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AR2101 Ye a r 2 , S e m e s t e r 1 , 2 0 1 5
Sean Poon Shao An A0122439J
Projects
01 Frozen Music From Xochipilli to Vestibules
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Xochipilli, a Translation
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A Response to Fort Canning Park
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Vestibules, a Music Pavilion
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02 F r a g m e n t e d Ta p e s t r y Clarifying Segments, a Dematerialised Landmark
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Understanding Gillman Barracks
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The Dematerialised Threshold
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01
Frozen Music
From Xochipilli to Ve s t i b u l e s Vestibules is a device that attempts to activate an underutilised lawn within Fort Canning Park by mimicking adjacent thresholds and portals that draw people into the neighbouring green spaces. Front Elevation, Vestibules
Designed as a translation of the percussion piece Xochipilli, the pavilion is an assembly of three distinct spaces that users meander through. In a processional fashion, one transits from darkness to light, heightening an awareness of the negotiation of levels, while simultaneously alluding to the pavilion’s 03
musical inspiration.
Above: Experiential-driven mapping of Xochipilli
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Xochipilli, a Tr a n s l a t i o n The percussion piece Xochipilli can be understood as a tripartite piece, where each segment shares the same underlying rhythm. Yet the three segments are distinct, offering different expressions and manifestations of one rhythm. This highlights the interstitial transitions as being particularly noteworthy – they are fundamentally grounded in silence. Linear mapping of Xochipilli, broken down by instruments as they appear chronologically. Above: Mapping of sound by instrument
It is this underlying character that drives the
Below: Mapping of voids. Intensity of void mirrors intensity of instrument when played.
translation of Xochipilli into architecture.
Below: Parti Diagram Themes such as void and solids, interstitial layering, and a tripartite structure are evident in this distilled translation of Xochipilli.
Left, top: Relationship between drums playing and slit-drums playing Left, bottom: Shakers foreshadowing a relative void in the piece, signifying next segment Right: Voids of key instruments, arranged according to pitch
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Left: A three-dimensional grid that underpins the main concerns of Xochipilli – a tripartite arrangement, and interstitial voids, in a fashion proportionate to the musical score. Right: Volumetric expression of parti-diagram, arranged through the proportions of the three-dimensional grid. 07
Left: Volumetric expression of parti-diagram, arranged through the
Middle, right: Translation of Xochipilli
proportions of the three-dimensional grid. Voids expressed as potential
In an attempt to capture the mediating nature
translucent spaces.
of the shakers, sinuous horizontal elements
Middle, right: Translation of Xochipilli, based off parti-diagram and three-
bridge the three distinct segments of the
dimensional grid.
composition.
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Below: An evolutionary process, emphasising the tripartite division of Xochipilli, and interstitial mediating devices.
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Left: Revised parti-model, a tripartite structure, vertically and horizontally Right, top: Internal lighting qualities, density Right, bottom: Interlocking frames
A Response to Fo r t C a n n i n g P a r k Through the dissection of the layers that
distinct character - one being a vibrant
make up a particular segment of Fort
node, characterized by transient
Canning Park, it becomes evident that
movement, the other a serene corner,
an intervention is needed on site.
perfect for introspection, but also underutilized.
The site’s central lawn is surrounded by colonial and art landmarks. Collectively,
Consequently, this leads to my response
these landmarks define the lawn as
to the site: to develop a threshold
a public space. Yet they also segment
into the quieter half of the central
the lawn into two, one half of which is
lawn, such that its serene nature can
served by vital portals and thresholds.
be appreciated by more, while still
Consequently, each half develops a
preserving this unique character.
Top: Evening circulation and human nodes Middle: Afternoon circulation and human nodes Bottom: Inward-looking views - art landmarks (red), thresholds (blue), benches (light-blue)
Left, top: Network of benches (light blue), network of built-landmarks, framing central lawn Left, middle: Network of greenery, central lawn framed by mature trees Left, bottom: Network of thresholds (blue) and network of art-spaces (red), highlighting one half of the lawn Right: Network of thresholds, and selected general site (green) - activating a segment of the central lawn
Ve s t i b u l e s , a Music Pavilion Integral to the design of Vestibules is the
Envisioned as a space for music
desire to activate an underutilised lawn
performances, the Pavilion’s choice of
within Fort Canning Park. The pavilion
site creates a new art-driven landmark
attempts to do this by grafting itself into
that creates symmetry within a
a network of existing thresholds leading
particular region of Fort Canning Park,
into the site. This intent shapes the
while respecting the distinct zones
pivotal gesture of the pavilion – its three
that have existed in its site before the
tiers gradually rotate; Vestibules bridges
intervention.
two distinct axes together. 14
A processional assembly of spaces; a tranquil pilgrimage between axes
Left: Front elevation Right: Terrace, leading to lawn; rotation of each segment
Above: 1st Floor Plan Below: 2nd Floor Plan
Left: Second segment, view from slope Right, top: First floor, interior - a dark space for a solo recital Right, bottom: Second floor, interior - ambient-lit space
Vignette of circulation experience
Vignette of terrace experience
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Certainly, this scheme could be further refined. The interior spaces could have articulated the rotating gesture more acutely, such that users become more aware of the mediating of different axes. Potentially, this could be achieved through a more layered spatial experience within each space, by creating myriad of lighting experiences.
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Fragmented Ta p e s t r y
Left: Separation within The Dematerialised Threshold - division between public and private spaces, at terrain’s inflection point Next page: Collage based on site impressions
Clarifying Segments, A Dematerialised Landmark Sited within the colonial core of Gillman Barracks, The Dematerialised Threshold is a synthetic insertion that recognizes and celebrates its locale’s fragmented fabric through the act of clarifying these segments. Born from an analysis of Gillman Barracks, the scheme attempts to mirror and deconstruct existing colonial proportions and geometries, to achieve a structure that is sympathizes with the site’s original condition, yet also encouraging visitors to appreciate the site from another perspective. 23
Previous page: Collage, site segments - creating a colonial core Right, top: Complexity of colonial structures - visual connectivity, hierachy, and negotating terrain - a dualised reading to certain structures Right, bottom: Regular, grid-geometry and scale of colonial structures
Understanding Gillman Barracks Based off the intial experiential assumption that of Gillman Barrack’s fractured fabric is the result of its divisive arterial roads, the study of the site seeks to tease out other hidden orders and layers that contribute to Gillman’s fragmented nature. This began with an understanding of the different hierarchies of colonial structures on site, as well as the relationship they have with the terrain they sit on - it became evident that height, complexity of geometry, and visual connectivity added a layer of nuance to the site’s segments.
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Left, top: Symmetry in quantity Left, bottom: Symmetry in overall site
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Right, top: Converging views of buildings - creation of zones Right, bottom: Visual connectivity across terrain levels
Top: Formal and informal pathways on site Bottom: Site clusters, through terrain and ground, potential of spillover space
The manner in which the site’s landmarks relate to each other, via informal circulatory networks was another element that divided the site into its segments. The arterial road initiated this reading, while the hidden pathways and secondary circulation, a result of the site’s undulating terrain, reinforced this reading. This is further developed through the manner in which the site’s hardscapes and softscapes limit the spillover capacity from the site’s built-landmarks. It became clear that the site was segmented a certain way, but various elements dilute the clarity of this understanding.
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Programatically, the space serves as the workplace, exhibition space, and residence of two personalities - a cultural anthropologist, and a textile artist. The former focuses on creating understanding of societal groups through classification and taxidermically grouping them, the latter creates art through stitching a fabrics and a myriad of other mediums together.
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Above: Preliminary parti-diagrams, based on
Significantly, both personalities require especially private spaces
the keywords of grouping (anthropologist) and
for work and rest, in contrast to more public exhibition spaces,
stitching (textile artist)
as well as an intended public passageway in the scheme.
Right: Conceptual diagram, overlapping of programmes, stitched by gallery-passageway
Top: Sketches, passageway and glass pavilions Bottom: Scheme’s relationship with terrain, mirroring Block 6, creating a plaza space between
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Previous page: Scale of framework colonnade, and circulatory route that borrows from, and connects to existing pathways Bottom: Programmed pavilions appended to the circulatory route
Right, top: A colonnade that groups and hosts programmed pavilions Right, bottom: A colonnade that negotiates terrain, programmed pavilions stitched together by a circulatory route that expresses the terrain
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The Dematerialised Threshold, G a l l e r y , Wo r k s p a c e , R e s i d e n c e The Dematerialised Threshold attempts
existing colonial structures, this
to address two vital concerns: crafting
synthetic insertion makes no attempt
a coherent understanding of Gillman
at concealing its modernity. Instead, it
Barrack’s colonial core, as well as
attempts to dematerialise itself through
consolidating both intimate and public
materiality and minimal structures.
programmes within a particularly
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porous structure. The dualised
Glass pavilions are anchored by
reading of Blocks 6 and 7, applied to
a continuous polished-aluminium
the valley between Gillman Barracks
promenade; both the scheme’s
and Alexandra road, becomes a vital
surroundings, as well as displayed
strategy that achieves both concerns.
art, are reflected, affording fresh
Materially different from that of the
understanding to both art and structure.
Above: Valley-facing elevation Right: Dualised reading of structure - 2 storeys/1 storey
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A continuous promenade, anchoring dispersed glass pavilions
Above: Single-storey elevation Right: Framed view of valley from Block 1
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Multiple pathways and experiences, one shared destination, unified through art
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In retrospect, a more
On a master-planning scale,
meaningful manner to derive
this synthetic insertion could
the glass pavilions and
be a catalyst for satellite
programmed spaces would
programmes and pavilions
have been to investigate,
within the colonial core. By
and borrow the proportion of
completing this core, a central
spaces/rooms existing within
court is obtained - one with
the colonial buildings. In this
a midpoint where satellite
manner, The Dematerialised
schemes can radiate around.
Threshold does more than
Like clockwork, a centrifugal
clarify the colonial core, it
system is established to
becomes a microcosm of the
meaningfully use the space
colonial core itself.
that is now a carpark.
Tu t o r s Roland Sharpe Flores Wu - G o h X i n Ye n