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
YEAR 3
SEMESTER 1
DENSITY, URBANISM, PUBLICNESS
Design 5 explores urban considerations that influence the architectural project. Density and its relationship to building form, mass, and volume will also be understood in relation to broader questions of responsiveness to urbanism and public space. Urbanism and the massing of architectural form will be recognised as fundamental components of cities. The notion of publicness will be examined and integrated within the processes and outcomes of design in an urban context. Students will gain an understanding of the spatial implications of neighbourhoods, communities and socio-political relationships within and about space, whether real or implied.
SEMESTER 2
SYSTEMS, COMPREHENSIVENESS, INTEGRATION
Design 6 aims to develop a high level of competence in comprehensive and integrated building design. The architectural whole is approached as a complex network of systems (of production, technology, infrastructure and so on), and in turn embedded within larger systems (of ecology, economy and so on). Under the guidance of their tutors, students will research and refine a conceptual system of concerns to be fully explored and developed in their architectural proposals. This entails a critical and nuanced understanding of architecture as a synthesis between constituent parts and their whole, resulting in the creation of a cohesive whole that is greater than the sum of its parts.
Year 3 Semester 1
Studio Sri Saravanan
NOT ALL THOSE WHO WANDER ARE LOST - Xu Chenxiao
OVERLAY - Maxence Werp
Studio Federico Ruberto
SUI|GENERIS - Glen Ang Xun Zhe
TERRA-FARMING - Yeo Kai Xiang
Studio Christo Meyer
DREAMSCAPES - Angeline Ong
CONES OF CLUTTER - Sarah Ng Jing Yun
Studio Lee Tat Haur
“TANJONG PAGAR FOR CYCLISTS” - Ng Guang Ze
TIMES AND PLACES - Jordan Yeo
Studio Wong Chong Thai Bobby
TEMPORALITIES - Ho Zi Hao Ryan
THE LANTERNS - Emil Harris bin Jefree
Studio Zdravko Trivic
CUILNARY WONDERLAND - Kang Shiqiang
LIBER-TERRA: ‘FREE LAND’ - Tan Chu Yi
Studio Jacqueline Yeo
URBAN HARVEST - Lim En Qi Nicole
THE VALLEY - Yuan Zi Xin Grace
Studio Roy Pang
BIOPHILICBRIDGE - Sean Lim
UMBRAL - Maggie Wang
Studio Ronald Lim
BACK TO THE ALLEY - Ng Sang Teng Sheena
APERTURES - Juan Rafael Salinas Panopio
Studio François Blanciak
EXUVIAE - Tee Kai Jie Forbes
UNDERGROUND OASIS - Ng Yan Lin, Sebastian
Year 3 Semester 1
Studio Chan Wai Kin
THEATRICS
OF COMMERCE - Bryan Lee Jia En
INFRA - Emil Balthasar Tobias Dube
NOT ALL THOSE WHO WANDER ARE LOST
by Xu Chenxiao (Y3S1)
Studio Tutor Sri Saravanan
Tanjong Pagar shophouse area is known for bars and restaurants housed within the elegant shophouses, making it an attractive tourist district and a popular weekend destination for Singaporeans. However, the buzz inside the shophouses is contrasted by the lack of activities on the outside. The presence of mundane life and pedestrian is low on the streets, largely due to the dominance of car
traffic and the limited public space for pedestrians -- the narrow five-foot ways allows for very limited activities other than circulation and the existing green spaces are small and disconnected. This finding leads to my design response: how to bring life back to the street?
The project features an organic mass that flows along the in-between space of rows of shophouses, connecting two green spaces and two streets on different heights three-dimensionally. It challenges the commercial notion of multi-use construction by providing open, freely accessible spaces for playing, wandering and gathering. The organic form conveys a sense of fluidity to the space, hinting desired movement from the visitors and luring pedestrians to explore this bizarre structure and the places it connects.
OVERLAY.
URBAN FABRIC CONFLICT.
by Maxence Werp (Y3S1)
Studio Sri Saravanan
The architectural design of the building aims to critically examine Singapore’s approach to preserving historic structures. Traditionally, Singapore has demolished historic shophouses to make way for new developments. This design seeks to address this issue by juxtaposing various elements of Singapore’s urban landscape.
A prominent, avant-garde structure will stand out as a
kind of ‘parasite’ above the existing buildings, creating a visual focal point. In contrast, a highly modern building will be positioned behind it, concealed by large curtains. This design choice encourages visitors to reflect: what lies behind the curtain? What once stood there? What is the reality? And how does Singapore handle its architectural heritage?
Inside, visitors are drawn into an engaging space centered around a glass discussion room. At its heart is a spiral ramp, symbolizing the historical progression from the old shophouses below to the modern urban architecture above. This journey allows visitors to experience the evolution of the city’s urban fabric, enhanced by artwork from local artists.
Heritage Meets Modernity
Evolving Urban Experience
SUI|GENERIS
RECONCILIATION OF THE HUMAN & NON HUMAN
by Glen Ang (Y3S1)
The project SUI | GENERIS is a critique of the current way of life in the anthropocene, questioning the capitalistic and human oriented lifestyle we are so familiar with, and speculates a possible alternative way of life that we could embrace. The proposal aims to negotiate between ecology, social relations and built typology to give rise to a hybrid infrastructure that augments the area of Tanjong Pagar.
Studio Federico Ruberto
The prototype features a primitive structure, encapsulating the paradoxes of the contemporary urban condition. It is a fortress, impermeable yet accessible. It provides an opportunity to reconnect people within the city, creating “connective - disconnections” through augmentation of the existing urban fabric, suspending and redefining the relation between the public and the private. It is an infrastructure that mediates between the human and non human, designing entropy (decay) as possibilities of regeneration, choreographing a multiplicity of atmospheres
TERRA-FARMING
PARASITIC URBANISM
by Yeo Kai Xiang (Y3S1)
Studio Federico Ruberto
In the pursuit of a transformative urban experience, my project, Terra-Farming, emerges as a dynamic intervention, a living form that resonates with the very profile of the shophouses it seeks to intertwine with. At its core, it is a rebellion against the prevalent exploitation of urban spaces, an intentional subversion of the mundane fixation on productivity that engulfs our daily lives.
The project manifests as an urban farm, a refuge meticulously designed to disrupt the urban flow and offer solace from the relentless pressures of the working environment. In the in-between time, where the pace of life slows, meaningful interactions unfold, allowing for the construction of a shared temple, garden, or even a secret retreat.
Office workers, shophouse residents, lab students and restaurant owners all come together to do a common activity: farming. Based on a planned schedule, the different demographics will congregate and maintain the crops on the urban farm based on their delegated timeslots. After the crops have been harvested at the urban farm, they are then sent to the laboratory, where the lab students will experiment and process them into genetically modified super-crops.
DREAMSCAPES
EMBRACING THE ART OF REST
by Angeline Ong (Y3S1)
Studio Christo Meyer
Witin the city, one can envision a realm where public spaces transcend their utilitarian nature, becoming sanctuaries of reprieve and revitalization. The idea of ‘hostile architecture’ - urban furniture that prescribes and dictates how individuals should rest - is challenged. While seeking to address issues like homelessness, this urban approach inadvertently engenders community segregation. The
project seeks to serve as a rebellion against this defensive architecture. It reclaims spaces for rest and champions user autonomy, asserting that individuals should have the freedom to choose how they rest, unburdened by the hostility of urban furniture. ‘Dreamscapes’ envisions a city where we not only work but also dream, encouraging us to pause, rejuvenate, and embrace the art of rest.
INITIAL PROCESS MODELS
‘Dreamscapes’ is nestled in the middle of Tanjong Pagar Plaza - at the heart of the quieter residential neighbourhood amidst the bustle of the predominantly commercial district. At its core, it functions as a sleep clinic, offering a transformative ‘sleep immersion program.’ Locals can seek treatment for sleep & dream-related concerns that may affect their daily lives, partake in ‘bedtime activities’, or explore the experimental themed sleep rooms with different lighting conditions and ambiences.
CONES OF CLUTTER
HOARDING IN ARCHITECTURE SCH.
by Sarah Ng Jing Yun (Y3S1)
Studio Christo Meyer
Clutters are evidence of unfolded events that depict stories of people by their belongings and display an ownership of space. However, as both the physical and intangible boundaries surrounding clutters are pushed, at what stage does cluttering become a hindrance to spatial navigation in public spaces? As architecture students, the concept of cluttering is familiar as we are often surrounded
by the chaotic accumulation of inspirational junk in our studios – from model-making materials to digital devices and equipment, to drawing print-outs. As such, my project involves designing an architecture school as a critique of our education that induces hoarding behaviours in students. At the same time, it celebrates this social-cultural disorder on site.
The form generation is rooted in the principle that interior spaces are produced not by its walls but the order, and array of objects within that coalesce into a perceptible environment. The proposed design separates the usable, generic spaces from the lowered and disrayed ceiling of hanging clutters observed on site. This is done using height-shifting ‘storage cones’ that manipulates the visibility and accessibility of clutters at different heights. From its exterior, the cones indicate concentrations of clutter with a shifting skin that signifies their boundaries.
“TANJONG PAGAR- FOR CYCLISTS”
by Guang Ze Ng (Y3S1)
Studio Lee Tat Haur
“Tanjong Pagar- for Cyclists” seeks to complement Singapore’s initiative to go car-lite in the CBD by bridging the existing cycling network in Tanjong Pagar- the green spaces of Duxton Plain Park towards paths leading towards Anson.
By studying how different typologies of cyclists circulate around Tanjong Pagar, “Tanjong Pagar for Cyclists” will seek to challenge existing problems faced by cyclists by rejuvenating existing infrastructures in Tanjong Pagar Plaza and introducing a new typology of cycling-centric programs to bring forth a form of recreational aggregator and foster a sense of belonging for the residential community.
This proposal leverages on a form of adaptive re-use methodology that re-adapts the existing architecture urban elements into revitalized and purposeful cycling-centric spaces, while retaining its salient spatial qualities. As such, this adaptive re-use methodology can then be adapted to morph into other macro sites not just within Tanjong Pagar, but throughout Singapore as well.
TIMES & PLACES
PROTOTYPICAL URBANISM
by Jordan Yeo (Y3S1)
Studio Lee Tat Haur
Through Better Times and Places responds to the decentralized urban decay of non-space (HVAC) infrastructures in Tanjong Pagar. It critiques these typologies as dead spaces that are discrete, isolated, energy-intensive, sensorially revolting, and spatially segregative. Thus, the project attempts to turn these non-space infrastructures into a passive and ecologically third place that can be conceived
as prototypical urban patterns. This project proposes an alternative infrastructural typology that can be deployed as an adaptive reuse toolkit to replace the conventional non-space HVAC system. This toolkit takes reference to the theoretical framework of Atelier’s Bow-Wow Made in Tokyo by reading urban spatial types as a condition of a highly urbanized area.
The project replaces the non-spaces and instigates a Third Place architectural methodology: 1) a projection of the ‘Made in Tanjong Pagar’ (MITP) toolkit, 2) the introduction of new synergetic programs that accommodate the lifestyle of the urban demographic, and 3) Fostering spatial agency and public participation as a form of Third Place orgware.
TEMPORALITIES
AN URBAN MEDIATION
by Ryan Ho Zi Hao (Y3S1)
Studio Wong Chong Thai Bobby
In this project, architecture is visualised as a medium which establishes urban conditions that enhances the existing environment (tanjong pagar discovery park) while supplementing its observed mis-oppurtunities (Lack of shelter, diminished transitional space, unfavaourable environmental conditions).
INTERNAL PERSPECTIVES
The spatial conditions explored in this architecture is viewed as a way to mediate different temporalities within the field of media, whereby media which speaks of both local and global or old and new, is culminated within this adaptive and expansive structural field. The integration of diverse genres within musicals, classical plays, performing arts, digitial films and programes, are components which the architecture composes into a centre for cultural exchange. Where media is a form of cultural currency that enables the publicness of space.
THE LANTERNS
RE-ENVISIONED CULTURAL CENTRE
by Emil Harris Bin Jefree (Y3S1)
As Tanjong Pagar undergoes redevelopment with new commercial and residential buildings, it will focus on creating pedestrian-friendly spaces like other global cities. Tanjong pagar Rd and Duxton Rd is separated by two rows of shophouses. The carpark at duxton hill becomes an enclave separated from the outside due to inaccessibility and the slabs acting as barriers.
Studio Wong Chong Thai Bobby
Latching on the “infrastructure” that is the canopy and its stilt like structure, the intervention comes off as a metophorical statement to enrich the diminishing chinese culture and bridge the separated enclaves. Access to either sides of the shophouses are restricted, creating a barrier in this enclave.
These lanterns lights up the neighbourhood and bridges both cultural gaps as well as the physical restrictive nature of the existing infrastructure.
CUILNARY WONDERLAND
BACKLANE REJUVINATION
by Kang Shiqiang
Studio Zdravko Trivic
Tanjong Pagar’s shophouses, once vibrant centers of community life, have transitioned into more insular and detached entities within the neighborhood. This shift is largely due to the evolving edges and thresholds of the area, which now primarily creates individualized commercial spaces.
By reimagining the role of back lanes and adopting a decentralized approach, it will transform these historically significant structures into inclusive spaces that honor their heritage while embracing contemporary dynamics, fostering a harmonious and interconnected space for the community.
The transformation of Tanjong Pagar’s shophouses is an active effort to reinvigorate it as a vibrant communal hub that facilitate connections and nurture social cohesion. By reimagining the role of back lanes and adopting a decentralized approach, it will transform these historically significant structures into inclusive spaces that honor their heritage while embracing contemporary dynamics, fostering a harmonious and interconnected space for the community.
LIBER-TERRA:
‘FREE LAND’
by Tan Chu Yi (Y3S1)
Studio Zdravko Trivic
A COMMUNITY HUB FOR MIGRANT WORKERS
This project involves the creation of a community hub with the primary objective of supporting migrant workers by offering them a dedicated space to relax and socialize, even beyond their work hours. The chosen site is positioned between Fairfield Methodist Church and the end of two rows of shophouses. This location serves dual purposes: it functions as a service road for parking service vehicles and as a pathway for churchgoers to access the building’s basement car park.
MIRRORS SOCIAL QUALITIES OF A CHURCH BY PROVIDING A SENSE OF FREEDOM FOR MIGRANT WORKERS
INTERIOR RENDERS
Consequently, migrant workers often seek out hidden and secluded areas to rest and take breaks. Therefore, this particular space’s seclusion makes it an attractive option for them to spend some quality time. This situation underscores the fact that migrant workers often lack a sense of familiarity and belonging, which drives them to seek out secluded spaces for rest.
inspired by the concept of the “No-Stop City” by Branzi, this community hub aims to provide a welcoming space where migrant workers can feel at home, fostering a sense of ownership and inclusivity. The examination of thresholds and boundaries in site analysis has informed how this space can be clearly defined, and its use can be reinterpreted by its users, granting them a sense of autonomy and control over their environment. To mirror the social aspects of a church, this community hub strives to offer not only convenient amenities but also a secure environment for people to gather and socialize.
URBAN HARVEST
FARM TO TABLE INTERVENTION
by Lim En Qi Nicole (Y3S1)
Studio Jacqueline Yeo
In the heart of Tanjong Pagar, my architectural intervention seeks to redefine the urban landscape by addressing the unsightly elements that are often in our fields of views in the back alleys and service routes. By embracing alternating edges and spatial hierachy, the design strategically places service routes at a lower elevation compared to the dining areas of the hawker centre. This intentional ar-
rangement aims to conceal the unsightly elements of Tanjong Pagar, like the waste elements; elevating the users experience while creating an interplay between camouflaged and amplified zones. The design transforms the urban fabric into a choreographed experience through their field of vision.
The spatial chategories of the spaces betweenn camouflaged and amplification allows for alternating edges to be achieved, allowing for extend visibility. In the amplified spaces, the design allows for extended visibility, enabling users to perceive multiple spatial steps ahead, while in the camouflaged spaces, users are intentionally visually restricted, emphasising on the single next step. A hierachical spatial organisation is achieved by placing camouflaged spaces like the service routes at a lower eleveation.
My project aspires to contribute to Tanjong Pagar’s commonly used pathways by camouflaging the unsightly elements and amplifying the space
THE VALLEY
STITCHING FLOWS
by Yuan Zi Xin Grace (Y3S1)
Studio Jacqueline Yeo
Inspired and informed by the natural and soft tectonics of Duxton Plain Park where the flow is most prominent, series of intervention resembling a valley, aim to extend the ‘valley effect’ that characterize the tectonics, and states of behaviour it induces. The focused intervention seek to amalgamate formerly impoverished urban thresholds within Tanjong Pagar Plaza. Drawing in the flow that consists of diverse demography,the intervention, in conjunction with others.
BIOPHILICBRIDGE
HEDONISM AND GREEN LIVING
by Sean Lim Jun Rong (Y3S1)
Studio Roy Pang
In the field of architecture, there is a growing trend to make use of this ecological advantage. Singapore emphasize the critical importance of green building in promoting environmental sustainability. Despite these legal frameworks, the rapid development of urban infrastructure in Singapore has led to an increasing shortage of greenery and open spaces.
In this project, the integration of greenery plays a central role as the main design element. The conceptual framework includes establishing walkways between lanes and harmoniously integrating green spaces. In response to global challenges such as epidemics and trade disruptions, Singapore also grapples with issues such as food shortages.The integration of greenery has played a central role in addressing this concern, with urban agriculture becoming a central element in stimulating the intervention and improvement of public and social spaces. `
ART INSTALLATION GALLERY: THE UNCERTAINTY IN TRANSITIONS
by Wang Jiun Mei Maggie (Y3S1)
Studio Roy Pang
The project is about exploring public and private relationships with manipulations of sightlines and implied boundaries through art installation gallery as a programme. Based on site analysis, it can be concluded that back alleys of the shophouse area is the least utilised and unattractive places. Thus, I am seeking to attract visitors to explore Tanjong Pagar on a deeper level. As the gallery is located along the back alleys, the view angle from the main street can be predicted and designs can be adjusted to signal the presence of activities in the alley space. As a result, this gallery contains a private exterior to conceal the activities and leaving those passing by curious about what is happening inside. Small slits are introduced to achieve this by
SITE 2 DESIGN
BACK TO THE ALLEY
COME INTO THE BACK ALLEY...
by Ng Sang Teng Sheena (Y3S1)
Prominent green areas within shophouses and through Tanjong Pagar and increasing focus on sustainability. Traditionally, shophouses foster close-knit communities due to the proximity and sense of belonging among residents and shop owners. Currently, it provide spaces for small businesses, artisans and local entrepreneurs.Thus, highly visible on ground level. By decorating their facades, it cre-
ates a sense of celebration. Back alleys are often discreet from the public view and can become neglected over time. The limited accessibility of the narrow back alleys may hinder movement.
Studio Ronald Lim
Therefore, the design purpose seeks to find a solution to the question, “How can architectural devices, incorporated to transform layered spaces of privacy, effectively engage pedestrians from the streets into the back alley?”
SITE STUDIES, MATRIX, PRIVACY DIAGRAMS
APERTURES
A VISUAL AND SPATIAL JOURNEY
by Juan Rafael Salinas Panopio (Y3S1)
Studio Ronald Lim
Within the area of Tanjong Pagar houses a unique contrasting quality between the tall high-rise offices compared to the short low-rise shophouses. Present in not just the physical nature, it too can be seen in its qualitative nature.
When it comes to the physical nature, height, being the most obvious disparity between these two typologies, is
PHOTO COLLAGE
the first to come to mind. Underlying this glaring feature comes the density of these locations, where these highrise offices have a more efficient means of hosting programs within while occupying similar amounts or even lesser floor areas compared to the shophouses.
With the changing typologies and the need for these shophouses to adapt, one still needs to retain the identity of what truly makes these shophouses, shophouses, which is the overall goal of this architectural project.
EXUVIAE
PARASITIC URBAN FARMS
by Tee Kai Jie Forbes (Y3S1)
Studio François Blanciak
Amongst Tanjong Pagar, lies Oasia, a landmark exemplifying sustainability. However closer inspection reveals a fallacy. Does the additional screens and infrastructure to support plant growth, devoid of any functional purpose other than maintaining homogeneity, hinder the sustainability objective? How can these excessive and ornamental vertical faces be harnessed?
AN URBAN FARMING MACHINE
In a nation increasingly concerned about food scarcity, these ornamental vertical faces offer a unique opportunity. Positioned along the north/south axis, the ornamental facades receive optimal sunlight for crop cultivation, transforming into parasitic urban farms. The interior of the host, Oasia, is reconfigured to adapt to the parasite. Select hotel rooms are knocked down, creating a farm to table restaurant with an atrium. The urban farms become a living menu for diners. Once an example of excessive greenwashing, now embodies sustainability holistically.
UNDERGROUND OASIS
URBAN BEACH BENEATH THE CITY
by Sebastian Ng Yan Lin (Y3S1)
Studio Francois Blanciak
The brief explore the shifting of urban limits within Tanjong Pagar district, a vibrant business & commercial centre today. However, with its new urban density arises problems of connectivity, congestion and lack of public spaces. Underground oasis seeks to address this by integrating an urban beach into our current Underground Pedestrian Networks (UPN). Which are direct subterranean links
UNDERGROUND PEDESTERIAN NETWORK (UPN)
PEDESTERIAN PATTERN
connecting commuters from the train stations to surrounding developments. Within the site a new link is proposed from Tanjong Pagar train station to the residential estates (Tanjong Pagar Plaza & Pinnacle @ Duxton). To accomodate for the influx of resident-commuter, during peak hours. Enlivening an urban beach lines this underground transient space, as an ode to the district’s fishing village and shoreline past, prior to land recclaimation. It also offers a public space where families get to gather on the weekends and for office workers & tourists to unwind.
LAYOUT PLANS:
THEATRICS OF COMMERCE
MARKET-THEATRE
by Bryan Lee Jia En (Y3S1)
Studio Chan Wai Kin
Theatrics of Commerce examines Singapore’s Urban Landscape and Economic narratives, a choreography that challenges conventional market typologies. Tanjong Pagar becomes the stage for this endeavor, where economic disparities are spotlighted, shifting away from the discerning social divide characterised by economisation.
The project seek to question the rootedness of markets, proposing a hybridisation with host typologies to liberate urban spaces. The Market serves as the starting point for the three emerging prototypes and sets the stage for a revival of market freedom. Preliminary Meso-studies delved into the inefficiencies of horizontal market layouts, prompting a paradigm shift towards a vertical street.
As the curtain falls on this exploration, the audience is left with a profound question- Can commerce and urbanity coalesce to redefine societal narratives? It is a testament to leveraging market hybridity, a counter-narrative against the proliferation of gentrification. Architecture becomes a force that rebalances the economic topography, contributing to the escalation and reaffirmation of dominance.
INFRA
AGENCY OVER SPATIAL PRODUCTION
by Emil Balthasar Tobias Dube (Y3S1)
Chan Wai Kin
Spatial production in Singapore is a complex and contradictory spectacle. The modernist believe in urban renewal, big private developers, the pervasive script of neoliberal profitability, are big forces in the (re)production space on the island. No accident and randomness are left in the masterplan. Tanjong Pagar is the perfect case study.
A wild bricolage of hypermodern skyscrapers, old HDB
estates and the empty shells of the remaining shophouses show this process of urbanization. Is there an alternative breaking with the metanarrative justifying this totalitarian planning approach, that is more responsive to rapid change and resilient to the impact of climate change and demographic change?
Within the urban realm an archipelago of bottom-up
Studio
initiatives occupying the overseen spandrels of the urban condition could be the missing link. This approach is examined by developing a prototype that takes over a prominent left-over space in Tanjong Pagar Plaza, an old HDB complex. The project proposes an architectural language that reifies in the most radical way the splintering forces of the metropolis that might otherwise remain ungraspable. We see the process of construction as a collective act to (re)claim agency over spatial production.
Year 3 Semester 2
Studio Chaw Chih Wen
EXQUISITE HAWKER - Marcus Guo Mai Yang
CHANCE ENCOUNTERS - Tan Hui Qing
Studio Adrian Lai
GOD’S PLAN - Marcus Loh
TRANSCENDENCE - Aw Wei Kang
Studio Chan Wai Kin
SOLAR SPRINGS - Ryan Ho Zi Hao
THE ENCAPSULATOR - Sean Teo Chee Kiat
Studio Cheah Kok Ming
STREET HANG-OUT - Rachel Ariella Saly
TERRASCAPE - Sean Lim Jun Rong
Studio Pan Yi Chen
WHEN WE NEED MORE, WHERE DO WE GO? - Jamie Foo
COURT-DENSER - Lionel Lee
Studio Lawrence Ler
HYDRO.CULTURE - Lee Teng Long Tommy
SPILL THE TEA CUP OF WELLNESS - Loh Min Ru
Studio Wu Yen Yen
AQUADYNE - Grace Yuan
SUNLIGHT CONDUITS - Sanya Dixit
Studio Ng San Son
SOWN IN RAIN - En Bryan Lee Jia En
TUBULAR LIGHTS - Sheena Ng Sang Teng
Studio Frederico Ruberto
DECAYING DREAMSCAPES - Wong Yi Xuen
REDEFINE ASHSCAPES - Arif Azraei Bin Sabarudin
Studio Peter Sim
CONVERGE CENTRAL - Zhang Shije
TRANQUIL HAVEN - Wang Tianyun
Year 3 Semester 2
Studio Jacqueline Yeo
LIGHT UP THE WAY - Jolin Koh
HAWKER ECOLOGY - Zikry Nasrullah Bin Zairul Azidin
Studio Fiona Tan
DYSPLASIA - Tee Kai Jie Forbes
HAWKER SOUNDSCAPE - Sarah Ng Jing Yun
Studio Chin Kean Kok
SYMBIONT - Glen Ang Xun Zhe
IN EVERY BREEZE - Jordan Yeo
Studio Joseph Lim
REALM OF SERENITY - Shiu Jerome Millian
DO YOU WANT TO START A NEW GAME? - Wang Maggie
EXQUISITE HAWKER
A PROTOTYPICAL HAWKER CENTRE
by Marcus Guo (Y3S2)
Studio Chaw Chih Wen
A quick investigation into the typical hawker centre would reveal seemingly endless self-encompassing and self referencing sets of systems, each containing flows of information, energy, and communication. As a typology primarily driven by a need for practicality and rapid development, hawker centres were unadorned with luxurious embellishments, their inner machinations and
very bones were open for all to see and admire. Individual vendors herded into a sheltered space eventually morphed into a single entity, losing their original individuality and freedom. The resultant composition of the early 1900s surrealist game “Exquisite Corpse” is a whole that is far greater than simply the sum of its constituent parts. a celebration of the hawker within an ‘exquisite’ system.
A prototypical column module with individually rotating segments is deployed in a field, each vertical element serving as a conduit for vertical system flows. Various site specific parameters dictate rotations on each floor, ultimately creating a form that both influences and is influenced by the site. Individuality of the part is then kept intact within a larger harmonious whole.
FLOOR PLANS
CHANCE ENCOUNTERS
REVITALISING HAWKERS
by Tan Hui Qing (Y3S2)
Studio Chaw Chih Wen
Towards a vision of placemaking and revitalising of the hawker center along Mei Ling Street, CHANCE ENCOUNTERS proposes a vibrant and exciting alternative to the Hawer Center typology, integrating community programmes and food waste management systems within the broader programme of the hawker center. Playing to the grammatology of elements in the exploration of the design direction, ‘courtyards’ and ‘corridors’ were analysed and explored in the creation of a spatial organisation methodology to frame circulation, functions, views and programmes within the hawker center. Corridors were reimagined to house programmes along a linear organisation in functional habitation while courtyards denoted the main intersection nodes of on-site circulation.
These functions cover community programmes that help creater a circular relationship between the community and food waste management systems in the hawker center, witnessing the integration of the main hawker center corridors, green corridor, seating corridor, view corridor, fitness corner corridor, bird singing corridor, central waste management node facilitating the paper making factory, craftmaking node, paper retail node, paper workshop node, paperwork display node as well as back of house circulatory nodes. The spatial form imagines the creation of chance encounters between nodes of communities as one journeys through the hawker center and its respective community and waste management programmes, creating opportunities for once isolated communities to meet one another in the heightening of social cohesion amongst the community.
GOD’S PLAN
HAVE A LITTLE FAITH
by Marcus Loh Men Tong (Y3S2)
Studio Adrian Lai
Architectural forms are not intrinsically linked to belief systems - this is demonstrated by the fact that, historically, there have been many examples of places of worship being converted from one faith to another, and, faiths share common architectural form. Precedence has shown that absence of religious iconography and artefacts allows multifaith spaces to maintain neutrality through “unity by exclusion”, but does that lose the sacredness of space?
when religious activities beyond prayer such as dialogue, lectures, celebrations of life, death and matrimony are brought to light, the spiritual, secular and non-religious are all included beneath the eyes of god. God’s Plan is an exploration that demonstrates some of the possibilitiesand the problems - inherent in the idea of adherents of different faiths sharing spaces of worship.
TRANSCENDENCE
ECHOES OF FREEDOM
by Aw Wei Kang (Y3S2)
Studio Adrian Lai
Inspired by free speech and student activism, it aims to create a dynamic student hub that breaks down barriers to open dialogue. Informed by history, 1970s student movements, and Singapore’s educational system, “Transcendence” tackles limitations to free expression. It designs unconventional spaces where diverse view points can thrive and intellectual discussions flourish, with informal areas being preferred. This challenges traditional design thinking.
The project’s design is multifaceted, inspired by the deconstructivism of the Jewish Museum Berlin. It considers both measurable aspects and emotional responses alongside spatial organization to create areas that seamlessly shift between formality and informality. Formal areas are designed to be serious and inward-looking, while informal spaces are bright and open to encourage interaction. The entire layout, with the central cafeteria as a hub, is meant to break down barriers and spark lively discussions, making YIH a central point for diverse voices at NUS.
SOLAR SPRINGS
AN EXPLORATION OF SURFACES
by Ryan Ho Zi Hao (Y3S2)
Studio Chan Wai Kin
The nature study of cholorplast and its observation of reactive desnification or even fragmentation, offers a new perspective as to how conventional solar collection roof spaces (large spanning roofs with low sunlight permeability) can be better modified in order to create permeable spaces for the public while maintaining the needs of solar energy systems.
INTERNAL PERSPECTIVES
Similarly to how the cholorplast cells “break apart” or “condense” based on solar needs, the project adopts this logic of interchange between differrnt massing densities. This is explored through The development of primary (Shell foundation) and secondary structures (Roof parts) as an underlining principle that guides the flow of construction for the architecture. This biomimetic approach aims to shed light as to how “lessons from nature” can challenge the typicality of spaces while curating experential spaces.
THE ENCAPSULATOR
HARNESS WINDFLOW
by Sean Teo Chee Kiat (Y3S2)
Studio Chan Wai Kin
The Encapsulator project aims to capitalize on Singapore’s prevailing NNE and S monsoon wind flow to revolutionize clean air research. By channeling the wind through a specialized wind tunnel, the facility creates an ideal environment for studying air quality and developing sustainable solutions. Additionally, the project incorporates a cutting-edge sports research lab, providing athletes with
a controlled training environment to enhance performance outcomes.
Emphasizing a sports-oriented program, the project offers public access to state-of-the-art facilities. Notably, the kinetic energy generated by these facilities is harnessed and converted into electrical energy, contributing to the efficient powering of various amenities within the complex.
The schematic diagram aims to portray how high wind speed due to the venturi effect through the wind tunnel plays a role in generating a negative pressured room using the bernoulli’s effect. With these two effect working in play, we are able to create a change in air pressure within the spaces thus tieing back to our programme of the clean air research facilities as well as the cutting edge sports research labs. Furthermore demarketting the different types of spaces such as service, servant, private and public.
STREET HANG-OUT
URBAN CULINARY STREETSCAPE
by Rachel Ariella Saly (Y3S2)
Studio Cheah Kok Ming
Street Hang-out is designed for residents of Mei Ling and visitors to relive the experience of past hawker streets in an urban context. The design focus was on strategic deployment of the elements balcony and staircase to craft different vantage points and the experience of vibrant facades, shaping the streetscape character for the enjoyment of hawker-fare.
HYBRIDISATION OF ELEMENTS
A townscape that supports rich community programmes for the residents and visitors in Mei Ling was intentionally created for a street-like environment. Hence, different blocks were designed to capture the varieties of streetscape spaces and culinary experiences based on cuisines. The design involves a common theme of hanging balconies that support the display of signage and equipment mounting and other programmes. Each block utilises the elements differently to support its specific urban activities, promoting vibrancy and spontaneous interactions.
TERRASCAPE
BIOPHILIC ROOFSCAPE
by Studio -
trons. Moreover, these centers typically serve a singular function of dining, leaving untapped potential for broader
Terrascape seeks to redefine the role of hawker centers by integrating innovative design elements that create multifunctional spaces and foster a stronger connection to nature. By introducing new hybrid spaces utilizing courtyards and staircases, the project aims to cultivate vibrant communal areas within hawker centers. Additionally, the concept of incorporating a park-like environment directly
WHEN WE NEED MORE, WHERE DO WE GO?
by Jamie Foo Si Shing (Y3S2)
Studio Pan Yi Cheng
At the heart of “‘when we need more, where do we go?’” lies a deep commitment to inclusivity and community participation. Recognizing the unique residential demographic of the Meichin neighborhood, the project strives to create spaces that resonate with the lived experiences and aspirations of its inhabitants. This is done through the analysis of existing hawker models, and exploring the potentials of using a model of hyperefficiency to create a hawker space that functions beyond its role as a communal eating space.
The project’s approach is rooted in a holistic understanding of placemaking, acknowledging that the success of any space lies in its ability to foster meaningful connections and interactions.
Through thoughtful design interventions and strategic programming, the hawker centre will evolve into a dynamic platform for cultural exchange and social cohesion. Whether it’s a bustling marketplace showcasing local artisans or a tranquil garden oasis for contemplation, every corner of the space is infused with purpose and meaning.
Furthermore, “‘when we need more, where do we go?’” is not just about physical transformation; it’s about nurturing a sense of ownership and pride among residents. By actively involving the community in the co-creation process, the project empowers individuals to shape the future of their neighborhood. Through workshops, consultations, and collaborative design sessions, residents will have the opportunity to voice their ideas and aspirations, ensuring that the hawker centre truly reflects the collective vision of the community.
COURT-DENSER
COURTYARD AS SOCIAL CONDENSER
by Lionel Lee Wen Jun (Y3S2)
Studio Pan Yi Cheng
Inspired by the vibrant tapestry of activities found in Chinatown Complex Market, an integrated market type. Courtyard Condenser is a visionary architectural endeavor that seeks to redefine the traditional hawker centre paradigm. At its core, the project is driven by the concept of social condensation ; the deliberate act of bringing people together in shared spaces to promote social cohesion and interaction. Drawing from the existing spaces found in Chinatown Complex Market, Courtyard Condenser features a series of strategically positioned courtyards interconnected by weaving circulation paths. Ideas of overlapping and intersecting programmes, shared circulation nodes, as well as collision zones are used to help achieve the goal of being a community centric hawker centre.
By leveraging the spatial strategies of overlapping programs and share circulation, there is a creation of a dynamic and socially condensed environment, The Court-Denser aspires to serve as a beacon of community-centric hawker culture, enriching the urban fabric and connecting seamlessly with the surrounding HDBs. It is not merely a place to eat, but a vibrant cultural necus where traditions are celebrated, stories are shared and bonds are forged - a testament to the enduring spirit of Singaporean identity.
HYDRO.CULTURE
REIMAGINING YUSOF ISHAK HOUSE
by Tommy Lee Teng Long (Y3S2)
Studio Lawrence Ler
The conceptual genesis of the redesigned Yusof Ishak House was rooted in geometric principles, where a meticulous grid framework laid the foundation for its architectural expression. While the exterior adheres faithfully to this grid, symbolising order and structure, the interior reflects a departure towards circular forms, fostering a sense of fluidity and interconnectedness. Divided into two distinct
wings — the tranquil “rest” wing and the vibrant “recreation” wing — the space caters to diverse student needs and activities. The rest wing features an array of uniquely shaped pods for relaxation, study, and contemplation, enveloped by a mesh facade that creates a cosy ambiance. The recreation wing adopts an open-plan layout, anchored by a spacious lobby that spans all levels, fostering social
social interaction and collaboration. A transparent glass facade bathes the space in natural light, nurturing a sense of openness and vitality. Central to the design is its role as a water harvester, with the gently curved roofs mimicking the shape of a hammock, directing rainwater to a central collector cascading through the building. This sustainable feature not only aligns with NUS’s commitment to water conservation but also serves as a focal point for a multifunctional ground floor space, integrating recreational elements like a rock-climbing wall and playground.
SPILL THE TEA CUP OF WELLNESS
IN PROCESS OF MENDING BROKEN POTTERY[S]
by Loh Min Ru (Y3S2)
Studio Lawrence Ler
Premised on the attitudes towards well-being, a survey was conducted online among NUS students to ascertain if they have enough free time to cater to different aspects of well-being through existing facilities in school during the
semester. To make aware, a majority only have onethree hours available weekly to cater to their own needs. Emotional welfare is mostly compromised followed by social and spiritual. Through the inqusitory of preferred programs to mitigating one’s own wellfare, a commonality found was the association with tea culture that underpinned the foundation of the project configurations of tea cups.
To conceive a culture of holistic wellness among students where they can find respite and connection through Art & Tea. The site hosts multiple “tea cups” to mirror the various workings in life. Like the undulating moments, the cups are subjected to external factors, in this case: wind path and pedestrain traffic, that breaks up the form into disparate pieces. If broken pottery can be made whole again with delicate repair, one can restore their sense of well-being through self-care and support towards wholeness.
AQUADYNE
RESEARCH & RECREATIONAL CENTRE
by Yuan Zi Xin Grace (Y3S2)
Studio Wu Yen Yen
Taking Precedence from the Lotus leaf, the building’s form and organizing principles are inspired by the lotus morphological responses to water as an external stimuli and its algorithmic changes to optimize its hydrophobic abilities. The building’s structure features a series of voronoi tessellated roof cells with truncated apexes, mimicking the lotus leaf’s surface. These cells increase in density and height in the presence of water, enhancing their hydrophobic performance. Additionally, the building incorpo-
rates two other layers of structure, derived from the natural organizing and morphological principles extroplated mesophyll cells and the epidermis. In optimal conditions, columnar structures beneath the roof surface are tightly packed, In times of drought, these structures shrink uniformly, maintaining their strength. The slab is warped around the lowest points of each columnar cell, creating water collection and storage properties when sunken into the earth, referencing former areas of ponding on the site.
The truncated roofs and columnar towers work together to accelerate and direct rainfall into these collection areas. Larger columnar towers house research laboratories, offices, and workshops focused on harnessing water as a renewable energy source. Whereas in the remaining white spaces offer Visitors a comprehensive experience with rainwater and would be brought through its processing stages.
SOWN IN RAIN
CIRCA-RHYTHMIC DEFORMATIONS
by Bryan Lee Jia En (Y3S2)
Studio Ng San Son
Sown in Rain delves into Singapore’s botanical narrative, aiming to reverse extractive botany modes and deepen the city-state’s agenda through a seed to transplantation facility. Inspired by the circa-tidal filtration properties of oyster gills, the project questions architecture’s role as a time deformer, exploring stormwater management strategies.
Structured into three scales, the project unfolds in a performative study: Macro: Tensioned structures enhance water absorption, maximizing surface contact through surface tension.
Meso: Water seeps into cavities, forming a living skin that stretches to prevent desiccation, embodying water retention.
Micro: Over time, water drips through porous skin, ejecting into the ecosystem.
Through the integration of rainwater harvesting strategies, the coastal nursery enhances Marina’s ecosystem resilience. Sown in Rain becomes a tool to bridge Singapore’s botanical heritage, supporting the counterparts of the Garden city landscape.
TUBULAR LIGHTS
ILLUMINATE GREEN SPACES
by Ng Sang Teng Sheena (Y3S2)
Tubular lights seeks to improves on Singapore’s ways of obtaining sustainable energy. It seeks to find solutions to the question, “How can Architectural Designs integrate effective sustainable energy solutions while maintaining optimal experiential environment for the users?”. Inspired by the weave patterns of the Venus Flower Basket, the project analyses the iterations, studying solar energy.
Studio Ng San Son
AXONOMETRIC DIAGRAM
Through the integration of solar harvesting strategies, the project enhances the site through an integration of biomass renewable centre. Utilisting the energy harnessed from the solar energy, biowaste around Gardens by the Bay is able to be converted into new electricity.
Connecting the programs and visions through the tubular structure, this project becomes a bridge to improve on capturing Singapore’s sustainable energy and a tool to counter time.
DECAYING DREAMSCAPES
EMBRACING LIFE IN DEATH
by Wong Yi Xuen (Y3S2)
Studio Federico Ruberto
Should architecture be seen as something transient or enduring? Within the realm of architecture, there exists the perception of impermanence, particularly notable in Singapore where the line between “installations” and architecture often blurs.
PROCESS DIAGRAMS
PROCESS MODELS
By challenging preconceived notions of longevity and the significance of architecture in Singapore, Decaying Dreamscapes offers an extremity of landscape and degrading forms. To subject oneself to nature’s control is to dictate sustainability in the purest form.
Amidst the crumbling whispers of decaying dreamscapes, thereis beauty in one’s expiration.
REDEFINE ASHSCAPE
WASTELAND RESEARCH CENTRE
by Arif Azraei Bin Sabarudin (Y3S2)
Studio Fedrico Ruberto
Our architectural endeavor embodies a transformative vision that transcends conventional boundaries, seamlessly blending computational prowess with the elegance of biomimetic design. At its core lies a profound commitment to addressing Singapore’s land scarcity by ingeniously repurposing waste ashes as a sustainable construction. This endeavor is not merely about erecting structures; it’s about cultivating a symbiotic relationship between human ingenuity and the natural world. By integrating advanced algorithms with ecological principles, we aim to create adaptive, resilient structures that not only meet urban needs but also enhance environmental harmony. Our vision aspires to set a new benchmark for sustainable urban development, inspiring innovations in green architecture.
Inspired by nature’s intricate patterns, our design ethos combines computational generation and discrete aggregation principles to create dynamic, evolving forms. The z-axis symbolizes verticality and depth, transforming waste ashes into functional building components, each particle representing a pixel of sustainability. Our approach mirrors the adaptive behavior of Physarum polycephalum, using attractor points governed by Mechanical & Electrical (M&E), Circulation, and Environmental systems to precisely guide material distribution. This biomimetic strategy ensures our structures adapt and respond to environmental stimuli.
In our quest for sustainable architecture, we’ve pioneered a harmonious future where innovation and beauty converge. By blending biomimetic principles with computational ingenuity, we’ve not only tackled land scarcity in Singapore but also set the stage for a paradigm shift in architectural design.
EXPLODED PHASES
by Zhang Shijie (Y3S2)
shared office areas. Retail spaces are also allocated for student enterprises to market their products directly or through temporary stalls. Additionally, a central atrium,
patterns observed on the premises, arranged atop a planar grid of equilateral triangles. Two twisting linear bodies, each housing a pathway, intersect twice, forming a
Studio Peter Sim
Central
Unit 3 Peter Sim Studio
existing Yusof Ishak House, this designed to foster and support variety of fabrication workshops, office areas. Retail spaces are also market their products directly or Additionally, a central atrium, open from building complex, providing a venue events.
foster and support includes a variety of fabrication workshops, shared office areas. Retail spaces are also enterprises to market their products directly or Additionally, a central atrium, open from through the building complex, providing a venue university events.
areas. Retail spaces are also enterprises to market their products directly or Additionally, a central atrium, open from the building complex, providing a venue university events.
Converge Central is significantly shaped patterns observed on the premises, equilateral triangles. Two twisting linear intersect twice, forming a perimeter from above. This design allows access different sections of the pathways leading to the building bodies, accommodating various
of Converge Central is significantly shaped patterns observed on the premises, of equilateral triangles. Two twisting linear pathway, intersect twice, forming a perimeter events plaza from above. This design allows paths and access different sections of the covered pathways leading to the building larger linear bodies, accommodating various passageways.
Converge Central is significantly shaped patterns observed on the premises, equilateral triangles. Two twisting linear pathway, intersect twice, forming a perimeter plaza from above. This design allows access different sections of the covered pathways leading to the building linear bodies, accommodating various passageways.
mass-engineered timber truss-cable
flank the sides of the linear bodies, elevation shifts. The floor plates below sloping trusses via metal wires, lower level that starkly contrasts the Thanks to this truss framework, the distances, bridging over the bustling
incorporates a mass-engineered timber truss-cable components flank the sides of the linear bodies, elevation shifts. The floor plates below from the sloping trusses via metal wires, airy lower level that starkly contrasts the overhead. Thanks to this truss framework, the wide distances, bridging over the bustling
mass-engineered timber truss-cable components flank the sides of the linear bodies, elevation shifts. The floor plates below the sloping trusses via metal wires, airy lower level that starkly contrasts the Thanks to this truss framework, the distances, bridging over the bustling
perimeter around the central events plaza from above. The construction incorporates a mass-engineered timber trusscable system, where floor plates hang from the sloping trusses via steel cables, resulting in an architecturally airy lower level that starkly contrasts the substantial trusses overhead. Thanks to this truss framework, the building’s form can span wide distances, bridging over the bustling atrium below.
TRANQUIL HAVEN
REIMAGING YUSOF ISHAK HOUSE
by Wang Tianyun (Y3S2)
Studio Peter Sim
Located on the National University of Singapore’s (NUS) Kent Ridge campus, Yusof Ishak House (YIH) historically served as a central student hub, promoting cross-disciplinary interactions. Positioned at the campus heart, between student residences, the central library, and the sports hall, YIH was ideally located for seamless integration.
Through extensive research and interviews, this project has identified critical issues impacting student life on campus, notably the increasing academic pressure and the lack of adequate relaxing or recreational spaces. Despite the presence of numerous student interest groups, non-campus living students and international exchange students often struggle to cultivate a sense of belonging.
This design aims to create an all-in-one retreat space that enhances students’ well-being and mental health, fostering a welcoming environment for all. It emphasizes architectural psychology, exploring the sensations evoked by various geometric spaces and material systems. These elements are thoughtfully integrated to establish a soothing and comforting atmosphere, providing students with a place to relax and unwind.
The final proposal features four independent yet interconnected drum buildings linked by a common ring path to navigate the steep terrain. The circular design leverages the unique properties of the circle to guide movement and create highly aesthetic, sculptural spaces. Juxtaposing the corten steel path with white plaster curved walls, the design enhances circulation, visual and spatial connectivity, and frames views of the natural environment, offering a mental balm.
MATERIAL ASSEMBLY
LIGHT UP THE WAY
REIMAGINATION OF A HAWKER
by Jolin Koh Miao Lin (Y3S2)
Studio Jacqueline Yeo
LIGHT up the WAY creates a dining narrative simulated by a carefully orchestrated rhythmic movement that faciliates an efficient flow of hawker diners. This is realised through the reimagination of a typical horizontal typology of a hawker centre into a vertical system. By breaking up different types of circulation among staggered levels and utilising light as a wayfinding tool, collisions between cir-
culation paths are minimised, thus optimising the flow of people and goods throughout the hawker centre.
Using the architectural elements of balconies and beams, the design exploration aim to redefine their functions to enhance spatial quality and optimise movement.
Upon studying the existing Meiling Hawker Centre, it became evident that there wee numerous instances of accidental gathering due to the overlapping of different circulation paths. The open and free layout of the hawker seats contributed to a disorderly flow of people, leading to inefficient movement patterns. This inefficiency often resulted in collisions between different circulation paths, slowing down the process of food preparation and consumption while also intruding into the personal space of hawker diners.
Balconies were conceptualised as staggered levels to create different degrees of visual connectivity and spatial organisation. Beams were reimagined as arches and translated into the idea of curved forms, exploring their potential to diffuse light. Various forms and degrees of curves were manipulated to faciliate light diffusion to create different spatial characteristics for different spaces.
HAWKER TYPES
HAWKER ECOLOGY
CELEBRATING DRAINAGE SYSTEMS
by Zikry Nasrullah (Y3S2)
Studio Jacqueline Yeo
A hawker centre typology that imagines potential functions of utilitarian elements in a building. In this project, drains are celebrated in various scenarios beyond its original function of water conveyance. By curating the circulation of water and users in the hawker centre, every surface is meticulously curated to present new ways we can appreciate utilitarian drains at micro, meso and macro scales.
A thorough site analysis reveals how water systems in Queenstown are kept hidden, as though we are embarrassed to acknowledge such systems that drive core programmes in architecture.
USERS INTERACTING WITH THE SPACES CURATED BASED ON THE PROGRAMMES
The project begins with an exploration of selected architectural elements called Dare Models, concurrent with an analysis of these elements in an existing hawker centre. Through an aggregative approach, spaces are crafted with precision to form a dense yet individualistic experience. Ultimately, this projects aspires to catalyse a paradigm shift in our perception towards utilitarian elements in architecture and to question: how could they be better appreciated together with the rest of the elements of architecture?
HYBRID DIGITAL + MODEL VISUALISATION
DYSPLASIA
A SUSPENDED HAWKER TYPOLOGY
by Tee Kai Jie Forbes (Y3S2)
The existing Mei Ling Market exemplifies the potential threat of obsolescence as hawker centers age beyond their prime. How can these seemingly outdated cultural hubs evolve and contribute to their communities beyond their lifespan? Dysplasia is an exploration of reclaiming the ground floor of a hawker center for community use while tackling the concerns of outgrown hawker centers.
This exploration is achieved through the elements of columns and roof canopy. Clusters of mega columns hoists up the roof canopy structure, which also serves as a medium to suspend the hawker center downwards through hoisted columns. By freeing up the ground floor, a much-needed public space is then reclaimed back for the community.
Studio Fiona Tan
The roof canopy now serves as a platform for the elevated hawker stalls and double as a food waste arts centre. Green waste are collected and then processed into washi paper, offering a sustainable and artistic approach to waste management. When the hawker centre is no longer a need in the area, the hawker centre modules can be replaced with newer modules to accommodate new programs. A reimagination of hawker centres as dynamic, adaptable spaces.
DYSPLASIA; HAWKER SPACES
HAWKER SOUNDSCAPE
CHAOS TO COMPOSITION
by Sarah Ng Jing Yun (Y3S2)
Studio Fiona Tan
The study of sound is an often overlooked dimension in the architectural design of hawker centres where emphasis on programmatic function inadvertently creates noisy atmospheres with the overlapping of dense and conflicting sounds. Improper architectural acoustics can significantly compromise one’s mental and physical well-being, particularly among vendors and patrons consisting of senior citizens and the neuro-atypical community. Ultimately, this project aims to reate a more acoustically-tuned hawker centre for the comfort of diners and stall vendors. It ameliorates the hawker centre’s soundscape using the study of sound as an organising principle of spatial programme, where walls and columns are manipulated to shape sound propagation and our audible perception.
FIRST TO THIRD STOREY PLANS
This is conducted by segregating acoustic hawker zones, isolating noise sources in stalls, creating quietened zones and other acoustic dining environments, and introducing transitional spaces in between. Additionally, This project explores materiality where the sound-treated roof and wall claddings are sustained by the in-house manufacturing of sound absorping panels. These panels are products of the hawker’s foodwaste management system where coffee waste and vegetable scraps are recycled to support the hawker’s desired soundscape.
SYMBIONT
TOWARDS AN ECOCENTRIC ARCHITECTURE
by Glen Ang (Y3S2)
Studio Chin Kean Kok
The project Symbiont aims to investigate into an ecocentric typology that functions both for human and nature, learning from the ecological function of the stony coral as a basis for symbiotic and biomimetic design. Further investigation into the micro, meso and macro scales of the stony coral provides insight into potential form, structure and climatic functions that
coexist and function as part of a larger infrastructure.
Located within the biodiverse environment of Marina Barrage, a hybrid structure that veers between manmade and natural is constructed, weaving and emplacing itself as part of the larger context rather than against it.
It is a form that is conceived as a self-organising whole, reacting and adapting to the natural triggers of sunlight, shifting and changing in a multitude of scales to provide energy and thermal comfort for its users. It is a structure that gives home to a variety of forms (human & non-humans), extending beyond spaces of the inside and outside, but to investigate how the “inbetween” could be utilised. It is an experimental prototype for the future, providing insight into potential ecocentric modes of living that our
IN EVERY BREEZE
4D BIOMORPHIC AUTOMATA
by Jordan Yeo (Y3S2)
Studio Chin Kean Kok
The project is an investigation of architectural resiliency by conceiving architecture as a responsive natural computational automata to the climate, in particular, the element of wind. The project seeks to challenge conventional attitudes of wind as an element to armor our structure against, by reimaging how productive interactions can take place in reaction to every breeze.
To do so, a biomimetic study on the aerodynamic properties of the dragonfly wings to which its lightweight structure is able to react and leverage on the live wind loads to generate productive outcomes. With reference to the biomimetic study, an agglomerative construction logic of micro-to-macro polymorphic systems is employed.
In so doing, the architecture, a Wind Metereological Center, reacts to the fluctuating climatic conditions and facilitates the movement of wind networks (macro), reactive airfoils (meso), and (micro) wind-driven interfaces. Programs and spaces are then morphed in synergy with the resultant climatic conditions to leverage on the atmospheric, energy, and experential qualties.
REALM OF SERENITY
A SANTUARY FOR SELF-REFLECTION AND MEDITATION
by Shiu Jerome Millian (Y3S2)
Studio Joseph Lim
In the fast-paces world of academia, where students must manage a plethora of opportunities and challenges, a peaceful retreat is essential to promoting overall wellbeing. This project aims to reimagine the conventional student center by incorporating unique spaces dedicated to meditation, selfreflection, and a diverse array of wellness activities.
DO YOU WANT TO START A NEW GAME?
STUDENT
CENTRE FOR GAMING
by Wang Jiun Mei Maggie (Y3S2)
Studio Joseph Lim
This project is about creating a gaming-focused student centre at the YIH site in NUS for students wishing to escape from stressful academic life while enjoying a game with friends. Several types of gaming area are provided for various gaming experiences, with amenities like café for hungry players at the four entrances. If students are unsure what to play, they can proceed to libraries where
collections of games and related peripherals are on display. Library’s mezzanines are for role-playing games with make-believe experiences. Competitive games and chance games are allocated to the gaming street below the middle library volume. E-sports are under the library furthest up the slope. For students seeking a private gaming session, the six villas hidden on the slope are perfect for that.
Library volumes are in a self-shading arrangement and provides privacy. The elevated library volume is an indication of gaming areas for easy navigation and the water cools down air temperature, providing comfortable gaming experience regardless of dry or wet weather. Patterns from well-known board games are redesigned through simplification. Elements from the new patterns are then extracted and extruded to serve as the main design language, forming facades, spaces and unconventionally shaped components to remind students to have fun.
VERTICAL OPTIONS STUDIO STUDIO
SEMESTER 1
Vertical
Studio
SEMESTER 2
Options
Studio
This design module sequence establishes the foundation for master level creative research and design. Framing design as a creative practice, the objective of the module is to develop a high level of competency in creative research, that leads to architectural design outcomes which are in turn aligned to the faculty’s expertise and interests. The design module provides students with an opportunity to select from a variety of studio topics; thereby allowing them to choose the themes aligned with their individual interests and intellectual drives, while creating synergy with their studio leaders. This module expects students to demonstrate a high degree of proficiency in creative research, design thinking, representation and communication. In the process, students are not only conducting research, but also translating its outcomes into actionable strategies in architectural design. All processes and final products should be communicated through non-verbal and verbal mediums with mature representational techniques.
Vertical Studio Year 4 & 5 Semester 1
Studio Florian Heinzelmann
NAVIGATING URBAN THRESHOLDS - Melinda Kumala
Studio Rudi Stouffs
BLUE GRIDS - Ying Yue, Rongije, Zhi Yan & Chalmers
Studio Pier Alessio Rizzardi
TAPESTRY OF BEING - Vivi Serelli Lee
THE RETURN OF NATURE - Chen Yuwei
Studio Richard Ho
THE DATA SANCTUARY - Chew Shi Cheng
Studio Teh Joo Heng
SK8-TOPIA EMPOWERING YOUTHS-AT-RISK - Darien Wu
[INTER]SPACES. - Lee Yi Hao Gilbert
Studio Tan Beng Kiang
THRIVEHIVE - Cheryl Lam
BALIK KAMPUNG - Clarabelle Pun
Studio Mike Lim
OBJECTS IN SPACE - Sheares Quek Ning Xuan
Studio Simone Shu-Yeng Chung
TSUKIMI - Li Zeyi
HOW TO LIVE WITH HERITAGE VALUE - Zhao Wangyue
Studio Tan Teck Kiam
THE VERTICAL ARTISAN - Declan Fu Ze Xing
Studio Joseph Lim
THE GALACTIC BOWL - Lam Wei Min Joel
Studio Soh Leen How
CITIZENM WATERLOO - Chiew Yi Ying
Studio Kevin Mark Low
EMPEROR’S NEW CLOTHES - Chen Xing Sheng
Studio Erik L’Heureux
PARKSIDE DUO - Phua Jue Hua Pearl & Yap Aston
Vertical Studio Year 4 & 5 Semester 1
Studio Lawrence Ler
UPLIFT - Isaac Chu Peicong
PLAYPLACE - Desiree Loh Weili
Studio Fung John Chye
FLOWING BLUES NEIGHBORHOOD - Chelsea Ho
CENTREE X TROPICAL TOWERS - Bin Johaqqis Johari
Studio Khairudin Saharom
RED TAPE FACTORY - Akmal Moksin
PEEPING PERSPECTIVES - Tan Jia Xuan
Studio Tsuto Sakamoto
HOUSE M - Matthew Goh XinZhi
CLUSTER IN CLIMATE - Darren Teo Wei Jun
Studio Gaurang Khemka
ARBOGLAM - Gregory Wong & Luo Tian Ho
NAVIGATING URBAN THRESHOLDS FOR KAMPUNG DWELLERS
EXPLORING SPATIAL & PROGRAMMATIC PARAMTERES
by Melinda Kumala (Y4S1)
Studio Florian Heinzelmann
The site houses a series of warehouses, used as storage for Indonesia’s train company (KAI) during the Dutch occupation. Adjacent to its northern and southern boundaries are kampungs, where low income families occupy the land and construct settlements informally. Urban development in Indonesia often exacts a toll on kampung dwellers, frequently resulting in forced evictions. The site has been the
subject of numerous redevelopment proposals, leading to the creation of several masterplans. Across these proposed plans, developers and architects consistently advocate for the demolition of the kampung settlements, thereby displacing the residents whose livelihoods are intertwined with the area. The project proposes a transitional space to integrate kampung dwellers into urban areas.
The methodology involves mapping program connectivity and accessibility parameters based on activity types and formality. Aggregating this data through discrete assembly creates a modular architectural outcome with varied spatial quality. Education is central, empowering individuals to navigate their changing surroundings. Through workshops and skill development, kampung dwellers gain tools for urban participation. The project proposes a pragmatic solution for urban development challenges in Indonesia, focusing on education, empowerment, and transi-
BLUE GRIDS
WATER-DRIVEN URBAN DESIGN
by Chew Zhi Yan (Y4S1)
Ying Yue (Y4S1)
Zhang Jiayu (Y5S1)
Zhang Rongjie (Y4S1)
Studio Rudi Stouffs
Our project aims to develop a systematic approach to urban design, here specifically focusing on water management strategies for the the Bayshore area in Bedok, Singapore.This methodology results as a supportive tool for helping the designer to look at the objective in its complexity and to organize all the factor by enabling them to relate and evolve autonomously, which involves few steps: define objectives, preliminary analysis, case study, vacabulary creation, grading scheme, sentence formation, and evaluation.
BLUE GRIDS
WATER-DRIVEN URBAN DESIGN
VOCABULARY GRADING CHART - ABC WATER MANAGEMENT STRATEGIES
Singapore, with a strong focus on water management. Through the implementation of various water management strategies in different scales, we strive to create an active, beautiful, and clean environment for the community. By harnessing the power of water, blending nature and architecture, and ensuring environmental sustainability, we envision a community that not only thrives but also serves as a beacon for sustainable urban development. Together, let us embark on this journey towards a
more resilient future.
TAPESTRY OF BEING
REIMAGINING THE CATHOLIC CHURCH
by Vivi Serelli Lee Wen (Y5S1)
Studio Pier Alessio Rizzardi
Time exists with being. Architecture must resuscitate us from our unconscious state. To feel the skin of our body, the body’s relationship to the environment cannot be neglected, and the mind should emote according to the atmosphere of the space. The user is then able to go through a cathartic experience of transformation, transcending mere physical presence to a more meaningful state of being.
CRITIQUE ON EXISTING CHURCH CONFIGURATIONS
The concept of waiting is examined through daily scenes where people use electronics, leading to a disconnection from physical spaces. Immersive spaces can reestablish a meaningful connection to the environment. This is explored in the space matrix, studying how spatial configurations affect sensory experiences. The church design reflects this journey from oppressive to introspective spaces. Welcoming arms guide visitors to three petal-shaped chambers representing the Holy Trinity. The transition to the serene interior, where the altar and crucifix are housed, fosters reflection and a deeper connection with God.
THE RETURN OF NATURE
by Chen Yuwei (Y5S1)
This scheme is looking to create a place for the spirit to rest and it can become a small world in the man-made city where people and nature can interact and connect. Here, how do people perceive and interact with the elements of nature? Boundary becomes an object to be explored. Through the shaping of the boundary, human behavior and perception are guided by the changes of the boundary.
Studio Pier Alession Rizzardi
In this museum, not only the general exhibits, but also the experience of light, sound, wind, etc. are considered as exhibits in this museum. The four corners of this building are spaces for the experience of light, wind, sound, and smell, which are organized in plan and section based on the prototype and boundary study, and then also based on a certain sequence of experience. These several experiential spaces constitute the informal spaces of the scheme. The formal spaces are distributed on the periphery of the several experiential spaces. Informal and informal spaces
THE DATA SANCTUARY
by Chew Shi Cheng (Y5S1)
Studio Richard Ho
The design attempts to explore ways to integrate a data centre infrastructure in the heartlands. Situated in Geylanf district, the complex is envisioned as a new health and wellness centre where the data centre will support the healthcare and clinical demands of the neighbourhood.
Located between Haig Road and Geylang Road, this trapezium site shall integrate the diverse healthcare needs of the elderly and the youth. It complements the shortage of healthcare facilities in the estate; the nearest polyclinic is Geylang Polyclinic.
By interating youth amenities and elderly care facilities, it aims to reinterpret wellness in a community setting.
By integrating youth amenities and eldercare facilities, it aims to provide a new integrated complex that can reinterpret healthcare and recreation into a wellness hub for all ages.
This wellness hub preserves the existing hawkers and market concurrently on-site and provides new childcare centre, eldercare rehabilitation spaces, gym and rest spaces. The data centre shall support the information needs of these diverse programs and also provide the heat for healthcare sterilisation and hydrotherapy facilities.
SK8-TOPIA!
EMPOWERING YOUTHS-AT-RISK.
by Darien Wu Junhan (Y5S1)
Studio Teh Joo Heng
Skateboarding was born out of the urban fabric of the city, but has been plagued with longstanding negative perceptions and stereotypes. These perceived “misusers” are a misunderstood creative community. The enforcements and neglect towards the skateboarding community has led them to resort and create on their own means, through creative resourceful tinkering and bottom-up approach of
planning, designing and building. With the unique “eyes” of skateboarding, these “bohemians” are able to shape and modify spaces to be utilized in non-conventional ways to allow spontaneous events. With skateboarding’s induction as a olympic sport in the Tokyo 2020 Olympics, an opportunity arises to redefine the archetype of confining skateboarding within a dedicated space.
What happens when a marginalized community is empowered? The integrated youth educational hub aims to allow youths to find (yo)ur niche (F.U.N), where their interests and passions can be nurtured as opportunites to learn occupational skills and knowledge, redefining a new typology for education, arts and culture. This project speculates on the unwritten possibilities of Bras Basah Bugis becoming a flowing, limitless stage, one of which that is everchanging and festive, welcoming all marginalized communities.
Changing perceptions, below the knee readings of the city, embodied intimate tacit knowledge.
[INTER]SPACES.
CELEBRATING THE ARTS IN BBB.
by Lee Yi Hao Gilbert (Y5S1)
Studio Teh Joo Heng
As the world develops and advances, our infrastructure also takes suit to meet the ever-changing needs of our evolving community. Looking into the idea of change and transformation, we acknowledge that architecture is never stagnant and is always in motion. The same as in our Arts and Culture where the public are not exposed to our arts. By doing so, it provides an opportunity to culturally regen-
erate Bugis, Bras Basah by creating a permanent sustainable solution for the established artistic community and encouraging public interaction and exchange with the arts. As time progresses, this unique identity should not be forgotten and erased. The vision would be to provide the opportunity for the arts and the audience to work and play in an experimental ‘palace’ of art, community and exchange.
The vision for transforming Bras Basah Bugis into a participatory arts district involves creating a vibrant and inclusive community hub where residents and visitors in artistic expression and creativity. This includes incorporating interactive art installations, offering artistic workshops and classes, hosting street performances and festivals for engagement. Through these initiatives, Bras Basah Bugis can evolve into a dynamic space where creativity thrives, communities connect, and cultural exchange flourishes.
Section of Bencoolen Street.
THRIVEHIVE
REIMAGINING MEILING
by Cheryl Lam (Y5S1)
Studio Dr. Tan Beng Kiang
An Adaptive Reuse of Rental Flats to a Mixed Tenant Co-Housing
ThriveHive envisions providing a space within the Mei Ling Estate for community-driven healthcare and social initiatives to flourish through the adaptive reuse of current rental blocks, specifically Blk 155 & Blk 156. It aims to transform these two blocks into a social hub that integrates ground-up initiatives and social enterprises, offering support to frail seniors and low-income families alongside foreign nurses and tertiary students.
The design strategy adopts a four-tiered approach for communal spaces—unit, floor, block, and neighborhood— enabling residents to gather at various scales, nurturing the communal bond within Mei Ling gradually.
Residents participate in matching workshops, where students, nurses, seniors, and low-income families are suitably paired as co-housing partners. Foreign nurses and students receive subsidized rental fees as incentives for befriending seniors and families, conducting caregiving training sessions, and organizing bonding activities within the blocks. These efforts are further bolstered through collaborative initiatives with social enterprises and ground-up projects.
On a larger scale, these activities create opportunities for micro jobs, particularly for active seniors and caregivers seeking flexible employment near their homes within Mei Ling.
BALIK KAMPUNG
REDUCING DEPENDENCY, NURTURING CAPACITY
by Clarabelle Pun (Y5S1)
Studio Tan Beng Kiang
Balik Kampung, inspired by the ethos of ‘coming home’ , stands as the pioneering social integrated adaptive reuse hub, envisioned to cultivate a vibrant self reliant community tapestry by 2050. This innovative hub fosters mutual support, empowerment, and self- reliance through community-driven healthcare and social initiatives, aiming to reduce dependency while nurturing capacity within the Mei Ling Estate. Comprising a reimagined hawker, a retail incubator, and a lifelong learning center, this integrated hub aims to create a sustainable test-bed model of interdependence in Mei Ling Estate, ensuring the community’s future resilience.
Central to this vision is the ethos of collective support and co- creation, where residents of all ages weave their unique abilities into an interconnected fabric of resilience. This narrative of shared growth emphasizes that every skill, talent, and passion contributes to the thriving tapestry of our living community. Balik Kampung’s development spans a 20-year roadmap under the neighborhood town renewal program. It commences by enhancing physical connections and communal spaces in the initial phase (Year 0-5), gradually fostering community support by integrating social enterprises, startups, and diverse community members (Year 5-10), and culminates in long-term resident empowerment and smart urban infrastructure incorporation (Year 10-20). Throughout this evolution, time-based modular communal living rooms serve as evolving ‘urban beacons’, encouraging resident interactions. Retention of existing elements not only aids wayfinding but also preserves heritage, serving as a memory lane for residents with dementia, adding depth to the site’s historical legacy.
OBJECTS IN SPACE
by Sheares Quek Ning Xuan (Y5S1)
Objects in Space is an explorative architectural project realised in the form of an urban scale art installation, designed to serve as an icon that can represent and placemake the studio’s site of interest. It serves both the frequent visitors of the site and extends its reach to others outside of that scope, in hopes of rejuvenating this barren and underutilised spot. This piece of architecture is
concerned with how to design and curate spaces that pull people in and grant them a unique experience not to be forgotten, whilst staying relevant and true to its context and respecting its current-day, banal (or are they really?) activities. To meet such a goal, a thorough research phase adopting a strong bottom-up, emotion-driven approach is first conducted prior to diving into design.
Studio Mike Lim
The research reveals the interesting dualities of the site to be worked with in the subsequent design phase. The design phase adopts an abstract theme, form-finding and translating processes through diagrams, drawings and study model making, and challenges the common notion that form is what always dictates a space. Light and shadows as an indicator of space rather than just physical enclosures; Volumes are defined by ephermal intangible parameters constantly in flux, rather than just cold, hard solids. This is what grants flexibility in the definition of spaces on site throughout different times of the day as the play of light distorts our impression of private/public, accessible/inaccessible or even simply the existence of space — all this, even if all is present on site are seemingly stand-alone, useless object; This sprawl of objects that become what actually give definition and meaning to this space, and by extention this place that people can then relate to emotionally and flock to in search of unique experiences to be collected, and unforgettable memories to be made.
DESIGN PROCESS
TSUKIMI
CIRCLES OF RITUALITY
by Li Zeyi (Y5S1)
Studio Simone Shu-Yeng Chung
“Tsukimi”, which translates to “moon-viewing” in English, is the traditional Japanese celebration that pays tribute to the beauty of the autumn moon. This ancient festival emphasises on the behavioural and material expression of nature and society, is both a spiritual and cultural experience, where individuals temporarily set aside the concerns of their daily routines to connect with something larger and more profound. The film places a significant focus on the rituality of the Tsukimi, by articulating four formal elements: Moon, Confectionery, Tea and Ceremony, arranged in a repetitive circular composition, which mirrors the cyclical nature of the moon’s phases and the timeless quality of Tsukimi. By establishing a filmmaking methodology aligned with the Zen philosophies, the film narrative rhythm is predominantly driven by musical flow and soundscape rendering.
CONFECTIONERY - Kayu Chaya, Tsuruya
Yoshinobu
Dango are the most indispensable food to serve during tsukimi. Typically, dango packs are crafted with 15 servings, presented in a pyramid-like arrangement, with the uppermost dango colored yellow to symbolize the moon. Tsukimi-inspired design of wagashi are also created as a specialty during the festival. The meticulous handmade process of crafting these confectionery in stores adds the overall appreciation and rituality to the consumption of it.
TEA - Kogetsuan, Kodai-ji Zen Temple
The tea ceremony is integral to the Tsukimi tradition. Moon-watching tea ceremony takes place particularly as this practice involves the ceremonial preparation and consumption of green tea, typically in a traditional tearoom with tatami flooring. More than simply serving and receiving tea, the primary aim of the tea ceremony is to provide guests with an opportu- nity to savor hospitality in an atmosphere that is spiritually distinct from the dailiness.
The Meigetsu Kangen-sai festival held on the night of the harvest moon is one of the events held in honor of moon viewing traditions in Japan over a thousand years. Court nobility in the Heian period often indulged in lavish cultural parties during the autumnal equinox. Among these, the Mitodai-kai featured performing arts like Gagaku and Kagura are dedicated to praying for bountiful harvests and peace of the world.
Heian aristocrats used to host boat-based gatherings to observe the Moon’s reflection on the water during moon-viewing events. The festivities included the creation of waka poetry and musical performances, particularly during the mid-autumn season. This tradition extended beyond the aristocracy and was embraced by commoners, often linked to autumn festivals where freshly harvested rice was gratefully offered to the gods.
SEMANTIC STUDY
CEREMONY - Hashidono, Kamomioyajinja
MOON - Geppa-ro, Katsura Imperial Villa
HOW TO LIVE WITH HERITAGE VALUE
IN PRAISE OF IMPERFECTION
by Zhao Wangyue (Y5S1)
Studio Simone Shu-Yeng Chung
This project was inspired by the article ‘‘In Praise of Shadows’ (Junichiro Tanizaki (Leete’s Island Books, 1977), which celebrates the unique charm of the shade from some specific aspects of Japanese life. In the Oriental spirit there is a tendency to seek satisfaction in any circumstance, to be content with things as they are; hence darkness does not cause us dissatisfaction; we regard it as inevitable. If light is scarce, then light is scarce; we will immerse ourselves in the darkness and find there its unique beauty.
Naragawa House is the architect’s autobiography. It is the imperfections of a perfect life that have inherited the lifestyle and culture of Kyomachiya house and will be passed on as a residence to the future generation.
Some parts of the traditional Machiya: the beams, the tatami raised structure, the use of light and the different types of screens have been preserved. These structures influence the living behaviour of the occupants and allow them to interact with the building in a different way in everyday life. The architects have tried to maintain the look, feel and atmosphere of an authentic Kyomachiya house while building the conveniences and comforts of a modern home, and have tried to find a balance between these two concepts. After visiting the narukawa house in kyoto, i get deep insight to those imperfection design elements in this typical kyo-machiya heritage, including partially insulation, low lintel, uneven floor and dim light. The key point is how those imperfection design influence people’s behavior who living in the house and their attitude towards the relationship between home. The ideology of that is not living in the house, it is more about living with the house. Additionally, the film is to show those imperfection elements help to create their own lifestyle of family members and the concept of how to live with heritage.
THE VERTICAL ARTISAN
EMPOWERMENT THROUGH MAKING
by Declan Fu (Y5S1)
Empowerment takes the form of giving individuals the reins to shape their environment actively. I believe in a participative approach that is not opportunistic but rather pro-active—a philosophy that empowers through creation. PROCESS
Studio Tan Teck Kiam
At the heart of the architecture lies a visionary concept: a factory for the masses, spaces where individuals are not mere spectators but active contributors to the creation of their own world. This sequential order of making and creation, a journey through which users become the artisans of their own products. Spaces encourage users to take control of their surroundings, engaging in the handson creation of their clothings and equipments. It redefines the traditional factory concept — located in the back lanes, accessible to all.
THE GALACTIC BOWL
REDEFINING SUPER BOWL TYPOLOGY
by Lam Wei Min Joel (Y5S1)
Studio Joseph Lim
Contant Revival // The Galactic Bowl, redefining superbowl typologies unleashes the bowl fused with Evtol language. The Bowl would enhance not only the community within bugis but form the edge for the area to leverage on and attract new talent, streams and ripples of customers which will ultimately rejuvenate bugis: Forming the gateway to the new node of bugis. The Bowl would capitalise on the height and diameter of the internal volume, housing a nexus of activities, events, ceremonies, religious sanctuaries and competitions. The Evtol language serves as the primary linkage that connects customers from the ground directly to their seats, thus reducing the congestion of queues. Ultimately, the fast entry and exit proposition through Evtol improves the efficiency of the bowl itself.
01 TO SEQUENCE 04: SEQUENCE 01 - ENTRY INTO THE BOTTOM OF THE
FROM THE
// THE SPECTATOR’S PERSPECTIVE] SEQUENCE 01 TO SEQUENCE 04 (LEFT TO RIGHT) : SEQUENCE 01 - ENTRY INTO THE BOTTOM OF THE GALACTIC BOWL FROM THE MRT UNDERPASS, SEQUENCE 02 - THE EVTOL BRINGS THE PASSENGER TO THE RESPECTIVE FATO, SEQUENCE 03 - THE WALK-ON-THE-BONE TOWARDS THE RESPECTIVE SEATS WHICH TURNS 360 DEGREES Watch the Walkthrough of the Galactic Bowl Experience
02 - THE
SEQUENCE 03 - THE WALK-ON-THE-BONE TOWARDS THE RESPECTIVE SEATS WHICH TURNS 360 DEGREES, SEQUENCE 04 - THE SKY WALKWAY // ROOF PLANE OFFERS TWO SPECTACULAR VIEWS: INTO THE GALACTIC BOWL [INTO THE
THE
GALACTIC BOWL
CITIZENM WATERLOO
CREATIVE HOTEL LIVING
by Chiew Yi Ying (Y5S1)
Studio Soh Leen How
citizenM is more than a hotel, it is a place to work, relax and play. With chic and compact rooms, citizenM creates ‘affordable luxury’ for the people, incoporating art, culture and a sense of belonging and community into its ethos.
Situated within the Bras Basah.Bugis Precinct - the arts, culture, learning and entertainment district in the city’s centre, citizenM Waterloo offers exciting experiences for
guests. citizenM Waterloo seeks to leverage the increasing demographic of young international travellers for business and leisure, curating spaces that allow them to work, relax and play simultaneously. Introducing new programs such as sleeping capsules and flexible creating rooms for media creation, citizenM Waterloo aspires to create spaces for all creative individuals.
The central staircase is akin to a ribbon, weaving through the columns to connect guests to the extended communal spaces on the second floor. The massive communal spaces are unique to citizenM developments, coined as the ‘living room’, curating cozy spaces for reading or working. The whole block is also punctured by a central core, seeking to connect the guests to the rooftop bar overlooking the urban cityscape. The roof starts to unfold through the indoor and outdoor spaces of the rooftop bar, curating an unqiue experience as guests enjoy the city view.
EMPEROR’S NEW CLOTHES
ALTERATION ON ELBPHILHARMONIE
by Chen XingSheng (Y5S1)
Studio Kevin Mark Low
The project began as an analysis on the Elbphilharmonie by Hezog & De Meuron, located in Hamburg Germany. It questions the meaning of cultural centres as a public attraction, where its failures are, and how to marry architecture to its intended purpose.
The Elbphilharmonie adapted a former warehouse at the tip of a river promenade. It produced stunning architecture that shone as a crown jewel to the city, and in achieving its austerity and glamour, the former warehouse was rendered to a podium, pure in its form. This detached the philharmonie from the city, disjointing urban axes, and produced an unwelcoming urban façade with an obscured entrance. The “grand escalator” teleports the public to its terrace, neglecting the interior programs of the podium.
Pedestrian Promenade
The proposal is a three-pronged approach in creating two public thoroughfares and a building as a façade. The city facing building replaced the vertical circulation of the excalator, with an operable façade that responds to the programs within, increasing temporal interactions with the city. While its transparency bridges the urban context and the original façade. The grand escalator was replaced with an internal corridor, coupled with the promenade walkway, leads the public to a viewing platform with stunning views of the Elb river. By dressing the Elbphilharmonie, urban life can thus be reintegrated. The integrated programmes of art galleries further integrates the identity of arts and culture onto the site with increased pedestrian permeability. The promenade provides a more ad-hoc platform for activities while still maintaining its function as a vehicular service corridor. The public and service interaction brings to the spotlight the blue-collar past of hamburg, which was the original intention for the conservation of the former warehouse.
Performative facade at different times
PARKSIDE DUO
SYNERGISING WORK & HOSPITALITY
by Phua Jue Hua Pearl (Y4S1)
Yap Kai Jun Aston (Y5S1)
Studio Erik L’Heureux
The project is situated at the edge of District 1 in Ho Chi Minh City, at the intersection of three main streets, between a commercial and residential district bordering an urban park. Our strategy prioritizes capital efficiency while also focusing on carbon reduction to enhance returns and minimize environmental impact. We propose a mixed-use development with a plot ratio of 9 across two adjacent plots. The front plot features an adaptive reuse hotel with a vertical extension of four floors, while the rear plot includes a newly built office. This combination capitalizes on the prime location’s amenities to decentralise ancillary spaces and creating a synergistic neighborhood ecosystem. Financial calculations indicate a profitable investment
The development is capped at 11 stories to respect the nearby church’s spire. Both buildings are designed for natural ventilation, reducing costs. The hotel’s existing structure supports a double-loaded layout, while the office features a U-shaped floor slab to facilitate ventilation. The project employs MET construction for its longevity and low embodied carbon. The hotel’s vertical extension uses an external steel arched grid to support additional loads, while a CLT castellated wall and floor panel system minimizes weight. The office uses a Glulam post and beam system for an open floor layout, increasing leasable area and revenue.
Our project focuses on capital returns and environmental footprint reduction, resulting in a low-carbon building with embodied carbon of 262 kgCO2e/sqm and an average EUI of 60 kWh/sqm/year. Though not achieving net-zero efficiency, the project’s architectural value enhances its iconicity and contributes positively to the urban landscape.
UPLIFT
REIMAGINING RESIDENCES FOR FAMILIES WITH YOUNG CHILDREN
by Isaac Chu (Y5S1)
Studio Lawrence Ler
With high housing prices and a falling birth rate, young families in Singapore need all the support they can get.
The study surveyed residents living in public housing developments in the Balestier Planning Subzone, deriving 3 Key Findings that directed the design process.
It became clear that new public housing solutions, namely for families with young children, were desperately needed.
These new typologies needed to help build a family-centric community, provide safe, outdoor activity spaces, sports facilities and child-care amenities to give parents the confidence to work worry-free, and make efficient use of space to keep housing prices affordable while still providing the necessary privacy, peace and quiet to all members of the family.
UPLIFT seeks to reimagine the typology of family living in land-scarce Singapore and improve the housing environment in Balestier for families with young children by building a family-centric residential community based on forging interpersonal connections through shared spaces in 3 distinct tiers, providing spacious yet affordable units with a focus on nature and privacy supported by child-centric facilities and amenities.
PLAYPLACE
HOMES FOR CREATIVE YOUNG FAMILIES
by Desiree Loh (Y5S1)
Lawrence Ler
Drawing insights from a comprehensive group survey and research, this project delves into understanding the dynamics of young creative families, aiming to nurture artistic inclinations in small children. With a focus on cultivating a vibrant creative arts community in Singapore, the vision is to empower young families to embrace creativity wholeheartedly.
research survey
Studio
By introducing young children to various art forms and activities, the project aims to nurture their innate creative interests from an early age. Key design principles aimed at fostering creativity and well-being include (1) integrating workspaces with natural elements/amenities, (2) providing spaces for rejuvenation amidst nature, and (3) creating continuous platforms for creatives to meet and showcase their work across different levels. The project’s core strategy involves programs that facilitate social exchange, serving as a bridge between work, play/art, and daily life.
FLOWING BLUES NEIGHBORHOOD X CARE OASIS 2050
FUTURE URBAN NEIGHBOURHOODS (F.U.N) 5.0
by Chelsea Ho Jia Xuan (Y5S1)
Studio Fung John Chye
Envisioning healthcare beyond mere medical care, the flowing blue neighborhood strive for a holistic, human-centric approach that enriches the overall quality of life. This vision centers around the creation of nurturing
environments within our neighborhoods, embodying the principles of “sandbox” and “sanctuary.” “Sandbox” spaces encourage creativity and innovation within communities, while “sanctuary” areas provide tranquil havens for respite
in homes and neighborhoods.
Drawing inspiration from historical settlements situated alongside natural water bodies, our site’s proximity to a flowing water body prompts the exploration of harnessing this resource for diverse purposes. This paradigm shift prioritizes the well-being of all inhabitants and capitalizes on the potential of flowing water features to create unique, intimate community neighbourhoods.
CENTREE x TROPICAL TOWERS
FUTURE URBAN NEIGHBOURHOODS (F.U.N) 5.0
by Johaqqis Bin Johari (Y5S1)
Studio Fung John Chye
Redefining the neighbourhood scale, the CENTREE is located in the heart of Jurong Lake District (JLD) and features a transformative wellness boardwalk
that redefines the town centre. Instead of traditional building-edge definitions, the CENTREE has a connector ring that integrates green spaces, mobility paths, and walkability features. The project aims to promote a health-centric environment that will help shape it into a vibrant, sustainable, and liveable community. This focus on health, walkability, and increased physical activity
fosters improved well-being among residents - ultimately enhancing its inhabitants’ overall quality of life.
TROPICAL TOWERS
is an indivdual development of a precinct within the CENTREE. It integrates a healthcare eco-system within public housing that is redefined at the unit, cluster and precinct scale. Systems of healthcare is explored through projection of medical technology in 2050, thus providing greater accessiblity to basic healthcare and aspires to create a community-led approach, where individuals take care of one another.
RED TAPE FACTORY
TAPING THE SOFTSCAPES RED
by Akmal Moksin (Y5S1)
Softscapes refer to the intrinsic (living) values of individuals: leisure, education, expression, awareness. In Singapore’s context, red tape would refer to the censorship and suppression pressed towards the domestic creative industry and education towards sex, and by extension affects the softscape of migrant and sex workers specifically in the Geylang RLD.
Studio Khairudin Saharom
As such, RED TAPE FACTORY juxtaposes the largely conservative stance from the authorities by providing a safe environment for the existence, proliferation, and development of communal leisure, creative freedom, sex awareness and education. The factory will envision the concept of the communal creative cinema as an entertainment medium, integrated together with the curation of an educative sex shop. By harvesting the duality and transformity, RED TAPE FACTORY will engage migrants, sex workers, creatives and youths together in spirit of protesting such existing “red tapes” and celebrating the freedom towards their respective softscapes.
PEEPING PERSPECTIVES
BATHING AND CLEANSING
by Tan Jia Xuan (Y5S1)
Studio Khairudin Saharom
Inspired by Sofia Copolla’s Lost in Translation, the idea of the bath house in Geylang was to create a space where temporary yet meaningful connections could be formed amongst workers working and living in the area. Attempting to explore the duality in being “clean” and “dirty” through cleansing, the chosen programs include a bath house in legitimacy and a bath house in disguise. Through
understanding the rituals and steps of cleansing, the project incorporates intentional spaces for peeping, it invites the individual to perceive and be perceived by others in the bath house. More importantly, it examines the relationship the individual has with their vices and what is seen as “dirty” and questions the existing prejudice against the larger context of Geylang.
Prominent in Geylang, clothing items and laundry are representitive of the inhabitant’s persona and one’s perception of them. Using water as a vehicle, users either enter and go through a ritual of cleansing their bodies, leaving completely cleansed, or they end up using the facilities as a guise to engage in peeping leaving being the opposite of being cleansed. ERGONOMICAL STUDIES AND MASSING PROCESS
HOUSE M
IN PRAISE OF TROPICAL SHADOWS
by Matthew Goh XinZhi (Y5S1)
Studio Tsuto Sakamoto
The studio delved into understanding the ethos of a building in Japan and transposing it into Singapore. The intial research surrounded House T by Suppose Design. Tanijiri’s House T expressed integrity through designing a canvas that expresses the elements of age and weathering through the medium of darkness, moisture and nature. Through these mediums he accentuates
details of the architecture’s age. Lines creating shadows, raw materials showing subtle imperfections. A reflection of “In Praise of Shadows” by Junichiro Tanizaki.
As Tanizaki ascribed a Japanese aestheticism in his book, how could my translation to Singapore reflect a new Singaporean aesetheticism?
of “In
Through a small research project “In Praise of (Tropical) Shadows” I began to unpack this aesthetic as that of a relationship with moisture. Focusing on the moments it creates based on what surfaces it is able to interface with. Later crafting these moments in the architecture.
House M is a canvas for moisture to perform. Echoing House T’s integrity of age, material and element.
Pages
Praise of (Tropical) Shadows”
CLUSTER IN CLIMATE
CLIMATE - HUMAN - HUMAN
by Darren Teo Wei Jun (Y4S1)
Studio Tsuto Sakamoto
In 1976, Tadao Ando’s Row House in Sumiyoshi was constructed in Osaka, Japan. In the Row House in Sumiyoshi, we understand that there is a relationship between Climate and Occupant; climate, the all-powerful, unstoppable and undeniable force that bellows down onto the Occupant through the Row House’s imperfection, that is the open courtyard. The Occupant reacts to Climate, and in that process, as philosopher Watsuji Tetsuro elaborates in Fudo / Climate & Culture, the Occupant apprehends himself in CLimate and through which there is development in the self. “...; there is self discovery in climate. We discover ourselves in all manner of significances every day;...”
Transplating these ideas into the local context, we investigate the Singaporean relationship with Climate. In that relationship, there is duality; a consideration of consequence in our reactions towards Climate. In our relations with Climate, there are consequences, and in the typical dwelling of Singapore where a major consideration is to dwell alongside others, how does one’s consequence affect another? The project places the Occupant in these positions, facilitating a mutual and collective apprehension in Climate as a way of self-discovery on ourselves, in others, and ourselves in the presence of others and vice versa, potentially leading to growth and development in the collective. CLIMATE - HUMAN - HUMAN RELATIONSHIP
ARBOGLAM
HYBRID ECO-RESORT USING AI
by Gregory Wong (Y5S1)
Luo Tianhao (Y5S1)
Studio Gaurang Khemka
At our eco resort in Dambulla, Sri Lanka, conservation extends beyond guest accommodations to all public spaces, including the all-day dining area, gym and spa, kids club, lounge, swimming pool and the specialty restaurant. These spaces are strategically built around protected trees, seamlessly integrating with the natural landscape and offering breathtaking views of the adjacent river to the west and the elevated reservoir to the east.
An elevated pedestrian walkway winds through the protected trees, connecting public amenities with private accommodations, enhancing convenience and immersion in nature. This pathway allows guests to transition from tranquil walks to vibrant communal spaces.
EYE-LEVEL VIEW RENDERS [MANUAL PS, PROMEAI, PS BETA, LINE DRAWING]
This studio seeks to integrate traditional architecture workflows with the creative potential of AI tools. In the process of working with the open-ended outputs from AI generative design tools, we leverage AI as a creative ally while retaining control over the design process. All images in this project are created with Midjourney, PromeAI and Photoshop Beta.
The resort’s buildings are crafted from sustainable materials sourced locally, supporting the regional economy and minimizing transportation-related carbon emissions. The sustainable construction approach emphasizes eco-friendly techniques, such as modular and in-situ construction as well as minimal land usage, ensuring that the resort leaves the smallest environmental footprint possible. This holistic commitment to sustainability transforms our eco resort into a harmonious haven where luxury and environmental consciousness coexist, offering guests an unparalleled retreat that celebrates nature’s beauty while preserving its delicate balance.
Option Studio Year 4 Semester 2
Studio Tan Teck Kiam
IN SEARCH OF BABEL - Jason Tang Kah Wye
VAULT 188 - Tan Zi Ling
Studio Lilian Chee
THE WORK HOUSE: THIS IS HOW YOU STEAL TIME - Bob
THIS IS MY FAMILY BUSINESS - Isaac Lee
Studio Bobby Wong
ABSENCE - Lin Ruofen
COMBODIA 2075 - Zhang Rongjie
Studio Thomas Kong
ZERO-WASTE JOURNEY - Seah Jia Jun & Jiang Jun
Studio Neo Sei Hwa
HELICAL PRODUCE - Chen QiaoLing
Studio Shinya Okuda
ILLUMINATED INTERLUDES - Ng Jia Suen & Teoh Zi Ying
NA(UR)TURE IDENTITY - Li JingXuan & Xie Xingyu
Studio H. Koon Wee
STRENGTHENING STATE & PEOPLE - Wan Hong & Eu Juin
IN SEARCH OF BABEL
URBAN IDENTITY IN A DIGITAL WORLD
by Jason Tang Kah Wye (Y4S2)
Studio Tan Teck Kiam
In this age of digitalisation and commodification, we have lost control of our existence. We now live in a reality that is something other than the ‘real’, an ever-changing reality teetering towards simulacrum. If this cycle is allowed to perpetuate, if the rate of advancement outpaces our ability to mentally and culturally adapt, we will find ourselves excised from the very nature of our humanity. In the urban village of Gang Xia, they live under the constant threat of extinction. Not of their lives, but their lifestyles, their culture, and their spaces.
Phase 01
Current urban village consists of tightly packed ‘handshake buildings’. These units are a haphazardly built and lacks the space to grow. Residents lack a dynamic space or any landmarks to the mass of concrete blocks
Creation and data pods are bought and rented by the digital and creative nomads seeking an iconic and affordable place to work. These pods are arranged in a cluster within the void space.
Phase 02
TOWERS OF BABEL are placed within tighty packed clusters, away from GangXia’s primary circulation paths. At this stage the towers begin their function as a drone port and logistics hub.
Phase 04
As the number of users increase BABEL begins to integrate intself into the surrounding buildings, transforming and opening up the spaces of the dilapidated buildings. This slowly transforms the identity of the existing blocks without demolition or decorative renovation, instead repurposing the space within to breathe new life to the urban village.
Phase 03
Here, a unique blend of economic, social, and infrastructural expression makes it an ideal location to begin the reclamation of an urban identity. The Towers of Babel are system of self-sustained, ever-growing towers that serve as a space where reality can be redefined by Gang Xia’s inhabitants, leveraging on economic interests and manifesting in both the physical and digital world. The Towers of Babel are engines. Generators of wealth, of information, and of ideas.
VAULT 188
INNOVATIVE LIVING SOLUTIONS
by Tan Zi Ling (Y4S2)
Studio Tan Teck Kiam
Vault 188 is designed to enhance the living conditions of migrant workers in Shenzhen’s densely populated Gangxia Village. The project focuses on making the most out of the limited space available, while fostering a strong sense of community and belonging. The concept revolves around the idea that “Once you are here, you are a Shenzhener.”
THE CONCEPT OF SHARING
The project features several innovative design elements tailored to improve the functionality and comfort of living spaces. These include modular dormitory units, which provide essential amenities, and glamping units that offer a more private and enhanced living experience. A unique aspect of Vault 188 is its mobile living storage mechanisms, which allow residents to customize and efficiently use their living spaces. Vault 188 aims to provide more than just housing; it seeks to create a community where migrant workers can feel integrated into dynamic society.
THE WORK HOUSE
THIS IS HOW YOU STEAL TIME
by Bob Shi (Y4S2)
Lilian Chee
The Work House speculates how time-theft by Foreign Domestic Workers (FDW) can benefit Moh Guan Estate and adjacent public housing estates through a rotational co-op Work House. As opposed to merely skiving, time theft for a FDW is a creative clearing of domestic time and space that
can mutually benefit the worker and employer. This project speculates time-theft that extends beyond the confines of microsites in a singular employer’s home, and sees it as embedded within their social networks across individual public housing units.
Studio
THIS IS MY FAMILY BUSINESS
A HDB REDEVELOPMENT PROJECT
by Isaac Lee Wei-En (Y4S2)
Studio Lilian Chee
Family business is in every way synonymous to home. It is situated within, supported by, and cannot exist without the problems of domesticity itself. Key idea of the petite capitalism that occurs within a family business is that it operates in ‘ambiguous boundaries between capital and labour, cooperation and exploitation, family and economy, tradition and modernity, friends and competitors.’ (Yao, The Shop on High Street, 2020)
The story of the life of Sou Chou Yao as he navigates through the difficulties of living in a family business illustrate the key differences between the inner workings of family businesses as compared to the image of the “Busi-
Spaces of Favour (Observed)
ness” we imagine today. Centered around the patriarchical leader of the family, Yao’s father sought to train up the next generation in both their hands - via trade business - and by heart - via a value system. The elders of the family and family-friend circles become both managerial and directorial figures as well as 24-hour parental figures. All manpower and foreign aid comes through kinship and family ties: without the family, the home business cannot exist. It is a severe error to understand the home business as a subset of our current economic-business environment, but give it a class of its own.
My project therefore aims to establish this market of favours by unifying the back and front of house processes of family businesses, in order to restructure the HDB into an economic unit that benefits both the business on the production scale as well as at a relational level. House of 5 Individuals (The Vegetable Seller House)
ABSENCE
A GENOCIDE MEMORIAL?
by Lin Ruofan (Y4S2)
Bobby Wong
When Cambodia is chasing capitalism, the memorization of Khmer Rouge genocide victims is insufficient. The memorials of killing fields are simple and direct by placing stupas and the museum is also not well-curated. The project is an speculation of Khmer Rouge genocide memorial. It criticizes the absence of memorization of genocide victims, and Process Drawings
Studio
tries to be present through a series of “absences”.
This project questions the telling of stories through curated exhibits, instead, the memorial is a liminal space that produces illusions and contrasts that people could associate with genocide. The illusions are produced by two approaches, the ambiguity between Angkor Wat and S-21 Prison and the sound of Ikat manufacturing . Through this kind of absence, it will re-emphasize the importance of “presence”.
COMBODIA 2075
ANGKOR WAT RESTORATION
by Zhang Rongjie (Y4S2)
Studio Bobby Wong
2075 is the 100 year anniversary of khmer rouge, the project is also part of its Commemorative mourning activities.
In Set against the backdrop of Cambodia’s historical reliance on human labor, the introduction of androids as labor substitutes proposes a theoretical compensation for the lives lost during the Khmer Rouge era, with each android named after a victim.
The narrative critically examines the Khmer Rouge’s attempts to forge a classless society through violent means, contrasting this with the modern commodification of androids as both helpers and symbols of a new form of class distinction.
THE ANGKOR RESTORATION AND MEMORAL PROJECT (ARMP)
In 2075, to commemorate the 100th anniversary of the Khmer Rouge massacre and to introduce emerging technologies for the restoration and reconstruction of Angkor Wat, the Cambodian government has entered into a partnership with cyberlife to launch project 2075, a project to build large-scale Andorid charging stations around Angkor Wat.
The project module not only provides a charging ground for the Andorids, but also serves as the government’s labour force compensation for the lives lost in the Khmer Rouge massacres, in the hope of bringing respect to their relatives
Replacing the lives lost in massacres with advanced technology as well as future bionic human beings is merely the socalled compensation of the labour force. Is there really a balance between the fusion of cold technology and emotion?
The ambiguity of “come back” creates a ghostly feeling, where the fear of the uncontrollable development of ai unknown technology is combined with the fear of the sublime unknown of the world of death.
ZERO-WASTE JOURNEY
WHEN FOOD MEETS INTEGRITY
by Jiang Jun (Y4S2)
Seah
Jia Jun (Y4S2)
Rooted in the value of integrity, it is defined as being guided by a form of order and process in programme, which also transcends into aspects of materiality, construction, structure and ultimately a zero-waste lifestyle in the school. Our design journey unfolds within the nexus of the school environment, where the courtyard and canteen stand as pivotal yet underutilized spaces.
Recognizing the inherent potential within this spatial relationship, we embarked on a transformative endeavour to strengthen the bond between this process of food production, consumption and decomposition, where the school becomes a living lab when such programmes are integral into their daily school life.
Studio Thomas Kong SCENARIOS OF THE ONE YEAR DESIGN PROPOSAL IN THE CANTEEN AND COURTYARD
Our three-month design strategy commenced with the reimagining of the school’s culture, infusing the growing process into their school routine. By repurposing canteen food waste into biodegradable lunch boxes, we initiated a process where waste metamorphoses into nourishment for future crops, instilling a cycle of sustenance. Central to our approach was the integration of modular furniture, where they can explore on materiality, construction and structural integrity. Through this process, they can forge a deeper connection with the natural world beyond learning in the classroom, partaking in the cycle of a zero-waste lifestyle. Building upon this foundation, our one-year proposal envisions the school as a living lab, where every corner teems with opportunities for independent exploration and discovery. The reorganized layout of the courtyard and canteen facilitates a seamless cycle of planting and decomposition, transforming these public spaces into distinct atmospheres where it pushes the students and the rest of the school population to take on the responsibility to do the right thing, ultimately achieving a zero-waste lifestyle.
THREE MONTH DESIGN PROPOSAL
HELICAL PRODUCE
FROM FARM TO TABLE
by Chen Qiaoling (Y4S2)
Neo Sei Hwa
Located near the West Coast shoreline, Helical Produce propose a circular economy between human, food production and seagrass meadows regeneration. It also aim to strike a balance between ensuring the selfsufficiency of our growing nation without compromising on our marine ecosystem.
PERSPECTIVE: Overlooking water transport channel
Studio
The openness of the latticed helix structure challenges the insular environment of food production process & aquaculture, allowing better accessibility & appreciation to the process of aquaculture from breeding to consumption. Moreover, the production facility is able to capture the environmental condition of being out in the sea with careful material choices & capturing seabreeze by orientating & pixelating the triangulated facade panels according to the relative wind direction.
ILLUMINATED INTERLUDES
NATURE NURTURE
by Ng Jia Suen (Y4S2)
Teoh Zi Ying (Y4S2)
Studio Shinya Okuda
The project fundamentally challenges the current circulation and movement in secondary schools in singapore as well as the inherent isolation from the urban fabric. This project rethinks the flow of movement and explores the circulation system within the school compound. This is achieved by minimising the congestion through the proposed circulation system and strategically
placed buffer spaces, optimizing movement flow. Additionally, integrating natural elements like daylighting further provide a sense of direction. By strategically situating collaborative spaces and circulation routes, the design ensures that students can engage with the public in a manner that priorities safety and security.
For buffer space, different openings were explored to integrate with light quality. Eventually, diagrid structures were proposed. This is because they allow ample diffused daylighting, with variations in density across different buffer spaces to create distinct lighting atmospheres. Nevertheless, its self-supporting system allows a smooth transition between the programme and buffer spaces.
INTENSITY OF CROWD WITH LIGHT QUALITY
NA(UR)TURE IDENTITY
by Li Jingxuan (Y4S2) & Xie Xingyu (Y4S2)
Studio Shinya Okuda
This project focus on nurturing identity through implanting nature spaces in a conventional secondary school scheme, exploring the possibilities of timber architecture in school designs. To nurture identity, three concepts are porposed to integrate the nature and timber architecture: nature as identity, nature as navigation, timber as interface.
Different nature elements, such as flora species, canopy size, trunk diameter, tree height, fruit, flower, etc. The single nature elements and the combination of elements could symbolize different identities. Considering nature elements as a staring point, identities could be forstered through nature nurture.
[ADDITIONAL CAPTION]
FROM LIBRARY TO LABS AND CANTEEN
CONSTRUCTION DETAILS
Nature could be navigation becons in school design. Natural elements, interface between nature and classrooms, and the intentional nature frames together could help navigation through the school, facilitating the students and teachers finding their path thourgh intricate circulation. The gardens could serve as orientation, as well as an environment that facalitate learning and develops students’ identities.
WEST-EAST SECTION
VIEW
STRENGTHENING STATE AND PEOPLE IN APD
A NEW PLANNING SYSTEM -BY THE PEOPLE, FOR THE PEOPLE
by Toh Eu Juin (Y4S2)
APD (Adminitsrative District) is a distinct area where governmental institutions, public services, state-owned and privately owned enterprises meet. It seeks to be a hub for effective governance and administrative node within a city.
In SIP (Suzhou Industrial Park), it is no different. Planned and conceived in the early 2000s, APD was designed in a symmetrical form with strong axes. Strong western influ-
Loo Wan Hong (Y4S2)
Studio H. Koon Wee
ences of linearity and symbolic gestures hoped to establish a strong perceive governing power. Large boulevards and building plots disregarded the human scale and were largely influenced by the booming autmobile transport network.
The “BuildMySUZHOU” App aims to not only create a new platform for feedback to be done, but really create a new ecosystem of planning. Leveraging on big data and Industry 4.0, SIPAC can be certain that data mining can be accomplished to study social behaviors of the citizens. This is not for the government to make autonomous decisions, but rather, be more informed and even postulate future trends to be prepared for the demand and supply of urban economics.
LANDSCAPE ARCHITECTURE
BACHELOR OF LANDSCAPE ARCHITECTURE
The Bachelor of Landscape Architecture (BLA) is a four-year Honours degree programme that prepares students to respond to multifaceted socio-ecological issues in Asia through critical thinking, analytical inquiry, and creative expression. BLA provides core foundation training in skills and knowledge that equips our graduates for professional practice or entry into advanced Master degree programmes. Relevant topics, including tropicality, site specificity, boundaries and scales, densification, multifunctionality, and placemaking are played out in the programme through integrated learning platforms in design studios and lectures. BLA is taught in unique education settings that concurrently promotes speculation in design and at the same time produces grounded and action-oriented design outcomes relevant to real life issues.
MASTER OF LANDSCAPE ARCHITECTURE
The Master of Landscape Architecture (MLA) is a two-year, full-time degree programme for individuals seeking advanced and cutting-edge training in landscape architecture. The intensive and rigorous course engages students with the following emphasis: Independence and excellence in design. As an advanced course, MLA provides a structured platform for students to pursue areas aligned with their own interests in depth, independent design, and intellectual inquiry.
Year 1 Semester 1
Studio Hwang Yun Hye
INTERWOVEN - Wang Xuechun
NATURE’S RHAPSODY - Muskan Rao
Year 2 Semester 1
Studio Terrence Tan Chun Liang
‘WAIT FOR ME!’ - Choo Wei Ling, Clara
‘GAIA’S GRUB’ - Arya Muthukumar
Year 3 Semester 1
Studio Lin Shengwei Ervine
DOVERVERSE - Sun Peiqiang
Studio Quentin Sim
NIRVANA - Wayne Tan
Year 4 Semester 1
Studio Evi Syariffudin
INTERIM FOREST NURSERY - Judith Tay
Year 5 Semester 1
Studio Victoria Marshall
FROM REMNANTS TO RESONANCE - Ouyang Luoman
OVERALL INTERVENTION PLAN AND RESPECTIVE SECTIONS
INTERWOVEN:
ROCKS WITHIN STREAMS
by Wang Xuechun (Y1S1)
Studio Hwang Yun Hye
A systematic curation by nature, rocks within streams provide insight into geomorphology. On a macro-scale, rock size and shape contribute to a fascinating spatial pattern. Piles of gravel create a rapid, shallow flow, while larger boulders along the side provide enough depth for slow and gentle waters. Water and rock interact with each other in fluvial processes, leading to unique riverbed dynamics.
Erosive patterns deposited by water on the rocks indicate the passage of time, as the fleeting and transient stream leaves a permanent mark. In their interwoven relationship, rocks within streams immortalise and preserve memories of the earth.
In my investigation of these elements, I realised their potential to be manipulated such that we could better higjlight the organic beauty of ripples and rocks. Hence, I conjured this reimagining of the quintessential stream in Bukit Batok Nature Park. In accordance with the stream bed and water velocities, gravel, pebbles and smaller boulders are rearranged into an assortment of deliberate patterns that produce exaggerated rippling. Morever, with the stream bank being either downcut or reclaimed, its channel will gradually transform into a more pronounced meander that further emphasises the surface patterns. Stone seats, which should resemble existing rocks yet appear larger-than-life, are implemented for recreation, allowing park-goers to engage with the stream in their own way. These interventions would conceive a visual aesthetic that elevates the interactivity of this space, all while preserving the current landscape. When carefully woven together, the artificial and the natural could form a delicate, harmonious landscape.
“SENSING” THE CHOSEN SITE
NATURE’S RHAPSODY
A STORY OF STREAMS
by Muskan Rao (Y1S1)
Studio Hwang Yun Hye
Water, the essence of life, embodies a diverse spectrum of infinite dynamics. Streams, as unique dynamic arrangements, come in various sizes, shapes, and textures. Pulsating with energy, they are nature’s rhapsodies, exhibiting a constantly changing rhythm that moulds itself to the surrounding environment.
Streams function as the mitochondria of an ever-evolving synergy, adapting to changes in topography and navigating around meandering rocks. They represent an amalgamation of pathways and circulation routes engaged in a perpetual battle with rocks, altering their flow based on the placement of these obstacles.
As a fluid entity with no fixed form, streams can be compressed to rapidly increase water speed or spread out to create a calm and serene atmosphere. . The elevation and slope degree of the land significantly impact the stream’s rhapsody. In translating these natural phenomenons into a design process, the site plan was carefully crafted to offer users a diverse array of experiences and to highlight the inherent unpredictability of water flow processes.
Conditions such as elevation, rocks, and topography were intentionally exaggerated to immerse users in an experience where they feel like an integral part of the stream. By bringing users up close to the rapids, they have the opportunity to witness water flow processes, touch the textured waters, and finally experience being ONE with nature’s underappreciated rhapsody.
‘WAIT FOR ME!’
PLAY, REST, REPEAT
by Choo Wei Ling, Clara (Y2S1)
Studio Terrence Tan Chun Liang
‘Wait For Me!’ transforms Duxton Plain Park into a space which thrives for elderly grandparents and their young grandchildren, who use the park for rest and post-school play respectively. The park’s space is reimagined to cater to the sensibilities and playful nature of children, further stimulating their vivid imagination. Moreover, places of rest are seamlessly integrated into the play areas throughout the site, offering grandparents a comfortable respite that still allows them to watch over their grandchildren. This is faciliated through the two main play zones, the ‘Hide and Seek’ and ‘(Colour) Catching’ zone, both of which draw inspiration from games children commonly engage in. To ease supervision, the main textured path on the site, also has integrated seats for grandparents.
By Clara Choo
Instead of relying on fixed play equipment that dictates how children should use a space, this reimgained park, along with its diverse play zones, is designed to foster unstructured play and boundless imagination. Ultimately, children don’t need a traditional playground to engage in play; they need playful spaces that inspire creativity, allowing them the agency to create their own games and explore freely.
GAIA’S GRUB
FOOD WASTE AT KEONG SAIK ROAD
by Arya Muthukumar (Y2S1)
Studio Terrence Tan Chun Liang
Gaia’s Grub is an urban landscape design that bridges sustainability and community engagement through a circular food economy. At its heart is an innovative building complex, featuring interactive composting domes that double as a biophilic playground for children. This dome transforms food waste from on-site restaurants into rich compost, providing an educational and playful environ-
ment where kids learn about nature and composting. The compost generated is then transported to a rooftop edible garden, teeming with vegetables, fruits, and herbs. This lush garden not only enhances the building’s green footprint but also serves as a direct food source for the restaurants below. Chefs harvest fresh produce daily, integrating it into their menus and creating a seamless, sustainable
loop from plate to compost and back to plate. This ecosystem not only minimizes waste but also fosters a deeper connection between urban dwellers and the food they consume, promoting a sustainable and healthy lifestyle. The design utilizes vacant space around historically significant shophouses around Keong Saik Road to become a vibrant community hub, incorporating architectural elements that reflect the local heritage, blending modern sustainability with historical preservation.
MAIN DESIGN FEATURES AND COMPOSTING DOME CROSS SECTION
DOVERVERSE
THE WONDER OF ENCOUNTERING
by Sun Peiqiang (Y3S1)
Studio Lin Shengwei Ervine
Individuals across generations are increasingly screen-addicted, causing interpersonal disconnection, potentially leading to depression and loneliness—an urgent societal concern. This addiction often results from the appeal of playful experiences, socializing online, and the relaxation it provides. This project aims to address these issues by creating a social playscape that bridges connections and
breaks the screen barrier. The design will feature dynamic elements like intricate movement and vibrant colors that blend with nature, attracting people from diverse backgrounds. It will offer a range of enjoyable activities for different generations, fostering engagement, socialization, and a strong sense of community.
PERSPECTIVES OF PLAY
As visitors step into and ramble around the site, they will encounter a playscape that seamlessly blends nature with a dynamic-color path, leading them to a variety of play areas. From a Mushroom play space for kids to versatile zones designed for all ages, the site provides fun programs for everyone, such as “Farming on the Tree” and “Skating” Transitioning from single-player to multi-player zones, it cultivates intergenerational joy, offering diverse and engaging opportunities for interaction.
ZONES
THE BEAUTY THAT LIES WITHIN.
by Wayne Tan (Y3S1)
Nirvana, the beauty that lies within. The essence of this project lies in fostering joy and relaxation while still inviting moments of contemplation. Envisioned on a grand scale, it seamlessly blends nature with architecture and entices its users to explore, discover and feel wonderment as a response to the themes of the master narrative.
Nirvana is a harmonious symphony of play and enlightenment, where nature and architecture unite to create an ever-changing, dynamic experience that resonates with the innate beauty within us all.
Studio Quentin Sim
The design mimics the dynamic qualities of nature, offering users an immersive experience that evolves with the environment. The fusion of play and natural surroundings encourages users to engage closely with nature, fostering a harmonious connection and greater relationship. Much like the ebb and flow of seasons, Nirvana invites individuals to navigate a landscape that mirrors the beauty within themselves.
INTERIM FOREST NURSERY
VEGETATION SYSTEMS IN PUNGGOL
by Judith Tay Xue Ying (Y4S1)
Studio Evi Syariffudin
Punggol is named as Singapore’s first eco-town, to enhance the living environment and estate through blue green infrastructure, in 2010. Unfortunately, this is not true as new developments have been gradually replacing the natural landscape, changing its land use and the construction of housing blocks. The site, which consists of several green and vacant fields, is a viable stepping stone that can connect the fragmented green networks from the other surrounding parks to Coney Island, Pulau Ubin and Malaysia.
Therefore, this project seeks to focus on the vegetation systems of the site by creating an interim forest nursery. It will be a nursery site for landscaping to supply to the new developments, streetscapes and parks, generating human capital and reducing travel time. At the same time, it can also strengthen the green connectivity, restore and create an enclave for nature and native ecosystems through the use of seed dispersers and pollinators. It also seeks to alter perceptions by making landscapes - a form of natural capital - as a valuable social, economic and ecological asset and resource.
Bat Clouds
Wildlife Hide
Plant keystone species to attract aerial Pollinators and Seed dispersers
Grown trees to be transplanted surrounding developments Rely on Natural Forest Regeneration through Seed Dispersors
Tracks of Tree Spade creates path for researchers / birdwatchers
PunggolSerangoonReservoir
BAT CLOUDS
TREE FALL GAP
FOREST EXPANSION
Coney Island
FROM REMNANTS TORESONANCE
REIMAGINE THE FUTURE OF COASTAL FISHING VILLAGES
by Ouyang Luoman (Y5S1)
Studio Victoria Marshall
The discharge of nuclear wastewater in Japan in 2023 has significantly impacted the country’s fishing industry. This project aims to address the ecological and social impacts of the Fukushima nuclear accident’s wastewater discharge, providing a possible future for coastal fishing villages like Choshi. It seeks to help residents transform the coastline from remnants into resource landscapes for both humans and non-humans.
In the future, “Density” will become the invisible force driving evolution in Japan’s coastal fishing villages, resonating beyond human boundaries and deeply influencing practices, society, ecology, and landscapes in all these seaside communities.
The project requires collaboration from multiple stakeholders to work together to complete the process from treatment to
As more people join, the functions of the fish ponds become more diverse, reusing abandoned structures to build ponds that integrate landscapes and provide recreational areas. After government response, forest resources from the site are transported to supply inland fisheries in the village. The final vision forms a hybrid of nature, community and practice, taking into consideration different generations. Elderly individuals converse and enjoy tea in recreational areas near the ponds. Additionally, the soil excavated from the fishponds reshapes the terrain near sports fields, forming an amphitheater for the next generation to watch sports activities. AN
INCREMENTAL PROCESS
SEP STUDENT EXCHANGE PROGRAMME
STUDENT EXCHANGE PROGRAMME
YEAR 3 SEMESTER 1
YEAR 4 SEMESTER 1
NUS Department of Architecture’s extensive student exchange programme allows our students to enhance their academic experience and cultural exposure with leading architecture and landscape architecture schools, preparing graduates to engage in the global practice of design through student exchanges.
This section showcases the work produced by our students during their exchange programs at partner universities
Student Exchange Programme
Universitat Internacional de Catalunya
SYMBIOSIS - Marcus Loh Men Tong
LA SINIA II - Marcus Loh & Tommy Lee
SOAREX - Tommy Lee Teng Long
University of Seoul
GRADATIONAL JEONNONG - Sean, Hui Min, Youngyoon
UC Berkeley
SILVERS & SLITS - Sanya Dixit
Cracow University of Technology, Poland
SUPER-CORRIDOR - Mok Ze Chun
TU DELFT
LIQUID MONUMENT - Dominic Chia
Tongji University
I’M SINKING ABOUT IT - Chua Ann Teng
GASTRONOMY HOTEL - Nicholas, Claire, Edwin, Daryl Politecnico Di Torino
ETH ZURICH
DECONSTRUCTION - Valerio, Lucas, Wan Theng
THE ECOSPINE - Lai Kit & Chen Jiahao
University of California
POLYGON AMOROUS - Huang Zitao
Yonsei University
YEONHUI NATURE SCHOOL - Zhang Shijie
PRESERVE. THRIVE. GROW.
SYMBIOSIS
AN ALTERNATIVE APPROACH TO PARASITIC ARCHITECTURE
by Marcus Loh Men Tong (Y3S1)
Universitat Internacional de Catalunya
Symbiosis is a an architectural intervention that probes at the delicate relationship between preserving history and augmenting the present. Situated in the Gothic Quarter of Barcelona, this cordened-off corner of the ancient roman wall is the site for intervention.
A tectonic is first conceptualised by interrogating human anthropometry. Through the study human movement of essential routines, human-scale living pods are inserted within the ancient walls, providing a space for respite for weary travellers, yet allowing them to experience history up front. The form reinforces the ruins by laterally buttressing the ancient structural walls. Worm-like tunnels connect the dwelling spaces with the living and common spaces, protecting the wall from itchy hands and ensuring that the site withstands the patina of time.
LA SINIA II
BOULEVARD OF URBAN SCHEMES
by Marcus Loh Men Tong (Y3S1)
Tommy Lee Teng Long (Y3S1)
Universitat Internacional de Catalunya
The neighbourhood of La Sinia II is situated at the western edge of the municipality of Martorell, Barcelona. Situated in the industrial city known for its production of SEAT cars, the project aims to reinject life into city through a strategic blend of mixed-use spaces and sustainable planning.
Using connection as a key principle, a well-integrated network of public transport and open spaces for walking, cycling, and recreation are inserted within the site. The elevated green walkway, serving as both a connection and a community park, exemplifies this commitment to connectivity and sustainability.
An elevated boulevard running east-west on the ground floor forms a lively commercial arcade. This design not only fosters economic activity but also establishes a pedestrian-friendly zone, aligning with the project’s walkable size, ensuring that all destinations are within walking distance from dwellings. La Sinia II embodies a methodological approach that not only transforms the physical landscape of Martorell but also nurtures a sense of community, efficiency, and environmental consciousness.
SOAREX
THE NEW TORRES ROMANOS
by Tommy Lee Teng Long (Y3S1) Universitat Internacional de Catalunya
This project focuses on the sensitive intervention of a historic Roman wall in the southeast corner of Barcelona’s Roman quarters. Taking a contemporary approach, the design blends the old and new, creating a harmonious coexistence between history and modernity.
To the west, a visitor center and gallery soar above the existing Roman wall. Open bridges and walkways traverse the structure, providing circulation and guiding visitors to the gallery. This dynamic integration not only pays homage to the historical significance of the Roman wall but also invites the public to experience its legacy in an immersive way.
On the east side, a 10-storey building unfolds as a residential and collaborative space. The volume is bifurcated: the
base facilitates unrestricted public movement, encouraging admiration of the historical precedence, while the interior spaces offer a versatile environment for work and recreation. The design gently extends into the Mediterranean backdrop, forging a seamless connection with the surroundings, creating a contemporary allusion to the historic “roman tower”. The primary access to the site is positioned underground, creating a compressed entrance that maximises the impact of the transition into the expansive public square. This underground entryway serves as a metaphorical journey, heightening the contrast between the enclosed entrance and the openness of the public square, setting the stage for an experience that encapsulates the spirit of the historic Roman quarters in Barcelona.
JEONNONG ANALYSIS
URBAN STUDY
by Zhi Xian Sean, Ng Hui Min, Kim Youngyoon (Y3S1)
Studio Han Yoojin
University of Seoul
Jeonnong Dong exists as one of the numerous neighbourhoods for redevelopment within Seoul. To reduce the visual impact of high rise apartments, we opted for a medium scale redevelopment of the area, where we aimed to preserve the streetscape and feeling of walking through the old neighbourhood through sightlines and visuals. We opted to preserve similar materials, illegalities and fenes-
trations that were found within the area, while moving the taller parts of the buildings out of peripheral view when walking through the area. Additionally, we carved out new park spaces and proposed new developments within the area and envisioned what they would look like.
For the Individual Project, please refer to the A1 Board.
We begin with the short, medium and long term plans of the area, followed by land usage and road modifications. We then analysed underperforming areas of the site and chose to focus our efforts there. Research was also conducted for a toolkit of fenestrations and facade materials that could be used to preserve the essence of Jeonnong-Dong, and sections would provide valuable insight into how our regulations and implementations would come into play and influence the area.
SLIVERS & SLITS
ALL HOLES LEAD TO CURIOSITY
by Sanya Dixit (Y3S1)
Studio UC BERKELEY Adam Miller
The coversion of the Staples Centre into the crypto arena took Downtown LA by storm. Cryptocurrency and blockchain technoogy have gained significant prominance in downtown LA’s cityscape in recent years. These new coperate buildings have cut through the originally historical and creative landscape of downtown LA - consisting of the vibrant districts of fashion and art.
1200 Hope street, the given site, sits directly in betweenthe duality of Downtown LA’s new cityscape.
The question I wished to answer was can the new world of crypto trading co-exist, and possibly even thrive with te existing creative industries in Downtown LA?
MAIN & PROCESS MODELS, RENDERS
I aimed to create a subtle dialouge between these two very different forms of work by exploring the tangible architectural language of slits, peepholes and overlapping spaces. The process of coming up with the form involved the use of Tony Smith’s “for V.T” sculpture. The sculpture, an extruded rhombus was used to subtract from the bounding box of the site. The ends and tops of the extruded rhombus were strategically used to create holes and voids visually connecting, but physically seperating spaces from eachother. A play between solids and voids was also used to derive the form and spaces.
From the main street, the building highlights the chaotic and oraganic fabric drying space with movement and people overlapped in front of an orderly army of self-operating computers a glass cryto-mining room. The softness and flow of fabric contrasts with the sharp and rigid geode shapes of the building form. Slivers of colourful fabric can be seen through the office spaces while creatives can peak into the rooms of computers and machinery.
SUPER-CORRIDOR
GRZEGÓRZKI WSCHÓD MASTERPLAN
by Mok Ze Chun (Y3S1)
Studio Olga Kania & Daniel Ogrodnik
Cracow University of Technology, Poland
Shown here is the revitalisation of abandoned warehouses into a market and hawker centre. The large distance separating the two rows of warehouses are converted into an urban belt that sections the space into different complementary public spaces. The local families can enjoy the convenience of a local public space that can accomodate each family members different activities.
The project brief is the development of the Grzegórzki Wschód residential district located 2km east to the historic city centre of Krakow into a new city subcentre. The existing site is currently blocked off by physical barriers from all sites due to highways, forests, the Vistula river, abandoned fortresses and a military base.
The overall masterplan proposes complete utilisation of the current conditions. Instead of accessibility, the project aims for pedestrian and cyclist convenience. To achieve this without major demoliton to the existing streetscape, vehicle parking is hybridised and stacked with public amenities. The layering of different spatial functions creates a super-corridor that provides activities for the young, the old and the family in close viscinity. For example, parents might want to buy groceries, the teenager might want to go skating while the 4-year old kid wants to go to the playground. In the super-corridor, they can engage in their respective activities without being separated by large distances and visual barriers.
LIQUID MONUMENT
HYDRATING POST-ANTHROPOCENIC LANDSCAPES
by Dominic Chia (Y4S1)
TU DELFT
The ex-American Embassy in Den Haag, once a public and accessible landmark, now stands as a rigid and isolated monument, cutting ties with its surrounding landscapes, reinforced by the remnants of the American hosts and paranoia manifested in delineating window grilles, high fences, and guard posts. How do we reconnect, revitalise and restore the monument to the city of Den Haag?
This project takes inspiration from the hydration and solidification of concrete to propose a new approach towards heritage design and a-monumental architecture through the re-Hydration of the existing ‘dried’ monument and landscapes. Domains surrounding the site were considered and re-connected, bonding itself to the existing monument.
“Journey
Spatial tectonics of the new insertions were inspired by these surrounding domains and a synergetic formal approach was adopted in hopes that the a-monumental additions could encourage symbiotic bonds between new and existing agents on site. The hydration of a postanthropocenic landscape is an attempt towards a collective shared memory, supporting possible bonds between all agents and domains of The Hague.
(full work: domichia.arch@gmail.com)
“Breuer’s Nightmares (Do Modernists Dream of Chaos)” Graphic Experiments on Existing Monument Facade
by the Water” I record my intra-actions between biodiversity, site, and site-mapping with a short storybook.
I’M SINKING ABOUT IT
by Chua Ann Teng (Y3S1)
Qu Cuisong
Tongji University
“I’m Sinking About It”, rejuvenates Villa Las Estrellas with a unique three-pronged approach that incorporates wind turbines as the main source of energy. In this design, we blend crystallic-inspired housing typologies with elevated research centers, fostering a harmonious and sustainable community that embodies the spirit of “Imagine Your Future, Build Your Dreams.”
The newly rejuvenated Villa Las Estrellas innovatively harnesses the constant Antarctic winds with wind turbines to generate sustainable energy. Central indoor greenhouses not only provide fresh food but also create a vital link between residents and the natural world, enhancing the quality of life in this demanding Antarctic environment.
Studio
Drawing inspiration from crystalline structures, our homes are designed to harness the full potential of natural light. Strategic placement of windows, taking into account the sun’s orientation. There are two unique typologies tailored to specific requirements. One type is optimized for the orientation of the sun, ensuring that residents benefit from sunlight throughout the day, while the other is designed to suit various user sizes and lifestyles, accommodating both co-living arrangements and families with children.
GASTRONOMY HOTEL
L’ALBERGO GASTRONOMICO
by Nicholas Pua Qi Xing (Y4S1)
Claire Wong Shi Yun (Y4S1)
Edwin Lam Chor Meng (Y4S1)
Daryl Lim Mingze (Y4S1)
Politecnico Di Torino
Nestled in the heart of Turin, L’albergo Gastronomico is designed to be a vibrant hub for chefs and food enthusiasts alike. Set against the backdrop of the enchanting Piemonte region, this culinary haven aims to celebrate the rich gastronomic heritage of the area. The concept revolves around a central vertical void, a dynamic space that contains public markets and private shared facilities to foster a sense of community and collaboration.
DETAILED SECTION
At the core of this innovative design are shared kitchen spaces that overlook one another, creating a unique environment where culinary enthusiasts can come together to share their passion for Piemonte’s delectable cuisine. The goal is to forge a holistic experience that goes beyond traditional hospitality, inviting guests to immerse themselves in the art of cooking and savouring exceptional food.
CONCEPT DIAGRAM
MODEL PHOTOS
DECONSTRUCTION
A RITUALISTIC CHOREOGRAPHY OF PASSAGE - VATICAN CITY, ROME
by Tan Wan Theng (Y3S1)
Valerio Dorn & Lucas Fischötter (Y3S1)
Studio ETH Zürich VOLUPTAS Pathfinder
Deconstruction is understood as the de-objectification of the Holy Door of the Vatican, the magnet for mass pilgrimages from all over the world. Opening once every 25 years, 50 million pilgrims are expected to journey to Rome to pass this symbolic threshold in the Eternal City to be cleansed of their sins. The modern day pilgrimage signifies the global force of the Catholic church and overarching religious order presiding over Rome’s urban infrastructural development and growth as a logistical nightmare of religious tourism.
Bramante’s original open central plan of St Peter’s basilica inspired us to frame the tension between the logistical demands while preserving the sanctity of the ritual, with both sharing underlying rhythms and sequential spatial and time parameters. Yet, the modern irony where crowds pass through the Holy Door in a rushed, machine-like movement contradicts the continuous movement and passage of a pilgrimage.
Through a sequence of historical paintings and drawings, the intervention seeks to transform the modern day phenomenon of development and overcrowding into one that retains the emotional dramaturgy of a pilgrimage. The project reimagines the ritualistic experience of the pilgrimage through the spatialisation of the door as a symbolic threshold, transforming the entire Vatican into a choreographed infrastructure of passage...
THE ECOSPINE
STUDIO RHIZOMES
by Lai Kit (Y3S1)
Chen Jiahao (Y4S1)
Studio ETH Zürich Céline Baumann
The Ecospine, characterised by a long agglomeration of interconnected green spaces along the riverfront, manifests as the product of a careful resolution between adjacent ecotones. Along the narrow stretch of land between the water and pockets of industrial land, the existing concrete breakwalls are demolished to make way for a naturalised eco-shoreline that serves as a nexus to proliferate green-
SITE ZONING MAP
nery into the urban fabric, as well as provide a living space for humans and animals to co-exist. Further West, the adaptive reuse of obsolete logistical infrastructure into new social spaces like an art district culminates as an attempt to revive a cultural affinity to the river. The project stands as a conscious effort to heal the existing landscape and to recalibrate ecotones. It also functions as a starting point from which a larger, rhizomatic ecosystem can be cultivated, of which a dynamic synthesis of biophilia with the urban fabric would enable greater resilience towards climate change.
POLYGON AMOROUS
DUAL-FAMILY-HOUSE
by Huang Zitao (Y3S1)
University
of
California (Los Angeles)
According to a Pew Research Center study, polyamorous relationships have been experienced by 19% of members of Generation Z, almost doubled from the millennials. However, these relationship are not yet legally recognised. For this reason, my project aims to connect the two couples romantically, yet remains formally and administratively separated.
The starting point is a figure of eight knot, bounded by a circular string that intersect twice with the knot. The former belongs in the private sphere, while the later, the public sphere. The staircase unites and then diverges, mediating the occupants’ double lives. Taking inspirations from the Fraternity Houses design, the architectural element of arches embodies the inherent irony of an open-relationship. While referencing the ever-lasting charm of Roman aesthetics, modern courtship could be transient and shortlived.
FRONTAl FACADE
AXONOMETRIC TRANSPARENT
ISOMETRIC EXPLODED
On the first level, you can find the codependent kitchen and dining room, and two isolated living rooms. Though each couple furnish each room differently to their taste, the two households share a bathroom bounded by the staircase. Inspired by the N House by Sou Fujimoto, this space is delineated and connected by a continuous corridor, where private conversation between different members take place. Distinct staircases then lead to the private living quarters. The second level would be dedicated to the children, who would be living below their parents. Additional screens and partitions could be added in the room for privacy, in case there are more than one kid. There is also a codependent balcony that allows for the children to interact, which could be monitored by the parents sitting downstairs.
For the third level, you can find an continous open space which is mediated by two jack and Jill Bathrooms, which could be visual barriers and provide privacy when necessary. To allow for the occasional conscious uncoupling, there are three connected bedrooms to allow for family members in conflict to enjoy their isolated private movements.
THIRD
SECOND FLOOR
GROUND FLOOR
FLOOR PLAN BY LEVELS
YEONHUI NATURE SCHOOL
A SCHOOL IN A PARK
by Zhang Shijie (Y3S1)
Yonsei University
This exchange university’s studio brief sets out to challenge us to reimagine the elementary school typology under the context of a declining student population as South Korea’s birth rates reach record low levels. Under this studio, we had the freedom to rethink existing school curriculum and how to integrate the smaller schools with the surrounding communitiy by sharing certain facilities
on campus with the public. This proposal is an elementary school with a revamped school curriculum that focuses on outdoor learning that also serves as a community hub for the Yeonhui district in Seoul, where the site is located.
Architecturally, the classrooms are be able to expand out into the outdoor space through the use of sliding glass doors, enabling flexibility in lesson design and creating a
YEONHUI NATURE SCHOOL
more pleasant learning environment. It is a school in a park that actively engages and integrates with the rejuvenated natural landscape. The community will be able to benefit from the new park spaces and the shared public amenities for sports, culture and dining with the school.
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.
