EVOLUTION ENTROPY
ARCHITECTURE PORTFOLIO nus year 1 sem 2 christopher chua
“Also marvelous in a room is the light that comes through the windows of a room and that belongs to the room. The sun does not realize how beautiful it is until after a room is made. A man’s creation, the making of a room, is nothing short of a miracle. Just think, that a man can claim a slice of the sun.” - Louis Kahn
NUS School of Design and Environment Christopher Chua A0183499J
_indices
1
fisher house
2
life joinery
3
runway house
PROJECT 1 l PRECEDENT STUDY
FISHER HOUSE
_plans
_ basement floor plan
_first floor plan
_second floor plan
_geometry and precedence
_Wiess house 1950
_Andler house1955
_Esherick house 1961
Louis Kahn took inspiration from his previous works especially ideas of distinct bi-nuclear spaces and the concepts of room space. Fisher house is the result of spatial manipulation without drastic changes to proportion
_Fisher house 1961
_privacy
_introverted
_north-east elevation
_south elevation
_extroverted _north-west elevation
_west elevation
_site map
Facade fenestration exposure towards the street is significantly lesser than the exposure towards the creek . The street view facade also features more recessed windows which provide added sense of privacy for the client while still allowing views from within the house. This shows a very distinct juxtaposition between the perception of the house from the creek and street.
_native american architecture
_native american wingwam tree bark tree sapling
tree sapling
_facade In search of the spirit of the house, Louis Kahn took inspiration from native american architecture in formulating a sense of warmth and groundedness.
_frame
_hearth
_materiality
_living block elevation view
horizontal cypress wood cypress cladding
_facade
_frame
wooden bridges wooden studs
Hearth of the house emulates that of the native american hut, having the fireplace and kitchen enclosed by its shell-like appearance. The living room features walls made from wood while the fireplace was made from stone. The difference in materiality between the basement and the living floors above also provides a visual juxtaposition of spatial functionality; basement being used primarily for utilities while above was meant for living.
_hearth
stone
_light and separation
_circulation public route private route
The house is clearly divided into two cubes, the living and private. Upon entering the house from the main entrance, one is immediately greeted by a well-lit main hallway and the two choices of entering the living or private areas. The private cube is rotated at a 45 degree angle, exposing the bedrooms to the morning sun. Natural lighting aids in the separation of served and service spaces whereby served spaces are significantly more exposed to natural light. In this fashion, light was effectively used to create a greater sense of spatial quality within the house.
_massing service
_exploded axonometric morning exposure
served
_light and separation
PROJECT 2 l QUIET RETREAT
生活継ぎ LIFE JOINERY HOUSE
_site analysis _site map
RESERVIOR
SITE
_location: Macritchie Reservior Park
_prevailing wind
_views
_circulation
_light
The approach to design was to achieve a sense of silence and separation from the public. Strongly inspired by the art of Kintsugi and Wabi Sabi philosophy, the retreat aims to provide a place for quiet reflection and contemplation. The house cantilevers over the reservior and features a transformable decking that caters to the client’s private pottery and hosting needs.
_site analysis
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_atmospheric sketches
_persona and athropometry
Jenn is a 20 year old student who is passionate about pottery and kintsugi. She is an introvert that only enjoys the company of a small group of friends. She wishes to find a safe haven to escape from her realities of broken relationships and disappointments. Jenn finds joy and satisfaction in creation and nature. She also subscribes to the Japanese philosophy of Wabi Sabi.
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_kintsugi Kintsugi 金継ぎ meaning gold joinery. Typically, broken ceramics are pieced back together using gold resin which highlights its cracks. the design process of the retreat took inspiration from broken rectilinear and organic forms of clay. The first providing inspiration for the plan and roof while the other spatial experience.
_exploded axonometric of broken clay
_views from broken clay vase
_design process
1
_retreat massing 2
_rotation of mass 3
_recess and remove 4
_preliminary sketches
_addition of retreat features
_progress models
_exploded axonometric
mechanised roof
pottery feature rack wooden fence
transformable decking
kiln concrete base and walls
_plan and section
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_ground plan
_section A-A’
_compact and extend
_compact sectional perspective B-B’
_extend sectional perspective B-B’
_compact and extend
In the compact form, the retreat functions as a pottery house for the client., featuring a table and sitting area. The table and sitting area shift to form a single deck upon extension. This form allows the client to host a small group of friends. In extension form, the roof splits open, allowing natural sunlight to shine through the “cracks� and into the retreat.
_compact and extension forms
_compact
_extend
PROJECT 3 l A DWELLING
THE RUNWAY HOUSE
_site and client analysis _Overall brief
Location: street corner of victoria street and jalan kledek Client: Vanessa and fiance Age: 27 years old Family: only has a corgi, no intention of having children Occupation: High fashion stylist and photographer Master Architect: Louis Kahn Other precedence: Rick Owens and Iris Van Herpen The approach to design was to incorporate the client’s philosophy of fashion being unique and adaptable, and the also in Iris Van Herpen’s words “fashion is the embodiment of entropy:. The runway house was designed to achieve the following objectives of distinguishing public and private spaces through the use of light and compartmentalisation as well as the house’s physical adaptability to the client’s fashion lifetstyle. The house features 3 main blocks; mainly service, personal and living. This separation of spaces allows light to play an important role in defining public and private spaces as well as redefining said spaces through physical spatial manipulation
_design process
_preliminary sketches
_exploded axonometric
_exploded axonometric
The service, personal and living blocks are separated by a public “runway� on the ground level but connected via the balcony. The service block is constructed next to the parti wall of the adjacent shophouse, leaving the personal and living blocks next to the street. The service block is pitchedinwards, in contrast with the other two blocks which are pitched outwards. Light wells are placed above areas of interest, highlighting them. Lastly , the rafters and floor to ceiling windows further emphasise the high ceilings.
_plans
_ground plan
_moving fashion Public and private circulation between the 3 blocks are constantly visible on all three elevations. Public circulation is viewed as approaching towards the elevation view while private circulation is viewed as horizontal movement across.
_first floor plan
_front entrance
_front elevation
_street entrance
_street elevation
_rear elevation
_sections
_section A-A’ of service block
_section B-B’ of personal and living block
_light and separation
_service block entrance
_balcony view _separating spaces Enclosed and exposed spaces are clearly demarcated through the quality of natural sunlight exposed to each space. Enclosed spaces such as the individual blocks feature light-wels at places of interest. These lightwells allow natural sunlight to fill the spaces mentioned. Exposed spaces such as the balcony and runway are exposed to sunlight filtered through the pergola producing rhythmic pattens on exposed surfaces.
_roof plan
_light and separation
_light and separation
_redefining private and public spaces _mechanism detailing
_bi-fold doors and gate closed distinct separation of public and private spaces
_redefining spaces Bi-fold doors and mechanised gates can be pulled out from the living blocks to cordon off spaces in the public runway. This allows for private activities to spill out into the public space such as club parties or simply allowing a larger space for private events such as private fashion shows and runway shows. The redefinition of space gives the client a chance to reconfigure the house the way she wants to use it and blurrs the lines between private and public spaces.
_bi-fold doors and gate opened no distinct separation of public and private spaces
_redefining private and public spaces
_form: dwelling private spaces separated by public space
_no transformation
_form: party integration of private into public space
_release of kitchen space
_form: runway maximising private space
_release of kitchen and studio spaces
_redefining private and public spaces
_redefining private and public spaces
NUS School of Design and Environment Christopher Chua A0183499J
I would like to extend my gratitude and thanks to my tutor Mr Albert Liang and my studio mates. With their guidiance and support, I have observed myself grow as an individual as well as in the realms of architecture. For that, I am eternally grateful.