0 1 STUDIO WU YEN YEN studio one report . 2019 year 1 . semester 1 b.a arch . national university of Singapore
CONTENTS Acknowledgments Foreword
TOPIC A
01 katsura imperial villa . by Izzy, MX & Elijah 02 schroder house. maison cook. tugendhat house. by MX, Ashley, Ally, Zhen Yang, Frank & William
TOPIC B
03 golden mile complex. by Zhen Yang, Frank, Yumin, Daniel & Izzy 04 material and tectonics. whole studio
TOPIC C
05 computational design thinking. part 1. part 2 by Yumin, Ally, Elijah & Zhia Wen
ACKNOWLEDGEMENTS Guest critics, lecturers Assistant Professor Ar. WU YEN YEN (Studio Tutor) Ms. Natalie Cheung (Guest Reviewer) Associate Professor Thomas Kong (Guest Reviewer) Dr Junko Tamara (Guest Reviewer) Ally Tan Swen Yi Ashley Chng Daniel Isabella Meo John Elijah Gan Liu Min Xian (MX) Liu Zhi Yang Frank Nge Zhen Yang Phoong Zhia Wen William Tay Ooi Yu Min
FOREWORD Level 1 Architectural Design Studio AR 1101 Acad Year 2019/20, Year 1 Semester 1 Studio Tutor and Year Co-ordinator: Adjunct Assistant Professor Ar. Wu Yen Yen This semester is an exercise in representation and abstraction. For the first 6 weeks, students of the studio are simultaneously trained to see and think about architecture, as well as to design and express their interpretations of precedents through bi-weekly skills taught to them through drawing. Through encountering different exemplary architecture movements, specific concepts of architectural language are combined with new presentation techniques, so that students are able to experiment with their speaking of a new language. In the following 2 weeks, architectonics, material, detail and assembly are introduced to further their architectural vocabulary. By the final 4-and-a-half weeks, skills and tools that have been imparted are consolidated, for the students’ foray into first concepts of abstraction and application. In this final exercise, students should be cognizant of design thinking through abstraction, understand a methodology of form generation and appreciate latent complex geometries behind materiality. This semester, first from the drawing and making of Cartesian, formal compositions, to non orthogonal, complex geometries, each student is exposed to a full gamut of architecture representations and forms, and are invited to interpret and design their individual engagements with architecture.
TOPIC A [plan . section . elevation] Through the study of representation of Order and Geometry in Plans, Section and Elevations in Classicism to discover Axis, Rhythm, Symmetry, Hierarchy, Repetition, Proportion. In each studio, tutors shall determine a set of simple straight line, curve, drawing conventions, pen weight and pencil exercises. These may be seen as a form of warm-ups, to introduce students the equipment, general rules of technical drawing and ways to set them up. This set of exercises can take 1 to 2 days, and may cover exercise from Josef Albers, Structural Constellations, or Poems and Drawings or Kimberly Elam, Golden Section. In the remaining time in Weeks 1 and 2, each unit may select ONE Classical building - KATSURA IMPERIAL VILLA, KUOTO, JAPAN AND MA., where fundamentals of plan, elevation and section will be taught. Students are asked to observe and explore the plans, elevations and sections of a given case study and through astute analysis, extract, ordering principles (grid, repetition, rhythm, axis, symmetry, geometry, golden section, proportion) that will be layered on with annotational linework or pencil, over the projection drawings. Through the use of pencil, demonstration of light and shadow, depth and transparency through shading and hatching is also encouraged.
01 katsura imperial villa to discover: axis / rhythm / symmetry / hierarchy / repetition / proportion
TOPIC A
[plan . section . elevation]
01 katsura imperial villa BY : IZZY The Katsura Imperial Villa explores the use of geometry and repetition within the interior space, whereby all the rooms are derived from the tatami module. The various mat orientations are dictated by the function and user of the room and distinguish between private and public space.
TOPIC A
[plan . section . elevation]
01 katsura imperial villa
BY : MX The Katsura Villa was especially interesting due to the foreign concept of building architecture around nature. The whole exercise essentially built the very foundation - learning how to draw a plan, section and elevation - of my B.Arch journey throughout semester 1. In pursuit of knowledge regarding the thought-process behind the architecture of the villa, i highlighted the intensity of shadows observed within the confines of the villa in the morning sun; this shows the relationship between light and privacy. On the other hand, i explored the way in which the exposure to nature affects the privacy of the spaces in the villa surrounding it.
TOPIC A
[plan . section . elevation]
01 katsura imperial villa BY : ELIJAH The plan of the Katsura Imperial Villa reveals to me what is usually hidden away, mundane and unnoticed. It shows me how the servants move, confined to very specific pathways that only lead to rooms where the servants do most of their service. Serving tea, assisting and entertaining guests and providing quick support whenever needed. The plan gives me a greater appreciation to the form and design thinking of the Katsura Imperial Villa, one that has a greater reverence to nature and hierarchy than I initially thought. A building’s elevation exposes the facade of the building from a direction. It gives an easy reference as to what the building might look like. It also might give away what the users might look at. Here, the Katsura Imperial Villa gives plenty of magnificent views throughout the side facing the pond, with all the sliding shoji screens. However, the servants get no view at all, blocked by the side entrance and trees.
TOPIC A [isometric . axonometric] Through the study of representation of Parti and Space In Exploded Isometric and Axonometric in Modernism. Discover: Form, Movement, Structure, Sequence, Private / Public In “A Genealogy of Modern Buildings: Comparative Critical Analysis of Built Form” by Kenneth Frampton, projects are paired and compared by, but not limited to, their design intent, circulation around public and private spaces and structure through photographs, drawings and diagrams. Students in each studio may choose from 1 of the 3 case studies of 2 comparative projects: 1) Schroder House (Gerrit Rietveld, 1924) & Maison Cook (Le Corbusier, 1926) 2) Tugendhat House (Mies van der Rohe, 1930) & Villa Mairea (Alvar and Aino Aalto, 1939) 3) Kaufmann House (Richard Neutra, 1945 - 1947) & Villa Sarabhai (Le Corbusier, 1951 – 1955) Each student shall research for drawings of these projects, study them in detail, digest Frampton’s analysis and crystallize their own understanding and reading of the architects’ DESIGN INTENT and translate them into clear diagrams. Students should also articulate the ASPECTS WHICH GIVE THE PROJECTS ITS POWER. The drawings should be a design exercise in controlled and deliberate composition in order to best articulate the stated design intentions of the architects and aspects that give the project its power. Students may explore ways through exploded (or not) axonometric / isometric drawings, linework, pencil / pen shading or hatching, annotation etc. to convey their original assessment of the two projects.
02 schroder house maison cook tugendhat house to discover: form / movement / structure / sequence / private / public
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house
BY : MX Analysing the Schroder house was basically an introductory lesson to the intricate relationships between the exteriority and interiority of a building. I explored the interesting concept of dynamic spaces - a concept deeply-rooted in modernism through the segregation of spaces demonstrated by the sliding doors in the 2nd level of the Schroder House. Through the intentional separation of private and public spaces in the 2nd floor, one can observe the centrifugal circulatory pattern in which the user moves. Outside, in the exterior, I explored the dynamic facade. Since the dynamism lies in the placements.
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house BY : ALLY Schroder House designed by Rietveld showcases flexible and open spaces. With the function of the spaces revolving around the core stairs, it creates a centrifugal movement and radial circulation.
The structure of the house consists of angular lines and no form of curves which emphasises the spiral stairs and centrifugal movement. The lines from the interior space is then carried forward to the facade of the house. The house closely follows the De Stijl movement and is shown in the facade. The facade is made of 2 components that intersects each other in the X,Y&Z axis; lines and planes. Through the dynamic lines and planes, it creates a collage similar to the art movement.
centrifugal movement / spiral stairs / flexible open plan
dynamic collaged facade
dynamic faรงade components
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house
BY : ASHLEY An exploded axonometric can assist in revealing the intent of the designs. As such, I have exploded the levels of both houses to show the relationship between spaces and hence derive the main circulation movement behind both houses. Through each explosion, details of the interior and exterior can be depicted which highlights the interactive power of the designs. For example, looking at just the plan and elevation of Schroder House, it would be hard to realise the 3D planar quality. This quality is what makes the designs of Schroder House so powerful. Hence, I have gleaned that and exploded axonometric can truly showcase the dynamics and full impact of a building as the viewer would be able to better picture and understand it.
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house
BY : ALLY
linear movement & stairs / free plan
free faรงade / ribbon windows
Maison Cook designed by Le Corbusier touches on the 5 points of Architecture. The house is arranged to highlight the double volume living space on the top two floors and is achieved through a variety of volumetric spaces. The house has prominent public and private spaces using the concept of free plan. The stairs are made half landing and thus creates a linear continuous circulation from floor to floor. The Free Faรงade is mostly flat and uses the impression of mass along with Ribbon windows to block its interior spaces. In contrast to its flat faรงade, the interior consists of many curved walls and columns- Pilotis.
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house BY : ZHENYANG Corbusier’s preoccupation with sculpting concrete was also apparent in Villa Cook’s elegant curvaceous interior spaces. His famous “Five Points of Architecture” was strongly evident in the villa’s design language.
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house
BY : DANIEL Maison Cook is Corbusier’s first work to have all his 5 points of modern architecture in it. Through exploded axonometric drawings, we can see how the house guides the visitor up each level towards the double heighted living space through the circulatory flow each floor has and the placement of the staircase in relation to the doorways. Corbusier also had the house show a contrast in the layout and texture of the exterior and interior where the exterior had a flat surface and a cold texture, the interior had curved layouts and a warm feel to it.
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house
BY : FRANK We explored the rule of thumbs in modernist architectures from the pioneer master’s works. Through exploring Tugendhat with models, I learnt the design of modern architectures and how they are archived through the elements in Mies design in the Tugendhat House. We also learned and used Axonometric drawings with exploded components to explore these design elements that the architect used to achieve modernist functions, including the arrangement of the circulation, hierarchy, private/public spaces, views. For example the signature use of chromiumplated, cruciform columns in preserving an open view. Overall, this project has taught us what, why and how are buildings designed following the principle of modernism.
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house BY : ZHENYANG This assignment was a refreshing change from assignment 1 as it introduced us to 3-dimensonal architectural visualisation in the form of exploded axonometric drawings. It is crucial to visualise in 3D because space and form is after all of that nature. With merely the planar qualities of a plan section and elevation, many powerful design elements and subtleties may go under the radar. The axonometric drawings, while not perspectival in nature, offered us a strong and comprehensive understanding of the spaces and forms within the building, in addition to the principles that can be uncovered through a plan, section and elevation.
TOPIC A
[axonometric . isometric]
02 schroder house. maison cook. tugendhat house
BY : WILLIAM This exercise was a cross comparison of two modernist houses through axonometric projections. An axonometric projection is used to create a pictorial drawing of an object, where the lines of sight are perpendicular to the plane of projection, and the object is rotated around one or more of its axes to reveal multiple sides. "Axonometry" means "to measure along axes". Hence for this exercise, my drawings were measured along a 45 angle tilt so as to show the contrasting circulation within the houses between Villa Tugendhat & Villa Cook. Whilst Villa Tugendhat’s anti-clockwise, horizontal circulation was determined by structures within the house which brings the guest to a breath-taking view, Villa Cook’s upward, anti-clockwise circulation was set by the staircase that led to the roof garden. This is a showcase of Mies Van der Rohe’s principles of “less is more”, exemplified in his usage of cruciform pillars and glass panels as windows.
TOPIC A [sectional perspective.] Through the study of representation of Interiority and Exteriority in Sectional Perspectives found in Early Independence Singaporean Architecture to discover: Tectonics, Social, Urban architectural contexts, Building Systems, Interior living room, Exteriors, Streetscape, Entries, Approaches, Arrival. Each student will choose a sectional perspective to draw from the following: 2) Golden Mile Complex by Tay Kheng Soon, William Lim, Gan Eng Oon of DP Architects Studios shall visit the selected building with their tutors and develop a keen sense of experiential, phenomenological and social understanding of the spaces, as well as the people whom they serve. Each student shall research for drawings of these projects, study them in detail, not only for their architectural merit, but also in their social, technological and physical context. Through formulating their own analysis of the architects’ design intent, students will select one view and construct a sectional perspective that best encapsulates the indoor-outdoor relationship in the view of for whom the building was designed.
03 golden mile complex to discover: tectonics / social / urban architecture / building systems / interiority / exteriority / streetscape / entries / approaches / arrival
TOPIC B
[sectional perspective]
03 golden mile complex
BY : ZHENYANG For this assignment, we were first introduced to the Metabolist ideology, which was a movement pioneered by Japanese architects as a response to the growing era of consumerism and capitalism. Notions such as “the city like a house….and the house like a city” embodied its philosophies. During the nascent stages of development in Singapore, a group of local architects were frustrated with the government’s approach, which was purely functional and lacked of any form of identity. Hence, Golden Mile was realised, merging together an eclectic mix of typologies to give rise to mixed-use developments that introduced Singapore to a form of new-age urbanism. Golden Mile Complex exemplified just that, merging commercial, office and residential spaces to form a seemingly self-sustaining ecosystem. This drawing of the building sheds light on the idea of “interiority and exteriority” – how the threshold between a building and the city is blurred. The lightly rendered rear façade contrasts against the weighted drawing of the section and together with the human figures, suggests vibrant activity taking place within the building. Light wispy clouds also serve to foreground the building and add a certain character of airiness to the terraced rear facade of an otherwise large and imposing megastructure.
TOPIC B
[sectional perspective]
03 golden mile complex BY : FRANK The Metabolist movement in post-war Japanese architecture sparks a similar movement across the sea in Singapore following the boom in its economy and prosperity. Golden Miles Complex is one of the pioneer architecture that adopted the idea of an inner-city. We also explored a relatively difficult technical drawing method of sectional perspective. Through exploring the sectional perspective of the golden miles complex, it became apparent that there is a parallel between the internal and external of the building. The visual of a perspective drawing also brought into a perception of grandness, strength and confidences, that further give into the identity of Golden Miles complex.
TOPIC B
[sectional perspective]
03 golden mile complex
BY : YUMIN Golden Mile, a jump into metabolism in Singapore. Often described as a city within a city, the functionality of this structure is in such a way that a person could live his/her life without leaving Golden Mile. This building has three main functions: Residential, commercial, and retail. Its hierarchy is evident in its plan as private spaces such as residential, are located on the top, where- as public spaces such as retail are located close to the ground. In order to fully examine and under- stand the interior space of Golden Mile, a sectional perspective must be drawn to observe the division of space and therefore the circulation of the building.
TOPIC B
[sectional perspective]
03 golden mile complex BY : DANIEL First to be built along the stretch known as the “golden mile” the Golden Mile Complex became the first building in Singapore’s post-war skyline. From the sectional perspective, we can see how the complex operated as a mini-city, with shopping outlets, offices as well as residential apartments incorporated into the complex’s sixteen floors. We can also see how the residential apartments were built in a staggered fashion, allowing each apartment to have its own balcony and view towards the ocean. The perspective also allows us to see “floating” portions of the building due to the way the building was built.
TOPIC B [materiality. tectonics] In Conjunction with Assignment 3: Material, Tectonics of AR1327 Structural Principles Module through the study of Tectonic Expression and Basic Principles of Structures. In Structural Design and Model Making Found in Load Bearing Structures Discover: Structure and Load, Visual assessment of weight distribution, Efficacy of structural design, Connection Detailing. In natural history the origin of form is through the interaction of inorganic and organic chemical structures under the influence of living evolution. In Mathematics form is expressed as abstract relationship that can be constructed as a geometrical form. From which ever starting point in the contemplation of its origin, Materials and the way they are brought together to form space is the central act in the creation of architecture. The appreciation of the nature of materials becomes the starting point of tectonics. An integral part of developing tectonic solutions will be considering the shape things around a structural sense. How to think about structural logic and structural creativity using macro structural ideas/principles to create models/forms which are beautiful, with a clear structural logic and clarity for the structural function.
04 tectonic bridge tectonic dome to discover: structure and load / weight distribution / structural design / connection detailing
TOPIC B
[material . tectonics]
04 tectonics bridge and dome - paper
6 modules forming a hexagon
5 modules forming a pentagon
TOPIC B
[material . tectonics]
04 tectonics bridge and dome - paper
TOPIC B
[material . tectonics]
04 tectonics bridge and dome - strings
TOPIC B
[material . tectonics]
04 tectonics bridge and dome - strings
BRIDGE
DOME
TOPIC B
[material . tectonics]
04 tectonics bridge and dome - wood
TOPIC B
[material . tectonics]
04 tectonics bridge and dome - wood
TOPIC C [computational design thinking] [part one] Through the study of representation of Complex Informational Systems in Infographics, Patterns of Information Discover: Method, Time, Information Processing, Computational Design Thinking. The objective of this exercise is to introduce information systems and the methods of how they can be represented through another language syntax that then can be coded into form, through methodical, systematic translation. It is already fact and necessity that more and more, architects receive, analyse, strategise different sets of parameters and information that are expected to feedback and inform architectural design. This is a process-driven sequence that sometimes forms the principle logic and backbone of architectural strategy and formal expression. If before, principles and fundamental design concepts came from nature and man, or observed and imparted as what is “universally pleasing to the eye” becomes known as proportion, or that the eye being able to detect order gives a pleasurable vocabulary for architecture to be read, and these then propel architectural design for centuries, then today, even more, architectural formulation and evaluation of design and aesthetics, (or justmaking sense of order amongst even more scientifically quantifiable information), continues to push the what and how architectural reading and assessment should evolve. Architectural coding has existed for a long time. Design thinking and invention utilises computer digitisation to help architects code and decode. It is NOT the other way around, where computer programs and computational design dictates design.
[part two] Through the study of iterative and Complex Geometry Generation in Material Model Making to discover: Materiality, Application of Actions and Functions, Inter-Connectivity, Performance, Feedback, Field, Generative Effects, Action-Reaction. Through the use of a responsive material that provides feedback depending on the “information” and action the author makes, the medium interacts and performs in a way that asserts its intrinsic nature of continuity, resistance and other performances. Students learn how feeding information through action to material, is akin to working with all other construction material of timber, concrete, glass etc. and necessitates the adoption of those materials’ characteristics. Each student will equip himself or herself with a responsive material of your studio tutors’ choice. With the line drawing ‘code’ that the students have individually developed in Exercise 1, each legend and parameter is to be assigned, through translation, into a corresponding action that will “affect” the material. These actions, designed by the students, should best translate the nature of the code drawing from Exercise 1, into another form of syntax through exploration of parameters and limits in selected material. Complex, compounded actions are also acceptable. By imparting order, structure, code-like rules when assigning actions, students will attempt to translate Exercise 1’s code onto a material, such that 3-dimensional models are formed. A series of iterative models that progressively test the limits of the selected material within the rigor and ambit of each code and action, probe students’ exploration of materiality and computational design thinking. The full range of iterative models should demonstrate taxonomy of these student- designed codes and actions.
05 Part one Part two to discover: method / time / information / process / computational design
TOPIC C
[coding . translation . process]
05 computational design thinking BY : YUMIN Computational designing breaks down the logical construct of design. What that means is everything designed has some form of reason behind it. Therefore, in this assignment, it is about ability to take a complex infographic and translate it into a design. To do this, a code was developed that was functional to adhere to the complexity of the info- graphic.
The choice to generate a code out of the family of lines was a result of its room for exploration and versatility. The infographic referenced illustrates the spread of radiation in a coastal area of Fukushima, presenting three sets of data: the type of spread, rain and air, the intensity of radiation, and the geospatial location. As a result, the code has three main elements specific to the three sets of data in the infographic. Type is shown by the solid line for rain, and dotted line for air. Intensity is manipulated using line weights, and finally, geospatial location using space. These are what formed basic elements, of which can be further explored through identifying its functions and compounding them.
TOPIC C
[coding . translation . process]
05 computational design thinking
Upon developing this code, it was identified that codes were but a methodology to design. Just by altering the functions of a code according to that which adheres to a chosen material, the two-dimensional code could be versatile to generate models. Exploring how Vinyl as a material could be coded, its materiality was observed. Features such as its fluidity and bendability encouraged functions such as folding and pinching to create volumetric shapes. The elements of the initial code were transformed into the following actions. Type is represented by a double stitch whereas air is represented by an unstitched fold. Intensity represented by the frequency of pinches. Finally, space, represented by a bulge as a result of two vertical pinches between two intensity pinches.
TOPIC C
[coding . translation . process]
05 computational design thinking The method of casting to cut sections of the model was used to observe the interiority of the structures. The contrast between the interiority and exteriority of this structure highlights their significance as they each possess a unique set of information and perspectives. In a broader sense, this would apply to most of architecture, where the plan, section and elevation are equally important.
TOPIC C
[coding . translation . process]
05 computational design thinking
BY : ALLY Computational designing practices a step by step process alongside strategic design thinking where the process of seeing, thinking and making can be documented in architectural representations of drawings and models without the use of computers. An introduction to information systems and how they can be translated via another language such as a code. Extracting elements out from an infographic ( boundaries, nodes, direction, typology ) and translating it into a code based on circles.
TOPIC C
[coding . translation . process]
05 computational design thinking BY : ALLY The code of circles enables many variations and compounded functions such as intensity, solid & hollow, linetypes & lineweights, positive & negative spaces. The process of translating 2D data into a 3-dimensional space by assigning an action to a function. Vinyl was chosen as the material as it is responsive and rigid thus enhances and emphasizes the actions done to it. This linear material allows flat planes to be 3 dimensional with the actions applied to it. Translating from the code, the actions used are mostly folding, pinching, twisting, pulling, pushing, pushing , stacking, compressing and overlapping.
TOPIC C
[coding . translation . process]
05 computational design thinking BY : ALLY Casting the model allowed section cuts to made, and how one can observe the interiority of space within the model itself. Computational Design Thinking carries the ability to design through a generative step by step process and how this method driven process enables us to create and regenerate complex geometries and parametric form. By inventing a single code of translation allows replication to other possibilities to be made. Thus, showing how similar design concepts can be applied throughout architecture.
TOPIC C
[coding . translation . process]
05 computational design thinking BY : ELIJAH text
TOPIC C
[coding . translation . process]
05 computational design thinking BY : ELIJAH First comes the weather maps. Then transforming them onto a grid. Then mapping each square of the grid to its intensities accordingly. Then translating these intensities into a family of code. The mapping of functions. Data in a form translated into another form, in which more data can be represented harmoniously together From a family of circles, every intensity and function is then mapped unto a 3-D surface. In this case, a sheet of vinyl. The outer circle a pinch, the inner circle a twist and the rectangular line a fold. More pinches, more folds and a tougher twist and corresponds to the intensity, while the orientation of the fold responds to the direction and placement of the rectangular line. The final model is then pieced together and casted, and cut into four sections. The section of the final models reveals traces of individual functions. But it also shows how the model has already generated its own form; its own voids and curves, a kind of uncertainty being translated from the code. Here, Computational Design Thinking shows to me that data can be translated into design, but how it is translated generates the uncertainty of its form.
TOPIC C
[coding . translation . process]
05 computational design thinking BY : ZHIA WEN The same challenges and lessons from designing a code apply when methodically designing and generating forms. in this case, the questions to ask ourselves are: which actions best represent the parameters, and which actions are compatible together to allow for greater clarity. This exercise involved a rigorous experimentation and exploration with the material and actions applied to the material. it is a logical and systematic process that aims to best represent a unique set of complex information
TOPIC C
[coding . translation . process]
05 computational design thinking
BY : ZHIA WEN These models show the different types of folds created to represent different connections. Additionally, the models show how the different connections intersect as well. As can be seen, when the connections intersect and become compounded elements, it results in different forms and shapes that will ultimately affect the final form of the model.
TOPIC C
[coding . translation . process]
05 computational design thinking
BY : ZHIA WEN The extracted segment of my code contains all the based elements, and most of the compounded elements. The model was condensed on one end but expands on the other given the fewer number of intersecting lines . Through this model, we appreciate the spaces created by the undulations of these parametric forms.
ONE ONE ONE ONE ONE WU YEN YEN ONE ONE ONE ONE ONE WILLIAM ONE ONE ONE ONE ONE ALLY ONE ONE ONE ONE ASHLEY ONE ONE ONE ONE ONE IZZY ONE ONE ONE ONE ONE ELIJAH ONE ONE ONE ONE ONE DANIEL ONE ONE ONE ONE ONE FRANK ONE ONE ONE ONE ONE ONE ONEONE ZHIAWEN ONE ONE ONE ONE MX ONE ONE ONE ONE ONE ONE ONE ONE ONE YUMIN ONE ONE ONE ONE ZHENYANGONEON ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE ONE
Design Studio One, Year 1 Department of Architecture School of Design and Environment