1; CITY
‘MA R I N E P A R A D E T E R R A C E’
marine parade terrace ;
CONTENTS precusor site analysis iterations plan, section and elevation exploded and 3d views pictures
Being the first project of Semester 2, it tested me on the intensity and scale of a large urban project. Through this urban project, I have explored many types of morphology in large scale living settlements and will incorporate the virtues of such into my future projects. It was overall a very enjoyable thought process and production with my team - Zeno, Jane and Sherry ; which we worked compatitively well together to create the Marine Parade Terrace.
Lim Qian Ping Annabelle A0157481Y
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PRECUSOR The general meaning of the term “morphology” is the systematic description of shape and form. In biological usage, the comparative classification of the shape characteristics of an organism is called taxonomy. Morphology, when applied to urban architectural design, is about the specific characteristics of form, i.e. the height, the width, and the length of a building, and its footprint on the land. The comparative characteristics of dif erent building morphologies are collectively referred to as “typology”.The purpose of this introductory studio on morphology is for students to gain, at an early stage of their architectural education, a grasp of the relationship between quantity and quality, or between form and concept (meaning). Urban architecture must understand the relationship between form and density. This kind of knowledge is important but too often neglected in architecture schools everywhere. Prof. Tay Kheng Soon
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the deliverables ;
• One model (1:500 scale) per team • A tabulated list of program, area, volume, and density • 6 x A1 drawings (plans, elevations or site sections at 1:500 scale) per team
ASSIGNMENT Students will select from Google Earth a location they are familiar with in Singapore. Thus they will generally know its quality, i.e. its density, appearance, openness or compactness etc. They will then draw a 500 m circle around the target area. This is the “gross site” area. They will calculate the total floor area by measuring the plan area of all the buildings within this site, then multiply this by the heights to get the total floor area. This will be multiplied by the average storey height (3 m) to obtain the total volume. Students will redesign the layout with the same volume by making different layout models at 1:500 scale. They will do this by making strips of floor widths and thickness at 1:500 scale and deploying these within the 500 m site at 1:500 scale. The standard width is 13m. If too wide light and ventilation will be compromised. Students will work in groups of 3–4 with 3 teams per studio. There will be many different layouts and building morphologies. These can then be compared and discussed as to their liveability and the quality of the public spaces. In doing block forms it is important to understand that every housing unit within the block must have enough light and ventilation. This is measured by a view and ventilation index - VVI. The index is determined based on the total surface exposed to the outside for a given flat size. Party walls are not counted. For example an ideal square shape bungalow of 100m2 will have 40m exposed to view and ventilation. A circle of the same floor area will be less, a triangle even less. The best shape for the same floor area is a long rectangle but this may not be liveable.
Area chosen : Marine Parade 5
SITE MAP AND ANALYSIS SITE AREA (m2) 196349.541 AMT OF OPEN SPACE (m2) 137184.536 Open Space Percentage 69.868% Total GFA (m2) including carparks, CC, and police station 618717.6511 Total GFA (m2) only HDB 564140.719 Total Gross Volume (m3) including carparks, CC, and police station 1855482.98 Total Gross Volume (m3) only HDB 1691752.184 Gross Plot Ratio including carparks, CC, and police station 3.151103119 Gross Plot Ratio only HDB 2.873145087
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SITE ANALYSIS cons ; site was not linked in terms of the different residential areas / categories ; east coast park, one of the highlights of the area, was hard to access and there was no prominent linkage that could tell the direction of the park ; view of the city and sea should be further highlighted ;
CONCEPTS to bring out the value of an interconnected town ; further emphasis on bringing people towards east coast park ; having a green living settlement to have better cohesion with the surroundings; maximise views of both city and sea
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site coverage ;
greenery ;
wind ;
sun ;
view and ventilation index ;
ORIGINAL SITE 8
sky factor ;
ITERATIONS 4 iterations done with respect to maximising VVI & Sun, Wind, Greenery, Accessibility
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site coverage ;
greenery ;
wind ;
sun ;
view and ventilation index ;
I T E R A T I O N O N E - vvi & sun 10
sky factor ;
site coverage ;
greenery ;
wind ;
sun ;
view and ventilation index ;
I T E R A T I O N T W O - wind 12
sky factor ;
site coverage ;
greenery ;
wind ;
sun ;
view and ventilation index ;
I T E R A T I O N T H R E E - greenery 14
sky factor ;
site coverage ;
greenery ;
wind ;
sun ;
view and ventilation index ;
I T E R A T I O N F O U R - accessibility 16
sky factor ;
FINAL MORPHOLOGY
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sun ;
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FINAL MORPHOLOGY
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MARINE PARADE TERRACE Design Concept: Spider web-like network Interconnected linkages that intersect one another throughout the site and connect different stretches of residential modules. Mid-rise 1 Modules are staggered, stacked and aligned along the main branches of the network leading towards the central courtyard which comprises an open civic space furnished with greenery. The orientation enables the modules to receive minimum direct light from sunrise and sunset. Its direction lies along the axes of sea breeze, land breeze and prevailing wind from the Northeast and Southwest. Mid-rise 2 Similar as mid rise 1 but also acts as linkages that connect the main branches together. High rise Surrounds the central courtyard. The modules of each tower are meticulously angled to allow scenic sea and urban view. Link bridges Connections that further increase the accessibility between each stretch of modules at different levels. 22
plan ;
elevations ;
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sections ;
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3D envisioning of Marine Parade Terrace ; 26
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exploded diagram showing the different layers and their purposes ;
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2; ARCHITECTURE ‘T H E C H E N G C A N O P Y ’
the cheng canopy ;
CONTENTS precusor the elok house the cheng canopy pictures
As the first ever proper architectural project that we have done, it sought to be quite challenging at times especially when I would get a design block and no ideas would run. However, I have further realised my passion in architecture itself through bui lding the cheng canopy and have also gone through many new experiences that have enhanced my ability in thinking more like an architect and visualising more abstract concepts that one may not be likely to see in a house.
Lim Qian Ping Annabelle A0157481Y
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PRECUSOR As a young architect, you are under the apprenticeship of one of the following master architects, and your task is to be in charge of designing his/her client’s house, based on your master’s philosophy and vision of architecture. Please select your master (Annex A), with no duplicate selections in the studio: You will also act as the client (owner). Please draft a program of your “dream” house. It can be your family home, rental condo, Airbnb, vacation house, SOHO, art studio, shophouse – anything you wish to live in! Then please appoint your studio mate as your architect to design it. Each studio will be given an urban site of 50 m x 50 m, which needs to be subdivided into 10 lots (if 9 students, leave one lot as a park. If 11 students, one lot can be just used twice), with a street and public area. As a studio, please plan the configuration of the lots, street, and public area to define the quality of the neighbourhood. One lot will then be assigned to each client. The site is a mixed-usage site (meaning it can be residential, commercial etc). Plot ratio can be decided and fixed as a studio. Lot Size X Plot Ratio = Gross Floor Area (GFA), which is the maximum space you are allowed to build on. Only covered indoor areas are considered part of the GFA. The site is flat and has no height limit, but underground structures are not allowed. As the architect, please consult the client to understand the program so you can meet his/her expectations/requirements by producing sketches and drawings (1:50) to communicate your design intent. On behalf of the client, please resolve any issues, such as adjacency with neighbours. Other conditions are subject to the development authority (tutor). The architect has to gain basic approval from the authority for the premise of the project. All the final drawings and the model are to be produced in 1:50 scale, and the architects are free to communicate with clients via meetings, email, phone, sketches etc. for the success of the project. Each student will take the two roles of Architect and Client for others.
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the deliverables ;
• One (1) program brief of the building per student (as client) • Six (6) x A1 drawings (master’s case study of topology, plans, elevations, site sections in 1:50 scale) per student (as architect) • One (1) model (1:50 scale) per student
SITE CONTEXT
the plots ;
Each plot measures 10x20m and differs from height, some are 0-12m from ground and some are 12-24m above ground. The site also consists of civic spaces which are communal and green spaces made for social interaction
site area - 200sqm
Chosen Master Architect ; Chang Architects - Elok House (2005) 5
section ;
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CONCEPTS
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plans ;
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elevations ;
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perspectives ;
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section ;
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CONCEPT MODELS extraction of tree placement in Elok House with contours ;
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spatial model of the Elok House ;
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CONCEPT MODELS
extraction of the Elok House trees to capture the human weaving space ;
the Cheng Canopy first model with concentration on terracing and spatial use ;
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3; HUMAN
‘H O V E R’
hover ;
CONTENTS precusor concepts mechanism construction details plan and elevations pictures A3 poster
This project was my favourite out of all three as it further challenged my ability to mix different modes of thought with the concept of architecture itself – making it highly complex yet allowing my imagination to run free. I enjoyed the process of creating something that was fictious yet believable and the human scale was also interesting to work with as I always had myself to take reference to. I hope that you enjoy going through the imaginative deveopment behind the mechanism of the ‘hover’ itself and appreciate the poetic reflection that I have created.
Lim Qian Ping Annabelle A0157481Y
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PRECUSOR ‘In Paris, there is a street; in that street, there is a house; in that house, there is a staircase; on that staircase, there is a room; in that room, there is a table; on that table, there is a cloth; on that cloth, there is a cage; in that cage, there is a nest; in that nest, there is an egg; in that egg, there is a bird. The bird knocked the egg over; the egg knocked the nest over; the nest knocked the cage over; the cage knocked the cloth cover; the cloth knocked the table over; the table knocked the room over; the room knocked the staircase over; the staircase knocked the house over; the house knocked the street over; the street knocked the town of Paris over.’ Children’s song from Les Duex-Sevres (Paul Eluard, Poesie involontaire et poesie intentionelle) - extracted from Georges Perec
the deliverables ;
• Four (4) A1 min. consisting of the following :
-Documentation of anthropological analysis / studies in relation to use of ‘machine of imagination’; -Assembly drawings of all parts (to scale) forming the full system that activates the ‘machine of imagination’; -llustration of flight in motion upwards to the inhabitants of Baucis; Basic plans and sections where necessary. • Construct a final timber model of your ‘machine of imagination’ in preferred scale. -Paying attention to the ‘bolts and nuts’ of timber parts forming the whole system – (design detailing); • One (1) A3 Poster The above children’s song resonated the domino effect of how a little event occurring in the domestic arena can impact the urban environment and vice-versa. In similar essence, our living environment being closely stitched together with inter-related events and conditions presented by the city and its behavior, will permeate into the domestic arena, effecting a change in the way we sense our spatial dimensions and hence, change our experience of what we have come to know as our ‘world’. (In tandem with P1 : Morphology (urban) to P2 – Architecture and now P3 : Human scale)
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THE PROGRAM BACKGROUND
Catapulting into a fictitious world different from what we know as reality; After a seven days’ march through woodland, the traveler directed toward baucis cannot see the city and yet he has arrived. The slender stilts that rise from the ground at a great distance from one another and are lost above the clouds support the city. Yo climb them with ladders. On the ground the inhabitants rarely show themselves : having already everything they need up there, they prefer not to come down. Nothing of the city touches the earth except those long flamingo legs on which it rests and , when days are sunny, a pierced, angular shadow that falls on the foliage. There are three hypotheses about the inhabitants of Baucis : that they hate the earth; at they respect it so much they avoid all contact; that they love it as it was before they existed and with spyglasses and telescopes aimed downward they never tire of examining it, leaf by leaf, stone by stone, ant by ant, contemplating with fascination their own absence.’ Invisible Cities, Cities & Eyes 5, PG 77, Daniel Agdag
THE PROGRAM
the body ;
You are to base on Italo Calvino’s City of Baucis as the world to design a ’machine of imagination’ to access the homes of inhabitants of Baucis which are all elevated off the ground. The principles of designing this machine stems from the understanding and outlining your own bodily dimensions (aka. anthropometry), paying attention to your limbs, which are the mobile parts.
the machine ;
The machine parts shall be comprised of multiple appendages and / or prosthetics forming theextensions to the human body, made up of systems of gears, cablesin-tension, pedals, wheelsetc. that will activate the act of taking flight or climbing up in whichever way you can imagine. 5
BAUCIS THE BENEATH remember that day – where we glimpsed into the beneath all the way till morning came we observed and we considered and we feared and we were cautious, the beneath that was unknown; and so we let it shower for then we would be hidden hidden from the beneath The people of Baucis were fearfful of the Earth, hence for one on Earth whom may be curious of the inhabitants of Baucis, she would have to be able to survey the lands without being seen. The stilts of Baucis were also incorportated as trees from Earth. Thus, the usage of organic forms and the rain to our benefit.
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HUMMINGBIRD CONCEPT WING:BODY:TAIL
RATIO
1 : 1 : 0.25 using ratios to determine proportion
SURVEILANCE rain ; During rain, the hummingbird hovers at an angle of 45’ to maximise speed against the force of the rain. As Baucis is always raining, the water weight collected at the back water compartment area can help to propel the ‘hover’ forward. This is with reference to the analogy of a helicopter - tilting the blade system forward to allow forward motion to be achieved. It is designed as so to be able to let the water overflow after collecting more then sufficient water needed. Hence, due to weight at the back ( human + water) the hover flies upwards at a 45’ angle which helps one to look up into Baucis, allowing a great view to spy on the inhabitants without being in view.
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HUMMINGBIRD CONCEPT FIGURE 8 MOTION DRIVE (HOVERING) different wing structure / lift from other birds; As it hovers in front of a flower or feeder, a hummingbird gets lift not only from the down stroke of its wings but also the up stroke so it doesn’t lose height when it is not in the down stroke.Other birds rely entirely on the down stroke. During the upstroke, the hummingbird is able to twist its wing backwards to attain an angle of attack suitable for generating lift because of its flexible shoulder joints.
figure 8 movement ; As a whole, the flapping of wings is a figure-8 motion. The wings tilt forward and down on the down stroke, and then twist over to point backwards and up in the upstroke.
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a cycle of the hummingbird’s hovering motion ;
FIGURE 8 MOTION DRIVE (HOVERING) incorporating the hummingbird’s motion into simple gears and arms ; KEY c : connecting point r: radius of the gear Each connecting arm should be attached at the outer rim of each gear at A and B
figure 8 motion drive with flip ; By adding another pair of connecting arms that will be right behind the primary set of arms, we will be able to create the flip as seen in the hummingbird. The primary set will be the leading edge of the wing and the secondary set will be the trailing edge of the wing. These 2 sets will then be joint together by a slider joint. 10
figure 8 motion drive frame by frame trace ;
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CONSTRUCTION DETAILS
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MAIN FRAME secured by bolting into base plate
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BACK WATER COMPARTME NT AREA place trusses 72.5mm apart with reference to depth and width; this will give extra support to the person leaning on this back piece and also provide structural benefits
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SEATING FRAME secured by joints into base plate
seat angle changes as the angle decreases according to the curve of a human body ; seat height changes to fit the gentle sloping between ones bum and legs on a raised and reclined platform 15
TAIL (left to right) first ‘arm’ to be slotted into hole of the frane ane secured by trusses inside ; second ‘arm’ to be slotted into gap of frame and secured by nut and bolt ; third ‘arm’ to be fixed with a dowel for easier control of rotation of tail
to be able to manuever the direction of motion by rotating the tail right and left to steer wind
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PEDALS
secured by tight dowels and gears
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GEAR SYSTEM secured by dowels into side frames
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1 ; attach small hands to gears 2 ; attach large hands and insert dowels into the holes for it to be secure 3 ; attach the wing where the two large hands meet
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ANTHROPOMETRY measuring my own dimensions
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ANTHROPOMETRY measuring the dimensions of the ‘hover’ with myself in it
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PLAN
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SIDE VIEW
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BACK VIEW
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FRONT VIEW
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