there are two types of analysis being done at selegie. they can be categorised into human and physical characteristics of the site. human factors include human traffic and volume, vehicular traffic and volume, noise level and places of interest around the vicinity. on the other hand, physical factors refer to the formal characteristics of the architecture and the landscape. these include the typology of the buildings and foliage cover.
the design of the tea expression follows a strict principle in the displacement of regular forms. starting with a perfect square, the transformation of the edges and sides at different angles create a new dynamic form that serves well for its function. the design approach seeks and proposes to amalgamate the urban kiosk to the existing facade of the building. it not only complements the existing design but functionally also provides shelter for patrons.
the conception of haptic house is a distillation process of ideas from the architect alvar aalto when he creates spaces. his strong use of material and contradiction govern the design development of haptic house. juxtaposition of forms, openings, materials, levels and volumes manifest into the final design of this dwelling unit. circulation is also essential principles in moving around places to ensure the tactile experience can be achieved for the occupants of the house. the overall result is a house filled with multifarious sensorial experiences.
haptic house promises the sensorial experiences as one moves across the different spaces creating a ceremonial journey from public to private realms, the study of light further examplifies the truly amazing experience one could get inside haptic house.
the playlist starts off with only one single instrument playing for eight beats. as the music progresses, more instruments are introduced for in eight-beat cycle. eventually, one would listen to a repertoire of musical instruments. in my analysis, i categorise musical instruments into different types e.g. wind, string and percussion. i reinterpret the playlist into simple notations of points, lines and planes. as the score progresses from left to right, the intensity and interaction between notations increase. moreover, deformation was observed in the notations, which will become the main concept governing this design.
the water-cube exercise has been useful in the development of the initial concept of deformation as highlighted in the study models as well as the photographs. as water travels through these structures, it helps me frame a new direction: can water be used to deform the structure or space? this was the main driving force that catalyses the subsequent studies before eventually culmimates into d-FORM. as cubes are twisted, it becomes more difficult to keep the individual planes in place, especially so in the construction of the models. this accidental discovery was eventually turned into the key idea that embodies the deformed spaces inside the final folly.
one interesting observation made at fort canning park, was the deformation of tree shadows caused by low-angle sunl. this is a real-life embodiment of the concept deformation.
As the size of openings increases and planes get separated further, more water are able to flows through the interior spaces, engendering different feelings down the tunnel.
The study of light enables the comprehension of the different spaces created due to increase opening size after a series of deformation. The light is analogous to water too as more light can penetrate the structure, more water would flow through. At the same time, this study highlights the solidity and voidness of the spaces. Overall, the effect of this variable openings engenders multiple feelings and responses from the visitor.
the project began with a study of the settlements in pulau ubin. the study was extensive as it covered the site, context, the precedence and morpology. the site study amounted to a valuable information, some of it were shown in these plates. The study was essential to gain a deeper understanding of pulau ubin, in relation to its architecture, people and location. historical and background study was conducted too, in conjucntion with the site exploration. at the same time, in depth study of the local settlements helps to frame a more realistic picture of pulau ubin today.
The process models highlight the attempt to conceptualise forms in relations to the keywords associated to a dancer and a geographer: balance and location.
the communal space that occupies the middle ground for the two opposing narratives of the dwelling spaces, becomes a central part of the design. it acts a a spillout space for the dancer to perform, and a vista for the geographer.
the narrative of the dancer is one who is always going down, while the geographer is continually going up.
the urban form within the vicinity of balestier rd. mimics the terrain it straddles on. the buildings, facing or closer to balestier rd. are generally made up of shophouses and lower height apartments. as buildings are situated further from the main road, they tend to increase in height. this is partly becasue of the conservation law that prevents development of the shophouses along balestier rd. subsequently, it engenders the valley effect as taller buildings at the back towers the shorter shophouses. occasionally, these valleys penetrate into the streets such as those found in boon teck rd.and whampoa drive.
the design intention began as a challenge towards often hierachihal museum space with a beginning and an ending. the haphazard reperatoire of curatorial items further complements this idea. the philosophy of rhizome subsequently became the take-off point to create such non-hierarchical spaces. i began to study the map of balestier and its urban form to create a space with no definitive entrance and exit, a public gallery accessible from all directions and a free-flowing open space with no walls on the horizons.
the showcase epitomises the core design principles of the nus architecture year one students. this is the culmination of the year-long project of the study of canonic architectural values, materials and tectonic, infused into student's design thinking process. distilling ideas, style and language of the architects, students inject their imagination and mould them into a spectacle worth of commendation. at the same time, students are required to marry the design with narrative of the text, interweaving the two creative forces into a marriage of art. rigorous planning and revising bolster clarity and bulwark against inconsistency in design logic thinking. the hands-on experience in building twelves sets of houses made from recycled cardboard provides invaluable experience for the future to-be architects, equipping students with skills necessary for the built environment. the results presenting to the public are twelve cardboard houses, which are outstanding tour de force of NUS Architecture Year One students.