architectural portfolio 03

4102 REBMETPES 61 - TSUGUA 21

DOIREP EHT MORF

4102 REBMEVON 11 - REBMETPES 03

++ M9611110A

GNILNAY YAT OIDUTS IAL NAIRDA OIDUTS

ARCHITECTURE IN PROCESS

YB OILOFTROP LARUTCETIHCRA DRIHT EHT

YLLOF ERUTCETIHCRA EHT_60 TCEJORP

REHPARGOEG A & RETTOP A ROF GNILLEWD A_70 TCEJORP

FO EGALETUT REDNU

III ++

MORF SKROW

DNA

WORKS FROM

AND

UNDER TUTELAGE OF STUDIO TAY YANLING PROJECT 06_AN ARCHITECTURE FOLLY

PROJECT 07_A DWELLING FOR A POTTER & A GEOGRAPHER STUDIO ADRIAN LAI

++ III

FROM THE PERIOD

12 AUGUST - 16 SEPTEMBER 2014 30 SEPTEMBER - 11 NOVEMBER 2014

++

SSECORP NI ERUTCETIHCRA

THE THIRD ARCHITECTURAL PORTFOLIO BY

A0111169M

SUBMITTED FOR

UNDER

DESIGN 03 | UNDERGRADUATE AY14/15 YEAR 2 SEMESTER 1 DEPARTMENT OF ARCHITECTURE | NATIONAL UNIVERSITY OF SINGAPORE

+ III

AN

ARCHIT FOL

PROJECT 06

TECTURE LLY

“THE RELATIONSHIP BETWEEN THE EXPERIENTIAL QUALITIES OF ARCHITECTURE AND GENERATIVE CONCEPTS IS ANALOGOUS TO THE TENSION BETWEEN THE EMPIRICAL AND THE RATIONAL” - STEVEN HOLL

PART 01 - PREAMBLE

WATERCUBE CONCEPT To choreograph a water path in parallel with the music:

Playlist For An Extreme Occasion Part Six by The Silk Road Ensemble & Yo-Yo Ma DESIGN INTENTION x PHENOMENA To allow water to flow through a 30cm3 cube poetically under the force of gravity with the play of water velocity PROGRAM Unfold a spatial narrative as water bisects through WWthe cubic volume DESIGN STRATEGY RATIONAL: Musical Analysis x EMPIRICAL: Subjective moods evoked by Music

E 9 OF 92

ANALYSING MUSIC The design stragety is applied as an analytical methodology. Empirically, the music is progressively divided into 6 parts where each has a different evoked moods.

Whereas, rationally, music is mapped out using the sound spectrum with respect to its frequency, intensity and instrumental appearances. Corresponding parti drawings were made from the 6 divisions to formalize the musical analysis.

Overleaf: Musical analysis is interpreted from drawings into conceptual parti models. Potential pre-tectonic forms are explored prior to formalizing the water cube.

11 OF 92

13 OF 92

AURAL TO FORM The first party drawing from the musical analysis was extracted as the performative structure. Formally water path is intended to flow in an enveloping and cascading manner. In parallel with the music, the party drawings informs the parameters for formalizing the cube.

15 OF 92

FROZEN MUSIC Music is formalised. Water takes several paths from the beginning of the cube 1. Around the model, was it bisects through the volume, around the central core.

2. Cascades down the spiralling steps under force of gravity.

17 OF 92

PART 02 - PREAMBLE

STAIRWELL. DESIGN BRIEF Transform generic spaces and volumes from PART 01’s water cube into an architectural folly.

This folly will be an articulated formal assemblage of four rooms that corresponds to specific programs and addresses contextual issues of the allocated site.

CONCEPT Unfold spatial narrative as occupants move in the folly with minimal formal intrusion to the site qualities.

PROGRAM To maximise the concept through sensorial interactions between the water and the occupants.

DESIGN INTENTION x PHENOMENA The four rooms will be arranged in parallel to the moods and sensorial qualities from PART 01 with water flowing poetically under gravity.

19 OF 92

SITE

FORT CANN TERRACE GR

NING PARK REEN 21 OF 92

HISTORICAL CONTEXT The fort gate is preserved as the only remaining remnant of the former fort wall and gate complex whereas the former military barrack is converted to Fort Canning Centre. Given the fact that both physical elements were built at a different time, they have two different axis which causes a conflict on the site.

SITE INTERVENTION In response to the axial conflict, site intervention is proposed in the following steps as depicted in the series of diagrams on the left.

1. Engaging Landscape - Axial differences are acknowledged. Existing staircase could potentially connect the 2 elements through reorganizing views and movement.

2. Mediating Shifts - Two different axis are established. The staircase acts as a mediator for an axial shift to organise the site.

3. Resolving Geometries - Original frontal-face of staircase towards Fort Canning Centre is changed to an 45 degree angle to accommodate to the axial shift. Approach and final view of the folly is presuggested following the programmatic requirements. It produces conflicting geometries on the intervention site.

4. Unifying Connections - The geometry is resolved through a circular plan given the nature of the curved surface. The circle would thus unify the two buildings through mitigating axial changes and directional rotations.

23 OF 92

SLOPE CHARACTERISTICS Potentially spatial experiences could be explored in the slope given its depth.

AN UPWARD NARRATIVE Merging of existing staircase and folly - Existing staircase serves as an excellent basis for the folly’s program.

Thus, the folly will be an experiential alternative that does not require any further stair climbing.

PROPOSED FUNCTION This folly will serve as a transitional space - It will bring people from the built environment of fort canning centre to the lush greenery of fort gate park.

SOFT QUALITIES The park is characterised by the following qualities - quiet and tranquil, slow-paced, historical attraction, well-shaded during sunrise and sunset. Human circulation is low throughout the day. Functions of the site would include picnics, taking wedding photographs, gathering, walking dogs and tourist visiting.

SHADING CONDITION Drawing depicts the spaces that receives direct solar radiation and that are shaded by trees throughout the day. With a substantial amount of trees planted at the park, most spaces receive shading by the crown of the trees by evening. This gives us opportunities to play with shadows by tree foliages.

LEGEND PROPOSED FOLLY AREA DIRECT SOLAR EXPOSURE AREA 25 OF 92

SENSORIAL TRANSLATION

27 OF 92

3.

1.

2.

SPATIAL EXPERIENCES / SIGHT - SOUND - TOUCH - TASTE Spatial experiences are choreographed in parallel to the 6 chronological moods of the music in part 01. Images narrate a series of proposed views.

1. Anticipation: Sight of water/ 2. Anxiety + Rush: Sound of water / 3. Upbeat & Electrify: Touch of water/ 4. Contemplation: Taste of water

4.

29 OF 92

FORMAL MORPHOLOGY / WATERCUBE TO FOLLY Stage 1. Formal characteristics of part 01 model is translated to suit the site and programmatic requirements of part 02. Potential spaces in-between water circulation are being explored. It results in two enveloping spirals that produces two distinct routes.

Stage 2. Spaces are sculpted out from the spiral form in response to the site. Human and water circulation are choreographed in accordance to the spatial experiences. The interior program will inform the final folly form.

31 OF 92

FORMAL MORPHOLOGY / WATERCUBE TO FOLLY Stage 1. Scale model

Stage 2. Scale model 33 OF 92

PLANAR PERSPECTIVE / THE ENTRANCE - SIGHT [LEVEL 1] The initial approach in anticipation.

Sight of cascading water but one will not touch nor hear.

Folly model fabrication process starting from the plans

35 OF 92

CONCEPTUAL PLAN / SIGHT-SOUND STRIP [LEVEL 1-2] Strict axial order is implemented in its plan in response to the surrounding elements. Path opens up to two options.

CONCEPTUAL PLAN / TOUCH-TASTE STRIP [LEVEL 2] An attempt for a haptic realm.

Water by touch through wall openings and cascading pond water . Final space opens up subtly to the lush greenery of Fort Gate Park with a drinking fountain.

37 OF 92

THE FOLLY Part 01 was forwarded through manipulation of architectural elements and tectonic. Each 4 rooms are demarcated by the intangible senses and performances of water instead of conventional walls. Path, by ramps, leads one toward various sensorial and haptic experiences to create a delightful alternative way up to Fort Gate Park.

39 OF 92

41 OF 92

CONCLUSION

TRANSLATION FROM AURAL TO FORM REQUIRES A RIGOROUS CREATIVE PROCESS AND A HIGH LEVEL OF DISCIPLINE. CARRYING FORWARD FROM PART 01- WATERCUBE - WE HAVE TO FURTHER TRANSLATE AND TRANSFORM THE ARBITRARY INTO THE TANGIBLE REALITY (THE FOLLY) THROUGHOUT THE PROCESS, WE HAVE LEARNT THE METHODS OF CREATING SPATIAL EXPERIENCES WITH A CLEAR STRUCTURE AND NARRATION. USING ARCHITECTURAL ELEMENTS AS OUR PALETTE, WE EXPERIMENTED VARIOUS WAYS OF MANIPULATION TO CHEOREOGRAPH HOW A PERSON IS BEING ENGULFED THOUGH THE SPACES. THIS PROJECT IS THE FIRST STEP TOWARDS HARNESSING OUR CREATIVE PROCESS (TRANSLATING FROM OUR MINDS TO REALITY, IN THIS CASE, A HAPTIC EXPERIENCE) WHICH WILL BENEFIT US IN FUTURE PROJECTS.

43 OF 92

DWE FOR A POT GEOGR A

ELLING &A TTER RAPHER

PROJECT 07

“ARCHITECTURE ONLY SURVIVES WHERE IT NEGATES THE FORM THAT SOCIETY EXPECTS OF IT. WHERE IT NEGATES ITSELF BY TRANSGRESSING THE LIMITS THAT HISTORY HAS SET FOR IT” - GEORGES BATAILLE

UNDERSTANDING SITE

PULAU UBIN KAMPONG

N UBIN 49 OF 92

SECTION A-A

SECTION B-B

SECTION C-C

SERIAL VISIONS BY SECTIONS This series of sections further shows the depth of each vantage points in the previous diagram.

These drawings identify the visual experience as one is engulfed through the village through sequential movements. By cutting sections at strategic locations, it unveils the physical scale and various activities/ rituals of Kampong Ubin.

UNDERSTANDING KAMPONG UBIN BEGINS WHEN ONE DISEMBARKS FROM THE JETTY. CIRCULATION SPACES ARE MAPPED TO UNDERSTAND THE SPATIAL SEQUENCE AND MATERIALITY WHICH FORMS THE THRESHOLDS. THESE DIFFERENT QUANTIFIABLE PARAMETERS CREATES THE QUALITATIVE PHENOMENA WHICH WE EITHER INTUITIVELY UNDERSTAND OR THAT STIRRED SOME OTHER PHYSIOLOGICAL, EMOTIVE OR INTELLECTUAL RESPONSE. DETAILS AND REASONS BEHIND SUCH EXPERIENCES ARE PROBED. VARIANTS OF NOLLI DIAGRAMS, LYNCH ELEMENTS AND VANTAGE POINTS ARE THUS MAPPED. SUBSEQUENTLY, ANALYTICAL DRAWINGS OF THESE RELATIONSHIPS COULD THEN BECOME THE BASES FOR RELEVANT PROJECTIVE FUTURES. IN THIS PROCESS, WE CONCLUDED THAT IT IS THE INSTRUMENTALITY OF BOTH BUILT AND UNBUILT FORM IN CRYSTALLIZING THE CHARACTER OF A PLACE - THE RURALITY AND THAT CIRCULATION OF KAMPONG UBIN IS IN LOOPS. THE FOLLOWING DRAWINGS DEMONSTRATES A PERSONAL UNDERSTANDING OF THE SITE AS AN INDIVIDUAL. OVERALL SITE STUDIES ARE OVERLAID WITH CONTEXTUAL ONES ON A STUDIO LEVEL. COMPLETE DOCUMENTATIONS ARE IN THE REPORT “KAMPONG UBIN - UNDERSTANDING SITE”.

“WE SHAPE OUR BUILDINGS, AND THEREAFTER THEY SHAPE US” -WINSTON CHRUCHILL

SECTION ACROSS KAMPONG UBIN JETTY AND PLAZA

SECTION E-E

SECTION F-F

MATERIALITY

HARD LANDSCAPE Paths & Roads

SPATIAL THRESHOLDS

by Lynch Elements

SPATIAL CONNECTIVITY

by Vantage Points

SPATIAL RHYTHM

by Nolli

SPATIAL NEGOTIATION

by Inverse Nolli

SPATIAL COMPOSITION Thresholds x Vantage Points

SPATIAL PHENOMENA

PROJECT PREAMBLE

UBIN . TRAN PROGRAM Communal Scale: A short-term housing complex for scientists and artists with a communal facility.

Individual Scale: A short-term shared housing complex for a POTTER (ARTIST) and a GEOGRAPHER (SCIENTIST).

CONCEPT Translation of the characteristics, traits and rituals of a Potter and Geographer.

DESIGN STRATEGY Using the performative keywords: COILING and LOCATING as design basis.

RITUALS x PHENOMENA In essence of Kampong Ubin, rurality should be preserved in terms of its circulation loops, integration into unbuilt forms and establishing vantage points.

NSGRESS

MASTERPLAN: COMMUNAL SCALE Location Plan, Scale 1:1500 Right: 1. Circulation Loops/ 2. Thresholds & Edges / 3. Vantage Points / 4. Overall Site Forces

1.

2.

3.

4.

59 OF 92

MASTERPLAN: COMMUNAL SCALE Suggested Site Plan with Studio Massing Plan.

Right: Site modelling photos in scale 1:200.

61 OF 92

DESIGN PROCESS: INDIVIDUAL SCALE

63 OF 96 92

COILING x LOCATING / VOLUMETRIC ALTERATIONS Starting from a cubic volume of 5m3, this initial series of design exploration expounds on the two performative keywords (coiling & locating) through volumetric alterations.

A suitable module is derived and this process defines spatial program into the concept and resolves complexity.

Modelled at 1:100 scale.

65 OF 92

MODULE LEVEL 1

COILING x LOCATING / MODULAR PROLIFERATION This stage defines the parameters for a regulated proliferation. Rules to coil and locate are established in the diagrams above.

Coiling: Horizontal stacking of modules on top of each other to create a vessel/ enclosure, Locating: In terms of centers, demarcating perimeters, locating oneself in place.

A center and a periphery in a singular modular. With proliferation of this modular, it is found that 3 modules together form a greater Level 2 module which creates a 3-dimentional sectional center.

MODULE LEVEL 2

67 OF 92

RITUALS: POTTER

INDOOR/ OUTDOOR MOVEMENT

SPACE

TIME

SPACE

MOVEMENT INDOOR/ OUTDOOR RITUALS: GEOGRAPHER

THE CONFIGURATION / RITUALS Next stage sees the injection of programmes into the configuration. Above diagram maps the arrival day for both the artist and the scientist. General rituals are found not to overlap much. Greater interaction is required. The Geographer spends most of his/ her time on field and the Potter’s kiln has to be located on the first level. Both individuals requires indoor and outdoor qualities with regards to spatial needs.

69 OF 92

UPPER DWELLING

4. KITCHEN

5. GEOGRAPHER’S BED

6. POTTER’S BED

LOWER DWELLING

1. BICYCLE SHED

2. WORKSHOP

3. LAB

THE CONFIGURATION / SPATIAL ORGANIZATION Corresponding to the previous ritual diagram, lower dwelling comprises of the public covered walkway, bicycle shed and work areas for the individuals.

Potter’s workshop is allocated at the second level for 1. accessibility to his/her kiln on the first floor 2. keep the bedroom furthest apart.

Upper dwelling (Second level 2 module) marks the private areas of the complex. Its sectional center creates the communal space while top two levels are suitable for the private bedrooms.

71 OF 92

THE CONFIGURATION / DESIGN RESOLUTIONS Programs are adapted into the selected tectonic configuration. This stage incorporates site forces which further morphs and sophisticate the configuration.

Vertical cores are introduced along the periphery centers of the modular to provide opportunities for further expressing keywords and structural stability. Cores are shifted at the upper dwelling which has different periphery core. Cores allows circulation to “coil” around, weaving the spaces and modules allowing more ways of “locating”. Circulation thus becomes not only transition spaces, but points of interaction. Sectional centers and “locating” are thus further emphasized.

73 OF 92

THE CONFIGURATION / DESIGN EXPLORATION With the modular (level 1 and level 2), various configurations are experimented and evaluated for resolutions towards programmatic, formal and site issues.

Process shows other methods of coiling and locating to achieve a stable configuration. In the final series, far right, it is an extention of the previous series on its left. center spaces are extruded up to create a room volume. Modelled at 1:50 scale.

1.

2.

THE CONFIGURATION / DESIGN RESOLUTIONS 1. All the previous parameters come together to create a spatial-formal resolution./ 2. Problems within the configuration are identified during translation into habitable spaces.

3.

4.

3. A leap towards the final model, room tectonics further express the two keywords. Horizontal planes are layered as privacy screens./ 4. Structure challenges provide design opportunities and experimentation. Upper dwelling core follows the second modular shift and circulation is introduced.

Modelled at 1:50 scale. Red and blue pins represents spaces occupied by Potter and Geographer respectively.

75 OF 92

TECTONICS x ARCHITECTURE

77 OF 92

THE CONFIGURATION / DESIGN TECTONICS Close-up Details. Modelled at 1:20 scale.

79 OF 92

THE CONFIGURATION / DESIGN TECTONICS Elevation - 360o view. Modelled at 1:20 scale.

81 OF 92

PROPOSED SCHEME / ARCHITECTURAL DESIGN Anthropometric and spatial conflicts are resolved for conviviality using the design concept.

Elevation - 360o view. Modelled at 1:20 scale.

83 OF 92

PROPOSED SCHEME / ARCHITECTURAL DESIGN Each room is an extension of oneself and we are exploring on new ways of spatial negotiation.

This scheme allows highly customizable spaces with the screens which extends out as interior furnishings. It redefined communal living given its porosity by circulation, sectional centers and periphery spaces that wraps around the private spaces. It embodies the very essence of the Potter (Coiling) and Geographer (Locating).

85 OF 92

CONCLUSION

KAMPONG UBIN IS CURRENTLY IN ITS RESIDUAL STATE BY PAST PLANNING AND NATURE FORCES. HOW DO WE DESIGN FOR SUCH AN ORGANIC SITE WHICH WOULD STAND THE VICISSITUDES OF TIME AND RAPID URBANISATION? FOR BATAILLE, ARCHITECTURE WILL SURVIVE IF IT “NEGATES THE FORMS WHICH SOCIETY EXPECTS OF IT BY TRANSGRESSING THE LIMITS THAT HISTORY HAS SETS FOR IT”. THROUGH DESCRIPTIVE AND ANALYTICAL DRAWINGS, WE BEGIN BY SEEKING THE UNDERLYING GENIUS LOCI OF KAMPONG UBIN BEYOND ITS MERE FORMS. ALBEIT THIS SCHEME IS MADE SPECIFICALLY FOR AN ARTIST AND SCIENTIST, IT HAS TO ALSO EMBODY THE VERY ESSENCE AND LEGACY OF KAMPONG UBIN – THE RURALITY, THE COMMUNITY AND CIRCULATION. THIS DESIGN PROCESS IS BASED ON THE TRANSLATION OF TWO PERFORMATIVE KEYWORDS WHERE THEY ARE INCORPORATE INTO VISIBLE FORMS AND CRAFTED SPACES. IT AFFECTS EVERY SINGLE DESIGN DECISION RIGHT DOWN TO THE SMALLEST DETAIL. THROUGHOUT THIS CREATIVE PROCESS, TRANSLATION FROM THE CONCEPTUAL TO THE VISIBLE IS FINE-TUNED WHERE WE GAIN THE SAVIOR-FAIRE OF CREATING RATIONALIZED UNCONVENTIONAL SPACES WITH A SYSTEMATIZED CLEAR DESIGN INTENTION. BY REEXPLORING THE POTENTIALS OF THE TANGIBLE ARCHITECTURAL ELEMENTS AND DETAILS THROUGH THE TWO PERFORMATIVE KEYWORDS, WE ARE LEARNING HOW TO CRAFT UNIQUE INTANGIBLE EXPERIENCES IN RESPONSE TO SITE, CONTEXT, MORPHOLOGY AND PRECEDENT THAT AFFECTS US AND OUR VISCERAL. STARTING FROM A CUBIC VOLUME OF 5M3, DESIGN EXPLORATION EXPOUNDS ON THE TWO PERFORMATIVE KEYWORDS: COILING & LOCATING. THROUGH VOLUMETRIC ALTERATIONS, A SUITABLE CONCEPTUAL MODULE IS DERIVED WHICH IS TRANSLATABLE INTO SPATIAL PROGRAMS. RULES TO COIL AND LOCATE ARE ESTABLISHED TO DEFINE THE PARAMETERS FOR A REGULATED PROLIFERATION. ARCHITECTURAL TECTONICS IS THEN DEVELOPED WITH RITUALISTIC ANTHROPOMETRY AND SITE FORCES. EACH ROOM IS AN EXTENSION OF ONESELF AND WE ARE EXPLORING ON NEW WAYS OF SPATIAL NEGOTIATION. IT EMBODIES THE VERY ESSENCE OF THE ACTIONS PERFORMED IN SPACE; COILING (POTTER) AND LOCATING (GEOGRAPHER). THE RESULTING SCHEME ENTAILS A SEET OF HIGHLY CUSTOMIZABLE SPACES WITH THE SCREENS WHICH EXTENDS OUT AS INTERIOR FURNISHINGS. REDEFINING COMMUNAL LIVING, ITS PRIVATE SPACES WRAPS AROUND THE POROUS CIRCULATION, SECTIONAL CENTERS AND PERIPHERY SPACES. 87 OF 92

VIGNETTE - RURAL DECAY

89 OF 92

ARCHITECTURE IN PROCESS III++

THE THIRD ARCHITECTURAL PORTFOLIO | WORKS FROM DESIGN 03 UNDERGRADUATE | AY14/15 YEAR 2 SEMESTER 1

BY A0111169M | LIN DERONG UNDER TUTELAGE OF TAY YANLING + ADRIAN LAI

DEPARTMENT OF ARCHITECTURE SCHOOL OF DESIGN AND ENVIRONMENT NATIONAL UNIVERSITY OF SINGAPORE | 2014-2015

NOITAREDISNOC RUOY ROF

FOR YOUR CONSIDERATION