B.A. (ARCH) DESIGN 2: SCALE, PRECEDENT, CONTEXT (2020/2021) by NUS Department of Architecture

YEAR 1 DESIGN 2 2020/2021 BA (Arch) Design 2

Scale Precedent Context (Photo by: Theodore Tan Xu Yang)

DESIGN 2: Scale, Precedent, Context One of the most important attitudes and skills that architectural students should acquire is to recognize context – the circumstances that form the setting for architecture and external forces that architecture must respond. Design 2 aims to explore creative architectural design through three focuses: scale, precedent and context. The scale, using a ‘size’ as a parameter, allows us to compare a designed architectural component with human beings, surrounding objects and environment. The scrutiny of precedent, grasping its significance and adapting it under appropriate circumstances, will provide powerful ideas to establish a relationship between architecture and surroundings. The response to tangible and intangible contexts – built environment, natural setting, life style and cultural characteristics could become a vehicle for design innovation. Although it is important for students to learn and accept standards and norms within the three focus areas mentioned above (i.e. an anthropometry, graphical standard and so forth), it will be counterproductive if they do it without critical thinking. The critical thinking is inculcated through a process of thorough research on the subject matter, formal and spatial examination of the subject through 2- and 3-dimensional drawings along with physical models. Design 2 demands a rigorous design process that leads students to design innovation.

Through thoughtful consideration of scale, precedent and context, Design 2 will induct students into a rigorous design process that leads them to design innovation. Written by Tsuto Sakamoto, Design 2 Studio Leader

2020/2021 B.A.(ARCH) DESIGN 2

Unit 1: Tsuto Sakamoto (Design 2 Studio Leader, Unit 1 Leader) Associate Professor, M Arch Associate Programme, Director; MSc (Columbia University) M Eng (Waseda University), B Eng (Tokyo University of Science)

Yong Sy Lyng B Arch (The Cooper Union), BA Arch (National University of Singapore); Registered Architect, Singapore

Lee Hui Lian M Arch, BA Arch Arch Studies (National University of Singapore) Registered Architect, Singapore

Daniel Pillai Adjunct Tutor; M Arch (National University of Singapore)

Ong Chan Hao Teaching Assistant

Unit 2: Lee May Anne (Unit Leader) M Arch, BA Arch Arch Studies (National University of Singapore) Registered Architect, Singapore

Shinya Okuda Associate Professor; M Eng, B Eng (Kyoto Institute of Technology); Registered Architect, Japan and the Netherlands

Elaine Lee M Arch, B Arch (NUS)

Er Wen Xuan Teaching Assistant

Unit 3: Tan Beng Kiang (Unit Leader) B Arch (Hons) (NUS), M Arch (UCLA), Dr. (Harvard University) Registered Architect, Singapore

Fong Hoo Cheong B Arch (Hons), BA Arch Studies (NUS), Dip Illum Des (Sydney University); GMAP, MSIA, Registered Architect, Singapore

Felicia Toh M Arch, BA Arch (NUS)

Eldon Ng Yu Keong Teaching Assistant

John Chua Teacher Trainee

Design is thinking. The thinking is constantly involved in seeing and making. Therefore, a student is always demanded with showing what he or she sees and understands through an object (drawings and models) to him or herself, tutors and studio-mates. By observing and analyzing a given context closely, and translate it to the drawings, diagrams and models, the students are required to acquire following skills. Learning Objectives 1. To understand and integrate context in the conception of design. 2. To understand and deploy dimensions, scale and proportion in relationship to context and the human figure. 3. To understand and transform precedent as a vehicle for design innovation. 4. To understand and deploy a design method to structure the design process. 5. To develop architectural idea through critical reading of the context and reflecting such a reading in architectural design. 6. To construct necessary drawings for the communication: plan, section, elevation, axonometric, isometric and perspective, a variety of notations and diagrams. 7. To construct drawings in particular scales. 8. To understand and deploy line weight/ type, scale and graphic hierarchies to communicate information and design intention and to understand and deploy materials in model making to communicate design intent. 9. To begin incorporating digital technologies together with analog tools to express sensibility in hybrid presentation. 10. To incorporate physical model-making into a design process: making of process models. 11. To make a scaled physical model. 12. To understand a appropriate materials for the scaled model. There are two projects for the semester.

PROJECT 01 LIFT AND VOID INDIVIDUAL WORK Description of the Site The site is located at west end of the Mapletree Business City II. The characteristic of this development lies in an elevated deck dedicated for the pedestrian circulation and food and beverages. The deck also links the whole development with a significant landscaped area as an amenity for publics as well as people working in the buildings. 2 levels of parking area are provided underneath of which the one on the upper level has significant openings to the elevated deck above. The lift core in the site vertically penetrates a parking area (Level1), upper parking area (Level M1), elevated deck (Level 2), food court (Level 3) and office areas (Level 4-7). The M1 and Level 2, the outdoor spaces, are facing a void and surrounded with the landscape. This void is the site for Project 1.

Investigation Students are required to investigate a variety of contextual elements: climates and nature (light, wind, sounds and others), and life of people (profile, activities depending on the time of a day) Based on the investigation, students focus on the most interested element and strategize for individual design. Design Requirement Students are required to design a lift door, lift lobby, and an exhibition space for art works in the designated area. Using one of the 2 existing lifts placed in the core, and designing an opening at opposite of the core, the project intends to design a whole journey from parking or pedestrian entrances to the exhibition space. The lifts are also used for the daily access to office, food court, pedestrian deck and 2 levels of parking area. The lift, lobby and exhibition space should be directly connected. The total floor area for the exhibition space and lift lobby should be 120 m2 or less. Structural supports can be extended beyond the limit. Context to Take Note Students should take note of following contextual points but also are encouraged to find their own points to take not for the development of scheme. • • • • •

Site as an entire three-dimensional volume. Different qualities of space in different levels. How the new exhibition space will be observed from outside of it. How the new exhibition space will be accessed from parking and pedestrian deck. Formal response to the surroundings: a large glass opening of another elevator lobby faced to the space, surrounding landscape and parking areas.

PROJECT 02 A POCKET OF SPACE INDIVIDUAL WORK Description of Site Site 1: Duxton Hill (Chinatown) Site 2: Kandahar Street (Kampong Glam) Site 3: Upper Weld Road (Little India) The 3 sites are allocated to 3 respective Studio Units. The sites surrounded by shophouses respectively emphasize their history and culture, while responding to contemporary needs and various commercial use.

Investigation Students are required to investigate on a variety of physical contextual elements: surrounding physical buildings, a street-scape, back street utility and others. They are also required to investigate on a life and activities of people: morning, afternoon, weekdays and weekends, workers and visitors and others. Based on the investigation, students focus on the most interested element and strategize for individual design. Design Requirement Students are required to design a multi-storey building that includes a café and residential for a couple. Total Floor Area: 200 m2 The café – a small space that serves coffee, tea and others. A theme of the café and general profile of the visitors could be customized by respective studio or students based on their investigation. However, it should be noted that the café is considered as a public area. The residential – a private home for two persons. They cook, do laundry and recreate at home. Students should refer to how to reconcile these public and private spaces and, at a same time, establish an ideal reciprocal relationship. Context to Take Note Students should take note of following contextual points but also are encouraged to find their own points to take not for the development of scheme. • • • • • •

Height, scale, color, space and form of surrounding shophouses. Setback, vegetation and overall atmosphere of the street. Use of the buildings and life of people. Public access and private access. Different needs for the public and private areas. Historical context

THE SOUND MACHINE by TOH EU JUIN Critical analysis of Upper Weld Road’s sounds generated an internal and external understanding of spaces. The intangible quality of sound is also made visual so as to tie in with spaces. The routine nature of activities in a postulated typology of a cafe and household and the evident site’s sounds were superimposed to create a narrative that acts as a bridge between the building and site. The design concept- “Sound Machine” was conceived at an early stage of the project. However, forms were continuously experimented and altered to effectively achieve the goals. Material exploration as well as construction techniques tested and aided with the discovery of new languages of expressing the design intent. Exploitation of formal languages guided the identification of unique genius loci of the site rather than pragmatic site response. Echos within the respective rooms are appropriated in the plans, while amplification of the site’s external sound is quantitatively interpreted in the sections. The planar relationship is synonymous to that of the surrounding but is playfully contoured to respond to sound.

Studio YONG SY LYNG

Iterative Process 1. Siteless

2. Sound Driven Direct Response to Sound + Form Finding with Sand Sedimentation

i. Mat

Size of Openings for Amplification

0.5 m

1.5 m

2.5 m

Degree of Curvature for Echo against Internal Distortions

Iterative Process 1. Siteless

Residential: Bedroom

Residential: Kitchen

Residential: Dining

Residential: Entertainment

Residential: Work

Cafe: Dining (Private)

Cafe: Kitchen

Residential: Toilet

2. Sound Driven

Cafe: Dining (Public)

Direct Response to Sound + Form Finding with Sand Sedimentation 0.5 m

Residential: Work

Language Exploration - in search for a precise form ative3. Contour Process

c. Cement & Wireframe - Study of C Material/ Mixture

b. Wireframe + Developing Way to Observe Sound Behaviors Thin Wire

a. Air-dry Clay & Wireframe + Development Sound Drivenof Sand Study

i. Material Study Direct Response to Sound + Form with Sand Sedimentation 3. Finding Contour Language Exploration - in search for a precise form Size of Openings for Amplification

a. Air-dry Clay & Wireframe + Development of Sand Study 0.5 m

1.5 m

Cement + Water

b. Wireframe + Developin iii. Imp Observe Sound Beha Pre

2.5 m

Degree of Curvature for Echo against Internal Distortions

Residential: Bedroom

Residential: Kitchen

Residential: Work

Residential: Entertainment

Residential: Dining

Cafe: Dining (Private)

Cafe: Kitchen

Residential: Toilet

Thin Towel + Grid Vertices

Cafe: Dining (Public)

Nature of Water/ Sound Waves

ii. Extablishing Scaffold

Echo -- Response to internal distruptions of sounds

(expermiment was conducted at 1:50 scale to prevent defelction from wall)

Width (cm) 4 Apature size Time taken to travel 50cm

4cm

2cm 1.5 sec

2.0 sec

- smaller aperture = faster wave propogation

6cm

8cm

10cm

2.4 sec

2.9sec

3.4sec

- larger aperture = slower wave propogation

Plan (depth of ellipse constant at 4cm)

Time taken for waves to stop

3.5 sec

7.0 sec

10.5 sec

- smaller degree of curvature - shorter reverberation time - suitable for rooms with larger distortions, as more effective noise dispersion upon deflection

- size and time taken is directly proportional = similar to behavior of sound waves

Amplification -- Response to external reminder sounds Section

a= 4cm x= 1.0 sec

b (cm)

y (sec)

0.2

20%

0.7

0.3

30%

=> Amplification is purely dependent on the difference in height

0.5

50%

=> Degree of amplification can be derived from difference in time taken for wave to travel

0.4

0.6

60%

0.3

0.7

70%

1.5

0.2

20%

1.4

13.5 sec

17.0 sec

1.2

b. Wireframe + Developing Way to Observe Sound Behaviors

c. Cement & Wireframe - Study of Construction i. Structural Grid ii. Joinery

i. Structural Grid

Concaved Wall

8cm

10cm

2.9sec

3.4sec

- larger aperture = slower wave propogation

Amplification -- Response to external reminder sounds

Mixture of Curves a= 4cm x= 1.0 sec

30%

0.5

50%

1.1

0.6

60%

1.0

0.7

70%

d. Cross-Ribs iii. ‘Lightness’ in StructureCrucifix Columns ii. Joinery

Material/ Mixture

- waves reflected back - creates greater distortion within distruptive sounds - scatter sound energy Time Taken for waves to settle

5 sec

- waves reflected are converged at a focal point. - sound is amplified rather than diffused

- waves follow tangentially along curves. - sound is channeled rather than diffused

- waves are continuously reflected and diffused. - sound energy is lost and minimised when exited.

3 sec

4 sec

almost instantly a= 10cm x= 1.7 sec

b (cm)

y (sec) 0.8

0.2

20%

0.7

0.3

30%

0.5

50%

0.4

0.6

60%

0.3

0.7

70%

1.5

0.2

20%

1.4

0.3

30%

1.2

0.5

50%

1.1

0.6

60%

1.0

0.7

70%

=> Degree of amplification can be derived from difference in time taken for wave to travel

Flat Wall

Nature of Water/ Sound Waves

- waves reflected back - creates greater distortion within distruptive sounds - scatter sound energy

4cm

2cm 1.5 sec

6cm 2.4 sec

2.0 sec

8cm

10cm

2.9sec

3.4sec

- larger aperture = slower wave propogation

Amplification -- Response to external reminder sounds Section

a= 4cm x= 1.0 sec

b (cm)

y (sec)

Mixture of Curves

- waves are continuously reflected and diffused. - sound energy is lost and minimised when exited.

3 sec

4 sec

almost instantly

5 sec

iii. ‘Lightness’ iniii. StructureCrucifix Columns Improving

Precision

Time taken for waves to stop

3.5 sec

7.0 sec

10.5 sec

- smaller degree of curvature - shorter reverberation time - suitable for rooms with larger distortions, as more effective noise dispersion upon deflection

x-y (sec) % increase

0.8

0.2

20%

0.7

0.3

30%

0.5

50%

0.4

0.6

60%

13.5 sec

17.0 sec

=> Amplification is purely dependent on the difference in height => Degree of amplification can be derived from difference in time taken for wave to travel

- larger degree of curvature - longer reverberation time - suitable for rooms with lower distortions

Dispersion -- Response against distruptive Sounds

a= 10cm x= 1.7 sec

0.3

0.7

70%

1.5

0.2

20%

1.4

0.3

30%

1.2

0.5

50%

1.1

0.6

60%

1.0

0.7

70%

Flat Wall

- waves reflected back - creates greater distortion within distruptive sounds - scatter sound energy Time Taken for waves to settle

d. Cross-Ribs iii. ‘Lightness’ in Structure- Crucifix Columns

5 sec

Concaved Wall

Mixture of Curves

- waves reflected are converged at a focal point. - sound is amplified rather than diffused

- waves follow tangentially along curves. - sound is channeled rather than diffused

- waves are continuously reflected and diffused. - sound energy is lost and minimised when exited.

3 sec

4 sec

almost instantly

e. Casting Cement using Cross-Ribs-Ongoing Exploration

iv. Combination of Studies

Grid Vertices + Thick Wire + Felt

Cement + Glue (1:1)

Thick Wire + Felt iii. Improving Precision Cement + Glue (1:1)

iv. Combination of Studies

Grid Vertices + Thick Wire + Felt

Cement + Glue (1:1)

- larger degree of curvature - longer reverberation time - suitable for rooms with lower distortions

- waves follow tangentially along curves. - sound is channeled rather than diffused

In search for form that breaks waves instantly

ii. Joinery

17.0 sec

- waves reflected are converged at a focal point. - sound is amplified rather than diffused

- size and time taken is directly proportional = similar to behavior of sound waves

y to id

g Cross-Ribs-ation

Plan (depth of ellipse constant at 4cm)

Cement + Diluted Glue

13.5 sec

Concaved Wall

Echo -- Response to internal distruptions of sounds

(expermiment was conducted at 1:50 scale to prevent defelction from wall)

Width (cm)

Apature size Time taken to travel 50cm

- smaller aperture = faster wave propogation

ii. Extablishing Scaffold

Concaved Wall

Cement + Glue (1:1)

Cafe: Dining (Private)

Thin Towel + Grid Vertices

- smaller degree of curvature - shorter reverberation time - suitable for rooms with larger distortions, as more effective noise dispersion upon deflection

=> Amplification is purely dependent on the difference in height

Cement + Water

Residential: Dining

10.5 sec

Dispersion -- Response against distruptive Sounds

ntial: om

Residential: Toilet

3.5 sec

7.0 sec

iv. Co

e. Casting Cement using Cross-Ribs-Thick Wire + Felt e. Casting Cement Ongoing Exploration Ongoing E

Thin Wire

2.5 m

Time taken for waves to stop

x-y (sec) % increase

6 8 10

Time Taken for waves to settle

i. Material Study 2m

6cm 2.4 sec

2.0 sec

- size and time taken is directly proportional = similar to behavior of sound waves

Section

Concaved Wall

4cm

2cm 1.5 sec

- smaller aperture = faster wave propogation

Dispersion -- Response against distruptive Sounds Flat Wall

Plan (depth of ellipse constant at 4cm)

4 Apature size Time taken to travel 50cm - larger degree of curvature - longer reverberation time - suitable for rooms with lower distortions

In search for form that breaks waves instantly

a= 10cm x= 1.7 sec

a. Air-dry Clay & Wireframe + Development of Sand Study

d. Cross-Ribs

0.3

Echo -- Response to internal distruptions of sounds

(expermiment was conducted at 1:50 scale to prevent defelction from wall)

Width (cm)

0.8

Cement + Diluted Glue Nature of Water/ Sound Waves

x-y (sec) % increase

In search for form that breaks waves instantly

ur Language Exploration - in search for a precise form

e: en

ii. Ext Sc

Size of Openings for Amplification

Degree of Curvature for Echo against Internal Distortions

The design concept of a “Sound Machine” was conceived at a very early stage of the project. However, forms were continuously experimented and altered to be more effective in achieveing the goal. Material exploration as well as construction techniques were tested and aid with the design process and discovery of new languages of expressing the design intent. The iterative process does not end here, the pursuit for a more precise form continues.

Non- Motivated Striation

Conceptual Goals

SECTION - BEFORE SOUND RESPONSE

1) To amplify all reminder sounds to 120 db as it enters space 2) To allocate spaces with higher distortion sounds, lower reverberation time 3) Distortion sounds are effectively diffused with proper form

SECTION - AFTER SOUND RESPONSE

Amplification Top Layer Critical Threshold

3.0m

GARBAGE TRUCK 90-100 db HEIGHT CHANGE: 0.5m

2.5m 2.0m 1.5m 1.0m 0.5m

3.0m

- 0.5m - 1.0m - 1.5m - 2.0m Critical Threshold - 2.5m Bottom Layer - 3.0m

3.0m

Programme Matrix

CHURCH 80-90 db

Echo

HEIGHT CHANGE: 1.0m

PLAN- ALTERING WIDTH OF ELLIPSOID Keeping Height of Ellipsoid Constant

Echo

Size of Ellipse 1:50

3.0m

Width= 4cm

2 cm

3 cm

4 cm

5 cm

6 cm

HINDU TEMPLE 70-80 db

Cumulative Amplification

HEIGHT CHANGE: 1.5m Width= 6cm

60 -> 120db 200%

Residential: Work

70 -> 120db 170%

Residential: Living

Width= 8cm

80 -> 120db Residential: 150% Bedroom

SUPERMARKET 60-70 db

Cafe: Residential: Kitchen Dining (Public)

HEIGHT CHANGE: 2.0m

Width= 10cm

Cafe: Kitchen

90 -> 120db 130%

RESTAURANT <60 db

Cafe: Residential: Dining (Private) Toilet

100 -> 120db 120%

Residential: Dining

100% Not affected

HEIGHT CHANGE: 2.5m

Width= 12cm

Cumulative Amplification

Parking Space

Cafe- Dining (Public)

Residential- Living Room

- Total Amplification Required: 170%

CHINESE TEMPLE 60-70 db

Garden

SUPERMARKET 60-70 db

Transitional Spaces 84 db

70 db 1st Amplification 20%

120 db

70 db

109 db

84 db 1st Amplification 20%

2nd Amplification 50%

2nd Amplification 30%

120 db 3rd Amplification 20%

Form Finding Experiment with Water as Sound Waves Nature of Water/ Sound Waves (experiment conducted at 1:50 scale to prevent defelction from wall)

Echo --

Internal

Response to internal distruptions of sounds

Time taken for Width (cm) Plan (depth of ellipse constant at 4cm) waves to stop

Apature size

2cm

4cm

6cm

8cm

10cm

Time taken to travel 50cm

1.5 sec

2.0 sec

2.4 sec

2.9sec

3.4sec

- smaller aperture = faster wave propogation

3.5 sec

7.0 sec

10.5 sec

13.5 sec

17.0 sec

- larger aperture = slower wave propogation

- size and time taken is directly proportional = transverse nature of water similar to behavior of longitudinal sound waves

External

- smaller degree of curvature - shorter reverberation time - suitable for rooms with larger distortions, as more effective noise dispersion upon deflection

Amplification - Response to Reminder Sounds Dispersion - Response against distruptive Sounds => Amplification is purely dependent on the difference in height

In search for form that breaks waves instantly Flat Wall

Concaved Wall

Mixture of Curves

=> Degree of amplification can be derived from difference in time taken for wave to travel

Section

a= 4cm x= 1.0 sec

b (cm)

y (sec)

x-y (sec) % increase

0.8

0.2

20%

0.7

0.3

30%

0.5

50%

0.4

0.6

60%

0.3

0.7

70%

- waves reflected back - creates greater distortion within distruptive sounds - scatter sound energy

Time Taken for waves to settle

5 sec

- waves reflected are converged at a focal point. - sound is amplified rather than diffused

3 sec

- waves follow tangentially along curves. - sound is channeled rather than diffused

4 sec

- waves are continuously reflected and diffused. - sound energy is lost and minimised when exited.

almost instantly

Application of Conceptual Data to Design Dispersion Forms

Cumulative Amplification (Scale 1:100)

Multiple layers of Convex and Concave

Section BB’ Cafe -Dining (Public)

a= 10cm x= 1.7 sec

1.5

0.2

20%

1.4

0.3

30%

1.2

0.5

50%

Every 0.2m interval x + 0.4m

1.1

0.6

60%

1.0

0.7

70%

x + 0.2m

Section CC’ Residential - Living Space

- larger degree of curvature - longer reverberation time - suitable for rooms with lower distortions

Sections

Site Plan

Plan (3-6m) C’

A’

SCALE 1:50 0

B’ 10

Plan (6-9m)

C’

A’

Plan (0-3m) SCALE 1:200 5

SCALE 1:50

Plan (15-18m) B

Plan (9-12m)

C’

B’ 10

C’

A’ A

SCALE 1:50 0

Plan (Roof)

B’ 10

SCALE 1:50 0

Plan (12-15m)

C’

A’

B’ 10

C’

A’ A

SCALE 1:50 0

B’ 10

A’

SCALE 1:50 0

Plans

B’ 10

Site Sound Analysis (Distruptive / Reminder Sounds) ange Scale 1:200

Church (80-90)

Hindu Temple (70-80)

Chinese Temple (60-70)

Supermarket (60-70)

Recycling Collector Truck (90-100)

Kitchen Exhaust Duct (80-90)

Restaurant (<60)

Traffic (80-90)

24 hrs Open Dining (60-70)

Metal Drainage (70-80)

Site Sound Analysis

Nolli - Smooth Surfaces as Sound Reflectants Nolli - Smooth Surfaces as TopologicalSound Reflectants TopologicalFactors Affecting Quality of Sound TopologicalFactors Affecting Quality of Sound aces as Sound Reflectants Factors Affecting Quality of Sound

TypologicalTypes of Sound Generating Medium TypologicalTypes of Sound Generating Medium Typological- Types of Sound Generating Medium

Critical analysis of Upper Weld Road’s sounds generated an internal and external understanding of spaces. The intangible quality of sound is also made visual so as to tie in with spaces.

3 Formal Languages of Analysis

The routine nature of activities in a postulated typology of a cafe and household and the evident site’s sounds were superimposed to create a narrative that acts as a bridge between the building and site.

Sound in Relations to Time of Day Internal

External - Reminder & Distruptive Sounds

0000

1800 60

0600

100

1800 60

100

Amplitude Frequency (db) (Hz)

1200

Internal Spaces

Degrees of Distortion

1200

Cafe Dining (Public)

Kitchen

Dining (Private)

Toilet

Residential Toilet

Work

Living

Kitchen

Dining

Bedroom

Shared Parking

Internal & External Sound-Time Analysis

Physical Model 1:100

Garden

0600

Structure - Programmes Circulation with respect to time Residential

Cafe

Living 0000

Cafe: Dining (Private)

Bedroom

Open

0700 Cafe: Kitchen

Toilet

Kitchen

Dining (Private)

0800 Residential: Bedroom

1000 Out

Cafe: Dining (Public)

1200 Dining (Public)

Residential: Toilet

1730

Residential: Living

Out

1800 Toilet

Kitchen

1900

Residential: Kitchen

Dining 2000 Work

Residential: Dining

2200 Toilet Residential: Work

2300 Living

Timber Columns

SCALE 1:200 0

Site Model

Upper Weld Road -- Section - Elevation

SCALE 1:100 0

Echo within the respective rooms can be seen from the plans, while the amplification of the site’s external sound is quantitatively interpreted in the sections. The planar relationship is synonymous to that of the surroundings but is playfully contoured to respond to sound.

TERMINATION OF CONCRETE DECK

MONSOON WINDOW DETAILS

SCALE 1:5

SCALE 1:20

TIMBER LINING PARQUETRY FLOORING WITH MARINE PLY UNDERLAY

DRIP CHANNEL DIAMETER: 15mm

STEEL I BEAMS CLOSELY PACK TO SUPPORTED PRECASTED C CURVES OF STEEP GRADIENT

DRIP COURSE AND COPING

HANDLE WINDER

DISTANCE FROM EXTERIOR: 50mm

STEEL MULLION

ALUCOBOND SHEET FOR LEDGE PERFORATED ALUMINIUM FIXED TO HINGE FRAME WITH INSECT SCREEN BETWEEN (CLOSED POSITION)

FIXED TEMPERED GLASS

‘L’ STEEL BRACKET

OPEN-IN CASEMENT WINDOW MDF BOARD SLIDING (CLOSED POSITION)

HANDLE WINDER

SAFETY BARS

MONSOON WINDOW AS FACADE TO ALLOW VENTILATION WHILE SHIELDING AGAINST WIND-PROPELLED RAIN

CONCRETE COLUMN

SCALE 1:25

LOW-E GLASS CURTAIN SCALE 1:10

STEEL BEAMS

THERMAL BREAKS

STEEL CONNECTORS WELDED AND BOLTED

EXTRUDED ALUMINIUM FRAME

20mm LATERAL TIES

HEAD VERTICAL STEEL REINFORCEMENT

PVC INSERT

CHANNEL GLASS

6705mm PER GLASS WITHOUT INTERMEDIATE SUPPORTS PVC INSERT

SILL WEEP HOLE DOWELS OVERLAP VERTICAL BARS 40 BAR DIAMETERS; EXTEND DOWN INTO FOOTING FOR ANCHORAGE

FLASHINGS

600

75mm COVER FOR STEEL REINFORCEMENT WHEN CONCRETE VCASTED

1600

RUBBER SUBSILL

WELD FLANGES OR USE A SPLICE PLATE TO TOP FLANGES OF GIRDER AND BEAM

3000

ALL STEEL BEAMS TO BE PAINTED WITH EPOXY POLYURETHANE PAINT

800

STEEL BEAM CONNECTION SCALE 1:25

500

PLATE WELDED TO GIRDER WEB AND BOLTED TO BOTTOM FLANGE OF BEAM

SHEAR IS CARRIED BY PLATES WELDED TO GIRDER WEB AND BOLTED TO BEAM WEB

SECTIONAL PERSPECTIVE SCALE 1:50

3700

Structrura

KED (300) CONCRETE

al Drawing

GREEN ROOF PLANTER DETAILS

SCALE 1:25

VEGETATION GROWTH MEDIUM FILTER FABRIC DRAINAGE LAYER PROTECTION LAYER

GREEN ROOF PLANTER EMBEDED WITHIN CONCRETE ROOF

ROOF BARRIER WATERPROOFING MEMBRANE ROOF DECK (STEEL BASIN)

GALVANIZED STEEL FLOOR DECKING

‘L’ STEEL BRACKET

LOW CARBON SHEAR STUDS

PRECAST CONCRETE

STEEL ‘I’ BEAM

2 DEGREES SLOPE FOR RAINFALL

ROOF PARAPET DETAIL SCALE 1:20

75mm THICK SANDSTONE COPING ON 15mm THICK CEMENT MOTAR 15mm DRIP COURSE IN COPING

300

50mm CEMENT CONCRETE LAID TO SLOPE 75mm XPS INSULATION FOAM WATERPROOF COATING

3400

50mm LEAN CONCRETE

150mm PRECAST CONCRETE

STEEL DECKING CONCRETE FLOOR SCALE 1:25 75mm STRUCTURAL CONCRETE FLOOR ANTI-CRACK SLAB REINFORCEMENT MESH LOW CARBON SHEAR STUDS (WELDED ON BEAM TOP FLANGE) PRECAST CONCRETE

GALVANIZED STEEL FLOOR DECKING BEND CORRUGATED METAL SHEET TO SHAPE CONTOURS BEFORE SECURING WITH PRECAST CONCRETE

300

SMOOTH CONCRETE FINISH W/ WATER PROOFING COATING

STEEL ‘I’ BEAM

FOUNDATION DETAIL SCALE 1:25

R10 A+B TILES GLASSROC H GLASS REINFORCED GYPSUM

DRIP CHANNEL TO PREVENT RAINWATER FROM SEEPING INTO INTERIOR

QUICSEAL 104 FLEXIBLE CEMENTITIOUS WATERPROOFING MEMBRANE

QUICSEAL ‘9’ CRYSTASIL CONCRETE ADMIXTURE WATER PROOFING QUICSEAL 106 SUPER DPM

3700

COMPACTED GRANULATED FILL

TOH EU JUIN A0216178B Ar. Huay Wen Jun

TROPICAL BRUTALISM by CHALMERS ONG Le Corbusier was a master of his time. In this project, Corbusier’s 5 points of modern architecture, promenade architecturale, and his geometrical language are studied for the applications of brutalist architecture to rethink the traditional shophouse. Issues of scale and context are tackled using these ideas. A freedom in the choice of geometry exhibit a consciousness to the surroundings and the tropical climate. Walking through the building is a dance around the open airwell, the nongeometric centre of the building - its psychic heart. Through this a pair of dialetic spaces is produced that frame experiences for the resident and cafe customer. The shophouse is an essay on concrete, in the context of tropicalism. This project explores a new architecture for the Modernist in Singapore.

Studio FONG HOO CHEONG

Final Model with Shadow Analysis of Brise Soleil 1:100

SPACE HABITAT by KAUNG HTET Designed for a couple who are astronomy enthusiasts, the house would have an observatory, roof terrace to stargaze, a work/study room and storeroom to store their equipment. The roof terrace and observatory would be open to the public for stargazing sessions. The main concept was based off the solar system. Radiating arcs from a central focus point were implemented into the plan of the building, with the central focus point being the skylight with a glass roof engraved with the star map. The 1st floor cafe would also be space themed with a bar and feature a curved roof with hanging celestial objects akin to a planetarium.

Studio FELICIA TOH

SPACE HABITAT

VIEWPORT A

By: Kaung Htet

SITE PLAN SPACE

VIEWPORT A

HIL L

VIEWPORT B

DU XT ON

VIEWPORT B

SCALE 1:500 0

100

BAR

The public circulation through the building would be like an exploratory journey into space, where one walks across a skybridge surrounded by celestial objects and up a spiral staircase under the skylight, before emerging on the roof terrace where the observatory is.

Skylight with star map engraved on glass roof

Level 3 PLANS

3D AXONOETRIC

ROOF PLAN

C C'

CIRCULATION A JOURNEY INTO SPACE

B B'

EXTERIOR

A A'

STAR AP

INTERIOR

7 OBSERVATORY SEE THE STARS UP CLOSE

6 REFLECTIVE POOL -

THE OBSERVATORY

“TOUCH” THE STARS

ROOF TERRACE +10.5

ROOF TERRACE A A'

OBSERVATORY SKYLIGHT

Level 2

5 ROOF TERRACE RELAX AND STARGAZE

ROOF TERRACE

SCALE 1:50 0

LEVEL 3 +7.65 4 GALLERY EXPLORE SPACE ARTIFACTS

ORK/STUDY

LEVEL 3

ALK-THROUGH CLOSET

A A'

BEDROO

STORE

BATH

Level 1M

LEVEL 2 +4.80 DINING/LIVING

3 SKYLIGHT -

STARGAZE HEN THE SUN IS UP

BATH

LEVEL 2

A A'

KITCHEN

STORE

SCALE 1:50 0

2 SKYBRIDGE JOURNEY AONGST THE STARS

LEVEL 1 +1.95

LEVEL 1

Level 1

A A'

LAUNDRY

VOID ABOVE CAFE

HELPER’S ROO

1 ENTRANCE YOUR INTERGALACTIC JOURNEY BEGINS HERE

LEVEL 1 -1.20

LEVEL 1

TOILET

CAFE DINING

OBSERVATORY 1

A A'

BAR

CAFE

KITCHEN

SCALE 1:50 0

Roof Terrace

Front Elevation

Back Elevation

SPACE HABITAT

DETAIL 1 SCALE 1:10 Concrete Wall

Reflecting Pool Concrete Bench

Waterproof Membrane

SECTIONAL PERSPECTIVE

Galvanised Perfor Steel Sheet Drain

Porcelain Tiles

Concr

Overflow Outl Drain

DETAIL 2: Star Map

Concrete Floor Slab

Circular Fabric Sunshades

Gypsum Board False Ceiling

Glass Domed Roof

Glass Roof Engraved with Star Map (DETAIL 2) Reflecting Pool (DETAIL 1)

OBSERVATORY

A Source: Julian Cheung

SKYLIGHT

Roof Eaves

DETAIL 3 SCALE 1:10

Sealant

WORK/ STUDY

Steel Casement

Glass Roof Panel

Single Bank Glass Louvres

STORE KITCHEN

Sealant

Steel Casement

Aluminium Spacer Desiccant Glass Panel

Glass Panel

D HELPER'S ROOM

Air Gap

DETAIL 8 SCALE 1:10 Porcelain Floor Tiles

E BAR

Concrete Floor Slab Waterproof Membrane

KITCHEN

Concrete Floor Slab Hardcore

Earth

Hardcore Earth Floor Section (DETAIL 8)

DETAIL 4 SCALE 1:10 PVC Ventilation Duct

Rain Shield

DETAIL 5 SCALE 1:10 Calcium Silicate Board

Ventilation Air Duct Vegetation

rated n Cover

Growth Medium

rete Wall

Filter Fabric Drainage Layer

let

Protection Layer

Mineral Wool Insulation

Root Barrier Waterproof Membrane Concrete Floor Slab

Ventilation Fan Gypsum Board False Ceiling

4 Single Bank Glass Louvres (DETAIL 3) Double Glazed Glass (DETAIL 3)

DETAIL 6 SCALE 1:10

Green Roof Terrace (DETAIL 4) Bathroom Mechanical Ventilation (DETAIL 4)

Rain Guard Sealant

ROOF TERRACE

Glass Roof

Interior Arch Sunshades (DETAIL 5)

Glass Roof Panel

Roof Drip Channel

Steel Casement BATHROOM

Roof Drip Channel

(DETAIL 6)

BEDROOM

Concrete Wall

Double Glazed Awning Windows (DETAIL 7)

DINING/LIVING

DETAIL 7 SCALE 1:10

Steel Casement Steel Casement

Curved Gypsum Board False Ceiling

CAFE DINING

Steel Hinge

Sealant

Aluminium Spacer Desiccant

Glass Panel

Glass Panel Air Gap Concrete Porthole Window Frame

SCALE 1:50 0

TRANSIT HOUSE by ELLIOT PHUA JIA JING The line between public and private in the context of Little India is blurred through the hard boundaries of five foot ways, columns, alleys, roads, and soft boundaries such as racks, sundries, tables, sunshades, potted plants. Transit House explores the gradation of privacy through depth, exposure, accessibility and the intersection between private life, work, and public activities through the lens of cafe owners and their customers. As the intermediary between the juxtaposition of the alley way and main street, ingress from different directions towards the coffee house suggest various openness and opacity. The overall form r`emains congruent with the shophouse typology of the area, while the spaces are structured methodically through the programs of private life and functions of the coffee house.

Studio TSUTO SAKAMOTO

PUBLIC/PRIVATEE GRADATION

Private Residential

Main road

Back Alley

Hard boundaries

5 foot way + racks/items

traffic + sunshade+ signage

More Public

Eating areas + tables

Counter/cashier

Kitchen stove + fridge + cabinets + utilities

Storage boxes + items

Toilet cubicles

aircons + bins

More Private

supply + trucks + cardboard

Anatomy of a shophouse

4pm

6am

N 1:150

1:150 Residents/suppliers circulation

Gradation of Privacy

Vehical circulation

Wind ventilation

1:150 Sunpath diagram

PUBLIC/PRIVATE GRADATION & CONTEXT

The context of Little India was understood through site analysis of the daily lives of residents, workers and passers-by in the environment. (Left) The phenomena of gradation of privacy is captured in the photo. The delineation between the grocer’s space and the public road is blurred, resulting in activities of groceries shopping, restocking whilst on the road. (Right) Villa Muller by Adolf Loos was analysed as a precedence study to understand how physical space can inform privacy through its program.

GROCERS EXTENDING THEIR TERRITORY ONTO ROAD

Intersection of Public & Private Activities

ACTIVITIES: PRIVATE, PUBLIC & IN-BETWEEN

PRECEDENT ANALYSIS: VILLA MÜLLER, ADOLF LOOS

nursery

women dressing

bedroom

hall

ion 1:100

uller ans

:100

hall

guestroom

cellar/garage

A d o l f L o o s , V i l l a M u l l e r, p h o t o : w i k i a r c q u i t e c t u r a . c o m

Adolf Loos, Villa Muller Section 1:100

cellar/garage

men dressing boudoir

Most Private

Most Public

Limited Access

Limited

More Access

More A

Adolf Loos, Villa Muller Basement, L1, L2 Plans

Hierarchy of space through depth and elevation

1:100

PRECEDENCE STUDY: VILLA MULLER BY ADOLF LOOS

SECTION A’-A 0

0.5

Window Louvres

SECTION SECTION A’-A B’-B SECTIONAL PERSPECTIVE A’-A 0

0.5

1:50

Recessed Living Room

SECTIONAL PERSPECTIVE B’-B SECTION B’-B 1:50

0.5

Shared Shared Kitchen Kitchen

Angled Angled Louvres Louvres

Column Column Structure Structure

0.5

SITE AXONOMETRIC

Annotations & Captions

PROJECT 2: A POCKET OF SPACE (LITTLE INDIA)

SITE AXONOMETRIC 8

A’

BACK SEATING AREA

A’

BACK SEATING AREA

FFL: +0.0

FFL: +0.0 SUPPLY STORAGE

SUPPLY STORAGE

FFL: +0.0

FFL: +1.2

ROASTING AREA

FFL: +1.2

FFL: +0.0

RECESSED LIVING ROOM FFL: +3.8

FFL: +1.2

BOTTOM SEATING AREA

FFL: +0.0

FFL: +0.0 FFL: +2.6

FFL: +2.6

PRIVATE GARDEN FFL: +3.8

C’

C’ SEATING PLATFORMS FFL: +1.2

SEATING PLATFORMS FFL: +1.2

FFL: +0.0

B’

PRIVATE GARDEN FFL: +3.8

B’

1ST LEVEL PLAN 1ST LEVEL PLAN 1:50

1:50

LAUNDRY/DRYING

TOILET

KITCHEN/LIVING KITCHEN/LIVING ROOM LEVEL PLAN ROOM LEVEL PLAN 1:50

LAUNDRY/DRYING

BEDROOM

FFL: +5.4

TOILET

FFL: +3.8

LIVING ROOM LIVING + BEDROOM ROOM + LEVEL BEDROOM PLANLEVEL PLAN 1:50

1:50

ROOF PLANROOF PLAN 1:50

1:50

WEST ELE

SOUTH EL

EVATION

LEVATION

WEST ELEVATION

SOUTH ELEVATION

PARITY HOUSE by THEODORE TAN XU YANG Upon my first visit to the site, I felt the uncomfortable sensation of being observed as a tourist; as I gradually assimilated into the site, I found myself unwittingly absorbed into this perversed culture, as sightlines into shockingly intimate areas revealed themselves to me. I began to conceptualize a pair of clients that shared my sentiments of preserving my own privacy while violating others. Customers are invited into a realm of intimacy, yet the perceptive ones might deduce something is not quite right; a tension is felt, as they realize they are engaged in a battle for power in the form of privacy with the owners. There is parity when the battle reaches a stasis point, where the lines of subjugation are blurred..

Studio LEE HUI LIAN

House in Takatsuki

In the exploratory stage of the design, I studied two pieces of architecture: House in Takatsuki by Tato Architects and Treeness House by Akihisa Hirata. Both of these pieces of architecture inspired the overall circulation system and heuristic concepts to my design. Tree-ness House

The tense relationship between public and private spaces is visually established by the convergence of the rectilinear and curvature; through the precise placement of programmes, similar activities to take place simultaneously yet separately. Intimacy is negotatiated by both the owners and their customers, where areas marked by dramatic bursts of light are actually sightlines provided for the former.

Parti diagrams

Iteration 1: Clay and foamcore

Iteration 2: Two dyes of clay

Iteration 3: Two dyes of clay

Iteration 4: Clay and foamcore

Iteration 5: Wire mesh and greyboard

Plans and Side Elevation

Plans and Section

Section and

d Elevation

Clay roof tiles are used to conform with the existing streetscape, juxtaposing against the wooden facade. The structure of the pitced roof, ie. purlins, rafter, are left exposed underneath, allowing users to view the raw structure, creating a visual connection to the past.

Wooden slats are reﬂective of vernacular elements executed with a modern style. They create a calming sense of rhythm and a consistent visual language for the external and internal facade. The external facade reﬂects the order and scale of a traditional shophouse elevation, whereas whithin the building the slats can be shifted and stretched to create more dynamic forms .

Floor finishing will be in exposed cement screed similar to the early shophouse styles. The reimagined 5FT way will use a wooden deck along its path. The two materials make the ground floor an intersection of the old and the new. The cement finish emphasizes the open space while the decking matches the modern vernacular style similar to the wooden slats.

Exposed brick wall reveals the materials of the traditional shophouse, emphasizing the roughness of the material and the age of the site. This serves to give the space a resonant strength as the high volume is paired against the inherent strength of the brick.

Independent coffe carts on the ground ﬂoor are representitive of the traditional hawker carts that once lined the streets of Singapore. patrons would takeaway the food to their homes or ﬁnd a seat nearby either in hastily arranged tables and chairs or simply on the curbside. These coffee carts combine this sense of shared commercial and public space while also being updated for the modern context.

THE INTERSECTION POINT by JASON TANG KAH WYE The most important part of a shophouse is, as the name suggests, the interaction between the shop and the house. Private and public. For a new building built on this historic site, I decided to expand on that interaction. Not simply across space, but time. The building would have to be new, something not entirely guided by the traditional form, yet it could not simply abandon them. Thus this would become and intersection, where the different programmatic space would intersect, and where the old could meet the new. The Intersection Point is a celebration of the traditional construction materials, exposing the rafters and original brick partition wall. The buildings facade uses wooden slats, following the proportions of the surrounding shophouses. This highlights how the project respects and reinvents the traditional typology of the shophouse.

Studio TAN BENG KIANG

Jason Tang Kah Wye A0222574H AR1102 Design 2 Unit 3 Studio: Dr Tan Beng Kiang Project 2: A Pocket of Space

son Tang KahJason Wye Tang Kah Wye 222574H A0222574H

Site: 16 Duxton Hill Ne

Craig Place

oject 2: A Pocket Project of Space 2: A Pocket of Space

Green spaces

e: 16 Duxton Site: Hill 16 Duxton Hill

is project is aThis mixed project use is a mixed use sidential andresidential commercial and commercial velopment. development. e clients are The a young clients are a young althy couplewealthy who have couple who have cided to open decided a cafe to that open a cafe that imagines the re-imagines traditional the traditional ms and elements forms of and theelements of the ophouse to the shophouse modern to the modern ntext. context.

il R

Craig Place

This project is a mixed use residential and commercial development. The clients are a young wealthy couple who have decided to open a cafe that re-imagines the traditional forms and elements of the shophouse to the modern context.

il R

1102 Design AR1102 2 Design 2 it 3 Unit 3 udio: Dr Tan Beng Studio: Kiang Dr Tan Beng Kiang

Neil Road

Road Craig

Craig Place

Green spaces

1:1000

Neil Road

Road Craig

Craig Place

Green spaces Duxton Hill

Hill

Green spaces

Carpark

Duxton Reserve

Duxton Road

Pagar

Duxton Road

Tanjong Road

Pagar

Road

Green spaces

Carpark

Duxton Reserve

1:1000

Green spaces

Duxton

Tanjong

Green spaces

Process models based on primers and free form exploration

Carpark

Duxton Reserve

PROPOSED DESIGN IN SITE CONTEXT Duxton Road

Tanj

ong

Pag

Tanj

ar R

oad

ong

Pag

Duxton Road

1:1000

ar R

oad

cess models Process models ed on primers based and on primers and form exploration free form exploration

The the mu seg Thr sep sho thro pre

The Airwell is viewed The Airwell as a volume is viewed that as a volume that 5FT way is brought 5FTinto waythe is brought space, not into only the space, not only the users interactthe with, users oneinteract that is as with, one that is asreviving an element reviving of the anpast, element but also of the building past, but also building much a part of the much forma as part theofsolid the form as the solid upon the elements upon of the theshophouse elements oftypology, the shophouse typology, segments. segments. and interconnected andshared interconnected spaces. shared spaces. Through ventilation Through and light, ventilation the and light, the separate functional separate spacesfunctional in the spaces in the shophouse become shophouse connected become connected through this intangible through but this ever intangible but ever present volume present volume Private Private

The Airwell is viewed as a 5FT way is brought into the volume that the users interact space, not only reviving an element of the past, but also with, one that is as much a part of the form as the solid building upon the elements segments. of the shophouse typology, Through ventilation and and interconnected shared Semi- Public Semi- Public light, the separate functional spaces. Traditional shophouse Traditional shophouse spaces in the shophouse Public Public program with commercial program with at commercial at first story, leavingfirst thestory, higher leaving the higher become connected through floors to be shared floors by to be shared by this intangible but numerous ever workers numerous as a workers as a private space. private space. present volume External street has External been street has been

Clay roof tiles areClay usedroof to tiles are us conform with theconform existingwith the ex streetscape, juxtaposing streetscape, juxtapo against the wooden against facade. the wooden The structure of the Thepitced structure of the roof, ie. purlins, rafter, roof, ie. arepurlins, rafte left exposed underneath, left exposed undern allowing users toallowing view theusers to vie raw structure, creating raw structure, a creat visual connectionvisual to the connection to past. past.

pedestrianised due pedestrianised to due to conservation guidelines. conservation This guidelines. This is now the primary is now foot the pathprimary foot path rather than the 5FT rather way.than the 5FT way.

5 FT way is now brought 5 FT wayinto is now brought into the shophouse, creating the shophouse, a creating a public thoroughfare. public This thoroughfare. This emphasises the 5ft emphasises way the 5ft way outside while also outside recreating while also recreating the atmostpherethe of the atmostphere of the

Double and space, allow elements wi exposed roo enhanced sc grandess allo past.

present volume

public thorou emphasises th outside while the atmostph Semi- Public Traditional shophouse program with traditional 5ft The entrance commercial at first story, leaving the higher shophouse be Traditional shophouse floors to be shared by numerous workers Public as a intersection o program with commercial at time, as public private space. ﬁrst story, leaving the higher past and pres External streetbyhas been pedestrianised due within. ﬂoors to be shared

Private

numerous workers as aguidelines. to conservation private space. primary foot path rather than External street has been pedestrianised due to conservation guidelines. This is now the primary foot path rather than the 5FT way.

This is now the the 5FT way.

Forms are shif comform to th edge at the ba advantage of t 5 FT way is now brought into the shophouse,to create a tran creating a public thoroughfare. This emphasisesbetween tradi forms and a m the 5ft way outside while also recreating thespace.

atmostphere of the traditional 5ft way space.

5 FT way is now brought into entrance to the theThe shophouse, creating a shophouse becomes an public thoroughfare. This intersection of space and time, as public and emphasises the 5ft way private, past and present converge within. outside while also recreating the atmostphere of the traditional 5ft way space. The entrance to the shophouse becomes an Forms are to comform to the chamfered intersection of shifted space and time, as public and private, edge at the back, taking advantage of the given past and present converge space to create a transition between traditional within.

ordered forms and a more dynamic modern space.

Forms are shifted to comform to the chamfered edge at the back, taking advantage of the given space to create a transition between traditional ordered forms and a more dynamic modern space.

Double and triple volumes enhances the internal Double and triple volumes enhances the space, allowing users to marvel at traditional internal space, allowing users to marvel at elements within the shophouse eg. the brick wall, traditional elements within the beams. shophouse exposed roof tiles, and the roof The enhanced scalewall, imbues the space withtiles, a sense of eg. the brick exposed roof and grandess allowing for a greater appreciation of the the roof beams. The enhanced scale imbues past. the space with a sense of grandess allowing for a greater appreciation of the past.

Intersections of visual spaces emphasises the Intersections of visual spaces emphasises coexistense of the three programs ie. private, the coexistense of the programs semi-public, and public. This three expresses the sense community and the and porous nature ie.of private, semi-public, public. Thisof public/private boundaries in traditional expresses the sense of community and the shophouses. porous nature of public/private boundaries in traditional shophouses.

Greenery such as trees and planters act as privacy screens.

E t t e o o T a h a s

outside while also recreating the atmostphere of the traditional 5ft way space. The entrance to the shophouse becomes an intersection of space and time, as public and private, pastVENTILATION and present converge within.

Forms are shifted to comform to the chamfered Cross ventilation is achieved Stack effect cools the building edge at the back, taking through the porous facade,open as warm air rises through the thouroughfare, and high volume two airwells space advantage of the given space to create a transition between traditional ordered forms and a more dynamic modern space.

When the retractable roof is closed, a gap still allows natural ventilation to occur.

Exposed brick w the materials of traditional shop emphasizing th of the material of the site. This serves to g a resonant stren high volume is against the inh strength of the

West Elevation d

Wooden Slats impart a porosity to the space allowing air and light to pass through seemingly unimpeded. This gives the space a sense of transparency, makDouble and triple volumes enhances the internal ing it a point of convergence of interior space, allowing users to marvel at traditional elements within the shophouse eg. the brick wall, and exterior spaces.

Density and rhythm of the slats are used to mimic the facade of the surronding shophouses and 5ft way entrances, while also being able to vary the level of privacy Intersections of visual spaces emphasises the based on needs of theie.space. coexistense of the the three programs private, f

semi-public, and public. This expresses the sense of community and the porous nature of b c public/private boundaries in traditional shophouses.

exposed roof tiles, and the roof beams. The enhanced scale imbues the space with a sense of grandess allowing for a greater appreciation of the past.

SECTION A’A 1:50 Greenery such as trees and planters act as privacy screens.

SECTION B’B 1:50 Each green space is open to more than two stories, creating a shared visual element that 13 helps to ﬁll and unif y the spaces A

9 14

VENTILATION VENTILATION

8 4

11 B 7

12 15

Firs t FFL Story +0.0 0

Cross ventilation is achieved Cross ventilation is achieved

Cross through ventilation isporous achieved through through the facade,open the porous facade,open 7 thouroughfare, and high volume thouroughfare, and highthouroughvolume the porous facade,open space space Thir d fare, and high volume space FFL Story +6

Roo f

Attic F +the Stack effect Stack effect coolscools theFLbuilding 11 .5 building 0

W cl ve

Stack effect cools the building as the warm air rises through the two airwells

Fou as warm as warm air rises through air rises through the r FFL th Stor y airwells +9.5 two airwells two 0

.50

Sec o FFL nd Sto +3.5 ry 0

1) Public Thoroughfare 2) Coffee Carts 3) Public Bathroom 4) Private access to lift 5) Private access to staircase

6) Cafe counter 7) Cafe Seating 8) Office 9) Kitchen 10) Dining Room

Lorem ipsum

11) Living room 12) Library 13) Bathroom 14) Bedroom 15) Planters / Trees

SCALE BAR 1:50 0

INTERIOR VIEW FROM MAIN CAFE SPACE

FIRST FLOOR STANDING CAFE

UPPER LEVEL PRIVATE SPACE

VIEW OF CENTRAL COURTYARD

DOUBLE VOLUMEE SPACE AT THE REAR

WOODEN SLATS WINDOW

15 4 8 3 B

2 B

Firs t FFL Story +0.0 0

Sec o FFL nd Sto +3.5 ry 0

Thir d FFL Story +6.5 0

11 12 15

Fou r FFL th Stor +9.5 y 0

Atti c FFL +11 .

Roo f 50

1) Public Thoroughfare 2) Coffee Carts 3) Public Bathroom 4) Private access to lift 5) Private access to staircase

Annotations & Captions

6) Cafe counter 7) Cafe Seating 8) Office 9) Kitchen 10) Dining Room 10) Living Room

11) Living room 12) Library 13) Bathroom 14) Bedroom 15) Planters / Trees

SECTION B’B 1:50 SCALE BAR 1:50 0

SECTION A’A 1:50

SCALE BAR 1:50 0

REIMAGINING ‘INVISIBLE CITIES’: A SPATIAL INTERPRETATION OF ISAURA, CITY OF THE THOUSAND WELLS by MELINDA KUMALA “Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake... its gods live in the buckets that rise, suspended from a cable, in the revolving pulleys, in the windmills of the norias, in the pump handles, in the blades of the windmills that draw the water up,” (Italo Calvino, Invisible Cities) Taking a precedent study of Calvino’s vivid description of Isaura, the process of discovery of space began. By analysing and quantifying descriptions of Isaura’s forces, a set of criteria is then computed through a continuous process. The subsequently generated form serves as the basis on which space is designed according to the context of the site and its use as a cafe and residence. In this context, rain and light are the primary forces to which the space responds. Rain would influence the intensity of sound generated through its contact with the angle of the curved slopes, while light would influence the shape and amount of openings through which light can permeate.

Studio LEE MAY ANNE

Impression of Isaura

RESPONDING TO ‘INVISIBLE CITIES’ BY ITALO CALVINO (1972)

Numerous vertical struts, that goes from below to above the ground

The idea of duality, illustrating that the city is separated into two, one below (the “invisible”) and above (the “visible”) the ground A fleeting and transient quality

Presence of duality of forces, the city is driven by kineticism Continuous circular motion

Isaura is dominated by the presence of circular and vertical forces. Vertical forces, that goes up and down. There is a sort of tension between natural forces of gravity and that of manmade forces driven by machines

Rather oxymoronic. as the city “moves upward” because of the presence of downward forces.

Excerpt taken from ‘Invisible Cities’

Concept model illustrating downward and upward forces

Generative form model

CIRCULAR MOTION

VERTICAL MOTION

“... in the revolving pulleys, in the windlasses of the norias, in the pump handles, in the blades of the windmills...”

“Isaura, city of the thousand wells, is said to rise over a deep, subterranean lake.” “... in all the columns of water, the vertical pipes, the plungers, the drains... that surmount the airy scaffoldings of Isaura, a city that moves entirely upward.”

MAGNITUDE OF FORCE

AREA OF DISTRIBUTION

DIRECTION OF FORCE UPWARD

5.5x 5x 4.5x

LOWEST MAGNITUDE

1.5x

2.5x

DIRECTION OF FORCE

3.5x

DOWNWARD

3.5x

HIGHEST MAGNITUDE

AREA OF DISTRIBUTION LARGEST AREA 3.5x

3x 2.5x

2.5x

2x 1.5x x

2x SMALLEST AREA

1.5x

MAGNITUDE OF FORCE

x 1.5x 2x 2.5x 3x 3.5x 4x 4.5x 5x 5.5x

ANTICLOCKWISE DIRECTION

CLOCKWISE DIRECTION

TRANSLATING VERTICAL MOTION FROM DRAWING (2D) TO CONCEPT MODEL (3D)

COMBINED FORCES VERTICAL FORCES

ADDITION OF CIRCULAR FORCES

OVERALL DIAGRAM

DISTORTION

AREA OF DISTRIBUTION 5.5x

DENSER

5x 4.5x 4x 3.5x 3x 2.5x 2x 1.5x

LESS DENSE

DIRECTION OF FORCE UPWARD

A: 3.5x M: 3.5x A: 2.5x M: 2.5x

A: x M: -2.5x

A: 2x M: -3x

A: 3x M: -3x

A: 1.5x M: 1.5x

A: 2.5x M: 1.5x A: 2x M: x

A: 1.5x M: -2x

A: 2x M: 3.5x

SHORTER BURNING TIME (seconds)

10x

LESS MALLEABLE

MAGNITUDE OF FORCE LONGER BURNING TIME (seconds)

MORE MALLEABLE

TALLER

SHORTER

A: x M: -2.5x

A: 1.5x M: -3x

DOWNWARD

A: 2x M: -2x

A: x M: 2x

A: x M: 1.5x

ASSIGNMENT OF VERTICAL FORCES A: 5.5x M: 5x A: 5x M: 2x

A: 5x A: 5x M: 4.5x M: x A: 4.5x M: 4x

A: 4x M: 3.5x

TRANSLATING CIRCULAR MOTION FROM DRAWING INTO CONCEPT MODEL

A: 5.5x M: 5.5x

A: 5.5x M: 2x A: 5x M: 4.5x

MAGNITUDE OF FORCE A: 5x M: 4.5x A: 5x M: 4.5x

A: 4.5x M: 5x

A: 4.5x M: 3x

A: 5x M: x

A: 4.5x M: 4x

A: 4.5x A: 4.5x M: 2x M: 2x

A: 4x M: 3x

A: 4x M: 3.5x

A: 3.5x M: 3x

A: 3.5x M: 2x

LOWEST MAGNITUDE

1.5x

2.5x

3.5x

HIGHEST MAGNITUDE

LARGEST DIAMETER (CM)

A: 3.5x M: 3x A: 3.5x M: 2x

A: 3x A: 3x M: 2.5x M: x A: 2.5x M: 2x

A: 3x M: 3x

A: x M: x

A: 3x M: 2.5x

A: 2.5x M: 2x

A: 2.5x M: 2x A: 2x M: 1.5x

A: 2x M: 1.5x

A: 1.5x M: 1.5x

A: x M: x

A: 3x M: 2x SMALLEST DIAMETER (CM)

AREA OF DISTRIBUTION

A: 2x M: 1.5x

A: 1.5x M: x

LARGEST AREA

A: x M: 2x

DENSER 3.5x 3x 2.5x 2x 1.5x

A: 1.5x M: x

A: x M: x

SMALLEST AREA

INVESTIGATION OF MATERIAL AND DYNAMIC ENVIRONMENT

Materials: Iron filings, magnets Environment: Magnetic field, gravity

A: x M: x

A: 1.5x M: x

A: 2x M: 1.5x

A: 1.5x M: x A: 2x M: 1.5x

A: 2x M: 1.5x

A: 2.5x M: 2x

A: 2.5x M: 2x A: 3x M: 2.5x A: 3x M: 2.5x

A: 3x M: 2x

A: 3.5x M: 3x

A: 3x M: x A: 3.5x M: 3x A: 3.5x M: 2x

A: 4x M: 3.5x

A: 3x M: 4x

A: 3.5x M: 3x

A: 4x M: 3x A: 4.5x A: 4.5x M: 4x M: 3x A: 4.5x M: 4x

A: 5x M: 4.5x

A: 4.5x M: 5x

A: 5x M: 4.5x A: 5.5x M: 5x A: 5.5x A: 5.5x M: 5x M: 2x

A: 4x M: 3.5x

A: 4.5x M: 4x A: 5x M: x

A: 5x M: 4.5x

A: 5x M: 2x

A: 3x M: 2.5x

A: 3x M: x

MATERIAL BEHAVIOUR AND STRUCTURAL POSSIBILITIES

LESS DENSE

Interior

r space

RAIN SANCTUM HOUSE by WANG LIANG EN Rainwater shedding in traditional shophouses reflect a neglect and disregard for the importance of water in Islamic culture and religion, while the additional denial of water access to Kampung Glam through extensive land reclamation has thus created a site in a state of both physical and spiritual draught. Careful rainwater retention creates a fluctuating waterscape within the cafe, returning water to the forefront of public consciousness and rainwater shedding becomes highly intentional, creating a multi-sensorial experience not just for the users and inhabitants but also the community and the surroundings at large, thus re-orienting and re-establishing the eminence of water within Kampung Glam.

Studio Shinya Okuda

Design Process

Plans

Sections

Exploded Isometric

Material Exploration

Model Photographs

Interior Views

RE-CLUSE TO THE BACK by YANG YUJIE Within the urban and cultural landscape of Little India, social inequality is prevalent with the rag-and-bone on the streets. A quiet back alley resides in 54 Upper Weld Road, forming a place for the rag-and-bone to seek refuge. Alluding to the back alley, the design will serve as a platform to facilitate encounters between the rag-and-bone and regular street-goers, allowing the former to be no longer isolated. A community market takes place at the core of the building and spreads out to the back alley for the rag-and-bone to sell second-hand products. Mobile carts are designed to facilitate the process, while offering safe spaces for the rag-and-bone to gather. Following with a cafe, residence and a resource library, the multivalence of the design presents various opportunities for the rag-andbone to be part of the community. While accommodating the rag-and-bone, discarded objects also slowly accommodate over time in the back alley. Inspired by how these objects are casually arranged, the rationale behind such assembly establishes the overall form. A series of steel beams are individually placed upon one another to form a diamond lattice facade, joining to a plywood section that alludes to the interior garden. The staggered construction of floors creates a sense of ascension for the rag-and-bone as they advance the floors, representing an elevation of their social status. By reconstructing and uniting fragmented components, the assemblage reflects the act of bringing the rag-and-bone to form a new community with the others.

Studio Daniel Pillai

Site: 54 Upper Weld Road, Little India

Discarded objects in the alley

Rag-and-bone in the back alley

“Recluse”, associated with being shunned and left out, formulates the design concept. Within the urban and cultural landscape of Little India, social inequality prevalent with the rag-and-bone on the streets. As a secluded area, the alley became a place for the rag-and-bone to gather and seek refuge, allowing for various unplanned activities to take place. The alley also became a place for discarded objects to accummulate over time.

PROGRAMMED SPACES

Adopted from the Sungei Community Thieves Market, a community market is created for the rag-and-bone to sell second hand products

Lounge space facing the back alley for the rag-and-bone to seek refuge.

UNPROGRAMMED SPACES

Sheltered spots for the rag-and-bone to seek respite.

Safe spaces for rag-and-bone and streetgoers to roam around

y Back Alle

d Road Upper Wel

Possible Areas for both groups to connect together

Alluding to the back alley, the design will serve as a platform to facilitate encounters between the rag-and-bone and regular street-goers, allowing the former to be no longer isolated. The adaptable spaces in the back alley can be transformed into opportunities for the rag-andbone to be part of the community. A series of schemes that include both programmed and unprogrammed spaces can be implemented for both groups to be intermingled together.

A community market takes place at the core of the building and spreads out to the back alley for the rag-and-bone to sell second-hand products. Mobile carts are designed to facilitate the process, while offering safe spaces for the rag-and-bone to gather. Following with a cafe, residence and a resource library, the multivalence of the design presents various opportunities for the rag-and-bone to be part of the community.

ASSEMBLAGE: FORMATION EXTERIOR SPACE I. SHEAR AND SHIFT

Inspired by the perceived casua objects in the back alley, the rat establishes the design principles. B fragmented components, this refl rag-and-bone to form a new comm

Adopted from geometry of stacked discarded boxes.

II.ADHESION

III.EXTENSION

Adopted from how smaller objects hung from larger ones.

Annotations

N OF A NEW WHOLE

al arrangement of discarded tionale behind this assembly By reconstructing and uniting lects the act of bringing the munity with the others.

INTERIOR SPACE

Orienting first floor to converge towards back alley.

Assembly of facade.

Orienting second floor towards the street.

Orienting third floor to face the back alley.

& Captions

Assembly of floors creates ascension of the rag-and-bone to the top, representing an elevation of their social status.

Side Elevation

Front Elevation

Section AA

Section BB

1. LIVING ROOM

7. 7.

DINING ROOM 1. LIVING 1.2. LIVING ROOM ROOM INNER COURTYARD 2. DINING 2.3. DINING ROOM ROOM KITCHEN 3. INNER 3.4. INNER COURTYARD COURTYARD LOUNGE 4. KITCHEN 4.5. KITCHEN BB LAUNDRY / UTILITIES 5. LOUNGE 5.6. LOUNGE MASTER BEDROOM 6. LAUNDRY 6.7. LAUNDRY / UTILITIES / UTILITIES

BATHROOM 7. MASTER 7.8. MASTER BEDROOM BEDROOM STUDIO / WORKSPACE 8. BATHROOM 8.9. BATHROOM 1. 1.

9. STUDIO 9. STUDIO / WORKSPACE / WORKSPACE

12.

2. 11.

3. 4.

6. 6.

13.

MEZZANINE LEVEL SCALE 1: 50 NN MEZZANINE MEZZANINE LEVEL LEVEL

BASEMENT LEVEL N SCALE 1: 50 BASEMENT BASEMENT LEVEL LEVEL N BASEMENT PLAN N

0 0

SCALE 1:4 50 5 1 SCALE 2 1:3 50 21

0 0

10.

MEZZANINE PLAN

SCALE SCALE 1:3 501:4 50 5 1 2 21

10. ENTRY TON RESIDENCE

SECOND FLOOR PLAN 10. 10. ENTRY TO RESIDENCE TOAREA RESIDENCE 11. ENTRY MARKET / ACTIVITY SECOND LEVEL SPACE 11. 11. MARKET MARKET AREA AREA / ACTIVITY / ACTIVITY

SPACE SPACE

SCALE 1: 50

GROUND LEVEL 0

SCALE 1: 50

N 0

BB BB BB 17. 16.

11. 11.

11.

15. 12. 14.

10. 10.

10.

13.

AA AA AA

GROUND LEVEL N GROUND GROUND LEVEL LEVEL SCALE 1: 50

N N

N 0

0 N

SECOND LEVEL GROUND FLOOR PLAN 1

32 0

43 1

SCALE SCALE 1: 501: 50 4 5 1: 50 SCALE 54 2

5 3

THIRD LEVEL THIRD FLOOR PLAN SCALE 1: 50

N 10

EXPLODED AXONOMETRIC

1. Living Room 2. Dining Room 3. Inner Courtyard 4. Kitchen 5. Lounge 6. Laundry/Utilities 7. Master Bedroom 8. Bathroom 9. Studio/Workspace 10. Entry to Residence 11. Market/Activity Space 12. Cafe Area 13. Outdoor Garden/Dining 14. Outdoor Balcony 15. Resource Library 16. Event Space/Resting Area 17. Restroom

12. CAFE AREA

13. OUTDOOR GARDEN / DINING 14. OUTDOOR BALCONY 15. RESOURCE LIBRARY 16. EVENT SPACE / RESTING AREA 17. RESTROOM

THE PAINTER’S CORNER by YANG KAIWEN This is a house designed for a painter living in Kampong Glam. I designed it as if the house is for myself. The painter is an oil painter who specialises in portraits. His studio overlooks the busy Kandahar Street, and from his window he watches people live their lives as they walk the street and sit in the cafe. At times he retreats to a quiet corner in the house to be alone with his thoughts and paint. The form of the house responds to the marks left by people in Kampong Glam. The back wall of the house is intentionally left blank to attract stray graffiti artists, who will change the appearance of the house as time passes. Although this project may be complete, the Painter’s Corner will be a house that constantly evolves in my mind.

Studio ELAINE LEE

Living Traces/Leaving Traces

Living in Kampong Glam