Jayden Sim Interior Design Portfolio

P O R T F O L I O

S I M J U N Q U A N J A Y D E N

T H E G L A S G O W S C H O O L O F A R T

Is TheRe mORe TO InTeRIOR desIgn? COuLd desIgn be InFORmed FROm an IndIvIduaL’s subjeCTIvITy?

during year 3, the question I ask myself was “how do I create a wholesome project that could get me good grades?” Well, I got an OKay grade at the end. but that was all - designing on tangible levels that attempts to address the site, concept, user, etc.

Then comes year 4 project 1. I put all my attained skills into the project, finally to realize that I need to break away from my comfort zone. Project 2 opened up a question in me, and that curiousity was explored in FyP. I learnt that, what I thought was mysterious in all designers, appeared to be a few standard steps. This got me questioning a higher phenomenal in design processes, no longer from tangible aspects.

a R e a L L d e s I g n s a s T R I n g O F R a T I O n a L I Z e d d e C I s I O n s ?

this project was a final showcase for my technical skills acquired in year 3 and the overseas immersion program.

i have chosen exhibits revolving around prison, and the challenge was how to translate that strong emotions into the interior spaces.

prisoner’s emotionsprisoner’s emotionsthis project was a final showcase for my technical skills acquired in year 3 and the overseas immersion program.

i have chosen exhibits revolving around prison, and the challenge was how to translate that strong emotions into the interior spaces.

PRISONEr’s artworksfrom UNITED STATES (1990 Onwards)

PRISONER’S poems from UNITED STATES (1990 Onwards)

TARO YAMASAKI ‘S DOCUMENTARY JACK-SON MICHIGAN PRISON

the structured made up of prefab fiber reinforced concrete is used to house 2 featured photos

To introduce and lead the visitors into the prison

To bring the visitors into the prisoner’s emotional world visually

To immerse the visitors into the prisoner’s most inner feelings

photography introduces visitors into the prison, while the artworks and poems brings them into their emotions

stamford arts centre is choosen as the site because it is one of the few places in singapore where there are 2 builidngs of worship just adjacent to it. this allows the visitors to get a breather (religiously) from the heavy exhibition.

The selected exhibits revolves around the environment and the inner feelings of prisoners. when the spatial expression is high, the exhibit’s perception is lower. this is to ensure that the spatial design does not affect the emotional exhibits. The visitor can then fully understand the prisoner’s emotions.

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SPATIAL EXPRESSION

EXHIBITPERCEPTION

SYMPATHY

EMPATHY

ENTRANCE

photography

rest

artworks

transition

poems

exit

FGE

DC

BA

the poems are positioned at the last because they are the most impactful exhibit.

by reading the most inner feelings (poems), the visitors are then able to relate to the prisoners more.

PHOTOGRAPHY ARTWORK poems

CENTRAL SPACE; DOUBLE VOLUME

2ND STOREY RIGHT WING;DOUBLE VOLUME

∙ WATCHED∙ OVERWHELMED

∙ SEARCHING FOR HOPE

∙ THWARTED SENSE OF SPACE∙ TIME EXPRESSED IN LIGHT AND MATERIAL

∙ ISOLATION∙ LOST OF SCALE AND MATERIALITY

PHOTOGRAPHY

1ST FLOOR PLANN.T.S.

starting from the left, the user first gets to see the overall environment of the prison. towards the right shows a more intimate, darker side of their liifestyles and struggles.

Because alabaster is so soft, it does best with a sun’s cleansing. It can also draw f o r g i v e n e s s , whether it be you that needs self forgiveness or the ability to forgive someone that has done you wrong. It helps to draw anger out of a person and to release it.

construction of alabaster stone in an oblique angle N.T.S.

?

2nd FLOOR PLANN.T.S.

ARTWORKS

POEMS

THE POEMS ARE ARRANGED FROM HIGH EMOTION TO LOW. AFTER EVERYTHING, THEY ARE BEING LED TO AN EMPTY ROOM, WHERE SIMILAR TO PRISONERS, THEY START QUESTIONING “AFTER RELEASED, WHATS NEXT?”

projection casts poems on black wall for simplest form of impact. the audio system utilises the tiliting of the roof to project the repeat from the respective prisoner.

section b-bn.t.s.

enlosed staircase to mimic a trapped feeling tensile cable installed on the side of linkway partitions to create a series of rooms

p 1 was a summary of the skills acquire in year 3 and oip. i wonder “is there more to interior design?”

The storyboard was built around an experiential model. the response were that readers were able to experience the tight and claustrophobic space that imitates the highlight in my project, at the same time, reading my storyboard from the exterior.

throughout the project, i pushed my skills set to it’s limits- innovating new representational skills, new rendering techniques, challenged myself in details and working with materials i am unfamiliar with. it was even my first time building an installation too.

Dakar is the capital and largest city in Senegal. They have a number of filmmakers such as Ousmane Sembene who wrote and narrated the film “Borom Sarret” in 1963. Today, downtown Dakar, a city of 2.5 million people, has almost no films theatres with many of the old theatre if not all closing their doors in the last decade. The

brief is to design a Temporary Cinema within the city of Dakar in Senegal. Thought should be given to the idea of sustainability and should be movable, transportable with option of easy dismount/ remount.

gROuP membeRs aWaRdsSingapore Design Awards 2015, student design awardDesign Business Chamber Singapore

Pirogue, otherwise known as boats, are used for traditional fishing - an industry still important in Dakar. The long and colourful boats are often hand painted by the local artists. The patterns are mysterious and intricate, representing the colourful mosaic life of Dakar.

However, many of the boats were old, damaged by the sea water and heat from the sun, or abandoned. Our scheme attempts to reincarnate something that has a rich culture and life to facilitate the cinema. With reference to the seating

poistures of Senegalese, we cut the boats and put them together to form different seating configurations. This allows users to seat and watch films together in a different manner.

Apart from the Pirogues, equipments like scaffolding poles and batiks are selected to facilitate the mobile cinema. The truck which is used to transport these equipments, can be seated on as well. This scheme serves as a reference as to how Senegalese can re-use boats, coupled with a few other equipments, to form a mobile cinema.


However, many of the boats were old, damaged by the sea water and heat from the sun, or abandoned. Our scheme attempts to reincarnate something that has a rich culture and life to facilitate the cinema. With reference to the seating

poistures of Senegalese, we cut the boats and put them together to form different seating configurations. This allows users to seat and watch films together in a different manner.

Apart from the Pirogues, equipments like scaffolding poles and batiks are selected to facilitate the mobile cinema. The truck which is used to transport these equipments, can be seated on as well. This scheme serves as a reference as to how Senegalese can re-use boats, coupled with a few other equipments, to form a mobile cinema.

AVENUE MALICK SY

AVENUE BLAISE DIAGNE

RUE M’BAYE WORRE

STADE LEOPOLD SEDAR SENGHOR GRANDE MOSQUE DE DAKAR RADIO TELEVISION SENEGALESE

PIROgue


However, many of the boats were old, damaged by the sea water and heat from the sun, or abandoned. Our scheme attempts to reincarnate something that has a rich culture and life to facilitate the cinema.

gesTuRe anaLysIs

Senegalese gesture study was done to analyse the different sitting poistures. The challenge was how to infuse the boats nicely to the contours of the Senegalese.

At the end, we want the users to seat and watch films together in a different manner. It would also serve as a social space where Senegalese can come together and interact.

WEAR AND TEAR HEAD AND BODY DAMAGED

The site is located at the center Medina and Plateau, directly beside the Radio Television Tower and opposite the Grand Mosque.

Instead of working on spaces on a huge scale, we decided to look at interior spaces on a smaller scale. Using exploration cut-out boats, we tried to fit the boats into the contours of the Senegalese. Cutting the

models and putting the parts together, we realise that because of the nature of the arcs, they actually come together nicely to form seatings.

The scheme uses damaged and unused Pirogue to create seatings and other facilities for a cinema. The boats are first dismantled using a chainsaw into parts of 2 or 3. After which, the old samba wood are put together depending on its size, condition and colour combinations.

Using scaffolding clamps to put them together, we came up with 5 sets of configuration seatings based on different pax, ranging from 1 - 7 pax for different configurations. The design was specifically based on the user requirements, and together, they form the whole outlook of the cinema.

2 PARTS

DAMAGED PIROGUES

3 PARTS

SEATING SEATING SEATING SEATING SEATING TICKETING CAFE

A B C D E F G

For the visuals of the storyboard, we decided to adopt an instruction manual’s language to bring the readers through the different steps of fixing the mobile cinema together. It was our first time trying this, and what resulted was a unique architectural storyboard that has clear instructions.

This project taught me that design can be informed from an individual’s subjectivity and requirements. adopting the mass to form the overall design brings the design to a more holistic, resolved level instead of simply a personal expression.

This project taught me that design can be informed from an individual’s requirements and subjectivity.

It was a turning point towards my design approach...

< A L G O R I T H M S P A T I A L D E S I G N >1 0 S T E P S T O C H A N G I N G T Y P O L O G Y

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CHIJMES

ST JAMES POwER STATION ST JAMES POwER STATION

ASCOTT RAFFLES PLACE ASCOTT RAFFLES PLACE

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wHEELER’S YARD

GILLMAN BARRACkS

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CHAPEL

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OFFICE

RESIDENTIAL

INDuSTRIAL

MILITARY CAMP

SHIPPING CONTAINERS

RESTAuRANT

NIGHT CLuB

HOTEL

NIGHT CLuB

CAFE

MuSEuM

MuSEuM

CHIJMES

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Proposed

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Proposed

< A L G O R I T H M S P A T I A L D E S I G N >1 0 S T E P S T O C H A N G I N G T Y P O L O G Y

E X A M P L E S O F C H A N G I N G T Y P O L O G I E S I N S I N G A P O R EE X A M P L E S O F C H A N G I N G T Y P O L O G I E S I N S I N G A P O R E

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Former

SCARLET HOTEL

SCARLET HOTEL

SCARLET HOTEL

RESIDENTIAL

RESIDENTIAL

HOTEL

Proposed

Proposed

SPACE

In conversion projects, architects and interior designers are able to change the functions of a space from an initial building into an improved version or a totally different function. This is made possible because we saw a common denominator - SPACE.

Are interior designers able to change any typology to others? Are we following a mental formula? The project explores how interior designers can permutate between typologies.

RESTAuRANT

OFFICE

SCHOOL

The table on the upper left shows the level of difficulty when changing typologies. The varying design process involved are one of the factors that affect the difficulty.

The diagram on the lower left demonstrates the common design process for spaces. Breaking down the process, a space is mainly (not limited to) made up of organization, material, lighting and furnitures.

- Power Generator- Fire Fighter- Research Lab- Fun House- Casino- Market- Museum- Shopping Mall- Community Centre- Restaurant- Bar- Office- Farm- Library- Fashion Runway- Cinema- School- Hotel- HDB / Housing- Church- Country Club- Nusery- Gaming Centre- Columbarium- Temple- Zoo- Mosque

FACTORY

EASY

COMPLEx

CONV

ERT

TO

D I S C L A I M E RD I S C L A I M E R

T h i s p r o j e c t e x p l o r e s p u r e l y o n t h e f u n c t i o n a l d i m e n s i o n o f i n t e r i o r d e s i g n p r o c e s s e s a n d s p a t i a l a t t r i b u t e s , d i s m i s s i n g t h e e m o t i o n a l ( o r s p i r i t u a l ) q u a l i t i e s t h a t e a c h a t t r i b u t e s p o s s e s . A l t h o u g h a t t h e e n d o f t h e a r g u m e n t , t h e p r o j e c t i s s t r u c t u r e d s u c h t h a t e v e r y f u n c t i o n a l s p a t i a l d e c i s i o n m a d e b y t h e u s e r

w o u l d c o m e t o g e t h e r t o e v o k e t h e d e s i r e d e m o t i o n s .

R E M O V E S I T E C O N T E X T

R E M O V E P O E T I C A S P E C T O F S P A T I A L A T T R I B u T E S

E A C H N u M B E R C O R R E S P O N D S T O A S P A T I A L A T T R I B u T E , w H I C H E Q u A T E S T O A P O E T I C A S P E C T S u B J E C T I V E T O T H E C R E A T O R

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T H I S P R O J E C T E X P L O R E S T H E F u N C T I O N A L A S P E C T O F S P A T I A L A T T R I B u T E E A N D V I E w S T H E M A S N u M B E R S









D I S C L A I M E R





D I S C L A I M E R





The project explores a functional approach as a solution to changing typologies, notwithstanding the other emotional qualities (e.g. site, heritage) that makes up a space. However, the contention of this project is that characteristics of the functional architectural aspect leads to the potential for the existence of the poetic side of interior design. Also, the context of the project is in Singapore.

“I think it will shock no one to say that quality of change has to do with two distinct aspects: the first, specifically architectural, concerned with space and materials; the second exclusively social involving agreement, approval, acceptance.”

- Amine klam, 1982, Space and Materials

STRIPPING OF SPATIAL ATTRIBuTES

‘‘A first step towards the understanding of architectural specificity is to recognize these categories of abstraction of physical elements, and define scles of spatial order that relate to these basic abstractions.’’

‘‘A first step towards the understanding of architectural specificity is to recognize these categories of abstraction of physical elements, and define scles of spatial order that relate to these basic abstractions.’’

STRIPPING OF SPATIAL ATTRIBuTES

“In short, an architecture of standardised needs and variable materials; that our architecture is one of variable needs and standardised materials. “

ADDITION OF SPATIAL ATTRIBuTES IN ACCORDANCE TO OuR CREATIVITY

“In short, an architecture of standardised needs and variable materials; that our architecture is one of variable needs and standardised materials. “

ADDITION OF SPATIAL ATTRIBuTES IN ACCORDANCE TO OuR CREATIVITY

INPuT SOLuTION INPuT SOLuTION

AT THE END, THE SET OF

ALGORITHM CORRESPONDS

TO wHAT THE CREATOR

ENVISIONS THE SPACE TO BE

AT THE END, THE SET OF

ALGORITHM CORRESPONDS

TO wHAT THE CREATOR

ENVISIONS THE SPACE TO BE

SPATIAL EXPERIMENT

A set of algorithms were formed for 4 typologies - Hotel, Office, Columbarium and Prison. Thereafter, they were applied onto 3 different sites - Singapore Flyer, SIT-TP-studio and Shophouses.

The conclusion was that different sites requires a different set of algorithm for the transformation, mainly because each sites offers their own unique spatial aspects and quality. It is impossible to have a 1 solution for all. Thus, in some cases, the algorithm was amended to ensure a successful transformation.

This experiment shows that the algorithm design could be used to change typologies, with a systematic set of process that eventually defines the space. Attention has to be given onto the site conditions to select the best suited solutions.

This kept me thinking: Could design be done systemically, logically? Could the process of interior design be simplified such that laymen can do spatial design as well? Is design a science or an art?

SPATIAL EXPERIMENT

A set of algorithms were formed for 4 typologies - Hotel, Office, Columbarium and Prison. Thereafter, they were applied onto 3 different sites - Singapore Flyer, SIT-TP-studio and Shophouses.

The conclusion was that different sites requires a different set of algorithm for the transformation, mainly because each sites offers their own unique spatial aspects and quality. It is impossible to have a 1 solution for all. Thus, in some cases, the algorithm was amended to ensure a successful transformation.

This experiment shows that the algorithm design could be used to change typologies, with a systematic set of process that eventually defines the space. Attention has to be given onto the site conditions to select the best suited solutions.

This kept me thinking: Could design be done systemically, logically? Could the process of interior design be simplified such that laymen can do spatial design as well? Is design a science or an art?

Amine klam, 1982, Space and Materials

“I think it will shock no one to say that quality of change has to do with two distinct aspects: the first, specifically architectural, concerned with space and materials; the second exclusively social involving agreement, approval, acceptance. But the contention of this paper is that characteristics of the first contains potential for the existence of the latter.”

Creators are designing sub-consciously with the selection of each spatial attributes. At the end, the result would be a list of subjective attributes coming together to form a poetic interior.

T A k I N G O F F F R O M P 2 , F Y P T A u G H T M E T H A T D E S I G N C A N C O M E F R O M T H E S u B J E C T I V I T Y O F T H E I N D I V I D u A L . C O u L D T H A T S u B J E C T I V I T Y B E A D O P T E D T O A N S T E P - B Y -S T E P A P P R O A C H T O I N F O R M T H E O V E R A L L D E S I G N ? A R E A L L D E S I G N A S T R I N G O F R A T I O N A L I z E D D E C I S I O N S ?

Amine klam, 1982, Space and Materials

“I think it will shock no one to say that quality of change has to do with two distinct aspects: the first, specifically architectural, concerned with space and materials; the second exclusively social involving agreement, approval, acceptance. But the contention of this paper is that characteristics of the first contains potential for the existence of the latter.”

Creators are designing sub-consciously with the selection of each spatial attributes. At the end, the result would be a list of subjective attributes coming together to form a poetic interior.

T A k I N G O F F F R O M P 2 , F Y P T A u G H T M E T H A T D E S I G N C A N C O M E F R O M T H E S u B J E C T I V I T Y O F T H E I N D I V I D u A L . C O u L D T H A T S u B J E C T I V I T Y B E A D O P T E D T O A N S T E P - B Y -S T E P A P P R O A C H T O I N F O R M T H E O V E R A L L D E S I G N ? A R E A L L D E S I G N A S T R I N G O F R A T I O N A L I z E D D E C I S I O N S ?

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Jayden Sim Interior Design Portfolio