PORTFOLIO Y2S1 LOW BENG WEE, GAVIN
TUTORS PROFESSOR TEH KEM JIN YONG SY LYNG
Y2S1 | LOW BENG WEE, GAVIN
(e) lowgavin93@gmail.com (m) +65 9151 9573
Y2S1 | LOW BENG WEE, GAVIN
PORTFOLIO CONTENT
TERM 1 SOUNDBOX :: TENSILE FOREST
TERM 2 KINTSUGI SPACES
END Snapshot of semester
Y2S1 | LOW BENG WEE, GAVIN
SOUNDBOX Part 1 - The Exploration Process
PART 1 The first half of this project is an opportunity to define space(s), form(s) and structure(s) in architecture through a comparative analysis of the space(s), form(s) and structure(s) in music. Specifically, an analysis of the musical piece, Totem Ancestor (1942) by John Cage serves as the basis for formally engaging with a cubic form. That is, the space(s), form(s) and structure(s) of the cube are redesigned, based on the analysis of the musical piece, to accommodate three spaces, as well as, a pathway for a person to walk into, through and out of the spaces, moreover, the overall cube.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX The Exploration Process
1
Listen
2
React
3
Analyse
4
Translate
5
Repeat
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Listen
Musical Piece Totem Ancestor (1942), John Cage.
Listening to the Music Having no musical background, it was challenging to explain the music in words. I had to rely on my instincts and emotions to ‘feel’ the music. Using these raw emotions, certain shapes and lines appeared in my mind, which I put it down on a paper as a 2D expression.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX React
Using Calligraphy Ink. Using the calligraphy ink was one of the several attempts in trying different mediums to express the music freely and intuitively.Calligraphy provides different opacity and layers that reflects the various layers of rhythms, instruments and sounds observed in the music
Using Paper Cutouts. Spontaneous cuts and arrangment in response to John Cage experimental ways of creating his musical piece. Sharp edges a translation to the tension. Red in reaction to the energy and strength in his notes. SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX React Using Graphite and Charcoal Stick. Graphite and Charcoal provided more control to express the more intricate elements, and to express the contrast between the heavy and soft elements in the music. The music was observed to have a myraid of sounds, tones, layers and rhythm.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Analyse
Analysing the 2D expressions, the main elements and ideas were extracted. It was still in the exploratoration phase hence the elements were not streamlined. These ideas were explored further into a 3D form.
- Disorder in Order - Dissonance / Consonance - Tension - Flamboyance - Regular / Irregular beats - Crescendo / Decrescendo - Clashing elements - Layers / Multiplicity - Unpredicability - Sense of direction
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Translate ITERATION 1
(+)
(+)
(+)
(+)
Translating the order in the music into a grid.
Using raw emotions to put the elements together.
Using of architectonic elements; points, lines and planes to translate the music.
Use of three directional grids mashed together to allow for the disorder
Could be a visible/invisible grid
Exploring the clashing of volumes, and the tension of spaces within. Spatial exploration
A spontaneous act to put elements together as felt in the music.
Allow for dissonance in the order.
(-) This orderly grid does not resonate with the tension/ rhythm felt in the music
Rhythmic (-)
A study of the aftermath of spaces created from putting the elements together
Introduction of diagonal to allow for more dynamism.
Lack of an order. (-)
(-)
Restricted to the orthogonal angles (90 degrees) Too controlled. Lack the tension/dissonance in music.
Lack of values and visible layers since all the elements were expressed in lines. Lack of varying distinct spatial quality.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Repeat ITERATION 2
(+)
(+)
(+)
(+)
Translating the order in the music into a grid.
Using raw emotions to put the elements together.
Using of architectonic elements; points, lines and planes to translate the music.
Use of three directional grids mashed together to allow for the disorder
Could be a visible/invisible grid
Exploring the clashing of volumes, and the tension of spaces within. Spatial exploration
A spontaneous act to put elements together as felt in the music.
Allow for dissonance in the order.
(-) This orderly grid does not resonate with the tension/ rhythm felt in the music
Rhythmic (-)
A study of the aftermath of spaces created from putting the elements together
Introduction of diagonal to allow for more dynamism.
Lack of an order. (-)
(-)
Restricted to the orthogonal angles (90 degrees) Too controlled. Lack the tension/dissonance in music.
Lack of values and visible layers since all the elements were expressed in lines. Lack of varying distinct spatial quality.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Repeat ITERATION 3
(+)
(+)
(+)
(+)
Translating the order in the music into a grid.
Using raw emotions to put the elements together.
Using of architectonic elements; points, lines and planes to translate the music.
Use of three directional grids mashed together to allow for the disorder
Could be a visible/invisible grid
Exploring the clashing of volumes, and the tension of spaces within. Spatial exploration
A spontaneous act to put elements together as felt in the music.
Allow for dissonance in the order.
(-) This orderly grid does not resonate with the tension/ rhythm felt in the music
Rhythmic (-)
A study of the aftermath of spaces created from putting the elements together
Introduction of diagonal to allow for more dynamism.
Lack of an order. (-)
(-)
Restricted to the orthogonal angles (90 degrees) Too controlled. Lack the tension/dissonance in music.
Lack of values and visible layers since all the elements were expressed in lines. Lack of varying distinct spatial quality.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX :: TENSILE FOREST Part 2 - The Design Process
PART 2 This project is an opportunity to transform generic spaces and volumes into rooms for habitation for one person based on specific programs. Additionally, it is an occasion to design an assemblage of the rooms and a pathway in relation to themselves and their “next larger context”. Specifically, the design of the Introductory Project – Part One serves as the basis for creating a dwelling in Gillman Barracks. An assemblage of three rooms, each corresponding to a specific program, along with a connective pathway among them comprise the dwelling. The design of the dwelling, not only, formally articulates the program of each room but also addresses the experiential connection among the rooms and their context, i.e. Gillman Barracks.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX The Design Process
1
Design Concept
2
Analysing Music
3
Analysing Site
4
Translate - Tensile Forest
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Design Concept
Having gone through the exploration process (Part 1) of analysing the music and translating into form, the design process (Part 2), was about streamlining ideas and drawing relevance/similarities to the site.
The Design Concept: To explore how (1) music - Totem Ancestor by John Cage and (2) Site - Gillman Barracks can inform of a spatial experience and architecture.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Analysing Music
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Analysing Music
THE MUSIC - 5 MAIN ELEMENTS Using charcoal and graphite to portray the music in the most direct way by harnessing on raw instincts and emotions. A drawing is simply a line going for a walk. (Paul Klee) There were 5 main elements that was observed from the 2D expression made. These were thereafter translated into Tensile Forest. (1) (2) (3) (4) (5)
Tension Series of crescendo Rhythm Varying volumes and layers Multitude of elements
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX Analysing Site
THE SITE - FOREST The lush greeneries (forest) was a main element that stood out in Gillman Barracks. In closer examination of the forest, it was in essence about three things (1) The forest is a multitude of elements clashing harmoniously; trees, branches, leaves, trunks and sunlight (2) The forest is a natural theatre with its own sets of crescendo; some parts of the canopy breaks open, inviting a ray of sunshine. (3) There lies an invisible order that dictates the arrangement of the trees. It was a natural/organic order; where there is space and light, there will be trees.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST TRANSLATING INTO 3D FORM
With the analysis of both site and music, the ideas were translated into 3D form. 1
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SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST
TENSILE FOREST While the columns are arranged in a rhythmic and harmonious manner, it is accompanied by vertical planes, tilted at varying degrees with timber beams penetrating through them creating a sense of tension. The vertical planes act as a privacy dividers SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST
TENSILE FOREST In contrast with the floor plates that are arranged orthogonal to each other, the vertical planes with timber beams penetrating through them are tilted at varying angles to create a sense of tension and unpredictability. SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST / Site
TENSILE FOREST - SITE Gillman Barracks is a safe haven for city dwellers hidden within lush greeneries forest. The pavilion lies along Malan Road. Malan Road acts as a distinct axis that divides the public realm from the private realm. Across and along Malan road lies all the restaurants and cafe (public), and behind Malan Road is a piece of untouched forest (private) The pavilion is a reflection of the multiplicity and layers of the forest. SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST / Plan
REST
WASHROOM
TENSILE FOREST - PLAN A space to break away from city living; pace, work, environment. It is design to be a space for all with areas with different degree of openness and privateness
NOURISHMENT
Socialise: One can meet and socialise with new people. Nourishment: One can grow, make and eat organic food grown on the site Rest: An area for one to rest in solitude and reenergise themselves for the day. SOCIALISE
In relation to the space use and spatial quality, the columns in the three spaces were arranged in different proximity to each other; social area spaced at 2 meters apart, nourishment area spaced at 4 meters apart, rest area spaces at 8 meters apart.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST / Section
TENSILE FOREST - SECTION Tensile forest organizes the three spaces in three distinct heights and depths into the forest to allow for varying degrees of privacy. The proximity within each of the three spaces were also set different to allow for a different spatial quality and space use - social area spaced at 2 meters apart, nourishment area spaced at 4 meters apart, rest area spaces at 8 meters apart. The porous roof that cover a portion of the lush greeneries allows the engagement of the users with nature.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST / Perspective
TENSILE FOREST Akin to how John Cage blurs the boundary of music; redefining what music is about, can be. Tensile Forest will not just a built structure in a forest but will be the forest itself. The pavilion is design to be encroached by the natural forces; planters growing on it, trees growing around it. This will be a space where one will truly be in nature - one that also reflects the music of John Cage, Totem Ancestor.
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST
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SEQUENCE OF SPACE 1: Entrance 2. Social Space 3. Nourishment Area 4. Rest Area SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST
SERIES OF CRESCENDO Tensile Forest, like the musical piece, was curated in a manner that opens the user to a series of crescendos; spectacular views of nature. There were three main crescendo. One happens at the entrance (left photo), the next one happens right after one walks up the space into the rest area - the walls open the user to this private engagement with nature, and the last one happens after one exits from the staircase from the rest area (right photo)
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST
TENSILE FOREST In relation and respect to the site, the design intervention touches the site lightly and remains highly porous even when it allows for privacy in the rest area. SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
SOUNDBOX TENSILE FOREST
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
KINTSUGI SPACES @ GILLMAN BARRACKS Artist: Kintsugi Artisan KINTSUGI SPACES (Part 1) This project is an opportunity to acquire a contextual understanding of a place to, ultimately, propose and enact design decisions. The contextual understanding ensues from studying the immediate and distant, the material and immaterial aspects of a place as possible qualifications for form. Ultimately, the project is an occasion to recognize “the essence of the surrounding context.” For the second part of the project it is an opportunity to explore, at differing scales, the translation of distinctive traits or characteristics of activity into space, form, and material. At the personal scale, the translation of distinctive traits or characteristics of an individual serve as the basis for the design of a dwelling. Additionally, at the communal scale, the translation of distinctive traits or characteristics of a setting serve as the basis for designing the dwelling within a particular context.
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES @ GILLMAN BARRACKS
1
Site Analysis
2
Design Concept and Strategies
3
Performance + Social
4
Rest + Cleanse + Nourish + Social
5
Practice + Social
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES ARTIST Artist: Kintsugi Artisan Translation: Kin = Gold, Sugi = Joinery/Connection Japanese art of mending pottery Idea: More beautiful for being broken Celebrating the brokenness. Not hiding/concealing flaws About encapsulating time, memory and journey
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES SITE ANALYSIS
FRAGMENTED GILLMAN BARRACKS: NATURAL TERRAIN
FRAGMENTED GILLMAN BARRACKS: NATURAL TERRAIN
Gillman Barracks was previously a military site. The site was chosen for its natural features; knolls, ravines - but in the present it divides the site, disrupting the flow of the users.
Multiple sectional diagrams was cut at critical junctions to study how the natural terrain divides the site.
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES SITE ANALYSIS
FRAGMENTED GILLMAN BARRACKS: PHYSICAL GAPS BETWEEN ACTIVITIES/BUILDINGS
FRAGMENTED GILLMAN BARRACKS: DOMINANT CARPARKS SPACES
The physical gaps that exists between activities and buildings disrupts the flow of users.
The carpark spaces that is intrusive widens the gap, make the ‘fragment’ more prominent.
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES SITE ANALYSIS
FRAGMENTED GILLMAN BARRACKS: REMNANT OF MILITARY PAST
SOUTERN RIDGE: JOINING GILLMAN BARRACKS TO THE LARGER FABRIC
By studying the historical maps of Gillman Barracks, one would realise that Gillman Barracks is just a small fragment left of the British military fort. This could be the possibility why Gillman Barracks feels isolated.
Joggers and cyclist can frequently be spotted around the area of Gillman Barracks and not in the area. The Southern Ridges Nature Trail and the Alexandra Garden Trail, that connects to a significant portion of Singapore, passes/bypasses Gillman Barracks on its perimeters. KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES DESIGN CONCEPT
DESIGN INTERVENTION: KINTSUGI SPACES Gillman Barracks, due to its undulating site, is fragmented in two different scale (1) within Gillman Barracks (2) Gillman Barracks with the larger urban fabric. The design drew parallel between the social fragment that exists in Gillman Barracks and the fragments of broken pottery used in Kintsugi art. Akin to how Kintsugi uses gold as a binding agent to delicately join the broken pottery, the design uses ramps as a strategy to negotiate the terrain and as a result stitch the social fragments together. In addition, the design also explores how could Gillman Barracks could be joined to the Southern Ridge trail so to capture a larger flow of people into Gillman Barracks. As such, there were 5 points of interventions - 3 within Gillman Barracks, 2 to join Gillman Barracks to the Southern Ridges.
DESIGN CONCEPT Using the ideas of Kintsugi, 1. Highlight the fragment - marking out axis, concentration of spaces around convergence point 2. Join the fragment - allow separate paths to converge into a space. Paths to contain element of time and journey (views at different points) 3. Celebrate the fragment - making use of nature
MATERIALITY - CONCRETE Concrete contains the same quality and characteristics of the material use in kintsugi.
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES DESIGN STRATEGIES
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
:: KINTSUGI SPACES :: PERFORMANCE + SOCIAL
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
CONCEPTUAL MODEL Since ramps were used as a design strategy to negotiate the undulating terrain that created the social fragment, the design explores if the ramps could create a resultant element - an interior space (crafted within the ramps).
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
1ST STOREY PLAN
2ND STOREY PLAN KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
3RD STOREY PLAN
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
ISONOMETRIC Two levels/areas joined with a kintsugi space, mediated by two ramps. Ramps goes around and as a resultant create a ‘kintsugi space’. KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
SECTION KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
ARTIST PERFORMANCE SPACE WITH NATURE AS A SPECTACULAR BACKDROP Celebrating the brokenness. Joining existing social fragments with nature (binding element) to create to a space that will be enjoyed by more people. The ‘Kintsugi Space; would draw the attention of the user from either levels bringing them into Gillman Barracks. The space ends with a spectacular backdrop of nature in Gillman Barracks.
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
ARTIST PERFORMANCE SPACE WITH NATURE AS A SPECTACULAR BACKDROP Celebrating brokenness. Joining existing social fragments with nature (binding element) to create to a space that will be enjoyed by more people.
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
ARTIST PERFORMANCE SPACE WITH NATURE AS A SPECTACULAR BACKDROP
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
2 1 3
Views 1: Plan view 2: View of artist performance space from Southern Ridge Trail bridge 3: View of artist performance spacefrom Malan Road level
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PERFORMANCE + SOCIAL
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Views 1: View of artist performance space from ramp. 2. View of artist performance space from Southern Ridge Trail’s bridge rest point. 3. View of artist performance spacefrom Gillman Barrack’s rest point. 4. View of artist performance space from Southern Ridge Trail bridge KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
:: KINTSUGI SPACES :: REST + CLEANSE + NOURISH + SOCIAL
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES REST + CLEANSE + NOURISH + SOCIAL
artist’s entrance
public entrance rest + cleanse
nourishment/ public engagement space
social space
PLAN VIEW OF SPACES
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES REST + CLEANSE + NOURISH + SOCIAL
social space
nourishment/ public engagement social space rest + cleanse rest + cleanse
public entrance
nourishment/ public engagement
artist’s entrance
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES REST + CLEANSE + NOURISH + SOCIAL
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Views 1: Social space 2. View of artist public engagement space from ramp 3. Artist’s rest and cleanse space 4. Public engagement and nourishment space
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES REST + CLEANSE + NOURISH + SOCIAL
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4
Views 1: View of public engagement space from public entrance 2. View of public engagement space from ramp 3. View of public engagement space from artist entrance 4. Path of artist to rest and cleanse space KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
:: KINTSUGI SPACES :: PRACTICE + SOCIAL
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PRACTICE + SOCIAL
outdoor gallery space for block 9
block 9
artist’s practice space
Gillman Barracks Rest Point
PLAN VIEW OF SPACES KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PRACTICE + SOCIAL
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Views 1: View of artist’s practice space from Gillman Barrack’s rest point 2. View of artist’s practice space from block 9’s outdoor gallery space 3. View of artist’s practice space from ramp 4. View of artist’s practice space from block 9’s outdoor gallery space KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PRACTICE + SOCIAL
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
KINTSUGI SPACES PRACTICE + SOCIAL
ARTIST PRACTICE SPACE WITH NATURE AS A SPECTACULAR BACKDROP
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
SNAPSHOT
OF Y2S1
Y2S1 | LOW BENG WEE, GAVIN
Y2S1, Term 1
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
Y2S1, Term 1
SOUNDBOX :: TENSILE FOREST | PROF. TEH KEM JIN’S STUDIO, Y2S1T1 | LOW BENG WEE, GAVIN
Y2S1, Term 2
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
Y2S1, Term 2
KINTSUGI SPACES | YONG SY LYNG’S STUDIO, Y2S1T2 | LOW BENG WEE, GAVIN
Y2S1 | LOW BENG WEE, GAVIN