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2008-2011 Bachelor of Arts Architecture, National University of Singapore
Graduate with 2nd Upper Class Honors
Ct-cc- is1o-x:
2006-2007 Writer and Editor for ExpatWeekend Magazine, Instreams
2007 Artist in Residence, Shrewsbury International School Bangkok
2 art exhibitions co-curated
2008 Writer, Bangkok Post Newspaper
2010 Internship with Leo design Bangkok and Shanghai
2012 Intership with Akitek Tenggara
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Beginning with a photograph and a
concept to explore, and then trans-
lating the photographic image into a
3D model in clay, translated into an
acrylic model, and finally into a card-
board model.
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The transition from
day to night, when
the all brilliance
of the day is con-
densed into points
and streaks of light
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Visitors enter through the main door on the ground
floor. The ground floor opens up to a doule-height
ceiling, marking the foyer as a semi-public space.
The kitchen and intimate dining spaces ceiling is low-
er. Alternatively, climb a flight of stairs pass a walk-
way, where a low horizontal window lets the owner
of the house see your questing feet clearly. Climb up
and around through doors that swing strategically to
ensure one one entrant at a time.
Entering into the second level of the house, a walk-
way cuts across the house, a boundary between pub-
lic and private and most private - the bed deck from
which every part of the house can be seen. The toilet
is tucked under walkway, on the way to the large airy
study space which has views of only the other private
spaces and the sky.
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On an irrugular
site, a horizontal
house for the
nimble-footed
travel agent from
a memorable
scene of the
film.
The plan was inspired by a
study of the layout of Le Cor-
busiers tiny Cabanon, where
views and circulation in, out
and around the single-room
space are tightly controlled.
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The idea of human flight obsessed Leonardo Da
Vinci for nearly 25 years. For a while he was
convinced that the secret lay in ornithopters such
as the flapping Flying Machine design depicted in
Manuscript B Folio 74v, circa 1485. Here, through
a complex motion facilitated by pulleys and a
twisting bar fixed at an angle on each wing, the
wings of the ornithopter also flex inwards towards
the body of the machine as they flap down, imitat-
ing very closely the motion of bird and bat wings
that were its inspiration.
We chose to build the flying ma-
chine using mainly clear acrylic,
to better show the internal mov-
ing parts such as our design for
a single pivot bracket holding
two different motions. On another
level, we built the flying machine
as invisible to signify Da Vincis
dreams that although are now
brought one step closer to reality,
never truly materialized.
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A small swimming pool and park meditative
space, an insertion of nature in fabric of the city.
Rain and wind change the character of the space
through sound; the structure translates the sounds
of nature into a language the city can understand.
Design began an awarenessof the pervasive street
sounds, and a memory triggered by the sound of
rain on metal. I suspect this memory was born
of my parents and grandparents stories of their
childhood - of tropical monsoon rains on simple
metal roofing, a sound that used to be a much
more common memory in the regions history.
Copper is an old build-
ing material, but one
new to the site. The
weathering of the metal
with acid and moisture
forms a patina of dark
browns and eventually
an unmistakable green,
a truthful chart of time
passed.
The area around the
site is thick with his-
tory, layer upon layer of
time, but the passage
of time is not marked.
Many conserved build-
ings on the site have
been rebuilt, with new
programmes inserted
into new old shells.
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Flat, toneless
unresounding.
Deeper and
richer tone.
Loud, clear,
resonant.
Lively variety
of pitch as
drops hit dif-
ferent levels
and angles.
Water drops sof-
tened as patchwork
absorbs forces.
Sounds muted
into faintly musical
whispers. Similar
sounds in wind.
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Rain falling on the
copper roof of the
smaller structure fills
it with loud sound,
while rain through
the copper curtain
of the larger cube
makes an even white
noise in the larger
space.
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Rain through the copper cur-
tain fills the larger cube with
susurrus of sound. Raindrops
falling through resound on the
small copper cube inside.
In the wind the copper curtain
shakes and whispers.
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The pool is open to the rain,
allowing for rise and fall of the
water level inside. Entry into
the pool is from a staircase that
leads up to the second floor, and
pump, treatment systems and
changing rooms are below.
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Rainfall rustles copper curtains
producing a soothing white noise
which decreases awareness of
the street noises outside. Heavy
drops drop onto the crumpled,
copper floor of the 2nd level, the
roof of the enclosed rest area
underneath.
Rain through the copper curtain
makes an even susurrus, and
water covering the copper floor
mute to silence the sounds of
rain in the enclosed rest area
below.
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The unused tracks leading to the
bridge run through dense, almost
aggressive vegetable growth that
crowds in, held back only by the
imposed sterility of the railway
track - but even then, the sleep-
ers are slowly rotting. The bridge is
a dizzy cage reflected wobbling on
the water, a precarious sanctuary.
Nothing grows on the bridge but
rust streaks stains down its con-
crete supports.
1c e-ic:
An atmospheric writing
space for a TV addict.
The TV addict is an
addict of the emotional
overflowings of TV
stories, obsessed with
the emotional connec-
tions that form be-
tween people
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Vandal visitors of all
sorts have found the
railway bridge to be a
safe place to record
their existence, emotions
or shared connections.
The bridge records all
these stains and walking
through it, the TV ad-
dict glimpses other lives,
countless stories.
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A sanctuary in the chaos of nature, a
made object of geometries guided by the
ratios of the site's railway bridge cage.
Hanging half-hidden below the tracks lead-
ing to the bridge, the structure is a folded
shell pierced by light, invaded by nature
but safe from it. The angled planes of the
structure guide drops of rusty water over
and over the structure's surface. Layers of
wall protect and reveal, as nature presses
in through the seams, between the planes,
and against the glass walls of the single
room structure, a space for the TV addict
to write and think and nurse an obsession
with connections
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1. Compact campus-like
design on site of 5000m2
2. Most of the buildings to
be constructed of bamboo-
reinforced concrete
3. Vegetable plot at the
main entrance.
4. On the right of the en-
trance is a nipa hut which
symbolizes the Philippine
rural culture that most of
the squatters are from.
5. Entrance road leads to
the central Hall flanked
by the NHA/GK office
and reception centre on
the right and the souvenir
shop on the left.
6. The hall is of beautiful
bamboo construction with
a large photovoltaic panel
on the roof.
The GK villages Kabayan centre is to
be a model community centre which
may be replicated in many places.
The centre should equip the people
with skills and values that will enable
them to ultimately go back to the
countryside to improve their lives.
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7. On the right of the office
is a story wall on which
artwork will tell the story of
GK and its heroes.
8. A passage at the story
wall leads through the Gar-
den of the Forgiven and to
the library.
9. The kitchen is on the left,
with a roof designed for sun-
drying meat and vegetables.
10. 100 pig pens and pro-
cessing know-how become a
vital part of the economy as
a major income generator.
Pig and human waste will be
bio-digested in Chinese bio-
gas plants to supply the entire
complex with useable gas.
11. Hostel space to accomo-
date 100 visitors in one and
two storey modern independ-
ent pavilions spaced apart
with many fruit trees planted
and decorative plants planted
between them providing shady
informal sit out spaces.
12. Class rooms, training
centers and workshops clus-
tered together in 2 and 3
storey structures designed.
On the green roof are special
rooms for VIPs.
13. The Clinic is sited at the
entrance to the campus and
adjacent to the public road so
that surrounding communities
can gain easy access. The
roof is designed for vegetable
and herbs planting.
14. All rainwater will be col-
lected and stored in the library
pond and reused for farm-
ing. Grey water to be reused
for flushing toilets. The waste
from the bio-gas will be used
to fertilize the trees and bam-
boo plants.
15. A small service road skirt-
ing the back of the campus
provides vehicular access.
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A spiraling floorpan provides more space in each
12-person dorm for shared areas and activities. Simple
materials and processes are used for lower costs and
greater ease of building - the community could build it
without highly skilled labour. Woven screens and walls
of varying opacity create an introverted scheme which
seeks to draw inhabitants together in the spirit of com-
munity. A modern recreation of the local vernacular
Nipa hut, the dorm is raised on stilts and has a facade
reminiscent of the opaque and protective architecture
of the Philippine vernacular roof. The pitched roof is
no more, but the void created by the spiraling decks
satisfies the dwellers instinctive desire to have an ori-
entating vaulting space overhead, what the Philippine
people call the Spirit Space.
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The living room is elevated
on short stilts.
Toilet and wash area at the
back is sunken below and
built with concrete blocks re-
inforced with bamboo poles.
Bamboo columns and beams
support the upward-spiraling
bamboo platforms, on which
are the dormitory bunk-beds.
Walls on the lower more
public levels are translucent
woven bamboo screens in
decorative traditional and
modern patterns.
On the upper levels the
walls by each bed are more
opaque breatheable walls
of staggered half-culms of
bamboo.
Translucent traditional Fili-
pino capiz-shell panels make
the wash area and upper
lounge glow like lanterns at
night.
Spiral plan leads upwards to
a lounge area and roof gar-
den.
Solar panels on the roof pro-
vide for the energy needs of
the hostel's 12 guests.
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