Portfolio [ 2014 - 2017 ]

VOLUME 1

LIM WEI

Portfolio [ selec t ed w o rk s ]

SINGAPORE P O LY T E C H N I C D I P LO M A I N ARCHITECTURE

DI P LO MA 2 01 4 - 2 01 7

A honest display of progression.

2014 - 2017

Introduction

01

LIM WEI Born in the year 1997, Singaporean.

As a chapter comes to an end.

Three years have flown by in a blink of an eye.

In all honesty, the architectural journey was a rough start. As an individual originating from an arts background, the adaptation to a “restriction” based course was tough. However, architecture started to grow on me.

The three years could be categorised into three phases, beginning with : blindness, assimilation and growth.

Blind during my first year, I struggled to understand, to grasp the meaning of architecture and its purpose. I needed to find a connection between it and the world.

Crippled by the first year, I started to read on the “masters” in hope to enlighten myself, Le Corbusier in general. Awed and drawn in by his theories, I started to dream about his visions and implementing it to my second-year project.

I was able to draw links to Corb’s theories to Singapore, be it city planning or the remnants of modernist buildings throughout Singapore.

Graduating batch of 2017.

The relationship between architecture and me started to grow.

Upon transitioning to my third year, an encounter with an architect urges me to move on, to explore the developments we have made from the modernist era, to grow. In which I did, I started to read on tropical architecture, critical regionalism, philosophies and more.

Not forgetting the additional experiences from the Ozetecture masterclass, our internship experiences. All of which added to this “growth” I so deeply felt. It wasn’t just about my abilities, it was also the passion and love I had for architecture. As cheesy as it may sound, it is nothing but raw honesty.

The following pages are the honest works accumulated in the past years. Without any editting.

A honest display of progression.

“The future belongs to those who believe in the beauty of their dreams.” - Eleanor Roosevelt

Contents

03

year 03

internship

year 02

year 01

008

the hidden city

058

ozetecture

072

re-envisioning the kelong

082

graduation show [stretto + interlude]

088

b i n t a n f a r m e r ’s v i l l a g e

096

beauty world foodcour t

102

sky park residences

120

URA competition [forgotten spaces]

122

end of year show [farewell]

128

project 1 [dwelling]

132

primer two

134

primer one

04

Chapter

year

03

‘growth’

Growth

05

Projects.

the hidden city . ozetecture . re-envisioning the kelong . graduation show 2017 . [stretto + interlude]

06

Ye Y ea ar r 0 03 3

The hidden city

07

Earliest conceptual sketch on the site, Cross street/ Club street. An abstract interpretation of the atmospheric entirety of Cross street/Club street. A play of positive and negative spaces.

Blue // Positive Red // Negative

The Hidden City

The contemporary urban-scape of today has evolved into a technologically driven urban-scape. Where architectural entities are increasingly mechanized, the being of human begs a closer relationship to the Earth.

“Is the inordinate mechanizing of architecture really necessary?”

With that as the main question in mind, an attempt is made to re-humanize buildings through utilizing the manifestation of “phenomena” within architecture.

In Chinatown, the very concept of “conservation” has been distorted through the act of superficial preservation. While the pre-existing phenomena of the shophouse dissipated, the entry of new inhabitants and activities morphed into a new phenomenon. The edifice of the old is now masked by new projections, possibly suggesting new explorations within the site.

The Hidden City acts as an extension to this phenomenon- a modern reinvigoration of the conservation area. The Hidden City encourages movement and exploration, evoking mystics and sustaining wonder.

08

Year 03

Preface.

In a fragment of a second you can understand: Things you know, things you don’t know, things you don’t know that you don’t know, conscious, unconscious, things which in a fragrant of a second you can react to: we can all imagine why this capacity was given to us as human beings - I guess to survive.

Architecture to me has the same kind of capacity. It takes longer to capture, but the essence to me is the same. I call this atmosphere. When you experience a building and it gets to you. It sticks in your memory and your feelings. I guess that’s what I am trying to do.

Peter Zumthor

The hidden city

09

Site Studies & Preliminary thoughts

The preliminary stages of The Hidden City were derived through the study of the site, a segment of the Chinatown area.

In pursuit of humanising architecture, I read Peter Zumthor’s writings on Presence/ atmospheres within architecture. Inspiring the pursuit of the intangible aspects, the spirit of the place. The tangible aspects which gave form to the intangible.

Exploration & Subtle Elements, the 2 key components extracted from the experiences accumulated at the site. Followed by 4 sub-components. Within, Exploration [ Ascension & Descension ] Subtle Elements [ Paths & Pockets ] All of which evokes the site’s atmospheric qualities.

010

Ye Y ea ar r 0 03 3

Exploration.

Ascension // The different multitudes of shophouses within the site evoked a sense of exploration. Due to its false facades masking its actuality, it draws people to find out what truly resides within.

In which this case is conceived as ascension. Adventuring through its stairways to find hidden characters.

A transition from dark to light. [ left ]

The hidden city

011

Descension // Inversely, the site evokes exploration through descension. As shophouses being built on a hill, some shophouses finds themselves etched into the sloping terrain. Hence, unique basement like spaces have been formed.

A transition from light to dark, openness to constriction. Intimacy. [ left & bottom right ]

012

Ye Y ea ar r 0 03 3

Subtle elements.

Pockets //

Paths //

In this case, a traditional ventilation block commonly used within Singapore’s traditional vernacular Architecture.

Paths, the der during

Today, its use diminishes into nothing but an evoker of nostalgia. [ left & bottom right ]

disordays.

Giving rise to bustling merchant streets, albeit its disordered planning.

Disproportionate master planning.

Of which these streets manifested into an extension of shophouse activities during the 20th-century era.

Today, its nothing but an empty husk of its former self. Re-purposed into vehicular and service routes. Littered with modern servicing devices.

result of the early

[ top right ]

The hidden city

013

014

Ye Y ea ar r 0 03 3

Site plan [ with The Hidden City ]

The hidden city

015

Massing sketches // Further studies on abstract massing configuration in accordance to the site.

Modularization of abstract massing configurations.

[ Top ]

[ Bottom ]

016

Earlier conceptual sketch on the elevation. The idea of a village rather than a massive building mass.

Where light would glow out from the paths / tunnels which are exposed.

Year 03

The hidden city

017

018

Earlier conceptual sketch on the “relieve spaces”.

Where the negative spaces forms a “pocket”, a relieve space between the positive spaces.

Year 03

The hidden city

019

020

Year 03

Scaled plans 1:300 // Conceptual plans, working sketches on the 1st, 2nd & 3rd storey planning. [ pg.21 ] [ pg.22 ] [ pg.23 ]

021

[ 1st Storey ]

The hidden city

[ 2nd Storey ]

022 Year 03

023

[ 3rd Storey ]

The hidden city

024

Year 03

Scaled east elevation 1:300 // Conceptual working sketches on facade material development. The zoning of the differing variations of material qualities. [ Left ]

The hidden city

025

026

Year 03

Diagramatic illustration of the two main facade systems.

Double mesh system. [ Left ]

Perforated brick system. [ Right ]

The hidden city

027

028

Year 03

Diagramatic illustration on double mesh facade.

Initial sketch details on double mesh facade system.

Final developed details for final design review.

[ Above ]

[ Bottom left ]

[ Right ]

The hidden city

029

030

Ye Y ea ar r 0 03 3

Detailing concepts //

Diagrammatic illustration the perforated brick facade. [ Left ]

Initial sketch on the spatial relationship it has with the main structure. [ Top ]

Conceptual sketch details on the perforated brick wall facade. And design intentions which the facade would display. [ Right ]

The hidden city

031

The artisan village [smaller blocks] // conceptual details The old ‘brick parti walls’ shall not intrude on the new, however, it serves as a reminder of the old.

Hence the ‘brick parti walls’ never touches the main structure. It reminds by stripping the plaster & revealing the actual innards which supported the old shophouses.

Weaving the old & new through light.

Illuminating the old & affecting the new through materiality & light.

Forming a new atmosphere.

032

Ye Y ea ar r 0 03 3

The hidden city

033

[Added on render]

034

Year 03

Sectional perspective //

Main section render of The hidden city.

The hidden city

035

036

Year 03

The hidden city

[Added on render] 037

038

Year 03

The hidden city

039

Main entrance // The main entrance into the building. The descent into darkness. The space was intended to evoke the feeling of being underground, however, the actuality of the space is that it resides on the ground level.

040

Year 03

The hidden city

041

Main stair entrance // The main stairs leading to the library space. The embodiment of the said “ascension� element.

[Added on render]

042

Secondary entrances // Secondary entrances into the building. Where the focused would be on ascension. The space was purposed to evoke the feeling of ascending into the shophouse spaces.

Year 03

The hidden city

043

044

Main Courtyard //

Year 03

The entrance from the connection between the first and second floor. The ascension from darkness to twilight. Emphasising on the relieve space, the main courtyard.

The hidden city

045

046

Year 03

The hidden city

047

Corridors // The corridor spaces which runs throughout the artisan’s village [the smaller buildings masses].

The pinnacle of the twilight zone and a canvas for the shadows.

048

Year 03

The Co-working spaces //

The Co-working office spaces. A garden space which celebrates the arrival and departure of the inhabitants. As evening approaches, the shadows of

the tree will be cast on the translucent sunshade partition, signalling the end of the day.

The hidden city

049

050

Events space //

Year 03

The main events space. Serving as an exhibition space and a fashion show space. A celebration of light.

The hidden city

051

052

Year 03

The hidden city

053

The Hidden City

054

Year 03

The hidden city

055

056

056

Ye Y ea ar r 0 03 3

Ozetecture

057

The Hiding Place

Hidden in the dense vegetation of Pittwater, the Hiding place serves as a place of gathering for both the community and visitors arriving at morning bay. The project aims to preserve and blend in with the vast nature of the site, keeping the sense of arrival to nature from morning bay jetty intact.

A place of gathering.

The hiding place provides a series of meeting spaces which are multifunctional. The project is tucked aside from the main path of circulation and is constructed with as little local materials as possible. This allows the project to blend in with the landscape and stay hidden away from boats on the water.

A variety of spaces for gatherings is provided for both the community and visitors of the place. A central sheltered space which can play host to various events and two open to sky meeting decks which can function as a lookout. A fireplace is also provided so the outdoor spaces can still be used in the cold weather. The project also acts as a place of storage, allowing unused canoes and the buggy used for maintenance of the site to stowed away leaving a clear and uncluttered view of the landscape.

Final model for the hiding place.

058

Year 03

Ozetecture began with sketching out our journey to Pittwaters.

The engine dies at the hands of our captain, everytime a place of interest drew its curtains.

Captivated, as we drift on our ferry.

Denouncing usage of the cameras we carry.

Only for us to “capture� it.

Its aperture, its shutter speed.

Framed by an image only we could see.

Ozetecture

059

A sketch on the ferry before reaching Pittwaters.

The camera captures the totality of what we see.

Sketching captures the essence of what we see.

060

Year 03

Upon arrival, Through the wharf we came walking.

Listened to the ocean breathing.

Looked at its shimmering sequence.

Waves in rhythm‌ Leap and they fall in the arms of a beach, all season.

See warm colors brew: saturation; blue sky turn caffeinated.

Ozetecture

061

A sketch upon the arrival on Pittwaters.

062

Year 03

The camera captures the totality of what we see.

Sketching captures the essence of what we see.

Ozetecture

063

A sketch of the main entrances towards the YHA hostel which we were staying in.

064

Very initial sketch of the hiding place.

Year 03

Ozetecture

065

An abstract sketch of the main jetty at Pittwater.

Together with the initial few diagrammatic zonings.

The horizontal lines within the sketch are the hiding place’s initial idea. Which was to make a structure that doesn’t exist.

066

Ye Y ea ar r 0 03 3

Ozetecture

067

The hiding place //

Sketched section [ Top ]

Sketched plan, overlayed over the topography sketch plan. Which our team surveyed from scratch with a measuring tape and string.

Going analog. [ Bottom ]

068

Year 03

Ozetecture 2016 full group. [ Bottom ]

The hiding place team.

Bryan Png Chung Seng Loh Samantha Soh Lim Wei [ Right ]

Thank you for all the learnings and experiences we shared together. To the ozetecture 2016 full group, The Hiding place group and the lecturers.

Thank you for all the guidance and sharings. Special thanks to Singapore Polytechnic DARCH lecturer Choo Thian Siong.

Ozetecture

069

Richard Leplastrier [ Top ] Lindsay Johnston [ Middle ] Peter Stutchbury [ Bottom ]

070

Ye Y ea ar r 0 03 3

Re-envisioning the kelong

071

Sea Hive

The purpose of the Sea Hive was to modernize and improve the current kelong. It was designed to be flexible and easily expandable with multiple adaptable modules to cater to the user’s needs. It aims to improve the living quality of the contemporary fisherman and to make it appealing to the current / future generation.

The Sea Hive is a self - sustaining body that provides the three basic necessities of human survival. Food, water, and electricity.

It is self - sustaining through the implementation of the closed looped concept. It makes use of each element in a cycle to sustain each other.

The adoption of aquaponics allowed us to grow fresh crops which acts as a filter for the freshwater fish farm, allowing a clean and fresh environment for the freshwater fishes. All of which are viable sources of food.

Water is harvested by making use of the high moisture content present in the air above the sea, similar to the Warka Water Project.

Electricity is provided to the modules through rotational movement from the lateral movement caused by waves and tides of the sea, similar to the point absorber buoys.

The vision was a completely self - sustaining body, one which was lasting, affordable, efficient and autonomous. To be truly “Off The Grid� while providing the necessities for inhabitants. Striving for a more efficient farming approach with multifunctional modules.

072

Year 03

Re-envisioning the kelong

073

Main render for the Sea Hive cluster.

074

Year 03

Re-envisioning the kelong

075

Main Section of the Sea Hive. Depicting the four main modules, storage, residential, net and hybrid. [starting from the left.]

076

Ye Y ea ar r 0 03 3

Re-envisioning the kelong

077

Kelong Module Components //

Self-sustaining Features //

[ Human waste recycling ]

[ Hydroponics ]

[ Fresh water collection ]

[ Energy generator ]

Larvae consume human faeces within an hour or two after it is introduced. The larvae eliminate odour and also serves as a food source for the fishes.

Bacteria in the water converts ammonia into nitrates, which is beneficial for the hydroponics system.

Water is collected by condensing the captured fog, which utilises a specialized net. Water is then filtered down the funnel and

Modules are first tethered to a mooring on the seafloor.

Which allows the generator in the module to generate energy by rotating the flywheel as the waves rise and fall, providing a constant supply of energy through each oscillation. The energy generated is stored within accumulators, situated in the basements of the modules.

Nutrient-rich urine would be channelled to the hydroponics plants.

The hydroponics system purifies the water in the tank by absorbing the nutrients from the fish waste.

The purified water is then channelled back to the fish tank.

stored for future use.

Year 03

078

Main model & presentation board. Picture after critique session. [ Top ]

A full scale 1:1 part prototype of the combination between our scheme & our fellow peers’ scheme. [ Left ]

Re-envisioning the kelong

079

080

Year 03

Stretto Graduation show 2017

‘Stretto’ is a phenomenon in music where musicians are orchestrated using different instruments or their voices to play or sing with greater virtuoso and rhythm at different intervals. Immensely difficult and precise, the result is a rich, accelerated symphony that draws the audience into the climax or finale of an opera, achieved only if the parts are in unison.

Metaphorically, the Diploma in Architecture (DARCH) Graduation and End-of-Year Show is the physical encapsulation of its Stretto. The exhibition marks the closing of the academic year. It aims to be more than just a showcase of students expressing their individual creativity, skill and graft through their projects, but also a purposeful, intentional curation of the collective and its possible contributions to the local dialogues in architecture, be it in techne, social housing, or the changing socio-economic fabric of Singapore.

Stretto serves as a footnote to the DARCH student body that they ought to be learned enough to contribute to the melody of their chosen endeavour, but also remain humble enough to recognise they know not of the entire orchestra, therefore ultimately assuming a posture of burning zeal for lifelong learning.

Stretto + interlude

081

082

COLLABORATION OF //

Year 03

Society of the Diploma in Architecture (SoDA) Adrian Han Lim Wei Jerry Kuek Siti Nasyitah Isaac Tan Hung Joanne Seng Melissa Ong Jessie Yaw Desiree Tan Anthea Choo Cheryl Ng Arielle Yeo

BiForm + Space Choy Rui Zhi Sean Ow Jou Chern Goh Jiawen Ng Wei Liang Gregory Wong Jia Wei Gareth Mah Zan Liang

Darch Advisors Chow Kin Nam Phyllis Low

Stretto + interlude

083

084

Chapter

In ternship termission

Intermission

085

Internship [LAUD architects]

selected

projects

086

Internship

Bintan farmer’s village

This is a “charity” project and the client is a missionary from Bintan. The client bought a huge plot of land and wanted to use it to help the poor and homeless. The client’s idea was to give the poor and homeless a chance to start a life of their own, by giving them a place to stay, where they would farm for their own food and sell the excess. All of which, was non-profitable to the client. The brief given by Mr Lau (Laud Architect’s Founder) was that the project was to be easily constructed and cost-efficient. Preferably making use of steel intermodal containers.

The residential design was based on these basic key points, natural ventilated, natural daylighting, privacy, compact, temporary home, village spirit, modular & self-sustaining mini-modules. And later on, the master planning/zoning was inspired by Le Corbusier’s Contemporary City and followed his geometric planning. The last inspiration was actually based on Japanese architecture as the Japanese faced overcrowding and was good at maximising space. Making use of Elevated ground floors(to avoid frequent floods), Outdoor sheltered corridors which encased the courtyards.

B i n t a n f a r m e r ’s v i l l a g e

087

Not to scale First storey master plan of the massive plot.

088

Internship

089

Village module plan [Not to scale]

090

Internship

091

092

Internship

Conceptualization // General massing and zoning development. [ Left ]

Conceptual sketches on individual module & communal space. [ Bottom ]

B i n t a n f a r m e r ’s v i l l a g e

Top view of village module. [ Top ]

Bird’s eye view of village module. [ Bottom ]

093

94

Chapter

year

02

‘assimilation’

Assimilation

95

Projects.

sky park residences .

URA competition . [forgotten spaces] end of year show . [farewell]

096

Year 02

Sky park residences

Amongst the bustling city of Singapore, lies the alienated neighbourhood of commonwealth crescent. It was a peaceful, quiet neighbourhood, breaking away from the ever-changing fast-paced city, seemingly staying unchanged and untouched by time. The locals were proud of the neighbourhood’s rich history and were reluctant to change. This resilient characteristic was due to its inhabitants, mainly consisting of the original residents when the neighbourhood was first constructed in the 1960s, being part of Singapore’s first satellite town. This led me to start out my design journey to preserve and enhance the existing site, preserving the people’s sentiments of the site.

The interview was one of the main drivers of my design concept. The interviewees (frequent users of the space) explained how they loved the illusion of a park-like atmosphere which the matured huge trees created, how the leaves would litter the ground and how the shadows were cast on the ground. Leading to the conclusion that preserving this was the utmost importance in response to my earlier “design issue”. The residents to be of this development most probably would be new to this site, hence, the illusion of a park-like atmosphere would be reciprocated into the residential spaces.

The Project started off with the problem that building a development would mean the elimination of the existing trees and that the building itself would disrupt the original atmosphere. In response to that, the lower part of the building was designed to break away from the rest of the building. The lower part functioned separately, acting solely to preserve and enhance the original atmosphere. Whereas the residential part mellowed down and gave small fragments of the original atmosphere. The building was also influenced by Le Corbusier’s theories and applications on the geometrical, the residential parts were designed with the straight line and the right angle, doing away with all abnormalities, attempted as a tribute to the period in Singapore which gave rise to the first few high rise developments.

Sky park resideVnces

097

98

Year 02

Sky park residences

99

Initial sketch massing studies. [ Left ]

Conceptual Massing models. [ Right ]

100

Year 02

Sky park residences

101

Developmental sketches on massing studies, integrating perspectives consideration. [ Left ]

Re-orientation of massing blocks according to view and prevailing wind direction. [ Right ]

102

Year 02

Sky park residences

103

Perspective study sketches in relation to different massings. [ Left ]

More finalised perspective of the massing studies. [ Right ]

104

Year 02

Sky park residences

105

Main section depicting the two building blocks.

Featuring the staggering garden spaces and living spaces. [ Left ]

Axometric facade detail. [ Bottom ]

106

Site plan [Not to scale.]

Year 02

Sky park residences

107

1st storey plan [Not to scale.]

108

2nd storey plan [Not to scale.]

7th storey plan [Not to scale.]

Year 02

Sky park residences

3rd & 5th, typical storey plan [Not to scale.]

8th, 10th & 12th typical storey plan [Not to scale.]

109

110

Part plan of one of the upper floor block.

Year 02

Sky park residences

111

Initial sketch perspective of the garden spaces linking the two units. [ Top ]

View from the lift lobby. [ Bottom left ]

View from one of the units. [ Bottom right ]

Year 02

112

Part plan of 2nd storey skyterrace. [ Left ]

Jogging path on 2nd storey skyterrace. [ Top right ]

Main path on 1st storey. [ Bottom right ]

Sky park residences

113

114

Year 02

The oasis URA competition

[ forgotten spaces ]

Located in the bustling central business district (CBD) area, our forgotten space is a white space between Commerce Street and Central Boulevard. The project serves as a place of rest away from the fast-paced nature of the CBD area. The retaining of trees, grass patches and the addition of greens on site would help soften the hard cityscape. This project is targeted to both the busy white-collar workers and people residing in the CBD area.

Designed to be an oasis within the CBD area the project aims to help one escape from their hectic schedule.

The site is a green field located in between Commerce Street and Central Boulevard. It is a white space with no activities or functions. People do not cross the site however human circulation is high around the perimeter of the site. This white space has much potential as it’s a large open space within a built-up area.

URA competition [ forgotten spaces ]

115

Ye Y ea ar r 0 02 2

116

Farewell End

of

year

show

[year

2]

Built in 1983, Workshop 5A has been the home of DARCH for over 30 years. During so, it has undergone multiple renovations to what it is today. Once again, needs have changed. The old workshop designed for drafting tables thereafter renovated for desktops, are now irrelevant in this age of laptops and mobile devices. Nearing the rejuvenation of W5A, a proper closure of existing space is due. This year as we advance towards its completion, let us appreciate the space and community we were placed in.

We only part to meet again, Farewell.

- Society of Diploma in Architecture 2016

U nRdA ocfo m E y epaer t isthi o nw [[ ftoirl gl owt tee nm es epta caegsa i]n ]

117

118

Year 02

U nRdA ocfo m E y epaer t isthi o nw [[ ftoirl gl owt tee nm es epta caegsa i]n ]

119

120

Chapter

year

01

‘blindness’

Blindness

121

Projects.

project 1 [Dwelling] . primer 2 . primer 1 .

122

Year 01

Project 1

Project 1 uses the concept of John CLang’s “Time” series.

Following his concept of a disconnected connection. It was using the same concept of a timelapse, for example, every 5 seconds he snapped a picture. At the end of the shoot, he compiled all the pictures and started to shred them and recompiled them. Every shred was part of a different time.

His intent was to connect the disconnected. Although they were taken at the exact same spot, however, not at the same time. Hence, a disconnected connection.

Taking the philosophy of this art piece and applying it into architecture terms.

Project 1 [dwelling]

123

124

Year 01

Project 1 [dwelling]

125

126

Year 01

Fragmented [a place of remembrance]

Fragmented is our 2nd project in the Diploma program. The phase, Primer 2, is sited next to Changi Museum. It is a museum dedicated to Singapore’s history during the Second World War and the Japanese occupation of Singapore in particular.

Primer 2 was a project that would serve as an extension to the existing Changi Museum.

Fragmented was purposed as a memorial to a war hero named Elizabeth Choy, a prisoner of war. Fragmented is a journey inspired architectural experience, much like the Jewish Museum Berlin by Daniel Libeskind. Spaces are a metaphoric representation of the hardship Elizabeth Choy went through.

Primer 2

127

128

Ye Y ea ar r 0 01 1

Orbit

Orbit is our 1st project in the Diploma program.

Within the phase of Primer 1, the Fibonacci’s Cryptex.

Orbit started with trying to convey the 212 portion into a physical three-dimensional structure. Linking the 212 portion with mainly the Rhythm and Network. Which led to a random 001 which slowly evolve with the help of inspirations and research. Eventually leading to 3 main keywords, Rhythm, Network and Enveloped.

Rhythm, represented by the transparent revolving strips.

Which Envelopes the main opaque centrepiece. The rest of the volumes are translucent as it visually leads the eye to the centrepiece.

Fundamentally, this was our first attempt at playing with the different combinations of materials and form making.

Primer 1

129

“ Were it not for shadows, there would be no beauty. ”

Jun'ichirō Tanizaki, In Praise of Shadows