First and foremost, a heartfelt congratulations to the students who are part of this exhibition. It is with immense pride and gratitude to present this archiving catalog for AkiVAL 2024. This remarkable event would not have been possible without the exceptional individuals who worked tirelessly to bring this exhibition to fruition. To our Vendors, who have provided us with the materials that has allowed for our exhibition to materialise. To Professor Richard Ho, the faculty and staff members of DoA, we are beyond grateful for the unwavering support and guidance you have provided the AkiVAL 2024 team to help our exhibition come to life. To the people to have played the most pivotal role in the exhibition, our AkiVAL 2024 Team and student volunteers: you are the heart and soul of AkiVAL 2024. The team has weathered many challenges together and have faced many restless days in SDE3. This exhibition stands as a testament to the undying commitment and determination you have as a team and we hope that you have cherished our almost year-long journey organising this event. It was a pleasure to have worked with this wonderful team and we hope that you have gained invaluable learning experiences from this undertaking we have accoplished.
- AkiVAL 2024 Directors
SEMESTER 1
SEEING, THINKING, MAKING
Design 1 as a key foundation course is an introduction to basic design concepts and methodologies, as well as representational techniques specific to seeing, thinking, and making. These will be explored via analogue means. Students will be introduced to a wide range of architectural ideas, ranging from traditional representation and Singapore architecture, to emergent trends operating on the frontiers of data-driven and digital techniques in the field of design today.
SEMESTER 2
SCALE, PRECEDENT, CONTEXT
Design 2 focuses on the development of three foundational design skills: Scale, Precedent and Context. Students will be introduced to 3D complexities and relationships of scale, discover the use and transformation of precedent in architectural design processes; and gain an understanding of context as a component that impacts design outcomes within the built and natural environment.
Year 1 Semester 1
Studio Yong Sy Lyng
FALLING WAX - Ryan Kurniawan
Studio Lee May Anne
AURORA IN A CLOUD - Tan Shim Yean
LAZE LAH! - Shawn Tay
Studio Elaine Lee
MUSICAL PROGRESSION - Thesa Selvaganapathy
SYSTEMIC RHAPSODY - Chua Qi Feng
Studio Ng San Son
WAVE OPTIMIZATION - Kieron Tay
CLARITY OF SPACE - Louis Yong Yurong
Studio Evy Sutjahjo
X-STITCH QUEST - Soong Jack Kha
SHRINK-MOTION - Kang Kiat Meng
Studio Timothy Matthew Collins
RANDOMNESS & STILLNESS OF WAX - Tan Sher Myn
Studio Ng William
ERAS - Tan Zi Yun
DOUBLE CROCHET - Lee Ada
Studio Albert Liang
THE DEEP DIVE - Dominic Sim
CRYSTAL CLEAR - Nicole Choong
continued as contours were introduced, new dimension of the model. Venturing the inverse, crafting a distinct model space, aptly named the "inverse model." To narrative, I meticulously triangulated the flexibility at the triangulated junctures.
Contoured Foam Chosen Model
a. Alignment of measuring tool to a section line of
c. Obtaining height map from tool
“Piping” of the Movement
2. Movement Tracking of Dropping Wax Particles
F
G W A X (part a)
Embarking on my exploration, I delved into the intricate interplay of wax speed and soil density, deciphering their influence on the resultant soil shape post-hardening.
In the wake of this experiment, I meticulously selected a soil shape with a captivating void, becoming the focal point of my subsequent modeling endeavor. Employing a specially crafted profile gauge tool for precision, I translated this chosen form into a digital realm, mapping each coordinate with meticulous detail.
The evolution continued as contours were introduced, giving rise to a new dimension of the model. Venturing further, I explored the inverse, crafting a distinct model from the void space, aptly named the "inverse model." To complete the narrative, I meticulously triangulated the skin, enabling flexibility at the triangulated junctures.
A L L I N G W A X
In a creative continuum, I revisited the realms of my third exercise, injecting novelty by manipulating the density of wax. Substituting wax with digital particles within Rhino, embarked on an odyssey exploring how the interplay of particle count, drop height, and wax compressibility would yield 216 distinctive variations in form. Amidst this plethora of possibilities, I meticulously curated my final model, drawing inspiration from the captivating narratives of the maximum factors series, minimum factors series, entanglement series, and the negative space series.
In a creative continuum, I revisited the realms of my third exercise, injecting novelty by manipulating the density of wax. Substituting wax with digital particles within Rhino, I embarked on an odyssey exploring how the interplay of particle count, drop height, and wax compressibility would yield 216 distinctive variations in form. Amidst this plethora of possibilities, I meticulously curated my final model, drawing inspiration from the captivating narratives of the maximum factors series, minimum factors series, entanglement series, and the negative space series.
As the chosen model emerged, my focus shifted towards deconstructing its essence. A meticulous exploration unfolded, dissecting the model from its elemental points, through the intricate lines, sculpting the very essence of its form, and culminating in the delineation of its contours. These four distinct stages became the canvas for my iterative morphogenesis, where interpretations of my chosen model found expression in a symphony of evolving shapes.
As the chosen model emerged, my focus shifted towards deconstructing its essence. A meticulous exploration unfolded, dissecting the model from its elemental points, through the intricate lines, sculpting the very essence of its form, and culminating in the delineation of its contours. These four distinct stages became the canvas for my iterative morphogenesis, where interpretations of my chosen model found expression in a symphony of evolving shapes.
AURORA IN A CLOUD
STORY OF THE NACREOUS CLOUDS
by Tan Shim Yean (Y1S1)
This project delves into the science behind nacreous clouds, rare polar stratospheric clouds that emit an iridescent color when sunlight hits them at a particular angle. This unique phenomenon is due to the diffraction and interference of light, similar to a diffraction grating, caused by the equally spaced, perfectly spherical ice crystals that comprise the cloud. By exploring variables such as pres-
sure, humidity, temperature, particle size, light angle, and particle distance, this study aims to generate a parametric form using Grasshopper in Rhino to simulate these experiments. A key focus is the transformation of the clouds from liquid to solid crystals as the temperature drops. By varying the spacing between particles, the colors diffracted into the viewer’s eyes also change.
Studio Lee May Anne
The project has two parts: the visual aspect (iridescent colour change) and form (liquid to solid structure) generation. It also explores a different architectural languages as compared to excercise 3, shifting from layered structures to smooth, curved surfaces that require 3D printing for model making. This approach aims to create a dynamic, scientifically grounded representation of nacreous clouds to aid in building design.
FINAL FORMS
Timeelapsed:3-9s
Windspeed: (m/s)
Timeelapsed:6-9s
Lazedensity: (mg/mm)
LAZE LAH!
EXPLORATION OF LAZE
by Shawn Tay (Y1S1)
This excercise was a parametric one, where I investigated how smoke is formed from the natural phenomenon, laze.
The above 10 iterations are architectural extractions of the behaviour of laze, where the main factors affecting laze behaviour are: Wind speed (m/s), Laze density (mg/mm) and time taken after laze forms.
Studio Lee May Anne
Lazeformation
0s3s6s9s12s15s Particleformation
Timeelapsed
Timeelapsed
0s3s6s9s12s15s
VARYING VARIABLES
LazeWindspeed density
Flexhopperplugin
0s3s6s9s12s15s
Timeelapsed
Cocoonplugin
0s3s6s9s12s15s
Timeelapsed
Flexhopperplugin
0s3s6s9s12s15s
Timeelapsed
Using a grasshopper script that is able to generate particles from a plane, there are sliders that are able to change how dense the particles are generated, the direction the particles form and the randomness of particles generated that simulates gas. The particles will then be put through cocoon extensions, where an algorithim forms meshes around the particles to create the unique form represented below.
MUSICAL PROGRESSION
ANNIHILATE BY METRO BOOMIN
by Thesa Selvaganapathy Thesamany (Y1S1)
Studio Elaine Lee
In response to a song called Annihilate by Metro Boomin, an abstraction is created through a well curated creative and methodological system with a series of hand drawn notations and dital code. The interplay of different key components of the somngs is beautifully captured at different instances to understand the complexities and significance of the different instruments spread of throughout the song like the piano melodies, chord progressions of strings, drum beats, sonic textures and bass which makes it unique and stand out from the rest. The musical notation denotes the differet aspects of the song based on my on subjective interpretation of it and based on the timings and intersections that appear in the song. Resultant moments and hotspots were indentified through this process.
The musical notation is used to highlight the different parts of the song;the chord progressions are shown thtrough the bar ripples and the merge during the transitional phase between chords, the small checkered shadings shows the piano melodies and the converging lines corresponds to the guitar and ukelele strings. Each of the resultant moments were coded digitally to show the variations in the intensities of the songs as different moments come together and create a it’s own musical language. The resultant amalgamated moiments are represented as warped surfaces on the code. These information are then translated onto grasshopper to set parameters in order to optimised the instructions that will be transcribed onto the fabric. This includes controlling the number of folds, pleats and ruffles and the amplitude of the folds on rhino & grasshopper using a set of code. These optimsed formed are then inscribed and sewn on the surface of fabric to understand how it might create different spatial qualities and how it will appear as a structure when it is scaled. The soft fabric is hung from the grided surface that corresponds to the warped surfaces on the code as the hotspots emerge at specific instances. Optimised parameters for fabric manipulation
SYSTEMIC RHAPSODY
MAPPING TRANSLATIONS
by Chua Qi Feng (Y1S1)
Studio Elaine Lee
The project begins with a hand-drawn graphical music notation of Pursuit of Happiness by Kid Cudi. Beginning with the chorus, I expanded the sequence to map out every segment and instrument of the song. Each segment is demonstrated by the intersection of lines and zoning of intensities. The notation is translated into a code through Grasshopper. The code is simplified to highlight hotspots and gradations of zones, which illustrates the prominence of every part of the song. The overlapping qualities of the code made up of circles best depict the intensities of the instruments. MAPPING INTENSITIES & IDENTIFYING HOTSPOTS
The code brings out a hotspot that depicts the final chorus, but when further broken down, can be divided into the verse and the guitar solo due to variating instrumental intensities. To better visualise the difference between the two, three-dimensional mappings of the code were created to better identify the areas of higher intensity and do a direct comparison. The crisp production and synchronisation of all the instruments in the verse created a resultant of high intensity and prominence.
The final model is double-layered to emphasise on the wavey and dreamy state of the song. Furrows and ruffles are inscribed at the hotspots. The model is suspended by highlighting the zones where the bass, mids and trebles are the most intense, resulting in an amorphous form of the notation influenced by the sound signature of the song.
FABRIC VARIATIONS & FINAL MODEL
WAVE OPTIMIZATION
COHERENT UNDULATION FROM RIGID GEOMETRY
by Kieron Tay (Y1S1)
Studio Ng San Son
This exercise focuses on the topological study of the precedent, Nishinoyama House by Architect Kazuyo Sejima. To analyse the wave formation pattern produced from geomtry with maximum seperation and minimum intersection and creating a logical flow of crest and troughs.
This model is the visualization of the spectrum of undulations from the topological relationship studied. Showing the volumetric form as the result of the analysis, understanding of form based on the criteria and objectives that was set in place for it to be able to manifest.
Primary study of the tangible relationship between each of the 19 unit’s roof with one another. Variables that were measured to test the thesis were the vertical displacement of the roofs, the pitched angles and the rotation of the roofs about their center. Iteration process was performed to optimize the results to favour the objectives which was “MAXIMUM SEPERATION AND MINIMUM INTERSECTION”. The resultant optimized result was partitioned to specifically analysied the form generated from the data and a cluster of 9 roofs were selected. A single vertice was analysed from within each of the 9 units to generate all possible forms of volumetric wave profiles which gives rise to a spectrum of possibililities. The model illustrates the volumetric boundary of all sorts of wave profiles that can exist from the formation of the vertices in the geometry. The darker lines illustrate the 3-Dimensional displacement of the 9 particular vertices and the lighter lines shows the volumetric boundaries of any points or limits of the shape of the wave profiles generated.
Data Visualization of Results
CLARITY OF SPACE
CLARIFYING SPATIAL AMBIGUITY
by Louis Yong Yurong (Y1S1)
The irregular arrangement of columns in KAIT workshop create an equivocal spatial quality, where the absence of thick structural walls allows for expansive views of the surroundings. This creates unique interplay between the interior and exterior, inviting observers to contemplate the fluidity of the space. The columns are sparsely distributed, subtly hinting at the workshop’s interior spaces.
Studio Ng San Son
Notational Diagram of Directional Forces
From the elevation view, interior spaces are subtly indicated by the varying density of columns, which visually guide the observer. Spaces within the workshop are partially obscured from the outsider view, this approach to design leaves room for interpretation, encouraging a dynamic interaction with the space. In contrast, the new design aims to clarify these ambiguous boundaries, revealing the hidden spaces within the forest of columns. By revealing these concealed areas, the design seeks to refine enhance the spatial quality of the redefined spaces.
X-STITCH QUEST
MOVEMENT TO FORM EXPLORATION
by Soong Jack Khai (Y1S1)
Studio Evy Sutjahjo
The swerve of a blade and a pounce into the air. In the rigourous climate of the architecture studio, gaming is but a sidequest to the student. And yet, what if it was it be came the bedrock in a iterative quest for form? “X-Stitch
Quest” starts its first stage its exploration of movements in relation to fixed points not in reality, but in the sites of Genshin Impact. These movements are broken down into a continuum of contours to create a parametric form. The fluidity of the motion of a blade swerving around its user in contrast to the rigid body manipulating it plays into an intriguing form. This can be further broken down and ex plored in the expression of its construction to push and develop the space within it. In this project, the use of cloth draped over vertices was explored to create these spaces.
This leads us into the crosshairs of our hurdle in the exploration: This would be the experimentation of this construction, majorly done through the use of vertice pillars and a draped cloth to create peaks and troughs in a skin wrapping around a column structure. The form is explored within the digital space by using Grasshopper to simulate the limits of collapse with the varying of distance and angle of these pillars. These captured moments of collapse create a tapestry of iterations to showcase the pinching and spreading of cloth in create a pavvilion-esque form as a reward in this ongoing quest to mprove on the given parameters.
The chosen form, as the hero in this project, is a result of endless physical and digital experiments to better showcase its base form and create new incident spaces. Yet, as per such journies, this process is continuous and call always be further supplemented to heighten or adapt these findings to new settings or desires.
SHRINK-MOTION
SYMPHONY
by Kang Kiat Meng (Y1S1)
Studio Evy Sutjahjo
Through the use of Grasshopper aggregation, four patterns were selected based on a rule and rhythm. Overall, to create a seamless transition between the ground and sky, density of the form is heavier on the bottom. It then branches out in the middle, where the most number of loops is created, blending between the surroundings via gaps. The rhythm of diffusion and gaps then repeats.
In relation to my previous project: Planar Connection, experiments regarding movement were explored. Focusing on the shrinkage of plastic by thermal deformation, I explored variations of tubes limited by the metal rings. The main area of interest would be optimal temperature, length of tube, radius of ring, and angle of ring. “Optimal” in the experiment is defined as the limit of deformation before the structure breaks down. 150°C was deduced as the optimal temperature for conducting this experiment.
SPATIAL EXPLORATION OF CHOSEN GENERATED
DESIGN
ing onto unique topology patterns and irregularity in its textures and formations, an experiment using wax and water was able to stimulate variations and formations similarly. With the varied directions of liquid paraffin wax poured into water, it generates forms during the points of
Consideration of addition of architecture elements like floor slab to provide sense of scale and proportion
Exploration of curvature creation Cubic
THE RANDOMNESS & STILLNESS OF WAX
The exploration of the resultant experiment wax form was also further developed using Grasshopper. The emphasis for the heavily visible, differing peaks and bumps on the respective resultant wax forms was adapted into the script. By varying of the height of the wax peaks, it creating shallow, gradual bumps as well as sharp and distorted curves. Outward expansion of the wax in its area also affected the variation of the peaks’ height and shape, due to the change of size and scale.
ERAS
ARCHITECTURALLANGU AGES
by Tan Zi Yun (Y1S1)
Studio William Ng
The study of the language of Primitives and Cartesian involved an in-depth analysis of btoh Thermal Vals by Peter Zumthor and Shakuji Apartments by SANAA. Detailed analysis drawings and models were created to abstract the design principles and geometries from these precedents. The abstracted principles were then adopted to create architectonic models through methods of carving and addition.
In the study of topological Space, dynamic topological systems were investigated , focusing on generative rules that are relational than geometrically based. These dynamic relationships were articulated using algorithms, resulting in decentralized and non-hierarchical field environments. This exposure aimed to foster appreciation for design and architecture that transcends purely geometric conceptions.
In the exploration of Parametric Form, a complex form was developed through data mapping. This process revealed that such intricate geometries could no longer be described by a single plan or section.
DOUBLE CROCHET
MAPPING MOVEMENT PATTERNS
by Lee Ada (Y1S1)
William Ng
For the exercise on Topological forms, I decided to explore the movement of Crochet, and used this as my basis of form creating. First, I took the frames present of my fingers during the double crochet stictch, which I then used to map how each fingers moved through the given action. These would be the basis of my exploration for this module.
Studio
The 10 plot points extracted from the respective frames were then processed as coordinates in Rhino, forming the stepping stones for my main form creation. Arranging the points in this manner also allowed for a demonstration of patterns that was present during the given action, wherein the dominant hand demonstrated most movement while the non dominant hand remained stagnant and less dynamic. I wanted to emphasize the differences in dynamicism through my models.
THE DEEP DIVE
CRESTS AND CAVITATIONS
by Dominic Sim (Y1S1)
Studio Albert Liang
My project explores the intricate dynamics of capturing the shape of water and manipulating various variables to accentuate specific forms and textures. The process began with a simple yet intriguing experiment: I poured a layer of hot wax over cold water and then dropped a small bottle into the water. This action caused the wax to form around and solidify, encapsulating the dynamic form of the water as it enveloped the bottle. Once the wax solidified, I carefully removed the structure, studying and observing the unique cavitations where the water funneled up around the bottle and the crests capturing the form of the splashes.
Wax Forms
By experimenting with different ways of dropping the bottle, I was able to create more pronounced cavities or crests. These modifications allowed me to explore a broader spectrum of forms, each embodying the essence of capturing the shape of water but with unique variations in the textures. Through this iterative process, I developed a family of forms, each distinct yet connected by the underlying principles of fluid dynamics and material interaction. The wax, acting as a solidifying agent, preserved the transient and delicate forms of water in a tangible medium, making it possible to analyze and appreciate the fleeting beauty of liquid motion. This collection of forms highlights the diversity and complexity of water shapes, demonstrating how slight changes in variables can significantly impact the resulting structures.
Crests & Cavitations Captured by Wax
CRYSTAL CLEAR
CULTIVATING CRYSTAL GROWTH
by Nicole Choong (Y1S1)
Studio Albert Liang
This project explores using computational tools to generate complex geometries, and making micro-adjustments to parameters to produce a series of iterations. This family of iterations represents the execution of fundamental rules and concepts in different ways, creating variations in form and function.
Crystal Clear explores the way in which 3 independent variables affects the growth and spread of epsom salt crystals. I carried out several experiments, varying these 3 independent varaibles, and in order to replicate my results digitally, I programmed and manipulated variables that affected crystal growth to simulate such growth through Grasshopper. Considering which conditions bring out the best qualities in a salt crystal, I chose a salt crystal cluster and used its initial root form, that made it so unique, to be applied architecturally.
Year 1 Semester 2
Studio Lee May Anne
SOLAROMA - Aqil Durrani Bin Mohamed Jufri
3.0X10^8 - Stephanie Feilin Tan
Studio Elaine Lee
CONTEXTUAL SYNERGY - Huang Zixuan
TRACE OF MEMORY - Charles Tew Jun Xiang
Studio Lee Hui Lian
HOUSE OF MA - Ng Jeng Yong
TILTED HORIZON - Tan Sher Myn, Ashley
Studio Evy Sutjahjo
THE FRAGMENT - Chua Qi Feng
Studio Jerome Ng
THE BACKLOT - Shivshankar Nair
TENSIONED - Kang Kiat Meng
Studio Timothy Matthew Collins
KUEH LAPIS - Eileen Lee Gunawan
VILLA AUILS - Shawn Tay
Studio Isabelle Song
RK ATOMISED HOUSE - Ryan Kurniawan
TRANSCENDENCE HAVEN - Nicole Choong Chi Yee
Studio Fong Hoo Cheong
17 BIKE CUSTOM - Kieron Tay
VINYL HAVEN - Loo May Yee
Studio William Ng
WATCH HOUSE - Chong Hong Guan Adam
WEB HOUSE - Dylan Kennard
SOLAROMA
A DWELLING FOR TWO
by Aqil Durrani Bin Mohamed Jufri (Y1S2)
solAroma explores the understanding of dynamic site context, in this case the sun, in order to drive the formation of spaces, creating a dwelling for two and a public access space. Studies of forms were carried out and concluded in order to begin the exploration of how spaces can be informed by a dynamic, rather than a static driver.
Formal Language Iterations
Studio Lee May Anne
The heat generated from direct sunlight is utilised to generate passive airflow that would then carry scents into spaces to inform us of what activity is best carried out in these spaces. Rather than assigning labels to a space, the intricate qualities of the spaces, the little nuances of light and smell that were manipulated through the design process, now informs us of what best to make of this space.
by Stephanie Feilin Tan (Y1S2)
the day. The perception of time is then warped dependent of the speed of which motion processes, giving insight on what spaces could be created.
A dynamic system that is formed by the environment, 3.0x10^8 is my attempt to assign functions to spaces
Studio Lee May Anne
The performative experience of the structure encourages visitors to sit and watch as the events unfold. An intimate busking area for small local indie bands, the audience situates on the treads of each room.
As the natural sensory environment influences them, they enjoy different experiences based on where each band chooses their stage.
CONTEXTUAL SYNERGY
RESPONSIVE SPATIAL DESIGN
by Huang Zixuan (Y1S2)
Studio Elaine Lee
For Project 2, I analyzed three archaeological sites for their spatial forms, then depicted them in plaster. A collage focused on observation, interaction, and integration emerged. A site visit informed a photo essay exploring human interactions with space at Site 2, emphasizing familial dynamics and evolving spatial preferences.
Observing Element Being part of Element Interacting with Element
Evolving Relationship
Connection between Archeology and Occupants Iteration Models with Growing Age
Layers Intersecting SpacesBridging Spaces
Spatial relationships were examined to correspond with familial dynamics. Layers depicted age-based isolation, while intersecting spaces showed mutual influence. Initial block portrayal was discarded for being too literal; instead, blocks from archaeological studies were arranged based on spatial relations. Circulation in the house prioritized separate entrances for frequent visitors. Sunlight and wind analyses guided interior design, ensuring optimal utilization. Building height responded to surrounding structures.
Timeline of Growth
Interior Fixture with Growing Process
TRACE OF MEMORY
THE GUIDING LIBRARY
by Charles Tew Jun Xiang (Y1S2)
Studio Elaine Lee
The library was designed with the intention to act as a guide for one who is continously losing their memory. A concept concieved based on the traces found within the bustling city of Kampong Glam. The stipulated site was located on a car park that was still to be accesible to the public and retain majority of its use, whilst a new project was to be built upon it. A design built with the intention of semi-suspension above the ground with specifically created access points that allow both the public and residents of the Library to enter.The library designed with the intention of containing traces that morph the spaces to allow different experiences when transitioning and resting in each room.
The building not only caters to the site, but was designed with the intetion of capturing a relic of the site and reimaginig its usage as a structure. The various openings and petrusions create unique expereinces in each turn, which act as notes and reminders for the resident who seeks memory and wishes to remember as much as possible with the help of the Library.
As the spaces within the trace of the site invoke various iterations, these iterations when aligned create different pockets of views. When the views create mass, The mass is adapted into the site creating the design of interlocking petrusions that maitain pockets of spaces, and creates new points of views that allows the occupant to truly reside. The Library allows commuters to use the space and contribute to its collection, increasing the amount of memory that is contained within the structure, giving the occupant more memories to live with.
Aligned
HOUSE OF MA
THE SPACES IN BETWEEN
by Ng Jeng Yong (Y1S2)
Studio Lee Hui Lian
The name House of Ma is derived from the Japanese philsophopy of Ma, which refers to the space between objects or elements. It is the gap, space, pause ,and tension between two contrasts which the design wishes to celebrate. One can visually identify the meaning of Ma from its Kranji character, with Ma combining the character for openings and sun which were the two main takeaways from precedent studies. House of Ma challenges the conventional hierarchy and arrangement of public to private spaces by situating and clashing private and public spaces together.
Through the celebration of the spaces inbetween, be it within modules or through combination, interesting moments and spaces emerges as a result.
Moments In Between
The programatic function of a tile workshop provides interesting opportunities to explore organisation through the means of spatial quality. By clustering spaces of similar spatial qualities, lessons drawn from precedent studies on light quality can be introduced in relation to the site context to isolate and extend spaces based on the spatial requirement of heat, light, and ventilation.
Combining both work and residential units together sees the incorperation of two contrasting language with residential being associated with heavyness to serve as a strong anchor to the design while work units adopting lightness through the use of a funnel-eque shape informed by programatic functions. This contrast is further exagerrated through the orientation of work and residential units, with residential units following the site grid while work units being tilted against the site to harnest and funnel views, light and ventilation. Landscaping is then employed as a purposeful transition, effectively connecting and dividing spaces simultaneously.
TILTED HORIZON
by Tan Sher Myn Ashley (Y1S2)
Studio Lee Hui Lian
Located in Kampong Glam, the Tilted Horizon serves as a work-resi building for both users to reside in as well as provide for textile printmaking. With a contrasting effect of “seen-and-unseen” between the work and residential spaces, the spatial experience and connectivity from entering to circulating around the building is purposefully and meaningfully planned. Standing as one cohesive structure, the Tilted Horizon allows for the co-existence, overlapping as well as isolation of spaces across both work and residential. It maintains a certain degree of privacy for user residing through the use of respective staircases designed solely fot residents, away from the direct sight of most passerbys.
3D AXONOMETRIC (REAR)
EXPLODED AXONOMETRIC
Contrastingly, it also serves visual cues for passerbys to ponder on the human activity in the building through selective, intentional use of openings towards the work spaces. Intentional increase in height of parapet wall to the staircases of the resi blocks acts as a physical barrier away from the public to provide privacy towards the circulatory movement of the users around the space. Passers-by are only able to see users engaged in their place of residence but not as they are moving between spaces, giving passer-bys a controlled, momentary glimpse of the spatial happenings. Angled openings into the work blocks also draws curiosity amidst passerbys with controlled, specific views into the spaces.
THE FRAGMENT
A CONTINUOUS EXPERIENCE
by Chua Qi Feng (Y1S2)
Studio Evy Sutjahjo
The Fragment is a multi-programme intervention that embraces Kampong Glam as a whole, yet provides curated fragments of experiences for users, at various outlets within the building. The main work programme of a outdoor yoga & meditation studio leverages on the different levels of visibilities and privacy. The circulation is curated such that visitors traverse through the fragments of space,
continuously. The spaces vary from more open spaces to intimate ones, providing a unique spatial quality at every juncture of the journey. The private circulation was intentionally crafted to be tucked away, providing a distinction between the dwelling and work spaces.
Firstly, the largest pedestrian viewing angles from the surrounding roads onto the site were located. These views are mitigated by the tree trunks, as a response to site conditions and context. The views are then overlapped with each other, ultimately fragmenting the site into 4 levels of visibilities, from least to most visible. The massing of my building was informed by the identifying the most and least visible fragments, before connecting them through the inbetween.
THE BACKLOT
AN EMPHEMERAL FILM ARCHIVE
by Shivshankar Nair (Y1S2)
Studio Jerome Ng
IThe wooden structure, nestled in the locality of Kampong Glam takes a visitor on a journey through cinema culminating in an open aired-cinema in the backlots of the carpark. Inspired by the impact of spatial ambiguity in Sou Fujimoto’s Final Wooden House and the transformation of the site, which moved away from direct proximity to the sea and consequently reduced its architectural depen-
By leveraging the strengths of wood within a grid framework, the structure aims to embody a balance between tradition and innovation, sustainability and functionality. The modular nature of wooden grids ensures efficient load distribution, customization, and adaptability, enhancing structural integrity and energy efficiency. Using the concept of shifting datums within a uniform grid system where spaces push in and out according to the site surroundings and environmental factors sourrounding the structure, carving out intimate corners where visitors can sit alone
TENSIONED
(UN)SEEN TENSION
by Kang Kiat Meng (Y1S2)
Studio Jerome Ng
Where greatest tension lies, there follows the greatest expansion. In the heart of a vibrant Kampung, FORGEFX is built on two main principles; creating rhythematic tension throughout the journey of the building; and integrating into the site by softening the surroundings through reacting to neighbouring buildings and environment.
Throughout the experience of the building, people will be able to feel the different types of strategies used to ampllify and release tension.
Tension formed by not only the spacial experience but by the sound of the program: ironworks, is later released in different ways so that expansion feels even stronger. Hidden, the journey has a rhythematic feel and the form of the overall building further accentuates the idea of maleability when metals are forged.
KUEH LAPIS
CONSISTENT INCONSISTENCIES
by Eileen Lee Gunawan (Y1S2)
Studio Timothy Collins
Looking into Villa Alessi as my precedent, my aim was to analyse the consistent inconsistencies present and take it as my main idea to drive my individual design. Focusing on the different thresholds created by the longitudinal and transverse walls, I established a unique pattern (like a gridding system) within each floor and wall thickness variations as well. Seeing this layering present, I wanted
to adapt that idea into my individual design. With the requirements of this project being a place of residence for 2 located within the vicinity of the Click Art Museum, the ideas taken from my precedent has been adapted to reflect the site conditions.
The Kueh Lapis house doesn’t have designated floors that make up the house but multiple ‘semi-floors’ that are made up by the different layers from the extruded section. Each wall has a different thickness that creates a space that influcences the type of furniture and it’s placement in the spaces. The proportions of the house is influenced by the hierarchy derived from the public and private spaces with the private space having a greater size than the public. The spaces are connected with a ‘transitional space’
VILLA AULIS
REIMAGINING THE WALL
by Shawn Tay (Y1S2)
Studio Timothy Collins
Villa Aulis concentrates on reimagining an architectural element, the wall. By extracting principles of the wall from Villa Alessi (Aldo Rossi) and further developing on it, an architectural space in the heart of Kampong Glam is erected. With glass donning the side facing the shophouses, it simulates a ‘chameleon’ effect, whereby the building attempts to integrate with its surrounding shophouses to not rob the essence of history from its location.
The addition of this building into the site creates a funnel whereby a ‘forced’ path is formed, and people are more enticed to go around the building rather than through it. As one enters from the left and right side of the area of Villa Aulis, they are more enticed to follow the path dictated for them.
Different slicing of the building to enhance the visual of split levels
Cross sections
RK ATOMISED HOUSE
by Ryan Kurniawan (Y1S2)
Lets transform a 150SQM plot of land into a fully functioned house. Little John worked hard for 10 years and finally saved 10 million to buy a house for his family of 2. Little John decided to remodel it like this. First, he started by studying the subdividing properties of Moriyama House, where the house is a literal replication of this process found around the immediate site.
Additionally, each void space created between solid elements is unique in a sense that it toys with similar concepts of interactions and intimacy, due to the vast difference in types of voids to signify a change in mood. Similar to Little John’s approach of how he studied Moriyama House, he studied the subdividing properties of the site.
Studio Isabelle Song
He started to look at the forms of each buildings as well, and realized that most buildings had void spaces in the form of 5 foot ways, balconies and alleyways, where it either separates from the outside, or blends. Little John then used galvanised square steel and borrowed expansion screws from his aunt. He then covered with eco friendly wood veneers to create rooms of different datum levels which signifies varying privacy levels.
TRANSCENDENCE HAVEN
TRANSCENDING THRESHOLDS
by Nicole Choong (Y1S2)
My philosophy on what defines a dwelling for two is one that fosters social interaction. This means a spatial union of “inside” and “outside” spaces, blurring the distinction between two spaces. Looking at my analysis study on Moriyama House, blending of internal and external spaces through the use of “in-between” spaces allowed me to manifest my philosophy of the dwelling in my design.
Studio Isabelle Song
When approaching my design, I decided to go against the concept of Moriyama House where there is forced interation and give the residents agency, allowing them to choose their level of interaction with the non-residents while the design continues to provide multiple oppurtunities for social interaction to take place while continuing to maintain the privacy of the residents.
17 BIKE CUSTOM
FACADE ARCHITECTURE
by Kieron Tay (Y1S2)
Studio Fong Hoo Cheong
First question that may come to your mind would be the name of my project. The number 17 seems quite perculiar. It might seem to hold some special meaning to this project and I.
And that is because, it is special.
It is the day where this design was approved and finalised.
17 April 2024, Wednesday, 1300h.
American Architect, Charles Moore, played a vital role in this project’s design process. Architectural humour, layering of frames, parts to whole as well as sectional play are the main elements embedded within this project. Situated in the heart of Kampong Glam, encompassing these elements created a form of architecture that composed an appropriate abode for residential and trade.
The shophouse facade is intentionally layered to create different perspectives when seen from different angles. The generative key in the consideration of this architectural element is the concept of projecting and receiving frames, which would determine what is allowed to be seen.
The 3 layered facade also provides depth to the internal area, which ensures privacy for the residential area.
The highlighted area is the residential area.
Sectional
VINYL HAVEN
by Loo May Yee (Y1S2)
Studio Fong Hoo Cheon
The beginning of this design project dealt with analysing conditions around the available site in Kampong Glam. As a result, a vinyl record shop was chosen as the trade aspect of this project given the fact that music and performance is a big part of the culture in Kampong Glam.
By taking inspiration from precedent studies done during the first half of the semester, a few generative keys in the design process was solidified, ultimately resulting in inter-weaving corridoors that led to listening rooms of different music genres. To keep some unity, each listening room was designed with similar structures and geometries, leaving the circulation pathways of customers to be more abstract.
The interconnected listening rooms allowed for exploration of circulation paths. While the residential spaces and communal areas were kept separate, I mainly explored the movement of customers as they travel between listening rooms. In this instance, customers were able to enter into different listening rooms through exterior circulation paths. Alternatively, they could also bypass connecting listening rooms via the interior circulation paths. This element emphasises ‘space within a space’ whereby the building from the outside may look whole but interiorly, it has an amalgamation of modules joined together by interweaving staircases and corridors.
WATCH HOUSE
A VIEWFINDER TOWER
by Chong Hong Guan Adam (Y1S2)
Studio William Ng
The project, Watch House, is a residential tower designed to capture views of landmarks within and beyond the site at Kampong Gelam. A historian and photographer dwell and work here, as the tower is simultaneously utilised as a gallery that showcases the photographer’s works, which synchronously collaborate with the captured views through curated placements of windows. Arranged in a reorganised chronological order, the views of the chosen landmarks in sight from the tower are achieved via specific protrusions and angular adjustments that originate from rectilinear forms stacked above one another. These rectilinear forms are derived from a progressive methodology of offsetting edges and intersecting vertices or points, which stem from an area of four parking lots at the centre of the site.
Inspired by a precedent study on Kisho Kurokawa’s Nakagin Capsule Tower, a stair core ensures direct connection between the private living and working spaces within the tower, interspersed with the semi-public gallery spaces. The dual landings of the spiral stair core also present an opportunity to create more dynamic circulation within the tower, as well as greater flexibility in interior design. Two main grid systems, which are founded on the vertices and edges of the stair core landings and moments of protrusion in the form, enable the identification of interior walls and spaces that grant visitors to the gallery a strict sequence in view watching. The roof terraces resulting from the overlapping of cantilevering forms are accessible to the public via meandering stairways, juxtaposing the concentric spiral stair core in the tower. Beyond its scheme of viewfinding, this project also employed the environmental element of wind as a consideration in its design, where Computational Fluid Dynamics (CFD) software simulation helped to recognise the fourth level of the tower as an open-space wind tunnel, granting this project an even greater variety of spaces.
WEB HOUSE
OPTIMISING CONNECTIVITY
by Dylan Kennard (Y1S2)
William Ng
Web House spans the entirety of Site 3, providing essential connectivity and interaction spaces. My investigation aimed to identify the primary pathways people use within Site 3, focusing on the shortest and most frequently traveled routes between key destinations. By understanding these routes, I sought to gain insights into movement flow, highlight areas of congestion, and identify points of interest that influence circulation patterns.
Studio
The goal was to inform a building design that optimizes circulation within Site 3. By analyzing movement dynamics and pinpointing key pathways, the design can enhance connectivity, efficiency, and user experience. The study revealed an intriguing outcome: a central private dwelling space for an artist and a cultural event coordinator, offering a secluded and reflective environment amidst the site’s busy activity.
YEAR 2
SEMESTER 1
AGGREGATION, STRUCTURE, SPACE
Design 3 investigates the architectural potentials of structure and space through the operation of aggregation—that is, the combination of architectural spaces, functions, and connective circulation systems. Students will propose architectural forms through the aggregation of volumetric programme components, creating a balance between repetition and singularity. They will grapple with the complexities of function and organisation in a variety of scaled spaces. They will also gain an understanding of material, gravity, and structure as foundational components and ordering systems of architecture and explore the interdigitation of these approaches in space-making.
SEMESTER 2
ENVIRONMENT, CLIMATE, ENVELOPE
Design 4 examines the boundaries of environment, climate, and architecture through the specifics of the envelope. Students will understand the gradient of atmospheric conditions between the interior and exterior, forms of atmospheric conditioning, and the design of climate in an expanse encompassing air, breeze, rain, dust, smells, and other contaminants. The contextual implications of hot and wet equatorial environments will be explored, and the value systems of environmental and sustainable designs examined within their long discursive histories. Students will expand their understanding of the site as a set of dynamic factors and processes—that influence or are influenced—by the act of architecture.
Year 2 Semester 1
Studio Victor Lee
ETHEREAL HORIZONS - Joelle Tan Hui Jun
SURREAL ASCENT - Jeramie Lim Wen Zi
Studio Chaw Chih Wen
TESSELLATE JUNGLE - Arisha Bte Safari
FLEETING LABYRINTH - Min Thein Kyaw
Studio Yang Han
THE LEGO CITY - Nicholas Tan Li Wai
VOXEL - Pierre Teo Pengkai
Studio Khairudin Saharom
SLITS AND SLOTS - Tan Zi Syuen
SHIRO SHIROI - Chua Dean
Studio Isabelle Song
FRAMED - Lee Wen Xuan Cara
FOREFROUND IN FRAME - Daniel Joseph
Studio Tiah Nan Chyuan
CURVES OF CONNECTION - Justin Ho Chung Sian
PEEK-A-BOO - Ryan Chen Junyu
Studio Lee Hui Lian
URBANSYLVAN - Hsu Ren Yun
PARANOMIC GLIMPSE - Goh Erlia
Studio Shin Yokoo
CO-INCIDENTAL INTERACTIONS - David Quek Hao Meng
NEGO-BIANCE - Manuel Miguel Mercado
Studio Adrian Lai
THRESHOLD VISTAS - Tsan Jian Ming
DECIPHERING CURVE - Liu Xixuan
Studio Neo Sei Hwa
CURVACORE - Chooi En Yu
ANGLE ABODE - Bi HongYing
Year 2 Semester 1
Studio Jerome Ng
INHABITABLE LIMINALITIES - Jared Daniel De Souza
INTERWOVEN STUDIOS - Huang Danlan
Studio Tham Wai Hon
SILVER LINING - Xia Wen Yan
THE RED MAN - D H Muhammad Sawfiyyullah
ETHEREAL HORIZONS
INTERCONNECTIVE SIGHTLINES
by Joelle Tan Hui Jun (Y2S1)
COLLECTIVE DWELLING SECTIONS
Tangible aspects makes use of contrasting elements such as a combination of large but enclosed voids versus small but open voids, giving rise to a series of voids and vantage points that interact with one another. Intangible aspects are linked to the vantage points and voids, fostering visual connectivity and community spirit. Combination of vertical and horizontal voids also increases breathability while directing dwellers to the middle point. In totality, this collective merges both tangible and intangible qualities, creating a wholesome community for habitation.
SURREAL ASCENT
CUBIC EXPOSITIONS
by Jeramie Lim (Y2S1)
Studio Victor Lee
The premise of this project is an exercise of aggregation through spaces and structures underscored by the primary tectonics of a given cuboid. From this cuboid, seeks the interrogation of an interiority composed through complex configuration of solids and voids and their relationship to develop new possibilities of habitable space. The final collective dwelling celebrates the emergence of a complex yet still cohesive architecture from two simple starting forms and has varying levels of privacy created from the tectonics formed by said forms. Curious spaces can be found in different parts of the collective such as gardens or communal gathering areas. Through further modifications, novel forms of spaces for inhabitation become more dynamic and engaging to dwellers.
AGGREGATION PROCESS
The project is focused on the connection between cuboids to always have a physical barrier in terms of accessibility but maintaining differing levels of visual connectivity. This is achieved by modifying the given probe to have two distinct spaces in each cuboid that are not connected physically. From this, the rigorous exercise of exploring the multiple configurations becomes the bulk of the explorative aspect of this project. The key thrusts for the aggregation would be the formal explorations of combinations and the resolution of the outcomes that arise from these combinations through understanding, incorporating, and manifesting the key parameters and qualities of collective dwelling. The final design is focused on the connection between cuboids to always have a physical barrier in terms of accessibility but maintaining differing levels of visual connectivity. This is achieved by modifying the given probe to have two distinct spaces in each cuboid that are not connected physically. The key thrusts for the aggregation would be the formal explorations of combinations and the resolution of the outcomes that arise from these combinations.
SECTIONAL PERSPECTIVES
TESSELLATE JUNGLE
TESSELLATION
by Arisha Safari (Y2S1)
Studio Chaw Chih Wen
Each unit dwelling is an aggregated version of the assigned tessellation, the initial approach was to align the tessellation pattern in twos, threes and fours to create each unit dwelling, with two combined tessellation patterns to accommodate two people, three for three people and four for four. The final approach was to interlock the pattern in different ways, ensuring each dwelling had a proper circulation with multiple entryways to further aggregate into the full building to allow for different circulation paths. Each circulation path connected the centre of each unit dwelling which were the kitchen spaces, evoking a sense of community through cooking for others within the building.
Within the aggregated dwellings, lies the heart of the Tessellate Jungle. Individual unit dwellings on the lower levels will be the main entry points, ensuring that the private spaces remain private to only the dwelling’s residents.
With all dwelling circulation interconnected, this allows for more than one circulation path to each unit, promoting interactions between residents.
The ground level incorporates a storefront concept, with fenestrations opening up to the public circulation areas, giving the opportunity to not only interact with others but also allowing for the selling of goods, sitting spaces and table tops.
Initial iterations & Final iteration
AGGREGATION ITERATIONS
VERSION “1”
VERSION “2”
A given 2D tessellation pattern was first divded into zones with varying degrees of privacy. The tessellation diagram’s lines were then extrapolated to carve out spaces for basic human functions such as wash, rest, cook, dine etc. with the public/semi/private zonings in mind. As a single ‘cube’ dwelling unit is aggregated by adding more ‘cubes’, shared cooking, dining and working spaces started to form as the number of inhabitants in each full unit gets larger. On the collective level, these units are further aggregated as the external staircases join up.
THE LEGO CITY
CUBOID EXPOSITIONS
by Nicholas Tan Li Wai (Y2S1)
Yang Han
The LEGO CITY exhibits remarkable flexibility in terms of aggregation, utilizing dwellings composed of modular cubes. However, this is also constrained by a 4x4 meter grid with a 1-meter gap between units, reminiscent of LEGO’s fixed base sizes of 1x1, 1x2, etc. Despite the limitations, the potential configurations of the cubes are extensive, akin to the creativity unleashed in constructing a LEGO CITY.
Studio
The final proposal focuses on: Circumferential Aggregation, Internal and External Circulation, Central Void and Courtyard, Proximate Spaces Between Units, Roof Garden and Observation Ring, Access to Units.
The LEGO CITY’s design harnesses modular aggregation within a constrained grid, facilitating varied circulation and spatial experiences while ensuring privacy and interaction. The central courtyard, observation ring, and proximate spaces enhance the community’s dynamic, offering both secluded retreats and social engagement areas.
by Pierre Teo (Y2S1)
Studio Yang Han
Voxel grew out of the desire to build layered visual and physical connections at various scales throughout an aggregated form. The 4 towers in the final form functions as one system due to its tight interconnection. The scattered spaces throughout the building appear visually ambiguous but are programmatically distinct and defined. At the same time, curated sightlines across spaces blur programmatic boundaries while maintaining visual distinction.
STRUCTURAL CORES AND SPATIAL LAYOUT
Single CubesDwelling Analogues
Stereotomic to Tectonic
Curated Openings as Functional Spaces
Our studio started the semester by investigating various ways of inhabiting single 4 x 4 x 4m stereotomic cubes. Immediately, I resisted the idea that each cube would be its own Dwelling Analogue, instead opting to connect spaces from neighbouring cubes to create analogues. The result is a spatially and visually interwoven ‘Dwelling Group’, which was then used to aggregate.
The building’s aggregation responds to the surrounding site, ensuring privacy while creating internal and external spaces for activities and opportunities to connect with the neighouring amenities. Structure was also considered in its creation.
These connections are futher interwoven as Dwelling Groups and with further aggregation
SLITS AND SLOTS
THE INTERWOVEN DWELLING
by Tan Zi Syuen (Y2S1)
Studio Khairudin Saharom
The Slit and Slot is a five-story residential building inspired by tongue and groove joinery. It evolved into diverse living units designed to enhance connectivity and revive Kampong Kapor’s communal spirit after a tragic fire. The building features various unit types, communal spaces, and a central light well with a circulation system to enrich residents’ living experiences.
The floor plans highlight diverse aggregation strategies, visual connections through void, panoramic views from a porous rear elevation, and strategic shadow interplay.
Interior perspective of units to central core
Interior perspective of shared commmunal space between units
Within these interior perspective views, a narrative unfolds as residents journey seamlessly from confined units towards the central core, prioritizing efficient circulation while enhancing the spatial experience. In another compelling view, residents actively refurbish the green communal space nestled between the units. This dynamic scene breathes life into the environment and emphasizes the importance of communal interaction and shared green spaces.
SHIRO SHIROI
USING JAPANESE JOINERY
by Dean Chua Yong Da (Y2S1)
Studio Khairudin Saharom
I decided to explore the use of the castle joint for aggregation. The castle joint uses similarly shaped components that overlap each other to hold each other in place. The joinery itself has a few haptic qualities, namely, a sense of direction, interlocking patterns, and symmetry. The components are also modular, such that each component is derived from a 3x3x3 grid.
Using these qualities of the castle joint, I then abstracted the components such that voids are formed between the three components, which act as living spaces with different hierarchies. Many of such abstracted modules are then aggregated by interlocking the “mortises” and “tenons” with other module types that are similarly abstracted but with varying component size differences. Certain voids between the units act as terraces to enhance the sparse greenery in this urban site.
FRAMED
AN INTERPLAY OF LAYERS
by Lee Wen Xuan Cara (Y2S1)
Studio Isabelle Song
This project draws inspiration from the intricate framing techniques in Wong Kar Wai’s film, “In The Mood For Love”. It transports viewers into an intimate voyeuristic experience, akin to peering into the clandestine affair of the film’s main characters. Through exploring various atmospheres, a sectional drawing that seamlessly integrates a series of frames capturing multifaceted activities.
These frames provoke curiosity and ignite a sense of mystery, thereby encouraging viewers to engage in exploratory interactions. Inspired by the shophouse, the layers were established, defining spaces creating visual depth, concealing and revealing the daily rituals of its inhabitants. At an aggregate level, the staggering heights, voids and enigmatic peepholes offer an array of captivating vantage points. This interplay on frames, layers and heights amalgamate to create a mutli-dimensional and immersive architectural experience.
FOREGROUND IN FRAME
COMMUNAL AGGREGATE DWELLINGS
by Daniel Joseph (Y2S1)
The study of film in architecture is not a novel exploration. Surgei Eisenstein’s soviet montage theory to Bernard Tschumi’s diagramatic explorations all seek to utilise the tools that motion picture lends to the design world. Foreground in Frame aims to understand, codify and adopt the devices that films present as a means of architectural production.
Studio Isabelle Song
Developing a system for architectural production implies the creation of habitable, functional spaces. The difficulty was balancing the desire to explore and challenge convention while still presenting a conceivable and acceptable space for high-density aggregate living. Combining the modular dwellings with an ergonomics study links the conceptual with the programmatic. Spaces can be defined based on the relationship between accessibility, permeability and function, creating a spectrum of communal, open, private and intimate spaces within the scheme.
CURVES OF CONNECTION
by Justin Ho Chung Sian (Y2S1)
Design 3 explores spatial aggregation and structural integration within a 4-meter cube. It delineates interior spaces by manipulating form, inspired by emotive sections from the movie “Lost in Translation,” to create new inhabitable environments. The design connects cuboids to maintain physical barriers for accessibility while fostering connectivity.
Studio Tiah Nan Chyuan
The cube is divided into three residential spaces: living and dining areas, a bathroom, and a bedroom, which are not physically interconnected. The goal is to experiment with different combinations to understand and express collective living qualities. The concept celebrates cohesive architecture from simple forms, resulting in spaces with varying privacy levels, intimate private gardens, and communal areas. These spaces evolve to offer dynamic and engaging environments for inhabitants.
PEEK-A-BOO
SEEING & LIVING TOGETHER
by Chen Junyu Ryan (Y2S1)
Peek-A-Boo is a cluster house that was inpsired by the film Lost in Translation. Extracting scenes and emotions from the film, these spaces reflect feelings of despair and longing for a person. The process of translating these scenes into spaces and followed by a building comes from stacking them to create long alleyways and tall voids between units.
Studio Tiah Nan Chyuan
FRAGMENTED SECTIONS
Peek-A-Boo is made up of 2 distinct units that meet one another through common voids where occupants are able to peer into one anothers’ living spaces through a long continuous void. Pockets of spaces that reveal the motion of users, with long alleyways that show the movement of occupants or different body parts like the torso. From the outside, viewers are able to see obstructed views and observe the movement and flow of daily life. Seeing how people move about.
LAYER 3 (C + F)
LAYER 2 (A + E + G)
LAYER 1 (E + D)
URBANSYLVAN
LOST IN TRANSLATION
by Hsu Ren Yun (Y2S1)
Studio Lee Hui Lian
Nestled at the intersection of Peck Seah Street and Wallich Street, UrbanSylvan enjoys a distinctive position amidst a dynamic tapestry of high-rise structures, charming lowrise shophouses, and neighboring parks. Functioning as a vital connective element, UrbanSylvan blurs the boundaries between the natural environment and architectural design.
Amidst the urban hustle, it emerges as a peaceful oasis, providing a haven for residents to commune with nature. Consisting of 25 units, including three unique types strategically clustered in response to the site’s characteristics, the design elevates green spaces, seamlessly intertwining with the park’s boundary and the soaring skyscraper, creating a harmonious blend of nature and urban living.
DIAGRAMS
Drawing inspiration from the emotions evoked by the movie “Lost in Translation,” the units embody feelings of vulnerability, uncertainty, and joyfulness translated into spatial qualities like narrowness, wideness, thickness, balance, and brightness. For instance, negative emotions like depression manifested in the design through tight spaces, thick walls, and fragmented forms, portraying feelings of oppression and brokenness. Conversely, positive emotions found expression in bright and open spaces. The result is a dynamic journey of emotions as one travels through the units. Aggregations and clusters involve in rotation, mirroring and elevation of each units, allowing their roofs to serve as platforms integrated into public circulations. The gap between the slanted walls of two units accommodates a staircase. The rooftops of these units serve as communal spaces and public circulation areas. Gradually elevating greenery through a step-like structure from the adjacent park ensures a smooth transition, forging a harmonious blend between nature and architecture. AGGREGATION
PARANOMIC GLIMPSE
A GLIMPSE THROUGH AND WITHIN
by Goh Erlia (Y2S1)
Studio Lee Hui Lian
This concept drew inspiration from the film “Everything, Everywhere, All at Once. where the seemingly ordinary main family experiences glimpses into alternate realities. Just as these glimpses influence the family’s understanding of their own lives. The design fosters a dialogue between different levels and rooms, encouraging residents to move fluidly through the space. Furthermore, the strategic placement of walls allows for openness and visual connection with the exterior environment, blurring the lines between inside and outside. However, interior walls are stratiugically designed to maintain a sense of privacy for certain activities and areas within the units. This balance between connection and privacy is crucial for creating a successful living environment.
The design of these dwellings prioritizes the experience of the interior spaces, particularly when viewed in section. By focusing on the sectional perspective, the intention is to capture the essence of the space - its emotional impact and the feelings it evokes. Imagine peering through a section cut: the layering of volumes, the play of light and shadow, the unexpected connections between areas – these elements come to life, revealing a richness that might not be readily apparent from the outside.
While the exterior of the model presents a clean and unified composition the seemingly simple shells give way to a dynamic interplay of spaces. Nooks and crannies emerge, offering opportunities for diverse activities and fostering a sense of discovery. These spaces are not merely isolated pockets; they interlink, either physically or visually, creating a sense of flow and connection throughout the unit.
VIEWS OF DWELLING & SPACES
CO-INCIDENTAL INTERACTIONS
INTIMACY AND PROXIMITY
by David Quek Hao Meng (Y2S1)
Studio Shin Yokoo
The aggregation aims to achieve a structure which incorporates spiralling as a strategy both at a macro scale with the building’s aggregation, as well as at a micro scale as residents circulate between units and clusters.
UNITS form interlocking volumes which creates voids, balconies, offsets, sun-wells. CIRCULATION SPACES takes the viewer through an ambiguous sequence of isolated and liberated spatial experiences. OPENINGS establish moments of intimacy and connection between residential spaces with exterior shared spaces. These create moments from further visual connections to closer more intimate interactions – integrating and entangling the building to create an explorative social-living experience.
Inspired from my reading of Lost In Translation by Sofia Coppola, the film follows two fated characters as they find themselves exploring the foreign landscape of Tokyo. We follow the characters on their own separate journeys as they encounter the city for the first time. Although they inhabit the same physical space (the Hotel) they somehow remain on their own segregated and individual paths, circulating around one another – only stopping to meet each others’ gaze. The waltz of two realms dancing around one another, destined to meet only in frames and corridors. This led to the conceptualisation of an external structure that would spiral and envelop a central core, creating both a separate realm of circulation from the internals of the core, yet allowing for the interaction between the two through openings and incident spaces. The series of isolated and enclosed circulation spaces is labyrinth-like, giving users both autonomy and conformity in their paths of circulation. The alternating process of being inside and outside is reversed multiple times and encourages residents to leave the confines of their units to explore the spiralling structure.. glancing into the lives of those within the units.
NEGO-BIANCE
NEGOTIATING AMBIENCES
by Manuel Miguel Mercado (Y2S1)
Studio Shin Yokoo
Nego-bience derives its name from the fusion of two concepts “negotiating” and “‘ambience”. Which comes from a series of explorations and case studies focused on “borrowed scenery,” multi-directional viewpoints, and the utilization of shared intersecting spaces. Nego-bience features a series of interconneted spaces where individual units, though separate, share a common scene or activity.
AGGREGATION
This design apporach fosters a sense of community and interaction, allowing different areas to benefit from the shared ambience and activities of their neighbours. The strategic placement and design of these spaces ensure that each unit, which allows it to maintain its own identity, contributes to and ehances the overall environment. External and internal extrusions play a significant role in influencing how these spaces interact. The extrusions are designed to shape the flow and dynamics of the spaces, guiding movement and interaction
THRESHOLD VISTAS
LAYERINGS OF THRESHOLD & VISION
by Tsan Jian Ming (Y2S1)
Studio Adrian Lai
Crafting a harmonious relationship between individual dwelling units and the collective whole involves the meticulous manipulation of thresholds and views through a strategic aggregation process. The facade facing both roads comprises orthogonal elements intentionally staggered and overlapped, creating a dynamic visual appeal. Meanwhile, the interior houses curved elements that seamlessly integrate intersecting views towards communal areas. This design approach not only fosters a vibrant atmosphere within residences but also presents a captivating scale and complexity to external observers.
FINAL SECTIONAL PERSPECTIVE
SAMPLING, OPERATING AND SITE ANALYSIS PROCESS
The overall process includes sampling from the Colonnade, another piece of architecture known for its seamless integration of curved and orthoganal elements, which is operated using a piece of Op Art by George Western, to form intruiging forms and spaces worth exploring. From an early stage, I had discovered a quadrality of pillars where both positive and negative pillars had differentiated functionality within a space. This was explored further through the site analysis which focused on the layerings of natural and man-made thresholds within the site, as well as vision and sightlines throughout, where natural vantage points were utilised.
This creates a dynamic interplay between the overall dwelling, and each individual unit where vision is efficiently utilised to define both interior and exterior spaces through the careful manipulation of apertures, curved and orthoganal elements to form spaces that are defined by both function and privacy.
The general effect of the dwelling units is of an opening up of views upon entering each unit, linked back to the spatial quality of the Hive sample, the expanding view and space, for this spatial quality, I have took the slow house designed by Elizabeth Diller and Ricardo Scofodio as the precedent. Each dwelling unit also had the undulating wave as a vertical section, also matched to the undulating walls of original spatial sample, manipulated to fit a sitting person’s anatomy and extruded to form a functional undulating wall.
CURVACORE
INTERPLAY OF MASS & MOVEMENT
by Chooi En Yu (Y2S1)
Neo Sei Hwa
The spatial sample selected for this project is derived from the architectural concept of The Hive. The spatial quality captured is the relationship between curved planes and rigid mass.
In the collective design approach, this spatial quality is further emphasized by stacking the masses to form a cen-
tral core, with the curved planes being continuously modified and adapted to accommodate adjacent modules. The centrally gathered mass forms private spaces, while the surrounding curves facilitate public circulation to establish both vertical and horizontal connections. These spaces are designed to be highly adaptable to accommodate pedestrian movement seamlessly.
Studio
The dwelling units, envisioned as intimate spaces, are strategically segregated from the external environment. This segregation enhances a sense of tranquility and protection for the inhabitants. In contrast, the curved planes suggest movement and continuity to create spaces such as living rooms, kitchens, and dining areas that encourage interaction and mobility. The transitional spaces between the mass and the curves feature varying headroom, adding an element of intrigue and spatial diversity.
ANGLE ABODE
AGGREGATION BY SYSTEMS
by Bi Hongying (Y2S1)
Studio Neo Sei Hwa
Angle Abode explores the concept of aggregation through a rigorous systems-based approach.
The design process begins by studying the ergonomics of the human body, establishing the foundational constraints and minimal boundaries of a modular system The modular components undergo multiple iterations of multi-dimensional transformations. This includes alterations to the space itself, applying the logic of staggered displacements and angle compressions, as well as organizing and arranging the modules all while maintaining programmatic requirements.
Meticulous studies are conducted to understand the proportions, scale, and ergonomics at the individual scale, as well as the assembly and connection methods for aggregating the modules into collective dwelling units.
OPTICAL OPERATIONAL ART
DWELLING: 2nd ITERATION
ITERATIONS
This further includes the study of site conditions, identifying site boundaries and opportunities and reflecting them into the evolving design. The inherent variability and customizability of the modular approach creates a uniquely changing spatial experience, not just within the individual units, but across the aggregated architecture as a whole.
Leveraging displacement and compression of forms within individual units to create varied spatial possibilities, while the skewed aggregation of modules across the architecture enables differentiated views and circulation paths.
By challenging conventional perceptions of dwelling, Angle Abode offers a unique and dynamic spatial experience, derived from a systems-based exploration that seamlessly integrates considerations of human ergonomics, programmatic requirements, and site-specific conditions.
INHABITABLE LIMINALITIES
CONFIGURING: SAMPLING AS A METHOD
by Jared De Souza (Y2S1)
Studio Jerome Ng Xinghao
Inspired by the movements, habits, placement of personal objects, and territorial claims by users within Thomas Heatherwick’s Learning Hub, this project intends to use the operational toolkit provided by Unit Leader Adrian Lai to challenge the typical strong opposition between public and private spaces. It investigates the role of transitory spaces within buildings and explores how we can design
structures that engage users in a dialogue about negotiating territorial claims within both public and private zones. The intermediary spaces between, above, and below units are intended to include interspersed positive spaces for users to inhabit if they choose. These garden spaces also extend the surrounding canopy into the project, allowing people to inhabit spaces close to light and nature.
Deploying the cluster in the aggregation process allows for communal terraces to be interspersed within the collective, adding spatial depth for the negotiation of territorial claims among users. The use of planters and balustrades to frame views, along with louvres and walls to provide privacy, enhances spatial porosity and mitigates the strong opposition between public and private zones typical of conventional buildings.
INTERWOVEN STUDIOS
FLUIDITY IN COMMUNITY LIVING
by Huang Danlan (Y2S1)
Studio Jerome Ng
This design embraces a free and fluid form, fostering an environment that encourages residents to interact and exchange ideas seamlessly. The ribbon walls not only contribute to the aesthetic appeal but also serve as dynamic spaces, promoting a sense of community and creativity within the collective dwelling.
The interplay of light and shadow on these surfaces further enriches the ambiance, making the living space not just a home but a vibrant, living canvas where residents feel encouraged to express themselves and engage with one another. By integrating these architectural elements, the design effectively nurtures a community-oriented lifestyle, where the fluidity of the space mirrors the fluidity of social interactions, fostering a harmonious and innovative living environment.
SILVER LINING
PROSPECTIVE COMMUNITY LIVING
by Xia Wenyan (Y2S1)
Studio Tham Wai Hon
The primary focus on preserving the original principle of encouraging interaction between neighbors. To enhance functionality and foster relationships with neighboring dwellings, I adopted three approaches: Efficiency, Engagement, and Inclusivity. Silver Lining envisions a future where community living transcends traditional boundaries, creating unparalleled opportunities for all.
Multiple iterations were made to showcase different and potential spatial qualities. Through modification and identification of interesting forms and shapes, along with defining the possible usage of the created space, breaking through the norms of what a dwelling can be allowed us to explore various approaches for the next step of our project. Overall, I aim to build a nurturing habitat that not only meets the needs of today but also paves the way for future generations.
THE RED MAN
PROGRESSIVE DECKS
by Muhammad Sawfiy (Y2S1)
Studio Tham Wai Hon
Decks that were sought out to be the fixed variable of this aggregation enabled the exploration of internal and external decks formed. These decks were reviewed further as a medium for circulation.
The aggregation saw a significantly greater amount of tall dwellings (living quarters) compared to the long (private dining) and fat ones (miscellaneous).
ARTIST’S IMPRESSION
This allowed the further exploration of the decks when aggreated, with the quaint private decks within the aggregation and the large public decks about the perimeter of the aggregation as a consequent.
The aggregation was formed by ensuring that the units attached to one other using the decks as a connector. This resulted in all dwellings being accessible by passing through someone else’s deck, enhancing the experience of the decks.
Year 2 Semester 2
Studio Florian Heinzelmann
CONNECTIVE COMMONS - Jared & Ethan
HEXAGONE TO SCHOOL - Danlan & Jian Ming
DYNAMIC DOMAINS - May Yip & Raziq
Studio Shin Yokoo
INPERIMEDGE - Wenyan & Jeff
NARXCADE - Fatimah
APENOOOPHIC - John Chew & Shiwan
Studio Huay Wen Jun
FENSTERLERNEN - Jeramie & Mun Fai
SOLACE - Hilda & Peh En Yu
Studio Erik L’Heureux
SOUNDSCAPE - Ryan & Chooi En Yu
Studio Christo Meyer
ILLUMIHEXAWIND - Nicholas Tan & Danielle
Studio Victor Lee
RHYTHMIC RESONANCE - Manuel & Nicholas Wong
ZEPHYRIUM - Johanna & Grace
VENTURI VORTEX - Xingqi & Nadhirah
Studio Ronald Lim
FOLDING SCREENS - Matz & Pierre
BEYOND AXIS - Hakim & Sean Ong
SOMEWHERE IN-BETWEEN - Maha & Emily
Studio Roy Pang
THE VEIN - Zi Syuen & Yik Ting
SCALING SCALES - Samuel & Shaif
Studio Tham Wai Hon
TROPICALMICROCLIMATE - Dean & Jarod
VENTILATED FABRIC TUBE - Charlotte & Sherica
WIND-CHANNELING CURTAIN - Cara & Matthew
Year 2 Semester 2
Studio Tiah Nan Chyuan
SA(I)LIENT ALCOVES - David & Xiao Han
XINMIN SOCIAL - Daniel & Hongying
Studio Wu Huei Siang
PLUG IN & PLUG OUT - Minjoon & Subin
WEAVIVAL - Charlene & Jonathan
Studio Yang Han
AUXETIC ANTICS - Elle & Sawfiy
Studio Yuan Chao
IDYLLIC SOLACE - Joelle & Xi Xuan
VERDANT VEIL - Trixia & Rakshit
NEXUS CURVE - Ella & Junnessa
COLLECTIVE COMMONS
FOSTERING SOCIO-CLIMATIC
ATMOSPHERES
by Chua Ethan (Y2S2)
Our intervention’s key features include the extension of the existing imposingly narrow corridor spaces into the under utilised and overheating central courtyard space. By weaving nature into the campus and disrupting the typical linear circulation, we have moved the ecogarden to the new, more intimate central courtyard and strengthened the connection between levels with an annex extension, creating zones that serve as a social impetus.
Jared De Souza (Y2S2)
Studio Florian Heinzelmann
On a macro scale, the envelope is intended to be a response to the surrounding context of imposing and blocky high rise residential and industrial developments. Its lush landscaping intends to act as a green lung, be a visual break from the concrete surroundings and reduce some of the thermal mass from the urban heat island effect. We have developed dynamic outdoor learning spaces and peaceful sanctuaries that encourage students to engage and question the environment they are in. These areas foster social interactions, physical activity, and community involvement, building a sense of community and well-being. Our aim is to develop environmentally aware citizens that prioritize sustainability and the vitality of their communities.
HEXAGONE TO SCHOOL
PERFORMATIVE SYMPHONIES
by Huang Danlan & Tsan Jian Ming (Y2S2)
Studio Florian Heinzelmann
Embracing a design philosophy rooted in both functional pragmatism and aesthetic sophistication, this project leverages the intrinsic properties of hexagonal grids as the fundamental organizing principle for structural integrity and spatial articulation. Through meticulous tessellation and modulation of these grids across four distinct yet harmonious facades, the project achieves a compelling synthesis of form and function, seamlessly tailored to
the nuanced demands of the tropical climate and educational milieu. At the heart of this design narrative lies the responsive flashers that choreograph an ever-evolving dialogue between interior and exterior environments. Complementing this kinetic dynamism are passive climatic strategies meticulously embedded within the facades, harnessing natural ventilation, shading, and daylighting principles to optimize thermal comfort and energy efficiency.
cading water features and tactile surfaces, encouraging visitors to engage with their surroundings. The modular
COMPONENTS AND DETAILS OF EACH FACADE SYSTEM
DYNAMIC DOMAINS
BLUR THE LINES
by May Yip Mei Qi (Y2S2)
Muhammad Raziq Bin Ramlan (Y2S2)
Studio Florian Heinzelmann
DYNAMIC DOMAINS blurs the lines between school domains. Initially, domains were seen as distinct locations with specific purposes. For example, classrooms were solely for learning, while corridors were transitional spaces. But what if we could open these areas to different uses? A few key functions were identified from the school environment : WORK-REST-PLAY-EAT.
To accommodate changing needs and climate, dynamic features were added. Movable vertical louvres between classrooms and courtyards can open for collaboration or close for focused learning. This seamless connection, enhanced by biophilic elements, extends learning beyond the walls, promoting students’ mental well-being and shaping future learning.
Designed for Singapore’s climate, features include light shelves, creeper-covered trellises, and a green roof that recycles rainwater, providing cooling through evaporation. Our journey from case study to iterations led to DYNAMIC DOMAINS, empowering students and teachers to engage in various activities across adaptable spaces.
INPERIMEDGE
INSIDE THE PERIMETER, WITHIN THE EDGE
by Xia Wenyan (Y2S2)
Jeff Lee Jun Yan (Y2S2)
Studio Shin Yokoo
IMPERIMEDGE explores the potential of modular (grid) manipulation. The experimentation on grids allow it to function as obstacles, mechanisms or even guide circulation. IMPERIMEDGE also pushes the boundaries of usable and unusable spaces. This metamorphosis is achieved through the dynamic interplay of diverse ceiling designs, partitioning strategies, and distinctive facade types. Using contrast as a catalyst to enrich the overall design of Xinmin Secondary School, functional curved facades seamlessly break the monotony of the grid language, preserving coherence while offering a fresh perspective from both internal and external viewpoints.
CONTRASTING DESIGNS
The main aim of the facades is to create an intricate wayfinding that passively guides students and teachers around the school, exploring interesting interstitial spaces that vary in spatial tightness or openness. The designers behind IMPERMEDGE sought to tackle fundamental spatial comfort problems of students and teachers, which are key factors that dampen productivity and efficiency levels of students during their studies in these spaces. This led to incorporating intricate design strategies that directly responds to the ever changing climatic conditions experienced at different areas of the school. This dynamic experience elevates the learning experience of students, while creating a conducive environment for users.
NARXCADE
WAFFLE-LY GOOD
by Fatimah binte Mazlan (Y2S2)
Shin Yokoo
NARXCADE is a facade and space proposal developed incorporating layering, voids, and wind flow to produce a passive cooling system that simultaneously allows for division of spaces in a pleasing manner. Varying heights, spaces and volumes create different atmospheres unique to the purpose of the space and the intended users. Quantitatively, each side of the envelope has their own
set parameters, such as those listed on the following page, depending on wind speed and incident light at the respective areas. Qualitatively, the same language is translated into the overall design of the space, such as the structural elements which have to be altered to accommodate the new facade and arrangement of spaces, as well as the furniture involved.
Studio
Incorporating the slanted outer facade allowed for wind to be more evenly distributed across the levels, where before higher wind speeds will be concentrated at the top, based on the site study.
Coupling this slated facade with layers allows for a variation in wind speeds on a horizontal axis, which therefore can be paired with the spatial study to create interesting spaces that are both performative, as well as visually stimulating for users.
TENKEI STUDY- STACKED SPACES
APENOOOPHIC
ELUSIVE CONNECTIONS
by John Chew Ai Zhu (Y2S2)
Sonia Cao Shiwan (Y2S2)
Studio Shin Yokoo
A concept derived from the singularity of a line, Apenooophic is an idea that celebrates the dynamisim of the flat plane. Ape(stands for ape-rture), while nophic (stands for anamor-phic) where the letter “O” was deliberately multiplied 3X to emphasize the extension of these planes for a variety of forms and functions. This concept adopts the refractive properties of glass. It was largely inspired by Thomas Heatherwick’s Uk pavilion in Shanghai World Expo, 2010.
Heatherwick had cleverly used optic fibre sticks which allowed diffused sunlight to permeate into the building and scatter, creating an ensemble of light patterns. This refraction of sunlight creates an indirect connection between the outdoors and indoors as dynamic shadow movements are cast from external activities. Additionaly, since glass has the ability to absorb, diffuse, and scatter light, this would enable sufficient illumination, while minimizing excessive thermal heat gain from direct solar radiation - as sunlight is drawn into the building in a very precise and controlled manner. The design language of vertical glass planes then extends to the spatial configurations by altering the thickness of walls and gaps between the walls to maximise wind flow and thermal comfort, while directing pathways and providing moderate visual barriers.
FENSTERLERNEN
CLIMATIC FACADE THAT EXTENDS
THE LEARNING SPACE
by Jeramie Lim Wen Zi & Tham Mun Fai (Y2S2)
Studio Huay Wen Jun
Fensterlernen revolutionizes the learning landscape at Northland Secondary School, combatting dimly lit classrooms with an innovative design. By harmonizing natural light, shading, and ventilation, it fosters a conducive environment for interactive learning. Through the incorporation of folding panels and extendable light shelves, students gain agency over climatic conditions and learning.
STARTING DESIGN FROM INTERIM 1
LOUVRES CHANGED TO FOLDABLE PANELS FOR MORE CONTROL WITH THE CLIMATE
WINDOW SIZES VARIED IN EXPERIMENTATION FOR MORE CONTROL
THE DIFFERENT SIZED OPENINGS ARE STAGGERED FOR MORE SHADING AGAINST THE SUN
TOP MOST OPENING ENLARGED FOR MORE LIGHT AND CONSISTENT DESIGN LANGUAGE
INITIAL
DESIGNED MOSTLY TO BE CLIMATICALLY RESPONSIVE AND BRING MORE LIGHT INTO THE LAB WHILE STILL PROVIDE SHADING
MIDDLE LAYER
IT IS MOSTLY DESIGNED TO BE PROGRAMMATIC IN NATURE AND NOT AS CLIMATICALLY RESPONSIVE COMPARED TO THE FACADE LAYER
CORRIDOR LAYER
IT IS ALSO PROGRAMMATIC BUT ALSO NEEDS TO BE MORE CLIMATE RESPONSIVE SINCE IT IS DIRECTLY FACING OUTWARDS
The corridors, traditionally overlooked, are transformed into dynamic educational spaces, extending the learning environment beyond the confines of traditional classrooms. Here, discussions flourish, hands-on experiments come to life, and student projects find a platform for display and collaboration. This integration not only enriches the educational experience within laboratories but also invites curiosity and exploration. The physical environment is as integral to learning as the content itself, fostering a culture of inquiry and discovery.
ORIGINAL STATE OF FACADE
BOTTOM FLAPS OPENED FOR WIND AND DOES NOT LET RAIN ENTER
LARGER FLAPS CLOSED UP FOR MORE CONTROL
LIGHT SHELF PULLED BACK FOR MORE SHADING
FLAPS CAN BE LOWERED FOR EVEN MORE VENTILATION
SOLACE
KINETIC CANVAS
by Peh En Yu (Y2S2)
Hilda Chia Hui Xuan (Y2S2)
“Solace” transforms a school facade with a kinetic system for climatic adaptability. Adjustable panels optimize sun shading and wind guidance, improving light control and air quality. Sensors enable automatic adjustments, reducing energy use. Inside, flexible partitions create reconfigurable spaces for student collaboration, fostering a dynamic learning environment.
Studio Huay Wen Jun
Additionally, built-in seats extend from corridor facades, encouraging engagement with the outdoor environment and enhancing social connectivity. These seating areas provide comfortable spots for relaxation and interaction, fostering a sense of community and connection to the natural surroundings. This design combines functional aesthetics with sustainability, making the facade an integral part of the educational experience.
SOUNDSCAPE
LISTENING, TALKING & PLAYING
by Chen Junyu Ryan (Y2S2)
Chooi En Yu (Y2S2)
Studio Erik G. L’Heureux
Situated at Yew Tee Primary School, Soundscape prioritizes creating a playful and lively learning environment by addressing acoustic comfort as the primary climate. Soundscape goes beyond typical climate-responsive envelopes. It not only focuses on dampening noise during lessons to enhance a conducive learning environment, it also allows for a lively and vibrant atmosphere after lesson.
Transitioning from Probe 1, “Sounds from Within”, the envelope expands from the scale of the individual body to that of a building. This shift broadens the focus from creating environments for introverted and extroverted individuals to a larger context with more complex climatic considerations such as wind, heat, light, and rain.
The flow extends from the exterior to the classroom, corridor, and to the exterior with each environment requiring different treatments for sound.
ILLUMIHEXAWIND
PERFORMATIVE PERFORATIONS
by Nicholas Tan Li Wai (Y2S2)
Berboso Danielle Gritnee Reyes (Y2S2)
Studio Christo Meyer
Our proposal involves the use of a hexagonal inflatable ETFE kinetic facade on the school’s exterior. This innovative design allows for dynamic control over the amount of wind entering the classrooms, adjusting in response to environmental changes. By inflating or deflating, the facade can regulate airflow, ensuring optimal ventilation and comfort for students and teachers.
The slanted top portion of the facade is engineered to direct sunlight onto strategically placed reflective panels. These panels then bounce the sunlight onto the ceilings and into the classrooms, effectively illuminating the spaces with natural light. This design significantly reduces the reliance on artificial lighting, promoting an energy-efficient and environmentally friendly classroom environment. Through this intervention, we aim to create a sustainable and adaptive facade that not only enhances the aesthetic appeal of Admiralty Secondary School.
RHYTHMIC RESONANCE
by Manuel Miguel Mercado (Y2S2)
Nicholas Wong Ping Han (Y2S2)
Studio Victor Lee
Rhythmic Resonance leverages the dual functionality of architectural funnels to enhance both acoustics and air circulation, meticulously designed to accomodate the diverse environments of Boon Lay Secondary School. These innovative funnels serve to reduce noise levels, creating a serene dining experience in the cafeteria. In contrast, within the gym and sports hall, they amplify sounds,
boosting energy levels and improving circulation, which in turn enhances air quality and overall comfort. This thoughtful design not only addresses functional requirements but also fosters social interaction, particularly in the sports hall, making it a versatile and integral component of the secondary school.
ZEPHYRIUM
BAFFLE DESIGN
by Elasigue Johanna Isabelle Alcantara (Y2S2)
This is an exploration of “machine” like design and finding form within practical applications. The goal of the design was to cool the space and create a comfortable environment in Singapore’s hot and humid weather. The first step in this design process was to integrate evaporative cooling which was inspired by mushrooms. Elements such as tran- spiration and lamellae were translated into structural forms.
Baffles are used to create a large surface area to capture water and funnel air through the head apparatus, applying the concept of laminar vs turbulent airflow to create open and restricted spaces by varying the space between baffles and therefore varying wind speeds in different areas to effectively move air through both the head apparatuses and maintain a constant flow of cool air through the spaces.
Zai En Si Grace (Y2S2)
Studio Victor Lee
This was then scaled up to provide an interface between airwell and corridor spaces in the site, through a process of scaling different parts of the apparatus to the site and modifying elements as necessary for functions such as airflow, circulation and programme. The design was then integrated into the site, making use of floor heights and staircase landings to provide entrance into the head apparatus. Materials were chosen for their embodied carbon, with the goal of keeping only necessary elements to funnel
Transformation from Probe 1 to Probe 2
VENTURI VORTEX
by Zhao Xingqi (Y2S2)
Insyirah Binte Abdul Razak (Y2S2)
Venturi Vortex is a climatic driven intervention at Boon Lay Secondary School. It aims to harness natural wind patterns to improve climatic comfort at both individual and building scale. This project focus on integrating climatic elements into functional design, using nature-inspired solutions to address modern architectural challenges.
Nadhirah
Studio Victor Lee
ratus designed to enhance air circulation around users, inspired by Termite Mounds. This funnel-shaped device improves personal comfort and thermal regulation. In the second phase, the project applies these principles to Boon Lay Secondary School, scaling up the prototype’s concepts to architectural design. By focusing on ordinary classrooms and balconies, the project aims to enhance the school’s ventilation and utilize the site’s unique climatic and spatial opportunities.
FOLDING SCREENS
AN ADAPTATION TO CHIJ STC
by Matz Goh & Pierre Teo (Y2S2)
Studio Ronald Lim
Folding Screens utilizes 2 main concepts to synthesise a climatic solution for CHIJ St. Theresa. The first is a simple kinetic folding motion, which acts as a clear manipulation of the desired climatic effects, be it direct light penetration, or air permeability. This formed the basis on which additional adaptations were implemented. The second is a language of double perforated panels.
Driven by our assigned case-study at the start of this project, their inherent climatic complexities allow for precise adaptation to various interior experiences. By varying the ways in which these 2 concepts merge, the climatic effect, as well as implications to autonomy and ownership, of the various spaces can be curated based on needs and desires.
The result is a single form which holds various levels of complexities and which is able to adapt to the most extreme of environments within a school context.
Grounding our whole project was an opportunity to visit and learn of the existing failures of the current school building form. Hearing from the vice-principal and staff members, we extracted key areas for improvement, which then served as the locations we altered.
BEYOND AXIS
AN EXPLORATION OF PLANES
by Muhd Hakim & Sean Ong (Y2S2)
Studio Ronald Lim
The project aims to explore innovative facade designs for the integration into the existing facade of CHIJ St. Theresa Convent school in Singapore. By experimenting with different changes in planes from the facade of the precedence study; Moulmein Rise’s Bay Window, the project seeks to enhance the current classroom’s environment for student’s learning by incorporating natural daylighting and refreshing breezes, while ensuring protection from rain or sun glare. The proposed final design will consider Singapore’s tropical climate, site advantages and, current and potential programming of the school.
From the analysis of the current classroom, we found opportunities in terms of ventilation and sun penetration towards the interior spaces that could be improved on. The experimental stages consists of selective changes towards a certain aspect of the facade to either maximize wind flow or minimize sun glare into the classroom space throughout the day. The results from the experiments allowed us to further develop the facade in order to best integrate it into the current classroom of CHIJ St. Theresa Convent. The initial classroom had an internal wall obstructing the cross ventilation through the classroom and our proposal is to open parts of the wall to allow for pockets of air to escape. The current external classroom facade had these ‘blocky’ old facade design that blocked out most of the sunlight into the interior space and our proposal is to change it into a full height glass facade with narrow vertical fins to block out the harsh direct sun glare during 9am and 3pm and the implementing horizantal sunshading to block out the direct 12am sunlight.
SOMEWHERE INBETWEEN
by Mahajabin Rahman (Y2S2)
Emily Ooi Lean Ee (Y2S2)
Studio Ronald Lim
“Somewhere in Between” explores how architecture interacts with the environment to shape spatial experiences. Analyzing the Lantern Hotel by ZLGdesign, the project focused on the extent of its openings and protrusions on light, airflow, and rain protection. This relationship was our anchoring point in experimentation.
TOP: CLASSROOM | BOTTOM: CORRIDOR
BE KIND, FOR ALL YOU MEET ARE FIGHTING A HARDER BATTLE
THE VEIL
A DANCING LIBRARY
by Tan Zi Syuen & Chu Yik Ting (Y2S2)
Studio Roy Pang
The ‘dancing veil’ facade of the library draws inspiration from the transformative nature of plastic bottles, particularly their ability to modulate light and shadow. This facade mimics the transparency and adaptability of plastic bottles, creating a dynamic interplay of light throughout the day. It diffuses sunlight into soft patterns, animating the library’s interior and reflecting the activity within.
The responsive design adjusts to changing sunlight angles, daylight intensities, and thermal needs. Ultimately, the ‘dancing veil’ embodies a harmonious relationship between the environment, building structure, and interior space, transforming the library into a vibrant, dynamic space.
The leaf veins unfurl and branch out, leaving negative gaps where the shadow blends. The leaf’s main vein standing bold on the surface, while behind it a network of tiny veins weaves a complex tapestry.
The study of movement has created opportunities to response to climates inwards or outwards. Not only as a veil layering over the face of the building , but an opportunity to open spaces that capture a moment.
SCALING SCALES
DIRECTING WIND BY LAYERING
by Muhammad Shaif (Y2S2)
Samuel Lau (Y2S2)
This project explored the concept of how a facade can be understood as an “envelope” forming around a building’s body, becoming one with the building while remaining distinct. We focused on the “envelope” being informed by the environment and climate of the site while remaining design oriented. Scaling scales is the culmination of taking one unique yet often overlooked geometry, and
transforming it into a variety if architectural qualities. From large, space defining balconies to human-sensitive aerated panels and walls, we looked at the complexity of how to turn the simple shape of an Egg Carton into something that is pragmatic and something that can improve the thermal comfort of a commonly used area like the corridor and the hall.
Studio Roy Pang
The commonly found egg carton was broken down into cones, which later were halved to form scales, that became the basic geometry to form both the large scales, balconies and the perforated panels. The scales vary in sizes and each serve differing purposes. The large scales that form balconies, block the direct heat and harsh sunlight from reaching deeper parts of the corridor while the smaller scales form perforated panels that enable wind to flow to the hall and through the corridor, cooling the space.
Transforming Scales into Panels
TROPICAL MICROCLIMATE
FROM A BAMBOO GRIDSHELL & DEPLOYABLE FACADE
by Dean Chua Yong Da & Yoong Jia Wei Jarod (Y2S2)
Studio Tham Wai Hon
Our design integrates a bamboo gridshell roof and a deployable facade to create a tropical microclimate. Inspired by the adaptability of an umbrella, our exploration studied deployable geodesic gridshell structures to sun-shade while maintaining porosity for natural ventilation. By harnessing bamboo’s flexible yet strong properties allowed us to achieve the
bendable forms of a gridshell structure. The design utilises gridshells at two different scales.
On a larger scale, a tropical gridshell dome that has porosity for ventilation but at the same time bamboo weaves dense enough to provide shade, mitigate heat gain, while allowing daylight to enter its spaces.
AMPHITHEATRE
On a smaller scale, deployable facade panels, which are adjustable by its users, regulate the amount of lighting that enters the spaces and act as a secondary shading device. It is fixed onto balconies made of bamboo decking and scaffolding, which act as an overhang and a buffer for harsh daylight for comfortable lux levels in the studio spaces. By adjusting the density of the series of weaves at two different scales, we were able to mitigate heat while enhancing daylighting.
SCAFFOLD + FACADE
VENTILATED STRETCHY
FABRIC TUBE
CHANNELLED AIR INFORMS VOLUME
by Chua Jia Ning Sherica (Y2S2)
Charlotte Loh Jia Ying (Y2S2)
Studio Tham Wai Hon
Located at St Patrick’s School, the Ventilated Stretchy Fabric Tube enhances aeration and creates opportunities for flexible program arrangements. Centered on how body movements inform volume, it allows for dynamic changes in shape and air volume. The relationship between people within the enclosure and the intimacy of skin contact also intrigued us.
The tube extends from the building facade to direct wind from higher elevations into less aerated areas, addressing the site’s lower wind velocity at lower elevations. This intervention enhances students’ lifestyle by providing additional supervised study or relaxation spaces. It aligns with our concept of movement informing volume: the activities within the tube shape its volume and the air within it, improving thermal comfort and enhancing the student experience.
A WIND-CHANNELING
CURTAIN THAT FLUTTERS
AN ATMOSPHERIC LEARNING SPACE
by Lee Wen Xuan Cara (Y2S2)
Matthew Tay Hong Jit (Y2S2)
Studio Tham Wai Hon
The project seeks to enrich the learning environment of St. Patrick’s School through the channeling of wind and materiality of fluttering fabrics. Inspired by sails and curtains, experimentation of fabric manipulation were conducted, including various techniques. As a result, walls were removed and spaces reconfigured, allowing for new learning methods and moods to be crafted enriching the learning experience crafting interaction between the exterior and interior envelopes.
A Wind-channeling Curtain at Flutters
Initial experiments were conducted to test several fabric manipulation techniques such as braiding, smocking and draping. Coupled with the inspiration from everyday items such as curtains and sails, we sought to make use of fabric to redirect wind and enhancing atmospheric experience.
The intervention then seeks to enrich the learning environment of St Patrick’s school through a redirection of wind to poorly-ventilated classrooms. Sails comprise of 3 scales on the exterior, each with a purposes: Large sails which pivot allow the winds at the canal to be captured, channelling them towards the medium sails which scoop wind into the building. Small sails collect the excess wind and further channel them deeper into the site and well as scoop them towards the medium sails. As a result, walls were removed and spaces reconfigured, allowing for new learning methods and moods to be crafted, enhancing interaction between the external envelope and the interior spaces. This creates unique experiences that are calming and relaxing allowing for new pedagogies and degrees of interaction to be created. INTERIOR SKETCHES
SA(I)LIENT ALCOVES
REJECTING SPATIAL HEMOGENIETY WITH MICROCLIMATIC AUTONOMY
by
David Quek Hao Meng (Y2S2)
Zhang Xiaohan (Y2S2)
Studio Tiah Nan Chyuan
In our relentless pursuit of the ‘optimal microclimate’, we create spaces just right for some yet unbearable for others. Ironically, the anthropocentric ordeal of controlling every aspect of our microclimate takes away control from the individual, resulting in a disjunct between the classroom and the climate as a learning machine. Our microclimatic study looks at Wind and Wild: Wild as a qualitative observation of spatial quality, and Wind as a quantitive record of the wind speed. Our control of wind thereby dictates the formal, appearing in every feature -- facade, internal objects, formal arrangements. Through the creation of contrasting microclimates, students can choose which spaces to engage with, empowering them to take ownership of their learning environments. Forms for
PERFORMANCE MAPPING AND FORM EXPLORATION
Furthering of Experiments, Behaviour Mapping, Forms
CONSTRUCTION AND DERIVATION OF FACADE
The intervention utilises a grid which was derived from a structural column grid of the existing school. The area of the grid which was incident with the primary wind vane from the north was then shifted to encourage a redirection of wind to the Main Courtyard and the primary centres of circulation for the school. The integration of the spatial system and facade system encourages inter-level and intra-level cross-ventilation. Through a stack implementation of these strategies of differing effectiveness at directing wind, a variety of windy and non-windy spaces are formed. The consideration of qualitative experience, such as the propensity for lighting changes within a space via permeable surfaces, the level of isolation the room feels from the main core of the school and even the level of to which the space can be altered by movable pieces, adds the final touches to create a detailed climate-driven learning environ
ment that is diverse in choice. The ability to choose which spaces to engage in becomes a rejection of prescriptive experiences, empowering students to seek out what brings them the most fulfilment.
XINMIN SOCIAL
ENCOURAGING INTERACTIONS
by Bi Hongying & Daniel Joseph (Y2S2)
Studio Tiah Nan Chyuan
Xinmin Secondary’s corridors and study corners were filled with exciting conversations and gleeful excitement as they prepared their classrooms for Chinese New Year. Students played and studied with friends across classes and levels, showcasing an exteremely dynamic social climate. Amidst the hustle were a few corners of respite, where students burried their noses in books, hard at work. Thus, we aimed
to foster and encourage these social dynamics, introducing a framework that utilises climatic and programmatic adaptability. We sought to create facade typologies that were strategically designed to encourage positive social engagement through adaptability in climate and programme, providing spaces for varied interactions and insualr reflection.
cial spaces and proximity to primary pathways, number of secondary paths, visual and physical obstruction in space, a scoring system may be generated to rank the sociability or insularity of spaces in quality. The operative diagram further includes ideal lux and colour temperature values, tieing together both programmatic and climatic triggers as modes of architectural intervention to support, enhance or
PLUG-IN PLUG-OUT
PLAYABLE SCHOOL
by Minjoon Heo (Y2S2)
Subin Hwang (Y2S2)
We found out about a unique area inside the elementary school: The Playground, it was not in middle or high school. We wanted to design the school as one of the playscape where students can enjoy activities inside the school. Furthremore, throughout the research, the birth rate in Singapore has kept decreasing. From then responding to the declining birth rate and subsequent decrease in school enrollments, our design initiative seeks to repurrpose educational spaces to serve broader communiuty needs, transforming schools into
versatile hubs that not only cater to students during regular hours but also function as vibrant community centers during after-school periods and weekends. Our vision entails creating an environment that fosters both education and social interaction, engaging both students and the public. Using the interplay of sunlight and shade within the architectural design, we aim to cultivate a dynamic spatial experience that encourages visual and behavioral engagement, enriching the overall community experience within shared spaces.
Studio Wu Huei Siang
Initially, we tried to design many different playable devices inside the school. Then, we realised that each device was unrelated and could confuse the children.
From then on, we chose this triangular structure that can plug in and plug out external devices to change places inside and outside. That could change the amount of sunlight, wind and other climates. These devices will allow children to understand climate easily.
Tenkei studies and the elevation of the structure
WEAVIVAL
A SCHOOL THAT EXCITES
by Chiew Woon Kai Charlene (Y2S2)
Johnathan Na Yong Teck (Y2S2)
To optimize the use of vacant facilities, we proposed a solution that introduces both morning kindergarten sessions and afternoon childcare services into the school’s program. The kinetic facade accommodates to the differing needs of the school children. The flexibility of the facade encourages intermingling and maximize the school’s facilities beyond traditional hours.
Studio Wu Huei Siang
Focusing on three main typologies, exploration, creation and cohesion, it determines the functional requirements of the classroom. As the function changes throughout the day, the interior layout as well as the facade morphs into what is required. The facade can be used as a table and seats while the space that surrounds the facade can be used as crawl spaces or nooks to read and play. This interactive facade creates an engaging and fun environment where the students are able to have an enhanced learning expereince when they minge with the other students.
AUXETIC ANTICS
KINETIC FACADES
by D H Muhammad Sawfiyyullah (Y2S2)
Auxetic Antics aims to propose a kinetic facade mechanism as a solution to modern classrooms. Featuring the ideas of planar expansion and contraction, the facade is able to effectively provide a spectrum of spatial experiences within the space itself. Given the new MOE regulated Subject Based Banding (SBB), the mechanism aims to present adaptable facades, allowing every student the ability to pursue their
education in uniquely condusive environments. To alter the different needs of an individual classroom, the mechanism would target environmental aspects such as light quality, light permeability, as well as wind flow within the space. The mechanism demonstrates a environmentally responsible take onto the adaptation of pre-existing structures to reduce further climatic degradation.
Emmanuelle Leong (Y2S2)
Studio Yang Han
The facade maintains a high degree of user autonomy, allowing for students to dictate the best possible enviroment for their education. The auxetic mechanisms allow for the mainpulation of interior space qualities, increasing lighting or ventilation depending on the function of the room. To amplify and manipulate this effect, the mechanism is tandemically used with different facades such as the egg crate facade (A), the fan facade (B), and the rain facade (C). While using the same mechanism, these addi-
CONSTRUCTION DETAILING
The irregular “hexagonal density roof”, composed of hexagons with differing sizes, casts a pattern of shading that naturally divides the space underneath into functional areas while the openness of the roof that ensures ventilation. The windcatchers capture wind in all directions and direct prevailing winds downwards into inner space, embedded with a roof partially covered with frosted glass to ensure sufficient light and shade. The different heights of the walls also adjust the degree of wind entry, shadow casted, privacy and accessibility respectively.
VERDANT VEIL
REDIRECTING WIND AND SHEILDING FROM RADIATION
by Estaris Trixia May Custodio (Y2S2)
Rajendran Rakshith Raja (Y2S2)
Studio Yuan Chao
Verdant Veil aims to enhance thermal comfort at Changkat Changi Secondary School by optimizing natural ventilation and shading. Inspired by adaptable façades and case studies, the project begins with a site analysis to identify strengths and weaknesses in the school’s layout, programs, and microclimate.
By targeting the classroom blocks, the project seeks to optimize the building orientation and airflow, utilize underused spaces, and leverage the exsiting design features like the curved roofs.
The design development is split into micro and macro elements: the micro involves prototyping façade geometries to control light and wind, while the macro reimagines the classroom layouts to include hybrid learning spaces and breakout areas.
A performance index study then informs the design, addressing radiation through an integrated approach involving the façade, roof, and shelter. The final iteration features hexagonal panels and light-diffusing gradients to improve thermal comfort and energy efficiency. The final envelope evaluation demonstrates the design’s effectiveness in mitigating climatic challenges and enhancing spatial quality. Overall, Verdant Veil harnesses prevailing winds, manages daylight, integrates new programs, and offers flexible layout options for future development.
Exploded Isometric View Of The Classroom Blocks.
Longitudinal Section
Transverse Section
Classroom Street Space
Expansive Rear Courtyard Shaded Rooftop Area
NEXUS CURVE
by Tan Li Wei Ella & Loh Wen Ting Junnessa (Y2S2)
Studio Yuan Chao
The Nexus Curve project reimagines the facade of our school building to create a more interactive, vibrant, and comfortable learning environment. The design features dynamic screens attached via pivot hinges, allowing extensive rotational movement and seamless integration. This system promotes natural ventilation and effective shading, crucial for Singapore’s humid tropical climate.
A rectangle hollow section runs horizontally behind triangular overhangs, with screens attached using pivot hinges to provide a hidden, seamless connection and up to 270-degree rotation.
We replaced traditional windows with floor-to-ceiling vertical fins, offering customizable porosity to enhance openness and allow the facade’s effects to permeate the classrooms. Seating and storage units have been added at the base of these fins for student comfort and utility.
The facade screens can be configured in several ways to suit different environmental conditions: closed for maximum shade outside monsoon seasons, half-open to channel wind and block morning sun angles, fully open for early mornings, and total mesh to diffuse sunlight at noon. This interactive facade encourages student participation, fostering creativity and collaboration. By incorporating natural elements, it transforms the traditional classroom setting, reducing stress and enhancing well-being. Overall, this project blends form and function to create a dynamic, engaging, and holistic educational environment.
EXPLODED MECHANISM DETAIL
YEAR 2 AR2328 AR1329
AR2328
ARCHITECTURAL TECTONICS & STRUCTURAL SYSTEMS
AR2328 introduces the basic principles of construction in architecture by examining the physical properties of materials, and its relationship with fabrication techniques and technology. Building components are presented as integrated systems. Tectonics is discussed as an expressive quality of architecture and structure, achieved by materials, construction and integration of building components. The course also addresses sustainability by considering the choice of materials, construction methods or strategies, waste management and life cycle thinking.
CLIMATE, ECOLOGY & ARCHITECTURE
The impact of the tropical climate on buildings results in various design strategies to minimise energy usage while increasing comfort. Here, different building typologies, functions, and occupancies—whether individual or collective—and related compactness are relevant. It discusses the impact of passive environmental design performance and synergy with the ecological system in achieving sustainable or regenerative objectives. Students will learn about degrees of applied technology and design complexity ranging from passive design strategies to integration of green solutions and embedding a design into the environment and potential reciprocity with the surroundings. In addition, material aspects like bio-based materials, embedded energy, and circularity, and manufacturing processes like prefabrication and sourcing, will be explored.
AR2328 ARCHITECTURAL TECTONICS & STRUCTURAL SYSTEMS
PRISMATICNEXUS
Chloe Pek Zhi Qi, Felix Lim Teng Sheng, Ng Choon Yee, Valerie Wong Kailing
INSIDE OUT
Daniel Britelit Joseph, Goh Ee En Matz, Hu Po, Lim Shu Juan Laura
ENCAPSULATING VIEWS
Huang Danlan, Mahajabin Rahman, Muhammad Raziq B Ramlan, Tsan Jian Ming
THE TREEHOUSE
Berboso Danielle Gritnee Reyes, Bunag Ramela Joey Delen, Estaris Trixia May Custodio, Lee Wen Xuan,Cara
STAGGERING GALLERIES
Dean Chua Yong Da, Min Thein Kyaw, Muhammad Shaif S/O Aboo Huraira, Yoong Jia Wei,Jarod
VERDUE
Goh Erlia, Jared Daniel De Souza, Madlangbayan Hazelle Charm Reyes, Mithra Naidu D/O N Vijaindrian
CELESTIAL TAPESTRY
Chan Koi Yan, Jasmine Lim Kah Suan, Tan Zi Syuen, Tan Xin Yi Caslyn
AR2328 ARCHITECTURAL TECTONICS & STRUCTURAL SYSTEMS
AMPLIFY
Chen Yulin, D H Muhammad Sawfiyyullah, Dylan Tan Wei Hao, Hilda Chia Hui Xuan
THE FLOW
Ahrielle Mathews, Altoaimi Lina Walid S, Khine Kyel Sin Shein, Sean Ong Yee Cheong
GALLER-E
Bi Hongying, Evan Tan Zhi Feng, Fatimah Binte Mazlan, Raiyan Omar Jefri
300 THICK FLOOR SLAB
300MM DIAMETER
3MM THICK WATERPROOFING
300MM THICK STAINLESS STEEL FRAME CEILING SUPPORT
STEEL FACADE
300MM DIAMETER STEEL SUPPORT FRAME WITH 12MM THICK GLASS
300MM X 300MM THICK REINFORCED CONCRETE COLUMN
200MM RISER
300M THREAD REINFORCED CONCRETE STAIRCASE
1000MM HIGH GLASS RAILING
12MM THICK LAMINATED GLASS
150MM THICK FLOOR SLAB
15MM GROUT 20MM TILES
450MM X 450MM THICK REINFORCED CONCRETE COLUMN
THE VERDUE
THE VERDUE
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SECTION A
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TAN XIN YI CASLYN A0277707R
SECTION C
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JASMINE LIM KAH SUAN
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The Flow
Khine Kyel Sin Shein
AR1329 CLIMATE, ECOLOGY & ARCHITECTURE
Studio Florian Heinzelmann
ALTERATION TO EISENMAN’S HOUSE IV FOR A TROPICAL ENVIRONMENT - Pierre Teo Pengkai
AEROLIS - Peh En Yu
Studio Joel Lau
TROPICAL BREEZE - Huang Dan Lan
IT TAKES A VILLAGE - Jared De Souza
Studio Li-En Quek
THE AEOLIAN NEXUS ON HOUSE IV - Viernes Alexandra Michaela Abad
WHISPERING WALLS - Goh Erlia
Studio Zheng Mei Su
SOLAR PARADIA - Jeff Lee
OASIS GROVE - Xia Wenyan
Alteration to Eisenman’s House IV for a tropical environment
PIERRE TEO
A0255367W GROUP C7
AR1329 TASK 3
DESIGN LANGUAGE
The roof platforms are slanted towards the various planters throughout the house
RAIN COLLECTION
SUNLIGHT & RADIATION
The orientation of the house minimises sun exposure.
The double perforations mediate direct light penetration. Other than climatically, it also serves as a privacy bu er where needed.
The water then has future use in evaporative cooling.
& LightPrivacy & Ventilation
Heat vented through gap behind section cut
The central circulation core serves as the main channel for Stack E ect
Section 1
Wind Catchment Zones
Cooled air enters the Master Study during southward winds
Air is cooled as it passes by green planters through evaporative cooling
Plan 2
AEROLIS
Level 1: Louvre Variations
of activity is the lowest, therefore it requires the least amount of light and for optimal comfort level, the least amount of radiation is most desirable. On the other hand, dining room and kitchen requires more lux for users to eat and cook and due to the less frequent usage, a higher radiation is tolarable.
required yet minimise radiation as much as possible. For all three spaces, louvres are deployed.
ent types of plants for optimal performance.
In the dining room and kitchen, thinner louvres are complemented with shorter plants, so that light is able to pass through yet do not cause discomfort to the users.
In the living room, where people rest and chill, thicker louvres are used, together with taller plants to block maximum amount of direct sunlight hence reduces maximum amouont of radiation as well, ensuring comfort in the living room.
North-South Overhang Decision:
The North and South facing sides each have large roof overhangs whose sizes are decided by maximum sun angles at winter and summer solstices. Where the overhangs are extended until all rooms below are shaded even when sun angle is low.
Solstice
Level 2: Strategically Placed Skylight
All bedrooms and toilets are located on the second level for privacy considerations. The large overhang provided by the roos is enough to make sure all these spaces which require low lux receive less than 300 lux based on the CS simulation readings. However, there is also a study room on the second level, which requires about 500 lux for reading and writing. In order to maximise the use of natural light, a skylight is strategically introduced to carefully bring in natural light and not radiation into the study room only.
From the sectional drawings on the left side. It is obvious that bedroom is completely shaded from the large roof which allows for no direct light to go in, ensuring a conducive environment for resting and sleeping.
On the other hand, before the introduction of the skylight/light chimney, the study is also completely shaded by the large overhang. However, after the use of allowed to reach the study during daytime as the louvres above block direct light penatration. The angle is decided based on the sun angle, it is slightly more slanted than the lowest sun angle, in this way, there will be no time in the year where direct light can enter.
Moreover, a light chimney is used instead of a conventional skylight, this is because the piece of roof where the skylight is situated on faces the West side. Intense eveing light would pass through very easily if the
However, with the chimney, raised sides block the evening lights so that no glare or overheating problem will form after the introduction of this skylight.
Exterior Openings: Fins Added
Second Level Exterior Openings
On the second level, windows are selectively opened on
Thinner Louvres Shorter Plants
Thicker Louvres Taller Plants
Section Showing the Bedroom
Section Showing the Study
Light Chimney Iso
Louvres
Glass Light Chimney Rainwater Runo Opening
Light Chimney Section
Skylight/Light Chimney Blow-Up Diagram:
The Aeolian Nexus on House IV
Probe 01
The Aeolian Nexus is derived from Probe 01, where it aims to channel wind into the aparatus from one head to another. As the wind travels through the central junction, its velocity increases due to the centuri e ect. Louvres are used as both structural techtonic elements as wall as to direct wind into the apparatus.
Overhangs along the exterior help to mitigate solar radiation. Additionally, it helps to bllock rainfall from coming into the building.
Viernes Alexandra Michaela Abad
OASIS GROVE
Evoking imagery of tranquility and natural beauty
BY: XIA WENYAN
| Y23/24 AR1329 TASK 03
Based on the current content on the site, the house was elevated to accommodate the uneven topography, thereby reducing the need for extensive soil excavation during construction. This elevation also serves to minimize direct contact with the ground, thereby reducing ground radiation.
Furthermore, the orientation of the building is designed to face south, which helps avoid glare from the east and west while promoting the flow of wind in a north-south direction. Additionally, roof extensions and balconies have been incorporated to provide shade to the house.
Extending the roof to ground level facilitates connectivity with the surroundings and interior spaces. By making the roof accessible, we provide an alternative entrance while also shading the first storey.
AkiVAL 2024 Team
Exhibition Directors
Justin Ho Chung Sian
Berboso Danielle Gritnee Reyes
Admin
Nicholas Wong Ping Han
Chiew Woon Kai Charlene
Exhibitions
Sim Wei Yang Dominic
Natalie Tan Jingwen
Nicole Choong
Fallong Thng
Estaris Trixia May Custodio
Programmes
Charlotte Loh Jia Ying
May Yip
Sherica Chua
Publicity
Chen Junyu Ryan
Hu Po
Emanuelle Leong
Bunag Ramela Joey Delen
Chooi En Yu
The team would like to give special thanks to all other student volunteers who helped AkiVAL 2024 come to life.
The AkiVAL 2024 team extends its sincere gratitude to our sponsors for their invaluable support in making our exhibition possible.
