YEAR 1 LEVEL 1 COMPILATION OF SELECTED WORKS
2020/2021 BA (ARCH)1
SEEING
THINKING MAKING IMAGE CREDIT: ANDREW LEE
LEVEL 1: SEEING, THINKING, MAKING Any form of architectural representation is a three-fold process. First: it is important to have a thorough understanding of the nature of the content that is to be communicated. This encompasses a grasp of the subject’s strengths, its value and its underlying operaating principles; the time and place in the cultural, social, geographical spheres in which this subject is situated; and its underpinnings in broader architectural thought. To this end, seeing is an exercise in observing, deciphering and re-synthesising information into an original intellectual assessment. Going beyond mere looking—or casting one’s eye upon an object—seeing is the perception of a subject within a thought framework. Second, strategizing and formulating a conceptual vehicle that conveys this original assessment —its representation—, is a rigorous design thinking process that combines a critical summation of the salient points of the subject matter with individual observation, into a new intellectual language that encapsulates even the finest subtleties. Lastly, making is the ability to formalise a largely intangible cognitive thought process of seeing and thinking, into a tangible mode of communication to others, conveying one’s insights in the most succinct, effective way possible, inviting critique, input and ultimately, use. The best outcomes are those that result from an incisive seeing and thinking through of resource material, and from the making of an original architectural representation, able to contribute to new dialogues on the way that the subject is now newly seen and thought of. This iterative process of perception and representation is then able to come full circle, producing new interpretations and informing us of new ways to see and think. Design 1 is about imparting ways of seeing, thinking, and making to students through graphical and formal vocabularies and to introduce a variety of ideas on approaching design, expression and representation. This is ultimately aimed at allowing students of architecture to explore their own way of making that exemplifies their thoughts on space and architecture. Wu Yen Yen Level 1 Studio Leader, Unit Leader 1 Ar. Lee May Anne Unit Leader 2 Mr Liang Lit How Unit Leader 3
2020/2021 BA (ARCH) 1 Unit 1: Ar. Yen Yen Wu (Year Leader, Unit 1 Leader) Ar. Yang Han Ar. Ng William Ms. Elaine Lee Unit 2: Ar. Lee May Anne (Unit 2 Leader) Ar. Ng San Son Senior Lecturer Nikhil Joshi (Dr) Unit 3: Mr. Liang Lit How (Unit 3 Leader) A.P Wong Yunn Chii (Dr)
TOPIC A KATSURA IMPERIAL VILLA SCHRODER HOUSE AND MAISON COOK GOLDEN MILE COMPLEX
RICK EE GUAN YING STUDIO ELAINE LEE
Katsura Imperial Villa Duality of the Corridors
Corridors are essential to traditional Japanese architecture. They allow movement by connecting one room to another. The Katsura Villa is no exception. Contradictorily, it is able to utilise them to restrict movement, yet grant freedom in the choice of movement.
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Surprisingly, the corridors in the Katsura Villa are all different when considered in terms of width and material. This variation creates a contrast between the corridors, indicating that they serve different purposes.
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Servant’s Path
Prince’s Path
Retired Emperor’s Path
Prince’s Path
Within the same corridor, the retired emperor walking on the tatami-matted path has limited view to the exterior as compared to the prince walking on the wooden pathway. These features point towards the corridors being restrictive on movement and in the experience in the building.
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The narrow corridor along the middle shoin restricts movement along it to only one person at any moment. Servants must take another path to get to the New Palace from the old shoin.
However, with further analysis, fully tatami-matted corridors do not restrict movement in any way.
In fact, these corridors blur the boundaries between the rooms and corridors. Coupled with opened sliding doors, they become one with the room, creating many alternatives for paths to walk around the rooms, granting freedom in the choice of movement.
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Schroder House and Maison Cook
Dynamicity of the interior Second Storey
Schroder House is a place of dynamicity in terms of the visuals it feeds its inhabitants. The variation in forms and relationship between windows and walls proves no constant to be found. A correlation, however, can be observed between these forms and the degree of privacy of the rooms - as degree of privacy increases, the windows reduce in size and numbers.
First Storey
One may believe, the higher the degree of privacy of an area, the less accessible it is. This is not false, but the Schroder House offers a more complete understanding of privacy.
First Storey (difficulty in reaching an area from the entrance)
Accessibility
(number of areas that can be accessed from an area)
Access to other areas
Degree of privacy
(degree of privacy increases with darker shading)
Second Storey
Accessibility
Access to other areas
Degree of privacy
The higher the degree of privacy of an area in the Schroder House, the less accessible it is, but the more access it has to other areas.
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Fourth Storey
Third Storey
Second Storey
On the other hand, in Maison Cook, a sense of uniformity can be observed in the forms and relationship between the windows and walls.
Mrs Schroder
Gerrit Rietveld
As the inhabitants of the Schroder House constantly and randomly moves between rooms of varying degrees of privacy throughout the day, they find no regularity in the forms they see. This experience gives the inhabitants a sense of freshness, no matter how long they have resided in the house. 11
Golden Mile Complex
Co-existence of Distinct Environments Something special and unique to the Golden Mile Complex is the co-existence of three distinct environments within the building. The relaxing atmosphere of the residential area; the casual setting of the commercial area; the serious working environment. One may wonder how do they co-exist so harmoniously.
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Golden Mile Complex, being home to many, is considered a neighbourhood to its residents. In search for an answer to the successful coexistence of the three environments, I went for an exploration around my neighbourhood and had the opportunity to analyse human activity and behaviour. The exploration resulted in a shift in my understanding towards private chambers. Rather than being a place that allows a person to act discreetly, private chambers are places that make a person feel that he owns the place, where he can say “this is my space”. Seeing familiar faces, familiar furniture and objects, the usual tones and textures, staying within the boundaries of buildings he is so accustomed to seeing. These aspects make a place comfortable to stay in, such that one can do whatever he wants without hesitation.
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This new understanding of private chambers can be applied to the Golden Mile Complex. Private chambers are present throughout the building.
Office workers taking a smoking break along the corridors.
Children treating the corridors along the office area to residential floors as their playground.
Young adults and retired elderly chatting loudly in eateries.
The presence of these chambers creates a sense of familiarity for its inhabitants, serving as a connection between different groups of people and spaces. Hence, these distinct atmospheres can co-exist so well.
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TOPIC A KATSURA IMPERIAL VILLA SCHRODER HOUSE AND MAISON COOK GOLDEN MILE COMPLEX PHUA JUE HUA PEARL STUDIO WU YEN YEN
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哰棰旰⃰矰槰滰擰濰矰珰⃰濰曰⃰瓰棰旰⃰瓰旰懰⃰棰濰痰珰旰珰⃰懰狰旰⃰懰泰珰濰⃰擰旰珰槰柰滰旰擰⃰瓰濰⃰拰旰⃰懰瓰⃰旰称旰⃰泰旰盰旰泰 矰棰旰滰⃰珰旰懰瓰旰擰⃰瓰濰⃰烰狰濰盰槰擰旰⃰揰濰滰珰瓰懰滰瓰⃰盰槰旰矰⃰濰曰⃰瓰棰旰⃰旰磰瓰旰狰槰濰狰⃰泰懰滰擰珰揰懰烰旰⻰
哰棰旰⃰曰濰揰痰珰⃰濰曰⃰泰懰滰擰珰揰懰烰旰⃰懰滰擰⃰珰旰狰旰滰槰瓰称⃰槰珰⃰懰泰珰濰⃰懰揰棰槰旰盰旰擰⃰拰称⃰痰珰槰滰柰⃰矰濰濰擰⃰瓰棰懰瓰⃰槰珰 柰旰滰旰狰懰泰泰称⃰濰曰⃰懰⃰擰懰狰毰旰狰⃰揰濰泰濰狰⃰曰濰狰⃰揰濰滰珰瓰狰痰揰瓰槰濰滰⻰⃰哰棰槰珰⃰痰珰旰⃰濰曰⃰擰懰狰毰⃰揰濰泰濰狰珰⃰曰濰狰⃰瓰棰旰 懰狰揰棰槰瓰旰揰瓰痰狰旰⃰棰旰泰烰珰⃰瓰濰⃰懰擰擰⃰揰濰滰瓰狰懰珰瓰⃰瓰濰⃰瓰棰旰⃰揰濰泰濰狰珰⃰濰曰⃰瓰棰旰⃰柰懰狰擰旰滰⃰懰滰擰⃰揰濰淰烰泰旰淰旰滰瓰槰滰柰 槰瓰⃰懰瓰⃰瓰棰旰⃰珰懰淰旰⃰瓰槰淰旰⻰⃰台槰淰烰泰旰⃰懰滰擰⃰烰泰懰槰滰⃰擰旰珰槰柰滰珰⃰懰狰旰⃰懰泰珰濰⃰痰珰旰擰⃰曰濰狰⃰槰滰瓰旰狰槰濰狰⃰擰旰揰濰狰懰瓰槰濰滰 矰槰瓰棰⃰泰槰瓰瓰泰旰⃰瓰濰⃰滰濰滰旰⃰濰狰滰懰淰旰滰瓰懰瓰槰濰滰⻰⃰䓰濰槰滰柰⃰珰濰⃰懰泰泰濰矰珰⃰曰濰狰⃰旰懰珰槰旰狰⃰旰滰櫰濰称淰旰滰瓰⃰濰曰⃰瓰棰旰 泰懰滰擰珰揰懰烰旰⃰矰槰瓰棰濰痰瓰⃰拰旰槰滰柰⃰擰槰珰瓰狰懰揰瓰旰擰⃰拰称⃰瓰棰旰⃰槰滰瓰旰狰槰濰狰⃰懰珰⃰揰濰淰烰懰狰旰擰⃰瓰濰⃰懰⃰狰濰濰淰⃰矰槰瓰棰 矰懰泰泰珰⃰瓰棰懰瓰⃰棰懰珰⃰揰濰淰烰泰槰揰懰瓰旰擰⃰懰滰擰⃰揰濰泰濰狰曰痰泰⃰擰旰珰槰柰滰珰⻰
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台揰棰狰濰擰旰狰⃰䣰濰痰珰旰⃰⛰⃰䷰懰槰珰濰滰⃰䏰濰濰毰 䗰磰烰泰濰狰懰瓰槰濰滰⃰槰滰瓰濰⃰㋰⃰擰槰曰曰旰狰旰滰瓰⃰棰濰痰珰旰珰⃰懰滰擰⃰懰滰懰泰称竰旰⃰瓰棰旰淰⃰槰滰⃰揰濰淰烰懰狰槰珰濰滰⃰瓰濰⃰濰滰旰⃰懰滰濰瓰棰旰狰⻰ 䋰濰瓰棰⃰濰曰⃰瓰棰旰珰旰⃰棰濰痰珰旰珰⃰棰懰盰旰⃰盰旰狰称⃰擰槰曰曰旰狰旰滰瓰⃰懰烰烰狰濰懰揰棰旰珰⃰瓰濰⃰擰旰珰槰柰滰⃰矰槰瓰棰⃰盰懰珰瓰泰称⃰擰槰曰曰旰狰滰瓰 懰狰揰棰槰瓰旰揰瓰痰狰懰泰⃰珰瓰称泰旰珰⃰曰狰濰淰⃰瓰棰旰⃰珰懰淰旰⃰瓰槰淰旰⃰烰旰狰槰濰擰⻰ 䇰磰濰滰濰淰旰瓰狰槰揰⃰擰狰懰矰槰滰柰珰⃰懰滰擰⃰淰濰擰旰泰⃰淰懰毰槰滰柰⃰烰狰濰盰槰擰旰珰⃰痰珰⃰矰槰瓰棰⃰懰滰⃰懰泰瓰旰狰滰懰瓰槰盰旰⃰淰旰瓰棰濰擰⃰瓰濰 懰滰懰泰称竰旰⃰瓰棰旰⃰珰瓰狰痰揰瓰痰狰旰珰⃰槰滰⃰矰懰称珰⃰瓰棰懰瓰⃰矰旰⃰懰狰旰⃰痰滰懰拰泰旰⃰瓰濰⃰槰滰⃰烰泰懰滰⳰⃰珰旰揰瓰槰濰滰⃰懰滰擰⃰旰泰旰盰懰瓰槰濰滰⻰ 䇰磰濰滰濰淰旰瓰狰槰揰⃰烰狰濰櫰旰揰瓰槰濰滰珰⃰濰曰⃰瓰棰旰⃰烰泰懰滰⃰懰泰泰濰矰⃰痰珰⃰瓰濰⃰盰槰旰矰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⃰槰滰⃰懰⃰㏰ⷰ擰槰淰旰滰珰槰濰滰懰泰 曰濰狰淰⳰⃰懰擰擰槰滰柰⃰棰旰槰柰棰瓰⃰瓰濰⃰瓰棰旰⃰旰泰旰淰旰滰瓰珰⃰懰滰擰⃰曰旰懰瓰痰狰旰珰⃰濰曰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⻰⃰哰棰槰珰⃰矰懰称⳰⃰矰旰⃰揰懰滰 旰懰珰槰泰称⃰盰槰珰痰懰泰槰竰旰⃰瓰棰旰⃰珰烰懰揰旰⃰濰曰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⃰矰槰瓰棰槰滰⃰濰滰旰⃰擰狰懰矰槰滰柰⃰懰滰擰⃰滰濰瓰⃰棰懰盰旰⃰瓰濰⃰擰狰懰矰 濰痰瓰⃰淰痰泰瓰槰烰泰旰⃰懰滰柰泰旰珰⻰⃰埰旰⃰揰懰滰⃰懰泰珰濰⃰旰懰珰槰泰称⃰珰旰旰⃰揰旰狰瓰懰槰滰⃰烰懰狰瓰珰⃰濰曰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⃰瓰棰懰瓰 矰旰⃰矰懰滰瓰⃰瓰濰⃰曰濰揰痰珰⃰濰滰⃰拰称⃰旰磰烰泰濰擰槰滰柰⃰瓰棰旰⃰擰槰懰柰狰懰淰⃰瓰濰⃰痰滰揰濰盰旰狰⃰瓰棰旰⃰棰槰擰擰旰滰⃰烰懰狰瓰珰⃰槰滰⃰懰滰 濰狰擰旰狰泰称⃰淰懰滰滰旰狰⻰⃰䷰濰擰旰泰⃰淰懰毰槰滰柰⃰槰珰⃰棰旰泰烰曰痰泰⃰槰滰⃰痰滰擰旰狰珰瓰懰滰擰槰滰柰⃰瓰棰旰⃰揰濰滰珰瓰狰痰揰瓰槰濰滰⃰懰滰擰 珰瓰狰痰揰瓰痰狰旰⃰濰曰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⻰⃰埰旰⃰揰懰滰⃰旰懰珰槰泰称⃰痰滰擰旰狰珰瓰懰滰擰⃰矰棰槰揰棰⃰懰狰旰⃰瓰棰旰⃰曰旰懰瓰痰狰旰珰⃰瓰棰懰瓰 棰濰泰擰⃰痰烰⃰瓰棰旰⃰珰瓰狰痰揰瓰痰狰旰⃰懰滰擰⃰棰濰矰⃰瓰棰旰⃰珰烰懰揰旰⃰濰曰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⃰淰懰称⃰揰棰懰滰柰旰⃰矰槰瓰棰⃰懰⃰擰槰曰曰旰狰旰滰瓰 懰狰狰懰滰柰旰淰旰滰瓰⃰濰曰⃰瓰棰旰⃰槰滰瓰旰狰槰濰狰⃰珰烰懰揰旰⻰
䏰濰滰揰旰烰瓰珰⃰䧰滰瓰狰濰擰痰揰旰擰㫰 ⫰⃰僰痰拰泰槰珰⃰困台⃰僰狰槰盰懰瓰旰 ⫰⃰䛰濰狰淰 ⫰⃰台瓰狰痰揰瓰痰狰旰 ⫰⃰哰旰揰瓰濰滰槰揰⃰困台⃰台瓰旰狰旰濰瓰濰淰槰揰 ⫰⃰䏰槰狰揰痰泰懰瓰槰濰滰
埰濰狰毰槰滰柰⃰䷰濰擰旰泰⃰拰称㫰⃰䗰痰⃰䫰痰槰滰⳰⃰台棰旰痰⃰埰旰滰⃰懰滰擰⃰僰旰懰狰泰
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䏰濰淰烰懰狰懰瓰槰盰旰⃰䇰滰懰泰称珰槰珰⃰濰曰 ⃰⃰⃰⃰⃰⃰⃰㋰⃰拰痰槰泰擰槰滰柰珰 台揰棰狰濰擰旰狰⃰䣰濰痰珰旰⃰槰珰⃰淰痰揰棰⃰淰濰狰旰⃰濰烰旰滰⃰懰滰擰⃰曰狰旰旰⃰矰棰槰泰旰⃰䷰懰槰珰濰滰⃰䏰濰濰毰⃰槰珰⃰淰濰狰旰⃰旰滰揰泰濰珰旰擰⻰ 台揰棰狰濰擰旰狰⃰棰懰珰⃰淰懰滰称⃰矰槰滰擰濰矰珰⃰懰滰擰⃰擰濰濰狰珰⃰矰棰槰揰棰⃰槰滰盰槰瓰旰珰⃰滰懰瓰痰狰旰⃰瓰濰⃰曰槰泰泰⃰瓰棰旰⃰槰滰瓰旰狰槰濰狰⃰珰烰懰揰旰 矰棰槰泰旰⃰䷰懰槰珰濰滰⃰䏰濰濰毰⃰擰旰烰旰滰擰珰⃰濰滰⃰槰瓰珰⃰狰槰拰拰濰滰⃰矰槰滰擰濰矰珰⃰懰滰擰⃰瓰旰狰狰懰揰旰⃰曰濰狰⃰瓰棰旰⃰揰濰滰滰旰揰瓰槰濰滰⃰瓰濰 瓰棰旰⃰旰磰瓰旰狰槰濰狰⃰泰懰滰擰珰揰懰烰旰⻰⃰台揰棰狰濰擰旰狰⃰䣰濰痰珰旰⃰懰泰珰濰⃰棰懰盰旰⃰懰⃰淰濰狰旰⃰擰称滰懰淰槰揰⃰曰懰懰擰旰⃰矰槰瓰棰⃰淰痰泰瓰槰烰泰旰 泰懰称旰狰珰⃰懰瓰⃰擰槰曰曰旰狰旰滰瓰⃰棰旰槰柰棰瓰⃰懰滰擰⃰矰槰擰瓰棰珰⳰⃰柰槰盰槰滰柰⃰淰濰狰旰⃰擰旰烰瓰棰⃰瓰濰⃰瓰棰旰⃰旰磰瓰旰狰槰濰狰⃰濰曰⃰瓰棰旰⃰棰濰痰珰旰⻰ 䧰瓰⃰懰泰珰濰⃰棰懰珰⃰淰懰滰称⃰旰磰瓰狰痰珰槰濰滰珰⃰珰痰揰棰⃰懰珰⃰矰懰泰泰珰⳰⃰拰懰泰揰濰滰槰旰珰⳰⃰狰懰槰泰槰滰柰珰⃰懰瓰瓰懰揰棰旰擰⃰瓰濰⃰珰瓰旰旰泰⃰䧰 拰旰懰淰⳰⃰柰槰盰槰滰柰⃰槰瓰⃰懰⃰瓰旰揰瓰濰滰槰揰⃰滰懰瓰痰狰旰⻰⻰⃰俰滰⃰瓰棰旰⃰濰瓰棰旰狰⃰棰懰滰擰⳰⃰䷰懰槰珰濰滰⃰䏰濰濰毰⃰棰懰珰⃰懰⃰盰旰狰称⃰曰泰懰瓰 曰懰懰擰旰⃰矰槰瓰棰⃰濰滰泰称⃰㋰⃰珰淰懰泰泰旰狰⃰拰懰泰揰濰滰槰旰珰⃰瓰棰懰瓰⃰旰磰瓰旰滰擰⃰濰痰瓰矰懰狰擰珰⃰曰狰濰淰⃰瓰棰旰⃰曰懰懰擰旰⻰⃰䷰懰槰珰濰滰 䏰濰濰毰⃰懰泰珰濰⃰棰懰珰⃰狰槰拰拰濰滰⃰矰槰滰擰濰矰珰⃰矰槰瓰棰⃰瓰棰旰⃰珰懰淰旰⃰棰旰槰柰棰瓰⃰瓰棰懰瓰⃰旰磰瓰旰滰擰⃰瓰棰狰濰痰柰棰⃰瓰棰旰⃰旰滰瓰槰狰旰 泰旰滰柰瓰棰⃰濰曰⃰瓰棰旰⃰曰懰懰擰旰⃰矰棰旰狰旰懰珰⃰瓰棰旰⃰矰槰滰擰濰矰珰⃰濰曰⃰台揰棰狰濰擰旰狰⃰懰狰旰⃰濰曰⃰擰槰曰曰旰狰旰滰瓰⃰擰槰淰旰滰珰槰濰滰珰⻰ 䇰珰⃰曰濰狰⃰瓰棰旰槰狰⃰烰泰懰滰珰⳰⃰䷰懰槰珰濰滰⃰䏰濰濰毰⃰揰濰滰瓰懰槰滰珰⃰淰懰滰称⃰揰痰狰盰旰擰⃰珰痰狰曰懰揰旰珰⳰⃰珰濰淰旰⃰瓰濰⃰擰槰狰旰揰瓰⃰瓰棰旰 曰泰濰矰⃰濰曰⃰淰濰盰旰淰旰滰瓰⃰矰棰槰泰旰⃰濰瓰棰旰狰珰⃰曰濰狰⃰懰旰珰瓰棰旰瓰槰揰⃰烰痰狰烰濰珰旰珰⃰矰棰槰泰旰⃰台揰棰狰濰擰旰狰⃰痰珰旰珰⃰瓰棰旰⃰柰濰泰擰旰滰 狰懰瓰槰濰⃰懰珰⃰矰旰泰泰⃰懰珰⃰瓰棰旰⃰揰濰滰揰旰烰瓰⃰濰曰⃰烰旰狰曰旰揰瓰⃰珰燰痰懰狰旰珰⃰瓰濰⃰烰泰懰滰⃰瓰棰旰⃰珰槰竰旰⃰懰滰擰⃰珰棰懰烰旰⃰濰曰⃰槰瓰珰 狰濰濰淰珰⻰ 哰棰旰⃰揰濰滰揰旰烰瓰⃰濰曰⃰䳰旰⃰䏰濰狰拰痰珰槰旰狰⟰珰⃰㗰⃰僰濰槰滰瓰珰⃰濰曰⃰䇰狰揰棰槰瓰旰揰瓰痰狰旰⃰揰懰滰⃰懰泰珰濰⃰拰旰⃰濰拰珰旰狰揰旰珰⃰槰滰 ䷰懰槰珰濰滰⃰䏰濰濰毰 ㇰ⻰⃰僰槰泰濰瓰槰珰 ㋰⻰⃰勰濰濰曰⃰䟰懰狰擰旰滰 ㏰⻰⃰勰槰拰拰濰滰⃰埰槰滰擰濰矰珰 㓰⻰⃰䛰狰旰旰⃰僰泰懰滰 㗰⻰⃰䛰狰旰旰⃰䛰懰 㗰⻰⃰䛰狰旰旰⃰䛰懰懰擰旰
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䟰濰泰擰旰滰⃰䷰槰泰旰⃰䏰濰淰烰泰旰磰 䟰濰泰擰旰滰⃰䷰槰泰旰⃰䏰濰淰烰泰旰磰⃰槰珰⃰懰⃰淰旰柰懰珰瓰狰痰揰瓰痰狰旰⃰毰滰濰矰滰⃰曰濰狰⃰槰瓰珰⃰痰滰槰燰痰旰⃰擰旰珰槰柰滰⃰矰槰瓰棰⃰槰瓰珰 珰瓰懰柰柰旰狰槰滰柰⃰懰烰懰狰瓰淰旰滰瓰⃰痰滰槰瓰珰⳰⃰曰濰狰淰槰滰柰⃰懰⃰揰懰珰揰懰擰槰滰柰⃰曰懰揰懰擰旰⻰⃰䧰瓰⃰槰珰⃰懰泰珰濰⃰瓰棰旰⃰曰槰狰珰瓰 拰痰槰泰擰槰滰柰⃰濰曰⃰槰瓰珰⃰瓰槰淰旰⃰瓰濰⃰棰懰盰旰⃰懰⃰揰槰瓰称⃰矰槰瓰棰槰滰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⳰⃰矰槰瓰棰⃰懰滰⃰槰滰瓰旰狰旰珰瓰槰滰柰⃰盰濰槰擰 濰曰⃰珰烰懰揰旰⃰槰滰⃰瓰棰旰⃰淰槰擰擰泰旰⃰濰曰⃰瓰矰濰⃰瓰濰矰旰狰珰⻰⃰䧰瓰⃰揰濰滰瓰懰槰滰珰⃰㏰⃰擰槰曰曰旰狰旰滰瓰⃰矰濰狰泰擰珰⃰ⷰ⃰狰旰瓰懰槰泰⳰ 狰旰珰槰擰旰滰瓰槰懰泰⃰懰滰擰⃰濰曰曰槰揰旰⳰⃰懰泰泰⃰矰槰瓰棰槰滰⃰瓰棰旰⃰珰懰淰旰⃰拰痰槰泰擰槰滰柰⻰⃰俰揰揰痰烰懰滰瓰珰⃰懰狰旰⃰懰拰泰旰⃰瓰濰 珰痰珰瓰懰槰滰⃰懰⃰泰槰盰槰滰柰⃰矰槰瓰棰濰痰瓰⃰棰懰盰槰滰柰⃰瓰濰⃰泰旰懰盰旰⃰瓰棰旰⃰揰濰淰烰泰旰磰⻰⃰哰棰旰⃰槰擰旰懰泰⃰柰濰泰擰旰滰⃰淰槰泰旰 揰濰淰烰泰旰磰⃰瓰棰懰瓰⃰瓰棰旰⃰懰狰揰棰槰瓰旰揰瓰珰⃰棰懰擰⃰槰滰⃰淰槰滰擰⃰矰懰珰⃰瓰濰⃰淰槰淰槰揰⃰瓰棰旰⃰揰濰滰揰旰烰瓰⃰濰曰⃰懰⃰⋰泰槰滰旰懰狰 揰槰瓰称⋰⃰濰曰⃰棰懰盰槰滰柰⃰瓰矰濰⃰烰懰狰懰泰泰旰泰⃰狰濰矰珰⃰濰曰⃰柰濰泰擰旰滰⃰淰槰泰旰⃰揰濰淰烰泰旰磰⃰瓰濰⃰旰磰瓰旰滰擰⃰曰濰狰⃰淰槰泰旰珰⻰⃰
䏰濰滰揰旰烰瓰珰⃰䧰滰瓰狰濰擰痰揰旰擰㫰 ⫰⃰䧰滰瓰旰狰槰濰狰槰瓰称⃰困台⃰䗰磰瓰旰狰槰濰狰槰瓰称 ⫰⃰䇰揰瓰槰盰槰瓰称 ⫰⃰台旰燰痰旰滰揰旰 ⫰⃰僰狰槰盰懰瓰旰⃰困台⃰僰痰拰泰槰揰 ⫰⃰䏰濰滰瓰旰磰瓰 ⫰⃰䣰濰淰濰柰旰滰旰槰瓰称⃰困台⃰䣰旰瓰旰狰濰柰旰滰旰槰瓰称
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台槰瓰旰⃰困槰珰槰瓰 哰棰旰⃰珰槰瓰旰⃰盰槰珰槰瓰⃰槰珰⃰痰珰旰曰痰泰⃰槰滰⃰盰槰珰痰懰泰槰珰槰滰柰⃰瓰棰旰⃰珰烰懰揰旰⃰槰滰⃰烰旰狰珰濰滰⃰矰棰槰揰棰⃰淰懰毰旰珰⃰槰瓰⃰旰懰珰槰旰狰⃰瓰濰 痰滰擰旰狰珰瓰懰滰擰⃰擰槰曰曰旰旰狰旰滰瓰⃰旰泰旰淰旰滰瓰珰⃰濰曰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⻰⃰䧰瓰⃰懰泰泰濰矰旰擰⃰淰旰⃰瓰濰⃰旰磰烰旰狰槰旰滰揰旰⃰瓰棰旰 珰烰懰揰旰⃰曰濰狰⃰淰称珰旰泰曰⃰矰棰槰揰棰⃰懰槰擰旰擰⃰槰滰⃰瓰棰旰⃰擰旰揰槰珰槰濰滰⃰濰曰⃰棰濰矰⃰瓰濰⃰擰狰懰矰⃰淰称⃰珰旰揰瓰槰濰滰⻰⃰䧰瓰⃰懰泰珰濰 棰旰泰烰旰擰⃰槰滰⃰懰滰懰泰称珰槰滰柰⃰濰曰⃰瓰棰旰⃰珰槰瓰旰⻰
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台旰揰瓰槰濰滰懰泰⃰僰旰狰珰烰旰揰瓰槰盰旰 䧰⃰揰棰濰珰旰⃰瓰棰槰珰⃰珰旰揰瓰槰濰滰⃰珰濰⃰瓰棰懰瓰⃰䧰⃰懰淰⃰懰拰泰旰⃰瓰濰⃰濰拰珰旰狰盰旰⃰瓰棰旰⃰槰滰瓰旰狰滰懰泰⃰珰烰懰揰旰 懰滰擰⃰懰揰瓰槰盰槰瓰槰旰珰⃰瓰棰懰瓰⃰柰濰旰珰⃰濰滰⻰⃰哰棰槰珰⃰揰痰瓰⃰槰滰揰狰旰懰珰旰珰⃰瓰棰旰⃰懰淰濰痰滰瓰⃰濰曰⃰揰濰狰狰槰擰濰狰珰⃰懰滰擰⃰懰瓰狰槰痰淰 珰烰懰揰旰⃰旰磰烰濰珰旰擰⃰懰珰⃰矰旰泰泰⃰懰珰⃰濰瓰棰旰狰⃰棰槰擰擰旰滰⃰旰泰旰淰旰滰瓰珰⃰瓰棰懰瓰⃰䧰⃰矰濰痰泰擰⃰滰濰瓰⃰拰旰⃰懰拰泰旰⃰瓰濰⃰珰旰旰⃰矰槰瓰棰 懰⃰瓰狰懰擰槰瓰槰濰滰懰泰⃰珰旰揰瓰槰濰滰⳰⃰曰濰狰⃰槰滰珰瓰懰滰揰旰⳰⃰瓰棰旰⃰擰濰濰狰⃰瓰棰懰瓰⃰泰旰懰擰珰⃰曰狰濰淰⃰瓰棰旰⃰狰旰瓰懰槰泰⃰曰泰濰濰狰珰⃰瓰濰 濰曰曰槰揰旰⳰⃰珰痰柰柰旰珰瓰槰滰柰⃰懰⃰瓰棰狰旰珰棰濰泰擰⃰瓰棰懰瓰⃰揰濰滰滰旰揰瓰珰⃰瓰矰濰⃰擰槰曰曰旰狰旰滰瓰⃰矰濰狰泰擰珰⻰ 䧰⃰棰懰盰旰⃰懰泰珰濰⃰揰棰濰珰旰⃰瓰棰槰珰⃰烰旰狰珰烰旰揰瓰槰盰旰⃰懰滰擰⃰懰滰柰泰旰⃰珰濰⃰瓰棰懰瓰⃰䧰⃰揰懰滰⃰濰拰珰旰狰盰旰⃰瓰棰旰⃰瓰槰旰狰旰擰 曰懰揰懰擰旰⃰懰滰擰⃰棰濰矰⃰狰旰珰槰擰旰滰瓰珰⃰懰狰旰⃰懰拰泰旰⃰瓰濰⃰揰痰珰瓰濰淰槰珰旰⃰瓰棰旰槰狰⃰拰懰泰揰濰滰槰旰珰⃰懰揰揰濰狰擰槰滰柰⃰瓰濰⃰瓰棰旰⃰矰懰称 瓰棰旰称⃰矰懰滰瓰⻰⃰䧰瓰⃰槰珰⃰懰泰珰濰⃰懰⃰痰滰槰燰痰旰⃰珰瓰懰柰柰旰狰槰滰柰⃰擰旰珰槰柰滰⃰珰痰揰棰⃰瓰棰懰瓰⃰旰盰旰狰称⃰狰旰珰槰擰旰滰瓰⃰槰珰⃰懰拰泰旰⃰瓰濰 棰懰盰旰⃰痰滰濰拰珰瓰狰痰揰瓰旰擰⃰盰槰旰矰珰⃰濰曰⃰瓰棰旰⃰珰旰懰⃰曰狰濰滰瓰⃰矰棰槰泰旰⃰拰旰槰滰柰⃰懰拰泰旰⃰瓰濰⃰旰滰櫰濰称⃰槰瓰⃰矰槰瓰棰⃰瓰棰旰⃰珰棰懰擰旰 瓰棰懰瓰⃰槰珰⃰揰懰珰瓰旰擰⃰拰称⃰瓰棰旰⃰拰懰泰揰濰滰称⃰懰拰濰盰旰⻰⃰台槰滰揰旰⃰懰滰⃰槰擰旰懰泰⃰䟰濰泰擰旰滰⃰䷰槰泰旰⃰䏰濰淰烰泰旰磰⃰矰懰珰⃰濰滰旰 瓰棰懰瓰⃰棰懰珰⃰淰痰泰瓰槰烰泰旰⃰濰曰⃰槰瓰⃰狰痰滰滰槰滰柰⃰懰泰濰滰柰⃰拰旰懰揰棰⃰狰濰懰擰⃰珰痰揰棰⃰瓰棰懰瓰⃰槰瓰⃰曰濰狰淰珰⃰㋰⃰狰濰矰珰⃰濰曰 珰称淰淰旰瓰狰槰揰懰泰泰称⃰懰泰槰柰滰旰擰⃰拰痰槰泰擰槰滰柰珰⳰⃰懰珰⃰槰滰曰泰痰旰滰揰旰擰⃰拰称⃰瓰棰旰⃰揰濰滰揰旰烰瓰⃰濰曰⃰懰⃰ᰠ泰槰滰旰懰狰⃰揰槰瓰称ᴠ⻰ 䧰⃰棰懰盰旰⃰瓰棰痰珰⃰懰泰珰濰⃰擰狰懰矰滰⃰槰滰⃰懰⃰珰旰揰濰滰擰⃰䟰濰泰擰旰滰⃰䷰槰泰旰⃰瓰濰⃰槰淰槰瓰懰瓰旰⃰瓰棰旰⃰槰擰旰懰泰⃰曰痰瓰痰狰槰珰瓰槰揰⃰泰濰濰毰 瓰棰懰瓰⃰矰懰珰⃰瓰濰⃰拰旰⃰懰揰棰槰旰盰旰擰⳰⃰懰滰擰⃰瓰棰槰珰⃰揰懰滰⃰拰旰⃰珰旰旰滰⃰槰滰⃰揰濰滰瓰狰懰珰瓰⃰矰槰瓰棰⃰瓰棰旰⃰狰旰懰泰⃰懰滰擰⃰懰揰瓰痰懰泰 珰瓰懰瓰旰⃰濰曰⃰䟰濰泰擰旰滰⃰䷰槰泰旰⃰䏰濰淰烰泰旰磰⃰瓰棰懰瓰⃰槰珰⃰珰槰瓰痰懰瓰旰擰⃰拰旰瓰矰旰旰滰⃰懰滰擰⃰烰懰狰懰泰泰旰泰⃰瓰濰⃰瓰矰濰⃰狰濰懰擰珰 ⣰䋰旰懰揰棰⃰勰濰懰擰⳰⃰仰槰揰濰泰泰⃰䣰槰柰棰矰懰称⧰⻰
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台旰狰槰旰珰⃰濰曰⃰懰滰懰泰称珰槰珰⃰擰槰懰柰狰懰淰珰⃰瓰棰懰瓰⃰旰磰烰泰濰狰旰珰⃰瓰棰旰⃰烰濰狰濰珰槰瓰称⃰濰曰⃰瓰棰旰⃰拰痰槰泰擰槰滰柰⳰⃰懰珰⃰矰旰泰泰⃰懰珰 槰瓰珰⃰痰滰揰濰滰盰旰滰瓰槰濰滰懰泰⃰擰旰珰槰柰滰⃰濰曰⃰滰旰旰擰槰滰柰⃰瓰濰⃰柰濰⃰瓰棰狰濰痰柰棰⃰懰⃰珰旰狰槰旰珰⃰濰曰⃰珰淰懰泰泰旰狰⃰珰棰濰烰⃰懰泰泰旰称珰 拰旰曰濰狰旰⃰狰旰懰揰棰槰滰柰⃰瓰棰旰⃰拰槰柰⃰盰濰槰擰⃰濰曰⃰珰烰懰揰旰⻰⃰ 䓰槰懰柰狰懰淰珰⃰懰狰旰⃰懰泰珰濰⃰擰狰懰矰滰⃰瓰濰⃰擰旰烰槰揰瓰⃰瓰棰旰⃰擰槰曰曰旰狰旰滰瓰⃰瓰称烰旰珰⃰濰曰⃰懰揰瓰槰盰槰瓰槰旰珰⃰瓰棰懰瓰⃰濰揰揰痰狰⃰槰滰 瓰棰旰⃰擰槰曰曰旰狰旰滰瓰⃰矰濰狰泰擰珰⃰瓰棰懰瓰⃰懰狰旰⃰曰濰痰滰擰⃰槰滰⃰瓰棰旰⃰揰濰淰烰泰旰磰⻰⃰䧰瓰⃰槰珰⃰懰泰珰濰⃰槰滰瓰旰狰旰珰瓰槰滰柰⃰瓰濰⃰珰旰旰 棰濰矰⃰瓰棰旰⃰擰槰曰曰旰狰旰滰瓰⃰滰旰旰擰珰⃰懰狰旰⃰拰旰槰滰柰⃰懰擰擰狰旰珰珰旰擰⃰曰濰狰⃰槰滰珰瓰懰滰揰旰⃰槰滰⃰瓰棰旰⃰狰旰瓰懰槰泰⃰曰泰濰濰狰珰⳰⃰旰懰揰棰 曰泰濰濰狰⃰揰濰滰瓰懰槰滰珰⃰珰瓰濰狰旰擰⃰濰曰⃰擰槰曰曰旰狰旰滰瓰⃰烰痰狰烰濰珰旰珰⃰矰槰瓰棰⃰瓰棰旰⃰淰濰狰旰⃰濰拰珰揰痰狰旰⃰濰滰旰珰⃰濰滰⃰瓰棰旰⃰棰槰柰棰旰狰 泰旰盰旰泰珰⻰⃰
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台旰狰槰旰珰⃰濰曰⃰烰旰狰珰烰旰揰瓰槰盰旰⃰擰狰懰矰槰滰柰珰⃰痰珰旰擰⃰瓰濰⃰珰槰淰痰泰懰瓰旰⃰瓰棰旰⃰旰磰烰旰狰槰旰滰揰旰⃰濰曰⃰矰懰泰毰槰滰柰⃰瓰棰狰濰痰柰棰 柰濰泰擰旰滰⃰淰槰泰旰⃰揰濰淰烰泰旰磰⻰⃰䇰泰珰濰⃰痰珰旰擰⃰瓰濰⃰珰棰濰矰⃰瓰棰旰⃰揰濰淰烰懰狰槰珰濰滰⃰拰旰瓰矰旰旰滰⃰瓰棰旰⃰泰槰滰旰懰狰槰瓰称⃰懰滰擰 棰旰瓰旰狰濰柰旰滰旰槰瓰称⃰矰槰瓰棰槰滰⃰槰瓰珰⃰珰烰懰揰旰 䧰瓰⃰懰泰珰濰⃰珰棰濰矰珰⃰瓰棰旰⃰揰濰淰烰懰狰槰珰濰滰⃰拰旰瓰矰旰旰滰⃰瓰棰旰⃰瓰矰濰⃰擰槰曰曰旰狰旰滰瓰⃰瓰称烰旰珰⃰濰曰⃰懰烰懰狰瓰淰旰滰瓰珰⃰瓰棰懰瓰 懰狰旰⃰烰狰旰珰旰滰瓰⃰槰滰⃰柰濰泰擰旰滰⃰淰槰泰旰⃰揰濰淰烰泰旰磰⻰⃰槰瓰⃰珰棰濰矰珰⃰瓰棰旰⃰擰槰曰曰旰狰旰滰瓰⃰擰旰柰狰旰旰珰⃰濰曰⃰烰狰槰盰懰揰称⃰懰滰擰 旰磰烰濰珰痰狰旰⃰矰槰瓰棰⃰瓰棰旰⃰棰槰柰棰旰狰⃰曰泰濰濰狰珰⃰拰旰槰滰柰⃰淰濰狰旰⃰旰滰揰泰濰珰旰擰⃰矰槰瓰棰⃰矰槰滰擰濰矰珰⃰懰珰⃰瓰棰旰⃰濰滰泰称 濰烰旰滰槰滰柰珰⃰瓰濰⃰瓰棰旰⃰濰痰瓰珰槰擰旰⃰矰棰槰泰旰⃰瓰棰旰⃰泰濰矰旰狰⃰曰泰濰濰狰珰⃰棰懰盰旰⃰濰烰旰滰⃰棰懰泰泰矰懰称珰
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TOPIC A 33RD LANE HOUSE IN A PLUM GROVE GOLDEN MILE COMPLEX WANG LIANG EN STUDIO LEE MAY ANNE
33RD LANE (AXONOMETRIC DRAWING)
SPATIAL AMORPHISM Bawa achieves within the architecture a constant flux resistant to delineation. Non-linear circulation, intertwining programs, garden courts and diffusion of light create a matric which defies the binary
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WATER COURTS Where Le Corbusier or Frank Lloyd Wright might place a hearth or fireplace , bawa favours water for its cultural and religious significance in Ceylonese society. Water courts are a recurring feature in Bawa’s architecture as a manifestation of vernacular architecture during the Modernist zeitgeist
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HOUSE IN A PLUM GROVE (ISOMETRIC DRAWING)
PHENOMENAL TRANSPARENCY The house is a tightly interwoven matrix of spaces, distributing and decentralising programmatic use of the spaces throughout the entire volume. Individual inhabitants generate unique circulation paths depending on their specific demographic, creating a unique, fluctuating map of transparency. The phenomenal transparency is twofold: the architecture’s ability to enable inhabitants to hold its entirety within their minds without being able to perceive it directly, as well as the fluid transparency of circulation throughout the house for different individuals.
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ZEN Each floor is arranged radially from a central stairwell and spaces connect cyclically through vision, grounding you within the larger space of the entire house despite being unable to directly perceive neighbouring spaces. “The structure is… created with the precondition that one can always find one’s position in the whole”. This spatial quality closely reflects the philosophy of Zen Buddhist rock gardens, particularly that of the one in Ryoan-ji in Kyoto, Japan. While a viewer may not perceive the whole garden directly each rock nevertheless exists within one’s mind. There, the part implies the whole and the whole derives the part. Contextual, experiential and sensory cues in the house imply the whole though one only inhabits a part. It can therefore be seen as one large room subdivided into seventeen smaller spaces rather than individual rooms simply joined to form a whole space.
GOLDEN MILE COMPLEX (SECTIONAL PERSPECTIVE DRAWING)
METABOLIST?
Though Golden Mile Complex fell short of an ideal Metabolist building, over the years the space and structure have been appropriated by its users in a pseudo-manifestation of Metabolist philosophies of organic growth, reflecting how the architecture has evolved and accommodated the shifting needs of its inhabitants and embracing the zeitgeist of different eras.
Source: Fallon, F. (n.d.)
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[Topic A Exercise 3]
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DISPARITY This sectional perspective illustrates the tension between intention and realisation, from the conception, actualisation and utilisation of Golden Mile Complex over the past half-century. The perspective represents the architects’ original intention of a larger Golden Mile, yet the chaotic façade reflects the fragmentation and evolution of the structure we often see in strata developments.
TOPIC B BAMBOO GROVE ANDREW LEE RUO ZUN STUDIO SANSON
TOPIC B WOOD PAVILION SIM YEE SHUANG STUDIO LIANG LIT HOW
TOPIC B CANOPY CALEB LIEW STUDIO LIANG LIT HOW
One with Nature
The Canopy is overflowing with greenery, transporting visitors to a lush rainforest
Multifunctional modules
Modules can hold a variety of plants or electrical fittings
A sight
On top, v and may
t to behold
visitors are rewarded with a spectacular view y even catch the setting sun in all its beauty
Tree and tranquillity The Canopy is a biophilic pavilion located a the entrance of NUS’S SDE3. The pavilion blends in with both the surrounding man made and natural features, while providing a moment of tranquillity for pedestrians as they pass through. Those who endeavour to climb to the top can relax on the carpet grass and catch the spectacular view of the sunset
Iteration one Structural system
The structure mimics a tree where branches hold up a canopy, allowing for a large open space beneath
Modularity Site response Aesthetic quality
Micro structure Macro structure
Weight : 100g Load tested : 1500g
Observations • Edge of canopy started to bend • Slightly unstable due to centralised, narrow base • Flat canopy too artificial looking • Canopy toppled if load was not distributed evenly
Improvements • use more double length modules to reduce bending • Widen/spread out base to increase stability • Introduce more irregularity for a more organic appearance
Preliminary sketches 1
Adjust length of slot to 10mm to create elevation of 20mm and simulate curvature of an arc
Elevation and plan of tree structure to be used as a reference for the arrangement of modules.
Mapping of modules to the structure of a tree
Iteration Two Integration with site
In this iteration, the pavilion extends in to the gap between the buildings, connecting with the green wall. The top of the pavilion is also accessible via the second floor of the building
Site response
Aesthetic quality
Modularity 40 30 20 10 0
Micro structure
Macro structure
Weight : 140g Load tested : 1500g
Observations • Tension in canopy between each column keeps the model stable • Multi-layered, irregular canopy improved organic appearance • Model completed load test without issue
Improvements • Columns are low in modularity and must be changed • Scale of modules not realistic and must be adjusted • An additional mode of access from the ground to the top should be added
Preliminary sketches 2
Adjustment of span of canopy to use to space at the gap between the buildings. Double layered canopy increases the organic appearance of the structure
Increasing the number of overlapping canopies to create a more organic and layered appearance
Simplifying canopies to only 3 layers so that it is more feasible to construct and uses less material while providing the same amount of cover
Preliminary s
Addition of terracing to provide access to the top of the canopy from the ground level. Terracing will double as steps and seating
Terracing provides shade from the w heights so that they are optimised to
sketches 3
west sun. Specifications of module o function both as steps and seating.
Sketch of final iteration with carpet grass surface, secondary access point and connection to the green wall.
Final Iteration
Terracing function as seating and provide access to the top
Variety of plants mimics the surrounding nature
Elevated timber deck demarcates bo between road and pavilion, deterring motorist from entering
Changing shadow patterns
Pavilion remains illuminated at night
Secondary access point to top of can
oundary g
nopy
Modularity Site response
Micro structure
Aesthetic quality
Macro structure
Weight : 300g Maximum load : 3800g The final design consists of four “trees” linked together by a large canopy which extends from the existing green wall, all the way to the ground level at the front. Users are welcome to climb on top of the canopy via the terraces where they can take in the view of Clementi Woods across the road. Beneath the canopy, users have an equally rewarding experience, where complex shadow patterns are casted on the ground, creating an interesting visual experience.
Load testing
Load consisting of heavy books were placed with their centre of gravity located above the columns. They were distributed as much as possible, with larger books placed at the bottom as a base. The structure handled loads of up to 3000g without issue but startled to wobble and eventually collapsed. The point of failures are the points where the canopies are the thinnest and experience the highest amount of shear force
Loaded area Point of failure
Constru Module material
The modules will be made of mass engineered timber (MET), for the following advantages
Strong
MET has extremely high strength to weight ratio
Environmentally friendly
MET production is environmentally sustainable and traps carbon permanently
Weather resistant
MET can be easily treated to become resistant to the moist tropical climate
Module Joinery
MET panels can be joined together using brackets that are bolted to the panels. 6 of the panels then join together to form a single module.
Module Heights
Three types of module heights are used, with the primary module of 1 metres height that has a good balance of structural strength and coverage. Additional double height modules are used to provide elevation and provides greater support against moments. Two halve-height modules are used as a step to improve accessibility.
x2
x278
x175
9
uction Planter space Irrigation system
Electrical systems LED light
Module types
The modules can be outfitted to serve different functions. They serve mostly as planters, with additional space for mechanical and electrical fittings but they can also be fitted with glass panels to allow sunlight to pass through while providing shelter.
Axonopus Compressus Soft carpet grass provides comfortable spaces for users to sit on the top of the canopy
x213
Vernonia elliptica Hanging creepers along the edges of the pavilion provides additional shade for users
x95
Glass panel Clear tampered glass allows sunlight to passthrough, creating interesting shadow patterns within the pavilion
x147
TOPIC C MELINDA KUMALA A LOOK INTO JARKARTA’S FLOODING PHENOMENA STUDIO NIKHIL
TOPIC C HARMONY IN CHAOS SIM FEI CRYSTALYN STUDIO ELAINE LEE
TOPIC C GALE CRATOR EXPLORATION TSENG CHEN YU STUDIO NG WILLIAM
YEAR 1 LEVEL 1 COMPILATION OF SELECTED WORKS
2020/2021 BA (ARCH) 1
IMAGE CREDIT: WANG LIANG EN