Year 1 Portfolio

ARCHITECTURE PORTFOLIO VOLUME I & II EDWIN LAM 2017/2018

PERSONAL DETAILS EDWIN LAM CHOR MENG

TEL :

EMAIL : EDWINLAMCHORMENG@OUTLOOK.SG

INTRODUCTION I am a outgoing and enthusiastic person who likes to excel when given a certain tasks. I have a strong passion for both architecture and fitness.

In architecture, I wish to be able to create spaces that sets people thinking and touch their emotions and feelings. I learnt that architecture can be approached in many ways after going through my journey in year 1, but I solely believed that architecture should be approached through the genius loci after my first project which I had a chance to be exposed to hence I aim to develop and explore this further in the future.

Thank you for your consideration, EDWIN LAM

WEBSITE :

EDUCATIONS 2015 - 2016

Polytechnic Foundation Programme Singapore Polytechnic

2016 - 2019

Diploma In Architecture Singapore Polytechnic

TABLE OF CONTENTS 01.

PROJECT 1 : DWELLING

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02.

PRIMER 2 : SCARS IN THE GROUND

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58

03.

FINAL THOUGHTS : REFLECTION

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86

PROJECT 1 - DWELLING INTRODUCTION Project 1 calls for the design of a double storey single dwelling unit that is inspired by a given client.

It focuses on the translation of the client’s specialty or any influences into an architecture, depicting a possible influence in the spatial qualities, tectonics, circulation systems, or design of the skin of the building. The macro part touches on the technical parts of the project such as detailing of spaces as well as working plans and presentation drawings.

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CLIENT The client is an environmental artist who devotes his whole life to nature and creates land art, sculptures, installations and various type of artworks that are often involve with nature. His work often represents the site or an event that happened before there hence showing the hidden reality of nature in the site too. Those work are usually site specific which uses the materials found on site to create his artwork hence he often have a strong relationship with the nature of the site.

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COLOUR He uses the environment and blends in his own found objects like leaves and incorporates complimentary colors.

IMAGE He uses natural things found in nature, and translate it to a 2 dimensional sensor of a camera.

SCALE From handheld to the size of a football field. He is not afraid to patiently sculpt a field or mimic a rock formation.

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SITE CONTEXT The project site is located in a tranquil plot of land in the middle of cantebury road which is located in the heart of Alexandra area. One will be taken away by its view and state of tranquility when at the site because ruralism and nature takes over here hence it allows many opportunities for architectureand nature to interact with one another.The site is also filled with british air due to its history hence giving a country side feeling. Due to the amount of vegetation, the site serves as a good place to receive ventilation as well as providing privacy and good amount of shading from the sun.

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NOISE BARRIER

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SITE NODES

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SHADING

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VIEW

Vegtation helps to reflect noise away emphasizing a different reality of place.

The parks and the traditional houses make the site a rural place.

Heavily vegetated hence cooling down the site more easier.

Site provides good view and exposed to the openess of nature.

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PROJECT 1 : HARMONIZING THE GENIUS LOCI

SITE ANALYSIS The provides a very good area for protection against the hot sun from the back and the sides and also helps cool of the heat transmission due to large numbers of vegetation surrounding it. On the left of site A, the vegetation rises up in an undulation and continuity movement which gives a sense of protection while on the other side the trees get higher as well allowing much privacy and protection in this area. Hence with how the nature grows around it, it seems like its embracing the site. Site B is surrounded by openness which allow many possibilities but for site A, it is being hugged by the vegetation around it giving a very good area to get closer to nature. The embracement of the nature is in curvilinear movement which allows protection.

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DESIGN CONCEPT Design drivers is being extracted out by his artwork while genius loci is being extracted out by his method of work and concept. The keywords extracted are used to drive the form of the architecture in a certain order and is being shifted by responding towards the site.

His work, thenest, clay is metaphored as life of a bird nest and it is understood that clay is the source of life as it allows a tree to exist which allow the nest to exist hence this is related back to the site whereby the dwelling can only exist because of the site and the site exist because of the genius loci. Hence the concept of the dwelling will be the metaphor of the genius loci in the.

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IMPLIED LINES

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DIFFUSION

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CONTINIUTY

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ASYMMETRY

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UNDULATION

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LIGHTNESS

Linear form is offset into a set of volume

Volume diffuses into the spaces of dwelling

Volumes are tweaked to show a sense of continiuty

Some volume are shifted to respond to site

Height of volume changes according to site

Volumes are lifted off to touch the earth lightly 11

PROJECT 1 : HARMONIZING THE GENIUS LOCI

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GENIUS LOCI IN ARCHITECTURE Part of what makes landscapes unique is the “genius loci”, a Latin phrase we use in architecture design meaning “spirit of place.” Identifying or describing the genius loci of your property is essential to creating a timeless landscape that best suits you.

The concept of genius loci dates back to 18th century England, when it was first described by poet, classical scholar and gardener Alexander Pope. In a place and time when it was most fashionable to recreate French and Italian gardens, Pope advocated for a landscape style that considered the inherent qualities of a place first and foremost. In other words, let nature be your guide.

The easiest way to understand genius loci is to tap into your 5 senses. Touch, taste, smell, sight and sound all contribute to spirit of place. Considering these aspects should help with more concrete parts of the decision-making process involved in any architectural projects.

Part of my research of the genius loci is also influenced by Christian Norberg-Schulz Genius loci towards a phenomenology of architecture.

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GENIUS LOCI IN CANTEBURY The genius loci of cantebury is being researched to understand better as it will drive the design of the architecture and also research is done outside of cantebury to understand its relationship with surroundings.

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TOPOGRAPHY

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FEATURES

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SOUNDS & SMELL

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ARCHITECTURE STYLE

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NEIGHBOURHOOD

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CIRCULATION

Hilly with many steep and shallow slopes.

Many forests with gardens, parks and agricultural farms.

Very quiet and rural, only sounds of the nature can be heard.

Colonial Malaya Black & White Bungalows.

Lots of trees and vegetation on a hilly terrain and valley.

Many winding streets built to circulate the terrain.

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ENERGY

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HISTORY

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DISTINCTIVNESS

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ESSENCE

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ECOSYSTEM

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VERNACULAR

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PANTHEISM

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CHARACTER

Sense of peace and tranquility, escape of urban reality.

Houses were used as POWs site during Japanese Occupation.

British air filled with memories and full of greenery.

Farms, plantations, conservations, parks and nature.

Many rare species of trees and flowers under conservation.

Peaceful neighborhood, building style are most black and white houses.

Brings bad memories for the locals due to site have bad history of the war.

Countryside and the past.

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ALEXANDRA IN GENERAL Alexandra area is considered the first satellite town as it has the most development in the earlier days. It also has the most conservations due to the culture and history it has provided for Singapore. Through the development, those conservations have been considered thoroughly in the planning whereby new and modern infrastructure are integrated with the old stuff hence the result of different typologies in this area but yet they still fit well together. Hence with the integration of many different things, Alexandra area embraces its differences

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HISTORY OF ALEXANDRA Today, Alexandra area is one of the most integrated town in Singapore which almost everything Is nearby to each other from residential, commercial, industrial, recreational, transportation etc and this was the result of intense and successfully urban planning back in the past. Because of how integrated the town is, the community spirit is also very strong hence there is great unity in this area. Even though it is still developing, this area has lots of conservations of the past which includes the British buildings, post war old buildings and memorials to remember the past and celebrate the diverse culture and heritage it contains. Apart from the strong history and heritage it has, Alexandra area also contains parks and agriculture and also a special area in Canterbury road. It is well known that the parks promotes gardening activities and knowledge for everyone hence there is a strong sense of green culture over here too.

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PRECEDENCE - BASTE MASI Montauk, NY, possesses unique characteristics that imprint lasting memories. These characteristics embody the “Spirit of Montauk” and the clients challenged the architect to design a house that would embody and capture this spirit in the architecture.

The house responds to the site context and strengthens the “spirit of place.” Formerly a horse ranch, the rolling green pasture of the site is located at one of the highest elevations in Montauk.

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The conventional Montauk building typology of the low-pitched gabled roof is modified by the geometries of the allowable building envelope and height restrictions of the site.

For the occupant there is no prescribed path of circulation, encouraging different encounters much like the social experiences of Montauk.

The house celebrates the “spirit of the place” of where it is located. With the rise of technology and rapid transmission of information through the internet, the identity of place can be lost. This project explores regionalism and the project evolved from the community it is located.

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BLACK AND WHITE HOUSE Part of the genius loci calls for respecting the site’s typology hence precedence is being done on the black and white house for its typology.

The term ‘black and white’ itself affectionately refers to the primary use of dark timber beams and whitewashed walls that characterize these buildings. Its numerous adaptations including the Plantation House Style and Tropical Edwardian Style stem from a range of varying influences such as the ‘Tudor Bethan’ revival style, the Arts & Crafts movement, and in its later years, the Art Deco Movement.

The ground floor is open and spacious, while the main living quarters are on the upper floor. The reason is to isolate the living space from wild critters, as well as ensure the house is above any flood waters. In addition to the high ceilings and vents, the bungalows feature plenty of balconies, open spaces and louvered windows to amplify cross ventilation.

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EDGELAND HOUSE Part of the genius loci also calls for integration of nature and architecture together hence precedence is being done on edgeland house and for its way of integrating with nature of the site.

It is a unique, triangular home that is built into the earth and covered with a thick layer of sod. Because it is an earth-sheltered home, the Edgeland House is highly efficient, and it can stay warmer in the winter and cooler in the summer from the added thermal mass and insulation.

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This approach addresses the climate of central Texas and utilize thermal capacity of earth to regulate temperature, while the linear courtyard down the center allows fresh air to flow between the bluff and the river below.

Both visually and functionally, It touches on architecture as site specific installation art and as an extension of the landscape.

The program is broken up into two separate pavilions, living and sleeping quarters, and requires direct contact with the outside elements to pass from one to the other.

This project sets new standards for sustainability while providing great aesthetic qualities through its small footprint and integrated mechanical features.

The courtyard is a theater for observing migrating humming birds, monarch butterflies etc, heightening one’s awareness of nature in an urban setting.

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DESIGN STRATEGY

Through the research, the genius loci of cantebury road is being represented by 10 different qualities which will become design strategies that drives the quality of the space, ambience and other factors of the architecture.

Therefore the design intent aims to reconnect architecture and nature by capturing the genius loci of the site, embrace it and enhance it hence making the site become a place.

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SITE STRATEGIES The house is also being designed to harness the site’s wind to the deeper part of the house to create a heat stacking effect and also to cool down internal space via cross ventilation, which is done by creating strategised opening locations as well as placing spaces such as double volume and courtyard in strategic locations. Overhangs and sun shading device such as timber fins is created through the form at strategic locations to shade the spaces from the sun while creating a certain ambience.

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MATERIALITY The structural system of the house will be strictly made up of concrete post and beam system as the concept requires materials to be naturalistic hence steel beams are not used. Most columns are flushed with the wall and also have free facade hence allowing spaces to be maximized. Material wise, a mood board is inspired by the site which is part of the concept and its translated to a material board that is made up of natural materials and is applied to the spaces base on certain ambiences.

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HARMONIZING THE GENIUS LOCI One will be greeted with a structure that is similar to the black and white house in the site but only more contemporary hence one will sense expect to see modernism in the architecture but as they get a better view of the space, the courtyard will change the impression which implies nature in modern architecture as captured by one of the qualities of the genius loci in the site.

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PROCESS MODEL 1

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PROCESS MODEL 2

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PROCESS MODEL 3

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MOCK UP MODEL

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FINAL MODEL

Process massing depicts how the form is derived and transformed.

Design strategy is applied to the concept of the form.

Various massing to support the design strategies and concept.

Rough concept of showing the spaces and volumes.

The model embraces the site such as the trees and terrain 39

PROJECT 1 : HARMONIZING THE GENIUS LOCI

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BRIDGE

The bridge overviews the conserved tree as part of the genius loci.

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ROOF GARDEN

The roof garden is the result of integration with nature and architecture.

THE JOURNEY The journey of the house begins in the car porch and enters to the living spaces where most of it frames a certain view of the nature hence allowing one to experience nature and different viewpoints emphasizing that nature has take over the house.

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ENTRANCE FOYER

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LIVING ROOM

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KITCHEN

One will have to experience indoor before understanding nature.

The space is open towards the view and also the vegetation around it.

Buffer zone for heat and also maximises the vegetation on the outside.

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PATIO

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DINING ROOM

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COURTYARD

Provides a good view of the surrounding and captures wind.

Interior courtyard is also here to enhance the nature experience.

Central courtyard for the client to create his artwork.

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PATIO

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STUDIO

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BATHROOM

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POWDER ROOM

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BEDROOM

Patio overlooks the courtyard and surrounding allowing nature to be seen.

The studio frames certain view and connects to the courtyard for the client.

Timber fins are used to create views and also ensuring privacy.

Timber fins facing prominent views to bring in nature.

Client will end his day here where the space overlooks the terrain.

PRIMER 2 - SCARS IN THE GROUND INTRODUCTION Primer 2 is a project to design a memorial that consists of spaces through emotions researched in prelude studies 1, which then manipulates light and materiality to heighten the user’s senses. As well as an architecture that tells us a story of the war heroes. The spaces and form of the architecture is being derived through various design concepts in relation to the war itself. It is supported by many foundation work such as site analysis, precedent studies and conceptualization.

SITE CONTEXT The Changi Chapel Museum exhibits the historical events of the war, a sensitive place that provides the public an experience to understand, respect and emphatise with the past. Hence, the atmosphere is an empty plot of turf, an uncondensed space and a forgotten space that has been neglected. It serves as a transitional space from the carpark to the chapel while the circulation for the memorial also provides a sense of convenience and fludity such that the entrance and exit both connect to the pathway which leads to the musuem.

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SITE ANALYSIS The site offers a good view of nature elements as well as having incoming wind and sun shading by nature elements and the musuem, also the circulation is very direct due to its location hence the architecture will be strategised to capture this advantages by responding to it which will drives part of the design too

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DESIGN CONCEPT The design concept harnesses what is given in the site hence the spaces and form are site specific.

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THE PAPER CRANE My architecture begins with the form which starts of from a paper crane as inspired by the precedence as well as the site

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CRANE OF PEACE A Tsuru from the musuem was chosen as my design driver as it symbolizes peace and has a lot of meanings during the war

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REMEMBRANCE 3 different beach sites as rememrbances and the technique of origami architecture folding is used to derived the form

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ARCHITECTURE GESTURE By unfolding the paper crane, a template is formed which is folded to and point towards this 3 beaches as a form of remembrance

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SYMBOLISM 30 columns representing the different massacre sites are placed as a form of symbolic remembrance in the second space

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DESIGN STRATEGY The spaces of the architecture is created in a way where vistors have to go through the negative space first and ends up at a positive space. It starts out as a tight, deep and dark small space which implies negativity and slowly increases into an free, open, exposed space which implies positivity. The spaces are positioned to the sun path to achieve certain light and shadow effects. The journey also starts out as a complex due to tight spaces and sharp turns and movement but gets smoother and simpler to the end which fits well with the emotions in the spaces too. A denial and reward phenomenon is created by allowing the user to view the last space before entering the musuem but blocked by water hence they have to go through the musuem and exit in order to see the entrance from another point of view.

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WORKING DRAWINGS Plan, section and elevation of this project was our first set of floor plans that we are required to this academic year. We also had a chance to do some shadow casting with pencil.

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FLOOR PLAN The floor plan shows the journey through the first space to last space, although small, the journey might seem long due to the craft of the spaces

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ELEVATION The elevation reflects the biggest volume of the plans which gives a bold and massive feeling to passerby hence showing the strong form

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SECTION Section cuts through the first and last space showing the height difference as well as the circulation and exposure to exterior emphasizing the difference

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PROCESS MODEL A series of process model is crated to depict the form and space of the architetcure. before finalising the design concept, many other methods and strategy were used to create a space and form such as starting out with the dove which is symbolism of peace and slowly moving to the tsuru which is found on the site.

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PROCESS MODEL 1

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PROCESS MODEL 2

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PROCESS MODEL 3

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PROCESS MODEL 4

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PROCESS MODEL 5

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PROCESS MASSING

Extraction of dove to dynamic volume

Dove body symbolism to form

Extraction of paper crane to form

Template formed through this process

Spaces tested out from previous form

Massing to depict dynamism and flight 71

PRIMER 2 : CRANE OF PEACE

CRANE OF PEACE As one arrives at the front of the musuem, he or she is greeted with a dynamic cantilevered structure resembling a paper crane and a peaceful vibe is immediately produced due to its setting and context. One would be able to catch a glimpse of the last space which have a trqnuil setting but it is being blocked off by a pond while the exit is being hidden at the other side with the aid of the pond too. Hence, one would need to head to the chapel first.

When one exits the musuem, he or she will be equipped with knowledge about the war and ready to understand the emotions to a greater extend through spaces. One would see an obvious yet suspicious enrance of the memeorial and from there the poretry of spaces begins. The reward of this journey is the last space of what they saw previously

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ANXIETY When one steps on the threshold of the entrance, he or she is greeted with a flight of stairs towards the basement with waterfall cascading on the walls.

As one goes down, the flight of stairs becomes narrower and steeper, the room becomes darker and the waterfall becomes louder and more engulfing.

Hence, the user becomes more uncertain and wary of whats coming to them due to the setting. As soon as they land on the basement, they are greeted with a door to the next room which seemed to be very high. The space is tight yet tall, a glass divider is placed at the top of the space which connects the third space to it and this gives the user a sense of helplessness as they might feel controlled by those on top but at the same time it motivates them to continue the journey to end up there. The ceiling is being sealed off with frosted glass where little light penetrates hence this produce a sense of anxiousness for the user as they are unable to see light yet they know there is. Together with the transitional space, a sense of anxiety is being produce when one completes this 2 space. Furthermore this space is also used as the memorial service where one can reflect and remember those who suffered and lost their lives under the same exact atmosphere and emotions.

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SANGUINE Exiting the first space is a flight of stairs leading up to the second space and positivity is implied as the stairs goes up a level and also gets bigger hence its more comfortable for the user. The second space is the biggest space and there is both positive and negative ambience in it. The user will be greeted with lots of lighting caused by different fenestration all over the room and this gives a sense of optimism in them after going through the first space. One will realise that they will be standing on columns flooring where there are 30 columns up to 2 meters high representing the different killing sites and it is covered by a transparent glass flooring. This will give them a sense of fear or anxiousness as they might fear that the glass might break of the height of it, hence this is considered the negativity and bad situation in that space. But they will also realise that the light and spatial quality in that space overpowers this negativity hence the space is considered sanguine, where one is able to have optimism even he or she is in a bad situation and this is how the war heroes felt. Furthermore the lighting quality of the space will enable them to reflect and remember about the memorial columns in a calm state of mind.

The space also allows for interactions due to its spacial quality.

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RELIEVED The last space is within the sight of the second space hence the user will be ready for it when he or she wants to move on. The last space is a few steps higher than the second hence when one enters the last space, there will be more positivity in there and since the space is an opened area, the user will also feel more relieved after exiting an enclosed space. At this space a mini pond caused by the waterfall of the surface large pond is used as the place of reflection. The peaceful and relieve setting in this space caused by the lighting and spacial quality allows one to be in a calm state of mind hence able to reflect at the pond about his or her journey throughout the memorial without being disturbed. Moving on, the user will pass by the glass divider he or she saw earlier on hence he or she will be able to reflect the whole journey again and appreciate it. Lastly, a flight of stairs leads them to the surface with water surrounding it, hence it gives of a feeling that the user has escaped from the water or the drowning effect and return to the surface once again to feel relieve.

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FINAL THOUGHTS : REFLECTION PROJECT 1 CONCLUSION Through this project 1, I finally had a chance to do a real project compared to the previous ones. This project has also allowed me to be more sensitive towards architecture space planning and also a series of technicalities. Over the time, I also better understand how to develop architectural design concepts based on various inspirations that are given to me. I learnt that there is still many more opportunities to explore in designing a house and thus this project is a starting footstep towards greater projects in the future.

FINAL REFLECTION Year 1 has been a tough yet fruitful journey to me, the projects we did cannot be compared to those when we go into the working industry but it has allowed us to grow and nurture our architectural skills better such as gaining more interest in this journey as we explore and discover more opportunites such as finding a better way to design than before. Before I stepped in, I always thought that architecture is just about designing for aesthetics but after a year, I have matured and see architecture in a different perspective. Hence, over the year I have picked up my own beliefs and ideas in architecture whereby I feel that architecture should be design in a complex way but the result has to be simple and clear but sets people thinking about the complexity of it. With the sensitivity and expertise I gained, I hope that I can discover my own language one day throughout this journey too.

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ARCHITECTURE DESIGN PORTFOLIO VOLUME II ARCHITECTURE THAT EMBRACES ITS EXISTENCE