This key foundation module is an introduction to basic design concepts and methodologies, as well as representational techniques specific to seeing, thinking, and making. These will be explored via analogue means. Students will be introduced to a wide range of architectural ideas, ranging from traditional representation and Singapore architecture, to emergent trends operating on the frontiers of data-driven and digital techniques in the field of design today.
Ideas of space, form, proportion, composition, and order will be examined and explored. As foundational design components, these will provide requisite grounding in developing a visual language through the practices of drawing, sketching, and model making. Students will learn basic drawing techniques and skills, including line weight, line type, scale, and the projective techniques of plan, section, elevation, perspective and axonometric drawing.
Students will also be introduced to ways of understanding and responding to information and data, and the abstraction of architectural ideas in the production of architectural drawings and 3D scale models. They will be able to evaluate such representations as part of the fundamental process and methodology of contemporary computational design, and as an extension of traditional methods of gathering and analysing information.
This module will build on AR1101 by focusing on the development of three foundational design skills: scale, precedent and context. Students will be introduced to 3D complexities and relationships of scale, discover the use and transformation of precedent in architectural design processes, and gain an understanding of context as a component that impacts design outcomes within the built and natural environment.
This module will enhance students’ use of different mediums and graphic communication, with an introduction to complex 2D and 3D projections at scale, as well as the use of digital and analogue tools. Students will learn to combine representational tools to illustrate their design method(s). They will also delve deeper into the use of 3D models as part of the design process.
Expanding on what they have learnt the previous semester, students will employ various visual mediums as part of the design process, and as a tool to present, defend and refine their ideas on architecture. Studio projects will also begin to wrestle with certain fundamental issues in architecture: site, programme, circulation, organisation of public and private zones, and the differing requirements of users. Students will employ thoughtful, rigorous approaches to form making, understanding this to be the language through which architects create spatial experiences.
semester one semester two
DIANA KONDRATOVA
Visualising the decay of a pig’s carcass
GLEN ANG XUN ZHE
Visualising Weather : IOTA
JAMIE FOO SI SHING
Men’s Olympic Volleyball (Japan vs Canada Set 1)
SANYA DIXIT
Systems
ZHANG XUANQI
Hotel California
ZIKRY NASRULLAH
What is a Well-Composed Song?
LAI KIT
Amorphic Spaces
WONG YI XUEN
Symphony of the Sea
ZHANG LEWEN
Semirhymide: Semiramide Overture. Bar 1-241.
WANG TIANYUN
Computational Design Thinking Visualisation of 2011 Japan Earthquake
CARESSE AUDREY CHIA
Shophouse for Dental and Leisure
HSU REN YUN
Ng Eng Teng Memorial Gallery & Artist Residence
MARCUS LOH MEN TONG
Ichi-Go Ichi-E
SHIU JEROME MILLIAN
THE ANIMATED HOUSE
WANG TIANYUN
Radio in Retrospect
DIANA KONDRATOVA
La Femme Clinique
LEE ZHUO YAO
Rain Garden
MOK ZE CHUN
Homoludens
TAN WAN THENG
Serendipitous Medley
ZHANG SHIJIE
Garden Mingle
Decay of a Boar
A study of how flies populate a boar’s body throughout decay.
Diana Kondratova (Y1S1)
It can be estimated that the decay of the pig’s carcass can be equated to that of a human, making pigs more interesting than we presume them to be. The main emphasis of this project has been to make a model both grotesque and alive to the eye - alike that of a living organism or a decaying body. We often forget that the beauty of life is in it beig finate. We tend to avoid thinking of what happens to our bodies after death, but to me the continuation of growth of other organisms and decay of our own is precicely what I find alluring. My two final models are presented side by side, reflective of the process of decay of a domestic pig and that of a wild boar, using colour as the main distinguishing factor. My methodology consisted of dropping wax into cold water, using different factors to influence and systematise its formation into a shape. There are a total of seven different methods that correlate to seven types of flies that populate a carcass throughout its decay stages. In addition, the amout of wax used is related to the population of flies in my precedent study. Although I was told that the model looks like candy paradise
Studio by Yang Han
[Final Models]
[ Earlier Inspiration]
I would hope that after reading my description your would find it disgusting and may even experience a foul, sickening sensation, as one should upon being reminded of their mortality.
The above illustration is a drawing I compiled using my original case study. It reflects the data in a chronological manner and has served as my main inspiration for the final model. The diagrams help elaborate my research process as well as the methodology behind my final product.
In conclusion, although I initially struggled to find a way to control wax - a naturally organic and unpredictable material, I have enjoyed the process greatly. I was forced to think outside the box and I am sure given more time, I would have most definetly flooded my whole room with wax. Sometimes I like to think of myself as Diana the wax queen, however one can only dream...
Visualising Weather : IOTA
Hurricane
IOTA
Studio by Liang Lit How
Glen Ang (Y1S1)
The 2020 Atlantic Hurricane Season was the most active and fifth costliest season on record. Hurricane IOTA was the strongest and last storm of the season which lasted from November 13 to 19. It was a late-season category 4 hurricane that caused total damages of up to $1.4 billion and have affected the lives of 4.1 million people.
The project makes use of a multitude of weather data such as wind speed, wind path and, temperature when the hurricane was active. These data were then translated to a 2 dimensional visual code and subsequently manifested n a 3 dimensional form. Actions were translated from the 2D code and applied onto different materials both analogue and digitally to investigate the reponse of different materials and the possible forms that can ensue.
The creation of these models bring about the question of the functionality and purposes of the amorphous and organic shapes. In today’s world we are very much governed by our anthropometry. Spaces are designed to follow the functions we need, but is it possible to have function follow form. What would the world look like when we redefine the spaces that we are all so familiar with?
Men’s Olympic Volleyball
Japan vs Canada Set 1
Studio by Wu Yen Yen
CONTINUOUS PLAY
DISCRETE POINT
CONTINUOUS SET
Topic B, Exercise 2, was an analysis of an olympic volleyball game, where the idea of discrete and continuous entities, the line between them and how to blur it, were explored. With the idea of cause and effect, a system exists not just within the team but also between both teams where the actions of one team affect the other. Here, the continuous game of a volleyball set is broken up and discretised. In exercise 3, the broken up game is further modularised to uphold a plug and play concept, where the variation of one unit can represent multiple parameters.
The continuous nature of the game is challenged when observed at a higher resolution, where it can be seen that the game is an aggregation of discrete points, which make up a “continuous set” of data. Breaking that down further, a third dimension can be seen where each discrete point is made up of continuous plays, highlighting that a single process does not exist solely as a continuous, or discrete data set.
Jamie Foo Si Shing(Y1S1)
REFERENCE POINT
MODEL LEGEND
Amorphic Spaces
Mapping Starling Murmurations
Amorphic Spaces explores the complex phenomenon of starling murmurations through the lens of three distinct parameters, with the process eventually culminating in an abstract entity — one that is generated from an algorithmic translation of these inputs.
Spanning across two exercises under Topic B, this body of work is in essence, a formfinding process. Commencing with a precedent study of starling murmurations as a natural phenomenon, the process continues with an abstraction of research findings, where a notational language in the form of a running algorithm was generated. The journey eventually concludes with a digital form generation, where its complex geometries are dictated by its algorithmic inputs. The following paragraphs will explain in detail, the process behind generating this abstract form. Starling murmurations occur when 300,000 or more individual birds fly through the sky as a singular entity, forming picturesque shapes in the sky as they go by. This choreographic movement is manifested from simple movement patterns at
Lai Kit (Y1S1)
Studio by Fiona Tan
the individual level, which are governed by three distinct parameters — separation, cohesion and alignment.
In order to capture these movement patterns, they were condensed into a simple ruleset that could be intepreted by a Cellular Automata algorithm. A predictive sequence was constructed as a result, where pixelised ‘cell grids’ rearrange themselves by applying the prefixed ruleset onto its predecessor. With each generation composed by an array of black and white pixels, where a black represents a starling and a white represents unoccupied space, the sequence of grids are arranged in sequential order where an abstract form is patched and generated. The final product serves as a visual commentary on a murmuration’s unique form, where the movement patterns of a hypothetical flock are abstracted and recreated as it moves through space and time. The entity exhibits a nature that is complex and amorphous — one that is constantly in flux without clear definition, a key characteristic that is uncanningly similar to that of its parent.
Cellular Automata Algorithm
Systems
extracting variations
This project included two seperate exercises, both with a similar aim: creating a system and extracting variations from the same system. My work for the the first exercise is titled “The Revolution”. The concept of this first exercise was to create a form depicting the revolution of stars about earth which was represented as a central point. The data collected was hence based on the positions and properties of 16 different stars. The data for each specific variable was then translated into Grasshopper. The magnitude was used to determine the vertical displacement of the stars from the equatorial plane - this was the link between the positions and properties of the stars, creating a system. This was followed by the derivation of various versions of the same form from this same system. This was done by systematically varying the coordinate 1 and the magnitude, the radius as well as coordinate 2.
Sanya Dixit (Y1S1)
Studio by Yong Sy Lyng
The Revolution: Variations by changing variables
The same idea was carried forward in the second exercise titled “Passage”, but the system was now a physical model. The system played with dynamic forces created by soil passing through circular filters. The radius of the cardboard filters were determined by the radius of stars data from the previous exercise. The main aim of this exercise was to study the movement of soil - done by observing the resultant form when rotating the filters (the rotaion also determined from data collected in the previous exercise), accumulation on the filters, flow through the filters and bounce on the filters.
Passage: Physical model and variations derived
The Revolution: Data and System
Symphony of the Sea
“If the emotions becomes to strong for words, you sing”
The system of whale sounds has always been complex to the extent where even till today, humans have been unable to decipher the code of whale sounds and their songs. “If the emotions becomes too strong for words, you sing”; is a term often used in Broadway; to describe situations when songs are substitutes for explanations in the face of overwhelming emotions. So, when we relate unknown situations to what we, humans, are familiar with; materials or systems, no matter how complex, can then be understood.
Starting with a humpback whale song; each unit, phrase, theme and symphony was analyzed; while a library of over 70 classical songs were reviewed and analyzed. After consideration of the frequencies, notes and rhythmic progression, and the tone and keys of the symphonies of both man and whale, the phrases of the humpback whale song (chirps and moans) were related with the respective pieces; Chopin’s Ballade No.4 in F Minor, and Rachmaninoff’s Prelude in C Sharp Minor.
Wong Yi Xuen (Y1S1)
Studio by Ng San Son
Model (Scale: 600 x 900)
The model comprises of two key elements; wood and resin. The choice of wood is to represent the established frequency system of the whale sounds, of which the wooden planks represent the moans of the whales, as such is denser and “draggy”, whereas the chirps were represented by the wooden stilts to reflect their staccato-like-nature. On the other hand, the note progressions of the related symphonies are defined by the side outlines of the resin, to symbolize the understanding that the relationship is theoretical, hence “invisible”.
With the resin covering the overlaps of the physical embodiment of the whale frequency system, there is a manifestation to progress to a sea of unique waves of resin, continuing as one delves deeper into the complex system of whale songs; for each song is unparalleled and unique, the architectural representation of the relationship between whale and man will then exhibit one, ceaseless Symphony of the Sea.
Elevation, Plan, Isometric, Info gram, Pictogram
Infogram
Pictogram
Hotel California
Live Song Visualization
Studio by Shaumyika Sharma
Zhang Xuanqi (Y1S1)
Listening to music within a high-fidelity stereo system is a wonderful experience. The main focus of this experiment is to manipulate elements of the sound and music, the sound field, and the time length of sound in a series of fixed periods into a visual mapping. By dividing the sound field of my stereo system into six sections as well as by collecting each type of sound respectively, it is easier to distinguish and to find the flow, density, especially the vector of each individual sound within its sound field. To fulfil this imagination of Hotel California, tracing, weaving, and flocking behaviours are generated via grasshopper based on the interaction of each sound element to form the results.
By manipulating the types of sound on the corner of their relative elements as well as the angle of rotation between each minute’s block, which extend the corner for each element and rotation for each minute, creating more dynamic for this ‘music sculpture’. Gold and silver are materials used to make a good quality hi-fi wire, therefore, gold and silver leaf had been added on to the sculpture not only to distinguish the elements but also to simulate the vivid and beautiful experience while listening to hi-fi music. The chaos of the two-dimensional diagram and the ration of the three-dimensional sculpture form the contrast and make me muse on how significant the change can be when one tries to think from another perspective.
Semirhymide
Visual analysis and modeling documentation: Semiramide Overture, Bar 1 - 241.
Studio by Albert Liang
Zhang Lewen (Y1S1)
“Although Gioacchino Rossini (1792-1868) composed almost 40 operas, the number of years involved in that formidable production was only about 20. Amazingly, in the 39 years that remained to him after he completed his last opera William Tell in 1829, he never created another work for the stage. The seasons of Rossini’s operas started in 1810 in Venice with La cambiale di matrimonio, a oneact farce which was the first of his stage pieces to be performed. The last opera Rossini wrote in Italy before leaving in 1824 to win fame and fortune in Paris was Semiramide.
His addio to the Italian stage was a lurid one: The story (libretto by Gaetano Rossi adapted from Voltaire’s novel) tells of Queen Semiramis, who takes the throne of Assyria and Babylonia (800 B.C.) by killing her husband. She falls in love with a young man she doesn’t know is her son, and then is killed by her lover. Although it contains material from the sordid opera, the bright Overture hardly suggests the blood and gore of the action that is played out on the stage when the
curtain goes up.” - cited from ‘Semiramide Overture,’ 2021 Los Angeles Philharmonic Association.
In the project Semirhymide - named after ‘Semiramide’ and ‘rhythm’, the overture is examined with the use of a range of devices such as volume, emotion, tempo, pitch and instruments. By mapping these data using different patterns and notations in coordinate systems, different visual representation of the piece are developed. These representations include 2D graphic and 3D models, which reveal the interconnectedness between devices and the visual effect of the symphony as consequence.
models (iteration and final)
What is a Well Composed Song?
Analysing the Metaphysical
Studio by Elaine Lee
Zikry Nasrullah (Y1S1)
‘Dance of Iscariot’ by Kirt N. Mosier piqued my interest for its complex sound yet basic composition. Inspired by Iannis Xenakis and Le Corbusier, who used the song Metastasis to form the Phillips Pavilion, I mapped the notes played to the range of notes possibly played by string instruments. I discovered how the same melody was played by all insruments but at staggered times and at varying octaves.
To add another layer of complexity to this analysis, I broke the initial drawing into a grid, which I gave a coded language. This exploration highlighted how a wellcomposed song like Dance of Iscariot covers a wide range of notes that ultimately come together in harmony. The same set of code was then transposed onto two mediums of varying responsiveness: plaster and fabric, which intrigued me as the same code could present two different models. I wanted to draw on this idea of ‘having multiple instruments come together in harmony’ through my models.
My plaster model presents each instrument as rectangular blocks with grooves of unique sizes. These blocks could be fitted with one another, embodying this concept of coming together. Plaster seems set after casting but it is still responsivethe blocks are able to move along the casted grooves, varying its silhouette.
Fabric Model: Similarly, strips and pleats were used to denote each instrument. These strips were positioned and the overlapping area was lifted, allowing the fabric to respond by draping over one another.
This exercise allowed me to appreciate music through an analytical approach by dissecting its score into code, which could then be transposed onto two materials to see how each material would respond. I was able to appreciate the rigour in translating a metaphysical set of data like music into a 3-dimensional form, in an attempt to synthesise music with architecture.
Coming Together in Harmoney (Plaster), Responding to Music (Fabric)
An Analytical Progression of Translating Resultant Drawing into a Coded Language
2011 Earthquake
Visualize the Invisibles
In the Project of Computational Design Thinking, our studio aimed to test the limits of analogue and method-driven design process with minimum help of digital tools.
Our journey began with choosing an existing infographic containing at least four variables to that embody the quality of flux and turbulence. The 2011 Japan Earthquake intrigued me due to its level of complexity. It is a time-based event, and I am particularly interested in the cause and effect relationship between variables, such as land slip distance and the magnitude of aftershocks.
Similar to how computers convert data, we translated all variables into a design of visual codes to better understand the development of the entire phenomenon. Among all the basic geometries like circles and triangles, I have chosen the family of rectangle as they would be more appropriate to represent plane movements.
Wang Tianyun (Y1S1)
Studio by William Ng
Discrete models with the unit construction concept
Next, we used the pinching method to faithfully feed all the data to the responsive material. By sewing the vinyl sheet from epicenter outwards following the land slip every 40 seconds, we observed that this rather abstract land rupture process began to take shape and gradually changed in a chain reaction. The resultant form successfully corresponded the land slip direction, speed and total distance with aftershock regions and magnitude, creating an alternative pathway or rather a new language to visualize the invisibles.
Lastly, we concluded this project with a highlight of applying model-making concepts to real-life architecture. With an exploration of tectonic and steretomic, I realized that all complex parametric forms can actually be constructed by simple basic unit geometries functioning like bricks. From building skins to even city plans, we played with scale to envision the future on our hands and demonstrated that human creativity is something that passive computers can never match.
Visual code for the land rupture process
Shophouse for Dental and Leisure
Duality of Day and Night
Shophouse for Dental and Leisure is a project located in Geylang of Singapore. Incorporating the duality of day and light in the streets of Geylang, this project is a unique shophouse that transforms at night. In the day, Geylang looks like a gated community, with barely a single soul walking on the street. All the gates and doors are closed, and the atmosphere of the street is very uninviting and unwelcoming. In contrast, there are much more people walking along the road at night, though mostly migrant workers due to their dormitory located opposite the site. The lights along the street were also uniform. I made use of the contrast between day and night to create a house that is open all day but has different functionalities during the day and night. The house follows a 1m concentric grid, which splits the house into different layers with respective functionalities on each unique layer. Inspired by the layout of ‘Sky House’ by Kiyonori Kikutake, the house is layered in a manner where the central core is the main area for living and activities to occur. After the clinic closes, the waiting area is transformed into a play area for migrant workers to gather for a movie screening, or just to talk. The main living area functions as a living room during the day and transforms into a bedroom for the couple at night.
[ Day layout (left), Night layout (right) ]
Caresse Audrey Chia (Y1S2)
Studio by Lim Pin Jie
Isometric Explosion of Shophouse
2 point perspective of shophouse at night ;
Warm light cascading onto the streets of Geylang
La Femme Clinique
Women’s clinic with a residence
After our initial studio visit to Lor 14 Geylang my problem statement became clear. Historically prostitution has been vividly present, red light districts being the most vibrant and creatively prospering districts in cities. However, the topic of discussing sex work is both taboo and often dismissed, as most consider the type of work unacceptable.
My design process started off as a direct translation of a vulva and I concluded with a purely circular form. Through brainstorm and a complete lack of a desire to finalise my form, I decided to make things easy by focusing on one thing - purity of geometry. Similarly to a Fibonacci sequence diagram, I came up with my own relation of circles and their radii.
Diana Kondratova (Y1S2)
Studio by Goy Zhenru
Majority of my inspiration came from the female reproductive system, both for the interior feeling of the structure as well as the overall shape. The key words for this project are: feminine, alluring, sacred, and pure. After completing my research I deduced that visual complexity of natural environments act as a calming agent for the user, I designed with this in mind, creating a clinic placed within a garden. Envisioning a tranquil space where nature and humanity are organically coexisting and women feel comfortable to interact or experience space in their solitude.
The Private Residence is dedicated to Singapore’s Project X and sex workers in need of refuge. The private space provides and area for Project X management and a residency for two people in refuge with a shared bathroom. The public space will be used as a women’s clinic, treating both sex workers and any woman in need. The clinic is to specialise in gynaecological services.
The Sculpture
Ng Eng Teng (b. 12 July 1934 - d. 4 November 2001) was a sculptor and winner of the Cultural Medallion in visual arts in 1981. Ng maintained a prolific production throughout his career and is one of the most renowned artists in Singapore. He is remembered for his large-scale sculptures gracing many public spaces as well as his introspective and whimsical interpretations of humanist themes in three-dimension. The Sculpture, in remembrance of Ng Eng Teng’s work, is inspired by the biomorphic form and curvature of his sculptures. This building is an art of simple and compound curves, allowing both the visitors and residents to experience the fluidity of space.
The context and concept are closely related to each other whereby the site forces are carefully considered during the design of the building. This allows the building to be incorporated into the surroundings while standing out as a piece of art.
The Sculpture Perspective View
Studio by Fong Hoo Cheong
The Ng Eng Teng Gallery & Artist in Residence
Hsu Ren Yun (Y1S2)
The building has an interconnected space that includes a gallery featuring Ng Eng Teng’s works, an artist studio, a residential unit, a reference library, and a cafe. At the ground level, the curved walls funnel people to the grand staircase that leads them to the open-air central atrium. This is the place from which the visitors are able to enter the gallery and cafe. In the gallery, the sculptures arouse visitors’ curiosity and lead them to the reference library located at level 3 to find out more about Ng Eng Teng. The visitors are allowed to have a glance at the artist’s works in his studio right from the reference library. The circulations for the public and the private are separated, ensuring that the privacy of the artist-in-residence is not compromised. A private spiral staircase is designed, allowing the artist to proceed directly to the studio and residential unit.
Section A-A
Rain Garden
an auditory experience
Lee Zhuo Yao (Y1S2)
The site, a car park, is characterized by spaces open to the sky, with trees arranged in a repeating pattern, providing momentary shade and shelter to users of the space. This makes the site exposed to the elements of the weather, especially so to the rain. This first inspired me to create something that would improve the site condition, and work with the rain rather than shelter against it.
A site study is first conducted, with a scale model and simulated rain to identify areas of most rain on site. As shown on the site map, these areas would then be utilized as areas where different activities would happen. Experimentation with the sound of rain hitting at different angles provided a variable which different programs could be mapped with. Toilets and kitchens require louder ambient noises, while the bedroom requires softer sounds.
Short & Long Sections
Studio by Yong Sy Lyng
The programs on site, each mapped to their required sound level, are then placed on site according to the amount of privacy required, with the co-working spaces nearer to the main road. The spaces are then extruded accordingly to match the required sound levels. Connections are then made, along with access from the ground level to accommodate the car park on site.
Users enter the space via connections near trees, areas of least rain on site, and begin their journey to the different spaces with the most rain on site. The curving and undulating spaces created provide differing spatial and auditory experiences for the users. The idea was to utilize site elements to enhance the experience of functional spaces, thereby creating a sensory experience unique to the site.
Top-dowm Oblique Sections
Ichi-Go Ichi-E
“One
time, One meeting”
Studio by Albert Liang
Marcus Loh Men Tong (Y1S2)
Ichi-Go Ichi-E (一期一会) is a Japanese fourcharacter idiom (yojijukugo) that describes a cultural concept of treasuring the unrepeatable nature of a moment. The term reminds people to cherish any moment in life as it cannot be repeated; even with the same people in the same place, a particular gathering will never be replicated.
Designed for prominent ceramics artist Dr. Iskandar Jalil, the house is a poetic reinterpretation of the master potter’s philosophy and work. “A house without people easily gets dilapidated. A country without the arts easily becomes de-humanised.”
Home to Iskandar is one that encapsulates the “Kampong spirit” - his door is always open, welcoming, like kampongs of the past. A residence for six, the space is thoughtfully curated to accommodate the lives of Iskandar, his wife, and his daughter’s family of four.
The home takes inspiration from Malay vernacular architecture and the Japanese Mingei craft movement; significant cultural influences in Iskandar’s life. Comprising of intersecting rectangular volumes, a central dogleg staircase connects bespoke spaces in half-levels; the seperation manifests level of intimacy, yet every space remains interconnected, enjoying an abundance of social interactions and communal intimacy.
Homoludens
Possibilities by Playing
“From the moment we enter this world, we instinctively invent ways to have fun, and share our inventions with those around us. We are not asked to do this, nor do we need reasons to create. It is simply who we are. We are Homo Ludens. We are those who play.” - Kojima Productions. The bedroom, living room, kitchen, toilet, etc. This typical nomenclature of spaces have been constant for millenia. With this preconceived notion of spaces, architects will always design the same way, unconsciously (re)creating what is defined as the most logical and efficient design. It is only when an architect realises that he already has the ability to create new spaces, particularly in his childhood, can he create a new nomenclature of spaces. Once an architect regains the ability to play, he learns to experiment with the unconventional spaces by crawling, rolling and laying on the slopes and curves instead of filling the rooms with furniture. The architect and the users find new meaning within the spaces through playing, stimulating a new way of life. Thus, they evolve from Homo Sapiens to Homo Ludens.
Mok Ze Chun (Y1S2)
Studio by Liang Lit How
Anthropometric Analysis
Elevation
Exploded Axonometric
CONSTRUCTING VIEWS MOMENTS
Views are constructed throughout the building, in both public and private space. The journey begins from the drive way, where people will see the bridge with its interesting roof and red supporting columns. If they do not drive, they may enter from other entries that lead to different parts of the building.
The zones were separated according to their identities and their purpose of visit. For example, the workers are more likely to walk immediately into the studio space during work time, but visitors may want to travel to the gallery or theatre. Multiple possible ways can be used to travel around the building, and the views that they see from each route will be different because of different perspectives.
THE ANIMATED HOUSE
A House For Film Makers
“THE ANIMATED HOUSE” is a project designed for an interconnected space, both private and co-working. The target community is a group of filmmakers, specifically, anime producers. We are also designing a private residential area for a couple who work in this film studio. Given that the existing site context already had many built residential houses with a historial building under conservation (Scanteak), this project is to design a building that considered the site context, that does not obstruct the traffic and view from others.
This project was developed based on 2 concepts, animating space and constructing views. This is because these are the main design elements that are closely related to animators. As visitors/residents walk inside the co-working space, the journey should be a promenade. Movable parts, such as sliding doors and portable studios, are used to change the visual elements and the flow of circulation within the building.
Shiu Jerome Millian (Y1S2)
Studio by Jerome Ng Xin Hao
Serendipitous Medley
Light & Darkness / Sights & Sounds
Darkness enhances our appreciation of sound. Light enhances our perception of aesthetics. “Darkness and Light”, “Sights and Sounds”, share an inverse relationship. Medley refers to a mixture of flavours, of people or things, and musically, it refers to a collection of songs performed as a continuous piece. This house aims to imagine a contemporary form of living whereby the porosity of spaces allow for different everyday “songs” and unknown “chance” occurrences, encouraging people to be more attuned to the sensibilities of light and sound we often overlook in our hectic lives that may arise from everyday activities such as cooking, music and socialising etc. Embodying the concept of the “backstreet” where autonomous activities offer a raw depiction of people’s lifestyles, the building conceives itself as an artist residency for two artists (one a visual artist, another a musician). A reimagination of the space where the poetic quality and complexities of light and sound reflects the essence of the “backstreet”, fostering diversity, unlimited creativity and life.
1:50 model
Tan Wan Theng (Y1S2)
Studio by Tsuto Sakamoto
Retrospect
Project 2: Living Workspace
Studio by Elaine Lee
Wang Tianyun (Y1S2)
The location of our site is special and carries significance. It is at a turning point and borders conservation buildings. The hustle and bustle of Joo Chiat Road is a great contrast to the quietness of Onan Road. Shophouse is a good example for commercial and residential house design. I am particularly interested in the airwell and five-foot way as spaces conducive for social interactions.
The antennas observed on the site remind me of old-school way of communication. Then I think of radio broadcast and the Chinese program “Welcome Back to Sound” created by a group of young people. They are doing a radio program about warmth and hope, I also want to design a quiet and safe space about warmth and hope, that can connect the old and the young, the past and the present.
In the actual radio program, the audience would not see the broadcasters physically and their only connection is through letter and voice. I am fascinated by such an invisible connection as a form of spiritual support. Bringing the radio program to the context of our site, I retain the element of anonymity, so that the messages conveyed by the broadcasters would be more powerful. The level 1 public space is respected and really brings people peace and comfort. Therefore, architectural elements have been carefully designed to define the fine line between private and public areas in this communal space.
Exploration of spatial interactions around central courtyard
Digital renderings show activities in different levels and highlight the design details around the internal courtyard, including the public fixtures, the wooden screen along the staircase and timber windows on the upper floor. The entry of public space has the dimensions of the five-foot way. Seats are added as a fixture to capture the social and communal character of this space.
Integrating five-foot way and courtyard into my design
Garden Mingle
Softening Spatial Boundaries
Zhang Shijie (Y1S2)
Working in a foreign land, migrant workers are a marginalised group pushed to the fringes of society. Away from their homeland, there are very few they could trust. This added sense of insecurity, coupled with a potential lingo-cultural barrier, would make seeking medical help an intimidating experience, even with medical costs taken out of the equation. Another concern is the lack of welcoming public spaces for them to hangout and mingle about. With a sizeable migrant worker community residing in Geylang, the brief to design for a non-profit doctor residential-clinic within the community presents an opportunity to strengthen patient-doctor trust and create more social spaces for the migrant workers.
This design concept seeks to achieve these goals by using gardens and terraces as mediating buffer spaces while establishing connections between rooms of different programs. This is done through sensibly opening up rooms to one or more of the 3 main garden/terrace spaces based on their function and privacy needs to establish
Studio by Lee Hui Lian
This module investigates the architectural potentials of structure and space through the operation of aggregation—that is, the combination of architectural spaces, functions, and connective circulation systems. Students will propose architectural forms through the aggregation of volumetric programme components, creating a balance between repetition and singularity. They will grapple with the complexities of function and organisation in a variety of scaled spaces. They will also gain an understanding of material, gravity, and structure as foundational components and ordering systems of architecture and explore the interdigitation of these approaches in spacemaking.
Students will expand their representational techniques to include 3D projections and begin to incorporate the element of time. Colour, collage, and an expansive repertoire of representational approaches will be introduced along with digital fabrication methods. These digital tools will be employed alongside and within advanced analogue techniques of model making
This module examines the boundaries of environment, climate, and architecture through the specifics of the envelope. Students will understand the gradient of atmospheric conditions between the interior and exterior, forms of atmospheric conditioning, and the design of climate in an expanse encompassing air, breeze, rain, dust, smells, and other contaminants. The contextual implications of hot and wet equatorial environments will be explored, and the value systems of environmental and sustainable designs examined within their long discursive histories. Students will expand their understanding of the site as a set of dynamic factors and processes that influence, or are influenced, by the act of architecture.
Students will understand and deploy advanced digital simulations alongside analogue testing and projecting. They will expand representational methodologies and design processes to incorporate the invisible conditions of the atmosphere as a design medium that impacts the architecture of the built environment.
semester one semester two
ANDREW CHEW
Octa DeVoid
CHALMERS ONG
Cellular Urbanism
CLAIRE WONG SHI YUN
Spectrum
DARYL LIM
The Little India Kampong
DOMINIC CHIA
Hide and Sleep
LOO WAN HONG
Metamorphosis Pods
MABEL CHUNG LEYI
The Parallel Interlink
B.ARCH TWO SEMESTER ONE
CALEB LEW
Irrational Assembly
CHING MEI QI
Simultaneity
DARREN TEO WEI JUN
DISORDER
DEIDRE PUAR KAI LING
Reverie: A Constant State of Being in One’s Daydream
LIM YAN YING
Skewed Views
LOH HONG MENG ALLAN
Experiential Scenery
MELINDA KUMALA
Machines, Humans and Spaces: Reconstruction of space and time through temporal dimensions
NATALIE JOAN LIM
Lens
RICK EE GUAN YING
Exclusive Community
SIM FEI CRYSTALYN
The Adult’s Playhouse
THARSHANA SUBRAMANIAM
The Torus
WANG LIANG EN
Union House
NG JIA SUEN
Coalescence Cuboids
SHAWN LAM
Réunion
TAY WEI JIE NICHOLAS
Spectrum
TOH EU JUIN
Microcosmic Fragmentation
WEE LI YI STELLA
En Keisha (Slanting Edge)
ZHOU SIYU
Urban Theatricality
CAI TIAN XIANG | TAN YUE REN
The Silent Chime
CALEB LEW | MEGAN MAK YUK CHENG
When Sun Meets I
CHIOK JUN JIE | CHOO YI JUN
Performance of Light
CHEN JIA HAO | EDWIN LAM CHOR MENG
Muoi
CLAIRE WONG SHI YUN | JAMES TIMOTIUS | LOH HONG MENG ALLAN
Interweaving Waterscapes
DARYL LIM MINGZE | JILLIAN MAE LEE XIAN NING
The Architect’s Light
GUAN XIN, STEPHANIE | RICK EE GUAN YING
The Living Pavilion
B.ARCH TWO SEMESTER TWO
HTET KAUNG ARKAR | SHERYL LOW SI LING
Fresh Florist’s Apprentice
LEE ZHENG JIE DANIEL | NICHOLAS PUA QI XING
The Matrix @ NUS
LOO
WAN HONG | SHANNON TAN
Blow N’ Go
MELINDA
KUMALA | TOH EU JUIN
ROTARY CLIMATIC FACADE
NICHOLAS TAY WEI JIE | TAN DARREN
The Dry Florist’s Apprentice
OWEN GAN ZE MIN | VERA CHONG CHENG HUI
Zephyr
PHUA JUE HUA PEARL | ALLISON LOW
The Blooming Cocoon
SAW HNIN THUNDRAY | SEAH JIA JUN
The Filtering Pavilion
Octa DeVoid
Octahedron Residences
My design intent is desigining a residence to help residents embrace small living and thereby improve quality of life. The need arises out from the site posed in the heart of the CBD. Surrounded by tall high - density neighbours, possibilities for external vistas are significantly reduced. Public amenities surrounding the site are likely to be presented overcrowding issues. A resident that is living in the current site is likely to feel psychologically cramped.
In spite of area constraints, the scheme is intended to create private spaces for each residence. Intended for expandability, the Octahedron geometry is best suited for tesselation to form a large space truss structure. This megastructure can be duplicated in height, offering higher units more access to vistas. At lower levels, units are positioned to focus more internally inside a huge building atrium. As the building rises, openings are carved in the massing to provide picturesque vistas for units looking out from the cluster of units.
Andrew Chew (Y2S1)
Studio by Tham Wai Hon
heart of the by towering than 200m on Shenton vistas are southern development will present spaces such as staying in cramped both imposed development the site and conjuring response.
help residents quality of small units, advocated, increase space. ladder in their bedroom and the tight behaviours small living.
requirements shaped units tesselation in a site vistas, inside a huge on specific rises, more Openings picturesque massings.
organise and shape allows long - span for diagonal escape stairs the slant. fitted within directions without a higher the cars can omnidirectionally to reach provide direct TE19 Shenton 1:150
SECTIONAL PERSPECTIVE
INTERIOR VOID, VIEWED FROM GROUND FLOOR LOOKING UP
INTERIOR VOID, AS VIEWED FROM UNIT INTERIOR
INTERIOR VOID LOOKING DIRECTLY IN
“CITY LIVING ROOM” PODIUM SPACE
UNIT PERSPECTIVE (1)
UNIT PERSPECTIVE (2)
UNIT MODEL EXTERIOR
Irrational Assembly
the impossible within
This project is titled Irrational Assembly, after MC Escher’s Irrational cube as it hopes to evoke the similar experience of surreal sublimity as one encounters a seemingly impossible sight. The aim of the project is to enhance the spatial experience of both the residents and passersby and increase the utilisation of the green space of the site. The individual units consists of multiple compelling split-levels with a seamless flow of space between rooms and a gradient of privacy to suit its inhabitant’s needs. The units feature a gradient of form to formlessness which corresponds to the gradient of privacy. The formless areas make for perfect communal areas like living rooms as they provide plenty of visual and physical accessibility, while the more closed and structured “formed” portions have increased privacy and segregation of space.
Caleb L (Y2S1)
Studio by Cissy Wong
section of collective
At the collective level, the cloud of pixels and maze of stairs creates an enthralling dreamlike environment which subverts the experience of those that enter. The space hopes to provide a break from the visual repetition of shophouses, serve as a relief from the busyness of the city and become an enclosure for congregation and inspiration. The positioning of openings and curation of public circulation invites pedestrians to enter and utilise the inside space. The versatility of the pixels allows for multiple functions including green walls, planters, seating and structure. This cloud of pixels also serves to meld all components of the complex together, creating a cohesive and immersive environment.
apartment types
Cellular Urbanism
Studio by Lee Hui Lian
Chalmers Ong Y2S1
Client: Pomodoro Addict
Strategy: Cellular Automata
1°16’37.3”N 103°50’40.7”E
Theorizing a persona obsessed with efficiency, the “pomodoro addict” takes inspiration on the pomodoro study technique to break his 24-hour wake/sleep cycle into intervals such as 4h/1h. With this new lifestyle, a new housing typology is proposed. The bedroom, defined as the void, becomes the geometric center, having equidistance to all other rooms. The addict wakes up, focuses on one task, goes back to sleep and the cycle repeats.
The mathematical parameters of cellular automata are coded out to create a labyrinth of complex spatial qualities. Applied to the meso voids of the building, a duality that feeds the pomodoro addict’s rigid obsession with efficiency, while attempting to maintain their sanity with a labyrinth of adventure and surprises is explored. Meso voids become flux zones that create an ever-changing corridorscape. They also have minimally 2 points of connection to upper floors that allow for an annual re-arrangement of staircases. Circulation is hence never fixed and with no means of wayfinding, pomodoro addicts dérive through the building on an orchestrated journey of chance and serendipity.
What if our spaces are not only dictated by a raw tool-like functionality but also something that brought the warmth back into our urban fabric? Cellular Urbanism answers this by proposing a duality that capitalizes on today’s society of ever-growing demands - we are continually expected to do more and do better. The pomodoro addict’s persona is a result of this mad rush, and in the process mental health can be affected. By not just allowing the form to follow function, but also feeling, a spatially complex and exciting community is created. Thus, it seeks to help the pomodoro addicts achieve their goals, yet help them reclaim their lost time – by reminding there is more to life than work: time spent doing nothing is not necessarily time lost at all.
Simultaneity
the future we aspire to
Studio by François Blanciak
Ching Mei Qi (Y2S1)
Urbanization versus Greenery?
Fast displacement of greenery is attributable to Singapore’s rapid urbanization. It is not a rare occurrence for greenery to make way for the country’s further development.
Hence, Simultaneity.
Rather than making a choice, the project harmoniously unites the two by providing a non-hierarchichal space, where neither architecture nor greenery has a priority over the other.
For its inhabitants, the architecture serves as a reminder to cherish nature by simulating the experience of being in the natural environment.
One step forward to a ‘city in nature’.
On a micro scale, each residential unit provides residents with the experience of nature with its irregular shape and orientation. Residents are encouraged to climb on slopes and bend down to avoid low ceilings, emulating similar manoveurs in a hilly forest setting.
On a macro scale, the project, as inspired by Stan Allen’s “Field Conditions”, starts by formulating different sets of data to achieve an aggregate. Reinforcing the lack of hierarchy, the resultant aggregate presents a ‘random’ systematic relationship between the residential units and the vegetation.
Form Explorations
Spectrum
Aggregation driven by Light
My project titled Spectrum aims to investigate the gradation of open and closed spaces through the use of walls. Inspired by the phenomenon captured in Fan Ho’s photograph, ‘Afternoon Chat’. The strategies used to derive the operated cube are extracted from characteristics found in the site, namely the heavy presence of canopies from the shophouses as well as grade level changes.
A series of evaluation studies was done to derive the paired aggregated and collective form. These studies were guided by a quantitative measure of openings and a qualitative measure of perceived brightness in a space. These measures paired with the precedent study of Alva Aaltro’s Paimo Sanatorium helped derive the spatial quality hierarchy for unit spaces.
The terraced form responds to the East-West sun, with the short end of the terrace facing Rowell Road, enabling the east sun to penetrate deeper towards the units along Baboo Lane. Units are arranged around a courtyard to enable sunlight exposure to all the units. The terrace shape itself creates opportunities for shared open terraces that allows neighbours to interact and move up and down the terracing form.
[Upper terraces create pockets of light and shade]
Claire Wong (Y2S1)
Studio by Adrian Lai
DISORDER
Architectural Experiences Over Time
[ STATEMENT OF INTENT ]
The project aims at utilising chaos* to morph spaces over time, redefining the dwelling whilst incorporating architectural atmospheres of Lightness and Heaviness.
*external climatic conditions (rain) of the site that will induce architectural erosion of spaces and facade.
[ SUCCESS METRIC ]
The chaotic construction of voids by the external chaos should induce architectural erosion that would create new dwelling opportunities/ experiences, or enhance architectural atmospheric experiences over time.
[ DESIGN PROCESS ]
As part of the design process, the project derives its solution from initial studies in 2 spatial and architectural conditions: light vs heavy, and order vs chaos.
Experimentation through operational processes on foam blocks, as well as dissolution of the foam using chloroform were used to discover unique architectural atmospheres of lightness and heaviness.
The resulting design intervention is an exploration into how architectural erosion can evolve atmospheres over time.
Darren Teo Wei Jun (Y2S1)
Studio by Jane Chua
The Little India Kampong
Daryl Lim (Y2S1)
As social beings, we have an innate craving for interaction and thrive in communities. However, a closer analysis of the contemporary apartment block reveals a counter-intuitive idea. Flats with units separated by a corridor and with little shared spaces encourage isolation and prevent healthy social interactions. The sense of community our elders have desired and romanticised has been lost ever since the transition from attap houses to flats. The Little India Kampong hence hopes to re-ignite and re-vitalise this lost sense of community in the contemporary apartment block.
The design approach began from the formal exploration of cubes that led to the development of a module with a spectrum of spatial qualities. The modules were then rotated, mirrored and stacked to form a variety of clusters. Analysis of the clusters inspired the idea of communal interactions via visual connections. Realising that various spaces in each module were visually connected to other modules, it was
Studio by Tiah Nan Chyuan
[ A typical day in The Little India Kampong ]
Reverie
A Constant State of Being in One’s Daydream
Deidre
Reverie stands between the stark contrast of the high and low rise buildings within Peck Seah Street. The massing consists of five main clusters, each containing ten units which can accommodate up to eighty inhabitants. In this studio, we were encouraged to investigate how voids may be redefined as aggregative building elements as opposed to its typical definition of a negative space. Hence, the void spaces in this proposal are most prominent, with three amenity areas assigned to a specific void (Sky bar, Library, Gym). The aggregation style was executed using formal operations such as stacking and overlapping. And the design language was heavily inspired by the analysis of continuity and movement seen in film media.
The proposal takes after the nature of cinematic architecture, with the key purpose of invoking a sense of escapism from reality for the inhabitants. The intention was to create a hybrid living experience for two specific persona types and to break free from the convention of linear spatial layouts typically seen in Singapore. The persona types are Nomads (Extroverts), represented by the colour teal and Wallflowers (Introverts), represented by the colour red. Each space and connection is specifically designed to their individual trajectories and lifestyles.
Puar (Y1 S2)
Studio by Jane Chua
Hide & Sleep
Apartment Collective
Dominic Chia (Y2S1)
Hide & Sleep - Apartment Collective features a unique range of seen/unseen qualities that attract owners who enjoy a private lifestyle in the heart of a bustling site.
The Apartment Collective began with an analysis of 2 David Umemoto’s Sculptures - six23 and d8. Formal elements were extracted from the two sculptures and informed new approaches to 4 Spatial qualities - Seen, Unseen, Accessible, Non-Accessible.
8 formal design strategies were utilized in its aggregation to form the final collective. These are: Taper, Thicken, Grade, Level, Spiral, ZigZag, Modularity, and Expand.
The result is a series of modular apartment units that can be stacked and connected via a continuous staircase. This continuous circulation allow various units to be connected thus creating a flexible range of unit sizes dependent on the user’s needs.
Different floor levels and different wall heights create various zones of privacy and views for the users. Thick walls, originally inspired by the Umemoto sculptures, help with privacy from various angles. Apertures in this project are thin and tall, minimising views into the units while still capturing enough daylight through the heights of the apertures.
Studio by Victor Lee
Skewed Views
Diversion of Negative to Positive Views
Starting with the probes that intrigued the initial design stages of forming an apartment analogue generates the design process towards the final composite proposal which emphasis the interaction of views and the skewed volume. The emotive drawing creates opportunities of possible spatial quality while the exploration of operations experiments the spatial quality within the two cubes and the evaluation curate a path of my stand of good design.
My design intent is to focus and enhance the unique visual experience that was explored in site. By using the 45-degree skewed volume, I can divert a negative to positive view, that maximise privacy, views, and lights for the interior spaces. Such volume are seen in both my plans and sections which further gives the operation of skewing a stronger identity within my design planning. It also enables me to expand the hierarchy and types of modules with the operation of rotation which eventually lead to my final composite proposal.
Skewed Facade
Lim Yan Ying (Y2S1)
Studio by Tiah Nan Chyung
Diversion on Elevation
Diversion on Plan
Diversion on Section
Metamorphosis Pods
Studio by Chaw Chih Wen
Loo Wan Hong (Y2S1)
The idea of space differs from each individual and organism. When one’s habitat is reduced to only what is antropomically needed, movement and comfort will ultimately be callibrated, calling for a new definition of comfort to be acheived.
The project starts off from the idea of a void in a dwelling space. A series of nolli diagrams was used as a tool to reduce void spaces in places we use to rest, work, play, cook, eat, clean and store. The study of Absalon’s cellules d’habitation led to a dwelling with reduced ceiling height, removal of awkward corners and more, through analysing antropometry. By mapping and understanding our bodies in space, our movements became a tool that carved out and defined the minimum space required by an individual.
The anthropocentric world we live in today then calls for a reconnection with nature, a disolution of human supremacy and dominance in the natural world. Here plants are introduced into the walls, ground of the tight living spaces of the single person dwelling. Its existence initiates the process of rejection, a contestation of space, a conversation and lastly a dance that will shape the new normal of how one can live with another species. Metamophosis Pods perhaps is the utopia for the many plant lovers out there, where self-sacfrices are made for the beloved other organisms and its species.
[ Close up shot on model - plants, space and habitation
Experiential Scenery
Layering of Spatial Depth
As a response to the hermetic condition of local housing typology, the intervention seeks to investigate the potential of the archetypal stairway and platform to reconcile with the loss of connection between the private units and the wider community.
Represented as a microcosm of the site, it invites the community to participate and unveil layers of juxtaposing narratives of the architecture through an experiential circulation that oscillates between the boundary of the private and the semi-public.
The architectonic encompasses the concept of ‘shakkei’ and the deconstruction of typical floor slabs to activate the scenery with the sporadic growth of greenery and form autonomous platforms that give rise to various habitable possibilities for residents.
External Perspective of the Amalgamated Whole
Allan Loh (Y2S1)
Studio by Shin Yokoo
Facade Perspective and Physical Model
Parallel Interlink
Spatial Alchemy of Aggregates
Studio by Yuen-Wa Cissy Wong
Mabel Chung Leyi (Y2S1)
Spatial Alchemy of Inversing Aggregates Within
The In-between Spaces, Giving the Community a Chance for Interaction
By studying the compositional rule of the sculptures led to interlocking solids and voids which reveals and unveils layers of spaces when circumnavigated via various levels. An ordering principle represented by this unique grid system which governs not only the plan but the section of the spaces is thus generated. The cubes led to a system that creates a play of parallel spaces defined by floating solids and interlocking voids that draws the exterior into the interior. In addition, it also creates an in-between space in both apartment analogue and collective. The in-between space becomes a transitional space where people are also given a chance to interact. Spaces instead of being distinct and differentiated become ambiguous and connected which promises the potential of the amalgamation of various subsequent programs in the dwelling. The project taps on the in-between spaces from the interlocking aggregates to create communal nature infused spaces for a chance to meet or interact among the collective but also in the entire district. It brings people together and hence, building communal relations with each other. The collective contains multiple entrances and this creates an opportunity for them to interact within the collective. Thus, this creates an interlinking relation with the entire district, giving people the opportunity to connect.
Isometric View of The Parallel Interlink
INTERLINKING
relations within the district
INTERLOCKING
aggregates to collective
INTERACTING
among the community
Machines. Humans. Spaces
Reconstruction of time and space through temporal dimensions
The project explores the possibilities of creating shared spaces that dynamically change with the needs of the occupants through the rotation of individual units, creating voids in between for communal use. The individual unit rotates along the central core, providing differing interior usage at each point of rotation. Hence, when one unit rotates together with another unit, shared surfaces are connected, creating an avenue for greater communal usage of the exterior surfaces. Different rotatons of the unit create varying geometrical landscape, suited to the differing programmatic usage of each configuration. The interior programmatic function at a certain rotation is configured with the exterior surfaces, such that one instance of rotation creates a space that is congruent from the inside to the outside. For instance, interior rotation fixed at kitchen usage is configured with dining space on the exterior. Differing surface quality and material is further employed to further accentuate and convey its assigned usage.
Melinda Kumala (Y2S1)
Studio by Chaw Chih Wen
LENS
Framing different views
This project is about designing an apartment in the district of Little India that focuses on the aggregation of cubic units and the interrelationship between the part and the whole.
The matrices given in this project are walls (big / small), and facade (open / closed). Therefore, the design challenges norms in architectural design by incorporating thick walls and volumes, yet creating ample living space at the same time through carving out volumes. Through carving and creating openings, a sense of openness and confinement is also established, thus creating an interplay between public and private spaces where people can look into private spaces from public areas and some private areas are completely walled.
Moreover, the design of this project also focuses on incorporating site characteristics and observations into building design to achieve cohesion between the design and the site. One characteristic of the site is its meandering circulation that is always disrupted by narrow walkways, barriers, and other objects, thus creating porosity on site. Another character observed is the quality of public, parallel voids and private, perpendicular voids. The meandering circulation and qualities of voids on site are translated into the design, further enriching the spatial experience within.
Axonometric Drawing
Natalie Joan Lim (Y2S1)
Studio by Lee Kian Eng Victor
Coalescence
Cuboids
Community Integration
The design aims to create aggregation with the repetition of cuboid geometries and function as community that is well integrated. Coalescence Cuboids begins with the study of geometries in nature phenomena, the human and plant cells. For instance the epithelial tissue that can be found in our intestines characteristics in cells and the epidermis found in leaves. These cuboidal cells are arranged in clusters with a sense of order and layering effect. The way they divide follows the pattern in the geometric sequence. Each cell creates sliding and rotational movement across one another as they divide. These strategies are applied in the aggregation process.
The narrow footprint and extended cantilevering structure overlaps on top of each other notch and provides surpport integratedly. The coalescing self supporting structures are expressed with vertical timber fins, enhancing on the rectilinearity characteristics of the building. Views are maximised and framed, ensuring visual conenctivity within the users in the apartments.
Ng Jia Suen (Y2S1)
Studio by Peter Sim
1st Storey Communal Space (Cafe)
Sky Terrace
Typical Unit Interior
Street View
1st Storey Communal Space (Gallery) Corridor
Exclusive Community
Differing interior and exterior views
Sense of community is the theme of the design, since the project is about designing an apartment block, a residential building. One observation made at the site, located in the Central Business District, was the lack of relation between the people from the different buildings. The design aims to create a space for residents to interact with one another and with people from the vicinity, to achieve a sense of community. However, the sense of community mentioned is not inclusive towards everyone. A sense of familiarity is what bonds people together. Hence, the design aims to deter people not from the vicinity.
The building being kinked creates a greater distinction between the interior and exterior spaces and faces of the building. When viewing the building from afar on the exterior, the pointed edges of the building catch attention. This gives the building a more aggressive and less approachable look for strangers or passersby. However, when closer to the building, what comes to the attention becomes different - greenery, shaded areas with benches and a familiar community of people.
[ Sectional perspective showing interior vs exterior spaces around the building]
Rick Ee Guan Ying (Y2S1)
Studio by François Blanciak
[ Views from exterior and interior spaces (left), Different uses for individual units (top right), Isometric for a single unit (bottom right) ]units ]
réunion
the bringing together
The project was driven from the study of a unique shape derived from nature. The particular shape studied was an octahedron deformed by the fibonacci ratio. The unique geomety was studied for all its possible permutations and its aggregation to develop a cluster form. This was then broken down into habitable apartment spaces. From there, the module and cluster circulation was studied and developed into a functional form. The final form is a cantilevered structure composed of aggregated clusters that form three distinct circulatory levels. The overall design aspires to be a reunion of the kampong spirit and modern city with a community-oriented design that reflects the unparalledled properties of the unique geometry studied.
Shawn Lam (Y2S1)
Studio by Peter Sim
The Adult’s Playhouse
Masking the Indecent
Studio by Lee Hui Lian
Sim Fei Crystalyn (Y2S1)
As legal as sex work is stated in Singapore, it is, as an industry, barely thriving - its operations are often limited to only the sex districts in Singapore. Furthermore, sex workers and clients alike risk being shunned or judge, mainly due to the conservative nature of the Singaporean public. Often, these people have to resort to keeping their risque activities as private as they can.
This project explores the contentious issue of stigmatism of sex workers in Singapore in the form of a residential building. It is arguable that in order to improve the experiences for the clients and sex workers, they require a safe environment that shields them from negativity, such as the judgemental gaze of the public. Capitalizing on the idea of “masking”, the psychological play on the public’s gaze in relation to circulation paths, this building push forward a challenge to conservative minds.
The intent of replacing conventional ‘negative’ emotions - disgust, fear, or shame, which are often evoked from the thought of brothels - with ‘positive’ emotions - curiosity, excitement, and amazement - drives the concept of this project. The seemingly harmless exterior facade of the building leaves the general public confused and possibly intrigued when instances of chance encounters of the contemporary are experienced as one ventures in, through, and around the space.
Sectional Isometric
Spectrum
Alignments and Misalignments
Studio by Adrian Lai
Tay Wei Jie Nicholas (Y2S1)
This project aims to create a spectrum of spaces with varying combinations and degrees of qualities ranging between open to closed and seen to unseen. This creates an experiential journey for users, evoking different feelings within the user moving through the space. Cubes are combined to form pairs (2 cubes) which then combine to form aggregates (4 cubes). These unique spaces within pairs and aggregates are then assessed and developed to fit the required needs and functions of an apartment unit.
The apartment draws on Superstudio’s intrusive, all-encompassing grid as a starting point, using a 2 x 2 m grid as a basis for organisation. Spaces of the Paired Cubes and Aggregates are re-adjusted to tap onto this grid, forming the Small Units and Large Units respectively. Small units are organised and aligned to the Shophouses, forming the Shophouse Tier whilst Large units are organised and aligned to the towers of HDB Block 641 forming the Tower Tier which comprises two layers of 6 Large Units. As with Eisenman’s House VI, disruptions and misalignments are introduced to create unassimilable idiosyncrasies drawing attention to these portions and invoking a sense of tension within the user’s mind. These misalignments are introduced at the apartment unit scale, where walls do not meet as one expects and floors cantilever, and at the large apartment scale where the grid-based aggregation of units is disrupted through the shifting and rotation of spaces.
Shophouse
(Ground
The Torus
The chosen geometry for this project is a torus so as to explore the different possibilities of regular living spaces. The unique features of a torus is its seamless continous space, curved walls and the natural void in the centre.
The main idea of the aggregation is to create unique and various voids in between the modules to allow each resident to experience different souroundings from their unit.
The torus modules are aggregated by duplicating and rotating it based on an axis. It is repeated by adding different module configurations and rotating it accordingly such that it would branch out in different directions and connect wth other modules to create voids.
Doughnuts
Tharshana Subramaniam (Y2S1)
Sectional Perspective
Studio by Tham Wai Hon
The unit is designed to be a space that is relaxing for the user. To achieve this, the seamless continous space of the torus is used to blur the boundaries between indoor and outdoor. The balcony which is open to sky is located in between the living spaces. There is also a split level design to layer and provide a seperation of spaces.
The unit structure consists of steel ring frames. The modules are supported by cantilever support arms below that connect to the central core. The purpose of this structure is to avoid the use of columns which would affect the idea of creating voids.
The Torus uses slides for its circulation, mainly as an escape route. From the higher floors, the user will have to take slides to reach the ground. This is an alternative to escape staircases and also provides an element of fun.
Unit Plan
Perspective View
Exterior View Interior View
Microcosmic Fragmentation
DECOLONISING ARCHITECTURE
DEMOCRATISATION | DECENTRALISATION
The “societal shift from technocratic, utopian planning to increasingly privatized economic development” as mentioned by William O. Gardner has transformed a managed society as that of Tokyo Bay to control space. Likewise, Singapore is also at its crossroads when defining domestic living.
Architecture has ‘always served colonisation’ – Pier Vittorio Aureli. Hence, it also has the potential to decolonise. Microcosmic Fragmentation seeks to leverage on the spatial potentials of collaborative spaces generated as required by the users (i.e. workshops/ communal kitchen) in each designated cluster, so as to promote collaboration intra and inter-clusters. More importantly act as a firm statement to resist the limitations of space making in a highly regulated Singapore.
A subsequent discretisation of units, through prefabrication, aims to “include inhabitants to participate in co-production” -- Mollie Claypool. Such inclusive and participatory model takes caution to maintain the integrity of the ‘home’ (Singapore’s ‘nuclear family’), whilst liberating the agency of the architect. Microcosmic Fragmentation aims to resolve the dichotomy of unity and diversity, ensued through means of inhabitable, lived and even outlived voids.
[tectonics//enterance]
Toh Eu Juin (Y2S1)
Studio by Federico Ruberto
Union House
Spatial Reclamation for the Community
The former Trade Union House may be gone but the need for a place of congregation and representation for the working class has not. Through extending the form of the old Singapore Conference Hall and Trade Union House from the old Central Business District along Shenton Way into the new Marina Bay New Growth Area, the architecture seeks to re-establish a place for low-wage workers in the Central Business District.
The site sits at the intersection of the old and the new, presenting the unique opportunity to re-interpret and extend the ethos behind the Singapore Conference Hall and Trade Union House, a 20th century icon, into 21st century Singapore.
The both structurally and spatially interlocking system generates a complex that comprises distinct functional units which yet can only operate as a whole. It signals a shift towards a more interdependent mode of living made much more conscious through the design.
Communal space modules were generated through preserving the unique geometry, orientation and position. The juxtaposition illustrates the tension between public & private, dependence & independence, predictability & spontaneity. Communal spaces break away from inflexibility of the system and open up against the confines of private spaces.
Wang Liang En (Y2S1)
Studio by Neo Sei Hwa
Expansion
Aggregation
Response
Development Residential Units
En Keisha
Slanting Edge
The project sits amid Little India, one of Singapore’s most prominent neighbourhood and largely features shophouses as part of their urban fabric. The design begins with adopting the pitched roof language of shophouses and redefining space and living within it. The term keisha means slant or slope in Japanese, representing aspects of the pitched roof as a design driver. Multitude of cuboids with slanted edges are rearranged, multiplied, and articulated to create an operated form. The physical language acts as an extension of site and creates a sense of familiarity and unfamiliarity, inducing a continuous dialogue with the urban site.
The aggregated units are further developed inspired from Tenkei studies, which are the studies of relationship of spaces at a human scale. The term En is derived from the Japanese architectural language Engawa, which is an edging strip on the perimeter of the space, similar to a porch or verandah.
Final Render
Wee Li Yi Stella (Y2S1)
Studio by Shin Yokoo
Urban “Theatricality”
The Adult’s Playground
In the context of metropolis, the fast development and urbanization of the city has gradually accelerated the pace of people who are living there. Individuals gradually lost a sense of sharing a fate with others, a place became devalued. Can we use a new model to change the relationship between people and people as well as people and city? Is it able to make people stay and bring more possibilities for them to communicate? Can it enhance the vitality of the city?
Zhou Siyu (Y2S1)
Studio by Neo Sei Hwa
A flâneur is an ambivalent figure of urban affluence and modernity, representing the ability to wander detached from society with no other purpose than to be an acute observer of industrialized, contemporary life. This residential bilding is designed for those city flaners, it is like a performing stage for them to observe and been observed. Their attitude will affect those indigenous CBD residents and bring back some vibrancy back to the city.
[ Interior Perspective ]
The Silent Chime
a wind-driven idea
The Silent Chime aims to be a primarily wind-driven facade, with the ability for one to control the amount of sunlight entering. The site chosen for the facade is Golden Mile Tower Carpark, Level 5.
With the aid of a florist persona, specifically a flower dryer, the facade aims to capture a significant amount of wind for maximum ventilation and an element of light control. The facade reacts to wind with its modules swaying in the wind, akin to the leaves of a tree.
The design process focused on the constant exploration of different module shapes with the goal of it performing in every weather condition. Different types of mechanisms were also created to control each row of modules, allowing manual intervention to guide the module movements in situations where the occupants do not want the facade to be completely wind-driven.
The daylighting condition of a room should adapt according to one’s activity and we seek to develop a design which enhances one’s living experience by aptly controlling distribution of light in the room to create the ideal lighting conditions for each desired activity.
From our observation, natural light tends to not create ideal lighting conditions to compliment one’s desired activities within a room. This creates the dilemma of whether one should have to utilize artificial lighting in order to compliment one’s activity even though there is plenty of sunlight available, albeit poorly harnessed.
This project imagines a daylight centric residential prototype. Making use of a facade treatment to harness the maximum daylight for each time of the day, while the internal form responds to the captured light. Zones of ideal lux levels for each activity are created, allowing residents to enjoy the numerous health and psychological benefits of daylight, while reducing energy usage.
Megan Mak Yuk Cheng (Y2S2)
Caleb Lew (Y2S2)
Studio by Tiah Nan Chyuan
Aggregation: Exploded Isometric
Stacking of units with daylight exposure taken into consideration
Aggregation: Southern Elevation
Staggering diagonally ensures that all south facing windows receive even sunlight
Aggregation: Western Elevation
Staggering diagonally ensures that all west facing windows receive even sunlight
Performance of Light
Thermal Calibrations through auxetic study
Our adaptive facade questions and reinvents the typology of the facade and instead becomes an envelopment of function and a building’s structure. It strays away from the regularity, homogeneity, content and hierarchy of a typical facade. It is not afraid to hide and reveal, encompassing a complexity of materials, details that lies within it.
The project aims to investigate the use of facades in providing thermal comfort. We postulate the role of the facade as a veil that mediates between the interior and exterior - concealing and revealing, fluid and adaptive. The facade taps on the spatial and physical qualities of a veil which are composed of various materials that produces visual and atmospheric permeability alongside thermal calibration. Employing the use of auxetic shapes that contours and warp around the body (the tower), the facades provide two levels of calibration. On the macro level, the facade features a gradient that adapts simultaneously to aperture, wind and solar radiation. As it warps and adapts, a secondary layer of calibration is activated, revealing an intricate assemblage of aperture and materials.
Model Photo
Chiok Jun Jie (Y2S2)
Studio by Roy Pang
Choo Yi Jun (Y2S2)
Crystalizing Salt to Control Heat
Muoi is a visitor centre located at Hon Khoi, Vietnam. It consists of two architectural envelopes that are made by 3D printed lattices crystalized together with salt and mineral particles. This salt crystalization process has been practiced for hundreds of years by the locals for their salt farming acitivies. Thus it was important for the project to integrate this tradition and technique into the architectural construction itself.
The visitor centre includes a gallery, recreational space, workshop, viewing deck and utilities. Each of this spaces have very different ambience and phenomenological qualities to capture the different essense of the farmer’s life and they are represented through temperature, light and humidity.
Adjacent to the visitor centre is a salt storage architectural envelope constructed to tackle the lack of storage problem faced by the locals.
PERSPECTIVE RENDER
Chen Jia Hao (Y2S2)
Studio by Wu Huei Siang
Edwin Lam (Y2S2)
The modules are created by joining and intersecting traditional bamboo poles together using 3D printed vertex joints made up of recycled plastic as it was parametrically designed to be strong and is also one of the best host materials to be crystalized on. Fibreglass mesh is then inserted and adhered in between this modules which will be dipped into an evaporation pond to be crystalized together with the salt and mineral solution to form a crystal structure.
Many experiments and tests have been done to create different densities and materiality of the crystals to mitigate heat at different spaces. This is further iterated into strategically placing the meshes at certain areas to creates voids which are used for capturing wind and rain to further reduce heat at specific spaces. The crystalized module itself can be redipped into the evaporation ponds to form denser crystals structures or simply act as a bonding agent for two different structure such as roof envelope and internal crystal walls.
PROTOTYPE DETAILS
Interweaving Waterscapes
A center for healing in the city
“Interweaving Waterscapes” focuses on extracting the element of water and adapting its natural climatic performance into an envelope design for the tropical climate of Singapore. The resultant curved façade was developed to become a cancer therapy center in the heart of Marina Bay. The curved façade wraps around the building, with different sizes of curves that respond to the varying sun angle and programs.
When developing the program and building form, the use of water inspired us to investigate hydrotherapy and therapeutic atmospheres, which led us to develop a cancer therapy center inspired by the Maggie Centers of the United Kingdom that centered around a waterbody. The chosen site, Marina Bay, helps to bring the idea of cancer therapy to the heart of the city, instead of hiding the stigma of end-oflife care in the confines of a hospital.
[ Overall Perspective along Esplanade Boulevard]
Claire Wong Shi Yun (Y2S2)
Studio by Fung John Chye
Loh Hong Meng Allan (Y2S2)
James Timotius (Y2S2)
[ Library area] [ Entrance and Reception area]
The Architect’s Light
Facade Design and Spatial Integration
Jillian Lee (Y2S2)
Daryl Lim (Y2S2)
Facades conventionally act as the mediator between interior and exterior; especially in the tropical climate, the envelope is the first layer of protection from harsh weather conditions. The brief takes an alternative stance to the traditional relationship between the Architect and the Engineer. Traditionally, the relationship between these two actors are rigid and one-directional: the architect is often tasked with plasticity and formal aesthetics while the engineer is tasked with rationalisation, efficiency and economy. The studio questions and attempts to re-define this relationship, by integrating efficiency and economy into the architects design process. Taking a bottom-up approach, we developed a working facade system that mediates the harsh tropics to transmit optimal workspace illuminance levels. The understanding that evolved from this largely rational system was then extrapolated and informed the various design decisions in the retrofit of the multistorey carpark located at Sim Lim Tower. The non-linear approach that arose from the internal dialogue of the architect and engineer allowed a
[ Long Section A-A’]
Studio by Florian Heinzelmann
[ Diagrams]
perfomative architecture design to grow and culminate in this retrofit project.
This project, as the name suggests, explores the key perfomative and spatial role of light. A comprehensive study of light in relation to sun angles throughout the day and year allowed the group to develop a light senstive facade that manipulates the ever changing lighting conditions to create favourable interior conditions for various programs. The final design focused on the programs that an architecural designer or student would require. Light being an important part of the various crafts we engage in, pushed our facade to its limits and showcasing its diverse capabilities to manipulate light.
The Living Pavilion
Adaptability of the module and pavilion
More people are going to parks due to changing lifestyles caused by the pandemic, having more flexible working shifts, working from home etc. Hence, this design aims to improve park-goers’ enjoyment during their visit to the parks by tackling heat from the sun with responsive modules, aiming to achieve balance between providing shade and ensuring high visibility to the surrounding nature for users’ enjoyment.
The module is inspired by the bi-metallic mechanism, a combination of heat conductive and insulative layers. For the pavilion, the form is derived by following a set of rules relating to the sun path, wind and views of the park. Balance between necessary shade and visibility would be achieved through the expansion of surface area of shade in reaction to heat. The pitched roof creates stronger winds through difference in pressure. The size of modules affect the quality of shade due to varying aperture between adjacent modules.
Guan Xin, Stephanie, Rick Ee Guan Ying (Y2S2)
Studio by Dicle Uzunyayla
1. MORNING SUN (9am):
Altitude: 54.9°, Azimuth: 55.42°
2. AFTERNOON SUN (1pm):
Altitude: 71.11°, Azimuth: 0.85°
3. EVENING SUN (5pm):
Altitude: 28.78, Azimuth: 292.45°
4. VARYING DEGREES OF SHADE:
Smaller modules when aggregated provides better shade, hence placed above seating areas and on the west side.
5. INCLINED ROOF:
The inclined roof creates a difference in air pressure for incoming wind, diverting wind downwards and creating stronger winds for users.
AGGREGATION OF MODULES
ROOF PLANS - Morning 9am (left) vs afternoon 1pm (right)
VARIATIONS FOR OTHER PARK CONTEXT
a) STRIPS - With the conductive layer outside and insulating layer inside, when heated, the outer layer expands more, causing the strip to bend inwards.
b) COIL - With the conductive layer inside and the insulating one outside, the coil straightens when heated. By restricting its ends with a thread, the coil expands into a circle.
VARIOUS EXPERIMENTATIONS ON FORM AND MATERIAL
Bishan-Ang Mo Kio Park (Central)
Jelutung Harbour Park (North)
The Fresh Florist’s Apprentice
Harnessing nature to assist floral arrangement
Sheryl & Arkar (Y2S2)
The mundane process of a maker can be broken down to evaluate its efficiency. In this project, we explored and examined the daily undertakings of a fresh florist, where fresh cut flowers are the integral components of floral arrangements. Through our site visits, water became the main medium in communicating the design language of the apprentice. The Fresh Florist’s Apprentice seeks to embrace nature through the collection of rainwater, before neutralising its acidity and circulating it throughout the space at varying times to not only aid its makers, the florists, with their daily tasks depending on the mode it is in, but also create a poetic ambience within the space.
The apprentice and the shed signify the florists’ eagerness to reunite with nature, achieving sustainability that is propagated through greenery and play of water, as well as the ad-hoc and multi-valency of each component throughout the space.
[Elevational perspective of the Fresh Florist’s Shed showing its relation to the surrounding greenery]
Studio by Cheah Kok Ming
[Sectional perspective of the Fresh Florist’s Shed illustrating the components of the apprentice]
[ Exploded axonometric of a singular bay of the Fresh Florist’s Shed ]
[ Perspectives illustrating the interal viewports and atmosphere]
The Matrix @ NUS
Minimising Direct Solar Radiation
The project seeks to explore and expand on the potential of a regular egg crate shading device’s climatic performance.
The agglomeration of thoughts, findings and discussions led to the development of a methodological approach aimed towards reducing direct solar radiation based on the principles of heat transfer.
Various prototypes of facade grids and the systematic aggregation of modular components were explored to respond anthropometrically to the intended programmatic functions: Formal working space, Informal working space, Discussion space and Recreational space.
Regardless of the module variations, the focus was to optimise the horizontal and vertical fins to an effective depth, therefore preventing direct solar radiation to interior spaces from 9am to 3pm through the interpretation of site study’s measurements and the solar protractor.
[ Exterior Render towards Lower Kent Ridge Rd ]
Nicholas Pua Qi Xing (Y2S2)
Studio by Dr. Tan Beng Kiang
Lee Zheng Jie Daniel (Y2S2)
[ Discussion Space ] [ Recreational Space ] [ Informal Working Space ] [ Formal Working Space ]
[ elevations relative to function ] DISCUSSION SPACE
Blow N’ Go
Pneumatic Facade Exploration
Blow ‘N’ Go is an exploration of pneumatic architecture and its potential as a kinetic facade to reduce solar radiation, which, in turn, also increases thermal comfort to the users inside a building.
Through the incorporation of layering, the facade makes use of pneumatic properties to create a folding mechanism. The project explored different types of pneumatic movement, such as heat sealing on various materials, and using patterning to induce movement. This led to an iterative process of testing and measurement, eventually producing Blow ‘N’ Go as the final iteration.
The facade is connected to the air sources in the building, such as the air conditioning units and vents, as a power source. These air sources pump air into the facade during the day to shield the sun, and power off during the night, allowing the facade to deflate.
Loo Wan Hong (Y2S1)
Shannon Tan (Y2S1)
Facade perspectives
Studio by Ar. Roy Pang
Facade iterations
Types of modules
Rotary Climatic Facade
A Performative Design for Daylight Optimisation
How does one retrofit a new element unto an antiquated architype, to revitalise and give new meaning into space?
A bottom-up design exploration aims to examine fundamental forms with its relations to climatic responsiveness and thorough tests. Filtering of relevant parameters and addressing the interior and external conflicts allowed a careful balance of piousness to nature and the needs of man. A resolved form was also mechanised to free the static frames. With an extensive set of parameters and a catalogue of types, a top-down project planning is established onto the existing abandoned carpark. The intangible form is expressed , shifting the focus of the tangible facade to the atmospheric lighting quality. The careful manipulation of light drives a dynamic use of spaces, with specific functions generating out of the scale and operations of the ROTARY CLIMATIC FACADE.
What is a door, a window, a lift core, a floor plate? These questions are re-evaluated as the ROTARY CLIMATIC FACADE, a single entity could replace all these traditional components and synergistically achieve the building’s purpose of a programmatic office by day and a beacon of light and hope by night.
Toh Eu Juin, Melinda Kumala (Y2S2)
Studio by Florian Heinzelmann
The Florist’s Apprentice
the Maker’s Shed
The Florist’s Apprentice explores how a facade can mediate between combatting the erratic tropical climate of Singapore, shielding one from the elements whilst ensuring internal environmental comfort, and harnessing environmental forces to create optimal conditions for the process of air drying flowers. Through rigorous experimentation, the specific conditions for flower drying were unearthed - high temperature, low humidity and light air movement - defining the demands of the Apprentice. Interestingly, exposure to light during the process gives the dried flowers a woody colouration whilst shading the flowers allows them to retain their vivid colouration. Despite the conflicting demands, the Apprentice is able to mediate between them through a transformation of form, facilitated by the Florist. It shields the Maker’s Shed from the elements, creating a well-lit and thermally comfortable environment for the Florist’s daily processes. It transforms into a solar dryer when required, to provide the optimum conditions for air-drying flowers, greatly accelerating the process.
Tay Wei Jie Nicholas (Y2S2) Tan Darren (Y2S2)
Studio by Cheah Kok Ming
The Maker’s Perspective
Sky Bridge
Layered Flower Curtains
The Maker’s Perspective
Sky Bridge
Layered Flower Curtains Sky Bridge
Layered Flower Curtains
Maker’s Shed Floor Plans
Level 3 Sky Bridge
The Florist’s Workspace
Layered Flower Curtains
ZEPHYR
The Adaptive Modular Facade
Zephyr is an adaptive facade envelope that can manipulate and react according to seasonal changes in climatic patterns. The facade implements a system of modulation that accounts for and anticipates the fluctuation in the sun’s position and prevailing wind directions during different months of the year. The design aims to mitigate urban heat gain effectively by strategically configuring various modules with varied parametric qualities to promote and strike a balance between cross-ventilation and sun-shading without hampering the effects of either. It is imperative that the facade not only acts a shading device, but also a facade that can help direct hot air away thorugh a wind funnelling system. Hence, we utilised the concept of the venturi effect to create our modules for this purpose. The venturi effect relates area with pressure: the larger the area, the lower the pressure. It then relates pressure to speed: the higher the pressure, the higher the speed. As a result, when a fluid flows from a larger area to a smaller area, the speed will increase.
Vera Chong (Y2S2) Owen Gan (Y2S2)
Studio by Yuan Chao
Facade Parameterization
The Blooming Cocoon
a portable personal space
In this age where we often spend our time confined within four walls of our enclosure, we rarely have the chance to connect with the beauty that exists within nature. The cocoon aims to provide individuals with the opportunity to go to any site they prefer, simply opening up the pod and thus creating their own intimate space amidst the open nature. With this pod, it provides us with a certain level of privacy and intimacy while being able to reconnect via means of resting or perhaps interacting with the wildlife. The floral patterns and colours are also chosen due to its attractiveness to the wildlife around us. The structure is kept to a minimum to allow optimal usage with it being lightweight and designed anthropometrically. It is also customisable where the floral sun shades could be opened and closed to the preference of the users, providing them with the much needed shade from the both the sun and the peering eyes of others. The cocoon is not just an enveloping structure but also acts as the bridging link between nature and mankind.
Pearl Phua (Y2S2) by Allison Low (Y2S2)
Studio Dicle Uzunyayla
The Filtering Pavilion
A religious and environmental merger
Varying hunches were identified, finalising to tackle and aim on reducing air pollution as much as possible from the ritual of joss paper burning. We drew a relation between this religious act and compact living in a HDB whereby smoke as a phenomenon was tackled.
Not just one family or person was affected but almost the entirety of residents at the block and neighbouring blocks are unknowingly breathing in air which is not of utmost quality.
Findings were accumulated and identification of what has reduced the particulate matter entering the housing units was evident. We kept this at the back of our minds and utilised these design drivers to formulate testings and experiments in search of the best way to filter the air pollution from joss paper burning.
In the process, we have learnt various religious and ritual aspects towards joss paper burning, as well as its environmental impacts along the way.
[ Zoomed in physical model
Saw Hnin Thundray (Y2S2) Seah Jia Jun (Y2S2)
Studio by Tham Wai Hon
The Filtering Pavilion Process
This module explores urban considerations that bear upon 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 understood as a fundamental component 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 sociopolitical relationships within and about space, whether real or implied.
This programme aims to develop a high level of competence in comprehensive and integrated building design, where the architectural whole is approached as a complex of systems (of production, technology, infrastructure and so on), 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 involves a critical and nuanced understanding of architecture as a synthesis between constituent parts and their whole, and the creation of a whole that is greater than the sum of its parts.
Students will sharpen their competence in research, design thinking, operational skills and communication. This semester is intended as a summation, demanding that students take informed design positions incorporating all 18 studio themes they have covered. As the conclusion of this foundational sequence, students are expected to show advanced architectural thinking that will form the basis for embarking on the masters programme at DOA. They should deploy advanced and mature representational techniques to communicate architectural ideas. Design projects at this stage will also demand a holistic awareness of the issues related to the environment, climate, context, technologies and building.
semester one semester two
CHEW SHI CHENG
The Spherological Flow
CHOY RUI ZHI
Point City
DESIREE LOH WEILI
innovative trails
HUGO ONG
The Urban Underground
JASMINE LIMNO CABALLA
Weaving the stillness
KELLY WONG YOKE MUN
The Garage
LEE SI JIA
The Garten Spiral
CHIEW YI YING
Civitas Ludens: Traversing the notion of the public
DARIEN WU JUNHAN
PRODUSE
FOO JING XI
OUT-dustrial
JAN NICOLE BETITA LOTA
Our Chaos
JENCE HELIN CAPUNO CABALLAMUN watertree.
LAM WEI MIN JOEL
The Terminal
LIU HENG
Revitalize
B.ARCH THREE SEMESTER ONE
LOH JIA MIN ABBRIELLE
Wind to Unwind
NG WEI LIANG
The Threshold City
RYAN QUAH KUN HAO
High-Tech Favela: Industrial Agora
SHEARES QUEK NING XUAN
Showtime.
XU RUITING
CITY OF OTHERNESS
YE GANGHUA
Transparent Engine
MATTHEW GOH XINZHI
Defuland
NG ZI LUN
BMX Cycling Club
SARAH TAN SHU XIAN
COMMUNE
VIKRAM KANNAPPAN
The Atelier
YAP KAI JUN ASTON
KAMPUNG KAKIs
YEOH KAI ZHENG
The Symbio-Canal
ABBRIELLE LOH JIA MIN
Sealings
CHAN WANG SHENG JAMES
The Mediator
CHEN XINGSHENG
Reed Hastings Mediatheque
DARIEN WU JUNHAN
Intimate Oddities
GREGORY WONG JIA WEI
Sapnik
JOHAQQIS BIN JOHARI
Wind’s Embrace
MANANSALA DANIELLE BAUTISTA
Intergenerational Library
ANG YI HENG
Sonic Forest
CHARLESTON CHAN CHIAO KOON TOWER OF THE ARTS
CHUA MIN CHI
Ghim Moh Community Library
FOO JING XI
Elapse
JOEL LAM WEI MIN
The Hiatus.
LIU HENG
Unveil
MUHAMMAD AKMAL BIN MOKSIN
Mossaic
B.ARCH THREE SEMESTER TWO
NG WEI LIANG
The Living Wall
RICHARD EDRICK
Playbrary
SHAWN LEE
The Shape of Water
TANG WEI
Ghim Moh Community Library
XIE YUWEN CHERYL
PARELLELSE
YAP TING TING
FAR[M]AKER
YEN TZU YAO
Sound & Performance Tower
NG ZI LUN
See You Later, Elevator!
RYAN QUAH KUN HAO
Urban Tarzan
TAN JIN KANG
ALIEN AND THE ART OF DECOMPOSITION
VIKRAM KANNAPPAN
Subterranean Library
XU RUITING
SYNTHESIS
YE GANGHUA
Grey Forest
YUMIN OOI
Unveiled
The Spherological Flow
Urbanising flows, stitching interfaces
In Ignasi de Sola-Morales leitmotif, Present and Futures: Architecture in Cities, Morales repudiated the limitations of traditional architectural techniques in explicating the complexities of the diffusive inter-connected urban. The contemporary urban is “more than building and architecture” suggested by Sola Morales (1996). And in this globalised context, it’s futile to equate the urban as a strong firmitas, expressed in Venturi’s dictum. “Nature is not an untouchably vast and sublime essence outside of us,” remarked Latour (2008, p. 4) affirming that the complexity of the contemporary urban can only be characterised by weak derivatives such as network, flows and tension over strong constants of stability locality and space (Sola Morales, 1996). It’s therefore surprising that the redevelopment of Defu and Lorong Halus would be through a determinate tabula rasa noose that would obfuscate the opportunities for a multiplicity of discrete changeable relations to be formed along the Defu- Lorong Halus interface.
Chew Shi Cheng (Y3S1)
Priviledging the Serangoon River to stitch interfaces
Studio by Roy Pang
Consequentially, this project shall serve as a critique to the speculated outcome of the top-down planning inflicted onto Defu. Referencing theoretical concepts of the spherological foam and urban flows from Peter Sloterdijk and Ignasi de Sola Morales respectively, the design would seek to weaken and dilute the otherwise sharp urban interface along 2050 Defu-Lorong Halus.
The design involves three steps. First, identifying the shared historic context of both sites to the Serangoon River and the suggestion of a new urban strategy that would link Halus’ fish farms and Defu’s bone biomedical production facilities together through Serangoon River. Second, the explication of the sites’ existing flows, namely river flow (macro), infrastructural-vehicular flow (meso) and human flow (micro). Finally, the development of a representational form (Voronoi) that formalistically illustrates the co-dependence of the network and programmatic attributes that the proposed urban strategy would be embedded within.
Stitching urban interfaces using Voronoi as a language
Civitas Ludens
Traversing the notion of the public
Chiew Yi Ying (Y3S1)
Studio by Bobby Wong Chong Thai
As Defu Industrial Estate converts into a district where people work, live and play, existing social perceptions of food delivery riders are strained as they proliferate living spaces. Consequently, this project aims to mediate between the conflicting perceptions that the public have of food delivery riders, and create instances where the riders break the strong notion of the public.
The civic plaza is where the notions of the public are strongly in place. Socially disdained behaviours are looked down upon and an invisible demarcation is formed between the public and the distinctly clad food delivery riders.
The viewing gallery acts as a circulation core and is placed between the BMX strips. As the public travels up from the civic plaza to the restaurants on the top level, the viewing gallery allows for the public to experience the contrast in the behaviours of the food delivery riders. Unlike the socially disdained behaviours, like fast riding and smoking, that were observed on the lower levels, the public start to see a different side to the food delivery riders, where they start to flaunt their BMX skills and fearlessness.
On the top level where the restaurants and food stalls are situated at, a balcony surrounds the BMX park, allowing for the public and families to overlook. This is where the public start to change their perceptions of food delivery riders and come to admire them.
Exploded Axonometric
Civic Plaza, Viewing Gallery and Overlooking Balcony (Bottom to top)
Point City
Shared Function, Open Structure, Free Space
The proposed design concept perceives the industrial typologies as a series of forest like canopies of points and planes that unlike the conventional volumetric form of the industries, is much more open and expandable to accomodate changes and growth.
Instead of using the intended 2,500 sqm to design a building, this proposal diffuse and spreaded out the program area into a series of small footprint massing that aims to create the framework for the industrial spaces to be built upon over time. The design is envisioned as a series of 3 systems: core functions that contains the logistics, service functions such as lifts and staircases, and infrastructural services, open structure that contains amenity spaces and workshop spaces, and free spaces such as gardens. Starting with the core functions, the spaces are built upon progressively over the years and is perceived as a growing and always changing architecture.
Industrial Forest
Choy Rui Zhi (Y3S1)
Studio by Jaxe Pan
PRODUSE
Self-sustainable crypto-commons
Darien Wu Junhan (Y3S1)
With the rising technological demands and prevalence of cryptocurrency, PRODUSE transforms the existing buildings of Defu Industrial Estate into a decentralized and energy self-sustainable crypto facility.
Through the use of shortcuts as a weak urban strategy that disrupts the formal and rigid existing site layout, the new programmatic layers in the distributed architecture established shortcuts as traversable links to form micro networks of uses, activities, and movements within Defu and beyond to S-City and Hougang.
The deployment of soft infrastructure and spatial fragmentation allows for adaptable usage and collaborative growth through this bottom-up development of connections that interlink the existing and future facilities into a crypto-commons.
Progressive conversion of existing facilities allow for collaborative urbanism through a bottom up development of local responses to our growing global challenges.
The programmatic layers of cryptomining, energy harvesting, e-waste recycling and creative research fabrication allows the conversion into a high-tech favela with its aim for a induced recycling culture, digital-physical links and future proof skillset for a future-ready Singapore.
Studio by Thomas Kong
Composite Design Drawings + Visuals
Innovative Trails
expressing workshops & crafts
Desiree Loh (Y3S1)
Envisioning kaki bukit as per competition entry: oasis city, industry 4.0; there is opportunity to express the trades of premier@kaki bukit as an innovation hub for future R&D, incorporating recreational spaces into the workflow connecting to the flyover as a future PCN for green networks across the site.
Looking to express the trades of premier@kaki bukit, the cycle of car fixing and upgrading is tapped on in the form of introducing an innovation hub with in-house ongoing R&D, parts fabrication to prompt the advancement of trades whilst engaging the surrounding public. from R&D > fabrication > workshop, grooming > exhibiting, test driving, recreation and leisure are brought into the new workflow running through the building.
axonometric
Studio by Lee Tat Haur
perspective
The public and clients are brought through the process of car innovation, workers sharing specialised skills projecting into the future of car trades. taking bartley rd east as a future PCN as per entry: oasis city, connection and travel through green networks bring an influx of people to explore through the new datum for this retrofitted industrial building with further recreational activities for workers alike.
sectional
OUT-dustrial
Expressing the Entity of Elements
URBAN CONSIDERATION
The surroundings of Paya Lebar Airbase have been going through great metamorphosis for 60 years and have not yet ended. The selected site is located between different new industrial estates focusing on various industries. With the oldest industrial estate nearby, the proposal is a continuation of the city fabrics showing its spatial transformation from the past, as well as the future breeding ground for local sense of unique industrial heritage. Due to the lack of urban public facilities within the chosen site, the proposal aims to be the catalyst and starting point that invites the public into the industrial estate, and gradually move around the industrial estate by introducing a new art and cultural landmark.
DESIGN STARTING POINT
Embracing the heritage of construction-materials-related industries around the site, the project frames movement of the ongoing works within the industrial
Foo Jing Xi (Y3S1)
[ programmatic planning ]
Studio by Ružica Božović-Stamenović
estate, movement of the workers, machinery, and materials. Inspired by Russian Constructivist art that focuses on linearity and the interjection of planes and lines, the project is shaped with the expression of planes and lines, exposing, and expressing the entity of individual elements. The proposal aims to recreate the softness of the current industrial streets within the internal spaces by blurring the boundary between the inside and outside, bringing outside in and inside out.
Design Development
The unique industrial site contains industrial structures and cultural structures, a temple which stood along for 116 years throughout the metamorphosis of the site. These robust remnants of the city’s glorious industrial and cultural past are re-adapted into the project. The local industrial and cultural contexts are respected and integrated into a vibrant culturetainment experience unseen in the region.
[ OUT-dustrial as the starting point in bringing public into the industrial estate. ]
The Urban Underground
A new typology on the urban edge
The urban edge is envisioned as an integral channel of transition and an event that can be created between the given urban conditions. The allocated site for my project’s intervention is at the edge of Bedok’s residential town and the reservoir, along with its imagined wildlife corridor extension as conceptualised by the PLAB masterplan study. Synthesising information from the immediate and overall site context, the project’s narrative imagines a hub for the main tenant of sporting and physical wellness, alongside clusters of spaces allocated for wildlife research, management, and education. The unique facet of the site with an established bird-singing culture is also preserved and revitalised in a new urban context.
The project thesis works on an existing blemish on the urban edge, the presence of a 5-storey grocer- cum-carpark that severs the physical and visual connection between the residential blocks and the reservoir park. The current building
Hugo Ong (Y3S1)
[ 1:100 Section Model ]
Studio by Chu Lik Ren
footprint is to be demolished, and a new urban thesis is introduced to relieve the problems and introduce new opportunities to the immediate residents and visitors who journey from afar. The approach to sink the 2500 square metres of architecture design is explored through various iterations and massing arrangements. The overall aim is that to preserve the natural landscape by designing alongside the topography and restore the visual and physical connection between the urban and natural edge.
Interior subterranean spaces and circulation are wholly integrated with the myriad of programs that anticipates to revitalise the area and engender strong community cultures of the aforementioned themes. This thesis balances the possibilities of a subterranean character with innate considerations for publicness and urbanism, with the vision that the same typology can be exported to other urban edge conditions that would see benefit from this methodology.
[ Isometric Visualisations ]
[ Sectional Visualisations ]
Our Chaos
Optimising Thresholds
Jan Nicole Lota (Y3S1)
The residents and users of the blocks have identified a fine invisible line on the ‘legal’ and ‘illegal’ thresholds.
“Hyperlocal knowledge of the users, using the space best to their advantage.“
The response then is not to destroy these threshold spaces that have sprouted from their lifestyles, but to enhance the genius loci of the place. By borrowing knowledge of their understanding of these threshold spaces, we can then adapt to the different qualities of space usage to design a self-sufficient city.
Methodology;
ChaosArchitectureisreferredtoasdeterministic chaos, in other words a comples system whose behaviour may appear random but actually follows regid laws. Reconstructing existing systemswithasenseofunpredictability,caseby caseresponses.Thisistoofferanewperspective of spaces in which people are already familiar withbutimpossibletounderstandasawhole.
Sensitivedependenceoninitalconditions.
Reference to: Eric Cassar, 2008, The case for subtlear(t)chitecture
Studio by Alex Young Il Seo
[ Photographic Collages from Site ]
[ Storyboard ]
Weaving the stillness
Connecting the nodes
The project site is located at Defu lane. A significant amount of food industry such as food production and food supply are predominately found. From traditional artisan soya sauce factories to handmade Yong Tau Hu food, these factory preserves the conventional laborious way of making food. Currently, the traditional food industry is detached from industrial activities pragmatically. This project aims to connect existing food industry into a self-reliant food social hub for all culinary/gastronomical engagements by fostering sharing practices for the continual use of neighbourhood sourced resources. The design intent is to propose a food collective and urban wonderland to re-imagine the future of Singapore. The design aims to create a permeable urban space with blurred outlines that is versatile and inclusive for users and workers—using frequent underutilized space within and around the building compound, to operate as a space for everyday urban life and have temporal programming to accommodate special events or festivals!
[ Additional Caption ]sdsdsdsdsds
JASMINE LIM (Y3S1)
Studio by Roy Pang
watertree.
creating a productive community
Jence Helin Capuno Caballa(Y3S1)
The design incorporates sustainable methods such as rainwater harvesting, waste to energy recycling, and the recycling of food waste as a response to its initial purpose as a provider building. This leads to the carefully curated programmes chosen to create a specific eco-system that supports itself, as well as the satellite building of urban farming. While it provides the essentials the plants need, it also simultaneously provides for the humans as well, designated as a leisure area for the community. It hosts interactive activities that requires the community’s input into WaterTree, which in turn would support the generation of the needs of both the satellite and provider building.
WaterTree’s main design feature is its funnels, acting like supertrees. The funnels are strategically placed at the edges, aggregated carefully so as not to cover each other, effectively exposing itself to rain, allowing for the rainwater harvesting. This funnel holds together the building, acting many different roles within the design.
Watertree aims to promote community sustainability within the Ubi area, supporting both the residences and industrial workers.
Studio by Chu Lik Ren
Firstly, it holds the structure together, acting as the column and foundation of the building. Secondly, it acts like an inverted tree, where the roots are located at the top of the funnel, with fruit trees and soil planted at the top, meaning that when rainwater hits the top of the funnel, it will be absorbed first by the soil and plants, slowing down the rain-water run-off but also naturally filtering the water into a clean water to be stored into the aquaponics tank. The water in the tank of fishes will provide nutritious and fertilized water for the plants, which will be pumped as irrigation back into the vegetations in both WaterTree but also the isolated urban farming building. Further excess water will create a rainwater fountain during heavy rain, providing a visual performance for passerby and an effect for the performance stage.
WaterTree is also designed for visual perforation, choosing to use stilts instead of solid walls, allowing the space to be very open and inviting for social interaction at any point in time.
The site’s unique feature of being built on top of an existing canal, playing a key role to remove excessive rainwater.
All programmes were selected and chosen to form a productive eco-system with interactive activities requiring for the community’s input to generate the essentials required for the production of urban farming.
The Garage
An Automobile Innovation Centre
The Garage proposes a collaborative system to support innovation and young aspiring works whilst inviting the public to be curious on the subject of self-driving automobile vehicles. Situated on Defu lane, the programmes reflects onto the split built form of private and public typology. On the tropical styled side, workshops and working stations are open to the public interested in repurposing metal parts from automobiles or for personal working. On the other division, the modern styled side house the offices for the mechanics and technological workers. Above, a bridging future-technology inspired foodcourt connects the two typologies and leaves the public, workers, and students directly in the same space.
The Garage reflects the potential public use and deliberately engages with the surrounding spatial and social context. What it will be considered an event on the urban edge of Defu Lane, As a result of the interaction of the industrial workers, upcoming students, and the general public, a unique educational model emerges that adapts, responds to, and pacifies the urban conditions on both sides.
Main Entrance View
Kelly Wong Yoke Mun (Y3S1)
Studio by Ruzica Bozovic Stamenovic
View from Cross Junction
View from Stairs going to 3rd Storey
View from Proposed Road
View from Stairs going to 3rd Storey
View from Back Entrance
Elevation
View from Foodcourt Exploded
The Terminal
Point of Convergence
The Waterworks is a national identity of water resilience that serves as a main primary gateway. By 2040, the “water-stressed” country will be 1 of 8 countries vulnerable to disruptions in water supply.We expect a demand of double (200%) of 2021 fresh water by 2061 when the agreement with Malaysia ends.
Re-activating the recreational village as a nodal point towards the last stop at the HometeamNS and Bedok reservoir. Defining this linkage as a creative encounter of recreational spaces that constantly re-emphasizes the idea of the importance of Singapore’s water supply and public spaces. A linkage is made from the recreational village to the junction of commercial zones towards the Bedok Reservoir reigniting the recreational connection.
Lam Wei Min Joel (Y3S1)
Light Havester Circulation
Studio by Chan Wai Kin
The urban re-mediation hub seeks to re-invigorate the surrounding context establishing as a recreational space for learning about the achievement of the water-resilient concept model by Singapore through the breakdown of waterworks process capabilities for nations who visit Singapore to view and also serves as a platform to sell this adaptable process model to these nations. Hosting various competitions every quarter of the year to constantly improve the water framework of Singapore through exhibition, laboratory and testing spaces through the use of technology like 3D-printing, Experimental and Laboratory Spaces.
Ultimately, this rejuvenation of the influx of innovative strategies who allow interested patrons and governments nations to borrow Singapore’s framework would allow Singapore to function as a pillar of water-resilient identity.
Sectional Perspective
The Garten Spi-
Lee Si Jia (Y3S1)
Studio by Jacqueline Yeo
This project challenges the conventions of whether activities need to be assigned in a flat room, and aims to explore spaces that can help accessibility happen vertically that has a transitional effect that encourages communal interactions. Through a study of sectional articulations of various inclined spaces, the project focuses on creating vertical circulation in a space that not only encourages bypass movements, but also focal and activating movements.
By initially studying the effects of a ramp on the spatial experience of a person, a series of micro and meso matrix is derived. The meso matrix studies how the sectional quality of a ramp can change based on the demographics of the people using the space. The resultant design is a combination of the sectional diagrams based on the micro and meso studies. As determined, a transitional space for both children and adults has the most potential in creating a space that requires a transitional affect upwards.
The site of the design is based on the new masterplan, which shows an intersection of multigenerational and mixed-used living. At the junction of a residential space, a commercial place and a civic and community space lies the kindergarten, which acts as an extension of the park and a connector to the public library inside the mall.
Isometric View
Micro and Meso Matrix
REVITALIZE
RE-EVALUATING THE URBAN FABRIC
Revitalize is an urban solution targetting the disconnected residential zones of Fusion City Masterplan. By reshaping the harsh hilly terrains of Paya Lebar to a comfortable and intruging one, commute and leisure will combine, encouraging users of the space to choose walking as the desired mode of transport.
Pedestrians enjoy a curated yet informal path that fully engages their senses. The engaging nature-inspired spaces provide a range of experiences that add to the community programs that Revitalize houses.
Revitalize doubles as a decentralized community village, bringing residents back to their neighbourhoods from the current focal point of shopping malls. Revitalize aims to inspire neighbouring urban blocks to form a connected network for walking.
Liu Heng (Y3S1)
Studio by Trivic Zdravko
Exploded Axonometric
Wind to Unwind
Haptic Art into Architecture
Situated within the courtyard of Bedok North Secondary School, Wind to Unwind is an urban event that is created to integrate the young and the old through the practice of autonomy and offer safe spaces for lost youths to be integrated back to society. It is located at the threshold in between two invisible boundaries that initiates the progression of an established culture of autonomy in the direction of new residential blocks located within the Fusion City. This injects the deep, prolonged culture into a new space that is in a current state of Tabula Rasa. The event also expresses two strong emotions that stood out within the allocated site: Annoyance and Sadness, spatially and programmatically. This discovery is made through observations and a self-improvised point system that maps personal emotions throughout the journey around the site, with the help of the 8 Happy City Lenses tool. Explorations of craft materials were made throughout the process of creating a piece of haptic art - from wires, tensile fabric and yarn. Through winding, volumetric geometries are sub-consiously created, accomodating spaces.
Sectional Perspective
Abbrielle Loh (Y3S1)
Studio by Belinda Huang
DefuLand
Spectacle of Recycling
DEFULAND was conceived as a radical solution to a rapidly changing waste landscape. Moving towards a digital future the issue of e-waste and other integrated products continues to grow exponentially. These integrated systems require a change in infrastructure surrounding its recycling, a more dispersed smaller-scale operation. Paired with the need to adapt, a weak architecture that is an antithesis of this new waste, which is less composite, more enzymatic, traversable, and fluid.
A completely new typology to recycling whom’s key agency is the general public.
A non-sequential theme park that celebrates the recycling event as spectacle. Bring the new agency on a didactic journey through an amalgamation of bottom-up infrastructure through the tectonics of scaffold. Following the footsteps of the recycling veterans, the public traverses the site as Karang Guni spurred on to spectate, participate and finally create.
1:200 Model, The Infinite Spectacle of Recycling
Matthew Goh XinZhi (Y3S1)
Studio by Thomas Kong
The Threshold City
Build. Customize. Grow!
Ng Wei Liang (Y3S1)
The project interpretes thresholds as intangible and fluid spaces rather than having defined boundaries.
By understanding the current existing thresholds and the community around them, the aim is not to destroy these threshold spaces that have sprouted from the residents’ lifestyles, but to enhance the genius loci of the place. By borrowing knowledge of their understanding of these threshold spaces, we can then adapt to the different qualities of space usage to enhance the existing community.
The Threshold City provides residents with catalysts in the form of threshold elements, allowing residents to play their part, choosing and picking different elements that cater to their needs, growing and expanding the existing community thresholds. Growing out from catalysts, residential units and finally growing in various dimensions over time.
Studio by Alex Young Il Seo
[ The Threshold City
BMX Cycling Club
A prototype for a new era of Gig Economy
The BMX Cycling Club aims to establish a social belonging for disenfranchised food delivery workers in a post-industrial economy. As apps are being revolutionized by Big Data analytics, gig workers work harder to meet increasingly demanding key performance indicators, which results in a work culture of “algorithm slaving” in the gig economy. As worker toil long hours to earn meagre bonuses, it leaves them little opportunities and time to better their social and economic circumstances.
The Club intervenes as a prototype for a new era of gig economy, providing spaces and generating opportunities to allow gig workers to rid themselves of the prevailing sense of social and professional stagnation that they face every day. It orchestrates new connections to be formed between fellow workers in its theatre of rich affordances, be it through work, play, rest, or otherwise, thus catalysing the bedrock formation of a united gig community, a community that has yet to come.
Ng Zi Lun (Y3S1)
Studio by Bobby Wong
For the community that has yet to be
A Day in the Life of the BMX Cycling Club: A sectional series revealing the multi-purpose spaces of the Club. Follow the colours and see how different user intentions shape the flow of the community across space and time.
Industrial Agora
A Scene of Temperamental Growth and Negotiation
Studio by Colin Seah
Ryan Quah Kun Hao (Y3S1)
This project attempts to postulate the notion of growth and negotiation through a bottom-up approach. The scene is set on the left-over columns of the former Defu Industrial Estate.
Set in an impending scenario wherein Singapore’s land scarcity has deemed singular-zoning and independent industrial operations as an unsustainable strategy for future development, the Industrial Agora reimagine Defu as a testbed that seeks for a collective, decentralised and circular solution for production and consumption – conceptualising as a total-field altogether. Finding value in existing elements on site, Industrial Agora conserves the structural element of its formal self to act as affordance for the universality of its future urban fabric. The removal of physical boundary and built-element reconstitute Defu as a singular piece of land with unrestricted space and tenants. Freed from lease and prescriptive land-use, this creates a paradigm shift in urban planning - subverting the former factory typology from capitalist hegemony to a new democratic collectivism.
The following scene attempts to demonstrate and reflect the complex relationship of interest, conflict and exchange - manifesting an imagined outcome with varied possibilities of growth and negotiation that could take place.
Scenes of Temparamental Growth and Negotiation
High-Tech Favela
Commune
“Living
in Commonality”
How can common spaces form overlapping layers of activity that create a seamless dynamic experience for users?
With the primary issue being the divided and disconnected spaces within the site, with no communal spaces to further enhance spatial and human relationships; it was important to create a series of common and shared spaces, to further blur and redefine the boundary between residential estates and the Serangoon river, through the implementation of a connective valley.
Through this proposal, it was key to create more multi-fucntional common spaces for users to form more meaningful relationships through interaction, with the implementation of various social activities.
Sarah Tan Shu Xian (Y3S1)
Studio by Ronald Lim
Cross-Section A-A- Rekationship across connective valley & residential areas
With key concepts such as the use of transitional spatial actitvities and the integration of multi-levelled activities for both the residents and public to engage with, the site would be utilised to its fullest potential, with closer interaction and engagement with the currently, underutilised Serangoon river.
Perspective of spatial relationships between blurred boundaries
The Atelier
The Prefabrication Nucleus of PLAB
Studio by Jacqueline Yeo
Vikram Kannappan (Y3S1)
The Atelier is a shared workspace targeted at students and designers that highlights the prefabrication method while enabling residents of PLAB to bypass the existing manufacturing hubs to access a park. The prefabricated modules that form the building are catered to each of the three stages of the design process: Illumination, Implementation, and Evaluation. These modules are aggregated in a structured yet seemingly organic way. Following the same structural philosophy of trees, each building consists of a large trunk like core with medium sized units that branch out of it, and many small modules along their peripheries, likes leaves on a tree.
Through the aggregation process, a series of non linear voids were created, defining courtyards of various qualities. At the smallest scale, each module consists of balcony-like courtyards that overlook each other, creating a greater sense of depth and volume as opposed to vertically stacked balconies. At the medium scale, courtyards become spaces of interaction; nodal points in the modular tesselation. At the largest scale within each building, the courtyard is part of an airwell that illuminates the building’s interior, breathing life into the building. Spaces between buildings also become courtyards, with water features to anchor lines of sight from the onlooking balconies, creating more views for the building’s users and also allowing for more heat dissipation for the naturally ventilted units.
Section A
Front Elevation (Apartment facing)
Back Elevation (Park facing)
Showtime.
the industries will never die
Showtime. is a project part of a bigger whole, that aims to help industries and businesses remain relevant and grow, especially in a future where urban environments and the way of life in the city will change in accordance to shifting urban landscapes and changes in lifestyles as influenced by the current pandemic.
To allow for that, integration between the industries and their consumers is needed. Precedent site analysis conducted prove such relationships can be built.
The Industrial Node, part of a larger network, designed at the specific site selected caters specifically to the recreational cyclists frequenting the area, coming from nearby parks and the closely situated Bedok Reservior. This benefits the industry, but also doubles up to benefit their consumers, who enjoy services and goods brought closer to them and their daily lives. Through the careful use of forms, lights and colours and participatory design, the industry can continue to thrive.
Sheares Quek (Y3S1)
Studio by Chan Wai Kin
The City of Otherness
Defu as an Industrial Heterotopia
In this project, I aim to explore solutions towards an urban and architectural system responsive toward the powerless yet rebelliousexistence of urban dwellers. Henceforth, empathy and weakness should be a participant addressing such neglected side of urban endeavour and a collective seek for the intimacy of the others.
The site of Defu is currently an industrial estate with its short, inhabited history since 1970 of its establishment, the place has always been a place of otherness with its industrial landscape and building forms. These cheap low rising factories constantly avoid attention from surroundings, while changing their functions and morphology with informal expansion with makeshift spaces brought strange and mysterious experience to the visitors. Thus, the system should embrace Defu’s unique industrial quality and generate a positive intimacy with its difference.
Xu Ruiting (Y3S1)
Studio by Colin Seah
Exhibition Space ]
[ System Layout]
KAMPUNG KAKIs
A gallery of courtyards
KAMPUNG KAKIs is a gallery of courtyards that aims to reimagine our community amenities as part of a larger network of urban parks.
Addressing these conditions of the site and taking into context the broader oasis city master plan, my project looks at how we can reimagine the neighbourhood amenities as part of the larger green parks network, employing various courtyard types to facilitate emergent activities, movements and interactions in public spaces.
Within this community node, the community domain sits closer to the HDBs and houses amenities such as childcare, elderly activity centre and a community kitchen. The public domain is closer to the park and includes a coffeeshop, cafeteria and bird singing pavilion.
Stitching these programs together are a series of courtyards that facilitate emergent activities and spark unplanned interactions between the stakeholders of the site. The various introverted, ambiverted and extroverted courtyards take on different functions to provide intimate spaces for organic interactions between the stakeholders, as well as providing public open spaces for celebrations and ceremonies.
Axonometric site plan
Aston Yap (Y3S1)
Studio by Lee Tat Haur
Transparent Machine
Set in an impending scenario wherein the process of mass production leads to a loop of stagnation due to excessive focus on quantitative output, the project reimagines an alternative mode of progression through a shift towards the qualitative output. This will be achieved through the process of mass entrepreneurship, whereby small business owners and independent workerscan carry out aesthetic and technological research in territories with a high density of cultural information and human exchange.
Weak Urbanism
The New Athen’s Charter Eighth suggestion considers the city as a continuous, concave, and air-conditioned space. It was formulated as a way of viewing architecture not as a visual presence, but a sensorial, experiential, and immaterial reality. This project expressed the continuous city through the creation of a site specific Tartan Grid to facilitate the association of different programs together.
Ye Ganghua (Y3S1)
A Mass Entrepreneurship Campus
Studio by Jaxe Pan
The interstitial spaces act as frames of growth for the clusters to expand outwards, achieving the idea of a concave city where private spaces are externalised while public spaces are internalised. The expansion is regulated by different courtyard typologies derived from existing informal ways of spatial expansion.
An air-conditioned space is also a total space, in this project the mechanical system acts as medium to create a total space. The machine and mechanical system have become an extension of our body as our relationship with technology has become increasingly complex. The act of externalising these mechanical systems aims to surpass the limits of building, allowing the external and internal to become a blend instead of discrete elements. By retaining the current aerial energy circuit and proliferate it throughout the site, the campus becomes an open latticework.
Macro and Micro Organisation
Sectional Perspective
Opacity Corridor
Machine as Facade
Pressure Walls Misty Path
Pumping Facade
Tartan Grid
Wall
The Symbio-Canal
Passage Territories of Informality
The project investigates the quality of informality along the canal that was identified to enhance the future master plan in creating a sense of kampung identity within a self-sustain community. Thereafter the project began to redefine the relationship between the ‘canal’ and the ‘industrial shophouse’ by negotiating the natural element of ‘rain’ into a transformative hybrid dialog. Contrastingly, the canal is perceived as a synergistic asset, while the shophouse is seen as a physical asset in the process of blending the two boundary conditions.
In this case, the canal becomes a flea market, where goods and supplies are relied on from the proposed ‘cloud storage space’. Where drones would assist in supplying the flea-market tenant. This proposal encourages coopetition between the ‘shophouse tenant’ and ‘flea-market tenant’ in working cohesively.
Yeoh Kai Zheng (Y3S1)
Sectional Perspective + Speculated Scenario
Studio by Zdravko Trivic
Uncontrollably, as the water level increases in the event of a monsoon season, a second space is introduced when the canal is compromised. However, the change of event creates another job opportunity when water becomes an asset. In this manner, tenants of the flea market (canal) will contribute to the shophouse agro-ecosystem. This contribution of producing food as an asset would eventually affect the sales along with the flea market, such that the food is produced to encourage profit from both the ‘supplier’ and ‘retail’ sides.
The shophouse agrosystem was proposed in a way that the lower level is design for food production, from ‘fish’ to ‘lab-food’ (without relying on natural light), whereas the upper level focuses on hydroponic vegetable farming. v.
Exploded Axonometric
Elevational Drawing | Dominating Rhythm
Sealings
Ceiling as a Sealing Element
Situated at the intersection of two main trajectories and near the public road which is a popular commute route by students from surrounding institutions, the proposed library serves as an educational and innovation hub that appeals to students & youths.
The ceiling has connections with the practice of sealing a room at the underside. Its typical role is to seal the mechanical ventilated spaces from the natural ventilated ceiling cavity only vertically and to conceal the “uncontrolled madness” of MEP services. However, this project aims to redefine its role. Will a ceiling be able to seal the mechanical ventilated spaces from the cavity both vertically and horizontally instead of just vertically? Can it also serve as a spatial divider between private, semi-public & public spaces to become walls, since ceilings have acoustic and insulation properties just like regular partition walls?
With the proposal of three varying types of porosity, the stretched expanded metal ceiling serves as privacy screen between spaces within the library.
Sectional Model
Abbrielle Loh (Y3S2)
Studio by Chaw Chih Wen
Programmatic Relation & User Ritual
Exploded Diagram Integration of M&E Systems
Sonic Forest
Laboratory for Sound Research
Studio by Federico Ruberto
Ang Yi Heng (Y3S2)
“Architecture is frozen music.” The relationship between architecture and music goes way beyond coexistence. Integrating environmental sounds and the creation of new ones with architecture creates a continuation of human experience that resonates with time. An emotional connection to a space is pertinent in engaging the senses and reawakening the bodies’ interaction with the physical surroundings. Building an atmosphere can bring about collective wisdom that has the potential to revitalise spaces and create interpersonal connections. Soundscapes create immersive, complex experiences with spatial implications, which can be modified through changes of frequency, modulation and amplitude. Sound design is a way of developing the narrative of a space through cognitive and behavioural influences.
Today, sound in architecture is reduced to an afterthought as a result of an over-emphasis on the visual aspects of architecture. A reappreciation of natural environmental noises and its amalgamation of different sounds allow for a holistic sensorial atmosphere. Dynamic controllable systems that react to the changing soundscapes allow for a structure that is optimised for programmatic functions and environmental conditions around it.
The Mediator
Community Library
Studio by Darlene Smyth
James Chan (Y3S2)
The design intent is for the library to be a mediator that resolves conflicts by allowing individual user groups to find solace in the library. This is done through integrating the existing symbiotic relationships of the site and the library’s programmes into the circulation by using structural systems as an architectural device.
The project uses the dialogue between contrasting structural systems of steel and concrete, curating optimal conditions for each of the library’s programmes. The library’s circulation is categorised into two parts; reflective and interactive. Reflective spaces employ concrete volumes to house isolated and contemplative library programmes. In contrast, interactive spaces utilise the wide spans of steel structural systems to accommodate open interactive spaces that celebrate collaboration.
Sectional details further illustrate the visual dialogue between the two contrasting structures. These dialogues define the conditions and use of the spaces around them. Composite and concrete slabs are deliberately pulled apart, their connections encased by glass skylights, exposing the raw interface between the two structural materials and the parasitic language that the steel develops around the concrete.
Exploded Axonometric: Spatial Programming
View from Existing Railway Corridor
TOWER OF THE ARTS
ARCHITECTURE INSPIRED BY ART
In the middle of the buzzing city of Ro chor where art museums, art institu tions, residential and commercial lands are plentiful. It is natural for a tower lo cated at a prominent urban typology to represent the uniqueness of the art scene in the site.
The Tower of the Arts behaves as a beacon that expresses continuity and movement through the architectural el ements. The architecture seeks to repre sent the chaos within the artist’s design process that is not so straightforward. Although chaos can be misunderstood to be messy and complex, the chaos is manifested through an orderly and systematic approach that is prominent in most well known art. To design this building, I look to seeks inspiration from Piet Mondrian’s Broadway Boogie Woo gie and Wallisy Kandinsky Composition VIII as it embodies the similar field of conditions and energy of the site; pacing of Selegie road and short street and the views around the site.
CHARLESTON CHAN (Y3S2)
Studio by RAYMOND ANG
REED HASTINGS
Mediatheque
The mediatheque aims to mimic the way people browse constantly on NETFLIX, looking for a show to consume. However, the spaces are programmed for the creation of content, while the spatial arrangement allows visual porosity that grants transparency to the working spaces of the mediatheque.
It draws people in through creating a thertiary connection from the Buona Vista bus stop to the MRT station. The gradual ramps then facilitate the smooth transition between outside and inside. The mount elevated from the landscape aims at activating the surrounding grass field for activities as the site’s empty grassfield was very much under-utilised.
[ Additional Caption ]
Chen Xing Sheng (Y3S2)
Studio by Colin Seah
Ghim Moh Community Library
Studio by Jacqueline Yeo
Chua Min Chi (Y3S2)
Located at the heart of the Ghim Moh neighbourhood, the proposal is library that brings the richness and activity of the existing site up vertically through the building, as a way to create more, and better, community spaces for the local residents. The two predominant architectural elements guiding the design concept are the wall and the escalator (adapted into travelators). The building has 4 parts, a community library for the elderly, a youth library, a common central atrium, and the circulation path.
Through the use of travelators, the design brings the activity and richness of the ground level up and through the building. The circulation path with travelators weaving in and out, up and around the building, allows users (regardless of age or disability) to traverse the building as if they were walking in the park. In the Community Library, galleries, courtyards, verandahs and social spaces parallel that of the void decks within the existing site, giving the local elderly population a space to enjoy.
Plans: Ground Floor (left) to 3rd Floor (right)
Long Section through Central Atrium
Intimate Oddities
Data Centre + Recreational Facility
Darien Wu Junhan (Y3S2)
The definition of “normal” is constantly shifting in today’s modern age, with the digital-focused culture, the prevalence of posthuman spaces emerges to cater our demands for technology. The alteration of our cultural norms due to the increased dependence on digital technologies have induced a rapid digital transformation. This digital surge has triggered the resurgence of outdoor recreational activities, where it has led us to seek forms of escapism within nature. Intimate Oddities searches for reconciliation and humanizing of posthuman spaces through the atmospheric phenomena of intimacy resulting from nature’s veil, mist.
The project celebrates the intimacy of the mist, through the containment of humidity in its in liquid and gaseous states to allow for variations of this phenomenon to manifest by passive and mechanical induction.The interplay of the unnatural and natural reflects the paradox of this emergent conditions in the proposed tropical data centre + recreational facility.
View from Berlayer Creek Mangrove
Studio by Wu Yen Yen
By using technology to humanize spaces and create an interplay between the natural and unnatural, to blur and blend the posthuman spaces through programmatic and cultural integration.The passive induction through the architectural form cools the human users and naturally creates the mist that is contained by the neighbouring mangrove, while the mechanical infrastructures adding a secondary layer of man-made “mist”.
The selected climatic element chosen is humidity and how it brings about the phenomena of intimacy. Much like data, how we perceive and interact with humidity is rather peculiar, an invisible veil that surrounds us, its not nonphysical and fleeting presence being “ghosts” of our tropical landscape. The atmospheric augmentation and opacity variations due to the containment and creation of humidity within recreates the phenomena of intimacy while embracing the ephemeral and transient qualities of the mist.
Exploded Axonometric Diagram
Detail Section + Design Process Diagrams
Elapse
Mud 3D-Printing Research Center
Natural Process: Speleothems Formation through Erosion of Water and Accumulation
Rainwater has always been seen as a destructive force within architecture. It is categorized as a building defect, whereby accumulation leads to a moist environment, which in turn weakens the structural integrity of the building over time.
On the other hand, rainwater is seen as a sculpting force in Mother Nature. Water infiltrates through the soil and flows through the soil into the underlying cap rock. Seepage water enters the cave, eroding carbonate minerals, forming stalagmite and stalactite—drop by drop. Eventually, spatial quality within the cave changes over time.
Foo Jing Xi (Y3S2)
[ sectional perspective ]
Studio by Wu Yen Yen
Does architecture reflect and celebrate changes over time responding to climatic factors? Does architecture borrow from nature and return back to nature?
The project celebrates the erosion and accumulation of mud, by encapsulating the changing states and forms of mud, with regards to the rain. The eroded mud accumulates drop by drop, slowly forming vertical members, changing the initial spatial quality. By the end of the process, the mud is well mixed and filtered, ready to be used as 3d printing materials. This cycle repeats continuously.
The project showcases a Mud 3D Printing Research Center and Observatory adjacent to the Berlayer Creek, one of two remaining mangroves located in the south of mainland Singapore.
[main entrance]
Sapnik
A breathing RMS aero facility
The simple act of harnessing winds from the site to optimize and self-maintain the building.
The wind tunnels are not only the source of natural ventilation of the building, but also a service house and an aerodynamic test facility for RMS (Radio Modellers Singapore) aeroplane streamline designs. The wind tunnels are a structural element in the design, comprising of steel trusses wrapped in aluminium cladding, pivoted by the 2 circulation cores resulting in a cantilever that is worthy to be expressed. The program spaces are then introduced and formed according to the position of the wind tunnels, resulting in the cascading design of the spaces. These cause the splitting of the program spaces into 2 zones, one which focuses on the manufacturing and assembly and the other which focuses on the leisure and education.
The building is a research and manufacturing facility for the RMS club and houses a range of facilities such as a heritage gallery, coworking spaces, cafes, aero parts shops, simulator experiences, workshops, storage for RC aeroplanes, a research office and a manufacturing & assembly plant (makerspace). As the RMS holds its activities in the adjacent open field and does not have a proper space to hold its functions, the proposed building is a response to not only their needs, but a multi-facated approach in utilizing natural energy from the surrounding to power the building, concurrently encouraging a more sustainable living.
As natural ventilation is an important factor in the design, strategies such as outdoor spaces and balconies are introduced to encourage outdoor learning and living. The cascading nature of the program spaces also give rise to the implementation of green terraces such as greenery and shaded spaces, to not only form a comfortable outdoor meeting experience but also to cool the interior spaces.
Close-up Axonometric Drawings
Sectional Perpectives
The Hiatus
Landscapes of Tea
CONTEXT
Awkwardness and Intensifications
This is the Gateway to the arts district of Singapore. Epicentre between the award-winning art campuses where there is an emergence of SOTA, Laselle School of the Arts and NAFA. There is no other place in Singapore that has so many art institutions within this same area.
NARRATIVE
My Intervention wants to become a portal which allows office-goes and students from the art institutions arrive at my intervention to utilise the urban sancturay for places of solitute and recharging: empowerment and relaxation.
A “Call for Calm” juxtaposes this busy work culture and aims to enhance Live and Play through a collective of Tea Tradition Spaces from all over the way that enhance the overall spirituality and wellbeing.
Ultimately conceived to be the urban sanctuary where spaces of reconciliation and re-definition could take place depending on the individual’s state.
Joel Lam Wei Min (Y3S2)
Studio by Raymond Ang
Left: Axonometric of Terroir 1A to Terroir 8, Middle: Sectional Perspective, Right: Internal Renders of Tea Settings of Terroir 1A to Terroir 8
Wind’s Embrace
Connecting Man and Nature
Johaqqis Joe (Y3S2)
Architecture serves the fundamental role in providing shelter from the natural elements. However it has since gone to the extent of sheltering ourselves from the very Earth’s atmosphere – not embracing the various climatic conditions of rain, wind, and temperature that it has to offer. This has thus increased our very dependence on mechanical services to provide us comfort but has inevitably brought us more illness instead. As such, we should be ‘exploiting the radical potential of [the] atmosphere’ and implementing them within architecture to provide for its fundamental purpose of shelter while providing thermal comfort within Singapore’s tropical climate. This aims to improve our overall wellbeingincluding our psychological well-being.
Passive Cooling using Windcatchers, Qanat as well as referencing from the Bernoulli effect, are some of the techniques used within Wind’s Embrace. However this usage is for naught if it is not shared amongst the public and serves
[Perspective render of Wind’s Embrace showing foliage growth over building facade]
Studio by Federico Ruberto
as an experimental hub to investigate the effects of elements such as Wind, Light and Sound which affects the psyche of the individual. The programming also serves to remind us of the interconnectedness of Man and Nature and how we carry out out daily activities. We should thus learn from nature and be more appreciative and therefore do whatever we can in conserving it.
In regards to form, Robbert Sommer’s public space diagram was inferred to, in creating a comfortable space for the users of different hierarchial needs and thus different modular sizes - ranging from ‘Small’ to ‘2XL’. These boundaries are extracted and employed in plan. The volumetric form is then further developed with the ‘neck’, ‘waists’ and ‘arms’ as control surfaces for the Sweep2 and BlendSurface tool. Alternating and linked modules then create a network of passageways which, from far, seem to look like human figures dancing in embrace, rejoicing the presence of the wind.
[ 15 x 15 x 15m prototype (top), in contrast to final building sectional studies (bottom)]
UNVEIL
Vertical Art Village
Unveil aims to bridge the gap between art and the masses on site. Despite labeled as the civil district, the site (Rochor) fails to effectively showcase its rich artistic culture to the general public. The lack of concentration and advertisement of art are the main culprits. Unveil addresses this by exposing the production and consumption of art on both the exterior and interior of the tower, inducing intrigue into passers-by and visitors. The first-hand experiences of art production also induces deeper connections.
The tower is separated into four clusters, each with their own theme and art form. Within these clusters contain a number of sub-clusters, their programs are defined by the transparency of the facade. As such, all stages of art is methodically unveiled to the journeying visitor. In between clusters contain outdoor public seating and green spaces which act as zones of high contrast as well as prequels to the clusters ahead. They outdoor and indoor spaces diffuses into each other, resulting in a seamless yet intentional connection between programs.
Liu Heng (Y3S2)
Studio by Adrian Lai
Intergenerational Library
Chance encounters through archways and balconies
Studio by Jacqueline Yeo
Danielle Manansala (Y3S2)
The Intergenerational Library focuses on the formal exploration of the archway and the balcony and how these two building components could interact to create a library that responds to the site conditions at Ghim Moh. The project began with the analysis of the characteristics of the archway and balcony and simplifying these two building components into their most basic spatial forms and functions;
The archway as a continuous structure with a start point and an end point and the balcony as discrete plugged-in volumes that are extensions to a larger space.
Using these definitions, the spatial interactions between the archway and balcony are explored through physical models revealing interesting resultant spaces.
The library responds to two key characteristics of the site; the strong presence of the elderly and children, and the elevated Block 21. Chance interactions, between people of different age groups, are promoted in the space physically by walking through the winding archways and visually through programmes in balconies that overlook other balconies within the library, and people at Block 21 could be engaged visually through the terracing form of the library and its outdoor gathering spaces.
Ground floor and basement
Third floor and roof trail
Second floor
Construction of the spaces in the library using the archway and balcony modules
Floor plans of the library
MOSSAIC
a moss driven research centre
Current architectural discourse has been increasingly pivoted towards the concept of “biophilia”, the innate tendency to seek connections with nature and other forms of life as pioneered by Edward Wilson in 1984. As such, green spaces proliferate within design practices in spirit of this movement as well as for the greater sustainability of the environment. However, I argue that architectural biophilia is heavily reserved, especially its natural assimilation with living spaces and association towards environmental sustainability. While features such as vertical gardens and sky terraces evoke visual nuances of biophilia within architectural design, efforts such as paint treatments and biocides ultimately show resistance towards true natural growth and integration with the building. Sustainability also comes into question when maintenance and costs of such spaces outweigh its potential benefits. This boundary is further reinforced by undesirable views by users largely due to the lack of awareness and interaction with these intrusive, unwanted microspecies. Most notable of these species are the moss family, primitive in existence and extremely undervalued in our environment and food ecosystem.
Therefore, this project aims to redefine the unwanted and the undesirable within this architectural discourse by reinvigorating and cultivating bryophyte moss and lichen species in order to realize true architectural biophilia and establish food and climatic sustainability. By harnessing and channeling climatic elements of the sun, water and wind, favorable conditions for growth would be fostered within this research facility in order to pioneer novel food ecosystems, raise awareness and introduce spatial interactions between humans and moss alongside its physical and mental benefits.
Muhammad Akmal (Y3S2)
Studio by Ng San Son
The Living Wall
The wall as an ecological mechansim
Ng Wei Liang (Y3S2)
The Living Wall is an inquisition into the multiplicites of ecosystems, allowing the wall to act as a catalyst for the growth of an ecological scenario - algae.
Through the use of both passive and mechanical systems, the living wall aims to reintroduce algae, which presents itself as lacking in the adjacent mangrove swamp, signalling only a partially healthy ecosystem, allowing its new presence to inhibit and sustain the mangroves.
The wall is sculpted using attractor points from the abstraction of heat-fabric experiments, on the basis of three main systems of carbon sequestration, rainwater collection and irradiation. These systems shape both the height and openings of the wall according to site to allow for the growth of different types of algae in its respective ecosystems.
Studio by Lee May Anne
Heat-Mapping Abstraction
See You Later, Elevator!
An Examination of the City as a Three-Dimensional Matrix
Studio by Chu Lik Ren
Ng Zi Lun (Y3S2)
See You Later, Elevator celebrates the role of the elevator in architecture. Despite an unchanging form of over 200 years, its advent revolutionized architecture by removing virtually all restrictions on vertical mobility, or as Rem Koolhaas quotes, “The great emancipator of all horizontal surfaces above the ground floor.”
This project further develops the idea of the elevator as a place maker by proposing it as an urban strategy of unlocking unused elevated spaces. The modern city is a dense, multi-layered, and multi-dimensioned organism; with such intensity, it is critical to examine the city as a three-dimensional matrix. This is especially pertinent for land-scarce Singapore, as the perennial question of finding the next spaces for our growing nation can be addressed by considering the leftover pockets of buildable vertical spaces hidden amongst our urban landscape.
See You Later, Elevator demonstrates this by exploiting the open space above Ghim Moh Market, a prime location within the heart of its neighborhood. Through a curated set of elevator elements, such as the elevator core, doors, and lift lobby, the project pushes the boundary of the urban fabric upwards, creating layered public spaces made possible with the elevator. The project also introduces the use of an Urban Living Room, a mini-library that generates street-level activity and extends pedestrian circulation up into the floating library. Physically interactive and socially engaging, this project thus offers a dynamic and adaptable strategy towards a new typology of urban space making.
Playbrary
Thresholds
of play and work
The Playbrary promotes both work and play through discovery.
The design stems from studies of the door as a building element which highlighted the door’s function as a transitional space or a threshold that warrants interaction and response (which is not restricted by the conventional door).
Similar to how the playground located at Ghim Moh acts as a transitional space between the carpark, HDB flats, and the Ghim Moh Food Center; the design aims to draw a parallel between the door and the playground to create new spaces that function as a library but promote play and other elements of fun through the means of circulation and transition.
Richard Edrick (Y3S2)
The Playbrary at Ghim Moh
Studio by Chu Lik Ren
Yet, this notion of play is not limited to children who once frequented the estate’s playground. Instead, the design strives to promote this notion of play to other age groups who would use the programmes and spaces the Playbrary provides in different ways.
Thus, through the creation of new pockets of spaces, new circulatory routes in the form of thresholds can arise which would in turn allow the Playbrary function as a portal that transport different people to new places; simultaneously acting as melting pots for the various target groups.
Everyone can have new experiences in the Playbrary.
Plans Showcasing Spaces for Play and Work
Urban Tarzan
A Nature Park as Superstructure
Studio by Dr. Joseph Lim
Ryan Quah Kun Hao (Y3S2)
The Urban Tarzan responds to the increasingly hostile urban environment of Downtown Singapore. It opposes the conventional typology of maximising floorplates for commercial, monetary and material culture. It also criticises the lack of physical playzone in the downtown district, where work and transaction dominates as the anchor programme. Hence, Urban Tarzan attempts to break the monopoly of the concrete jungle and display the heroic return of wilderness and fun in the city.
This project proposes an alternative typology of a high-rise tower that incorporate the operations of the public realm, ecological habitat and the climatic environment. The composition of the tower examines a computational form-generation methodology: discrete aggregation - where the assembly of the components is initiated and constructed through a bottom-up, peerto-peer approach. The discrete construction is appropriated by the relations between aggregates, structural efficency and spatial effectiveness - activating what seems to just-so be a structural element into a device of spatial experience and system of ecology. The inconsistent composition of the structural element negotiates and shapes the creation of architectural experiences - yielding a circulation path that dances around columns and beams, fragments floorplates and decentralises service systems.
The Urban Tarzan challenges the naturally horizontal park typology as a vertical tower. It re-imagines how nature could be re-experienced in a modern superstructure setting that would provide sense of freshness, wilderness and bionomics. Leveraging on the architecture form, an ecological system (as programme) is curated between human, plants as well as native and migratory bird species. The seemingly leftover site is revitalised and returned to nature - ingraining itself as a fundamental part of Selegie Road’s ecological and urban habitat. In prospect, the Urban Tarzan forwards a proposal to inspire a paradigm shift in the atittudes and methodology towards high-dense development and commercialism.
The Shape of Water
An Urban Diorama of Nature
Utilising its strategic sitting in the landscape, the Water Research centre adapts the modern building materiality and language, synthesising it to the thoughtfulness of nature. The birth of the new Greater Southern Waterfront Area calls for a hybrid way of adapting new technologies with the sustainable practices of existing nature. Thus, the design ties in with water as an element, allowing the various types of water on site, to shape and influence the experience of the architecture.
Responding to the various water found on site, rain and brackish water from Berlayer Creek, the architecture mediates between these elements, and amplifies the experiential qualities of water as an element and representing this natural system in a highly curated urbanised diorama. Through the symbiotic relations with water and nature, the centre becomes a crucial starting point for future water developments and nature repopulation of the mangroves, aided by active public participation.
[ Sectional Perspective ]
Shawn Lee (Y3S2)
Studio by Chan Wai Kin
Architectural Occurences: Chapter Three - Water and Architecture ]
Alien...
and the art of decomposition
// A Microcosm of Singapore’s Ecological Composition
Alien and the art of decompostion dives deep into the world of composition and decomposition through encompassing two different heat cycles within its architectural body - Organic and Mechanical. Situated at the edge of Labrador Park, Alien hopes to be an energy generator that runs itself through food waste that are fed to the Alien. Thereafter, the energy generated from the decomposition of food waste would power existing programs within the institution, becoming solely self sufficient and sustaining though relying on its mechanical systems. Its organic system would be its nourishment to ALIEN’s body, providing a continuous cycle of fresh compost or fertiliser for its vegetation while its worm tea could nourish and boost plant growth within and around it.
Being a compost hub, Alien ultimately hopes to educate the public about the art of decomposition while opening the eyes of its visitors about sustainability and the future of energy generation.
[ Isometric Perspective of Alien ]
Tan Jin Kang (Y3S2)
Studio by Lee May Anne
[Exploded Perspective (left) --- Physical Model Captures (right) ]
LIGHT
The library is designed to approach the site as a community that can draw the residents in by crafting spaces of different atmospheres to accomodate the residents’ desired activities. As an extension of the current streetscape, the library provides different learning spaces for different target groups. With the programs as the focal point, dimensions of individual spaces manipulate the eventual building form as a whole.The ceiling is manipulated in principles of punctured ceiling, exposed ceiling and stepped ceiling to different program needs.
Light, a key control of reading environments, manifest as a unifying tool of spatial organisation in the form of lightwells, while bookshelves, doubling as walls, aid in wayfinding and navigation.The library as a place of learning and the virtue of book reading is elevated with bookshelves that mask programs in the atrium, retaining the library’s primary function as an information pool while serving the multitude of needs within the Ghim Moh community.
Ghim Moh Community library
Tang Wei (Y3S2)
Studio by Darlene Smyth
Subterranean Library
Furthering the utility of stairs
One North Park is a green belt that connects all the industry hubs in One North to Buona Vista. Through the emulation of naturally occuring geographic forms, this building wil serve as an extension of the green belt, and provide an alternate more pleasant route to reach Star Vista’s main entrance from the bus stop. This specialised library will not only house a collection of knowledge pertinent to the adjacent research centres, it will also serve as a space where professionals from the arts and science fields in Biopolis, Mediapolis and Fusionopolis can meet and exchange ideas.
This project also aims to challenge staircase conventions, to create a deeper relationship between the staircase and the building’s program, beyond merely connecting floors. By varying the properties of the staircase, such as curvature, solidity, and riser height, staircases of different qualities are created to serve different functions. These staircases also define the form of the building, replacing walls, floors, and ceilings, deepening the intimacy between the stair and the user.
Short Section
Vikram Kannappan (Y3S2)
Studio by Chaw Chih Wen
Long Section
PARELLELSE
Parallel Universes of the Digital
Studio by Raymond Hoe
Virtual enabling manifests itself as a new personification of celebratory arts along the string of arts and entertainment culture in Selegie. ‘Ghost architecture’ blurs the boundaries between the physical and digital space that is the future, in an attempt to spawn a mesh of ‘ephemeral realities’.
With the rise of the metaverse, digital currencies and libraries, what will Selegie Road look like in 5 to 10 years?
How will the arts and entertainment culture develop along this timeline?
Perhaps cold digital may reimagine new strategic means of reviving culture and life in the site that is now forgotten.
Xie YuWen Cheryl (Y3S2)
The scheme derives from research based on the progression of Selegie’s historical art and entertainment culture, coupled with demographic profiling data. With the predominant art school presence and students in the vicinity, the tower subsequently adopts a programme that would enable digital visualizations and celebrations as the heart of the arts amidst the development of a digitalized city.
Attempts of meshing the digital and physical see themselves as layers of material through the means of ‘ghost architecture’, where porosity and fragmented forms meet to create an illusionary effect of an ever-shifting entity. The vertical journey upwards follows a sequential organization of staggered blocks, each hosting various retail, visualization, and archival purposes. In consideration of the tight floor place presented by the site, smart digital glass surfaces and holograms are utilized as an effective aid in these spaces of mixed mediums. This further encourages a sense of tangible digital in a physical space.
The Synthesis
Pocket Art & Community Museum
The art museum was designed with the film ‘Lost In Translation’ as a preliminary study. Aiming to merge the everyday applied design with the participation of local art institutions.
And this new urban pocket aims to correct that absence of synthesis between these two main parties, A synthesis of the simple object designs and fine art created within the intimate situatedness of the site milieu.
The tower was established on the precedence that the spatial experience of the museum could serve as a tool for building a more connected local community. That is, merging the daily utilitarian aspect of Selegie Street with the disjunct creative potential of the local art groups.
Xu Ruiting (Y3S2)
Studio by Adrian Lai
The research aims to capture a typology of infrastructure which has never been systematically or thoroughly researched in Hong Kong, despite their ubiquitous presence and absolute necessity in the efficient navigation of the city. The colors heighted in the grid is the individual usage of space through the programs.
The movie is great in setting the tonality of a world which people are physically and emotionally distanced, and there is a lost in personally identity in a foreign environment (in this case, Tokyo) and search of emotional spontaneous intimacy in the urban life.
When the negation of pure art and artistry became a norm, the daily objecthood was detached from the critical responsiveness of the imagination of art. Still, it now deals with the social relations between members of temporary groups and nomadic aspects of commodification.
Precedent Research of Urban Density
FAR[M]AKER
An ecosystem of food
Studio by Raymond Hoe
Yap Ting Ting (Y3S2)
Inspired from the initial site response, this project attempts to introduce the concept of farm to table that bonds both the elderly and youth through a common shared activity - cooking.
A disconnection is observed between the elderly residents who wander around the courtyard and the youths who are mostly busy with school. Lack of connectivity reflect a loss in humanity within the site identity, for it being considered as a back alley of an informal space. Hence, the isolated wedge shaped plot is considered from the Selegie’s residents point of view where the back of the building become the face/facade of the building.
Ultimately, the whole idea revolved around an eco-system of users growing their own crops in hydroponics, harvesting, cooking, dining and selling, to food compost that is integrated within the building.
“Vertical farming as the battery, charging the communal space with its power.”
Grey Forest
A Dust Harvesting Research Centre
Dust as a matter constitutes by-products from both nature and artificial processes is often alienated due to man’s tendency to impose maximal control over its environment. The proposal argues for a nuanced environment whereby dust is seen as a resource, information, capable of shaping its own form and augment our relationship with the physical environment. The site is situated between West Coast Highway and Belayer’s Creek; two seemingly opposing environment is bridged by spatial filter that operates to capture dust content from the urban environment, and in doing so, purify the air.
The approach focuses on the use of air flow to influence the accumulation and movement of dust in an attempt to visualise this invisible matter, bringing to light its aesthetic and practical qualities. The harvesting of dust is carried out by the electrostatic meshes and dust catching facade placed strategically along the prevailing wind direction. As the harvesting of dust occurs passively, the building undergoes periodic harvesting and renews itself again.
Sectional Perspective
Ye Ganghua (Y3S2)
Studio by Ng Sanson
Dusty Facade
Dusty Canopy
Dusty Landscape
Dusty Enclosure
Sound & Performance Tower
Generative Computational Geometry
The chosen site is at the junction of Selegie Road and Short Street. Based on research conducted by NUS, the street noise in the region fluctuates between 65 to 75 decibels, which exceeds NEA’s recommendation of no more than 67 decibels.
This project involves programmes related to sound, music, and performance. Through the proposed programmes and use of technology, the tower intends to replace street noise with more enjoyable sounds.
The facade of the building is derived from Voronoi component of grasshopper. 6 types of Voronoi cells are generated to fit the needs of different programmes. The building consists of a series of floor plate that is supported by double-layered steel lattice structure. The cells, together with services such as toilets and lifts, are fitted at the 1.2 metre gap between the lattice structures.
By replacing unpleasant street noises with mellow, enjoyable sounds, the project aims to improve quality of life by offering people a place for relaxation & appreciation of performance.
Yen Tzu Yao (Y3S2)
Studio by Joseph Lim Ee Man
Anechoic (cone)
Anechoic (flat)
Voronoi Facade
UNVEILED
MORE THAN A MEDIATHEQUE
The overarching formal concept of ‘Unveiled’ attempts illustrate the duality of media - one that is the supposed perfect reading of success, and other that is the true human reality behind media. “Success” through media is often projected and defined by a certain frame, forcing one to either live conformed or be left out as “unsuccessful”. However, Osaka opportunes this tension by unveiling the scrutinizing image of media, and champions what it means to celebrate users as well as to encourage them to celebrate one another. One’s very humaness is celebrated through the intentional curation of creation and consumption spaces.
Seeing walls as an element that defines movement, interior spaces are intentionally curated under the influence of circulation in order to achieve programmatic functions. Further emphasizing the curation of creation and consumption spaces to encourage the celebration of users, specific programs were chosen for this mediatheque curating four progressive journeys on each floor.
Yumin Ooi (Y3S2)
Studio by Collin Seah
The contrasting formal language of the rectilinear projected exterior, and the curvilinear, more fluid interior also gives space to what can be read as the mixed reality, where effaces of preformistic media pursuits and true human realities collide. However, such mixed reality spaces are not intended by Osaka to be isolated and divided but ultimately integrated into a singular experience, and such the boundary between the two are progressively blurred through the vertical hierarchy of floors.
A smart screen that envelopes the building reveals parts of the interior mixed and true reality at regular intervals of the day. However, at the interface of the mixed reality spaces and the façade, users are given agency to toggle the opacity of the façade screen, likewise how they are being seen. In other words, media no longer controls them, but they control media.
prologue
To all of the students who kindly shared with us their work and brought their models out all the way to be part of our exhibition, we are grateful for your support. To our vendors who have worked with us, thanks for being patient and understanding. To Professor Richard Ho and faculty members, thanks for guiding us and giving us pointers through this whole process. Lastly and most importantly, to our dear ArchiVal Team. Through many challenges thank you all for sticking with us through thick and thin. This exhibition-festival is a testament to your grit and hard work and we hope that you took away many valuable learning experiences away from it.
