SJNG CV + Portfolio Year 1-2

7/30/2019 SJNG CV + Portfolio Year 1-2

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2008-2011 Bachelor of Arts Architecture, National University of Singapore

Graduate with 2nd Upper Class Honors

2006-2007 Writer and Editor for ExpatWeekend Magazine, Instreams

2007 Artist in Residence, Shrewsbury International School Bangkok2 art exhibitions co-curated

2008 Writer, Bangkok Post Newspaper

2010 Internship with Leo design Bangkok and Shanghai2012 Intership with Akitek Tenggara


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Visitors enter through the main door on the groundfloor. The ground floor opens up to a doule-heightceiling, 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 ownerof the house see your questing feet clearly. Climb upand around through doors that swing strategically toensure 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 fromwhich every part of the house can be seen. The toiletis tucked under walkway, on the way to the large airystudy space which has views of only the other privatespaces and the sky.

On an irrugularsite, a horizontalhouse for thenimble-footedtravel agent froma memorablescene of the

film.

The plan was inspired by astudy of the layout of Le Cor-busiers tiny Cabanon, where

views and circulation in, outand around the single-roomspace are tightly controlled.


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The idea of human flight obsessed Leonardo DaVinci for nearly 25 years. For a while he wasconvinced that the secret lay in ornithopters suchas the flapping Flying Machine design depicted inManuscript B Folio 74v, circa 1485. Here, througha complex motion facilitated by pulleys and atwisting bar fixed at an angle on each wing, thewings 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 wingsthat 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 holdingtwo different motions. On anotherlevel, we built the flying machineas invisible to signify Da Vincis

dreams that although are nowbrought one step closer to reality,

never truly materialized.


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A small swimming pool and park meditativespace, an insertion of nature in fabric of the city.Rain and wind change the character of the spacethrough sound; the structure translates the soundsof nature into a language the city can understand.Design began an awarenessof the pervasive streetsounds, and a memory triggered by the sound ofrain on metal. I suspect this memory was born

of my parents and grandparents stories of theirchildhood - of tropical monsoon rains on simplemetal roofing, a sound that used to be a muchmore common memory in the regions history.

Copper is an old build-ing material, but one

new to the site. Theweathering of the metalwith acid and moistureforms a patina of darkbrowns and eventuallyan unmistakable green,a truthful chart of timepassed.

The area around thesite is thick with his-

tory, layer upon layer oftime, but the passageof time is not marked.Many conserved build-ings on the site havebeen rebuilt, with newprogrammes insertedinto new old shells.

Flat, tonelessunresounding.

Deeper andricher tone.

Loud, clear,resonant.Lively varietyof pitch as

drops hit dif-ferent levelsand angles.

Water drops sof-tened as patchworkabsorbs forces.Sounds muted

into faintly musicalwhispers. Similarsounds in wind.


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Rain falling on the

copper roof of thesmaller structure fillsit with loud sound,while rain throughthe copper curtainof the larger cubemakes an even whitenoise in the larger

space.

Rain through the copper cur-tain fills the larger cube withsusurrus of sound. Raindropsfalling through resound on the

small copper cube inside.In the wind the copper curtainshakes and whispers.


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The pool is open to the rain,allowing for rise and fall of the

water level inside. Entry intothe pool is from a staircase thatleads up to the second floor, andpump, treatment systems andchanging rooms are below.


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Rainfall rustles copper curtains

producing a soothing white noisewhich decreases awareness ofthe street noises outside. Heavydrops drop onto the crumpled,copper floor of the 2nd level, theroof of the enclosed rest areaunderneath.

Rain through the copper curtainmakes an even susurrus, andwater covering the copper floormute to silence the sounds ofrain in the enclosed rest areabelow.


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The unused tracks leading to thebridge run through dense, almostaggressive vegetable growth thatcrowds in, held back only by theimposed sterility of the railway

track - but even then, the sleep-ers are slowly rotting. The bridge isa dizzy cage reflected wobbling onthe water, a precarious sanctuary.Nothing grows on the bridge butrust streaks stains down its con-crete supports.

An atmospheric writingspace for a TV addict.

The TV addict is an

addict of the emotionaloverflowings of TVstories, obsessed withthe emotional connec-tions that form be-tween people


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Vandal visitors of allsorts have found therailway bridge to be asafe place to recordtheir existence, emotions

or shared connections.The bridge records allthese stains and walkingthrough it, the TV ad-dict glimpses other lives,countless stories.


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A sanctuary in the chaos of nature, amade object of geometries guided by theratios 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 naturebut safe from it. The angled planes of thestructure guide drops of rusty water overand over the structure's surface. Layers ofwall protect and reveal, as nature pressesin through the seams, between the planes,and against the glass walls of the singleroom structure, a space for the TV addict

to write and think and nurse an obsessionwith connections


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1. Compact campus-likedesign on site of 5000m22. Most of the buildings tobe constructed of bamboo-reinforced concrete3. Vegetable plot at themain entrance.4. On the right of the en-

trance is a nipa hut whichsymbolizes the Philippinerural culture that most of

the squatters are from.5. Entrance road leads tothe central Hall flankedby the NHA/GK officeand reception centre onthe right and the souvenirshop on the left.6. The hall is of beautiful

bamboo construction witha large photovoltaic panelon the roof.

The GK villages Kabayan centre is tobe a model community centre whichmay be replicated in many places.The centre should equip the people

with skills and values that will enablethem to ultimately go back to thecountryside to improve their lives.


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7. On the right of the officeis a story wall on whichartwork will tell the story ofGK and its heroes.8. A passage at the storywall leads through the Gar-

den of the Forgiven and tothe 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 avital part of the economy as

a major income generator.Pig and human waste will bebio-digested in Chinese bio-

gas plants to supply the entirecomplex with useable gas.11. Hostel space to accomo-date 100 visitors in one andtwo storey modern independ-ent pavilions spaced apart

with many fruit trees plantedand decorative plants plantedbetween them providing shadyinformal sit out spaces.12. Class rooms, trainingcenters and workshops clus-tered together in 2 and 3storey structures designed.

On the green roof are specialrooms for VIPs.13. The Clinic is sited at the

entrance to the campus andadjacent to the public road sothat surrounding communitiescan gain easy access. Theroof is designed for vegetableand herbs planting.

14. All rainwater will be col-lected and stored in the librarypond and reused for farm-ing. Grey water to be reusedfor flushing toilets. The wastefrom the bio-gas will be usedto fertilize the trees and bam-boo plants.

15. A small service road skirt-ing the back of the campusprovides vehicular access.


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A spiraling floorpan provides more space in each12-person dorm for shared areas and activities. Simplematerials and processes are used for lower costs andgreater ease of building - the community could build it

without highly skilled labour. Woven screens and wallsof varying opacity create an introverted scheme whichseeks to draw inhabitants together in the spirit of com-munity. A modern recreation of the local vernacularNipa hut, the dorm is raised on stilts and has a facadereminiscent of the opaque and protective architectureof the Philippine vernacular roof. The pitched roof isno more, but the void created by the spiraling decks

satisfies the dwellers instinctive desire to have an ori-entating vaulting space overhead, what the Philippinepeople call the Spirit Space.


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The living room is elevatedon short stilts.

Toilet and wash area at theback is sunken below andbuilt with concrete blocks re-inforced with bamboo poles.

Bamboo columns and beamssupport the upward-spiralingbamboo platforms, on whichare the dormitory bunk-beds.

Walls on the lower morepublic levels are translucentwoven bamboo screens indecorative traditional andmodern patterns.

On the upper levels the

walls by each bed are moreopaque breatheable wallsof staggered half-culms ofbamboo.

Translucent traditional Fili-pino capiz-shell panels makethe wash area and upper

lounge glow like lanterns atnight.

Spiral plan leads upwards toa lounge area and roof gar-den.

Solar panels on the roof pro-

vide for the energy needs ofthe hostel's 12 guests.


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SJNG CV + Portfolio Year 1-2

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