B.A. (ARCH) DESIGN 6: SYSTEMS, COMPREHENSIVENESS, INTEGRATION (2020/2021)

YEAR 3 DESIGN 6 2020/2021 BA (Arch) Design 6

Systems Comprehensiveness Integration Photo By: Goh Yi Fan

DESIGN 6: Systems, Comprehensiveness, Integration 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.

Written by Ong-Ker-Shing, Design 6 Studio Leader

2020/2021 B.A.(ARCH) DESIGN 6

Unit 1: “Inclusive Figures” Ar. Ong Ker-Shing (Design 6 Studio Leader, Unit 1 Leader)

Associate Professor in Practice, BA Arch Programme Director; M Arch, MLA (Harvard University); MSIA, Registered Architect and SILA, Registered Landscape Architect, Singapore

Chiong Lip Khoon

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

Ar. Chu Lik Ren

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

Liang Lit How

B Arch, BA Arch Studies (National University of Singapore)

Jacqueline Yeo

AA Dip, BA Arch Studies(National University of Singapore); ARB, Registered Architect, UK

Tan Yi-Ern Samuel Teaching Assistant

Unit 2: “Smart Analog” Ar Razvan Ghilic-Micu (Unit Leader)

Ar. Adrian Lai

Adjunct Lecturer; M Arch (Princeton University), B Arch Sc (Ryerson University); MSIA, RAIA, Registered Architect, Singapore

Adjunct Assistant Professor; AA Dip, BA Arch (National University of Singapore); MSIA, ARB, Registered Architect, Singapore and the UK

Ar. Chaw Chih Wen M. Arch, B Arch (National University of Singapore); MSIA, Registered Architect, Singapore

Ar. Colin Seah B Arch (University of Arizona); Registered Architect, Singapore

Wong Qi Rong Gabrielle Teaching Assistant

Unit 3: “Material Atmospheres” Ar. Wu Yen Yen (Unit Leader)

Adjunct Assistant Professor; M Arch (Columbia University), BA Arch Studies (National University of Singapore); Green Mark AP, MSIA Registered Architect, Singapore

Ar. Chan Wai Kin

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

Ar. Ng San Son

M Arch, BA Arch Studies (National University of Singapore); Registered Architect, Singapore

Federico Ruberto

PhD (European Graduate School), MSc Arch, M Arch (Polytechnic of Milan)

Han Yi

Teaching Assistant

Kimberly Foo Teacher Trainee

Design 6 Specific Expectations These are finer-grained interpretations of the Learning Objectives set for Design 6 at the programme level. i. To understand that design involves a wide range of considerations, and to demonstrate this via embodiment of these considerations in the design proposal ii. To understand that the role of the architect involves the integration of multiple systems— each of which is becoming increasingly complex, and that this requires making value judgments on each of these considerations and how they are integrated. iii. To begin to develop an awareness of the value systems embedded in their project and that their design offering takes a position about the role of architect and architecture in today’s world iv. To fully explore an architectural concept and its manifestation in architectural design comprehensively, i.e. at all scales: in the building’s relationship to its context, the building itself at the architectural scale articulated in massing, form, spatial volumes, material, flow, etc. and in its interior and details v. To design a sectionally complex building vi. To demonstrate the ability to engage in a critical and rigorous process of design iteration vii. To understand that thinking in design involves making and that the exploration of architectural design must be demonstrated via the consistent production of exploratory drawings and models viii. To be aware that the various systems of concern articulated in the three Design 6 briefs entails some research, and to begin to understand the process of design research and its translation as a methodology ix. To communicate architectural ideas in concise and considered verbal, written and performative presentations using a wide range of mediums x. To understand that the architectural project involves a design undertaking at all levels beyond the answering of a brief.

UNIT 01 INCLUSIVE FIGURES Preamble Inclusion—making space for—is the architect’s primary skill. The designer is, more than anything else, an integrator of systems, requirements, and experiences. On a purely physical level, the architect is also an integrator of materials and components: framing, machinery, glazing, cabling, metalwork and ducting. The designer may accumulate other specialist skills, or not. But he or she simply cannot produce a beautiful, functional building without an ability to orchestrate, with intelligence and adaptability, the coexistence of diverse and often contradictory contents and requirements within a common, limited space. To make matters more complicated, this space itself exists as but a small region within a natural and cultural field. In the creation and eventual use of such a space, issues as objective or subjective as climate and aesthetics sit alongside norms of private and public, of the beautiful, the sustainable and the socially just.

As the modern building grew in complexity during the late 19th and 20th centuries, a wide array of flexible and adaptable strategies emerged for the modern architect. These included the Raumplan, the free plan and free section, the collage method, pattern, and more recently, new explorations of fluid and non-hierarchical planning configurations derived from cybernetic modes of thinking. All of these took on the challenge of integrating a diversity of contents— often incompatible or contradictory—without sacrificing architectural identity. The craft of the architect as integrator is ultimately to present elegant solutions to the fragmented demands of the human and material world, while still creating a building that represents a clear architectural idea, with a comprehensible language and a meaningful spatial and aesthetic proposition.

Design 6: Systems, Comprehensiveness, Integration will explore the architect’s challenge of inclusion: the art of designing for people and things to function alongside each other, differently but well. It will challenge students to develop robust and tolerant design frameworks, as well as figures that have room for an array of sub-systems—such as structure and tectonics, services, programs, as well as aesthetics, human relations and experiences—within Singapore’s natural conditions. It will explore the twin problems of bringing-together and keeping-separate, in an attempt to produce an architecture of maximum generosity and mutual care.

Project The art of the architect is to intelligently manage the overlaps of different systems that are often in conflict: structure, M&E, construction techniques and other building technologies. These conflicts may be either designed and celebrated, or they may be avoided. There are numerous other systems that architects integrate within a (hopefully) systematic architectural expression: a coherent formal language of elements, aesthetics and details. In this Unit we will explore how people access information architecturally: how they read the building and how they read within the building. Our project will be an inclusive library. The library is a centre of knowledge, information and community, a key element in the social infrastructure of a neighbourhood. It is itself a confluence of systems which need to be legible and navigable in order for the building to function. Many of these systems are architectural: structure, HVAC, lights, circulation...

Others, such as the systematic storage of books and other resources, are spatial but not architectural. An inclusive library must cater to users who “read” and experience architecture in radicallydifferent ways. At the same time, all libraries cater to diverse communities. They are

a free public resource giving people access to information in a variety of forms. Such an amenity should be equally for people of all walks of life, age, ethnicity, income, sexuality or ability.

We will embrace a diverse collection of human bodies, and the ways in which they interact with a building—from its legibility within the neighbourhood fabric, to issues at the architectural scale: approach, procession, organisation, spatial quality and access. At the same time, you will address the small scale of materiality, touchpoints, and details, as you create a comprehensive architectural project. This Unit will consider inclusivity not as a programming exercise but as a fullyembodied architectural investigation—a way of rethinking the interface of person and building. To this end, we will consider four use-cases, or conditions, in addition to the “typical” person. These are: 1. the wheelchair-bound 2. the hearing- or visually-impaired 3. ASD (hypersensitive) 4. ASD (hyposensitive).

You will choose two of these together with the “typical” condition as the audience for your library. Each of these is to be understood as a unique experiential system that the architect has to cater to; i.e. you try to systematise each user experience according to its own requirements. It is imperative, here, to understand that this project is not about a hyperelaboration or articulation of any one system/ user experience, but an inter-relation and balance amongst these. This is not about extensive research into one special need or atypical use-case, but the implications to architectural requirements vis a vis other requirements. The studio will value judicious research processes sufficient to allow intelligent and sensitive choreography of how and when these systems are brought together and kept apart.

A majority of the amenities are to be shared, with some specialised individual spaces where necessary. You must consider where and how these systems can overlap in common inclusive spaces, rather than being separated into parallel experiences.

BOOKMARK: A NON-LINEAR ACCESS TO KNOWLEDGE AND MEMORY

by CHRISTOPHER CHUA The buildings and spaces, we create are imbued with images, sensations, and interests gathered from our childhood onwards, consciously, and unconsciously. Through individual experiences, collective events, and cognitive exploration, memory has the capacity to influence and be influenced by architecture. This is especially more apparent with young ASD individuals whereby cognition emerges from and is found to be grounded in sensorial interactions with the environment.

This includes the type of environment they reside in for reading and studying as well as the specific type of books they interact with and use. This can be compounded with the fact that there are bespoke documents that have gone uncelebrated at the nooks and corners of libraries from large font books to pre-loved comic series. The Bookmark aims to utilise these uncelebrated devices of quiet rooms and documents to develope a visual and spatial memory of the library to encourages independent narrative sequences with each subsequent visit by the individual.

Studio CHU LIK REN

The duality of light and shadows expressed through the library’s section also indicates an experiential procession.

Firstly, acts of browsing and reading are respectively delineated with the location of library stacks and documents in the vast and den-like subterranean spaces in contrast to intimate and brighter reading and study spaces above. These reading rooms are also designed as comfortable breakout spaces and sanctuaries that dampen external sensorial stimuli for quiet contemplation and reflection.

Secondly, the markers are also characterized by different light qualities and compositions through various times of day, emphasizing and deemphasizing the various categorial nodes across the library. This allows for the duration spent at the library at a specific time and position to be better embedded into memory. This not only evokes the notion that memory is generally accessed nonlinearly but that the facility is also designed to engage an individual’s visuospatial cognition.

Relevant sect

tions and plans

COURTYARDS LIBRARY

by CHLOE LAU JIA YEE The courtyards library is a journey in the park where users will experience multiple courtyards of differing spatial qualities located at different points of the journey through the library.

The courtyards and their surrounding programs are based on case studies analysis and user journey mapping which superimposes the journey taken by the 3 users (Hypersensitive users, Hearing-impaired users and Typical users). While the activities which may take place in the courtyards are not fixed, the courtyards are curated to provide and outdoor gathering, farming and reading or reflecting, presenting the courtyards library as a place for everyone.

As an urban sanctuary in nature, the programmes of the library is specially curated to connect nature and the library.

The lbrary also serves as a green corridor which connects the existing garden of Queenstown Public Library and an operating urban farm, the Edible Garden City on its other side.. Apart from the typical library programmes, the archival, loans and the sharing of knowledge are reinterpreted to incorporate a seed library where seeds are loaned, exhibited and deposited in the form of an urban farm.

Studio LIP CHIONG

User journey mapping

The target users of my library is the ASD hyposensitive users, the hearing impaired users and the typical users. From the case studies, a few strategies such as compartmentalization and gradual transitions were selected for the ASD user as they will soften the differences in the stimulus of the environment. As for the hearing impaired users, the programmatic arrangement of space revolves around visual porosity and sensorial engagement for the hearing impaired users as they rely heavily on their vision. Most importantly, while each group of users have their specific needs, the power of social interaction must not be discounted against a common misconception that private, isolative spaces are the end-all solution to the problems that these users face in typical libraries.

Design approaches for ASD and Hearing impaired users

The library capitalises on existing canal system and the topogical differences on the site. The replacement of softscape with a building, a hardscape will increase the runoff and hence, the need for better drainage, allowing for rain gardens and bioswales.

Site plan

Site analysis and mapping of existing drainage system

Reading Courtyard

READING AREA

HERBARIUM / SEEDS SECTION

GARDENING SECTION

Farming Courtyard

Socialising Courtyard

CAFE

LOBBY / MAGAZINE SECTION

FLEXIBLE EVENT SPACE / FARMERS’MARKET

RECEPTION

First floor plan

NON FICTION SECTION

FARMING TECHNOLOGY

WORKSHOP

FLEXIBLE EVENT SPACE MEDIA AND TECH AREA

ROOF TOP GARDEN

WORKING SPACE

READING SPACE

READING SPACE MEETING ROOM

FICTION SECTION TEENS SECTION

READING SPACE CHILDREN SECTION

ADMIN AREA

Second floor plan

Third floor plan

Section

Section

n A - A’

n B - B’

Exploded axonometric view

Perspective view of people reading/reflecting in courtyard

Perspective view of people farming in courtyard from the Farmers’ market

Perspective view of people gathering and socialising in courtyard

Courtyards Library’s sectional model (Section 1- Socialising and farming courtyard)

Courtyards Library’s sectional model (Section 2- Books and Technology sections)

Socialising courtyard

Farming courtyard

Reading courtyard

Courtyards Library’s sectional model (Section 1- Socialising and farming courtyard)

Courtyards Library’s site model

Hierarchical Thresholds

by SAMUEL TAN HAO EN Disability & Threshold - The Eye of the Beholder By situating thresholds vis-a-vis the topic of disability, one begins to see how both run parallel to the other with regards to visuality. The quote “disability is in the eye of the beholder” stems from the prejudices inherent in the viewer, and is not at all dissimilar to how the surmountability of a threshold is contingent on the eye that perceives it.

To dwell the threshold is to formalize Heterotopia - a parallel space that contains undesirable bodies to make a utopian space possible. The accommodating of differences gives the spaces what Michel Foucalt describes as having the property of being in relation to all spaces in a way that inverts the set of relations to expose an alternative to the status quo.

Disability and the Library Typology As prejudices are founded upon the lack of knowledge and aroused by sight, the pursuit of a Heterotopic space that accommodates differences is undertaken through an architecture of observation that gives the differing user groups time to acquire knowledge of the other wherein prejudices are set aside to allow for a truly inclusive space.

To embrace disability is first to invert the very nature of a library - exclusive, dense, quiet, private. By regarding the library as a public space such as the streetscape is to override the exclusive character and deemed accepted behaviours that bind it, allowing for a broader range of behaviours and conditions. An inclusive library is thus one that embodies the inclusivity of the streetscape - the ability to contain a myraid of bodies along with having what Michel Foucalt describes as the property of being in relation to all spaces.

Studio JACQUELINE YEO

[01] SITE THRESHOLDS

[02] INTERROGATING THRESHOLDS

[03] DWELLING THE THRESHOLD

[04] APPROACHING DISABILITY

[05 A HIERARCHY O

05] OF THRESHOLDS

[06 CHUNK COMP

06] MPOSITIONS

BIBLIO

by VANESSA TAN XIAO XUAN Located right beside the existing Queenstown Public Library as an extension of the building, Biblio is an inclusive library designed with the Autism Spectrum Disorder (ASD) (Hyposensitive), hearing-impaired and wheelchair-bound user in mind.

From afar, the large kinetic roof that resembles the open pages of a book acts as the main focal point of the architecture. Throughout the day, the fins react to sunlight streaming into the main atrium as a form of light modulator. This interplay of light and shadows enhances the overall senses of the users of the library.

The unique spaces suited to the individual user’s needs are intimate and kept to the sides whereas the large, long atrium flanked by gentle ramps promote visual connectivity and opportunities for interaction.

Biblio aims to act as the new benchmark for an inclusive library that embraces people with disability.

The addition of Biblio boosts the existing heritage and landscape of the Queenstown area.

Studio LIANG LIT HOW

EDIBLE GARDEN CITY

BIBLIO TRANSIT POINT

SKYRESIDENCE@ DAWSON

QUEENSTOWN PUBLIC LIBRARY

Site Plan

Designing for Users 5-YEAR-OLD HYPOSENSITIVE PRESCHOOL BOY

Name: Brendan Age: 5 Gender: Male Background: - Resident of Queenstown - Active and outspoken - Goes to PCF Sparkletots @ Queenstown Blk 3 - Goes to the library with his mother on a weekly basis - Enjoys going to the library's Children section to read picture books

24-YEAR-OLD HEARING IMPAIRED UNIVERSITY STUDENT Name: Monica Age: 23 Gender: Female Background: - A resident of Queenstown - Has been deaf since birth but every other sense is heightened - Independent character - Currently a student at NUS - Visits the library to find relevant books, study, have meetings and use audiology booths

User Profiles

The hyposensitive child, hearing-impaired university student and general user were selected as users that would drive the design of the inclusive library. The library will include mezzanine floors to ensure visual connectivity for the deaf and these wider spaces grab the attention of the ASD user.

Unique indoor spaces are catered to the individual users’ needs while outdoor spaces act as buffer zones for interaction. The use of ramps also allow for visual connectivity without blockage and the lack of staircase interruption is better for sign language.

2D Order Diagram

Iteration 1

Method of “stacking” used Frames for light modulation

Iteration 2

Roof form introduced Use of moires

Iteration 3

Breaking up of linear path

3D Parti Diagram (Initial)

Iteration 4

Introduction of kinetic roof to modulate light

Iteration 5

Shifting of roof below glass panels

3D Parti Diagram (Final)

Previous Iterations

A

B

B’

A’

Floor Plans

Front

Back

Left

Right

Elevations

Kinetic Roof/ Light Modulation System

Glass Roof

Structural System

Circulation System

Programmatic System

Exploded Axonometric Diagram

The library can be seen as an amalgamation of various systems - the roof system, structural system, circulation system and the programmatic system. The roof is made of kinetic fins that move throughout different times of the day to modulate and provide an interplay of light and shadows that help to capture the attention of the ASD user.

Adult Stacks

General Stacks Event Space

Audiology Booths Children’s Stacks Reading Zone Study Area

Cafe

Short Sectional Perspective A-A’

Terrace/ Event Space

An event space located at the back of the library offers views from the second floor, overlooking the entire first storey. The event space also houses the general stack and also acts as a form of circulation to get from the first storey to the next.

Usage of Space Across Storeys

Green Space Adult Stacks

Audiology Booths Main Entrance

Study Area Reception

Reading Zone

Multimedia Zone Lift

Long Se

ection B-B’

Section C-C’

General Stacks

Reference Stacks

Event Space

Side Entrance Toilets

Back of House

SECTION B-B’

500X500 SHS ALUMINIUM MEMBER

DESIGN DETAIL I

DESIGN DETAIL II

400X400 SHS ALUMINIUM BEAM

WOODEN BOOKSHELF

GALVANISED STEEL U-CHANNEL GUTTER

GENERAL STACKS

REFERENCE STACKS

500X500 SHS ALUMINIUM COLUMN

REINFORCED CONCRETE SLAB

TERRACES/EVENT SPACE

FALSE CEILING BACK OF HOUSE/OFFICE

REINFORCED CONCRETE SLAB RIGID INSULATION GRAVEL LAYER STRUCTURAL PILES

1:20 SCALE

Detailed Section C-C’

DESIGN DETAILS

INDIVIDUAL FINS

CIRCULAR PLATES

ROTATING SPINES

BUILDING SPINE

DESIGN DETAIL I: KINETIC ROOF JOINTS (VIGNETTE)

GALVANISED STEEL U-CHANNEL GUTTER

PIPE WITHIN 500X500 SHS ALUMINIUM COLUMN

DESIGN DETAIL 2: BUTTERFLY ROOF GUTTER

Design Details

Close-up of the 1:100 model

A 1:100 study model was used to better convey the ideas behind the project and highlight the spatial quality of the library. From afar, the sine-wave curve created by the kinetic fins on the roof of the library catch the eye of users.

The long ramps span across the length of the library, as the main form of circulation. Areas below the ramp also become interesting spaces for users to explore.

Kinetic fins on the roof that resemble a book that is opened

Side profile of the model showing a sine-wave curve created by the roof

User sitting in the event space/terraces

Viewing deck from the third storey

Green spaces readily dispersed throughout the library

Mezzanine floors create pockets of space for visual interaction

Overview of the library space

Glass curtain walls allow light to penetrate into the library

AN INCLUSIVE LIBRARY

by U JIN SEAH The premise of the project was to design an inclusive library on a forested site behind an existing community library. The project proposes the redesign of the existing library typology that takes into consideration of people with disabilities, specifically the ASD hypo and hyper-sensitive*.

An inclusive library is one that accomodates to users who “read” and experience architecture in radically different ways.

However, the existing library typology that is situated on site prejudices itself against persons with disabilities through mandatory silence in space. Those who are not able to comply would be seen as out-of-line and incongruous, and this further highlights the exclusive nature of space that should otherwise be shared indiscriminately.

The scheme therefore aims to promote inclusivity by reducing the emphasis on spaces users are required to remain silent.

Instead, the focus is shifted on curating spatial experiences that revolve around the aesthetic emotion evoked in sacred spaces.

Silence triumphs the importance of quiet spaces in libraries, and is not governed by fixed sets of rules, but rather in spatial reading and experience.

Quiet

Silent

Existing Typology

Proposed Typology

Studio ONG KER SHING

Study models of sequences and overlaps between spaces

1

2

3

4

5

1 Identifying axes through existing trees 2 Demarcating axial landscape lines 3 Mediating urban disconnections 4 Subsuming points of interests to form spatial overlaps 5 Melding boundaries between vegetation and edifice

6

5

4

EXISTING QUEENSTOWN LIBRARY

MARGARET DRIVE

A-A

7

8

2

4

3

1

JALAN PENJ

ARA ROAD

A-A

1. Carpark 2. Pick-up/drop-off point 3. Landscape Connector 4. Ramp towards basement entrance 5. Heritage garden 6. Lift lobby 1 7. Lift lobby 2 8. Handicap access 25m

C

A-A

B F

D

G

RAM P

E

1:20

J

A

H

Basement Plan A. Heritage garden B. Lift lobby 1 C. Toilets D. Quiet room E. Sand pit F. Lift lobby 2 G. Cafe H. Book stacks J. Study area

A-A

1

2 3

DESIGN DETAIL

Section A-A

A-A

M L N

K Q P

A-A

2nd Storey Plan K. Lift lobby 1 L. Quiet study M. Landscaping N. Toilets P. Discussion room Q. Lift lobby 2 25m

6

5

4

1. Landscape extension 2. Heritage walk 3. Book stacks 4. Events space 5. Service core 6. Quiet study 10m

(Top) Basement level - Promoting equitable use of communal spaces (Bottom) 2nd Storey - Quietness implied by space and not rules

150MM THK SANDBLASTED FROSTED GLASS CAST-IN-SITU CONCRETE BRISE SOLEIL & BOOKSHELVE STACK

25MM THK CEMENT SCREED

25MM DOUBLE GLAZING U-CHANNEL STEEL FRAME

250MM THK CONCRETE SLAB TIMBER DECK

SAND PIT

CONCRETE BUZON STUMP

DRAINAGE LAYER

TIMBER FINISHED BENCH

PROTECTION BOARD & WATER PROOFING

25MM THK PLASTER

01.10 Design Detail - Spatial convergences through the dialogue between interior and exerior

UNIT 02 SMART ANALOG Preamble Globalisation, climate change, urbanisation, and digitisation present new opportunities and challenges for how we live. How can architects still create meaningful design and add measurable value in this fast-changing context?

Daniel Susskind argues that most professions - architecture included – have historically struck a grand bargain; a monopoly on their knowledge and services that technology is about to quickly erode within our generation. “We entitled different groups of people to provide certain types of services to the exclusions of other people. In a worldin which there are now other ways to solve the sorts of problems that traditionally only particular types of professionals have solved, all of a sudden that grand bargain starts to look like an ill-fitting arrangement.”

Daan Roosengaarde however sees this disruption as an opportunity: “As we will live in this hyper-technological world, our human skills – our desire for empathy, our desire for curiosity, for beauty - will be appreciated again. We will live in a world where creativity is our true capital.”

The architectural discipline and profession have indeed broadened extremely over the past few decades, entering warp-speed diversification and sprouting myriad related areas of expertise – most achieving a possibly clearer niche understanding of the components that can make a city, a building, or a space better suited to their natural or built environment, culture, social milieu and human activity. While for many this may be a cause of cultural or disciplinary anxiety – yes, architecture is departing from long-held professional canons whether we like it or not – it is perhaps a unique chance to reposition the role and knowledge of the architect as an integrator, a creative manipulator of knowledge produced by others, and a positive disruptor on a mission to create a more resilient world by design.

Conceptual Positioning Technology is an unparalleled enabler of change. While the studio is not challenging this assumption, we want to consciously step away from the “smart” cliché as a blanket solution to all issues, to be overlaid on built form and somehow magically saving the day.

We did not need a pandemic to realise we can perform most of our activities online. What we do need however is to be seriously asking ourselves what the role of physical space is, in an increasingly digital world. Now that almost everything can be done from home, what’s our incentive to go back to school, or to work, because we WANT to be there, not because we HAVE to? How are our best abilities, talents, creativity and human desire for social interaction brought to the fore by brilliantly designed physical spaces?

The aim of the studio is to explore the smart resilience of analog space by getting down to the fundamentals of architectural integration and basic elements of architectural design as the critical tool-kit that will enable us not only to maintain relevance, but to make a positive impact in ways no other professions can. Students are expected to understand, test and re-interpret canonical elements of architecture: floors, walls, roofs, envelopes, doors, windows, structure, M&E systems, environmental solutions, etc to create an architectural syntax and

spatial articulation unique to their programme and project goals. Students are also expected to demonstrate control over architectural spatial and compositional devices such as thresholds, vistas, circulation, planning, proportion, scale, experience etc. as a clear methodology to how building elements come together to reinforce their project’s vision. The hope is that through gradual narrative building, and meaningful integration, each project will show not only why architecture and physical space are more relevant than ever, but also why the role of the architect as the visionary integrator is pivotal to designing for a resilient future.

The Project Unit 2 will investigate the smart resilience of analog space through the programmatically fluid concept of an Open Building Lab - a contemporary re-mix of a Greek Agora with a Building R&D facility - a place of assembly that provides a social stage for exchanges, interactions, and knowledge around what it means to design buildings and experiences for the 21st century.

Use the text as the theoretical foundation.

The project sits at the intersection of three Spheres: 1. The Public Promenade. This is a place for the everyday citizens to experience and interface with the knowledge produced within. Porous public amenities, lushly planted, accessible 24/7 are woven with the building at multiple levels and drawing the public into areas such as Experience Centre, F&B, and End of Trip facilities such as showers and bike storage.

2. The Research Incubator. This is the home of mad scientists, who are working on building the latest prototypes for sustainable building materials and systems. From timber joinery, to façade systems, the maker spaces are where new discoveries are made, in partnership with private entities, and in collaboration with academics. These systems can be tested live in the building itself, and will be showcased in the experience centre in an immersive way.

3. The Academic Workplace This space goes beyond the clichés of co-working, or activtybased workplaces. Home to students, researchers, and some of the industry partners funding the Open Building Lab, the Academic Workplace is all about creating a vertical community that has an outstanding choice of how and where to work. From great outdoors settings, incidental learn/ work spaces, generous vertical connections, the space fosters serendipitous encounters and choice - all essential to a culture of open collaboration.

Methodology The primary investigative and representational tool for the project will be the building section.

“The Architectural section is key to architectural innovation. The section provides a rich and underexplored opportunity of inventively reimagining the intersection of structural, thermal and functional forces. The section is the site where space, form and material intersect with human experience, establishing the relationship of the human body to the building and the interplay between architecture and its context.

Sections provide a unique form of knowledge, one that by necessity shifts the emphasis from image to performance, from surface to the intersection of structure and materiality that comprises the tectonic logic of architecture. It is in the building section that a number of crucial issues are at play, including the formal, social, organizational, political, spatial, structural, thermal and technical.” The students are expected to frame the sectional integration of their design project through three lenses: Activity, Environment and Form.

S O C I A L - S T R U C T U R E

BIOMIMICRY RESEARCH LAB

by HAU WEN HUI WENDY As an open building lab for the research on Biomimicry, the architecture utilises biomimicry strategy to create passive system design, such as inducing natural ventilation and natural lighting into the building. The study on the leaf-cutting ant nest provides specific parameters for the building facade to allow it to accelerate the air underneath.

The study on biomimicry requires people from various disciplines to come together to research, experiment and prototype. Hence, the spaces within have to promote collaboration between the different departments for the sharing of ideas and knowledge. The social structure in the ant nest is also translated into clusters of sunken and contoured work spaces, organised according to the positions of the light columns, allowing collaboration between different groups.

Studio Adrian Lai

Operation: Inflows and Outflows Ratio

Operation: Combination of Gradients

Controlled Variable: Distance from wind source, Speed of wind, Ratio of Straws, Opening size of the inflow straws, Gradient of mound [45 ° x 30 °] Varied Variable: Placement of straws

Controlled Variable: Distance from wind source, Speed of wind, Ratio of Straws, Straw Radius [0.25cm] Varied Variable: Gradients of the mound

Low Pressure

Accelerated Wind Low Pressure 1.68m 45 ° x 30 °| 6.77mph

Accelerated Wind Low Pressure

1.68m 45 ° x 60 °| 6.56mph

Accelerated Wind

Operation: Volume and Opening Length Ratio Controlled Variable: Suction Force, Opening Radius Varied Variable: Length of Openings, Volume

Straw Length: 5cm

Straw Length: 10cm

Straw Length: 15cm

Volume: 357.21cm²

Volume: 714.42cm²

Volume: 357.21cm²

Volume: 714.42cm²

Volume: 357.21cm²

Volume: 714.42cm²

Volume: 1071.63cm²

Volume: 1428.84cm²

Volume: 1071.63cm²

Volume: 1428.84cm²

Volume: 1071.63cm²

Volume: 1428.84cm²

Environmental System Study: Ant Nest Ventilation

45 ° x 30 °

45 ° x 60 °

Extruded Length: 4000 Volume:1920m³ Extruded Length: 2000 Volume:1075m³

Extruded Length: 6000 Volume:1377m³

Extruded Length: 4000 Volume:587m³ Extruded Length: 8000 Volume:910m³

Extruded Length: 6000 Volume:241m³ Extruded Length: 10000 Volume:522m³

Gradient and Volume

Extruded Length: 4000 Usable Space: 9052 Max Height: 3798

Extruded Length: 4000 Usable Space: 7322 Max Height: 3258

Extruded Length: 6000 Usable Space: 10183 Max Height: 4611

Length of Openings: Volume

Various environmental system experiments are done learning from the ant nest ventilation system. These allows me to collect data in order to determine the specific gradient, volume, openings length and inflow outflow ratios which will help in designing a building which can acelerate wind movements.

Futhermore, the experiements also explore the ideal ratio in which these different factors interact with each other.

Translation into Building Form

Subsequently, various translations of the datas to a building form are being tested.

Exploration 1 experiements with the idea of test bed as the controlled volume while the thick facade can be populated with other programs.

Exploration 1

Exploration 2 tested with the idea of the outflow tube being the building space.

Exploration 2

Exploration 3 uses a large facade enclosing the entire building.

Exploration 3

Sectional Perspective

Workspaces are connected or disconnected using the differences in levels and greenery.

These spaces sink into a lower plane as compared to the circulation paths. The more private spaces are hidden from the sight using greeney. As a result, a clear zoning is achieved without the need for physical walls. Clusters of spaces are created for collaboration between different departments.

Detailed Work Spaces

Research Incubator 1. Outdoor Drying Space 2. Outdoor Research Space 3. Dark Room 4. 3D Scanning Room 5. Ants Research Lab 6. Microscopy Lab Prototyping Studio 7. Architecture 8. Fashion 9. Industrial Design 10. Furniture Design Public Promenade 11. Cafe 12. Toilets 13. Reception Lobby 14. Informal Meeting Space

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Section A

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SECOND FLOOR PLAN

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THIRD FLOOR PLAN

ROOF PLAN

Low Pressure Low Pressure

GROUND FLOOR PLAN SCALE 1:200

Prototyping Studios/ Level 2

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EXPLODED AXONOMETRY LEGEND Public Activities and Facilities Research Incubator Prototyping Studio

Zoning and Public Circulation

STUDENTS Students coming from the PGP direction can utilise the informal meeting spaces in the open lab for discussion or studying. While they meander through to find seats and studying in the sunken spaces, the experiment and prototyping process are visible to them. This allows more student to be educated about the Biomimicry research process.

Public exhibition can also be held at the exhibition spaces.

INVESTORS Coming from the carpark, the user will come into an open informal meeting space with a cafe for discussion. For better understanding, various observatory decks are available for better understanding of the research and prototyping process.

This allows the investors to feel more engaged.

FAMILY The rooftop garden and sky bridge serve as recreational spaces for the public or the workers themselves to rest and relax.

place

cover photo of project (delete this after)

here

THE GREEN COMPANY

by EVE LEE SHI The research facility seeks to drive the future of green living, by investigating algal bio-facades as a sustainable and natural alternative to traditional building envelopes.

The building envelope is usually associated with permanence and protection from the outer world. Bio-facades seek to allow humans to transcend the seeming detachment imposed by the envelope and better relate to their surroundings.

Currently, algal bio-facades present a revolutionary technology of integrating living organisms into performative living structures. Hence, bio-facades are designed to be more energy efficient due to their improved sun shading properties, ability to enhance air quality and potential in today’s circular material economy. However, with existing bio-façade technologies, there is further research to be done; for example, a viable 3D fabrication process, higher degrees of customisable design and environmental performance integration, especially given Singapore’s tropical climate.

Studio COLIN SEAH

LONG SEC

LONG SEC

CTION A-A’

CTION B-B’

The two building masses are then oriented towards two points of connection; the bridges on the first and third floor of the facility. These bridges are the centre stage for collaboration and innovation, and where the two spheres of research intersect. Hence, programmatically, the first floor of the facility consists largely of public spaces, like the foyer, experiential algal labs, the exhibition spaces and the open makers lab. The central atrium is where the cafe is located, alongside intimate work and discussion spaces that are located on terraces.

Perspectives: Entrance Linkway (top), the Public Promenade (bottom)

The biggest test space is this same central green terrace where there is a large space frame for modules to be tested on. This space is thus a patchwork of roofs; it has a main frame structure that allows for new roofs and canopies to be tested. Independent canopies or standalone structures may also be tested here.

Under these canopies, the public promenade melts into this mixture of public and private space. This terrace is also the point where the two branches of research and design meet; this makes for more opportunities for interaction and collaboration.

LIVING CUBES Smaller modules are for living spaces that are more intimate, like discussion spaces, meeting rooms and individual workspaces.

They protrude out of the main building mass to increase the experimental facades’ exposure to the surrounding environment.

In continuation with the previous idea of self sustaining islands, the workspaces are broken up into project sized islands. Each workspace also has an accompanying discussion space, a meeting room, and a garden or veranda.

Each island is separated from one another by courtyards or atriums. This allows for visual connectivity and to use wind to passively cool down the building mass.

Perspectives: Private Workspaces (top), External View (bottom)

Side Perspective

Side Perspective: Reforming of Landscape

Side Perspective: Staggered Algal Modules

Since there is a need to draw the public into the building, and allow them to experience for themselves the biofacades and their resulting spaces, the test spaces should extend its reach beyond just the researchers.

Fortunately, there is the huge resource of the public to draw from, due to high foot traffic along Science Park Road. The facility therefore introduces a shortcut from Science Park road to South Buona Vista Rd and back.

Model: the Public Promenade (top), section of Indoor Cascading Workspaces (bottom)

Model: section of Algal Research Workspaces (top), Outdoor gardens and Algal Facades (bottom)

between the walls

by SHARLENE SOW Over the past year, working from home and online classes have became a norm. With the ability of technology to connect people, how are physical spaces still important? In the learning environment, face to face interaction is key in developing a sense of commonality, purpose, and learning. Physical engagement and the “making of things” is the foundation of an innovation process. The design of a building influences the interactions between the users and can therefore facilitate or inhibit physical movement and foster or hinder communication, affecting the transfer and creation of knowledge.

The project seeks to increase the opportunities for chance encounters through the architecture, by carefully curating the spatial organisation and with the use of spatial devices, rather than solely leaving chance encounters to chance. Chance encounters are those occasions when people who have no scripted reason to be with one another yet nevertheless find themselves together and end up serendipitously co-creating the next big thing.

Studio CHAW CHIH WEN

Ex terio

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Defining user relations

Sectional Pe

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Site response

Level 1 Floor Plan

Level 2 Floor Plan

Level 3 Floor Plan (Street Level)

Sectional Perspective B-B

Spatial relations

Interior perspective

Envelope Section detail C-C

View from dr

rop-off point

COMMON GROUND

by SYAFIQ AYYOOB The project envisions an Open Building Lab that provisions opportunities for quiet, focused work to support solitude thinking and creation - an important component of creative work - within a bustling and collaborative research environment.

The prevailing trend for such a typology is to provide varied and collaborative work areas where users can come together in a bustling environment to exchange and generate ideas.

However, workplace design also needs to provide a balance between collaborative-private spaces to preserve the moments of focused work needed by workers. Not only that, quiet space is important for workers to break away from the bustle, to be alone in solitude, to have a space of mental respite - all of which are crucial to the overall wellbeing of users.

Through the narrative of a Bamboo Research Facility, the project explores how form, spatial configuration, scale, materiality, furniture arrangements, facade systems, and atmosphere can be controlled and deployed methodologically to support the experience of collaboration and quietude, striving to be a place that caters to user well-being and where the beauty and possibilities of bamboo can be experienced by all.

Studio Razvan Ghilic-Micu

Exterior Pe

erspective

Interior Pe

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Section Pe

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Volumes housing quiet work spaces are linked together by a podium - the Common Ground - which houses the collaborative and flexible work settings.

The podium then creates a porous ground plane and a usable roof space - all of which are flexible to accommodate the collaboration that occurs outside of the spaces catered to focused work.

Deta

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Deta

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UNIT 03 Material Atmospheres Preamble We often refer to building systems as wholly belonging in the realm of structural, mechanical and electrical. In the context of buildings, this layering of building with discrete systems forms a major part of an architecture that interfaces, manages and serves 2 other wildly amorphous, organic, larger complex systems: the environment and people. How does a rigid assembly of discrete buildings systems interface with its amorphous partners?

“The mechanical and electronic (and most of what is denoted by these terms in present usage) are in fact expressions of two continuous, interdependent historical-ontological modalities: those of Matter (substance) and Intelligence (order, shape).”2 One can extend this logic and say that architecture and our climatic environment too are expressions of matter and intelligence. Mechanical and electrical systems are, at the heart of it all, a systematic exchange of energy, flows of currents, winds, through wires, ducts, and arteries. Not so different from a thunderstorm or gust of wind.

All systems that come together to create architecture (and by this we refer to its cognitive and emotive aspects too) should “blend” into one another so that material, technological, social, psychological systems are integrally mixed in their designed functions and roles, and they no longer serve as discrete systems.

Architecture need not be the inanimate, stiff structure bogged down by the layers of discrete systems, split between its need to address functionality and the sublime. Rather, it can be responsive keeping pace with the changing climate, augmenting physical sensations with its own performance, dynamic as it is; balancing a delicate whole between itself, the environment and people through analogue means. This position presents architects with an alternative where architecture is not only an integrated layering of systems, but a new beautiful “other”.

We can consider recasting traditional building systems as a system of interlinked materials, possessing their own logic and characteristic with intrinsic intelligences and modalities: we explore the materiality of building.

We recognise climate as a system of forces and elements.

We know that social behaviour is a system of relations, humanly senses and perceptions triggered by architecture’s propensity for phenomenology.

Architecture ties this triad of systems together cognitively and experientially. All this can belong in one and the same system where there is reciprocity between Nature, Architecture and Man, and not just between Nature and Man through Architecture.

Project COVID-19 has shown that work places form the social backbone of collaboration and interaction at work, rather than mere functional spaces. Tech campuses are trending towards work and research environments with equal priority given to live-work-play, encouraging wellness, lifestyle and innovation. Gone are the banal tech parks of yesterday. Amazon Headquarters in Seattle features plant-filled spheres with “cloud forest” gardens. Google Mountain View in California will feature outdoor rooms, hangout hills and green looping pedestrian pathways. Apple Park in Cupertino purports to be people-centric and connected to nature. Further blending of live-work-play programs and functions is critical in a post-COVID world where aspects of life and therefore spaces are designed to be fully fluid and flexible.

The project is a proposed 3 – 4 storey tech campus of 2,000 – 2,500 m2 consisting of:

• Research facility that studies a climatic factor of your choice: Wind, Solar, Water, Earth, Light, Sound etc. embodied in physical expression: 30% of total area • Offices: 15% of total area • Social Spaces including canteens, foyers, interaction and collaboration spaces: 20% of total area • White Space of your choice and this can include performance spaces, academics-inresidence, educational facilities, etc. that: 20% of total area • Car-free circulation such as staircases, lifts, ramps, corridors, mechanical and electrical spaces, ancillary spaces: 10% of total area All spaces must support each other and be complementary in nature. Eg, a research facility for façade claddings that tests wind acceleration has its social spaces arranged according to the sensation and effectiveness of natural air exchange, as it shivers in the wind. Unit 3 students should, have as a deliverable, a 1:50 roof to floor section of their building, to demonstrate the blended systems at play.

Site Singapore Science Park I is part of the greater one-north community of offices, research & development and tech companies. It is situated along Singapore’s Technology Corridor and the site is surrounding by low-rise closed-looking buildings housing more than 300 MNCs, local companies and national institutions. There are lush parks nearby and is touted to be “the perfect home for modern hi-tech businesses involved in R&D and innovation”for “Creating Communities, Igniting Ideas.”

Studio Title

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LIGHT FOLLOWS MATTER

by KHOO CHEW SENG IAN The environment no longer threatens our survival like it once did and the climatic imperative calls for the radical reexamination of our precisely controlled and managed bubbles and redefinition of the relationship between Man and the Environment. The Environment exists as a field of conditions that is continuously and dynamically changing.

Light as an architectural medium embodies the constantly changing qualities of a space as it interacts with material, texture, and form. As such, the project investigates light as an environmental phenomenon and dynamic “building material” in the creation of dynamically changing atmospheres primarily through the use of aggregated volumes. The experimentation is guided by four main lighting conditions informed by contrast and variability of light. The research centre engages in the study of light to understand and invite discourse about its effects on physical and psychological well-being, seeking to redefine and rediscover the relationship between man, environment, and architecture.

Studio FEDERICO RUBERTO

LINEAR AGGREGATION

LIFT CORES AND SKYWALK

CLINIC TOWER

OFFICE TOWER

RESEARCH TOWER

ATRIUM TOWER

CLASS TOWER

MAIN ENTRANCE

AXONOMETRIC 1:1000

CIRCULATION DIAGRA

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EXPLORATION OF FIELD CONDITIONS

TOWER AGGREGATION

INTROVERTED

AGGREGATION ITERATIONS

SLEEP PODS

TEAM INCUBATOR

CLUSTER OFFICE TEAM OFFICE OPEN TERRACE

CLINIC OFFICE

RECEPTION AREA

RESEARCH LIBRARY

BUILDING ADMIN CONSULTATION ROOMS EXAMINATION ROOMS

RESEARCH OFFICE

OPEN PERFORMANCE SPACE

TEAM LABORATORY

GROUP PODS EDUCATIO N CENTRE

L3 PLAN 1:800

L2 PLAN 1:800

SECTIONAL PERSPECTIVE AA’ 1:250

SLEEP POD

SLEEP POD

OPEN OFFICE

CLINICAL SUPPORT

CAFE

OPEN OFFICE

STAFF AREA

CLINIC LOBBY

AUDITORIUM

PRE-FUNCTION AREA

MAIN LOBBY

FOYER

LIGTHING LABS

ACTIVITY ROOM

OPEN COURTYARD

ACTIVITY ROOM

EXPERIMENTAL LABS

ACTIVITY ROOM

BREAKOUT SPACES

L1 PLAN 1:800

B1 PLAN 1:800

EVENT PLAZA EQUINOS AFTERNOON PERSPECTIVE

OFFICE WINTER EVENING PERSPECTIVE

MATRIX OF LIGHTING PERFORMANCE

SECTIONAL ANALYSIS OF LIGHTING QUALITIES 1:1200

SHOWAPOWA

by GOH YI FAN ‘Showapowa’ challenges the notion that a building must protect and be enclosed. Surrounded by walls and glass, we become increasingly detached from nature. This project aims to fully embrace the phenomena of rain, which can be functional and sensorial for Man to enjoy. A hydrogen fuel cell research facility, it harnesses the potential of rain via electrolysis; it aims to collaborate with Shopee and BlueSG in research for our benefit - fuel cells can be the future for our nation’s self-sustainable transport system.

The process of hydrogen generation becomes an attractive feature, and spaces of public engagement are created for them know more about the new research and its stages: the origin, electrolysis and its potential. The building is designed to be fully open, with water bodies and the terrain acting as an ‘enclosure’. Together with 4 main features within, boundaries between the interior and the exterior are blurred, allowing users to have close contact and interaction with nature.

Studio CHAN WAI KIN

Past events like the Japanese Occupation and water conflicts with Malaysia show that Singapore is constan

ntly vulnerable to external threats. Rain serves as a constant reminder that we need to be self-sustainable.

1. Wheels of Fortune: The origin of power; outdoor pools & jacuzzi ponds as relaxation spaces for Man

2. Realm of Effervescence: vertical electrolysis plants provide rich visual experience while harnessing the potential of rain

3. Tanks for the Future: Hydrogen Storage area as viewing gallery towards fuel cell research rooms

4. Puddle Huddles: Relaxation lofts for researchers

A cooling, fun, and multi-sensorial experience; M&E spaces can be functional yet be

eautifully integrated; a roof can be an element that brings climate and Man together.

I AM THE MOON

by ALEXANDER TEOH The many faces of the moon have bared themselves to man since ancient days. In darker times the gleaming orb of the night afforded great succour and great despair to they who pondered its light. Thus we have our tales, our radiant mythologies spun by the artists and the poets and the medicine men of yore.

But what is the moon to man? It is not merely that barren rock of its physical phenomena, for otherwise there is no reason for the fascination of man; it has persistently prevailed in its kingdom of obscurity. We are upon the end. If we might not express our understanding of the moon, might we therefore express our ignorance of the moon? Perhaps the agency lies not in the moon, but in the one who gazes at the moon, and imbues it with visceral beauty. And if that is so, then how one gazes at the moon thusly takes eminence.

Four gardens directed to four phases of the moon – the crescent, quarter, gibbous, and the full moon – were therefore created to engender four conditions for watching the moon.

Each, by virtue of its orientation and opening to the night sky, affords a direct view to the moon phase it corresponds to at a particular time of night; each, by virtue of its spatial tectonics, expresses a different interpretation of the moon that corresponds, also, to its dedicated phase. Journeying through the gardens, however, notwithstanding the hour nor the day, tells a different story.

Studio NG SAN SON

Preliminary sectional drawing

The project began with a drawing centered on the notion of dimness, and explored how dim spaces relegated one’s perception to the non-visual senses. But the moon is, also, defined by its irregular light, its mottled and imperfectly illuminated surface. Hence I entered the territory of shadows, of the shape of shadows and their intangible structure, of reflected light, of coloured shadows, and of sequencing a choreography of shadows that granted progression and movement between the spaces. Yet none of these seemed to touch that mythical quality of the moon, that characteristic charm which has long fascinated ancient man.

Annotations & Captions

Site / Roof Plan

The goddess of the night stretches forth her stygian sceptre upon a darkened earth, its orb of silver in pallid gleam. Once, she arrived and departed upon her whim; her visitations were brief, her disappearances discordant. Now man has tracked her capricious routines, but still she eludes definition, is constant in her inconstancy, and unlike the entourages of the planets yonder, the moon remains without a name: for still we cannot capture her, cannot hope to comprehend her.

But we know when she arrives. And when she does we shall meet her upon her retinue of the sky, shall gaze at her rayless glory, her transient trail across the vaults, before she vanishes once again and we descend from our lookouts to wait, once more, for when she arrives.

Moon Charting

I saw four gardens

Four gardens are created to watch the moon.

Four gardens correspond to the four phases of the moon. Four gardens express four subjective interpretations of the moon. Four gardens curate four varying conditions for watching the moon. If the moon cannot be quantified, and is characterised by an indefinable subjectivity, then the moonlight should not be made into an

objective entity, an implement wielded to serve a space. If the essence of the moon lies in how one interprets the moon, it is not the moon, but the conditions for watching the moon that should be manipulated. Thus four gardens are offered, that they might afford no single interpretation of the moon and its ingraspable light.

1st Storey Plan

2nd Storey and Basement Plan

Annotations

s & Captions

Equinox

by Saw Tian Aik The vessel to celebrate Ambigeous Metaphorical change in nature. To foster a new boundary between the public and the unknowable.

Architecture is a celebration of the process of constant flux in the climate and people. It is a vessel to foster a unique moment in time that is ambiguous (known & unknown) but showcasing a fascination with nature. Architecture augments the metamorphic, unpredictability in nature.

The research center is metaphorically referred to as a “black box type” due to its secrecy and the fear of their formula and research being taken from their competition. This project seeks to challenge the publicness and secrecy of a research center. Can a research center allow for exhibition while keeping the sensitivity of researchers?

While the spaces and facade change due to the publicness of the surrounding. The spaces also change to create a unique moment in time that is special.

Phenomenon: Turbulence in water The movement of water particles in water is beautiful because it is a random movement. But it does have order in the movement, it creates this spiral movement that man has not to be able to understand. This movement is not predictable because it is not like laminar flow, water does not flow in one direction, and that could well understand. Ink in water makes the process visible. However, this process of pouring water cannot be reversible as ink is soluble

Studio Wu Yen Yen

Parti Plan

Site Strategies

Sun path diagram

1st storey plan

Parti Diagram

Basement plan

2nd storey plan

3rd storey plan

4th storey plan

East Elevation- Day

East Elevation- Night

South Elevation- Day

South Elevation- Night

Entrance- Day

Entrance- Night

Laboratory perspective

Spray painting perspective

Fluid Dynamics diagram

Space relationship with facade details

Sectio

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Sectio

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