B.A. (ARCH) LEVEL 6: COMPREHENSIVENESS | INTEGRATION | TECHNOLOGY

YEAR 3 LEVEL 6 COMPILATION OF SAMPLES

2018/2019 B.A. (ARCH) 3

COMPREHENSIVENESS INTEGRATION TECHNOLOGY

IMAGE CREDIT: LEE LIP JIANG

2018/2019 B.A. (ARCH) 3

LEVEL 6: Comprehensiveness, Integration, Technology Served & Service Dialogue In Kahn’s building, the primacy of natural light in the environmental scheme established a qualitative concern with the internal environment. In designing an art museum, he established an order for the services which, while it is clear, systematic and accessible, was totally subservient to his concern with quality.

For Piano & Rogers the concern was more with the display of the technology of environmental control than with the resultant environment. What has been reluctantly accepted by Kahn at the Richards Memorial Laboratories in order to prevent services ‘destroying’ the building, at Pompidou became an end in itself.

Studio Leader: Cheah Kok Ming

Associate Professor, Deputy Head (Academic), B.Arch (Hons), BA.Arch Studies (NUS), Reg Arch Singapore

Faculty: Semester 2

the resultant spaces have no visual tolerances for the presence of services.

The invisibility of the mechanical systems were painstakingly integrated in concealment responsible for the picture-perfection.

Hans Brouwer

BArch USC (University of Southern California) – Hons; Reg Arch Singapore

Chin Kean Kok

The idea of dialogue between the served and the

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

designing at the building scale. It should begin beyond the site at the territorial realm, involving the terrain, existing infrastructural network, hydrology and landscape in the conversation. How do we see the building as a service to the context and conversely,

Chu Lik Ren

to the building.

Richard Ho

B.Arch (NUS), Reg Arch Singapore

Fung John Chye

B.Arch (NUS), Reg Arch Singapore

-Dean Hawkes in “The Environmental Tradition’, 1996.

At year 3, the focus is on design integration to achieve comprehensiveness in architectural resolution. The challenges of juggling site forces, programmatic demands, environmental comfort, technical considerations, symbolic, aesthetics and experiential dimensions in the integrating process are daunting. The Served & Service spatial dialogue is one framework to perceive and organize the bipolarity of each building type.

Professor in Practice, B.Arch (Hons) NUS, MSIA,Reg Arch Singapore

spaces that can potentially yield symbiotic outcome.

It is not just a plan level thinking process, it is spatial, formal and also experiential, a three dimensional exercise that involves scale and the negotiation of scales.

Patrick Janssen

Associate Professor, PhD, MSc (Cog. Sci. Int Comp.), AA Dip.

Liang Lit How

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

Tomohisa Miyauchi

Cheah Kok Ming

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

Level 6 Studio Leader

Arch Japan

Kahn coined the idea of ‘served and servant’ spaces to separate out the clutter of ducts, pipes, machines and support facilities from the main spaces. It is a very effective planning rule that can also result in the potential of articulating and expressing the distinct features of both the service and the master spaces. While Kahn’s architecture took on a stoic stance of assigning services into their spatial domain, the idea in the works of Fosters, Rogers, Grimshaw and Hopkins mimicked the rational aesthetics of machine assembly. Alternatively in the architecture

Shinya Okuda

Associate Professor, M. Eng., B. Eng. Architect (SBA, JAEIC)

Darlene Smyth

BA.Music and Communications (Ottowa), BA. Envi Design (Dalhousie), MArch (Dalhousie)

Teh Joo Heng B.Arch (Hons) (NUS), S.M. Arch, MIT, Reg Arch Singapore

Wu Yen Yen

M.Arch (Columbia University), MSIA, Reg Arch Singapore Image credit: Cheah Kok Ming

30

2018/2019 B.A. (ARCH) 3

LEVEL 6: Comprehensiveness, Integration, Technology Served & Service Dialogue In Kahn’s building, the primacy of natural light in the environmental scheme established a qualitative concern with the internal environment. In designing an art museum, he established an order for the services which, while it is clear, systematic and accessible, was totally subservient to his concern with quality.

For Piano & Rogers the concern was more with the display of the technology of environmental control than with the resultant environment. What has been reluctantly accepted by Kahn at the Richards Memorial Laboratories in order to prevent services ‘destroying’ the building, at Pompidou became an end in itself.

Studio Leader: Cheah Kok Ming

Associate Professor, Deputy Head (Academic), B.Arch (Hons), BA.Arch Studies (NUS), Reg Arch Singapore

Faculty: Semester 2

the resultant spaces have no visual tolerances for the presence of services.

The invisibility of the mechanical systems were painstakingly integrated in concealment responsible for the picture-perfection.

Hans Brouwer

BArch USC (University of Southern California) – Hons; Reg Arch Singapore

Chin Kean Kok

The idea of dialogue between the served and the

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

designing at the building scale. It should begin beyond the site at the territorial realm, involving the terrain, existing infrastructural network, hydrology and landscape in the conversation. How do we see the building as a service to the context and conversely,

Chu Lik Ren

to the building.

Richard Ho

B.Arch (NUS), Reg Arch Singapore

Fung John Chye

B.Arch (NUS), Reg Arch Singapore

-Dean Hawkes in “The Environmental Tradition’, 1996.

At year 3, the focus is on design integration to achieve comprehensiveness in architectural resolution. The challenges of juggling site forces, programmatic demands, environmental comfort, technical considerations, symbolic, aesthetics and experiential dimensions in the integrating process are daunting. The Served & Service spatial dialogue is one framework to perceive and organize the bipolarity of each building type.

Professor in Practice, B.Arch (Hons) NUS, MSIA,Reg Arch Singapore

spaces that can potentially yield symbiotic outcome.

It is not just a plan level thinking process, it is spatial, formal and also experiential, a three dimensional exercise that involves scale and the negotiation of scales.

Patrick Janssen

Associate Professor, PhD, MSc (Cog. Sci. Int Comp.), AA Dip.

Liang Lit How

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

Tomohisa Miyauchi

Cheah Kok Ming

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

Level 6 Studio Leader

Arch Japan

Kahn coined the idea of ‘served and servant’ spaces to separate out the clutter of ducts, pipes, machines and support facilities from the main spaces. It is a very effective planning rule that can also result in the potential of articulating and expressing the distinct features of both the service and the master spaces. While Kahn’s architecture took on a stoic stance of assigning services into their spatial domain, the idea in the works of Fosters, Rogers, Grimshaw and Hopkins mimicked the rational aesthetics of machine assembly. Alternatively in the architecture

Shinya Okuda

Associate Professor, M. Eng., B. Eng. Architect (SBA, JAEIC)

Darlene Smyth

BA.Music and Communications (Ottowa), BA. Envi Design (Dalhousie), MArch (Dalhousie)

Teh Joo Heng B.Arch (Hons) (NUS), S.M. Arch, MIT, Reg Arch Singapore

Wu Yen Yen

M.Arch (Columbia University), MSIA, Reg Arch Singapore Image credit: Cheah Kok Ming

30

THINKING ‘DETAIL’ CRAFTING ARCHITECTURAL INTEGRATION ‘In my own approach to design, however, a detail may come to determine the overall figure of the building, or the treatment of a detail may sometimes result in a fundamental change in the building’s appearance…..I continually shift my attention back and forth between the building as a whole and its details…..more often I shift back and forth the more refined the building and its spaces will be….details are what I pour my thoughts and energy into , and I tend to see them as underpinning the most important aspects of a building’s design.’

many ‘what if’s. And we seek out the ‘what if’ with the richness of transformability to influence and shape a larger architectural idea.

The pedagogical approach of Thinking ‘Detail’ is to formulate a scalable or transformable technical or architectural driver to enable the student to conceptualize and develop a comprehensive architectural solution with the spirit of integration embedded in the process.

– Hiroshi Naito In pursuit of Innerscape, 2006

_______________________________________________________________________________________

‘Architecture of substance always exhibits a clear idea of the relationship between technique and expression – that material, construction and environment are essential elements of the expressive language of architecture, and that it is at its most eloquent when these are deployed with imagination.’

PROJECTS:

– Dean Hawkes ‘Technical Imagination: Thoughts on the relationship of techniques and design in architecture,’ 1996

_______________________________________________________________________________________

PREAMBLE: At year 3, the learning objectives focus on comprehensiveness and integration of technology in architecture. The learning outcome will be an architecture with experiential & physical qualities that are shaped by the thoughtful command of design interacting with technical underpinnings.

A signature design representation will be one layered with space, form, usage and technical resolution all poetically integrated together. It is about architecture achieved with the craft of integration.

The detail in architecture is commonly understood as a joint, technical solution or a small architectural vignette. In our exercise, we view the notion of detail in a broad way. We will approach the design process in the manner Hiroshi Naito has accounted. The ‘detail’ exercise as a primer to design is about a closed-up scrutiny of a functional process, a mechanism or an architectural element. It will begin small, specific and involves an in-depth understanding and exploration. It engages materiality, human experiences, atmospheric qualities and technical underpinnings.

For instance, an entry door ‘detail’ is not just about the panel and the ironmongery. Pallasmaa called the main door the ‘handshake’ of the building. It is about the experiential narrative of transition from exterior to interior and vice versa. It sought out the possibilities of doing more with the potentials and the limitations of the context. This door as a small idea could generate numerous ideas about movement and rethinking about space between 2 realms. Can a flat panel be rethought into volume? Can its mode of opening and closing changes spatial quality? It must raise

There are three options of project, each with its narrative and emphasis on technical imagination:

ARCHITECTURE FOR AQUA HEALING:

Atmospheres for State Changes within(between) Water & Body

ARCHITECTURE FOR CYCLING CULTURE: Placemaking with Bicycle Community

ARCHITECTURE FOR REUSE FURNITURE: Tectonics of the Closed Looped Cycle

_______________________________________________________________________________________

LEARNING OBJECTIVES: Building on the foundational skillsets developed thus far, this programme reinforces the students’ understanding of the integration of architecture design concepts at both macro and micro-scales. The learning objectives are: 1. Ability to plan and organize the conflicting and complementing architectural relationships arising from the programme and the site.

2. Ability to formulate integration strategies from construction and environmental system to develop/drive the architectural design.

THINKING ‘DETAIL’ CRAFTING ARCHITECTURAL INTEGRATION ‘In my own approach to design, however, a detail may come to determine the overall figure of the building, or the treatment of a detail may sometimes result in a fundamental change in the building’s appearance…..I continually shift my attention back and forth between the building as a whole and its details…..more often I shift back and forth the more refined the building and its spaces will be….details are what I pour my thoughts and energy into , and I tend to see them as underpinning the most important aspects of a building’s design.’

many ‘what if’s. And we seek out the ‘what if’ with the richness of transformability to influence and shape a larger architectural idea.

The pedagogical approach of Thinking ‘Detail’ is to formulate a scalable or transformable technical or architectural driver to enable the student to conceptualize and develop a comprehensive architectural solution with the spirit of integration embedded in the process.

– Hiroshi Naito In pursuit of Innerscape, 2006

_______________________________________________________________________________________

‘Architecture of substance always exhibits a clear idea of the relationship between technique and expression – that material, construction and environment are essential elements of the expressive language of architecture, and that it is at its most eloquent when these are deployed with imagination.’

PROJECTS:

– Dean Hawkes ‘Technical Imagination: Thoughts on the relationship of techniques and design in architecture,’ 1996

_______________________________________________________________________________________

PREAMBLE: At year 3, the learning objectives focus on comprehensiveness and integration of technology in architecture. The learning outcome will be an architecture with experiential & physical qualities that are shaped by the thoughtful command of design interacting with technical underpinnings.

A signature design representation will be one layered with space, form, usage and technical resolution all poetically integrated together. It is about architecture achieved with the craft of integration.

The detail in architecture is commonly understood as a joint, technical solution or a small architectural vignette. In our exercise, we view the notion of detail in a broad way. We will approach the design process in the manner Hiroshi Naito has accounted. The ‘detail’ exercise as a primer to design is about a closed-up scrutiny of a functional process, a mechanism or an architectural element. It will begin small, specific and involves an in-depth understanding and exploration. It engages materiality, human experiences, atmospheric qualities and technical underpinnings.

For instance, an entry door ‘detail’ is not just about the panel and the ironmongery. Pallasmaa called the main door the ‘handshake’ of the building. It is about the experiential narrative of transition from exterior to interior and vice versa. It sought out the possibilities of doing more with the potentials and the limitations of the context. This door as a small idea could generate numerous ideas about movement and rethinking about space between 2 realms. Can a flat panel be rethought into volume? Can its mode of opening and closing changes spatial quality? It must raise

There are three options of project, each with its narrative and emphasis on technical imagination:

ARCHITECTURE FOR AQUA HEALING:

Atmospheres for State Changes within(between) Water & Body

ARCHITECTURE FOR CYCLING CULTURE: Placemaking with Bicycle Community

ARCHITECTURE FOR REUSE FURNITURE: Tectonics of the Closed Looped Cycle

_______________________________________________________________________________________

LEARNING OBJECTIVES: Building on the foundational skillsets developed thus far, this programme reinforces the students’ understanding of the integration of architecture design concepts at both macro and micro-scales. The learning objectives are: 1. Ability to plan and organize the conflicting and complementing architectural relationships arising from the programme and the site.

2. Ability to formulate integration strategies from construction and environmental system to develop/drive the architectural design.

3. Ability to develop the architectural design from concept to detailing an exemplary portion of the resolved architecture.

4. Ability to design the presentation package and to effectively communicate the design eg drawings, models etc 5. Ability to curate & reflect on the process and the learning outcomes. _______________________________________________________________________________________

EVALUATION CRITERIA:

- Criticality of thinking at addressing issues of the programme, site and architectural design.

- Degree of independence & depth at developing appropriate design directions and process.

- Soundness of the site planning and architectural design, demonstrating functional

sensibility and sensitivity to architectural qualities.

- Appeal of architectural design that reveal creativity, innovation, aesthetics & intelligent insights.

- Comprehensiveness of design Integration addressing tectonic and environmental systems.

- Efficacy of visual presentation and design communication.

_______________________________________________________________________________________

SEA, SEWER, CITY GOI YONG CHERN STUDIO FUNG JOHN CHYE

3. Ability to develop the architectural design from concept to detailing an exemplary portion of the resolved architecture.

4. Ability to design the presentation package and to effectively communicate the design eg drawings, models etc 5. Ability to curate & reflect on the process and the learning outcomes. _______________________________________________________________________________________

EVALUATION CRITERIA:

- Criticality of thinking at addressing issues of the programme, site and architectural design.

- Degree of independence & depth at developing appropriate design directions and process.

- Soundness of the site planning and architectural design, demonstrating functional

sensibility and sensitivity to architectural qualities.

- Appeal of architectural design that reveal creativity, innovation, aesthetics & intelligent insights.

- Comprehensiveness of design Integration addressing tectonic and environmental systems.

- Efficacy of visual presentation and design communication.

_______________________________________________________________________________________

SEA, SEWER, CITY GOI YONG CHERN STUDIO FUNG JOHN CHYE

margin (keep clear)

Site: Hill’s boundary; wedged between two loci of metropolis; dropped out of collective unconsciousness Objective: To create an anticity; space of escape from banality of the quotidian Solution: Body of water enclosed within geometry; elaborated double wall split horizontally into three aquatic fields corresponding to the nature of escape sought: the sea the sewer and below, the incidental city admitted under then: layered hierarchy repeatedly violated with column grid waterborne parc de la villete?: ordered sensory events in free space creating vertical relation yet unavoidably exposing the truth of the simulacrum

78

Studio John Fung Chye

margin (keep clear)

Site: Hill’s boundary; wedged between two loci of metropolis; dropped out of collective unconsciousness Objective: To create an anticity; space of escape from banality of the quotidian Solution: Body of water enclosed within geometry; elaborated double wall split horizontally into three aquatic fields corresponding to the nature of escape sought: the sea the sewer and below, the incidental city admitted under then: layered hierarchy repeatedly violated with column grid waterborne parc de la villete?: ordered sensory events in free space creating vertical relation yet unavoidably exposing the truth of the simulacrum

78

Studio John Fung Chye

THE FOG JOSHUEL CHAN STUDIO SHINYA OKUDA

THE FOG JOSHUEL CHAN STUDIO SHINYA OKUDA

The Fog

by Chan Joshuel

The Fog

by Chan Joshuel

The Fog is an architectural project which seeks to critique the relationship of water between Singapore and Malaysia. With the recent events not only regarding the revising of water prices, but of territorial disputes, this long standing friendship between both countries is tested. Being situated at Fort Canning Park gives greater meaning to the project as the site has always been politically significant throughout Singapore’s history.

Fog is an architectural project which seeks to critiqueNEWater the relationship of water The Fog The demonstrates the cutting edge capabilities of Singapore’s system and otherbetween Singapore and Malaysia.

With the recent events not only regarding the revising of water prices, natural processes, by integrating them with the traditional typology of a bath to create a selfbutwater of territorial disputes,by this standing friendship between timber both countries is tested. Being sustaining system. Inspired thelong tall trees on site, cross-laminated arches support situated at Fort Canning Park gives greater meaning to the project as the site has the double-glazed acrylic envelope which harnesses nature by collects rainwater into always the been significant throughout Singapore’s buildingpolitically to be purified and then used in the bath. The history. human is harnessed within the building through the collection of body fluids from used water in the bath, to sweat and human waste.

The process Fog demonstrates the cutting edge capabilities Singapore’s NEWater system and The natural of condensation is used to purify steamoffrom the hot bath in basement 2 other processes, integrating them with1.the traditional typology of a bath to create a selfusing thenatural cool air from theby cold bath in basement This purified water is finally channelled sustaining water system.

Inspired by the tall treesand on uncomfortable site, cross-laminated timberisarches to the hydration taps to be consumed.

This deliberate experience used support the the double-glazed acrylic envelope which harnesses nature by us collects rainwater to highlight robustness of a system which is already occurring around every day.

Excess into the to be purified and then in the bath.acrylic The human is 1harnessed within steam is building released through nozzles into theused double-glazed on level to create the fog the likebuilding collection of body fluids frompumped used water in the bath, to sweat1 and human effect in through the lobby.the Excess cool air is mechanically by fans from basement to level 1, waste.

The natural process of condensation is used to purify steam from the hot bath in basement 2 to cool the space as well as allow steam to condense onto the acrylic which is then recollected using the cool air from the cold bath in basement 1. This purified water is finally channelled and purified. to the hydration taps to be consumed. This deliberate and uncomfortable experience is used highlight the robustness of a system which iswith already occurring every day.

The Fog to kindles a rethinking of a human’s relationship water as well around as their us position in Excess steamdiscourse, is releasedattempting through nozzles thehealing double-glazed on healing, level 1 tobut create this political to takeinto aqua beyondacrylic physical as the an fog like effecttoinrepair the lobby.

Excess cool air is mechanically pumped by fans from basement 1 to level 1, opportunity a nation. to cool the space as well as allow steam to condense onto the acrylic which is then recollected and purified.

Studio SO

The Fog kindles a rethinking of a human’s relationship with water as well as their position in this political discourse, attempting to take aqua healing beyond physical healing, but as an opportunity to repair a nation.

Studio SO

69

Studio SO

69

73

The Fog

by Chan Joshuel

The Fog

by Chan Joshuel

The Fog is an architectural project which seeks to critique the relationship of water between Singapore and Malaysia. With the recent events not only regarding the revising of water prices, but of territorial disputes, this long standing friendship between both countries is tested. Being situated at Fort Canning Park gives greater meaning to the project as the site has always been politically significant throughout Singapore’s history.

Fog is an architectural project which seeks to critiqueNEWater the relationship of water The Fog The demonstrates the cutting edge capabilities of Singapore’s system and otherbetween Singapore and Malaysia.

With the recent events not only regarding the revising of water prices, natural processes, by integrating them with the traditional typology of a bath to create a selfbutwater of territorial disputes,by this standing friendship between timber both countries is tested. Being sustaining system. Inspired thelong tall trees on site, cross-laminated arches support situated at Fort Canning Park gives greater meaning to the project as the site has the double-glazed acrylic envelope which harnesses nature by collects rainwater into always the been significant throughout Singapore’s buildingpolitically to be purified and then used in the bath. The history. human is harnessed within the building through the collection of body fluids from used water in the bath, to sweat and human waste.

The process Fog demonstrates the cutting edge capabilities Singapore’s NEWater system and The natural of condensation is used to purify steamoffrom the hot bath in basement 2 other processes, integrating them with1.the traditional typology of a bath to create a selfusing thenatural cool air from theby cold bath in basement This purified water is finally channelled sustaining water system.

Inspired by the tall treesand on uncomfortable site, cross-laminated timberisarches to the hydration taps to be consumed.

This deliberate experience used support the the double-glazed acrylic envelope which harnesses nature by us collects rainwater to highlight robustness of a system which is already occurring around every day.

Excess into the to be purified and then in the bath.acrylic The human is 1harnessed within steam is building released through nozzles into theused double-glazed on level to create the fog the likebuilding collection of body fluids frompumped used water in the bath, to sweat1 and human effect in through the lobby.the Excess cool air is mechanically by fans from basement to level 1, waste.

The natural process of condensation is used to purify steam from the hot bath in basement 2 to cool the space as well as allow steam to condense onto the acrylic which is then recollected using the cool air from the cold bath in basement 1. This purified water is finally channelled and purified. to the hydration taps to be consumed. This deliberate and uncomfortable experience is used highlight the robustness of a system which iswith already occurring every day.

The Fog to kindles a rethinking of a human’s relationship water as well around as their us position in Excess steamdiscourse, is releasedattempting through nozzles thehealing double-glazed on healing, level 1 tobut create this political to takeinto aqua beyondacrylic physical as the an fog like effecttoinrepair the lobby.

Excess cool air is mechanically pumped by fans from basement 1 to level 1, opportunity a nation. to cool the space as well as allow steam to condense onto the acrylic which is then recollected and purified.

Studio SO

The Fog kindles a rethinking of a human’s relationship with water as well as their position in this political discourse, attempting to take aqua healing beyond physical healing, but as an opportunity to repair a nation.

Studio SO

69

Studio SO

69

73

Studio SO

79

Studio SO

79

FURNITURAMA CHIA YU XUAN STUDIO TOMOHISA MIYAUCHI

FURNITURAMA CHIA YU XUAN STUDIO TOMOHISA MIYAUCHI

Furniturama

by Chia Yu Xuan

Reacting against the conventional furniture shop typology: labyrinthine, tightly packed, winding passages along single/ few stories. Furniturama takes the plane of the furniture shop and rotates it vertically. Furniture shopping is no longer a laborious, pedestrian affair, but a panoramic experience, powered by automatic pod. Both visitor and furniture are borne through space by little mobile pods, little mobile homes.

Lowland Malay houses (Kelantan, Kedah,Terengganu) provide a rich source of forms,inspiring the form of Furniturama,as well as providing material to be refurbished and sold. The wall panels making up the furniture showrooms in the two-layered rectangular grid are taken from Malay houses, or facsimiles, and are salable. Concrete portal frames provide a soaring interior space extending the conventional typology of the warehouse skywards. Wall panels repeated across the facade segment the massive height of the building, filtering natural light to prevent glare while providing natural ventilation.

Studio TM

Studio TM

97

99

Furniturama

by Chia Yu Xuan

Reacting against the conventional furniture shop typology: labyrinthine, tightly packed, winding passages along single/ few stories. Furniturama takes the plane of the furniture shop and rotates it vertically. Furniture shopping is no longer a laborious, pedestrian affair, but a panoramic experience, powered by automatic pod. Both visitor and furniture are borne through space by little mobile pods, little mobile homes.

Lowland Malay houses (Kelantan, Kedah,Terengganu) provide a rich source of forms,inspiring the form of Furniturama,as well as providing material to be refurbished and sold. The wall panels making up the furniture showrooms in the two-layered rectangular grid are taken from Malay houses, or facsimiles, and are salable. Concrete portal frames provide a soaring interior space extending the conventional typology of the warehouse skywards. Wall panels repeated across the facade segment the massive height of the building, filtering natural light to prevent glare while providing natural ventilation.

Studio TM

Studio TM

97

99

98

Studio TM

96

Studio TM

98

Studio TM

96

Studio TM

100 Studio TM

Studio TM 101

100 Studio TM

Studio TM 101

ALCHEMY ANDERS ANG WEI LI STUDIO CHEAH KOK MING

ALCHEMY ANDERS ANG WEI LI STUDIO CHEAH KOK MING

ALCHEMY Anders Ang Wei Li

What do we do with cast-away furniture that does not make the cut for resale as secondhand furniture? Can architecture be used as a branding medium to celebrate the salvaging of such cast-away objects?

The project started off with an observation on the curation process for secondhand furniture - objects that are deemed economically valuable are kept for resale, while everything else is “cast-away”, either broken down for recycling or thrown in the dumpster. However, these castaway objects still contain parts that can be reused. The project thus proposes a new type of secondhand furniture shop - one that salvages cast-away objects for reconstitution into new, one-off objects (e.g.

Nathan Silver’s ad hoc dining chair) - and engaging the community in the process to help change perceptions of what we would call “waste”.

To celebrate this idea of salvage and reconstitution, the architecture itself has to embody the spirit. Its construction salvages cast-away objects - improvising parts from an abandoned used car mall, an old industrial estate, and decomissioned vehicles from around Singapore.

To deal with the unpredictable range and size of objects, a spirit of improvisation, bricolage, as well as a set of practical and aesthetic rules need to be established to make use of these cast-away objects’ potential. These contribute to an atmosphere that brands the idea of salvage and reconstitution - where one can see the salvage of cast-away objects, reconstitution of new one-off objects by resident artists, play & purchase these new creations, and partake in this process of upcycling.

ALCHEMY is a new typology of secondhand furniture shop, where cast-away objects of little value are transmuted into new objects of greater value, for a more sustainable furniture industry.

Cast-away objects behind secondhand furniture stores - can the flow of material be shortcutted?

4

5

ALCHEMY Anders Ang Wei Li

What do we do with cast-away furniture that does not make the cut for resale as secondhand furniture? Can architecture be used as a branding medium to celebrate the salvaging of such cast-away objects?

The project started off with an observation on the curation process for secondhand furniture - objects that are deemed economically valuable are kept for resale, while everything else is “cast-away”, either broken down for recycling or thrown in the dumpster. However, these castaway objects still contain parts that can be reused. The project thus proposes a new type of secondhand furniture shop - one that salvages cast-away objects for reconstitution into new, one-off objects (e.g.

Nathan Silver’s ad hoc dining chair) - and engaging the community in the process to help change perceptions of what we would call “waste”.

To celebrate this idea of salvage and reconstitution, the architecture itself has to embody the spirit. Its construction salvages cast-away objects - improvising parts from an abandoned used car mall, an old industrial estate, and decomissioned vehicles from around Singapore.

To deal with the unpredictable range and size of objects, a spirit of improvisation, bricolage, as well as a set of practical and aesthetic rules need to be established to make use of these cast-away objects’ potential. These contribute to an atmosphere that brands the idea of salvage and reconstitution - where one can see the salvage of cast-away objects, reconstitution of new one-off objects by resident artists, play & purchase these new creations, and partake in this process of upcycling.

ALCHEMY is a new typology of secondhand furniture shop, where cast-away objects of little value are transmuted into new objects of greater value, for a more sustainable furniture industry.

Cast-away objects behind secondhand furniture stores - can the flow of material be shortcutted?

4

5

- -OOl dl d CCoommmmoonnwwe ea al tl thh CCa ar r MMa ar rt t Currently Currentlybeing beingdemolished, demolished,parts partsinclude includesteel steel I-beams, I-beams,steel steelhollow hollowsections, sections,corrugated corrugatediron iron roofing, roofing,broken brokenbricks bricks

I-Beams (Main Structure): I-Beams (Main Structure): I-Beam col-beam: XX 166.5mm (orange, blue, grey) I-Beam col-beam:534.9 534.9 166.5mm (orange, blue, grey) I-Beam col-beam: 306 XX 164mm (orange, grey) I-Beam col-beam: 306 164mm (orange, grey) I-Beam rafraf ter: 250.7 XX 100.6mm (orange, grey) I-Beam ter: 250.7 100.6mm (orange, grey) Mostly bolted onon except forfor base.

Mostly bolted except base.

Hollow Sections (Secondar y Structure): Hollow Sections (Secondar y Structure): HSHS 1: 1: 5050 XX 50mm (orange, grey) 50mm (orange, grey) HSHS 2: 2: 100 XX 50mm (orange, grey) 100 50mm (orange, grey)

Bricks (Wall Cladding / Surfacing): Bricks (Wall Cladding / Surfacing): Broken pieces in in 4cm - 10cm chunks, with bits of of plaster and concrete Broken pieces 4cm - 10cm chunks, with bits plaster and concrete attached.

May bebe used in in picado - see Fernando Menis’ works. attached.

May used picado - see Fernando Menis’ works.

Corrugated Iron Roofing (Roofing/Cladding): Corrugated Iron Roofing (Roofing/Cladding): Random sizes, in in red, grey, off-white, mostly rusted.

Some parts Random sizes, red, grey, off-white, mostly rusted.

Some parts overgrown with algae. overgrown with algae.

- - RRe emma ai n i ns s oof f TTa anng gl il n in HHa al tl t I Inndduus st rt ri ai al l EEs st at at et e

Fences (Fencing / Wall Cladding): Fences (Fencing / Wall Cladding): Mostly painted steel with concrete base - rusted but structurally viable Mostly painted steel with concrete base - rusted but structurally viable as as separators of of space. separators space.

Mostly 1.7m - 2.5m high.

Mostly 1.7m - 2.5m high.

Gates (Gating / Entrances): Gates (Gating / Entrances): Mostly painted steel, hinges still work, locks need replacement.

Viable Mostly painted steel, hinges still work, locks need replacement.

Viable as as their original purpose as as gates. their original purpose gates.

Mostly 2m2m - 2.5m high.

Mostly - 2.5m high.

Currently Currentlybeing beingdemolished, demolished,parts partsinclude includesteel steel fences, fences,steel steelgates gates

Treatment: ToTo bebe coated with transparent protective coating forfor Treatment: coated with transparent protective coating protection against further rusting protection against further rusting

Treatment: ToTo bebe coated with transparent protective coating forfor Treatment: coated with transparent protective coating protection against further rusting.

Moving parts and locks to to bebe protection against further rusting.

Moving parts and locks inspected, oiled/replaced if if neeeded. inspected, oiled/replaced neeeded.

Shipping Containers: Shipping Containers: 2020 foot and 4040 foot standard ISO size.

2.43m XX 2.59m XX 6.06m foot and foot standard ISO size.

2.43m 2.59m 6.06m

Used commercial vehicles: Used commercial vehicles: Old vehicles may bebe salvaged forfor specif ic ic purposes.

Old vehicles may salvaged specif purposes.

- - EEx xt et er rnna al l a appppr rooppr ri ai at it oi onns s “Shopping” “Shopping”around aroundSingapore Singaporefor formaterials, materials, parts, parts,and andideas ideastotoappropriate appropriate

Treatment: Rust stains and decals to to bebe retained.

Additional steel struts eg,eg, oldold cement mixers, tankers, may bebe salvaged, cleaned, and re-reTreatment: Rust stains and decals retained.

Additional steel strutsFor For cement mixers, tankers, may salvaged, cleaned, and using hollow sections as as above may bebe used.

Wooden f looring should bebeused forfor storage of of non-potable water. using hollow sections above may used.

Wooden f looring should used storage non-potable water. stripped and replaced - chemical cleaning may bebe needed. stripped and replaced - chemical cleaning may needed.

Old buses, train carriages, may bebe considered forfor use.

Old buses, train carriages, may considered use.

2020 0m0m RaRa di di usus

00

5050

150 150

300 300

500m 500m

The TheHarvest HarvestMap Mapisisaatool tooldeveloped developedbybySuperuse Superusestudios studiosthat thathelps helpsdesigners designers source sourcefor for“waste” “waste”materials, materials,ininaabid bidtotocreate createininaacircular circulareconomy. economy.

Used Usedininthe thecontext contextofofthis thisproject, project,ititreveals revealstwo twosources sourcesofofwaste wastethat thatmay maybebe salvaged salvaged- -the theabandoned abandonedCommonwealth Commonwealthused usedcar carmall, mall,and andthe theold oldTanglin Tanglin Halt Haltindustrial industrialestate. estate.Decomissioned Decomissionedvehicles, vehicles,containers containersmay mayalso alsobebesourced sourced easily easilydue duetotoSingapore’s Singapore’ssmall smallsize. size.

These Theseobjects objectsare aretheoretically theoreticallysalvaged, salvaged,assessed, assessed,and andreconstituted reconstitutedinto intothe the architecture architecturewith withrules rulestotoseparate separatethem themasasstructural structuralmembers, members,water watertanks, tanks, showroom showroomspaces, spaces,ininaccordance accordancetototheir theirphysical physicalpotentials. potentials.

66

77

- -OOl dl d CCoommmmoonnwwe ea al tl thh CCa ar r MMa ar rt t Currently Currentlybeing beingdemolished, demolished,parts partsinclude includesteel steel I-beams, I-beams,steel steelhollow hollowsections, sections,corrugated corrugatediron iron roofing, roofing,broken brokenbricks bricks

I-Beams (Main Structure): I-Beams (Main Structure): I-Beam col-beam: XX 166.5mm (orange, blue, grey) I-Beam col-beam:534.9 534.9 166.5mm (orange, blue, grey) I-Beam col-beam: 306 XX 164mm (orange, grey) I-Beam col-beam: 306 164mm (orange, grey) I-Beam rafraf ter: 250.7 XX 100.6mm (orange, grey) I-Beam ter: 250.7 100.6mm (orange, grey) Mostly bolted onon except forfor base.

Mostly bolted except base.

Hollow Sections (Secondar y Structure): Hollow Sections (Secondar y Structure): HSHS 1: 1: 5050 XX 50mm (orange, grey) 50mm (orange, grey) HSHS 2: 2: 100 XX 50mm (orange, grey) 100 50mm (orange, grey)

Bricks (Wall Cladding / Surfacing): Bricks (Wall Cladding / Surfacing): Broken pieces in in 4cm - 10cm chunks, with bits of of plaster and concrete Broken pieces 4cm - 10cm chunks, with bits plaster and concrete attached.

May bebe used in in picado - see Fernando Menis’ works. attached.

May used picado - see Fernando Menis’ works.

Corrugated Iron Roofing (Roofing/Cladding): Corrugated Iron Roofing (Roofing/Cladding): Random sizes, in in red, grey, off-white, mostly rusted.

Some parts Random sizes, red, grey, off-white, mostly rusted.

Some parts overgrown with algae. overgrown with algae.

- - RRe emma ai n i ns s oof f TTa anng gl il n in HHa al tl t I Inndduus st rt ri ai al l EEs st at at et e

Fences (Fencing / Wall Cladding): Fences (Fencing / Wall Cladding): Mostly painted steel with concrete base - rusted but structurally viable Mostly painted steel with concrete base - rusted but structurally viable as as separators of of space. separators space.

Mostly 1.7m - 2.5m high.

Mostly 1.7m - 2.5m high.

Gates (Gating / Entrances): Gates (Gating / Entrances): Mostly painted steel, hinges still work, locks need replacement.

Viable Mostly painted steel, hinges still work, locks need replacement.

Viable as as their original purpose as as gates. their original purpose gates.

Mostly 2m2m - 2.5m high.

Mostly - 2.5m high.

Currently Currentlybeing beingdemolished, demolished,parts partsinclude includesteel steel fences, fences,steel steelgates gates

Treatment: ToTo bebe coated with transparent protective coating forfor Treatment: coated with transparent protective coating protection against further rusting protection against further rusting

Treatment: ToTo bebe coated with transparent protective coating forfor Treatment: coated with transparent protective coating protection against further rusting.

Moving parts and locks to to bebe protection against further rusting.

Moving parts and locks inspected, oiled/replaced if if neeeded. inspected, oiled/replaced neeeded.

Shipping Containers: Shipping Containers: 2020 foot and 4040 foot standard ISO size.

2.43m XX 2.59m XX 6.06m foot and foot standard ISO size.

2.43m 2.59m 6.06m

Used commercial vehicles: Used commercial vehicles: Old vehicles may bebe salvaged forfor specif ic ic purposes.

Old vehicles may salvaged specif purposes.

- - EEx xt et er rnna al l a appppr rooppr ri ai at it oi onns s “Shopping” “Shopping”around aroundSingapore Singaporefor formaterials, materials, parts, parts,and andideas ideastotoappropriate appropriate

Treatment: Rust stains and decals to to bebe retained.

Additional steel struts eg,eg, oldold cement mixers, tankers, may bebe salvaged, cleaned, and re-reTreatment: Rust stains and decals retained.

Additional steel strutsFor For cement mixers, tankers, may salvaged, cleaned, and using hollow sections as as above may bebe used.

Wooden f looring should bebeused forfor storage of of non-potable water. using hollow sections above may used.

Wooden f looring should used storage non-potable water. stripped and replaced - chemical cleaning may bebe needed. stripped and replaced - chemical cleaning may needed.

Old buses, train carriages, may bebe considered forfor use.

Old buses, train carriages, may considered use.

2020 0m0m RaRa di di usus

00

5050

150 150

300 300

500m 500m

The TheHarvest HarvestMap Mapisisaatool tooldeveloped developedbybySuperuse Superusestudios studiosthat thathelps helpsdesigners designers source sourcefor for“waste” “waste”materials, materials,ininaabid bidtotocreate createininaacircular circulareconomy. economy.

Used Usedininthe thecontext contextofofthis thisproject, project,ititreveals revealstwo twosources sourcesofofwaste wastethat thatmay maybebe salvaged salvaged- -the theabandoned abandonedCommonwealth Commonwealthused usedcar carmall, mall,and andthe theold oldTanglin Tanglin Halt Haltindustrial industrialestate. estate.Decomissioned Decomissionedvehicles, vehicles,containers containersmay mayalso alsobebesourced sourced easily easilydue duetotoSingapore’s Singapore’ssmall smallsize. size.

These Theseobjects objectsare aretheoretically theoreticallysalvaged, salvaged,assessed, assessed,and andreconstituted reconstitutedinto intothe the architecture architecturewith withrules rulestotoseparate separatethem themasasstructural structuralmembers, members,water watertanks, tanks, showroom showroomspaces, spaces,ininaccordance accordancetototheir theirphysical physicalpotentials. potentials.

66

77

Front Facade

The Salvaged Objects Living Room T h e S a l v a gPeEdR SOPbEjCe Tc It Vs EL 3i v i n g R o o m PERSPECTIVE 3

Back Facade 8

12 12

The Salvaged Objects Plaza T h e S a lPvEaRgSePdE COTbI jVeEc t4s P l a z a PERSPECTIVE 4

9

Front Facade

The Salvaged Objects Living Room T h e S a l v a gPeEdR SOPbEjCe Tc It Vs EL 3i v i n g R o o m PERSPECTIVE 3

Back Facade 8

12 12

The Salvaged Objects Plaza T h e S a lPvEaRgSePdE COTbI jVeEc t4s P l a z a PERSPECTIVE 4

9

The Salvage upcycling section

The Salvage retail section

SECTION A

SECTION B

Th e L o n g S e c t i o n : Li v i n g Ro o m , C a fe , S h o w r o o m , Pl a z a , S a l va ge Wo rk s h o p SECTION C

The Salvage upcycling section

The Salvage retail section

SECTION A

SECTION B

Th e L o n g S e c t i o n : Li v i n g Ro o m , C a fe , S h o w r o o m , Pl a z a , S a l va ge Wo rk s h o p SECTION C

YEAR 3 LEVEL 6 COMPILATION OF SAMPLES

2018/2019 B.A. (ARCH) 3

IMAGE CREDIT: KENNETH CHIANG