B.A. (ARCH) LEVEL 4: ENVIRONMENT | CLIMATE | ENVELOPE. SELECTED WORKS. by NUSDoA2022

YEAR 2 LEVEL 4 COMPILATION OF SELECTED WORKS

2019/2020 B.A. (ARCH) LEVEL 4

ENVIRONMENT CLIMATE ENVELOPE

IMAGE CREDIT: KEE CHEOW YAN, ZHOU ZHEFANG & LEE YINSHIN

Shingles at Default Position

LEVEL 4: Environment, Climate, Envelope Growing up, my mother would consistently watch the 6:20pm weather forecast to plan for the day ahead. For in the turbulent Northeast of the United States, weather changed not only by day, but by the hour. Weather’s altering dramatics would impact dress, activity, and mood. On the equator, weather doesn’t exist – at least not in the temperate sense -- as the consistency of the equatorial weather spread across the year drives a different relationship with the air around us. Termed as “climate”, the weather of the equator operates in narrow brackets of temperature, humidity, and the passing storm. That is not to say that change of equatorial climate doesn’t occur; from the monsoon breeze to the turbulent thunderstorm to stillness of evening heat, the weather of the equator is normalized due to its consistency of thermal energy from the sun. And due to the suns course and its perpendicular relationship with the earth, heat about the equator has been described in negative terms -- as a problem where an overheated atmosphere must be cooled or tempered to make life habitable. Or as found in a typical conversation with the Singapore taxi driver emphatically stating, “Ah, it’s soooo hot today” even if it differs little day by day. Adolf Loos posits in The Principle of Cladding (1898) that the lineages of architecture found in textiles is to modulate climate: “In the beginning, we sought to clad ourselves, to protect ourselves from the elements, to keep ourselves safe and warm while sleeping. We sought to cover ourselves. Originally consisting of animal furs or textiles, this covering is the earliest architectural feature.” From the selection of the garment to the co-opting of a cave to protect against a billowing storm, to the primitive hut delineating interior climate from an exterior one,

architecture’s role is the designing of one climate distinct from another. The means at an architect’s disposal to achieve the construction of climate has been twofold: the passive techniques of the architectural envelope – not just the façade, but the full surface of architecture that modulates sun, heat, rain, temperature, sound, humidity, smell and breeze. And secondly by actively adding or subtracting energy; adding heat by controlling fire in the hearth or boiler, increasing humidity by the introduction of a water fountain in the courtyards of the Alhambra, or by inducing air movement and breeze by the hand-powered or mechanical fan. Contemporarily, air conditioning has synthesized these active technologies and in so doing has largely displaced passive techniques with mechanical ones. In response, architecture has claimed space as the driver for architecture while climate has become the pursuit of the engineer. This semester we will interrogate the definitions of Environment, Climate, and Envelope as means to define where architecture begins and ends in the design of environment, climate, space and structure, to examine the efficacy of architectural approaches that construct climate in compelling ways, and to invent novel techniques that understand the design of climate as firmly within the domain of architecture. Erik L’Heureux Level 4 Studio Leader

Unit 1: Erik G. L’Heureux

(Level 4 Studio Leader & Unit 1 Leader) Dean’s Chair Associate Professor, Vice Dean, M.Arch. (Princeton University), BA Arch. (Wash U in St. Louis), Reg Arch New York, RI; FAIA, LEED AP BD+C

Ho See Jia M. Arch (Harvard GSD), BA. Arch (NUS), Reg Arch New York State

Randy Chan BA Arch. (Hons) NUS, M Arch NUS, Reg Arch Singapore

Jane Chua M.Arch. (Princeton University), BA Arch. (UC Berkeley), Reg Arch California, RIBA

Ong Chan Hao (TA) M. Arch Candidate, NUS

Unit 2: Dr Lilian Chee (Unit 2 Leader)

Associate Professor, Deputy Head (Academic), PhD (Bartlett, UCL), MSc (Arch History) with Distinction (Bartlett, UCL), B.Arch. (Hons) (NUS), BA (Arch Studies) (NUS)

Roy Pang B. Arch (Hons) (RMIT), MSIA, Reg Arch Singapore, GMM, UDA, DfSP

Tham Wai Hon BA Arch. (Hons) NUS, M Arch NUS

Lip Chiong BA Arch. (Hons) NUS, AA(DIP) UK

Wong Zihao (TA) PhD. Arch Candidate, NUS

Unit 3: Tiah Nan Chyuan (Unit 3 Leader)

Adjunct Assistant Professor; BA (Arch) NUS, AA(DIP) UK, MSIA, Reg Arch Singapore

Dr Yuan Chao Assistant Professor; PhD (The Chinese University of Hong Kong), MPhil (Beijing University of Civil Engineering and Architecture); B.E. (Zhejiang University of Technology)

Victor Lee BA(Arch Studies) NUS, AA Dipl London, ARB(UK), BOA, Registered Arch UK and Singapore, M’SIA

Dicle Uzunyayla MSc (Architecture & Urbanism) (MIT), B. Arch (Hons) (METU), BOA Reg Arch TR

Philip Fung (Visiting) M. Arch (CUHK), BSSc (Architectural Studies), The Chinese University of Hong Kong, RIBA, Registered Arch (HK)

Keith Png Jun Jie (TA) M. Arch Candidate, NUS

2019/2020 B.A.(ARCH) LEVEL 4

ENVIRONMENT CLIMATE ENVELOPE INTRODUCTION

This module interrogates the boundaries of environment, climate and architecture through the specifics of the envelope. Students will understand the gradient of atmospheric conditions between interior and exterior, forms of conditioning and the design of climate in an expansive form â&#x20AC;&#x201C; including air, breeze, rain, dust, smell, and other contaminants. They will understand the context of hot and wet equatorial environments and the value systems of environmental and sustainable designs with their accompanying long discursive histories. They will understand and deploy advanced digital simulations alongside analog testing and projecting. They will expand representational and process methodologies to incorporate the invisible conditions of the atmosphere as a design medium that impacts the architecture of the built environment. Learning objectives: 1. To understand and critically deploy conditions of environment as a fundamental component of architecture 2. To understand climate as a complex and variable set of mediums that impact the processes and outcomes of design 3. To understand the envelop in a range of positions from human to territorial scales, and to understand filtering as a component of architecture 4. To develop collaborative skills and to incorporate contradictory information and data in the design process 5. To design with the conceptual tools, to make value and ethical judgments on material and resource consequences of design decisions related to the larger understanding of climate and environment 6. To utilize advanced projective drawing and model making to communicate process and architectural iteration 7. To utilize digital drawing, simulations and making in a hybrid relationship with advance analog tools and testing methodologies 8. To present architectural ideas in concise and considered verbal, written, and performative presentations utilizing a wide range of mediums

UNIT 1 BRIEF Design the environment, climate, and envelope between two bodies, two climates, and two environments. Work in teams of 2. These are the two bodies. They are your measuring devices. The interface between the two bodies must do the following: 1. Separate the body from one another through distance 2. Allow the two bodies to touch at one point 3. A physical separation between the two bodies must be constructed and made visible 4. Air must be filtered through the two sides of the separation in some designed manner 5. Sound must be filtered through the two sides of the separation in some designed manner 6. Two states of climate must be designed for 24 hours (one on each side of the separation). Consider heat, sun, rain, breeze, sound, pollution, shade, smell, etc. 7. Select an orientation to the sun and prevailing breezes 8. The group is to build the separation at 1:1 scale with a maximum size of 1.8m x 1.8m 9. The climates that pair the designs are to be at a cubic volume of 1.8 x 1.8 x 1.8m 10. You are to draw one combined plan, section and projection at 1:1 11. The materials that you use (Latex Rubber and grey board only) must be considered in relation to climate, embodied carbon, labour of fabrication, and the material lifecycle. 12. Evaluate the design intention through digital, film and analogue means, verifying or disproving those intentions with the 1:1 construction. 13. Utilize your measuring device as a means to manifest the relationships between climate, the body, and architecture.

UNIT 2 BRIEF In the mathematics of the environment weathering is a power of subtraction, a minus, under the sign of which newly finished corners, surfaces, and colors are “taken away” by rain, wind, and sun. But is weathering only subtraction, can it not also add and enhance?[1] Weather and weathering are metaphors for the outside pouring into architecture, blurring its boundaries, disturbing its contents... [Yet] as architecture and weather are seen to blur, qualities assumed to be particular to one are found in the other. Rather than opposed, the history of architecture is a history of weather. [2] The architecture of the tropics is contradictory. It keeps out rain yet remains porous and breathable. In this way, it is not unlike a second skin. The conceptualization and fabrication of an architectural skin for the tropics revolves around architecture as envelope, and the inextricable relationships with the (immediate) environment and the (wider) climate of a locale. The envelope constructs an in-between space – constituted by surface and structure – that mediates between an interior environment and an exterior climate. The tropical envelope is always one of depth so as to be both nonpermeable and porous at the same time. Furthermore, in the tropics, the differentiation between interior and exterior are as much blurred as they are distinguished. Indeed, the architecture of the tropics becomes fascinating when distinctions between inside and outside are intentionally scrambled and challenged. The architectural envelope mediating heat, light, air, moisture, sound, is key to this zone of ambiguity. In this project, the objective is to translate the tropical weather into a sensory phenomenon which can be instinctively augmented by the architectural envelope. Working in groups of 2, you are to make a sensory pod to house 2 persons, one which is responsive to the ambiguities of the tropical weather. In particular, your design should accentuate and dramatize ONE sensory aspect of the hot, humid and wet tropics — smell, touch, taste, sight, or sound. Instead of merely keeping out rain, for instance, your sensory pod should augment one of the sensations which typically accompany an impending tropical thunderstorm, or one which signals the aftermath of a storm.

[1] David Leatherbarrow, and Mohsen Mostafavi, On Weathering: The Life of Buildings in Time (Cambridge,Massachusetts: The MIT Press, 1993), 6. [2] Jonathan Hill, Immaterial Architecture (London, New York: Routledge, 2006), 192, 195.

UNIT 3 BRIEF

CONTEXT In 2013, Junya Ishigami exhibited â&#x20AC;&#x153;How Small, How Vast, How Architecture Growsâ&#x20AC;? at the Shiseido Gallery in deSingel, Antwerpen, The Netherlands. Within the exhibition, there was a collection of four conceptual houses that explored various relationships with weather. Specifically, conditions such as warm air, cold air, pleasant breeze, clouds, rain, moisture, temperature, sunny, cloudy, sound of rain and clear blue skies were discussed.

HYPOTHESIS

In this studio, you will form a pair and pick one of the four houses as the starting point. Your task as a team is to develop a series of 1:1 prototypical details of a component or components, in response to the conceptual ideas discussed in your selected house. These prototype models should be at least 1.5m in height and width. produced.

PROBE 01 (10 WEEKS)

You will approach the project by identifying key design parameters to test across existing scientific basis. You will build a series of physical prototype models across varying scales and document their respective performances with relevant micro sensors in an analogue manner and video format. You are expected to make conclusions based on your weekly experiments, any insights gained shall be tested in the next set of iterations. Your work will be graded on a weekly basis purely on the quantity of models and iterations produced.

PROBE 02 (INTERIM WEEK 4, 7, 10)

At regular intervals throughout the semester, you will be given an opportunity to present a summary of your current findings and failures. In the allotted 5 minutes, you are encouraged to share your learning journey, key insights and suggestions forward for your project. You are to prepare a full-scale interim model, a video (max 2mins) and a double A0 drawing as documentation of your work. Your work at these presentations will be graded on purely on quality of workmanship and finishing, ingenuity and imagination, communication and delivery.

PROBE 03 (INTERIM WEEK 7 & 13)

After week 7 interim and final review, you are to submit an individual reflection essay on your personal learning journey and studio experience. You are to include a reading list of books, resources you consumed during the semester. The essay shall be no more than 1000 words, there is no minimum or restriction on format. Your essay shall include a recommended individual grade for yourself and your partner.

IN THE SAME AIR LEONG YUE QI + WU YUXUAN + YAP YEE CHEN STUDIO ERIK Lâ&#x20AC;&#x2122;HEUREUX

In the Same Air

by Leong Yue Qi, Wu Yuxuan & Yap Yee Chen In constructing our two climates, two environments and one envelope, we first decided on our two climates - tropics and temperate, which was later simplified to hot and cold. In response to the current global climate of COVID-19, our envelope explores how connection or isolation can be created between two people. Despite physically isolating people, our envelope facilitates activities which are prohibited during these times. For example, due to the virus, people are not supposed to be within close proximity of one another. However, through our envelope, people are able to have a conversation with one another, as they are isolated and not at the risk of contamination from the other by breathing in the same air. In the envelope, the ‘hot’ and ‘cold’ climates are initially open to the external environment as well as to one another. However, after both inhabitants ‘breathe’ into the latex bubbles, isolation is created. When the person in the ‘cold’ climate ‘breathes’, the latex bubbles at the frame of the ‘hot’ climate expands, closing them off from the environment while creating humidity as the bubble expand inwards. Simultaneously, when the person in the ‘hot’ climate ‘breathes’, the bubbles in the middle expand and close off the connection between the two inhabitants. When wind flows in from the ‘cold’ climate’s envelope, the wind is closed off from the person in the ‘hot’ climate. The wind is then reflected off the bubble back to the person in the ‘cold’ climate. Thus, from the envelope’s connected to isolated state, the two climates are ‘enhanced’ or ‘exacerbated.’

In the Same Air

Elevation of ‘cold’ climate

In the Same Air

Elevation of ‘hot’ climate Elevation of ‘hot’ climate

In the Same Air

Axonometric view of ‘cold’ climate

In the Same Air

Axonometric view of ‘hot’ climate

Exploded diagram of envelope showing various components

In the Same Air

View from the ‘cold’ climate

In the Same Air

Person at the ‘cold’ climate breathes into tube

View from the ‘hot’ climate

In the Same Air

Person at the ‘hot’ climate breathes into tube

Sectional oblique showing positions in time, atmosphere and climate. Magenta lines indicate movement of air.

Sectional oblique showing positions in time, atmosphere and climate. Magenta lines indicate movement of air. 33

In the Same Air

the chair - to backrest is initially down to allowtoperson enter to enter backrest isSetting Setting initiallyupup laid the down chair - allow backrest person is initially tolaidenter laid down allow toperson

Sand is shovelled under the backrest to act asunder a stable Sand is shovelled thesu

upport for to theact inhabitant backrest as a stable

Setting up the chair - backrest is initially laid down to allow person to enter

Scale 1:10 In the Same Air

is folded foldedupup Backrest is support for the inhabitant Backrest 25

In the Same Air

After inflation of bubble - the ‘hot’ climate is sealed off, wind reflects back to ‘cold’ side, and heat is trapped in the ‘hot’ side

After inflation of bubble - the ‘hot’ climate is sealed off, wind reflects back to ‘cold’ side, and heat is trapped in the ‘hot’ side 29

In the Same Air

Inflation of middle latex bubbles - closing off intermediate space between two persons Inflation of middle latex bubbles - closing off intermediate space between two persons

In the Same Air

CLIMATIC PARASITE ALOYSIUS NG + ANTHONY DELA CRUZ STUDIO ERIK Lâ&#x20AC;&#x2122;HEUREUX

Climatic Parasite

by Aloysius Ng, Anthony Dela Cruz Universality has led to the advent of air-conditioning that has produced temperature-controlled environments in offices and homes that negates any climatic context. Universal style building relies on mechanical systems to function by removing heat and moisture from the interior of an occupied space to improve the comfort of the occupants. Our probe is specifically designed as a bubble in a bubble which is this AC environment that we live in. Provides cool air through a process that draws out heat from the air which is then cooled and blown back into the building. What the probe does is enhance the effect of the AC by creating a humanized bellow mechanism that acts as a fan that takes the surrounding cold air and makes it even colder to further improve thermal comfort and indoor air quality. The probe is composed of two contrasting climates. An enclosed bottom accordion that leans towards specificity and operates like an AC system. And a porous top accordion being a universal style climate the reaps the benefit from both the cold surrounding as well as the labor of the opposing climate. These two compressive accordions are separated, and at the same time supported, by a wall that functions as the structural component of the probe that allows it to perform like a squat operated lever. This rigid structure also acts as the separating device of contamination of the two climates by providing a narrow channel for air exchange to occur. The air pressure in the probe interchanges between negative and positive pressure as the internal volume of the probe expands and compresses.

Final Iteration

separate fabrication

Head A break in the structure is created as clearance for the head of the user “equipping” the device. The curved portion sits comfortably on the shoulders of the user and is able to support it’s own structural load as well as the added human load.

Wormâ&#x20AC;&#x2122;s Eye View

Finger Joint Assembly

Finger joints are utilized to join multiple components together to create this 2.4m long structural lever.

Summary of Details

Components

Side Elevation

Intent

Exploded Axonometric The construction of the mechanism consists of two main bodies, mainly the double bellows, split in the middle by a levering rigid structure which separates the two air tight bodies, ensuring controlled contamination of air between the two interior spaces.

Top Elevation Top view of rigid structure that acts as the support for the entire probe. It is able to support the squatting movement with an added human load of 63kg. Essentially performing similar to a leg press machine.

Exploded Isonometric of Digital Model

Side Elevation

Interior Details

This is the elevation of the rigid structure, where a waffle is reinforced by a third flat plane to lock the component on all three axes, preventing shear movements whilst spanning the weight of the model from Anthonyâ&#x20AC;&#x2122;s shoulder down to the floor.

Interior bracing showing how the vertical components are supported by horizontal members through slotting. This assembly gives the structure itâ&#x20AC;&#x2122;s needed rigidity to support live load and perform as a lever.

obe #8 Sectional Oblique

ALE 1:10

Probe #4 Description Breaking out of the incessant rigidity of form imposed by the previous iteration, the new model follows from a study of origami, bringing forward an accordion-like mechanism to bring possible control of air movement within the structure by acting as an air pump.With this, both users can act in coordination to achieve intended contaminations of climate.

Probe #4 Sectional Oblique

SCALE 1:5 Whilst thermal control is currently achieved by the same standards of using the latexâ&#x20AC;&#x2122;s properties of insulation, waterproofing and humidity, the accordion model brings forward a future opportunity of leveraging the multi-directionality of its surfaces to calibrate according to solar studies.

Thermal Pump in Action

N I w i w

Closed

Mid

Opened

Probe #3 Sectional Oblique

NTS Integrating the flexibility of latex into the newer framework, the hotter left side is created through the use of an insulated, wind-protected and waterproof latex headwear whereas the other party on the cooler side receives a high

Opened

Interior ViewS air velocity on top of latex pipes of water which supercools the neck areas. A mediating mechanism between the waffles act as a barrier for water flow depending on user movements.

Thermal Pump in Action

Probe #2 Description

The climate on the left is totally enclosed by the grey board and latex combination preventing light and wind to pass through thus producing a humid environment. In addition, there is no structure supporting the left side which causes the periphery of the user to close up when the probe

Closed

Enclosed climate Mid

Porous climate

Opened

NTS stretches whereas there is a frame protecting the user on the right side, allowing them to benefit from increased levels of comfort as the aperture of the openings increase in size. Water tubes functions as the moderator of the two climates.

nCOV(ert)-19 U JIN SEAH + RYAN NEO STUDIO ERIK Lâ&#x20AC;&#x2122;HEUREUX

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by U Jin Seah, Ryan Neo Set in a dystopian environment where the COVID-19 outbreak has spiralled out of control in Singapore, our project seeks to investigate the ethics of a deployable, covert envelope for alternative forms of healing, amid the novel realities of hospital oversaturation, loss of confidence in conventional healthcare, as well as the ensuing psychological deprivations arising from the new social climates of draconian stay-home curfews, social isolation and a newly enacted martial law.

THE WORSHIPPERâ&#x20AC;&#x2122;S CLIMATE AND ENVIRONMENT

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On the other hand, the one meant for the Worshipper has a three-tiered graduated environment within, depending on his displacement in the volume.The first tier, upon entering, is dark, perceptibly dirty and forces one to kneel in a confessional posture, metaphorically laying out oneâ&#x20AC;&#x2122;s sins. An undulating sound tube connecting both spaces allows for the Priest and Worshipper to communicate from a distance. The second tier, metaphorically portraying the Holy Communion, is illuminated with a reddish glow and allows for the Priest to reach through the separating wall to safely comfort, anoint and bless the Worshipper physically through the material of latex. Both tiers are stuffy, warm, humid, and uncomfortable, strategies to limit the duration each visiting Worshipper spends inside. The third tier, metaphorically portraying the successful spiritual healing (â&#x20AC;&#x2DC;raisingâ&#x20AC;&#x2122; ritual), requires the worshipper to stand, in which his head emerges into a well-lit and ventilated space, thrusting him back to thermal and climatic comfort. nCoV(ert)-19

Front elevation.

Back elevation.

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Putting together the assembled components and modules to form the skeletal structure of the envelope.

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PROBE 08

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3 1 . 0 °C 0.0 MPS 90.3 %RH 3 0 . 1 °C 0.7 MPS 71.5 %RH

0 50 100 mm 1:9 Sectional Oblique

2 8 . 0 °C 0.4 MPS 71.9%RH 2 8 . 0 °C 0.7 MPS 71.9%RH

3 1 . 0 °C 0.0 MPS 90.3 %RH

DUCT

Sectional OBLIQUE

Sectional COLLAGE

PLAN 1:25

Sectional Collage 14

nCoV(ert)-19

The envelope, which is able to accommodate two people and allow for full-body displacements in both the x/y- and z-axes, is conceived of modular units that facilitate its deployment. nCoV(ert)-19

PROBE 06

The Social Climate

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METAMORPH // CLIMATIC ADAPTATION KEE CHEOW YAN + ZHOU ZHEFANG + LEE YINSHIN STUDIO LILIAN CHEE

Metamorph // Climatic Adaptation

by Kee Cheow Yan, Zhou Zhefang & Lee Yinshin Metamorph is a portable, malleable and shape-shifting kinetic envelope that aims to corporealize the movement of wind and augment the effects of sun and rain. The climatic response of Metamorph is developed through the coalescence of two attributes: the inherent flexibility of wood and sensitivity to sun, wind and rain of its shingles. Its wooden modules can move along the three cardinal axes, enabling the adoption of several configurations contingent to its situated terrain and desired programmatic function. Its shingles flutter in the presence of ambient wind and flip upwards in stronger winds, revealing a reflective underside that changes colour depending on the angle of incident sunlight. Exposure to precipitation causes the shingles to close, covering previously exposed areas of the envelope. Metamorph is a performative piece of architecture that can adapt and respond to the surrounding climate in multiple ways, enhancing how its users experience the environment around them.

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Week 1-5 Process Collage

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onfiguration (Axonometric)

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Module Assembly

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CLOUD COVER CHERYL CHUNG + PENNIE KWAN STUDIO LILIAN CHEE

Cloud Cover

by Cheryl Chung, Pennie Kwan Cloud Cover is a deployable shade that incorporates a module consisting of coat hangers, ziplock bags and a small amount of water to simulate a shade that relies on the differing rates of condensation throughout the day. It aims to aid the gardener in the growth and maintenance of young plants. As they are not fully grown, these saplings are most prone to having their leaves become sunburnt in the harsh tropical sun, and will eventually die due to an excessive loss of moisture. At the start, our studio was focused on materials and how to bring two differing found objects together. The coat hangers and ziplock bags were eventually fused to form a single pillow-like module with a blownup bag sitting in between two hangers. We then set about finding ways to expand said module in X-Y-Z-dimensions. The connections were made using the already existing hooks found on the hangers and through much experimenting, we had developed multiple hooking systems that allowed the module to expand in all directions. Initially, we stacked the modules in an interlocking fashion, using the ziplock bags as a type of muscle within the dense hanger structure. However, we realised that the orientation of the module was not showcasing the potential of the ziplock bags and changed its structure. We filled the bags with a small amount of water and captured the rate in which it condensed over a few days. The condensation acted as a shade that went away with the sun. The planar modules required a lot of experimenting to figure out its new structure as it was partially tensile. We finally formed a tunnel-like envelope through bending the ribs and tying them with string. The last few weeks we aimed at making the Cloud Cover more portable for the gardener through a folding system. We had wanted to do a field test with some of the gardeners of National University of Singapore. However, the school closed midway through our shading experiment on some young piper plants. Through this project we learnt how exploration into the strength and weaknesses of materials can help drive innovation in our design. And amid the chaos of COVID-19, we learnt to adapt and think on our feet on how to proceed through this exceedingly strange semester.

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STUDIO L. CHEE

SECTIONAL PERSPECTIVE

TOP ELEVATION

TOP ELEVATION STUDIO L. CHEE

Projected Enclosure A scale 1:5 42

STUDIO L. CHEE

Projected Enclosure B scale 1:5

STUDIO L. CHEE

''N ǣ ɳ TďÌķăÐ 'ŘĨĊĮðďĊȚ ÆìðÐŒðĊæ Ǣ #ðĉÐĊĮðďĊăðĴř

Iteration 1: Forming a larger module unit (triangle shape, most stable)

Iteration 2: Stacking based on compressive forces caused by modules bunching together

BUNCHIN

Frame without pre-tension

STUDIO L. CHEE

Frame with pre-tension

Iteration 3: elongation of modules, attempting to intersect them - bunching in different direction causes both layers to push outwards away from each other

NG EFFECT Observations: Frame + Bags: with or without pre-tension, both outwardly look the same. Frame without pre-tension presses against bags more tightly. However, dif-

ferences are negligible.

STUDIO L. CHEE

''N Ǥ ɳ wĴīķÆĴķīă 'ŘĨĊĮðďĊȚ wÐĊĮÐ ďå 'ĊÆăďĮķīÐ

Iteration 1: continuous snake, with 2 parts bunching in different directions 16

STUDIO L. CHEE

Iteration 2: comprises of 2 parts that rests on each other like intersecting â&#x20AC;&#x2DC;groovesâ&#x20AC;&#x2122; - left (single bunch stack), right (single bunch stack + normal stack) STUDIO L. CHEE

''N ǧ ȭǨ ɳ UÐœ wĴīķÆĴķīă ďĊťæķīĴðďĊȚ īÆìÐĮ ìīÆĴÐīðĮĴðÆĮȚ }ÐĊĮðăÐȭăðāÐ ŦÐŘðÅðăðĴřș ÌÐÆÐĊĴ ÆďĉĨīÐĮĮðŒÐ ĮĴīÐĊæĴìș æīÐĴÐī ĮĴīķÆĴķīă ÐååÐÆðÐĊÆř ȭ less heavy and dense for a larger span area Hanging overhead structure

Wall-like structure

Standing structure (1 whole) - FAILED

Hybrid structure (hanging + standing ‘legs’) - FAILED

Structural System: Bamboo Frame + Nylon Strings (FAILED) Design Intent: A continuous structure that connects the gardener to the plants at two different scales. Supported by a pulley system that allows one to control the height of the structure at 2 points.

STUDIO L. CHEE

PART I: EXPANSION OF ARCH (BENDS PARALLEL TO LENGTH OF RIB) OBJECTIIVE: Finding the minimum number of modules to achieve 1.8m length + greatest change in arch shape

Single Interlock OďďĮÐī ÆďĊĊÐÆĴðďĊ ďååÐīĮ æīÐĴÐī ŦÐŘðÅðăðĴřș ÅķĴ ăÐĮĮ ĮĴīķÆĴķīă ðĊĴÐæīðĴř

Double Interlock ȭ TďīÐ īðæðÌ ÆďĊĊÐÆĴðďĊ ÌÐÆīÐĮÐĮ ŦÐŘðÅðăðĴřș ÅķĴ æīÐĴÐī ĮĴðååĊÐĮĮ ìÐăĨĮ œðĴì ĨďīĴÅðăðĴř ȭ æĮ īÐ ĉďīÐ ĴðæìĴăř ÆďĉĨīÐĮĮÐÌ ĉř ÅÐ ăÐĮĮ ÐĮř Ĵď ťĴ ðĊĴď åīĉÐĮș ÅķĴ ÆìðÐŒÐĮ åķăăÐī ĨĨÐīĊÆÐ

}'w} ǠȚ Ǩ ĉďÌķăÐĮ ɒ Ǥ ȧĴďĨȨ Ɏ ǣ ȧÅďĴĴďĉȨ

ìĊæÐ ðĊ īÆì ÆķīŒĴķīÐ ÅÐåďīÐ ĊÌ åĴÐī ÌÌðĊæ ĴìÐ Åæ ðĮ ĊďĴ ŒÐīř ĮðæĊðťÆĊĴ

}'w} ǡȚ ǠǠ ĉďÌķăÐĮ ɒ ǥ ȧĴďĨȨș Ǥ ȧÅďĴĴďĉȨ

ĮĴīðĊæ ĴĴÆìÐÌ Ĵ åīĉÐ ÆďĊĊÐÆĴðďĊ ĨďðĊĴ ɒ œÐāț ìďœÐŒÐīș ÆìĊæÐ ðĊ īÆì ÆķīŒĴķīÐ ðĮ ĉďīÐ ĮðæĊðťÆĊĴ

}'w} ǢȚ ǠǢ ĉďÌķăÐĮ ɒ Ǧ ȧĴďĨȨș ǥ ȧÅďĴĴďĉȨ

ĉðĊðĉķĉ ĊķĉÅÐī ďå ĉďÌķăÐĮ ĊÐÐÌÐÌ Ĵď ÆìðÐŒÐ ǠȘǧĉ īÐĪķðīÐĉÐĊĴ ĴìĴ ĮìďœĮ æīÐĴÐī ÌðååÐīÐĊÆÐ ðĊ ÆķīŒĴķīÐ ÅÐåďīÐ ĊÌ åĴÐī ÌÌðĊæ ĴìÐ ÅæĮț ÆìðÐŒÐĮ ÅăĊÆÐ ÅÐĴœÐÐĊ ŦÐŘðÅðăðĴř ĊÌ ĮĴīķÆĴķīă ðĊĴÐæīðĴř

STUDIO L. CHEE

PART II: ARCH EXPANSION (BENDS q'tq'U#A O t TO LENGTH OF RIB) ZĨĴðĉðĮðĊæ īÆì 9ďīĉ ȧǠǡ tðÅĮȨ

Comparison of hanging arch VS when placed on the ground

TEST 1: Arch (Wide Ver. ) Objective: ĴÐĮĴ ðå īÆì ĮĴīķÆĴķīÐ ÆĊ ĮķĨĨďīĴ ðĴĮ ďœĊ œÐðæìĴ œðĴì ĉðĊðĉă ĮĴīðĊæĮș ĴðÐÌ ăďĊæ ĴìÐ ÐÌæÐĮ ȧĨīÐŒÐĊĴĮ ďÅĮĴīķÆtion of entrance) Outcome: wĴīķÆĴķīÐ ÅīÐăř ĮķĨĨďīĴĮ ðĴĮ ďœĊ œÐðæìĴș ĨīďĊÐ Ĵď ăĴÐīă åďīÆÐĮ

> U:AU:ȚǧǦȧ>Ȩ Ř ǠǢǤ ȧOȨ

STANDING: 75 (H) x 135 (L) 50

STUDIO L. CHEE

TEST 2: Arch (Narrow Ver.) Objective: ĴÐĮĴ ĴìÐ ĮĴīķÆĴķīăăř ĨďĮĮðÅðăðĴř ďå ðĊÆīÐĮðĊæ īÆì ìÐðæìĴ Åř ÌÐÆīÐĮðĊæ ĴìÐ ÅĮÐ ăÐĊæĴì Outcome: fails to increase compressive strength of modules; arch at the top slackens under its own weight (once it reaches a maximum height)

> U:AU:ȚǠǟǟ ȧ>Ȩ Ř ǧǢ ȧOȨ

w} U#AU:Ț ǥǧ ȧ>Ȩ Ř ǧǢ ȧOȨ STUDIO L. CHEE

WARM DOWN | COOL UP C ABHILASH MOHAN + LIM SHI-YI MATTHEW STUDIO ROY PANG

Warm Down | Cool Up

by C Abhilash Mohan, Lim Shi-Yi Matthew WARM DOWN | COOL UP challenges the notion that tropical heat requires mitigation and through the preservation of it within a shell structure, hopes to regulate temperature in the tropics to create the ideal conditions for muscle conditioning and stimulation. Utilising traditionally limp plastic bags and imbibing them with tension via heat through melting, the Johnny crafts a warmth gradient to either warm up or cool down the body before and after exercise. The resultant shell structure reacts to the tropical environment by absorbing heat and storing it within its interior, thus creating a space significantly warmer than its exterior regardless of weather conditions. The discovery of “freezing” tension within a structure of plastic bags and PVC pipes is further accentuated in the construction of alternative forms that have differing programs built around heat retention.

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interior skin qu

tensional element part-model

A42 WARM DOWN|COOL UP

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A40 WARM DOWN|COOL UP

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A41 WARM DOWN|COOL UP

section

side elevation

A48 WARM DOWN|COOL UP

plan

front elevation

back elevation

A49 WARM DOWN|COOL UP

Primary HP Shell

we started with the flexible hyperbolic paraboloid shell that could easily be manipulated in form in the future for other iterations. this also allowed us to test the effectiveness of the steel spring beam in holding up the plastic sheets

A34 WARM DOWN|COOL UP

basic shell

amorphous shell

A35 WARM DOWN|COOL UP

stick

to increase the strength of the potential forms our plastic could take, we attempted to make structural element in the form of a rod. this resulted in similar striation-like texture akin to a muscle

voronoi

the voronoi-like geometry that appeared on the plastic sheets after we exposed them to heat were interesting as their porosity to light led to artistic imagery

A20 WARM DOWN|COOL UP

seating plane

when we sealed 30 bags together we were able to create a plane of plastic that was strong enough to support a personâ&#x20AC;&#x2122;s weight and could withstand immense tensional force

cube

finally we used 100 plastic bags to form a cube of plastic that could accommodate a person sitting and stand on its own

A21 WARM DOWN|COOL UP

conceptual model

we used multiple small planes of plastic and â&#x20AC;&#x153;weldedâ&#x20AC;? them at their surfaces rather than at the edges to create a hybrid structure that would be able to accommodate multiple persons inhabiting it

A24 WARM DOWN|COOL UP

dome concept

pipe concept

A25 WARM DOWN|COOL UP

cube concept

A26 WARM DOWN|COOL UP

amorphous form concept

A27 WARM DOWN|COOL UP

A52 WARM DOWN|COOL UP

A53 WARM DOWN|COOL UP

HOUSE OF WIND AND RAIN (FOG BLOCKS) MARTIN PUNG + SAW TIAN AIK STUDIO VICTOR LEE

House of Wind and Rain (Fog Blocks) by Martin Pung, Saw Tian Aik

Our project aims to harness the behaviours of Wind and Rain at a micro level in order to change the apparent scale and mood of the space, as well as modulating the thermal comfort within the structure. The way we want to accomplish this is through exploring the interaction between evaporation and condensation to created “fog” or “mist” to turn a transparent module translucent. In addition to that, passive cooling is also achieved by creating areas of superisulation through still air within the modules. This would help to offset the amount of direct solar radiation entering the space by making sure that the heat will be unable to travel quickly into the structure.

Fog Block: Saw Tian Aik, Martin

Main Idea: Climate Responsive Envelopes

Our module seeks to combine the most advantageous properties of various methods of insulating walls along with balancing out their shortcomings to crete a one-size fits all system that can modulate the climate within the space while still maintaining comfort. Our parameters include 3 areas: 1. Visibilty through the facade (Transparency) 2. Prevention of heat from entering (Insulation)

Fog Block: Saw Tian Aik, Martin

Insulating wall This type of insulation system has the best insulating property overall through the use of trapping air and preventing convection.The insulating wool layer sandwiched between the brick can by adjusted in thickness or quatity based the level of insulation required. However, this system sacrifices transparency for insulative capability, and does not allow for a view.

Environment, Climate, Envelope

Double facade with double glazing

The best facade in the tropics, allows for heat stacking to remove excess heat from the building. The double glaze prevents heat from entering the building via convection.

Environment, Climate, Envelope

Final Variant (Fog Block Tent) Overview This variant is a culmination of all the testing and form variation done over the whole process, built into a stand-

ing structure. The blocks are connected through a more simple and intuitive locking system and requires no more than 2 people to construct.This final iteration combines all the advatages of all modules that we have built over the course of the semester, such as: 1. An elevation between the bottom and top segments to allow convection to happen at the top water tank but not the rest of the model. 2. Strategically placed gaps between each block that forces air through at higher speeds to cool down the inside of the model. 3. simple locking system that allowed us to build the blocks more quickly and maintain quality, with only right angles in the model to ensure ease of assembly and waterproofing. 4. A small network of holes on the surface of the water tank portion to allow the module to â&#x20AC;&#x153;de-mistâ&#x20AC;? and also to resupply water from rainfall.

Fog Block: Saw Tian Aik, Martin

Airflow Simulation Diagram Red - Areas of V HIGH Wind speed Yellow- Areas of HIGH Wind speed Green- Areas of MEDIUM Wind speed Blue- Areas of LOW Wind speed

Environment, Climate, Envelope

Morning 44

Fog Block: Saw Tian Aik, Martin

Afternoon Environment, Climate, Envelope

Performance The perforcemance of the system excels in certain areas but has a certain degree of unreliability that is within our teamâ&#x20AC;&#x2122;s expectations.

Advantages 1. The entire system is able to fog extremely well and can hold the moisture in that state for a very long time, thus allowing it to remain shaded for most of the day. 2. The holes have also greatly improved the abilty of the modules to defog after a long period of time, solving out prob of no defogging to slower, but gradual defogging. 3. the final structureis well able to hold its own weight on a relatively flat surface and does not show signs of cracking. As of 13/4/2020, the structure has been standing for 3 days under intense rain and sun and shows no signs of structural problems.

Disadvantages 1. The modules still dotake quite a long time to defog, and the time periods in which the modules defog is still quite unreliable, meaning that they might defog in late afternoon, when the sun is still high, forfeiting their shading capability. 2. The nature of the strucutreâ&#x20AC;&#x2122;sassembly also means that it cannot be built on a sloped surface and is limited in site to locations with flat, preferably man-made surfaces. 3. Finally, the current system does reflect a lot of light into the structure despite the fogging, making it somewhat disruptive to the user. Overall, however, the system does demonstrate an explicit interaction with climate and environment, producing subtle yet critical sensory and visual expriences for the users of the space.

Environment, Climate, Envelope

Fog Block: Saw Tian Aik, Martin

101 STEPS TO RECONCILLE WITH THE RAIN ISAAC TAN HUNG + YE THU STUDIO DICLE UZUNYAYLA

101 Steps to Reconcile with the Rain by Isaac Tan Hung, Ye Thu Through the understanding of Jun’ya Ishigami’s 4 houses, we extracted several guiding principles of his windy house, sunny skies house and house of rain and wind, to create what Jun’ya wanted to achieve with the understanding of the house of rain. To create an environment where rain is a valuable aspect of one’s home. 􀁒􀁕􀁆􀁌􀁑􀁊􀀃􀁗􀁋􀁈􀀃􀁈􀁑􀁙􀁌􀁕􀁒􀁑􀁐􀁈􀁑􀁗􀀃􀁗􀁒􀀃􀁆􀁒􀁑􀁉􀁒􀁕􀁐􀀃􀁚􀁌􀁗􀁋􀀃􀁗􀁋􀁈􀀃􀁓􀁕􀁒􀁊􀁕􀁄􀁐􀀑􀀃􀀤􀁏􀁏􀁒􀁚􀁌􀁑􀁊􀀃􀁗􀁋􀁈􀀃􀁌􀁑􀃀􀁘􀁈􀁑􀁆􀁈􀀃􀁒􀁉􀀃􀁑􀁄􀁗􀁘􀁕􀁈􀀃􀁌􀁑􀁗 􀁒􀀃 Using the environment to dictate the space and the way we use it, instead of the space forcing the environment to conform with the program. Allowing the influence of nature into architecture, literally. Through the use of reactive materials (windy house), kinetic structures (sunny skies house) and biomimicry (sunny skies house) to achieve a space that lets the environment shape the space.

058

WHITE GAUZE WOODEN DOWEL STYROFOAM BOARD

A tent-like structure held up by angled poles. The tent has multiple valleys that act as wells for rainwater retention at the ground level.

WEEK

STUDIO DCU

6 MAR 2020

059

BLACK PLASTIC MESH METAL WIRES STYROFOAM BOARD

A cloud like envelope with varying densities throughout, that creates different porosities for rain fall through the canopy. The canopy retains water which changes its form continuously, making the canopy never the same after it rains.

WEEK 7

STUDIO DCU

6 MAR 2020

WEEK

STUDIO DCU

6 MAR 2020

066 SPACE EMOTIVE COLLAGE

The collage questions our perception of an envelope meant to counteract against the rain. Typically, we prefer to be completely sheltered from the rain but what if we allow certain desirable aspects of the rain to be allowed into our spaces and to reconcile with the rain?

WEEK 7

STUDIO DCU

6 MAR 2020

PRODUCED BY AN AUTODESK STUDENT VERSION

078

BLACK PLASTIC MESH METAL WIRE STYROFOAM BALL

A cocoon-like like structure is imagined encasing a person when in contact with rain. The structure is collapsible and relies on gravitational pulling force to achieve its full form.

Wood veneers are attached to the structural rings, expanding and contracting when in contact with rain.

059

WEEK

019

022

STUDIO DCU

23 MAR 2020

PRODUCED BY AN AUTODESK STUDENT VERSION

079

PAPER METAL WIRE

Two spines lined with wood veneers create an implied space in between them when in contact with rain. The spines act as rain chains which results in the reaction of the veneers from the center of the spine outwards. The gradated effect is achieved by varying the reactivity of the veneers, causing it to form a helix structure that one slots themselves into.

PRODUCED BY AN AUTODESK STUDENT VERSION

WEEK 9

035

PRODUCED BY AN AUTODESK STUDENT VERSION

059

028

STUDIO DCU

23 MAR 2020

PRODUCED BY AN AUTODESK STUDENT VERSION

076 ZONING DIAGRAMS IN RELATION TO HUMAN BODY

To determine the focus of the reaction, a series of zoning diagrams were produced. The diagrams each represent different scales, organisation strategies and movement of the reaction around the human body.

WEEK

STUDIO DCU

16 MAR 2020

WEEK

STUDIO DCU

2 APR 2020

WEEK

STUDIO DCU

27 MAR 2020

101

MAPLE VENEER CROWN CUT COMPOSITE SCALE 1:1

WEEK 13

STUDIO DCU

2 APR 2020

ARMOGAN ALVIN TAN + IAN KHOO STUDIO TIAH NAN CHYUAN

ARMOGAN

by Alvin Tan, Ian Khoo Junya describes how the House of Wind and Rain facilitates the inextricably interconnected process of rain formation and wind generation within the house, where one cannot exist without the other. The sheer scale of the house creates the conditions of an external climate within the interior space of the house. Forming a unique interior environment, contained by an envelope, that is almost indistinguishable from an exterior climate. In understanding the natural processes that Junya aims to control, our investigation leads us to explore the manipulation of humidity in the creation of wet and dry spots within the house. Primarily, our focus revolves around utilising the envelope to control the interaction between the interior and exterior conditions of the house. Additionally, we aim to explore how the â&#x20AC;&#x2DC;loopâ&#x20AC;&#x2122; of the natural rain cycle can be used to influence the creation of the wet and dry spots. Our research into the envelope led us into exploring fabrics and how they can be used as a semi-permeable envelope that allows control of the environment within. Having identified that utilising a multi-layered composition of fabrics can provide cooling, we aim to further explore how our fabric envelope can temper the interior environment and to explore structural and formal possibilities. Armogan, a 19th century term for the perfect weather for traveling or starting a journey. Our exploration this semester culminates in a wearable that challenges the notion of good weather, discussing it in relation to climate, environment and envelope.

WAVES PATTERN (Hor izontal Thread) Modifications to construction technique The original Wave module was constructed by stitching each knot individually. The horizontal and vertical thread stitching methods made construction more convenient but we wanted to see if it made a difference in the ability of the module to bend or stretch. It was predicted that the thread would limit bending and stretching in their respective thread directions.

TNC Studio

Week 7/8

VERTICAL BONE WITH SPACE PATTERN This pattern si a modification of the Vertical bone pattern. In this, the stitching pattern alternates every 2 rows, creating a spaced vertical bone.. When stretched in the x axis, the pattern flattens.When stretched in the y axis , the pattern becomes more defined. Both can bend in both directions. Ultimately, however, they did not produce an easier way to channel water or a way to better control bending or stretching.

FABRIC STITCH 1:1

Week 8

TNC Studio

3 x 2 HONEYCOMB PATTERN Optimisation Having established that the 4x2cm grid Honeycomb would not warp, we tried to reduce the amount of fabric required by using a 3x2cm grid. After bending and stretching the 3x2cm grid module, there was no significant warping and it retained its shape. As such, a 3x2 grid could be used for the full wearable.

104 TNC Studio

Week 9

WIRE FRAME SRUCTURE The wave pattern was used due to its natural flexibility. We first experimented with the use of a metal wire frame to serve as a rigid structure which the fabric could be mounted around. The making of the sleeve highlighted certain issues relating to the support of the garment. The supporting structure would rely heavily on the shoulder connections, where the weight of the clothing would be carried. Additionally, it would not be possible to maintain a consistent 4cm gap at the point where the shoulder meets the arm. As such we decided to move towards making a garment that was more flexible and one that would not rely on an additional frame structure.

92 9TNC Studio Week

Week 9

COLLAPSED GARMENT

UNDERSIDE OF GARMENT

144 TNC Studio

Week 11/12

DRIPPING FROM CHANNELS

UNDERSIDE OF GARMENT REMAINS DRY

Week 11/12

TNC Studio 143

114 10TNC Studio Week

Week 10

136 TNC Studio

Week 11/12

YEAR 2 LEVEL 4 COMPILATION OF SELECTED WORKS

2019/2020 B.A.(ARCH) LEVEL 4

IMAGE CREDIT: LEONG YUE QI, WU YUXUAN & YAP YEE CHEN