B.A. (ARCH) LEVEL 1: SEEING | THINKING | MAKING

YEAR 1 LEVEL 1 COMPILATION OF SAMPLES

2019/2020 B.A. (ARCH) 1

SEEING THINKING MAKING

IMAGE CREDIT: ASHLEY YAP

Level 1 Design Studio AY 2019/2020

2019/2020 B.A. (ARCH) 1

Any form of representation is a three-fold process.

Studio Leaders:

First, it is a thorough understanding of the nature of the content that is to be communicated. It is important that there is a rigorous, critical understanding of the subject matter: its strength, its value, its underlying operating principles in the way architecture is seen within the larger timeline, its time and place in the cultural, social, geographical spheres in which it is situated.

Wu Yen Yen (Level 1 Studio Leader & Unit 1 Leader)

Adjunct Assistant Professor, M.Arch (Columbia GSAPP), BA.Arch Studies (NUS), M’SIA, Registered Arch Singapore

Ng San San (Unit 2 Leader)

M.Arch (NUS), BA.Arch Studies (NUS), Reg Arch Singapore

Liang Lit How (Unit 3 Leader)

SEEING is an intellectual exercise of observation, deciphering, then a re-synthesis of information into an original assessment. Looking is the act of casting one’s eye upon an object, while SEEING refers to the perception of that object within a thought framework.

B.Arch (NUS), BA.Arch Studies (NUS)

Second, materializing and formalizing a vehicle that conveys this original representation, is a rigorous design THINKING process that combines both a summation of all the salient points of the subject matter and, more importantly, the ability to convey subtleties in the most succinct, powerful way.

Faculty: Semester 1 Wong Yunn Chii

Associate Professor, Ph.D (MIT), M.Arch, AB (Architecture) & BS (CE) Washington University in St. Louis

The best architectural representations are those most incisive and original in the SEEING and THINKING of resource material, and the subsequent MAKING of the most powerful form of suitable representation.

Tomohisa Miyauchi

In Year 1 Semester 1, architecture will be studied within the context of the prevalent design principles of that time. Through this comparative framework, students will learn to read and understand architecture of different times that embody different design ideologies, represented in a form that is the most communicative and convincing.

B.Arch (Hons) (NUS), B.Arch Arch. Studies (NUS), MSIA, Reg Arch Singapore

Senior Lecturer, M.Arch (Harvard), B.Arch (Sci-Arc), Reg Arch WAIA, USA, Reg Arch Japan.

Lee May Anne Yang Han M.Arch (NUS), BA.(2nd Upper Hons) Arch Studies (NUS), Reg Arch Singapore

Elaine Lee M.Arch, BA.Arch Studies, (NUS)

The objective is for students to understand that content and representations are not separate operations, but three parts of one creative, communicative process.

Ng William B.Arch (Hons), BA.Arch Studies (NUS), M’SIA, Registered Arch Singapore

Wu Yen Yen Level 1 Studio Leader, Unit 1 Leader

Chin Kean Kok

B.Arch (Hons), BA.Arch Studies (NUS), M’SIA, Registered Arch Singapore

Ng San Son Unit 2 Leader Liang Lit How Unit 3 Leader

28

LEVEL 1 DESIGN STUDIO FACULTY

LEVEL 1: Seeing, Thinking, Making

Level 1 Design Studio AY 2019/2020

2019/2020 B.A. (ARCH) 1

Any form of representation is a three-fold process.

Studio Leaders:

First, it is a thorough understanding of the nature of the content that is to be communicated. It is important that there is a rigorous, critical understanding of the subject matter: its strength, its value, its underlying operating principles in the way architecture is seen within the larger timeline, its time and place in the cultural, social, geographical spheres in which it is situated.

Wu Yen Yen (Level 1 Studio Leader & Unit 1 Leader)

Adjunct Assistant Professor, M.Arch (Columbia GSAPP), BA.Arch Studies (NUS), M’SIA, Registered Arch Singapore

Ng San San (Unit 2 Leader)

M.Arch (NUS), BA.Arch Studies (NUS), Reg Arch Singapore

Liang Lit How (Unit 3 Leader)

SEEING is an intellectual exercise of observation, deciphering, then a re-synthesis of information into an original assessment. Looking is the act of casting one’s eye upon an object, while SEEING refers to the perception of that object within a thought framework.

B.Arch (NUS), BA.Arch Studies (NUS)

Second, materializing and formalizing a vehicle that conveys this original representation, is a rigorous design THINKING process that combines both a summation of all the salient points of the subject matter and, more importantly, the ability to convey subtleties in the most succinct, powerful way.

Faculty: Semester 1 Wong Yunn Chii

Associate Professor, Ph.D (MIT), M.Arch, AB (Architecture) & BS (CE) Washington University in St. Louis

The best architectural representations are those most incisive and original in the SEEING and THINKING of resource material, and the subsequent MAKING of the most powerful form of suitable representation.

Tomohisa Miyauchi

In Year 1 Semester 1, architecture will be studied within the context of the prevalent design principles of that time. Through this comparative framework, students will learn to read and understand architecture of different times that embody different design ideologies, represented in a form that is the most communicative and convincing.

B.Arch (Hons) (NUS), B.Arch Arch. Studies (NUS), MSIA, Reg Arch Singapore

Senior Lecturer, M.Arch (Harvard), B.Arch (Sci-Arc), Reg Arch WAIA, USA, Reg Arch Japan.

Lee May Anne Yang Han M.Arch (NUS), BA.(2nd Upper Hons) Arch Studies (NUS), Reg Arch Singapore

Elaine Lee M.Arch, BA.Arch Studies, (NUS)

The objective is for students to understand that content and representations are not separate operations, but three parts of one creative, communicative process.

Ng William B.Arch (Hons), BA.Arch Studies (NUS), M’SIA, Registered Arch Singapore

Wu Yen Yen Level 1 Studio Leader, Unit 1 Leader

Chin Kean Kok

B.Arch (Hons), BA.Arch Studies (NUS), M’SIA, Registered Arch Singapore

Tomohisa Miyauchi Unit 2 Leader Liang Lit How Unit 3 Leader

28

LEVEL 1 DESIGN STUDIO FACULTY

LEVEL 1: Seeing, Thinking, Making

TENSITY DOME CLARABELLE PUN + ASTON YAP + JOHN CHEW GERONIMO JR + PHOEBE CHUA STUDIO ELAINE LEE + TOMOHISA MIYAUCHI

TENSEGRITY DOME CLARABELLE PUN + ASTON YAP + JOHN CHEW GERONIMO JR + PHOEBE CHUA STUDIO ELAINE LEE + TOMOHISA MIYAUCHI

BB

BB

certain sions. We ed to use cated string, th another rial. ase the g, which ecided ea of nspired odular tessalated to form ates.

certain sions. We ed to use cated string, th another rial. ase the g, which ecided ea of nspired odular tessalated to form ates.

in different ways to form different aggregates.

us to create a modular unit that can be tessalated in different ways to form different aggregates.

in different ways to form different aggregates.

us to create a modular unit that can be tessalated in different ways to form different aggregates.

TOPIC B BRIDGE Utilising the same concept, we were able to reconfigure our modular connections to form a bridge that could hold the weight of 3 drinking cans.

TOPIC B BRIDGE Utilising the same concept, we were able to reconfigure our modular connections to form a bridge that could hold the weight of 3 drinking cans.

COMPLEX GEOMETRY GENERATION PHOONG ZHIA WEN STUDIO WU YEN YEN

COMPLEX GEOMETRY GENERATION PHOONG ZHIA WEN STUDIO WU YEN YEN

yevery ery material material material hashas its has its own its own own strengths strengths strengths and d weaknesses. weaknesses. weaknesses. playing playing playing with with with vinyl vinyl vinyl has s provided provided provided mememe a a greater a greater greater derstanding understanding rstanding of ofmateriality, ofmateriality, materiality, and and and how wto towork towork work around around around thethethe given given given acteristics. characteristics. aracteristics.

M O D E L S M O D E L S M O D E L S

i started i started i started thethe exercise the exercise exercise offoff by off by testing by testing testing outoutout different different different possible possible possible actions actions actions ononon small small small sheets sheets sheets of of vinyl. of vinyl. vinyl.

these these these all all resulted all resulted resulted in in forms in forms forms that that that were were were compatible compatible compatible together. together. together. forfor instance, for instance, instance, a a a node node node made made made byby gathering by gathering gathering thethe fabric the fabric fabric at at 4 at corners 4 corners 4 corners naturally naturally naturally creates creates creates a fold a fold a fold which which which can can can continue continue continue as as as a a a connection. connection. connection. with with this with this logic this logic logic and and and system system system in in mind, in mind, mind, i i i created created created a a model a model model that that that followed followed followed thethethe outline outline outline of of a of plane a a plane plane in in myin my code my code code – an – an – an individual individual individual system. system. system.

G E O M E T R Y G E O M E T R Y G E O M E T R Y

- -a -a node a node node was was was done done done byby gathering by gathering gathering vinyl vinyl vinyl at at 4 at points 4 points 4 points to to make to make make a peak. a peak. a peak.

- -direction -direction direction was was was noted noted noted through through through a a a pinch pinch pinch onon the on the nodes. the nodes. nodes.

- -connections -connections connections were were were done done done bybyby creating creating creating folds folds folds that that that connected connected connected each each each node. node. node.

G E N E R AT I O N G E N E R AT I O N G E N E R AT I O N

thereafter, thereafter, thereafter, i ichose ichose chose a aseries aseries series of of of actions actions actions that that that best best best suited suited suited thethethe fundamental fundamental fundamental elements elements elements in my in my incode. my code. code.

O M P L E X O M P L E X O M P L E X

for nyl, vinyl, vinyl, it cannot it cannot it cannot bebe stretched be stretched stretched or or or d, pulled, lled,and and and cutting cutting cutting vinyl vinyl vinyl loses loses loses its its its bric cfabric tension tension tension that that that gives gives gives it ititsitits its parametric metric rametric form. form. form. onon the on the other the other other hand, hand, hand, vinyl yl is is thick is thick thick and and and rigid rigid rigid and and and parametric metric rametricforms forms forms can can can bebecreated becreated created through ough gh small small small actions. actions. actions. also, also, also, vinyl vinyl vinyl is is is continuous nuous ntinuous and and and therefore therefore therefore any any any eceding eding precedingactions actions actionsthat that thatwewewe cribe bscribe subscribe to tothe tothethe fabric fabric fabric willwillwill bebebe rted distorted tortedbybythe bythesucceeding thesucceeding succeeding one. one. one. vinyl ylwas was was interesting interesting interesting to toplay toplay play with with with ause because causeit itis itisvery isvery very responsive responsive responsive to to to actions tions ns and and and hence hence hence wewewill wewillnever willnever never ow know thethethe outcome outcome outcome of ofthe ofthethe form form form generated. rated. nerated.

[ M [ M [AMAT ATE TER ERI ARI ALI AIL TLI TYI TY] Y] ] [ P R O C E S S [ P R O C E S S [ P R O C E S S

MEMET ETR TRY RY Y G GEGEN ENE NER ERA RAT ATI O TI O INON N

C COCOMOMPMPL PLE LEX EX X G GEGEOEOMOMEMET ETR TRY RY Y G GE

yevery ery material material material hashas its has its own its own own strengths strengths strengths and d weaknesses. weaknesses. weaknesses. playing playing playing with with with vinyl vinyl vinyl has s provided provided provided mememe a a greater a greater greater derstanding understanding rstanding of ofmateriality, ofmateriality, materiality, and and and how wto towork towork work around around around thethethe given given given acteristics. characteristics. aracteristics.

M O D E L S M O D E L S M O D E L S

i started i started i started thethe exercise the exercise exercise offoff by off by testing by testing testing outoutout different different different possible possible possible actions actions actions ononon small small small sheets sheets sheets of of vinyl. of vinyl. vinyl.

these these these all all resulted all resulted resulted in in forms in forms forms that that that were were were compatible compatible compatible together. together. together. forfor instance, for instance, instance, a a a node node node made made made byby gathering by gathering gathering thethe fabric the fabric fabric at at 4 at corners 4 corners 4 corners naturally naturally naturally creates creates creates a fold a fold a fold which which which can can can continue continue continue as as as a a a connection. connection. connection. with with this with this logic this logic logic and and and system system system in in mind, in mind, mind, i i i created created created a a model a model model that that that followed followed followed thethethe outline outline outline of of a of plane a a plane plane in in myin my code my code code – an – an – an individual individual individual system. system. system.

G E O M E T R Y G E O M E T R Y G E O M E T R Y

- -a -a node a node node was was was done done done byby gathering by gathering gathering vinyl vinyl vinyl at at 4 at points 4 points 4 points to to make to make make a peak. a peak. a peak.

- -direction -direction direction was was was noted noted noted through through through a a a pinch pinch pinch onon the on the nodes. the nodes. nodes.

- -connections -connections connections were were were done done done bybyby creating creating creating folds folds folds that that that connected connected connected each each each node. node. node.

G E N E R AT I O N G E N E R AT I O N G E N E R AT I O N

thereafter, thereafter, thereafter, i ichose ichose chose a aseries aseries series of of of actions actions actions that that that best best best suited suited suited thethethe fundamental fundamental fundamental elements elements elements in my in my incode. my code. code.

O M P L E X O M P L E X O M P L E X

for nyl, vinyl, vinyl, it cannot it cannot it cannot bebe stretched be stretched stretched or or or d, pulled, lled,and and and cutting cutting cutting vinyl vinyl vinyl loses loses loses its its its bric cfabric tension tension tension that that that gives gives gives it ititsitits its parametric metric rametric form. form. form. onon the on the other the other other hand, hand, hand, vinyl yl is is thick is thick thick and and and rigid rigid rigid and and and parametric metric rametricforms forms forms can can can bebecreated becreated created through ough gh small small small actions. actions. actions. also, also, also, vinyl vinyl vinyl is is is continuous nuous ntinuous and and and therefore therefore therefore any any any eceding eding precedingactions actions actionsthat that thatwewewe cribe bscribe subscribe to tothe tothethe fabric fabric fabric willwillwill bebebe rted distorted tortedbybythe bythesucceeding thesucceeding succeeding one. one. one. vinyl ylwas was was interesting interesting interesting to toplay toplay play with with with ause because causeit itis itisvery isvery very responsive responsive responsive to to to actions tions ns and and and hence hence hence wewewill wewillnever willnever never ow know thethethe outcome outcome outcome of ofthe ofthethe form form form generated. rated. nerated.

[ M [ M [AMAT ATE TER ERI ARI ALI AIL TLI TYI TY] Y] ] [ P R O C E S S [ P R O C E S S [ P R O C E S S

MEMET ETR TRY RY Y G GEGEN ENE NER ERA RAT ATI O TI O INON N

C COCOMOMPMPL PLE LEX EX X G GEGEOEOMOMEMET ETR TRY RY Y G GE

C O M P L E X

C O M P L E X

G E O M E T R Y

G E O M E T R Y

G E N E R AT I O N

G E N E R AT I O N

[ I N D I V I D U A L

[ I N D I V I D U A L

M O D E L S ]

M O D E L S ]

C O M P L E X

C O M P L E X

G E O M E T R Y

G E O M E T R Y

G E N E R AT I O N

G E N E R AT I O N

[ I N D I V I D U A L

[ I N D I V I D U A L

M O D E L S ]

M O D E L S ]

the extracted segment of my code contains all the base elements, and the extracted segment of my code most of the compounded elements. contains all the base elements, and the model was condensed on one most of the compounded elements. endwas but condensed expands on other given the model onthe one feweron number of intersecting end butthe expands the other given lines.number of intersecting the fewer lines.

through this model, we appreciate

throughthe this model, we appreciate spaces created by the the spaces created undulations of by such theparametric undulations of such parametric forms. forms.

the extracted segment of my code contains all the base elements, and the extracted segment of my code most of the compounded elements. contains all the base elements, and the model was condensed on one most of the compounded elements. endwas but condensed expands on other given the model onthe one feweron number of intersecting end butthe expands the other given lines.number of intersecting the fewer lines.

through this model, we appreciate

throughthe this model, we appreciate spaces created by the the spaces created undulations of by such theparametric undulations of such parametric forms. forms.

KATSURA IMPERIAL VILLA SCHRODER HOUSE MAISON COOK ALLY TAN

KATSURA IMPERIAL VILLA SCHRODER HOUSE MAISON COOK ALLY TAN

Katsura Imperial Villa.

plan / section / elevation Completed in 1965 in Kyoto, Japan, Katsura Imperial Villa was thought to be designed ahead of its time by western architects as it went beyond classicism.

Exercise 1 taught us the fundamentals of how to read and draw a plan, section, and elevation, and how they should reflect each other coherently.

This is crucial as drawings are a reflection of what a building is like in 2 dimensions.

With this set of drawings, I gained insight to some of Katsura's design principles such as spatial qualities, grid, pattern, rhythm, proportions and hierarchy.

Following the use of different line weights and textures, I was able to highlight the relevant characteristics of this building.

Katsura Imperial Villa.

plan / section / elevation Completed in 1965 in Kyoto, Japan, Katsura Imperial Villa was thought to be designed ahead of its time by western architects as it went beyond classicism.

Exercise 1 taught us the fundamentals of how to read and draw a plan, section, and elevation, and how they should reflect each other coherently.

This is crucial as drawings are a reflection of what a building is like in 2 dimensions.

With this set of drawings, I gained insight to some of Katsura's design principles such as spatial qualities, grid, pattern, rhythm, proportions and hierarchy.

Following the use of different line weights and textures, I was able to highlight the relevant characteristics of this building.

Katsura Imperial Villa.

plan / section / elevation ANALYSIS Through the analysis of section, hierarchy of ceiling can be seen. Playing with ceiling heights restricts movements according to the functionality of rooms. Verandas also acts as transitional spaces between interiority and exteriority.

Hierarchy of roofs can also be seen in the elevation of Katsura with the new palace (served) being the highest and servants being the lowest.

Primary, Secondary and Tertiary elements are also used to show pattern and proportions.

Elevation

Section Site Plan

Katsura Imperial Villa.

plan / section / elevation ANALYSIS Through the analysis of section, hierarchy of ceiling can be seen. Playing with ceiling heights restricts movements according to the functionality of rooms. Verandas also acts as transitional spaces between interiority and exteriority.

Hierarchy of roofs can also be seen in the elevation of Katsura with the new palace (served) being the highest and servants being the lowest.

Primary, Secondary and Tertiary elements are also used to show pattern and proportions.

Elevation

Section Site Plan

Schroder House.

process analysis

Exercise 2 carries forward the skillset acquired from exercise 1 such as understanding plans, sections and elevations. To analyze and represent its design principles of Parti and space using axonometric and isometric drawings.

PROCESS Through an in-depth process and analysis, I was able to extract the design principles and considerations taken to design the Schroder house.

Taking site into context, to see how the house reacts to its surrounding. By studying its plans, to see how its spatially organized and how circulation affect its spaces.

The idea of “Function over Form” where functionality played an important role in helping the house take its form. How studying the façade to understand the lack of symmetry that closely follows the De Stijl Art Movement.

Group analysis: Ally, Ashley, Izzy, Mx

Schroder House.

process analysis

Exercise 2 carries forward the skillset acquired from exercise 1 such as understanding plans, sections and elevations. To analyze and represent its design principles of Parti and space using axonometric and isometric drawings.

PROCESS Through an in-depth process and analysis, I was able to extract the design principles and considerations taken to design the Schroder house.

Taking site into context, to see how the house reacts to its surrounding. By studying its plans, to see how its spatially organized and how circulation affect its spaces.

The idea of “Function over Form” where functionality played an important role in helping the house take its form. How studying the façade to understand the lack of symmetry that closely follows the De Stijl Art Movement.

Group analysis: Ally, Ashley, Izzy, Mx

Schroder House.

exploded isometric / axonometric Schroder House designed

by Rietveld showcases flexible and open spaces.

With the function of the spaces revolving around the core stairs, it creates a centrifugal movement and radial circulation.

centrifugal movement / spiral stairs / flexible open plan

The structure of the house consists of angular lines and no form of curves which emphasises the spiral stairs and centrifugal movement.

The lines from the interior space is then carried forward to the facade of the house.

The house closely follows the De Stijl movement and is shown in the facade. It consist of 2 components that intersects each other in the X,Y&Z axis; lines and planes.

Through the dynamic lines and planes, it creates a collage similar to the art movement.

dynamic collaged facade

dynamic faรงade components

Schroder House.

exploded isometric / axonometric Schroder House designed

by Rietveld showcases flexible and open spaces.

With the function of the spaces revolving around the core stairs, it creates a centrifugal movement and radial circulation.

centrifugal movement / spiral stairs / flexible open plan

The structure of the house consists of angular lines and no form of curves which emphasises the spiral stairs and centrifugal movement.

The lines from the interior space is then carried forward to the facade of the house.

The house closely follows the De Stijl movement and is shown in the facade. It consist of 2 components that intersects each other in the X,Y&Z axis; lines and planes.

Through the dynamic lines and planes, it creates a collage similar to the art movement.

dynamic collaged facade

dynamic faรงade components

Maison Cook.

exploded isometric / axonometric Maison Cook designed by Le Corbusier touches on the 5 points of Architecture.

The house is arranged to highlight the double volume living space on the top two floors and is achieved through a variety of volumetric spaces.

The house has prominent public and private spaces using the concept of free plan. The stairs are made half landing and thus creates a linear continuous circulation from floor to floor.

linear movement & stairs / free plan

The Free Faรงade is mostly flat and uses the impression of mass along with Ribbon windows to block its interior spaces. In contrast to its flat faรงade, the interior consists of many curved walls and columns- Pilotis.

free faรงade / ribbon windows

Maison Cook.

exploded isometric / axonometric Maison Cook designed by Le Corbusier touches on the 5 points of Architecture.

The house is arranged to highlight the double volume living space on the top two floors and is achieved through a variety of volumetric spaces.

The house has prominent public and private spaces using the concept of free plan. The stairs are made half landing and thus creates a linear continuous circulation from floor to floor.

linear movement & stairs / free plan

The Free Faรงade is mostly flat and uses the impression of mass along with Ribbon windows to block its interior spaces. In contrast to its flat faรงade, the interior consists of many curved walls and columns- Pilotis.

free faรงade / ribbon windows

GEPPA-RO MAISON COOK + SCHRODER HOUSE SINGAPORE CONFERENCE HALL LI ZEYI

GEPPA-RO MAISON COOK + SCHRODER HOUSE SINGAPORE CONFERENCE HALL LI ZEYI

 

GEPPA-RO

The Katsura imperial villa was constructed to incorporate the qualities of concord, reverence, pureness, and isolation. The flooring pattern composed of tatamis, and the spacial transition delivered by sliding shojis together generate a rhythmical interior arrangement throughout the building. The repetition of these minimalistic design peels off unnecessary complexity inside the rooms, thus more attention is paid toward the exterior. The garden, which is designed as a microcosm of the natural world, represents the harmony of

mountains, forest and sea of Japan. As an essential part of the whole building, the garden brings the natural scenes into the rooms, from where the fusion of spirit and nature could be experienced and the very essence of Zen Buddhism could be found. Perhaps, this kind of spiritual enjoyment is the real luxury part of the Katsura imperial villa. These forms of aristocratic culture at that time, just like other elegant activities including poem, music and tea ceremony, were exclusive privileges of the few.

 

GEPPA-RO

The Katsura imperial villa was constructed to incorporate the qualities of concord, reverence, pureness, and isolation. The flooring pattern composed of tatamis, and the spacial transition delivered by sliding shojis together generate a rhythmical interior arrangement throughout the building. The repetition of these minimalistic design peels off unnecessary complexity inside the rooms, thus more attention is paid toward the exterior. The garden, which is designed as a microcosm of the natural world, represents the harmony of

mountains, forest and sea of Japan. As an essential part of the whole building, the garden brings the natural scenes into the rooms, from where the fusion of spirit and nature could be experienced and the very essence of Zen Buddhism could be found. Perhaps, this kind of spiritual enjoyment is the real luxury part of the Katsura imperial villa. These forms of aristocratic culture at that time, just like other elegant activities including poem, music and tea ceremony, were exclusive privileges of the few.

MAISON COOK MAISON COOK The Maison Cook and the Schroder House share many similarities. Both these two dwellings sit in the rows of terrace houses, located at the outskirts of the built-up metropolis. And they are both built in the 1920s, under influence movements The the Maison Cook ofandtwotheartSchroder House came during this period, which are Purism and share many similarities. Both these two Neo-Plasticism Stijl). thehouses, art dwellings sit (De in the rowsAsof both terrace philosophies try to bring visual compositions located at the outskirts of the built-up down to the primary of metropolis.

And theyabstract are bothforms, built ineach the 1920s, under the influence of two art movements came during this period, which are Purism and Neo-Plasticism (De Stijl). As both the art philosophies try to bring visual compositions down to the primary abstract forms, each of

these two houses shows remarkable geometric characteristics. When looking at the Maison Cook, behind its integrated facade, rectangles and curves are used to sustain harmony in the arrangement of the internal walls. For the Schroder House, its shows eye-catching facades on these two houses remarkable geometric three sides are composed of panels and poles characteristics. When looking at the Maison thatCook, vary behind in size its andintegrated proportion, embellished facade, rectangles withand redcurves and yellow. are used to sustain harmony in the arrangement of the internal walls. For the Schroder House, its eye-catching facades on three sides are composed of panels and poles that vary in size and proportion, embellished with red and yellow.

However, the ideas in how the architect are guided to construct the structures are subtly different. While the design of Maison Cook is observed to be based on a clear grid system, the Schroder House’s forms present more arbitrariness.

Theseare However, the ideas in how the architect differences may echo with the principles of guided to construct the structures are subtly the different. two art movements behind.ofOn the one While the design Maison Cook hand, Purism expresses not the variations, is observed to be based on a clear grid butsystem, the invariant, does emphasize the the which Schroder House’s forms necessity of order.

On the other hand, Neopresent more arbitrariness. These Plasticism focuses on the of of differences may echo with essentials the principles form and color, simplifying the spatial the two art movements behind. On the one elements to vertical and horizontal, using hand, Purism expresses not the variations, onlybut black, white and primary colors. the invariant, which does emphasize the necessity of order. On the other hand, NeoPlasticism focuses on the essentials of form and color, simplifying the spatial

SCHRÖDER HOUSE SCHRÖDER HOUSE

MAISON COOK MAISON COOK The Maison Cook and the Schroder House share many similarities. Both these two dwellings sit in the rows of terrace houses, located at the outskirts of the built-up metropolis. And they are both built in the 1920s, under influence movements The the Maison Cook ofandtwotheartSchroder House came during this period, which are Purism and share many similarities. Both these two Neo-Plasticism Stijl). thehouses, art dwellings sit (De in the rowsAsof both terrace philosophies try to bring visual compositions located at the outskirts of the built-up down to the primary of metropolis.

And theyabstract are bothforms, built ineach the 1920s, under the influence of two art movements came during this period, which are Purism and Neo-Plasticism (De Stijl). As both the art philosophies try to bring visual compositions down to the primary abstract forms, each of

these two houses shows remarkable geometric characteristics. When looking at the Maison Cook, behind its integrated facade, rectangles and curves are used to sustain harmony in the arrangement of the internal walls. For the Schroder House, its shows eye-catching facades on these two houses remarkable geometric three sides are composed of panels and poles characteristics. When looking at the Maison thatCook, vary behind in size its andintegrated proportion, embellished facade, rectangles withand redcurves and yellow. are used to sustain harmony in the arrangement of the internal walls. For the Schroder House, its eye-catching facades on three sides are composed of panels and poles that vary in size and proportion, embellished with red and yellow.

However, the ideas in how the architect are guided to construct the structures are subtly different. While the design of Maison Cook is observed to be based on a clear grid system, the Schroder House’s forms present more arbitrariness.

Theseare However, the ideas in how the architect differences may echo with the principles of guided to construct the structures are subtly the different. two art movements behind.ofOn the one While the design Maison Cook hand, Purism expresses not the variations, is observed to be based on a clear grid butsystem, the invariant, does emphasize the the which Schroder House’s forms necessity of order.

On the other hand, Neopresent more arbitrariness. These Plasticism focuses on the of of differences may echo with essentials the principles form and color, simplifying the spatial the two art movements behind. On the one elements to vertical and horizontal, using hand, Purism expresses not the variations, onlybut black, white and primary colors. the invariant, which does emphasize the necessity of order. On the other hand, NeoPlasticism focuses on the essentials of form and color, simplifying the spatial

SCHRÖDER HOUSE SCHRÖDER HOUSE

SINGAPORE CONFERENCE HALL

As one of the earliest Modernist buildings in Singapore, Singapore Conference Hall is a multipurpose building located in the heart of the financial district of Shenton Way in Downtown Core of Singapore. Since its opening in 1965, the building has witnessed numerous historical moments of Singapore. After

undergoing renovation in 1999, the building is now home to the Singapore Chinese Orchestra.

In my sectional perspective drawing, I tried to reproduce the original structure and ornaments of the building, when it was used as a conference place and the office for Trade Union.

The building’s most prominent feature, the

avant-garde cantilevered butterfly roof, symbolizes Singapore’s ambition in the critical transition to a modern society. But inside its modernist facade, Singapore Conference Hall is also endowed with unique characteristics. Its concourse is designed to be naturally ventilated to acclimate the tropical weather. And

vernacular elements, including the traditional Malayan motifs and the local-timber-made railings and panelings, were incorporated within the details of the building. Singapore Conference Hall is such an epitome that reflects the balance people were seeking between modernization and local identity.

SINGAPORE CONFERENCE HALL

As one of the earliest Modernist buildings in Singapore, Singapore Conference Hall is a multipurpose building located in the heart of the financial district of Shenton Way in Downtown Core of Singapore. Since its opening in 1965, the building has witnessed numerous historical moments of Singapore. After

undergoing renovation in 1999, the building is now home to the Singapore Chinese Orchestra.

In my sectional perspective drawing, I tried to reproduce the original structure and ornaments of the building, when it was used as a conference place and the office for Trade Union.

The building’s most prominent feature, the

avant-garde cantilevered butterfly roof, symbolizes Singapore’s ambition in the critical transition to a modern society. But inside its modernist facade, Singapore Conference Hall is also endowed with unique characteristics. Its concourse is designed to be naturally ventilated to acclimate the tropical weather. And

vernacular elements, including the traditional Malayan motifs and the local-timber-made railings and panelings, were incorporated within the details of the building. Singapore Conference Hall is such an epitome that reflects the balance people were seeking between modernization and local identity.

YEAR 1 LEVEL 1 COMPILATION OF SAMPLES

2019/2020 B.A. (ARCH) 1

IMAGE CREDIT: JIN YONGXUAN