Design Portfolio

siying wong BACHELOR OF ARTS (INTERIOR ARCHITECTURE) (HONOURS)

01

c o n t e n t sconstructed memory 321 3

spatial enclosures 322 5

explorations and manisfestations 322 11

ia research studio 422 15

3

constructed memory 321

fremantle prison: female division backpackers’ accomodation

Zone 2: Partial Ground floor Plan

not to scale

Fremantle prison: female division longitudinal section

not to scale

DESIGN BRIEF: the Constructed memory studio consisted the topics of

conservation, restoration, adaptive re-use and reinterpretation. a site survey and

analysis of the female division of the fremantle prison were first conducted with

investigations and photographic analysis of the condition of the building. heritage

values and policies on conservation, such as the burra charter, were examined

and applied into restoring and adapting chosen sections of the female division of

the prison into a backpackers’ accommodation. these conservation policies were

adhered to to maintain the cultural and historical significance of the structure’s

fabric, to preserve and maintain its original facades and also to restore and

reinterpret its heritage significance.

The prison represented confinement and repression, where the convicted were

forced into a life of conformity. a punishment that became a routine for the

prisoners, yet in a sense, a community was formed.

Defined as an assemblage of interacting populations or individuals occupying a given

area with no limits to scale, a community represents a group or society that

is united by locality, cultural, historical, political, religious, social, occupational,

interest and heritage.

to re-introduce and re-interpret the idea of community into the project, the idea

of individuality allowed a sense of belonging into a community, allowing it to

strive. The design of the backpackers’ accommodation conveyed the juxtaposition

of a community and the individual, encapsulating and adapting to both.

three separate spatial functions: the reception, break-out space, and

internet cafe were explored, and the break-out space was chosen to be further

developed. the communality of a break-out space required spaces of interaction and

privacy, hence the idea of centrality was used for the dining hall and kitchen was

developed. the concept of community was further developed by the light fixtures

which were adapted from the columns that remained in the space, DRAWING UPON

THE HERITAGE VALUE AND IDEA OF SYNCHRONISM OF A COMMUNITY WITHIN THE SPACE.

4

Elevation 1not to scale

section 1not to scale

perspectivechill-out area

section 2not to scale

Elevation 2not to scale

Significant Conservation Policies:

Policy 7: items identified as having exceptional significance should be retained and

conserved. they may be modified in keeping with the overall aims of the conservation

policy.

policy 28:the impact of visitors and visitor numbers should continue to be monitored

and evaluated to ensure that the impact of visitors is minimised while enabling as

many people as possible to visit the site.

policy 48: the determination of conservation options and any subsequent action

affecting a particular element of the place should be preceded by an assessment

of the levels of significance of its component parts. intrusive elements should also

be identified.

policy 61: the provision of new services should be undertaken with the minimum

interference to significant fabric and the character of significant spaces. If new

services are installed, existing spaces should be consolidated and redundant ducts

removed.

policy 71: conservation and compatible use of existing significant structures should

take precedence over new development.

policy 72: conservation of the fabric and spaces of the precinct is the primary

importance to the program of interpretation.

constructed memory 321

fremantle prison: female division backpackers’ accomodation

5

spatial enclosures 322

skinsurface + boneframe

INTRODUCTION: The exploration of spatial enclosures in consideration to the

skin and bone of a space was undertaken to develop the building identity, spatial

occupation, site suitability, alternative and/or mix-use accommodation of building

201, otherwise known as the department of built environment in curtin.

Given six past projects from previous students, the students were to choose one

and take ownership and develop the chosen project into a comprehensive building

solution.

The project chosen focused on growth: ‘A design of the physical manifestation of

growth caused by human occupation and infrastructural shifts.’

-Jack Tooley

further development of the concept started with a photographic study of building

201, a Building Identity Statement was produced: ‘The architecture building is a body

Where the central axis meet in the middle at the core of the building, that acts as

the spine of the building, the nervous system of the body...’

...Occupied by students and staffs of four different departments, it is segregated

into different parts, dislocated from one another. Hence, there needs a further

distinction with the spine of the building, where like a nervous system in the body,

allows students and staff to collaborate and connect with one another. By

creating more spinal space around the core/central axis of the building, it allows

the different faculties to “come in contact” with each other’s works, ideas and

activities.

...It “feels” its occupants as they move through the building internally and externally, “touching” and

“embracing” the building. The spine/backbone of the body protects one of the main parts of the nervous system,

the spinal cord, and in this case, its main function is to allow networking and cooperation between different

parts of the “body”. The spine, also known as the vertebral column is also the main support for the skeletal

system in the human body. The nerves in the body, winds and wraps itself around the structure of the building,

conforming to the site...

Design Explorative Exercise Images

6



Design Brief: To allow collaboration between the different departments of

the building: Architecture, Interior Architecture, Urban Planning and Construction

Management. The spine will strive to create opportunities across the departments

to connect with each other, where this will take place around the central core

axis of the second, third and fourth floors. An exhibition space, a central common

room and private rooms would be created along this axis to accommodate this

effort for collaboration.

Instead of skin cells, an investigation of nerve cells were undertaken. From the

reading “The Eyes of the Skin” by Juhani Pallasmaa, he emphasized the importance

of the tactile sense of our human bodies and how it is now underestimated

and underused as vision has been regarded as the most noble of the five senses,

especially in this era, technological advances has allowed vision to dominate and

be strengthened with the commercial imagery of today. From the investigation of

the nervous system, the concurrence that circulation of Building 201 is indeed like

the spine of a human body, yet it is greatly underdeveloped with much segregation

between the different faculties.

Therefore, To generate and enhance collaboration across the departments of the

building, an open and functional space will be created along the central core axis

of the building similar to the function of the spine of the body, This too, allows for

better access points from the north and south entrances of the building.

Using the concept of the spinal curve being the core of the building, spaces were

arranged for different functions yet all for the objective of collaboration.

the Spatial Accommodation, Mix-use Accommodation & Site Suitability:

Distinct entrances from the north and south end of the building will be extruded

and created, and common areas will be established in between the entrances. An

open exhibition space would be at the south entrance, which is the main entrance,

to allow for students and staff to “come in contact” with the works and

aspirations of faculties other than their own. This also opens up the facade of

the building to students from the campus, allowing the building to reflect and

showcase much of what the built environment faculty is about. At the north

entrance, these would contain a central common room that allows for students

to relax, learn and collaborate in an informal atmosphere. There would also be

cell-like pods in the space, allowing for privacy and quiet for smaller groups.

Chosen areas in building 201 : Section n-s

not to scale

Chosen areas in building 201 : floor plan

not to scale

level 2

level 3

level 4

“My body is truly the navel of my world, not in the sense of

the viewing point of the central perspective, but as the very

locus of reference, memory, imagination and integration.”

“The essential mental task of architecture is accommodation

and integration.”

taken from “The Eyes of the Skin” by Juhani Pallasmaa

7



building 201 spatial programming : floor plan

not to scale

Building 201 spatial programming: section north-south

not to scale

level 2level 1

Student lounge on level 2 exhibition space on level 3 north facade south facadeexhibition space on level 4

Process: the levels one to four were spatially developed with the intent of

maximising exhibition spaces and areas for collaboration. Public zones like a

student lounge on level two and a cafe on the fourth level were added, whilst

private study areas were added on level one.

the north and south facade of the building were extruded with glass facades to

allow more light, thus opening up the space to allow mobility and communication

between the north and south of building 201. The stairs were used as a medium to

communicate the movement through the space, and to depict the concept of the

spine being the central point of transition and support of the ‘body’.

The perspectives show how the exteriority and interiority portrays the developing

concept of the spine and how it is interacting with the exisiting space.

level 3 level 4

8



Floor Plan: levels 1-4

not to scale

Final Design Development:

At this stage, a final complex solution has been identified and hence informs of the

inhabitation and identity of the building 201. The focus area has been redesigned with

responses to the light and spatial quality, enhancing the movement and activity

within the space.

level 2level 1 level 3 level 4

site plan: building 201

not to scale

9



elevation: north facade

not to scale

elevation: south facade

not to scale

section: north-south

not to scale

The exterior skin of the new insertions of north and south facades consist of

louvre screens, and are made of aluminium and glass, This provides shading in

summer, while allowing for adjustments of different lighting qualities for

different spatial functions.

The section shows the movement and activity through the focus areas of levels

one through four.

10



the perspective of the public common area depicts the occupation and highlights

the materiality of the space.

the perspective of the exhibition space illustrates the flexibility of its spatial

functions.

Interior Perspectivelounge - Common Area on level 2

Interior Perspective

exhibition space on level three]

11

skinsurface + boneframe + light

explorations and manisfestations 322

based on the previous project, a light piece was designed to encapsulate the

concept and essence of that project.

Design Generative: This design generated from the the form of a vertebral

column, based from the concept of the spine which began with exploration of the

nervous system. The spinal cord acts as one of the central nervous systems in our

body, connecting the different functions and parts of the body together.

This form allowed much exploration of light and shadow as it is an undulating and

permeable form, defining a sense of spatial enclosure. The form creates a framed

structure in the space with darkness and light, also acting as a central axis

through the space.

Process Sketch Models part 1: exploration of a spinal curve through different materials

part 2: exploration of light and shadow through form

Spatial Enclosures: floor plans | section

not to scale

12



Plan 1:10

section1:5

perspective initial anticipated outcome

initial construction and installation details:

Fixing: the anodized aluminium strips are bonded to the frosted glass using epoxy.

Light Fixing: LED strip lighting attached to the first layer of glass.

Materiality: Aluminium (anodized), frosted glass

13

final construction and installation details

Light Fixing: LED strip lighting mounted to the second layer of glass with screws

Materiality: tyvek paper - 105 gsm & frosted glass - 3mm/1mm

Size: approx. 800mm x 300mm x 200mm each

light fixture detail 1:2



sectional perspectivesnot to scale

14

final anticipated outcome of light piece:

THE FINISHED LIGHT PIECE COULD BE EXHIBITED HORIZONTALLY ON THE GROUND OR ATTACHED

TO THE WALL.

perspectiveprototype insitu

Final Light Piecestage illutmination



15

cultural integration: the karen refugee community of perth

CULTURE/ACCULTURATION

HOME/ ADAPTATION

IDENTITY/ DISPLACEMENT

ia research studio 422

It is “a space of belonging and alienation, intimacy and violence, desire and

fear, the home is invested with meanings, emotions, experiences and relationships that lie at the heart of human life.”

Identity is defined as “people’s concepts of who they are, of what sort of people they are, and how they relate to others.” It is the “relatively stable, role-specific

understandings and expectations about self.”

“One defines it as a way of life typical of a group, the second

as a system of symbols, meanings, and cognitive schemata transmitted

through symbolic codes, the third as a set of adaptive strategies for

survival related to ecology, and resources.”

figure one

Venn diagram of Culture, Identity and Home

Project description: The Karen people have undergone persecution and

involuntary displacement due to thier ethnicity by the burmese government,

with many fleeing to refugee camps on the border of burma and thailand. in

recent years, many have been relocated and resettled to third countries due

to the meagre prospect of never returning to their native country again. since

2001, new communities have been established and resettled in Australia, and

more particularly, Western Australia. In the first volume of the dissertation i

questioned how displaced communities regain their sense of belonging and adapt to

new environments and also, how the design of an internal space can affect the

nurturing of a sense of belonging in a home.

Following the first half of the dissertation undertaken in research studio 421, the

ethnographic research and theories of home, identity and cultural adaptation has

driven this design phase to be focused on exploring meaningful spatial experiences

of spaces and the home. From the ‘typical’ Australian domestic housing that was

investigated, it was found that the occupation patterns and value of importance

are different, and the original function of the rooms were found to be misused, hence

the new ‘homes’ occupied by these groups were considered inadequate, culturally

and structurally. The research findings concluded that the process of adapting

and integrating into a new environment is integral for newly-arrived refugees or

humanitarian entrants – that holding onto their original culture allows them to

maintain and preserve their sense of identity as well as cultural identity when in

a new socio-cultural and physical environment.

The design phase of this research focuses on developing an interior spatial

environment that is safe, supportive and community-orientated, allowing the

newly-arrived Karen refugees to adapt and integrate into the Australian

environment, while maintaining their cultural roots and practices. The design

proposal shall create an integrative space that allows for spaces of healing,

learning and adapting for the Karen community. This will be undertaken through

the adaptation of an existing site, where the development of the space shall

involve a considered approach and incorporation of the cultural significance of the

Karen people, and how the pragmatics and the spatial qualities of a space can form

responsive and positive experiential environments.

“Hunger pangs, the chills of winter, the fear of violence,

and the disturbance from noise are all facts of human

consciousness. It makes little sense to distinguish between

them by attributing some to the body and others to the

mind. The hunger, the chill and the fear are on equal footing

with the need for peace, privacy, space, harmony, order,

or colour. To the best of a psychologist’s knowledge, the

priorities are by no means self-evident. Dignity, a sense of

pride, congeniality, a feeling of ease – these are primary

needs, which must be seriously considered when the

welfare of human beings is under discussion.”

Rudolf Arnheim (Malnar 2004, 27)

16



“The bamboo steps led up into a living room on the left, and to the right was a

bedroom. We used to sleep on rush matting laid out on the bamboo floor. To the

right of our bedroom was a spare room, with a couple of bamboo-framed beds in it,

for guests. At the back of the house was the kitchen. It had an earthen floor for

a hearth, and three stones arranged in a triangle. Firewood would be pushed into

the space between the stones, and a cooking pot balanced on top. Above the hearth

was a shelf for drying foods – chilli, vegetables, meat and mushrooms.”

(Phan and Lewis 2009, 33)

spatial analysis of the traditional vernacular Karen house was undertaken to

further establish how the spatial experience could be translated into a ‘typical’

Australian house.

Housing typologies of western australian and karen homes:

further analysis of the context and spatial qualities of the ‘typical’ WA domestic

housing for Karen refugees, emphasizing on the issue of unfeasibility of adapting

the WA house to suit the cultural needs of the Karen refugees. alternative

adaptations were investigated and analysed to meet cultural needs of a Karen

family, here are four different design responses to the ‘typical’ Australian house

that is occupied by a Karen family.

figure 2

Analysis of Karen and WA

housing

Figure 3

alternative Adaptations

of the karen household

“Due to the involuntary and traumatic nature of

their departure, most had little chance to prepare

themselves psychologically for life in the new

country. Particularly during the initial resettlement

phase, many suffered from a deep psychological

dislocation and sense of loss.” (Kim 1988, 5)

17



alternative response: An initial survey of typical housing stock in Balga,

Girrawheen and Cannington was undertaken to determine the feasibility of

adapting the existing house to fully suit a Karen family’s needs. It was concluded

that through testing and re-adapting the existing model, although renovation

and adaptation is possible, it is an expensive choice and the housing environment

would still not be fully responsive, culturally and structurally, for new

Karen refugees. Other building typologies were then examined, like, the possibility

of designing new modular housing, which however, was deemed to be too complex

as It requires extensive knowledge of the BCA. Another possibility of addressing

the need of a transition space to assist newly arrived Karen refugees with the

process of integration into the Australian society arose, and was determined as

a better alternative.

To fully represent one’s cultural heritage and identity, the notion of integration,

where the synthesis of two cultures allows for cultural integrity to be

maintained, needs to be addressed and applied. Integration was found to mitigate

better social and psychological well-being, and While Australian national policies

for refugees and humanitarian entrants support of their integration into the

Australian society, the housing situation forces them to assimilate into the new

domestic structures, losing their old habits, customs and ways of life. As Buttimer

(1980, 166) puts it, an individual’s cultural and personal identity correlates with

their place-identity, and losing one’s home, whether physical or psychological, are

perceived as an impeding threat to a person’s identity. Places that allow for

rootednesss allow for positive “attachment, retention and development of self-

image”, hence concluding that physical settings play an essential part in the sense

and experience of well-being (Godkin, 1980, 83).

design response:

integration

-noun

the act of amalgamating a racial or religious group with an existing community. 1

The idea of an integration centre, an amalgamation of a halfway house and a

community centre, emerged, which therefore drove the design language for the

project.

research question:

To create an integrative community centre that provides an opportunity for Karen refugees to acclimatise and integrate

into the Australian society in a safe, supportive and community-orientated environment.

Objectives:

Identify the responsiveness or adaptability of internal spaces for Karen refugees in typical Western Australian housing

and how a sense of belonging and cultural identity can be translated and fostered in a different setting

Provide an experiential design language to allow gradual integration into the Australian society whilst allowing the

continuity of cultural domestic practices

Allow for the re-establishment of a sense of identity and belonging for Karen refugees by creating a design scheme that

provides a culturally sustainable and efficient integration centre

18



theoretical precedents:

the idea of the threshold

“Thresholds are where transformations begin, where exchange between unlikely

things occur, and where identities are declared. Thresholds hold the potential

of an inclusive realm, where the introduction and maintenance of difference is

possible. Unlike an idea of inclusion as “melting pot”, where identities are blurred to

create a compromised whole, threshold as an operation entails the preservation

of differences, as well as the creation of something new from their coexistence”

(Geel 2005, 53).

Figure 4

Threshold, journey and senses

Figure 5

In-between

the experience of the home and journey

“The experience of migrants and refugees claim that ideas about staying, leaving

and journeying are integrally associated with notions of home. These ideas are in

turn linked to notions of dependency, interdependence and autonomy, continuity and

dis/location.” (Mallett 2004)

Figure 6

Journey from home

From the ethnographic approach that was employed last semester, this semester,

a phenomenological approach was used, where instead of merely producing a

specific design that incorporated only the cultural research findings; this approach

allowed me to explore and deepen my understanding of lived spaces. A study of the

meaningful spatial experiences –the idea of the threshold, the home and journey

and phenomenology – was undertaken.

Tucker (1994) described migration as a means to ensure survival, that “home-

searching is a basic trait of human nature”.

19



the sensitisation of space and experience

Pallasmaa (2005, 11) states that architecture should stimulate all the senses and

thus “fuse our image of self with our experience of the world” before architecture

can become life-enhancing. He suggests that architecture strengthens a sense of

self and reality by articulating our experience of “being-in-the-world”.

Steven Holl (1996,11) states that, “phenomenology concerns the study of essences;

architecture has the potential to put essences back into existence. By weaving

form, space, and light, architecture can elevate the experience of daily life

through the various phenomena that emerge from specific sites, programs, and

architectural on another, structure, material, space, colour, light and shadow

intertwine in the fabrication of architecture.” Phenomenology addresses all the

senses and transcends experience to become an unconscious connotation, giving

depth and intensity to an experience. It is a study of experience or consciousness

through the awareness of one’s senses. It is the ‘study of phenomena’, of how we

experience things as they appear from a subjective view, and hence how we place

meaning upon things we experienced in our lives. The use of our sensorial elements

gives depth to an experience, these being sight, sound, touch, taste, smell and scale.

Our bodies, “are moving, changing, permeable and fluid… the bodies we are require

different spatial and physical conditions depending upon the task or activity at

hand, depending upon characteristics of age, gender, size and culture, and depending

upon the passage of time” (Malnar 2004, 42). These experiences are perceived by our

senses and are interpreted by our minds. Our sensory selves need to be embodied and

acknowledged in designing an environment as design results from considerations of

human qualities, introducing essential, intrinsic meanings and values to the human

experience, hence creating an intimacy between person and environment.

Jan Smut proclaimed that “the whole is more than the sum of its parts.” A sensorial

environment cannot be abstracted into individual elements, and it is vital that a

holistic view of the experience of the space is undertaken, as they all contribute

to the experience. This would derive a threshold experience of change that allows

for healing and learning, and also bringing meaning to the spaces and its occupants.

“Phenomenology proclaims that the sense should be stimulated by the design

and not just the visual stimulus like many buildings are doing today. “By

using the entire stimuli the architect is creating a journey through each

threshold This journey is a memorable one where the traveller through the

architects design could incept a positive idea.” (Dernee n.d.)

“Light’s shadow and shade, its different sources,

its opacity, transparency, and conditions of

reflection and refraction intertwine to define

or redefine space.”

(Holl 1989, 11)

“The sound measures space and makes its scale

comprehensible. We stroke the boundaries of

the space with our ears.”

(Pallasmaa 2005, 51)

s i g h t

“A particular smell makes us unknowingly

re-enter a space completely forgotten by

the retinal memory; the nostrils awaken a

forgotten image, and we are enticed to enter

a vivid daydream. The nose makes the eyes

remember.”


“The most archaic origin of architectural

space is in the cavity of the mouth.”


t a s t e

s m e l l

“Our touch senses the weight, resistance, and

gestalt of materials...”

(Pallasmaa 2009, 50).

“The experience of space is multi-sensory,

architecture strengthens our senses. Space

and scale are measured through the eye,

ear, noise, skin, tongue, skeleton and muscles.”

(Pallasmaa 2005, 28).

s c a l e

t o u c h

s o u n d

20


ia research studio 422Figure 9

Existing building plan

Site selection: The site is located along Welshpool East Road, southeast of

Perth city. The first existing fabric of the building only consisted of the main hall,

which was constructed during the second World War, but was only completed

after the war due to the lack of materials. The building it has been renovated three

times during its life span, with the most recent renovation finished in the early

1980s. The church is currently not listed under the heritage council of Western

Australia, and there have been recent plans of renovations on the existing site.

This site was chosen due to the nature of the existing building and site, where the

adjacent site would allow for an extension of the existing building to fit the

design pragmatics of the integration centre. The original existing fabric from the

1940s was kept intact for the new design, where it will be used strategically as

the critical point of entry of the integration centre.

Figure 8

Site plan

Figure 7

Site map

21



Design brief: To formulate a cohesive design language that provides gradual

integration into the Australian society for the Karen refugees, whilst allowing

the continuity of the cultural identity, which includes their strong community

practices and cultural housing, enhancing their integration into the new

environment. A culturally responsive space that would also provide a sense of

identity and place, providing positive spatial experiences to enable the refugees to

connect to the new environment and hence foster and nurture the well-being and

self-identity of occupants.

A few long-term strategies of integration have been identified: to support the

Karen community in Western Australia in the process of integration to achieve

their full potential; to contribute to the Western Australian society, socially,

economically and culturally; and, to encourage the Karen people to access

resources, establishing strong networks and communities.

Week 1

Introduction phase

Site tour of the integration centre Welcome briefing to integration centre, and settling into accommodation whether family or singles Introduction to integration centre staff, volunteers and other occupants Go for medical check-ups and finalise immigration and proper identification papers

Start self-sustaining activities around the centre – gardening, planting fruits/ vegetables, cooking, rearing livestock Language classes to learn basic English speaking, writing and reading Australian cultural classes Craft workshops – sewing, jewellery design classes Mechanical workshops – cars, bikes Electronics/ computer workshops

Week 2 Inductive

learning phase

Demonstration workshops on basic household services: Security, electric, water, gas, ventilation, lighting, heating/ cooling, cleaning and waste management Visit to neighbouring shopping centre

Getting acquainted with other families, host families, volunteers, staff Counselling sessions can be held if needed

Preventive education workshops on public transportation, tenancy, leases, motor vehicles and hire purchases, finance banks, taxes, jobs

Kindergarten and primary school aged children to go to nearby schools Middle school or high school aged children to go for intensive English classes, and Australian culture classes Young adults and adults to enrol into TAFE/ high schools with vocational learning classes

Week 3

Demonstration workshops on domestic household services: Kitchen, bathroom, laundry, bedroom Introduction to public transport system Perth city tour by taking public transport, to the city, banks, cultural centre

Week 4 Integrative

phase

Jobs and responsibilities for adults/ young adults to start working small jobs and tasks around the centre

Preventive education workshop on government services, social services (Centrelink, Multicultural services, Medicare, Household assistance package)

Week 5

Perth city tour to places like train station, cultural centre, state library, and government buildings

Week 6

Start to look for permanent accommodation – single male or female (shared house or host family) and family (single storey/townhouse in suitable suburb)

Preventive education workshop on law enforcement – police, healthcare, fire service, insurance

Week 7

Start application for jobs, education courses or training courses

Week 8

Week 9 Completion

phase

Preparation for move into permanent accommodation – visit to allocated suburb, public services nearby, public transport, schools

Week 10

Transfer to permanent housing

Figure 10

Occupation cycle

Design pragmatics: an occupation cycle chart was revised to depict the

integrative activities of the centre over a ten-week period. these spatial functions

were then derived to meet the cultural and pragmatic needs of the centre for

the Karen refugees. To fully realise what each space requires, the experiential and

physical qualities of the main spaces in the centre are synthesised and illustrated

There will be an estimated three or four staff members on site permanently, while the rest are part-time staff or volunteers. A host family

will be present on site to meet caretaking needs of the occupants of centre. As according to sources, there is at least one new family arriving

to Perth every month, along with approximately 3-8 single people, male or female. The occupation period of 10 weeks will allow for a turnover

of a new family every 4 weeks, which totals up to approximately 40 people after the first three months.

Figure 11

Spatial diagram

22

Design Approach: the combination of the theories of spatial experience and the

research findings from the previous semester were used to create a multi-sensory

and positive experience within the integration centre, focusing on the entry, dining,

cooking, living/communal and sleeping spaces. A Pattern Language’ by Christopher

Alexander will also be used to derive certain design approaches. The emphasis will

be held on the sensorial experiences in these chosen spaces, aiming to provide an

enriched experience that will be able to positively influence the occupants of the

space.

each of these spatial functions are defined, driven and influenced by the theoretical

precedents and the cultural needs of the Karen refugees.

Entry diningphysical requirements

Foyer; waiting area; meditation garden

“The entrance must be placed in such a way that people who approach the

building see the entrance or some hint of where the entrance is, as soon as

they see the building itself” (Alexander 1977, 541).

experiential and sensorial requirements

Different intensities of natural light; welcoming odours and sounds; familiar

textures and materiality; warmth; hospitality; fitting scale and volume

“The sequence of preparatory experiences we pass through to approach,

enter and use a building do more than affect our experience of it. They

change our inner state which can both enhance our receptiveness to health

giving qualities in our surroundings, and trigger transformative processes

in our inmost being” (Day 1990, 23).

physical requirements

Dining hall; outdoor courtyard

“A feast is of such a nature that it draws people to itself, and makes them

leave everything else in order to participate in its joys. To feast together

is to bear witness to the joy one has at being with his friends. The mere

act of eating together, quite apart from a banquet or some other festival

occasion, is by its very nature a sign of friendship and of “communion” (Merton

1956, 126).


Pools of light and darkness; familiar aromas of food and spices and sounds

of familiar language and music; familiar organic textures; warmth from the

fire; closeness to the ground

“When there is a soft light, hung low over the table, with dark walls

around so that this one point of light lights up people’s faces and is a focal

point for the whole group, then a meal can become a special thing indeed, a

bond, a communion” (Alexander 1977, 844).



23


Kitchen; Halal kitchen; outdoor cooking area; space for demonstration workshops


Natural lighting; familiar smells of food and spices and sounds of familiar language

and cooking; familiar organic textures; warmth from the fire; social experiences

“Place the most important part of the working surface in the sunlight...” (Alexander

1977, 856).



dining living/communalphysical requirements

Outdoor courtyard – “fireplace”; living area in family quarters and singles quarters;

playground; vegetable gardens; laundry

“Provide a fire, as the hub of one activity” (Alexander 1977, 447).

...the “fireplace”, the hearth of a home, as it “provides a natural focus for talk and

dreams and thought” (Alexander 1977, 842).


Natural lighting and different light intensities; welcoming smells of food and spices

and sounds of familiar language and music; familiar natural materials; warmth

from the fire; closeness to the ground and nature

“No social group - whether a family, a work group, or a school group - can survive

without constant informal contact among its members” (Alexander 1977, 618).

“We appreciate a place not just by its impact on our visual cortex but by the

way in which it sounds, it feels and smells. Some of these sensual experiences elide,

for instance our full understanding of wood is often achieved by a perception of

smell, its texture (which can be appreciated by both looking and feeling) and by the

way in which it modulates the acoustics of the space.” (Architectural Review 1991)

24


Sleeping quarters for the family; single males and females; host family

“In many traditional and primitive cultures, sleep is a communal activity without

the sexual overtones it has in the West today. We believe that it may be a vital

social function, which plays a role as a fundamental and as necessary to people

as communal eating” (Alexander 1977, 861).


Pools of light and darkness; familiarity of materials; closeness to the ground;

warmth and comfort; possibility of sight and sound of one another

sleeping



design outcome: Through a series of interrogations of the spatiality and how

one might feel and experience in the space, the following design outcomes have

been derived. The focus areas include the foyer, the dining area and the outdoor

courtyard and family quarters.

25

ground floor plannot to scale

first floor plannot to scale

26

ELEVATION SOUTHEAST1:200

ELEVATION SOUTHEAST1:200 elevation south-east

not to scale

27

foyermeditation garden dining hall kitchen

sectional elevation: foyer, dining hall and kitchennot to scale

28

entry

foyer

reception

office

waiting area

meditation garden

floor plan: entry - foyer

not to scale

29

PERSPECTIVE: ENTRY

RECEPTION AND WAITING AREA

30

dining hall

main kitchen

vegetable garden

chicken coop

wok stove

prep area

cooktop

cooktop

fridge

fridge

freezer

freezer

dishwashersink

fireplace

fire pit

waste disposal

waste disposal

halal kitchen

outdoor coutyard

floor plan: dining hall, kitchen, outdoor courtyard

not to scale

31

PERSPECTIVE: DINING HALL

DAY AND NIGHT

32

combustion air in

chimney flue vent

exhaust air out

heat transfer system to other vents

sealed combustion chamber

reverse air circulation fan pushes air up

heated room air comes out

cool room air enters

DETAIL: FIREPLACE1:25

33

communal outdoor courtyard halal kitchenoffice

SECTIONAL ELEVATION: OUTDOOR COURTYARD

DAY AND NIGHT

34

bamboo walkway

living room

kitchen

master bedroom

children bedroom

bathroom

storage

shared stairway

shared stairway

void

wc

FLOOR PLAN: SLEEPING AND LIVING - FAMILY QUARTERSNOT TO SCALE

FIRST FLOORGROUND FLOOR

35

PERSPECTIVE: SLEEPING AND LIVING FAMILY QUARTERS

Design Portfolio

Documents

idea of community

conservation policy

heritage significance

concept of community

topics of conservation

scalefremantle prison

historical significance

idea of synchronism