YEAR 1 SEMESTER 2

Wu Yen Yen Design 1 Year Leader, Unit 1 Leader

Liang Lit How Unit 3 Leader Any form of architectural representation is a three-fold process.

First: it is important to have a thorough understanding of the nature of the content that is to be communicated. This encompasses a grasp of the subject’s strengths, values and underlying operating principles; the time and place in the cultural, social, geographical spheres in which this subject is situated; and its underpinnings in broader architectural thoughts, beliefs and discourse.

To this end, seeing is an exercise in observing, deciphering and reassessing information into an individual cognitive understanding. Going beyond mere looking—or casting one’s eye upon an object—seeing is the perception of a subject within a thought framework.

Second, strategising and formulating a conceptual vehicle that conveys this original assessment—its representation—is a rigorous design thinking process that combines a critical summation of the salient points of the subject matter with individual observation, into a new syntax that encapsulates even more, finer subtleties.

Lastly, making is the ability to formalise a largely intangible cognitive thought process of seeing and thinking, into a tangible mode of communication to others, conveying one’s insights in the most succinct, effective way possible; inviting critique, input and ultimately, use.

The best outcomes are those that result from an incisive seeing and thinking through of resource materials, and from the making of an original architectural representation that is able to contribute to new dialogues on how these subjects are now seen and thought of. This iterative process of perception and representation is then able to come full circle, producing new interpretations and informing us of new ways to see and think.

Design 1 is about imparting ways of seeing, thinking and making, to students through graphical and formal vocabularies, and to introduce a variety of ideas on approaching design, expression and representation.

Image: John Chew Geromino Jr, AY19/20 AR1101 Studio work

Tsuto Sakamoto Design 2 Year Leader, Unit 1 Leader “Architecture at every stage of its existence—from design through construction to occupation—is buffered by external forces. Other people, circumstances, and external events often intervene to upset the architect’s best laid plans. These forces are, to greater or lesser extent, beyond the direct control of the architect.” – Jeremy Till

In his book, Architecture Depends, Jeremy Till argues that architecture depends more on various forces that condition it from the outside, rather than on its own internal logic or on the ideal form often described as “what the architect wants”. Furthermore, he proposes that architects open their minds to this dependence, viewing it not as a threat, but as an opportunity for creative practice. As emphasised in his discussion, one of the most important attitudes and skills that architecture students must develop, is the ability and willingness to recognise these external forces, and to establish productive relationships between design and the external forces that bear upon it.

Design 2 aims to explore these thoughts through the three foci of scale, precedent and context; inviting students to recognise other conditions, things and forces, and establishing relationships between externalities and design.

Applying size as a parameter, scale allows the architect to compare a designed architectural component with a human being, surrounding objects and the broader environment. A great sensibility toward various scales is fundamental for production of good architectural design. The scrutiny of precedent, and focused studies in its elements and ideas behind enrich your design vocabulary. Grasping its significance and applying and adapting it as appropriate to the circumstances, provides powerful ideas toward establishing a relationship with the surroundings. Finally, the response to both the tangible and intangible context, including the surrounding built environment, the natural setting, lifestyle patterns and cultural characteristics, should also become a vehicle for design innovation.

Although it is important for students to learn and accept standard ideas within the three focus areas, it would be counterproductive if they do so without critical thinking. Students will be encouraged to think critically through a process of thorough studies on the subject matter in a particular context. The studies include a formal and spatial examination through 2D and 3D drawings and physical models, and examination of any clear and convincing expression of the idea.

Through thoughtful consideration of scale, precedent and context, Design 2 will induct students into a rigorous design process that eventually leads them to design innovation.