook
Entry Level Scuba Diving
2.00

(Awfully revealing don't you think? :) )

DESIGN OR BUILDABILITY? STUDIO OR PRACTICE?

(BLTN…)

This is in response to the vibrant discussion on Studio Vs Practice. I rather enjoyed the throw outs by everybody. And my excuse for the silence was the prep for start of sem.. hehe.

I don’t really want to broaden the discussion. Great points have odi been made. Just want to throw in my simple way of seeing things and then close the Fido Anecdote.

Conceivably, there are 3 types of buildings:
1. Buildable and Built Buildings
2. Buildable but Unbuilt Buildings, &
3. Unbuildable Buildings

Those of us from Melb and here who are pretty focused on Type 1 sound like ppl who’ve seen the light, or something, after moving on. And really, there is great wealth in that arena. I’m not trying to be punny: Wealth monetarily as well as epistemologically. Carry on, I say, carry on---it’s a wonderfully exciting adventure. Most of the precedents that inform our education in architecture (as far as schools of architecture go, as opposed to liberal arts faculties) are Type 1 buildings. And it is not true that Built Buildings have no “design”.

There is a great deal of Type 2 buildings around, in the Studio and in Practice. Ask any architect. Yes, there are shelved schemes in the drawer (hardisk) that the economy, the fickle client or competition jury set aside. Brilliantly designed and detailed though they may be. No? Yes, most 5th Year Thesis projects belong to this category, too.

Those of us who feel an attraction for Type 3 buildings need not apologise for it, nevertheless. That your colleagues may not share your access to something so esoteric and unfathomable, do not understand their value, should not deter us. Because they shed so much light on the murkiness that is the muddied attempts at design in Type 1 and 2 buildings. Pragmatically, you need to be astute as you analyse your educational programme for crevices or plateaus which allow you to explore and place your Type 3 buildings.

At the end of the process that is Architectural Education, it is more than likely that you will be unable to divorce the Buildable from our “Unbuildable”. You will somehow see all 3 types in each of the projects you have designed. And we all hope that we will carry the holistic thing into practice. Reality, I reckon, is friendlier to the messy than the pure.

Oca, with his wonderful wit, has a way with metrical writing. I’ll just piggy back on him.

studio is studio…and practice is practice?
Some reckon studio is the practising for practice

My classmate who told me the Fido story never said which sch it occurred in. I would personally grade the guy A+ for wit, for the simple act opens up a whole world of discussion on animal rights, recycling, economy of means, brief expansion, etc. But I reckon he would earn a D or E for deliverables, unless he had videoed and packaged the performance…

In any case my classmate said the guy failed the project.

Design Studio 3 - Grandmother Stories

When Mr Ian and Mr Keith asked us to sketch what we think is the most memorable part in both our house and our grandmother's house as the first task, it only took me one second to figure them out.

The window on the left is in my sister's room, not my room, but I always adore it the most. In the morning, the see-through gordyn frames the beauty of morning light and waves to the soft flow of the early wind. It is very memorable because I always look to it every morning and it is beautiful. The sad part is I hardly ever sit by the window, enjoying the beauty of it.

The picture on the right is the view from the inside of the house facing the main gate of my grandmother's house, which is located in Chinatown and is about 70 years old. It is very memorable because every Chinese New Year, the big family would gather at the house, all the sons, daughters, grandchildren, relatives, and friends; and the door becomes one wonderful beauty. A lot of shoes and sandals would pile up by the door, scattered, picturing the togetherness of the family at that particular time of celebration.

The window is a beauty by itself, looking all good with its design without being used, but the door is even more of a beauty: the door ties our memories of every Chinese New Year celebration we've had together all these years, a memory that will be cherished, timelessly.

Ipoh Digital Art n Photography Gallery

Project: Digital Art n Photography Gallery

Site: Jalan Panglima

Tutor: Mr Ian

Studio 3 - Leisure Pursuit

Posting this on behalf of Jun Wai.

Project: Leisure Pursuit, Ipoh
Function/Programme: fishing, wall climbing, product retail, and restaurant
Site: End of Jalan Panglima, along the riverbank
Project Tutor: Pn Haz

Deg Studio 3 Project 1 Brief

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN
Centre for Modern Architecture Studies in Southeast Asia
ARCHITECTURAL DESIGN STUDIO 3 [ARC 2116]
Prerequisite: Architectural Design Studio

Project 1
PRECEDENT STUDIES: Analysing spatial poetics, spatial typologies and programming in architecture (Group work)
3 weeks
15% of final mark

Architectural Design Studio 3 is designed as a series of studio-based exercises leading to the design project for the Eight International Student Design Competition 2010 with the theme ‘A memorial to a Memorable Event: Making Manifest the Memory’ organised by The Commonwealth Associations of Architects (CAA).

[Caption for illustration on original brief document: The sheer scale of loss in the 2004 tsunami is beyond comprehension, and certainly, beyond any type of direct architectural representation. Our proposal for the memorial therefore does not attempt to index the event literally, but rather through abstraction. It is a landform rather than an object, an experience rather than a focal point. It is a space which relates to the mystery and power and dynamics of nature as much as to the human impact of the event.
Tsunami Memorial Centre @ Khao Lak ]

As part of this, the objective of Project 1 is to identify and analyze functional needs and spatial poetics through precedent studies. The main aim is to analyse and compare 2 selected architectural precedents, (1) commemoration of memories in relation to architecture & landscape; (2) commemoration of memories through built forms and spaces.

Each group of students is to analyse and compare the spatial poetics, spatial typology and programming of the selected precedents. The analysis and comparison of the design approaches for the open landscape and the built spaces will inform the preceding design projects for the remaining semester. Thus, the selection of precedents is should be critical and inspirational.

Learning Outcomes

1. Explain different spatial types in architecture, and how they inform spatial use and experience
2. Identify and analyze functional and poetic needs through case studies to inform the design project

Tasks

In groups of 3-4 students, select 2 precedents for analysis: (1) a memorial architecture that relates to the open landscape and (2) the other which relates to architecture and built spaces. The precedent study should provide the following analysis:

SPATIAL TYPOLOGIES
How are the spaces organised or arranged?
How did it inform the way spaces are used, moved through and experienced?
See Francis D.K. Ching’s Form, Space & Order & Purves’ Formal Patterns

PROGRAMMING: What are the breakdown of areas and their functions? How are the spaces related?

SPATIAL POETICS
What are the design strategies employed to commemorate the memories/event?
How are the spaces articulated in terms of the poetics, sensuality and tactility of architectural spaces?
· Spatial types (how did the spatial typology used influenced the way spaces were experienced?)
· Flow of experience (identify key circulation/journey, and select at least 5 experiential spaces to study). For each space, study the following: Engagement with senses; Manipulation of light and its effects on space (natural & artificial); Texture and materiality; Scale and proportion of spaces (in relation to human)
· Co-relate the plan to one of the most interesting section of your selected building. Study the section and analyse how it is designed. Comment on the relationship between inside/outside, volumes and scale of space, variation and hierarchy of spaces
See Steven Holl’s Questions of Perception: The Phenomenology of Space & Juhani Pallasmaa’s The Eyes of the Skin

Subsequent to your analysis of each precedent, compare the manner in which memories are commemorated in the open landscape and the built spaces

Use diagrams, photos and minimal annotations to illustrate your analysis. The analysis should be presented in a power-point presentation of approximately 20 minutes per group. Submit a soft copy in CD on the day of presentation.


Assessment criteria

Clarity of analysis
Extent & Depth of analysis
Evidence of research in the formulation of analysis
Use of computer programs to prepare for visual presentation
Professionalism & quality of presentation
Ability to work as a team


References

Published texts
D.K. Ching, F. 1993. Architecture: Form Space and Order (2nd ed.). Van Nostrand Reinhold
· Gregory, Rob. 2008. Key Contemporary Buildings. Laurence King Publishing Ltd, London.
· Holl, Steven. 1994. Questions of Perception: Phenomenology of Architecture, eds Steven Holl, Juhani Pallasmaa, Alberto Perez-Gomez, A+U
Pallasmaa, Juhani. 2005. The Eyes of the Skin: Architecture and the Senses. John-Wiley and Sons Ltd: Great Britain
Purves, Alexander. 1982. The Persistence of Formal Patterns, in Perspecta, Vol. 19, pp. 138-163


Timeline and Schedule

Week 1

4 Aug Subject Introduction and Project No. 1
Introduction to Project No. 1 & Selection of cases for study
6 Aug Precedent study

Week 2

11 Aug Precedent study

13 Aug Precedent study

Week 3

18 Aug Precedent study

20 Aug Precedent study Submission Project 1 15%

Deg Studio 3 Course Outline

(Hi Veron! Hope you're fine. We're all ok at the studio...Got off to a roaring start and we've odi selected our bld and landscapes for precedent study..hehe)

Dear Students, as BB7 is still not up yet your course outline and brief for Project 1 is posted here.

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN
Centre for Modern Architecture Studies in Southeast Asia
ARCHITECTURAL DESIGN STUDIO 3 [ARC 2116] Prerequisite: Architectural Design Studio

Abstract

In the subject, students are introduced, firstly, to spatial typologies in architecture; and secondly, the importance of site context and the meaning of place in design. 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 which 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) 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.

Objectives

To develop awareness of a wider place, a genius loci (town, countryside, coast), and the design response towards the place.
To emphasise the importance of site and program in architectural design.
To introduce different spatial typologies in architectural design (spatial organisation and relationships).
To emphasise the importance of section in the design of architectural space.

Learning Outcomes

Upon successful completion of the subject, students will be able to:
1. Identify and explain different spatial types in architecture, and how they inform spatial use and experience
2. Identify and analyze functional and poetic needs through case studies to inform the design project
3. Create tectonic expressions of different spatial typologies which impact on the uses and experiential conditions of space
4. Generate design through conscious consideration of section-plan relationship with considerations of human scale, natural light, materiality and textures
5. Produce site analysis which document, interpret and analyze the physical conditions of the site and ‘genius loci’ of place
6. Formulate simple programmatic requirements based on the given design brief
7. Design a small scale community building which response to the site (site topography, history and socio-cultural events), functional program and users’ experiences
8. Produce drawings (both 2D and 3D), modelling and verbal presentation to communicate and visualize architectural design and ideas.
Mode of Delivery
This is a 6 credit hour subject held over 14 weeks. The mode of delivery will be in the form of Studio and Self-Study. The breakdown of the hours is as follows:

Studio: 12 hours/week

Lecturers: Dr. Veronica Ng (VN), Ar. Ian Ng (IA) (PT), Anand Krishnan (AK)

Contact details are as follows:

1. Dr. Veronica Ng email ng.foongpeng@taylors.edu.my

2. Ar. Ian Ng blog http://studio2006blogspot.com
email asng21@yahoo.com

3. Anand Krishnan email krishnanv3@gmail.com

Student-Centered Learning Approach

A student-centered approach will be employed in the delivery of this unit. The Studio sessions will be conducted to facilitate students in the design and design process.
· The Studio is significant for the development of design works. The Studio will engage in different forms of teaching & learning methods which includes Exercises for your design projects, Peer Critiques and Review of Projects.
· As each studio session is set to achieve different milestones, attendance to all sessions is compulsory.
· Students should be self-directed in their design process, and work vigorously on their design projects within studio hours. The design tutor will facilitate your learning process.
· Students are required participate in interim reviews and pin-ups. This is compulsory and leads to the final assessment of each project.

BB7 will be used as a communication tool and information portal for students to access course materials, project briefs, assignments and announcements.

References

1. Antoniades, A. 1992. Poetics of Architecture. Van Nostrand Reinhold.
2. D.K. Ching, F. 1993. Architecture: Form Space and Order (2nd ed.). Van Nostrand Reinhold.
3. Gregory, Rob. 2008. Key Contemporary Buildings. Laurence King Publishing Ltd, London.
4. Franck, Karen A. 2007. Architecture from the Inside Out: From the Body, the Senses, the Site and the Community. Wiley & Sons
5. Holl, Steven. Questions of Perception: Phenomenology of Architecture, eds Steven Holl, Juhani Pallasmaa, Alberto Perez-Gomez, A+U
6. Norberg-Schulz, Christian. 1980. Genius Loci: Towards a Phenomenology of Architecture. Rizzoli, London.
7. Purves, A. 1982. The Persistence of Formal Patterns, in Perspecta, Vol. 19, pp. 138-163.

Assessments

This course will be graded in the form of coursework. It will consist of 2 projects and a portfolio submission.

The design work in Architectural Design Studio 3 is developed from a competition brief for the Eight International Student Design Competition 2010 with the theme ‘A memorial to a Memorable Event: Making Manifest the Memory’ organised by The Commonwealth Associations of Architects (CAA). At the end of this semester, student works will be shortlisted for submission to this competition in January 2010. Information on the competition is available at the following web address:
http://www.comarchitect.org/award_student_2010.htm

Project 1 PRECEDENT STUDIES: Analysing spatial poetics, spatial typologies and programming in architecture (Group)
The main aim of Project 1 is to introduce different spatial typologies in architecture, and how they inform spatial use and experience through precedent studies. Working in groups, you are to analyse and compare 2 selected architectural precedents. You are to select (1) an architecture that emphasise on commemoration of memories in relation to architecture & landscape; and (2) an architecture that emphasises on commemoration of memories through built forms and spaces. The analysis and comparison of the design approaches for the open landscape and the built spaces will inform the preceding design projects for the remaining semester.

Project 2 ‘A memorial to a Memorable Event: Making Manifest the Memory’
Subsequently, Project 2 consists of 3 assignments:

Assignment 2a (Group)
DISCOVERING THE PAST EVENT AND THE SITE
The main aim of Project 2a is to identify and analyse suitable site context for design exploration. In groups, investigate potential past event in Malaysia for design exploration. Carry out a thorough research and site analysis for the selected event.

Assignment 2b (Individual)
MEMORY & SITE/LANDSCAPE: MANIFESTING MEMORY THROUGH ARCHITECTURE IN THE LANDSCAPE
The main aim of Assignment 2b is to introduce simple site context (open landscape) as a significant aspect which shape architectural design. Individually, design memorial spaces within the open landscape to commemorate a significant past event selected in Assignment 2a. This design project should apply knowledge gained from precedent studies in Project 1. It emphasises on the relationship between architecture and landscape in architectural design to engage with the use and the user experience/senses.

Assignment 2c (Individual)
THE VISITOR INTERPRETIVE CENTRE FOR A SELECTED MEMORABLE EVENT
Assignment 2c explores architectural response to the selected event within the context of the site and programmatic requirements of a visitor interpretive centre. The purpose of the visitor centre is to showcase interpretive material related to the event and commemorate a selected event within the given locale. The project should apply the knowledge gained from Project 1, particularly organising and articulating spaces and the sensuality and poetics of space to inform user’s experiences within the architecture. Emphasis is given to design resolution integrating site, program and spatial poetics.

Taylor’s Graduate Capabilities (TGC) Portfolio

The portfolio is an edited document that is to include all the work produced in this unit. It should demonstrate the student’s learning process and outcomes.
Type of assessment and feedback
Each student will be graded in the form of formative and summative assessments. Formative assessments will provide information to guide the student in the design process. This form of assessment will be conducted through Interim Critique/Review sessions. Summative assessment will inform the student about the level of understanding and performance capabilities achieved at the end of each design project.


Attendance and Participation

Your attendance is compulsory. You are expected to attend and participate actively in class. The lectures and tutorials will assist you in expanding your ideas and your project progression.

Your work will be graded based on your performance throughout the semester. Your class participation is as important as the end product.

You are required to do your work in the studio, which is the most productive design environment.

Please adhere to the studio critic hours and submission requirements during classes.

Each of your presentation in the studio critic hours will be graded and calculated as part of your final grade.

Rules and Regulations

The School imposes a late submission penalty for work submitted late without a valid reason, which must be supported by relevant documentations, e.g. a valid medical certificate. A student MUST notify the Programme Director within 48 hours to ensure that the Board of Examiners is notified of the evidence. The evidence will assist the Board to reach a fair consensus and action.

Any work submitted after the designated dateline shall have the percentage grade assigned to the work on face value reduced by 10% for the first day and 5% for each subsequent day late. A weekend (Saturday and Sunday) counts as 1 day.

However, the lecturer(s) reserves the right to NOT accept work submitted more than 1 week late.

Class will officially begin as in the schedule. Any student who arrives late after the first half-hour of class will be considered as absent. Any medical certificate must be forwarded to the lecturer in case of any sickness, which prohibited you from attending the class.

Plagiarism will be taken as a serious case and will result in failure of the course.


This course outline is subjected to changes at short notice.

Studio 3 - Chinese Chess Centre

I'm posting this on behalf of Choong Wai.

Project: Chinese Chess Centre, Ipoh
Site: Old Man's site
Project tutor: Mr Keith Tan

Studio 3 - Lat's Centre

First of all, this has nothing to do with the discussion that is going on excitingly here recently. I'm posting this up here due to Ian's request and I apologise for the long delay.

Project: Lat's Centre @ Ipoh
Function: Exhibition gallery + bridge connecting the old and new town for public
Location: End of Jalan Panglima, along the riverbank
GFA: around 650m²
Project tutor: Ar. Ian AS Ng

Special thanks to Ian for guiding me throughout the whole project. :D

MY STUDIOS for JUL 2009

Just a brief announcement that I'll be doing

Dipl Studio 3 Tues & Thurs 800-1200h (start 28 Jul) and

Deg Studio 3 Tues & Thurs 1300-1900h (start 4 Aug).

See you Guys!

My apologies for earlier announcing that I'd be doing Dipl Studio 4. There was a reshuffle after that.

Design Studio or Buildable Building Studio??

Hi Richard,

I didn't bother reading the rest of your post after you've mentioned

"if studio cant teach u to make ur fancy ideas a reality then to me, u are just
(i want to say wasting time... but i do recognise the creative juice that
happens here...)..... but yes, in a way, u are wasting time"

I personally think Design Studio is called DESIGN studio for a reason.

I'm not quite sure what you meant by designing something that can be built. You mean in terms of cost? Structurally? Client don't like crazy ideas?

If everything is designed based on what's buildable..then everything will be so boring. There won't be new innovations..no new technologies. I believe that in today's world, almost nothing is too impossible to be built. Even if there's a problem building something, this is where engineers/architects work their butt of to solve the problem.

Or..tone down cuz client thinks it's too wild? Then it's just a matter of you presenting your crazy ideas to the client..and this is where you convince them. Even if the idea is rejected...fine then. This is where the tone down comes in play. But at least you did try to sell out that lil crazy idea. What if the client buys that crazy idea? Then..don't you think you'll so darn happy when your crazy ideas get to be built? You will never know man! At least you get to say 'I've tried'.

Then again..I don't quite understand what you meant by designing something that can be built.

But hey..if students should design something buildable..why not have a subject in school called buildable building studio instead of design studio??

Almost everything and anything can be built.

aite well if you havent read my post on my manifesto, then pls read that first, for some background, before u read this....

now, back to point 3 of my disclaimer

3) i do not discourage fancy ideas... neither do i condemn paper architecture. dreaming is good. but to realize your dream to built form and to get the world believing in your idea and willing to build it... now that's something. so yes, good architects are good negotiators in this prospect... (well, i will start a new post on this area...i'm in the mood..XD..)

yea ppl worship legends like mies, khan....jean utzon, libeskind....

but quite frankly, i feel pity for em... i seriously do... not that i have anything against them...but i feel that they deserve so much better than what they doing to themselves, that's all...

lemme tell u their story if u havent already know

louis khan... the great architect of light and sound... died a broke man... he died a broke man because he spent half his life financing his own ideas and getting them built... clients didnt wanna pay... so he foot the bill himself... yes yes, everyone in bangladesh loves the parliament house he built for them... yes yes, it was a great piece of architecture... yes yes, years later his son travelled the world to find his father's identity and made a documentary in the end... but so what? all that work... all that toil.... but you funded everything... yes a noble cause... a noble death... to be martyhered for architecture... but dont u think he deserved better? i mean if only he had the capacity to actually saw thru his designs without getting into debt.. wouldn't tht be much greater? dont u think he would have achieved more?

now lets move on to jean utzon... the amazing architect that designed the sydney opera house... but we all know (i hope u know) that he quit half way thru the project... why? because he didnt know how to handle the authorities... lost his power as architect of the project... the local council intervened... didnt wanna build what he designed... in the end his beautiful interior of the opera house didnt fall thru... what a shame.... seriously.... dun u think it would have been great that if he knew how to handle the authorities? and do you know that it is a breach of rights when the authorities behaved that way? he could have done something... but he didnt do much... or rather he wasnt prepared to avoid such things in the first place... sad isnt it? one of the greatest modern icon of the world.. yours but not yours... your design but you pulled out... your design but not entirely... your project but got stole over to some cheap architect who does not know how to appreciate your work and changes the interior...

now lets talk about libeskind... the high and mighty libeskind that everyone at Taylor's adore, thanks to architectural theory classes.... do u know the story behind freedom tower? do u know that the crappy design that is being build right now is not his design at all? he had a wonderful design... he won... but politics got in the way... he didnt anticipate that... wasnt ready for the heat... got bumped around by his client... had to fake smiles and shake cold hands in front of the media... working with a 'partner' who had no intention on working with him at all... neither had he had any intention on integrating his design with libeskind's...in the end the 'partner' won.... poor libeskind had no say in the end... sad, isnt it??

but hey, this is the very nature of our field... architects have the least protection rights in the professional world... look into it and u will find that our copyrights are super grey and not properly defined...

i have no problems with fancy ideas... i mean, ppl like Greg Lynn, Reiser Umemoto, Zaha Hadid, Tom Wiscombe, MAD Architects.... they are all fantastic architects... with fantastic design ideas... no doubt... but if u cant get it built... i find it a pity.. really...

and hence why i say studio should always emulate the real world... i have no problems tutors getting us to design crazy ideas... but i have a problem when students design with no idea how the design is going to be built.... i find it pointless sometimes, to spend so much time developing a dream building and scheme studio after studio, but then when u go out to the real world...OH... real world time, time to be 'real'...OH...kenot do crazy stuff now, 'real' world already...tone down tone down...be real be real... studio is studio practice is practice....honestly, it's nonsense...

if studio cant teach u to make ur fancy ideas a reality then to me, u are just (i want to say wasting time... but i do recognise the creative juice that happens here...)..... but yes, in a way, u are wasting time..... why not channel all that creative juice towards something buildable... it can be equally responsive and fantastic and still buildable.... OR if you wanna explore this fancy ideas..by all means go ahead.... but dont stop at designing... find out how to realize it....

cos unfortunately, that is usually the case... ppl will have fancy ideas... nice to look at... but then u look closer... u will realize that the designer had no idea how to really make it happen... again another paper architecture.... not that there is anything wrong.... just a bit pointless sometimes....

(but of cos, one can always argue that these are still ideas, yada yada yada... in near future, technology may allow for it to happen and so on... yea well ok.... but lets discover how to live peacefully on earth first before we look at the possibility of living on the moon, shall we?)

but in the end what i am trying to say is, parallel studio with practice... they are in fact the same thing... whatever u do now is almost the same as what u do in the future... and as u can see from the utzon and libeskind examples... it is more complicated when politics and legislations come into play...

i just feel that we can do better than keeping the 'purity' of students at school before they get tainted by the criterias of the real world... to me it's kinda naive... students needs to be aware of the circumstances ahead of em... they need to be aware that if they wanna explore, they gotta be ready to defend it... by all means go crazy, but know how to defend ur craziness... know how to carry it thru to the end... even in practice... then oni its worth while...

so in this respect i hope u understand what i mean when i say 'if your building dun get built then wats the point'....

and as u can clearly see in my manifesto, i am more than just getting the building built... (and in the spirit of transformers) there is more than meets the eye with me...=)

to jsopeh

haha... it's okay... i do see ur point... and i do admit that somewhere along the way i might have contradicted myself.... perhaps its because the conversation is so multifaceted...

but of course.. there are no absolutes in architecture... so in many ways u have misunderstood me...

so to give everyone a better idea of where i am coming from in terms of where i stand

here it is... my 1300 word manifesto i did this semester... i will let it speak for itself...

but before u read it, some disclaimer:

1) i am not trying to justify whatever i said in my previous post by posting this manifesto. i still stand by my word on treating studio as the real world

2) i ascertain that the problem is still simple. because we complicate it by looking at other things while in fact it has everything to do with our culture. tackle that then sustainability will not be an issue anymore.

3) i do not discourage fancy ideas... neither do i condemn paper architecture. dreaming is good. but to realize your dream to built form and to get the world believing in your idea and willing to build it... now that's something. so yes, good architects are good negotiators in this prospect... (well, i will start a new post on this area...i'm in the mood..XD..)

4) when i say dont be too critical, i didnt mean do not critic at all... OMGOSH ppl... please dont take things literally... if i didnt intend to suggest that we should be constantly learning, why would i say 'u might disagree with urself in the end'?....??? so aite, to clarify, dont be fixed on an idea just yet... cos in time u may disagree with urself... we live and we learn... and eventually u may discover a better truth....

5) the nature of a manifesto is that it doesnt necessarily have to lay down the method step one til step ten... it is to post an idea... a final destination so to speak... an ideal... but well yea... and hence, is always open for debate...=)

******

At the beginning of the nineteenth century we abandoned tradition, it's at that point that I intend to renew it because the present is built on the past just as the past was built on the times that went before it.

Adolf Loos

The decline of the institution of the family and the devastation it brings to our society is clearly reflected in the chains of undisputed problems and chaos we face today. The war in the Middle East and the current global financial crisis is the epitome of the failure of human values. The ever increasingly alarming effect of global warming is the direct result of an unsustainable lifestyle of the family unit all around the world. Therefore, there is a clear calling for the return of old values in family, religion and state across the globe. One has to understand that it has everything to do with our culture.

In the face of such atrocities, I believe that the only viable way that architecture can be able to be the sustenance of memory in a space of matter is through the study of the individual house. Since our first breath, mankind always had an innate desire to make sense of our existence. In efforts of trying to grasp the meaning of life, an order is formulated to counter the disorder that life brings. This order is reflected in our lifestyle, culture, religion, art and architecture. The family unit is and always has been the first of human order. And the house is the physical container that holds it together as well as the non-physical symbol of the entire order.

The house and its many forms is the reflection of our pragmatic and emotional reaction towards disorder. Architecture is particularly adapt to express this duality of the tangible and intangible aspects of a system of order. A courthouse for example is the pragmatic reaction towards law and order and also an emotional reaction towards social injustice.

Therefore, the architecture of the city started with the house. The house expands as the complexity of the family life increases. Certain branches of the house would specialize and form different entities by themselves, such as government, military, religious or commercial buildings. These diversified houses will then double and multiply and order themselves into what we know today as the city. The ordering of cities has then evolved into urbanism and town planning that is ultimately part of a nation building effort.

However, the house varies according to specific environments and time. Different localities and seasonal changes would call for different needs and hence, different responses. Out of the abundance of these variations come the different culture, lifestyle, politics and technology of the various localities. These four elements are important because together through time they form pockets of memories that collectively constitute the essence of the genius loci.

To be culturally sustainable and socially responsible, architecture must respond to these four aspects of the house,

Culture:

Every society comes with a root and a need to identify with that root. Most of the time it is religious and it has great ties with the constitution of the family. It is important to recognize and respect the culture of the place. Racial harmony and integration can be fostered through sensitivity to culture by design.

Lifestyle:

By articulating the spaces and the programs to work as a backdrop to the life contained therein according to the lifestyle, architecture takes a backseat and encourages the occupants to discover cultural sustainability by themselves through the interaction between space and man. Architecture be should less concerned with the form. Instead, the spaces between should add to the quality of life by capturing the memory of what was and the potential of what is to be.

Politics:

Architecture should reflect the politics of a particular time and space. It should never be regressive and de-contextualized. It should be about the here and now. It reflects the current identity of the place and it has the power to determine the direction of a nation. If a country is democratic then the architecture should reflect its politics to the full sense of the word. It should never be bias to any cultural or racial background. Whatever the politics standpoint may be, it has direct connections with the culture of the place and insensitivity to politics can disrupt the order.

Technology:

Architecture should reflect the technology of the particular time and space as well. Because architecture is about the long term inhabitation of space, technology places an important role in ensuring that the aesthetic life of architecture is as long as its material and physical life expectancy. Hence, technology should be seen as a mere tool for permanence in architecture and should not overrule the essence of the building which is to be culturally sustainable.

These four elements are crucial to the success of the building and without which there should be no architectural respond. It is through the study of culture and lifestyle that practical spaces and programs can be derived. The study of politics and technology will then justify the form and materials used to convey an architecture of joy and survival. The resultant architecture now becomes an identity that is unique to the genius loci of its locality and time. This whole process reflects the transformation of the physical house into a metaphysical symbol of order which is the home, a final destination of comfort and refuge for the harmonious inhabitation of man.

Frank Lloyd Wright’s Johnson Wax Building in Wisconsin, USA is a perfect embodiment of these principles. It is a direct responds to the core family values of the Johnson Family and their vision for the building to be a home for the workers of the Johnson Wax Company. A clear understanding of the working lifestyle of the staff at Johnson Wax informed Wright’s decision to design the grand cathedral of columns as the main work areas. The form and program of the building responds to both the politics of the surrounding environment and the organization of the corporate body. Wright’s clever manipulation of modern technology such as the use of the inverted pillars and the impression of the floating roof paved the way for the building to be timeless and relevant even till today. It evolved through time and become a monument of the neighborhood and contributed to the spirit of the place. Through its careful thought to all four aspects of the house, the Johnson Wax Building is undeniably a culturally sustainable building.

Therefore, let it be clear that I am not concerned with the various stylistic forms and methods in architecture. To me, the ultimate goal – home, is all that matters. I believe in the concept of identity in variety, where architecture has a specific identity that is a reflection of the genius loci and also a variety that consist of the human touch of the individual architects. This returns us the analogy of the house where architecture is evolutionary and ever learning and adapting. This allowed the birth of various architectural movements and styles that portrays the individual characteristics of the architects. Collectively, they are all part of the architectural order of cultural sustainability.

The study of the house is all about creating an alternative reality to the current global conditions that we now live in. it is a call for a paradigm shift amongst architects to get out of the narrow confides of ideology and into the broad fresh air of the real world. If we truly aspire to be a society that is culturally sustainable, it is time we question how people live, beginning with the house.

1300 words

this is in responds to the post made by KS

firstly, please dont treat this like a hate mail... it's just an opinion... i didnt respond to my previous posts cause some of you were getting hostile...@_@

anyway... moving on

well first thing first.. who are we to judge if a person is talented or not? and who are we to say that an untalented person will not make good architecture? cause then it will beg the question - what is good architecture?

what is good architecture? this question is debated thru history and is never resolved untill today.. it is like chasing the wind... a utopia that we architects always seek to achieve... but hey, even if u do achieve utopia and that 'good architecture', just because you are the one that conceived it, it's not good anymore... cos you yourself is not perfect... there will always be something negative about your approach.. always.. guarateed... so are you making bad architecture then? does it mean you are less talented? =)

as far as the way the system is structured...

i believe you do know that this problem is a worldwide problem in every architecture school.. it's relative.. subjective to whoever that beholds it. and it is the nature of our profession to be constantly under unfair scutiny. it is up to us to man up to the game, dust it off our shoulders and move on to the next challenge. if we can't take that, then well sorry dude, you're just not emotionally cut for it.

as far as i am concerned, we should always be mindful of the big picture. dont just focus on our little bubble of the architecture school. think about what will happen in the real world. think of your tutor as your client and your assignment as your multi-million dollar project. your ultimate goal is to get the building built and to satisfy your client.

in architectural practice (AP) you can't always hide from your client. you have to meet regularly with him. discuss ideas. get feedback. go back. work on it. come back. get screwed. go back and get unscrewed. come back and the process goes on. So, it IS our duty to see our tutors whether or not they say 'do whatever u want' or whether u think u are too talented and u dun need that lousy tutor. it IS the way it sud be. so if u get penalized for not showing up for tutorials, sorry la brother..

in AP you have timeline. a critical path that you have to stick to. coz if you dont follow it, your company loses money and your client gets cranky. so similarly, design is not an excuse. doesnt mean you have the most wonderful idea and talented idea then u have an excuse for not producing quality drawings and renderings and presentation. to me, that is the lamest excuse ever and most irresponsible excuse ever. we have been given a timeline, we should keep to it. yes i know it's hard. i struggle with it too. cos architects are perfectionist. but at some point we gotta say stop and move on to documentation (drawings)..

yes identity is important as a design school and SABD owes it to us to have a clear and consice vision. i agree. but it's not the school that defines u. it is U who defines yourself. it is YOU, thru study and research, find your niche and stick to it and brand yourself with it. again, big picture thinking.

yes external crits can be violent and hostile. but again, it is the nature of our course. we put up our best for the sleeziest people to chop. it is a sad fact but it is what makes us architects. it defines our character, builds our resolve, refines our approach and it causes us to rethink and reevaluate. well yea sure, it feels bitter. i understand. totally. but we need to learn to look at it in a holistic manner and take it in positively.

let me encourage us all to not be so affected by grades. tadao ando never entered architecture school. frank gehry was told by his architecture tutor to quit architecture cause it is 'not' for him... grades are not everything. what is more important is your identity

who u are as an architect is ultimately what makes or breaks u... it is ur brand.. ur bread and butter...it determines how you work.. and how your work defines you... it molds your company.. it directs it... your identity... find it

if you leave architecture school discovering yourself and believing in yourself and what you have become... i would say that SABD did a good job... entering architecture school is not about grades.. grades will not land you a job... but your identity.. your personality and your character will... no point getting good grades but without substance.... entering architecture school is about changing your mind... from a normal person's to an architect's mind.. that's what is important..=)

so yea, appeal all you want.. but if we are waiting for SABD to change.... why not ask how can we change first..? =)

Assessment Criteria? Policy? Spirit?

Hi Ian, I'm back with questions..

It's a thought that has bothered me for quite a while:
What exactly is the assessment criteria in our studios (or our school, in general) if given a choice between talent & hardwork?

Apparently four kinds of students (or more) can be found in the studios;
1. talented & hardworking
2. talented & less hardworking
3. less talented & hardworking
4. less talented & less hardworking
5. etc.
We all know how to grade the (1) and (4), quite naturally..

The Situation

Now, how about the (2) & (3)? I believe by looking at how they are graded comparatively, we'll be able to understand what the faculty's agenda really is..
From my point of view, however, there's not one perceivable, strong guideline that the tutors follow in assessing the students or their work.
I believe there has been quite some disatisfaction and wonder among the students.

So ,what does the SABD want to do? Don't tell me it's all about $$
What's the SABD's identity? Certainly not Sketchup-ish or such..
What kind of architects does the SABD really want to give to the industry/society?

In fact, I've seen some cases whereby one's graded high because of the obvious [stable & consistant progress], while the final work outcome does not show as much quality and content compared to those of the [more talented,less hardwork done, but quality outcome] students, which at times are graded lowly.
On the opposite end, what about those (if any) who worked their head off alone, without once consulting the tutor because the tutor always tells them to "do whatever you want" or gives some unhelpful advice (which indeed happens), and finally come out with good designs/work by themselves, but still get undergraded for the lack of perceivable step-by-step hardwork?


I Think

I personally believe hardwork is more important than talent and that everyone's ability will always improve if effort's made; but hardwork itself does not equal to ability, hardwork does not promise quality and excellence as much as ability.
Does the school want to produce architects that is able to make things right? Or architects that work hard but still not yet able to make things right? I thought we're always reminded to work clever first, then work hard..

Besides, it's stated in all SABD student handbooks that an 'A+' is granted for [Exceptional quality of work...bla bla... It may also be given to acknowledge originality in work.....bla bla....]. Does it not express that appreciation we should have towards individual talents?

Grading systems are imperfect and they don't always reflect one's accurate level of standing but grades, undoubtedly, encourage/discourage people. Why shouldn't we be more willing to encourage the talented by grading them more properly?
Is the grade given by external crits actually fairer than grade given by studio tutors, then, in an objective sense?


The Integrated Policy, Is It There?

The absense of clear agenda/vision in the SABD is also quite troubling. Just look at the common difficulty to cope with the non-conherence in tutors' expectations because each of them are So different! Sometimes there's no mutual agreement between some tutors and their respective units! Didn't mean it's bad to have unique characters, as a matter of fact tutors should have their individuality.. to enlighten us. But I wonder is there anything that binds the tutors and the whole studio together? It seems lacking.. where's the architectural policy of the school?
I believe it's better if the school holds one unified, consistent set of architectural policy and it be complied by every faculty staffs. By that, the SABD should be able to always develop upon itself rather than standing still, architecturally.


I'm not an academic, and I'm not at all familiar with architectural education despite my involvement in an arch.learning research quite some time ago.
Just voicing out an honest opinion that I hope the tutors would contemplate on, and hopefully the school gets a glimpse of it.
Being a Malaysian private institution is not an excuse, I don't care what Taylor's Education Group thinks, but the SABD should be a little bit more autonomous in spirit, a responsible attitude to architectural education..

Last but not least..
I hope to get not just Ian's personal view on the matter, but also what the school is all about, if you can answer me..
Thank you very much for the time ~!


**editted on 14JUL, 2.59pm. in Blue.

Degree Studio 3 Final Crit

SEM 3

Dear all, Kindly fill up this form and email it back to me. Thanks.

For each learning outcome stated, please state what 'task' (assignments, exercises etc) that you have done to accomplish the learning outcomes, and how well you have achieve the outcome and what can be improved.

Cheers, V

You can down load the form HERE