粵
中
SLOPE AREAS CLASS 4 (>35°), 3.37 ac., 10%
CLASS 3 (25-35°), 6.76 ac.,
CLASS 1 (0-15°), 12.70 ac., 37%
20%
CLASS 2 (15-25°), 11.52 ac., 33%
FL32
FL15
FL18
FL19
ORCHARD
PHASE 2B
PHASE 2A
RIVER
LMC
EXISTING COUNTOUR LINE
The biggest challenge was to accomadate a large brief onto a small site. With the multi purpose hall taking up 1/3rd of the site, it dwarfs the other spaces. Making it a centre piece for image making.
The site is surrounded by greenery on 2 sides, while flanked by a drain reserve and TNB station to the south. Persiaran Mahogani sits on the eastern side of the site, connecting to the busy Surian commercial area & MTR station while being too wide to allow pedestrian traffic. There are three attraction points surrounding the site, the reserve, the padang & Giza, which the proposed Youth Center be a middle point between the three.
Being the center of 3 possible attractions, it becomes a transit point where youths can host activities and socialze while using the surrounding facilities for leisure. The spaces are flexible and lenient, allowing youths to retrofit spaces as they see fit.
The sports hall being the centre piece of the building is fitted with a sawtooth roof, drowning the large space with soft light and allowing ventilation to go through the space
Spaces are divided with bifold doors and temporary furniture, where youths can retrofit as they see fit. Giving them a chance for expression and organized collaboration
The Orientation of the building is designed to accomadate the high winds to the north, cooling the space passively without much effort. Despite being Equatorial, Malaysia generally has more sun to the south with sun angles reaching between 63 degrees south to 71 degrees north. Therefore, roof spaces has to be properly shaded and any soft light openings should be less than 63 degrees north.
The Boathouse Typology
The Forms to Assigned Site
To Fit to Site
Out to Create Fake Facade & Secondary Space
The facades of the boathouse attempts to 'display' signs of Louis Kahn's architectural language. By abstracting his older works, the facade parades a selection of Louis Kahn's most monumental works in a compressed yet orderly manner. As it does its best to tell passerbys "I am a monumental boathouse."
The southern facade is a parade of Louis Kahn’s eternal works to passerbys, yet follows the architectural language of a boathouse typology
Secondary spaces were important in all of Kahn’s works. It was a space of circulation, light play & semi intimacy which the boathouse imitates.
This pushed out facade (north) ironically follows the formal languages of Kahn faithfully, yet it is a thin ‘false facade’ independant from the boathouse. This is done through abstracting the column into arches and using simple geometries that were symmetrical in 2 ways, as well as creating complex shadows in the secondary spaces.
The roof has 2 layers, one shades and the other reflects. This allows filtered or diffused sunrays to enter into the spaces. As Kahn has said, “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.”
“Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.” -Louis Kahn The arches of the facade carefully filters out the strong Australian sun, casting strong shadows and spotlights into the secondary space. As well as additional timber reeds on the facade to help further diffuse the incoming rays. Working simultaneously with the roof, the final light that hits the wall highlights & expresses its long journey of going through multiple layers, creating a sense of awe, longing & security within the spaces.
The Tagblatt Turm or ‘Newspaper Tower’ sits along Eberhardstrasse, which is part of the busy Rothebuhlplatz. It is the second modernist skyscraper in Germany and forms of one of the three ‘landmark towers’ of Central Stuttgart, the other being St. Eberhard’s Cathedral & the Rathaus clocktower.The high traffic exposure & height advantage on the north end allows for multiple design opportunities in the facade renewal.
The estern facade rests a familiar sight to many locals, 'der Hirsch' becomes a wayfinder in the city's narrow streets. Out of all 4 facades, this facade is kept
The tectonics of a timber frame facade is imitated and adapted into a skyscraper context. The imitated tectonic wraps the existing tagblatt turm as if it is scaffolding with gaps between the frames to allow glimpse into the landmark
The timber frame facade sits on the southern courtyard hidden facade which hides the symbolic frame facade. It is also infilled with ACRYSMART, a material that shades sunlight during hotter days and reveals the building during colder days
With its lack of upkeep and its replacement with modern buildings, many of Germany’s timber frame buildings were left to rot and retaken by nature. The new facade of the Tagblatt turm needed to show this transition, a once widespread vernacular being abandoned and replaced with a ‘newer’ style.
The peeling of the opening windows capture the eastern winds and ensure that the steep morning sun do not cause glare. The latter green wall also cools the building during summer time and becomes a green addition to the rather concrete Stuttgart.
a
Typeface
Silhouette
The northern facade sits on the busy Rothebuhlplatz, a prime advertising/ news space to help promote the Tagblatt turm as a local landmark.
The canvas facade can be fitted with an interchangable sillhouette type/characters, which can be used to update Stuttgarters of local happenings & news. The
The east facade as viewed from Rothebuhl platz. The half timbered curtain walls are slowly rotated to create a peeling effect, and slowly transitions into a trellis that holds a green wall. This transition reminds the passer-bys of the decay and overgrowth ruins that are slowly replaced by a newer paper thin facade, and yet ironically provides a green addition to the concrete ridden streetscape.
Since the northern facade lies on the main street & has aa height advantage, the Tagblatt turm could now return to its former use as the Tagblatt Turm or "newspaper tower". The facade displays a silhouette of characters and fonts, which could be updated daily or hourly. The characters are then lit up by a becoming an updater of news for any passerbys. South Facade
Although personal space may vary depending on cullture, mood, relationship and location, personal space can only be felt by sight. In order to do so, the second skin utillises varying angles to shut off sight, similar venetian blinds shutting off the person from the outside world.
By utillising the waffle command, we were able to translate complicated forms into fabricatable pieces that could be lazer cut in 2 dimensional planes. While achieving the venetian blind effect in our second skin.
By dividing the model into groups, we can ease and divide the assembly amongst our team.
After lazer cutting each indidual piece, the team had to tediously assemble the second skin with glue and tape. While ensuring that the pieces do not break.
The hardest part of the project was to wear the piece as it was brittle and heavy. Alas we managed to parade through the exhibition without breaking a piece.