Building Bodies Body Building Vol 1

BUILDING BODIES BODY BUILDING

DELACE

XIAO

DEPARTMENT

Image:

Yew Tee Primary School, Erik L’Heureux

Building Bodies |Body Building

UNIT 2

Semester 2 AY 2023/2024

Foreword

Throughout this semester, we will probe into the cultural and performative underpinnings of two envelopes that are situated in the climate and environment of the equator and in Singapore. Clothing – the body’s envelope – formally communicates, conditions, and shapes the body as much as it performs. And so does the architectural envelope. The envelope begins at the scale of the body but extends to the scale of the building. These two envelopes (Body & Building) have an intimate yet fraught cultural, formal, and performative relationship. Clothing impacts the experience of climate and environment, referred to as a clothing factor in the architectural domain. Yet, clothing is assumed to be outside the architects’ role – left to the inhabitant. The inhabitant, however, is culturally performing an expectation of body politics in climate and in turn, conditioning how architecture is assumed to construct its internal climate. We will examine the multitude of these cultural, formal, and performative underpinnings by designing, making, and experiencing two envelopes of the body and the building in the climatic and environmental milieu of Singapore.

Contents

Proposals

Reflective Resonance by Delace Koh & Mao Mei

Soundscape by Chen Junyu Ryan & Chooi Enyu

Navigating Light by XiaoYiXuan & Chelsy TsanYan En

Beacons of Learning by Evan Tan & Felix Lim

The Aeolian Nexus by Bunag Ramela Joey Delen & Viernes Alexandra Michaela Abad

Reflective Resonance

Delace Koh & Mao Mei

Probe 1.1

Climate Driver:Sound

Our initial concept explores the concept of sound transmission by creating 2 distinct environments for 2 heads. In one setting, a head is situated within an enclosed space, with funnels attached to each side of the ear to maximize the intake of external sounds. Conversely, the other head occupies a semi-enclosed environment, allowing only partial sound infiltration from the surrounding area.

To simulate the interaction between two climates and environments, the two heads are interconnected by a funnel mechanism spanning from mouth to ear, serving as a conduit for both noise and heat transfer.

The objective of this project is to tackle a prevalent issue in educational settings: environmental noise. This noise often leads to distractions and disturbances for both students and teachers.

Receiving Direct Sound

2 Climate - Hot/Cold, Loud/Soft

Receiving Indirect Sound

2 Emvironment - Opened/Enclosed

Top View

Side View

Enclosed Envrionment (M)

Inspiration

Semi-Enclosed Envrionment (D)

Inspiration

2 Modules:

Probe 1.2

Climate Driver:Sound

In this investigation, we delved deeply into our main driver of climate - sound, specifically focusing on sound reflection. Our approach began with associating enclosed environments with amplified sound and semi-enclosed environments with diffused sound, drawing from existing research findings.

In environments where sound is directed towards a focal point for amplification, such as enclosed spaces, it results in a higher noise level. Conversely, in semienclosed spaces where sound is dampened through the material, it tends to be reflected off surfaces, leading to a lower noise level.

To accurately assess these effects, we utilized our bodies as measuring instruments. The precise positioning of our heads along the X,Y, Z axes was determined to ensure optimal comfort while wearing the apparatus.

Sound Research

Research was conducted on sound to comprehend its characteristics and facilitate the desired outcome.

Our exploration focused on the concept of sound reflection, delving into how surfaces and shapes influence the reflection of sound waves.

The waves will always reflect in such a way that the angle at which they approach the barrier equals the angle at which they reflect off the barrier.

occurs when a reflected sound wave reaches the ear more than 0.1 seconds after the original sound wave was heard.

occurs in a small room with height, width, and length dimensions of approximately 17 meters or less. The reception of multiple reflections off of walls and ceilings within 0.1 seconds of each other causes reverberations - the prolonging of a

Relationship - Shape

Reflect sound waves in such a way that the angle

Hard and Smooth

- Poor ability to abosrb sound

- Direct sound waves in a specific direction

- Achieve dispersive sound

- Greater ability to absorb sound

- Diffuse sound, reflecting it in a variety of directions

- Achieve lively and full sound effect

approaches the surface equals the angle at which the wave leaves the surface.

Curved surfaces with a parabolic shape have the habit of focusing sound waves to a point. Sound waves reflecting off of parabolic surfaces concentrate all their energy to a single point in space; at that point, the sound is amplified.

Soft and Rough

Curved

Top View Side View

Enclosed Envrionment (D)

Using a parabolic shape (concave), the sound will reflect off the surface to a focal point, hence amplifying the sound.

Semi-Enclosed Envrionment (D)

Front View

Top View

1 Module:

Sound Testing - Noise Level

Light Testing

Smooth Plane Surface

Smooth Plane Surface

Probe 1.3

PrimaryClimateDriver:Sound

SecondaryClimateDriver:Light,Humidity

In order to fine-tune the concept of sound reflection within our apparatus, we made adjustments to the “walls” of the two environments. For the enclosed environment, a double-wall construction with insulation was adopted to further minimize sound refraction through the material. Meanwhile, the pattern for the semi-enclosed environment was simplified to reduce the amount of materials used, thereby decreasing the weight of the apparatus and maximizing its effectiveness.

Additionally, we introduced a secondary climate driver: light and humidity. To regulate the light levels within the environments, two materials, grey board and gauze, were implemented to the pattern to create the desired bright and dark spaces.

Considering our site’s location along the Kallang River, which experiences relatively high humidity, we addressed the impact of humidity on sound travel. For this purpose, specific outfits were selected for each member. One member wore long sleeves and pants, promoting higher body temperature and humidity levels within the enclosed environment, while the other wore short sleeves and shorts to maintain lower body temperature and humidity levels within the semi-enclosed environment.

Secondary Climate: Light

Enclosed

Secondary Climate: Humidity

Semi-enclosed

The speed of sound in air increases with the increase in humidity

The humid air is heavy with noise, Sounds saturate the forest around us- insects buzz, frogs yelp, birds shriek, mammals scuttle, and bats clicks. Even the trees seems to pulsate with sound, as the din ricochets off the high canopy and cascades back to earth on a tide wave of noise.

Top View Side View

Site: Along Kallang River

Enclosed Envrionment (D)

Sound Testing (w environment)

Semi-Enclosed Envrionment (M)

Front View

Top View

3 Modules:

Probe 1.4

Climate Driver:Sound

SecondaryClimateDriver:Light,Humidity

In this investigation, we aim to elucidate the intricate relationship between climate, environment, and our apparatus, wherein three distinct climates impact the two environments housed within a single envelope.

Addressing the integration of these two environments as a unified envelope, we employed the pattern established in previous probes throughout the entirety of the apparatus. Moreover, we seamlessly connected the two heads within this envelope using an organic form.

Throughout this process, it was crucial to ensure that the functionality of sound reflection within each environment remained unchanged, despite the integration of the two environments into a single cohesive unit.

View

Plan1 Scale1:3

Plan1 Scale1:3

Plan2 Scale1:3

Iteration 1

Section

Iteration 1

Iteration 2

Front View

Top View

Probe 2:

by Delace Koh and Mao Mei Erik L’Heureux

Probe 2.1

Transitioning from Probe 1, our initial step involved overlaying Probe 1 onto the classroom section and conducting a climate analysis of Yew Tee Primary School. Utilizing the insights gained, we integrated elements from Probe 1 while maintaining our main focus on climate regulation.

To minimize alterations to the existing structure, we introduced slight modifications to the building facades and made minor adjustments to the walls to enhance acoustic concentration within the classroom and to mitigate sound transmission from neighboring school blocks.

Superimposition

Yew Tee Primary - Daylight Availability

Probe 2.2

We introduced a new program, farming, to address the students’ needs for outdoor interaction with nature beyond traditional classroom settings. By integrating elements such as drums from Probe 1 into our design, we created staggered balconies that serve as planters, transforming the building envelope into a green wall. Introducing this program not only revitalizes the courtyard space but also extends the greenery from the ground-floor garden to envelop the courtyard, fostering greater visual connectivity and interaction among students.

Additionally, the interior walls of the classrooms were curved to align with both climate considerations and the program’s requirements.

Furthermore, we utilized panels and frames from Probe 1 to serve as protective shields against rainwater and sunlight along the corridor.

Corridor

Classroom

Probe 2.2 - Daylight Availability

Probe 2.3

In this iteration, we enhanced the design language of the ‘drums’ by extending them vertically from top to bottom, thereby establishing a distinct contrast between different program areas.

Delving further into the classroom environment, we delved into the spectrum between formal and informal education. The incorporation of curved walls within the classrooms offers diverse learning scenarios for students, enhancing flexibility in teaching approaches. Utilizing the space between classrooms, we introduced openings and gathering areas, facilitating the differentiation of spaces to accommodate both “introverted” and “extroverted” students. Additionally, the gardening area is designed to be shared among classes, promoting collaborative learning experiences.

Probe 2.3 - Daylight Availability

Probe 2.4

For this iteration, we adjusted the floor slabs within the courtyard to enhance the prominence of the “drums” and improve climate control.

In the corridor area, we opted to extend the “drum language” to create a dynamic environment resembling a “jungle gym.” Rather than cantilevering the floor slabs, we replaced them with wire mesh to facilitate interaction between students across different floors. Additionally, ropes were incorporated into the frames of the drums, providing opportunities for students to climb and hang out within these structures.

Classroom

Jungle Gym

Yew Tee Primary - Wind Velocity

Probe 2.4 Interior Wall - Wind Velocity

Flat vs Curved

Probe 2.4 - Daylight Availability

Probe 2.5

Reintroducing a design feature from Probe 1, we added thickness to the framing along the corridor to accommodate double panels. This inward offsetting not only enhances protection for the program but also serves to block rainwater from entering the classroom.

The panels integrated into the frames serve a dual purpose, akin to those in Probe 1, focusing on sound insulation. Our material selection, fiberglass, permits light transmission while effectively blocking rainwater, while cotton canvas allows light and partial wind passage. To address climatic considerations, such as wind, the panels are arranged with a gradient to channel airflow towards the classrooms.

Addressing other building surfaces, such as the fire engine access way, we extended the gardening frame around the eastern side of the building, linking the two primary sides (north and south). This wraparound structure not only facilitates wind flow to the courtyard but also guides wind through the space.

Maintaining consistency, the drums extend to the ground floor. On the northern slope, which extends beyond ground level to the basement, fiberglass panels were strategically placed to introduce natural light into the staff room below.

Jungle Gym

Classroom

Gardening

Material Research

Cotton Canvas

This is oldest n commonly used fabric material for the making of tents and shades on old days. It can be a light cotton twill, light canvas, or heavy proofed canvas.

Fiberglass

Glass fibres are drawn into continuous filaments, which are then bundled into yarns. The yarns are woven to form a substrate. The fiberglass carries a high ultimate tensile strength, behaves elastically, and does not suffer from significant stress relaxation or creep. Because of its energy efficiency, high melting temperature and lack of creep, fiberglass-based fabrics have been the material of choice for stadium domes and other permanent structures.

United Nations Porte Cochere

Cape Town Stadium

Probe 2.5 Exterior (Jungle Gym) - Wind Velocity

Rigid

Rigid

Flexible

Flexible

Flexible

Probe 2.5 - Daylight Availability

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Mao Mei

Our study regarding the performative and cultural components intertwined with the body and building envelopes takes us through exploratory activities aimed at revealing intricate relationships. These designs, which vary from creating a body envelope to redesigning a school building’s envelope, have given us the chance to critically examine the intricacies of design, as well as the effects of the environment, society, and climate change. This reflective essay delves deeper into the experiences, insights and learnings gained from these processes.

Probe 1: Bodybuilding

In probe 1, we have explored architecture in all its forms, from clothing choices to construction difficulties and inventive fixes. Our research began with the first stage of building a head envelope at a 1:1 scale. Working in pairs, we explored the difficulty it is to adapt to changes in temperature, light, sound, and other atmospheric conditions inside the head envelope. Two bodies linked together inside one envelope presented interesting problems that made us think about the physical dimensions as well as the sensory sensations both inside and outside the envelope.

Design concept:

We created two distinct environments for two heads as a result of our study into sound transmission. For the best sound infiltration, one head was positioned in an enclosed area with funnels, and the other was situated in a partially enclosed space. A funnel mechanism, which represents the interplay between different climates and environments, made it easier to connect diverse ecosystems. Our initiative investigated the effects of sound reflection on climate in an attempt to address the problem of environmental noise in educational environments. In line with previous studies, we linked semi-enclosed spaces to scattered sound and enclosed spaces to amplified sound. Our thoughtful positioning within the apparatus enabled us to measure the impacts precisely. In order to improve sound reflection, we made modifications to the walls of each environment. In the enclosed space, we used insulation, and in the semi-enclosed space, we made the pattern simpler in order to maximise weight reduction and efficiency.

We addressed the impact of humidity on sound transmission and light levels utilising materials like gauze and grey board, introducing them as supplementary climate drivers. Since clothing was chosen for both function and symbolic representation of metabolic rates, an in-depth understanding of how it reflects physiological processes is required. The individuals’ choice of clothing also had an impact; in the semi-enclosed area, one member maintained lower humidity levels while the other encouraged higher humidity levels in the enclosed area.

Our study combined three different climates into one envelope in an attempt to bring more light on the intricate relationships present between environment, climate, and our envelope. The smooth integration resulted in a unified piece while preserving the functionality of sound reflection. All in all, this approach forced us to consider sound’s interactions with various climates and settings in a novel way, which deepened our understanding of the dynamics of architecture and the surrounding environment.

Probe 02: Building Bodies

Our perspective was expanded to a greater scale as we went from developing personal head envelopes to redesigning the envelope of a school building. We addressed the issues of architectural design, climate adaptation, and embedded carbon reduction after learning from Probe 01. Using body envelope concepts in architectural design presented opportunities for growth as well as challenges. We expanded our perspective to take into account the overall performance, environmental interaction, and enhance social traits of students. Developing an appropriate head envelope that complemented our architectural concepts linked buildings’ exteriors and interiors and highlighted the balanced connection between people and their surroundings.

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Mao Mei

Design concept:

After moving on from Probe 1, we first conducted a climate study by superimposing its section onto the classroom area of Yew Tee Primary School. This helped us integrate the elements of Probe 1 while keeping the regulation of climate in mind. We modified the walls and made minor façade alterations to improve the acoustics of the classroom and minimise sound transmission in order to make minimal changes to the existing building. In order to improve outdoor engagement, we implemented a gardening program. We used components like drums to construct green balconies, which connected the building with nature and encouraged student interaction.

The ideas from Probe 1 were upwardly expanded in our design, and we included elements that sheltered the corridors from the sun and rain. Curved walls inside classrooms accommodated a variety of learning styles and temperature needs, while open areas catered to different student preferences. Collaborative learning was promoted via shared gardening spaces. With wire mesh flooring, climbing ropes, and double-panel protection, we created exciting circumstances and enhanced climate control in the courtyard and corridor sections. In order to address wind flow and sound insulation, materials with properties that involve light transmission and temperature resilience, such as fibreglass and cotton canvas, were selected. In order to enhance wind flow and direct it via different places, we expanded the gardening frames around the building. The drums’ design extended to the ground floor, introducing natural light to lower levels. Overall, our strategy successfully incorporated the insights from Probe 1, resulting in an effective fusion of creative education, environmental responsiveness, and architectural development.

Key takeaway:

The project took off with the detailed design techniques which were delicate on the concepts of the sun directions, the wind, the sound volume, and the necessary weather forecast data. Needless to say, much study and job simulation tests were fundamental in acquiring the required finesseYet it has become very difficult to assess how the climatic condition for the Probe 1 should be configured to meet the climate requirements in different parts of the school because it made me understand how complicated it is to design separately with the existing building. Apart from the above, we also focused on using Energy Use Intensity (EUI) of the building, its embodied carbon and environmental aspects. It followed an area that was out of our comfort zone, but the effect was obvious. We carried out, of course, very deep carbon figures, and the design of features was rused.

Peer Project Review:

Through discussing with other members we begin to comprehend that our thinking could be expanded, setting new ideas and improved conclusions. We were able to open our minds and learn other approaches and comforting solutions to the issues we were facing. As a result we got more sophisticated learning and know different aspects of those traditions, designs, and the environment. Our educational sphere was mentioned as a place where the feedback, sharing the knowledge and the reviews of peers play great roles. The groups have displayed various visuals, a schematic, and a voice-over to enlighten the audience about the idea presented. Through these measures, we wanted to combine the environmental design techniques, such as tilt and shadow zigzag solutions and transition from the outside light in, which brought the listeners to another level and involved them into this subject.

Conclusion:

Our knowledge with architecture, sustainability, and human-environment interactions experienced significant breakthroughs during Probes 01 and 02, the ones we researched upon. Building head envelopes, rebuilding school envelopes, and evaluating peer designs took weeks of demanding work, which all led to valuable insights, failures, and personal growth. Nowadays we consider design principles, ethnos, climate factors, and sustainability guidelines while working on a project, consequently making our designs responsible and consequential.

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Delace

Probe 1: Bodybuilding

Working in pairs, we were tasked to construct a 600mm x 600mm x 1200mm envelope of 1:1 scale envelope for our respective bodies (heads only). With multiple conditions such as two bodies (heads) to be positioned within a single assemblage, the envelope is to calibrate and modulate our chosen climate drivers.

We first identified our primary climate driver, sound, then our secondary climate driver, light and humidity. As we mitigate around the research of sound where surfaces and forms play an important role, we were able to elucidate the intricate relationship between climate, environment, and our apparatus, where in three distinct climates impact the two environments housed within a single envelope.

Addressing the integration of these two environments as a unified envelope, the pattern was established throughout the entirety of the apparatus. Moreover, we seamlessly connected the two heads within this envelope using an organic form. Throughout this process, it was crucial to ensure that the functionality of sound reflection within each environment remained unchanged, despite the integration of the two environments into a single cohesive unit. We are also to define performance by utilizing traditional forms of climate measurement and awareness of body/building meaning and analogical ideas.

Through this exploration, we gained an understanding of the specific conditions necessary for each climate, as well as the interplay and impact of one climate on another. But is this considered architecture? From my perspective, Probe 1 represents a scaled-down exploration. Frequently, we lack the ability to fully gauge the climate within a large building. This investigation helps determine if the climatic concepts we propose are effective and provides justification for them. Consequently, I believe Probe 1 provides a solid foundation as we move towards implementing it in a real building.

Probe 2: Building bodies

For probe 2, we were tasked to superimpose, and transform probe 1 to redesign a 6-sided envelope of Yew Tee Primary School. During our site visit, we observed distinct differences in sound levels between the two sides of the school premises. The courtyard, bustling with activities during break times, emanated a notably higher level of noise compared to the quieter residential area. Inspired by the lush garden within the courtyard, we were compelled to integrate verdant elements throughout the space, revitalizing it with greenery. This led us to introduce designated gardening areas, enhancing the overall ambiance and functionality of the courtyard. As we delve further into the classroom environment, we delved into the spectrum between formal and informal education. The incorporation of curved walls within the classrooms offers diverse learning scenarios for students, enhancing flexibility in teaching approaches.

While endeavoring to integrate the climatic insights gleaned from Probe 1, our team arrived at a realization that programmes are also drivers of noise level. Trying to balance the noise level on 2 sides of the building, we introduced another programme, ‘jungle gym’, on the residential side. By strategically integrating programs to mitigate noise challenges, we aimed to enhance the overall functionality and livability of the building. Reintroducing design features from Probe 1, we added thickness to the framing along the corridor to accommodate double panels. The panels integrated into the frames serve a dual purpose, akin to those in Probe 1, focusing on sound insulation. Our material selection, fiberglass, permits light transmission while effectively blocking rainwater, while cotton canvas allows light and partial wind passage. To address climatic considerations, such as wind, the panels are arranged with a gradient to channel airflow towards the classrooms. During the development of Probe 2, one of the challenges we faced was preserving the elements of Probe 1 while navigating the constraints of scaling. The intricate details that defined Probe 1 posed a persistent challenge, frequently eluding us as we endeavored to replicate them in the larger 1:50 scale model. Scale emerged as a central point of contention, prompting ongoing debates regarding the delicate balance between fidelity to the original design and the aesthetics.

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Delace

Self - reflection

Given the adaptive nature of the project, our approach demanded meticulous consideration regarding any additions or subtractions to the building’s design. The intricacies of calculating the Energy Use Intensity (EUI) heightened our awareness of the embodied carbon footprint of materials chosen for construction. This mindfulness extended beyond mere functionality; it encompassed a responsibility toward sustainability and environmental stewardship. Each decision was weighed not only for its immediate impact but also for its long-term implications, ensuring that the project aligned with principles of energy efficiency and carbon neutrality.

Delving into the intricate relationship between clothing and architectural envelopes has been an eye-opening journey. Through our investigations, we unearthed how clothing serves as more than just a functional necessity—it communicates, conditions, and shapes our experiences of both self and environment. Similarly, the architectural envelope, spanning from the scale of the individual body to that of entire buildings, embodies a complex interplay of cultural, formal, and performative elements.

Peer Review

Through this collaborative project, we came to appreciate each other’s diverse strengths and honed a work methodology that maximized efficiency. Along the journey, we embrace our differences, particularly in the realm of divergent opinions and preferences. Rather than hindrances, we found that embracing these distinctions enriched our project, making it memorable and uniquely our own. It’s a project we’ll look back on with pride, knowing that our ability to embrace diversity contributed to its success and distinction.

Furthermore, it was interesting to hear from other groups as they share their progress on the project every week. While our group pursued distinct concepts and undertook varied tasks, these presentations served as invaluable learning opportunities. Despite our divergent approaches, we found common ground and exchanged insights, fostering a collaborative atmosphere where constructive feedback flowed freely. Each group’s unique perspective enriched our understanding, sparking new ideas and refining our own strategies. These interactions underscored the value of diversity in thought and methodology, reinforcing the notion that collective knowledge and shared experiences propel us toward greater innovation and success.

Soundscape

Chen Junyu Ryan & Chooi Enyu

Probe #1.1

byChenJunyuRyanandChooiEnyu

Our exploration started of with a common wall that separated two bodies but at the same time connect them through sound. We were interested in how sound travelled within a confined space and wanted to see how this could impact a conversation between two people. Finding ways to amplify or reduce sound whilst at the same time exploring the idea of visual connection. What are some ways that we can visually fragment the face.

We explored speaking tubes and we were also looking at how people were able to listen using a conical shape. The exploration started of more visually than functionally and we wanted to explore how the materials are able to interact with one another. The use of gauze was a means to create a membrane for sound to pass through but also not be super reduced.

Probe #1, Front elevation , Enclosed Environment + Dark (Left) and Open Environment + Bright (Right)

Facial Fragmentation by grid system (Enyu)

Separating the senses and isolating them in different compartments (Vision and Sound)

Facial Fragmentation by grid system (Ryan)

Separating the senses and isolating them in different compartments (Sound and Wind)

Probe #1.1 Sectional Oblique

Probe #1.2

byChenJunyuRyanandChooiEnyu

After pinup we were task to have a clearer focus and goal hence we started to explore further sound as the primary climate. We were interested in retaining the aspect of conversations and thought that an envelope where two individuals of differing personality such as an introvert and an extrovert could talk. Hence we decided on exploring a queit space for the introvert and a louder and more lively space for the extrovert.

To retain the idea of isolated senses, we tried to create a more mechanical function to speaking and listening for the extrovert so that the extrovert would have to focus on one sense at a time.

Probe #1.3

byChenJunyuRyanandChooiEnyu

Probe #1.3 explores the isolation of sound in a greater degree by pin pointing the direct sounds and indirect sounds into tubes that run along the envelope.The baffles of the grid also explores the module screens that provide a greater surface area to reflect sound as well as a soft interior that was used to abosrb the sound from within the environment.

The second climate that was explored is wind and how it can be channelled through the funnel like modules that are being placed along the grids allowing for wind and sound to be amplified through the module making the environment for the environment louder and windy compared to the introvert which has a more stuffy and quiet environment.

Probe #1.3 Sectional Oblique

Probe #1.4

Wind funnel and Ventilator. The exploration of channeling wind from the back of the envelope and making use of that air barrier to create distance between the introverts space and the baffles + modules. As the interior of the previous envelope didnt allow for much air to move we had to create openings for the air to escape however this made the sound level drop as gaps were introduced allowing for sound to enter.

The exploration of wind through the use of venturi effect to push the hot air up and out from the inner space in the introverts area so that it is more ventilated.

Probe #1.4 Sectional Oblique

Sounds from Within Probe#1.5

byChenJunyuRyanandChooiEnYu

Situated within the vibrant environment of SDE4’s open plaza where most of the communal activities happen, this envelope is designed for introverts to seek meaningful social engagement without feeling overwhelmed by external distractions.

By isolating external sounds, this envelope redefines the boundaries of social interaction where internalised sounds is more focused in this intimate space. Every whisper, laughter and exchange is emphasized to draw individuals closer in a shared moment of connection.

Probe 2.1

byChenJunyuRyanandChooiEnYu

For Probe 2.1, the exploration of the envelope now spans from the scale of the human body to the scale of a building. This expansion broadens the focus beyond just accommodating climates for introverted and extroverted individuals. Instead, the envelope addresses the multifaceted acoustic needs within the context of a primary school environment. This includes the considerations for exterior conditions, corridor and classroom environments.

In transitioning from Probe 1, we are prioritizing direct and indirect sound transmission at the exteriors and improving sound isolation in classrooms. Our design approach incorporates the angular elements derived from Probe 1 to encourage diverse acoustic experiments.

Superimposition

Probe 2.1 Overview

Basement

Exterior Climate - Reflect and Direct Sound

Noise Source 1 from adjacent block (during lesson)

Noise Source 2 from ground level (after lesson)

Adjacent Block

Exploration of secondary climate: Envelope is tilted to allow ventilation

Noise Source 1 from adjacent block (during lesson)

Reflected

Noise Source 2 from ground level (after lesson)

Directed to corridor through hollow tubes

Isometric View

Isometric View

Talking & Listening Tubes

Isometric View

Isometric View

air rises & escapes through openings Noise from the exterior is reflected

Cool air enters through hollow tubes

Roof eaves direct rainwater to corridor (noisy)

Hot

Classroom Climate

Climate - Noisy

User - Extrovert

Climate - Quiet

User - Introvert

Probe 2.2

byChenJunyuRyanandChooiEnYu

In developing Probe 2.2, we have expanded our exploration of the envelope beyond acoustic climate to allow ventilation, natural lighting and rainwater collection.

To enhance the angular design language, we experimented with different perforation patterns and integrated additional pipes that function as talking-listnening tubes and rainwater downpipes. The rainwater downpipes enable the smooth flow of rainwater while amplifying the soothing sound of rainfall. Together with the voices of students echoing across different floors, they add to the lively atmosphere of the school.

Additionally, on the courtyard side, a double-envelope element is introduced: the outer layer focus on sound dampening could contribute to a quieter and more serene atmosphere within the classroom environemnt, while the perforated inner layer allows for ventilation, particularly from the south south-west direction to optimize airflow and comfort.

Probe 2.2 Overview

Basement

Exterior Climate - Reflect and Direct Sound

Noise Source 1 from adjacent block (during lesson)

Noise Source 2 from ground level (after lesson)

Noise Source 1 from adjacent block (during lesson)

Reflected

Noise Source 2 from ground level (after lesson)

Directed to corridor through hollow tubes

Secondary Climate: Envelope is tilted to allow ventilation

Noise Source 2 from ground level (after lesson)

Directed to opposite corridor proposedthroughcorridor

Seamless continuity of the envelope from exterior to interior corridor via the introduction of perforated panels

Isometric View

Isometric View

Plan View

Basement

Talking & Listening Tubes

Air gap (sound and heat reduction)

Basement

Classroom Climate

Climate - Noisy

User - Extrovert

Voices of peopleRainwater sound

Climate - Quiet

User - Introvert

Basement

Material Research - Talking and Listening Tubes

Gutters typically have a long, narrow shape that helps guide water smoothly along its path.

Similarly, the talking and listening tubes could adopt a similar shape to facilitate the transmission of sound waves. The long, straight tube with smooth inner surfaces would help minimize sound distortion and loss.

Material Research - Soft Material for Acoustic Insulation

Inspired by sound barrier sheets, sound curtains are designed to be flexible and easily movable, allowing teachers to adjust the classroom layout as needed.

This flexibility enables the creation of temporary partitions to divide the classroom space for different activities or to provide privacy during group work.

Material Research - Hard Material for Acoustic Reflection

Perforated aluminum sheets are known for their ability to reflect sound waves due to their hard surface. It also offers flexibility in design that allows customization in terms of hole size, pattern, and spacing.

Embodied Carbon

Demolition Carbon (Adaptive Reuse)

New GFA of Rennovated building

Probe 2.3

byChenJunyuRyanandChooiEnYu

In the development of Probe 2.3, we integrated “soft material” to introduce greater perforation. This includes incorporating wire mesh to encourage the growth of creepers onto the envelope that provide natural shading from direct sunlight along the classroom corridor. This approach invites nature to become an integral part of the learning environment.

On the courtyard side, we decided to reduce the previous heavy appearance by introducing horizontal louvres. These will serve as a framework for gauze to create a softer aesthetic. Additionally, soft materials will be utilized to absorb noise from adjacent blocks. Louvres nearer to the windows will be strategically placed to absorb more noise to enhance acoustic comfort for students and staffs.

The wire mesh serves a dual purpose in Probe 2.3.

It not only provides a medium for greenery to thrive, it also extends from the exterior to the interior and becomes a netting where students can relax and play.

This seamless integration enhances visual and sound connectivity between different floors, which promotes a playful and vibrant learning environment for students even after lessons end.

The horizontal louvres in Probe 2.3 are designed to allow wire mesh to coil around them to create a more dynamic visual effect.

The zig-zag design language increases the surface planes,and enhances the reflection of noise from adjacent blocks.

In contrast to the heavy appearance of Probe 2.2, this perforated envelope design prioritizes improved ventilation and natural light to create a more welcoming and comfortable classroom environment.

Before

Point-in-time Illuminance

Embodied Carbon

Operational Carbon

Demolition Carbon (Adaptive Reuse)

Probe 2.4

byChenJunyuRyanandChooiEnYu

For Probe 2.4, we made several design decisions to enhance functionality and user experience. Firstly, we decided to terminate the wire mesh envelope at the first storey, opting instead for perforated aluminum panels with vertical slits for the upper storeys. This offers greater flexibility in adjusting the sizes of the perforations and enable us to better respond to natural ventilation and lighting needs. The perforation sizes gradually change near the classroom doors to increase openness and facilitate cross ventilation.

Additionally, we extended the steel pipes to the opposite side of the building. This approach allows us to incorporate different protrusions of the pipes and effectively serves as structural supports for holding perforated acoustic panels at various angles.

To further enhance the vibrancy of the entire block, particularly after lessons, we proposed new corridor spaces between classrooms. These additional corridors connect both exteriors and classroom spaces, thus providing students with opportunities to socialize and interact with one another.

Exterior Climate - Acoustic Dampening

We also considered how the envelope can wrap the entire building, extending from the roof down to the fire access and basement areas. To emphasize the angular design language, we incorporated the steel pipe structure throughout.

In the basement play area where students often gather, wire mesh panels are used to occupy the ceiling to allow for the introduction of greenery and creating a more natural and inviting atmosphere.

For the high-traffic fire access area, we opted for aluminum panels. These panels are designed to create echoes that add to the vibrancy of the school environment.

Acoustic Simulation - Before

-Source -Receiver

Acoustic Simulation - After

-Source -Receiver

Acoustic Simulation - Proposed Corridor

Wind Simulation

Point-in-time Illuminance

Demolition

Carbon (Adaptive Reuse)

Probe 2 Final - Soundscape

byChenJunyuRyanandChooiEnYu

Situated at Yew Tee Primary School, Soundscape prioritizes creating a playful and lively learning environment by addressing acoustic comfort as the primary climate. Soundscape goes beyond typical climate-responsive envelopes. It not only focuses on dampening noise during lessons to enhance a conducive learning environment, it also allows for a contrast with acoustic play to create a lively and vibrant atmosphere after lesson.

Transitioning from Probe 1, “Sounds from Within”, the envelope expands from the scale of the individual body to that of a building. This shift broadens the focus from creating environments for introverted and extroverted individuals to a larger context with more complex climatic considerations such as wind, heat, light, and rain.

The flow extends from the exterior to the classroom, corridor, and to the exterior with each environment requiring different treatments for sound. Soundscape also responds to other climatic considerations which often acts as contradictory factors that require careful balancing.

Exterior Climate - Acoustic Dampening

Acoustical “line-of-sight”

Noise Source ~ 1.4m from ground

Reflected sound is reduced noise source

Heat radiates away

Sound entering the material causes it to vibrate and heat up

Perforated aluminium sheet

Perforated aluminium sheet Mineral wool

Exterior Climate - Wind and Heat

The steel pipes stick out at different length affected the angle of panels that are attached onto it. The angle of the panels increases when it goes higher as we know that the noise source will hit the lower part of the wall due to more obstruction and diffraction. Hence, when the angle of the panels increases, it creates bigger opening to allow more ventilation.

To maximize natural lighting, the perforated aluminum panels are designed to be shorter at the top, as the highest floor is farther from the ground noise source. Conversely, the length of the panels increases gradually as they descend as it is closer to the noise source.

Sound Simulation - After

Classroom

Climate - Acoustic Isolation

During Lesson

After Lesson

The perforated acoustic panels extend seamlessly from the exterior to the interior, serving as partitions that separate wet areas from the classroom.

When closed, they enable sound to travel from the courtyard to the corridor while isolating external noise from reaching the classroom. When opened, they facilitate interactions between two classrooms after lessons.

Sound Simulation - Proposed Corridor

Sound Simulation - Fire Access

Climate - Rainwater Collection

Overhang to block rainwater downpipes to collect and divert rain to the lower floors, allowing users to listen to the flowing water as it travels down

Exterior Climate - Natural Lighting

Perforation follows the vertical draping and grids of the solar panel, and allows for diffused light to illuminate the space

The talking and listening tubes at the classroom corridor enable acoustic play where students can interact between different floors to promote innovative learning experiences.

The envelope shows seamless continuity by extending steel pipes to connect both sides of the building envelopes.

This feature is visible at every corner of the school which symbolizes the theme of playfulness and liveliness through various acoustic treatments.

Experiment with the integration of the creepers into wire mesh to explore their potential for providing natural shading while maintaining ventilation.

Radiation Mapping

1st Storey

3rd Storey

Heat radiation increases at 3rd Storey compared to 1st Storey due to the shorter perforated aluminium panels used, thus allowing more heat from the sun to reach the interior of the classroom.

Point-in-time Illuminance

1st Storey

3rd Storey

Illuminance increases at 3rd Storey compared to 1st Storey due to the shorter perforated aluminium panels used, thus allowing more light from the sun to reach the interior of the classroom.

Embodied Carbon

Demolition Carbon (Adaptive Reuse)

Operational Carbon

Roof Area = 1034.03 sqm

Max number of solar panels = 476

Total capacity = Number of panels × Capacity per panel

Total capacity = 476 panels × 300 watts/panel = 142,800 watts = 142.8 kW

energy generation = 142.8 kW × 4.75 hours/day = 678.9 kWh/day

energy generation = 678.9 kWh/day × 365 days = 247,723.5 kWh/year

The system is Net Positive

Navigating Light

Xiao YiXuan & Chelsy Tsan Yan En

Unit 2: Building Bodies

Probe 1

Our focus draws into how different light qualities influence our visual perceptions. Starting with the restrictions of given materials and boundary, we challenged how a body could experience a universal head apparatus defined by views. Expanding on the permeability of light rays through varying view frames, we ventured into defining the different possibilities of experiencing light in relation to our vision, manipulating hard and soft, opaque and translucent materials to fabricate intricate contrasts between climates. The different permeabilities of the materials were also utilised to manipulate the audial conditions within the apparatus, allowing soft materials to absorb undesirable noise and hard materials to retain sound. The result is an apparatus that connects the visual and audial experience between two bodies, with each body still retaining an unique sensory experience different from the other.

Immediate understanding of the probe

Separate zones: one climate and environment - transition/ contamination - one climate and environment

Challenging the overall form and geometry Why should the frames be quadrilateral? Why is it a box? Is there a bias due to the given boundary?

The human body in relation to materiality

Given a fixed type of material we could work with, finding what and how they can relate to what our bodies experience was a crucial step in beginning our ideation. This brief unpacking of the two drastically different materials gave way to possible interactions and rationalisation along the way as our concept becomes more defined.

Layering the opacity in gauze fabric

Layering the opacity in gauze fabric

~50% opacity in gauze fabric

This particular gauze fabric had a high opacity which made it difficult to expand and test different variations. The further one distances away from the gauze fabric layer, the more visible one is. It could be caused by the light entering into the gradually increasing distance or the gauze fabric boundary which may be too small.

Week 1 study: plan

Week 1 apparatus: elevation 1

Week 1 study: elevation 2

As greyboard is naturally opague, layering one over the other as it is will not have any effect on its opacity. Instead, apertures are made such that not only visibility through the layer is allowed, there is potential in framing a view unique to a respective position of the viewer.

Framing the perspective

Apertures that changes shape as the angle between two frames changes.

Visibility in motion

Changing degrees of visibility in accordance to velocity

Attempt to observe material traits with visibility

Variations 1 & 2 in utilising the apparatus

The user fits the apparatus, instead of the apparatus fitting the user.

Unexpected perspectives

Individually, the frames function at their own wavelengths. When placed together, they work together to craft a unique view for whoever places their head in the apparatus. According to bodily differences and the user’s choice of positioning, the apparatus works to use its apertures and opacity to frame opposite views. Yet, the highly universal nature of this experiment left too much ambiguity. Is it the acoustics, atmosphere or merely the perspective that is being observed?

Person 1 POV

[Variation 2]

Sees only half the body

Person 2 POV

[Variation 2]

Sees much of the body from the top of the head.

Week 1 apparatus: plan

Week 1 apparatus: elevation

Week 1 sectional oblique

Unpacking light processes

Light qualities

Connected or continuous climatic influences between defined climates

Digital modelling and modifications

Material dimensions restricted the volume and structure modelled

The dimensions can also affect the degree of accuracy of our observations.

Digital modelling and modifications

Attempt to maximise and isolate parameters that directly influences the intended observations

Side elevation

Experiment located under direct sunlight (outdoors), affecting the way light reflects into the apparatus. Sky: Clear; Vegetation: Not providing shade, Activity: Traffic

Taking into account the height difference between the two heads (with the gently sloping surface of SDE3 drop-off point)

Climate: (atmospheric) light level observations

Environment: (physical) planes that form the immediate surroundings

Envelope: planes that wrap around the apparatus

Front elevation

Selection of time

[Fri, 26/01, 1530]

Left: Sun path, Right: Direct normal radiation prediction

710Wh/sq m

Primary structural greyboard joinery

Creating depth in the grooves deepens the connection and ensured greater grip.

Large-scale assembly

Positioning apparatus on its larger surface area for greater stability; Uncooperative planes that were difficult to slot in and seemed redundant; Black soot marks left after laser cutting

Constructing at 1:1 scale made the accumulation of greyboard heavy and hard to support. While the grooves were laser cut, some slid in nicely, some were loose, and others were extremely tight. This made the assembly process much longer due to the span and tension of the joints.

View from light obstruction climate into contamination Planes the obstructs light (contamination zone) countered by the brightness of the light concentration climate makes vision easier

View from light concentration climate into contamination Planes the obstructs light (contamination zone) and the darkness of the light obstruction climate makes vision hard

Week 2 apparatus: plan

Week 2 apparatus: elevation

Week 2 sectional oblique

Testing different planar patterns for controlled light climate To select the one that allows the least light (lux level) to enter

Parallel down (lux - 1172)

Parallel up (lux - 8536)

V-shaped (lux - 9483)

Tapered up (lux - 4572)

Zigzag (lux - 1100)

Side elevation

Following the sun path with the light scattering climate facing the sun on Sat, 3 Feb, 1130

Fabrication of scattered light climate using gauze fabric

Tying pleated gauze onto hooks Thin threads are more efficient tied

Slotting stands for planes in contamination zone Gauze fabric thickened the slanted planes

of selected atmospheric condition

[Sat, 03/02, 1130]

from

View

Sky: Clear; Vegetation: Not providing shade, spacious grass patch to minimise light reflection

entering from apparatus’ head entry (as opposed to the sealed surface at the carpark), Activity: Traffic, open plaza above, aircraft

View from scattered light climate Lux level: 9019/ 15840; Temperature: 32.8 °C/ 35.3 °C; Thermal sensation: Hot; Clothing: Light-coloured; Sound level: 58dB/ 68 dB

View from controlled light climate

Lux level: 4112/ 15840; Temperature: 33.1 °C/ 35.3 °C; Thermal sensation: Hot; Clothing: Dark-coloured; Sound level: 60dB/ 68dB

Week 3 apparatus: plan

Week 3 apparatus: elevation

Week 3 sectional oblique

Changing forms

Assembly of controlled light climate

Left to right: Thickness of greyboard differed, resulting in the need to cut manually; Assembly of panels; Panels adjacent to slanted surfaces suspended; Manually cutting missing pieces from 1.5mm greyboard (this was easier to cut)

Assembly of controlled light climate

Angled surfaces that had to be supported counteractive to the toppling surfaces (weight of the panels added to the risk of toppling over)

Installation and fabrication process of pleated gauze for light diffusion Attempts to keep pleating consistent across all surfaces by first pleating before threading the thread through, which differs from the previous iteration where thread were sewn during pleating.

Different degrees of vision

Top: 2300; Bottom: 0700

View of selected atmospheric condition (Left: 1515; Right: 1530) [Sun, 18/02, 1530]

Sky: Clear; Vegetation: Not providing shade, spacious grass patch to minimise light reflection from entering from apparatus’ head entry, Activity: Traffic

View from scattered light climate Lux level: 5233/ 7064; Clothing: Light-coloured; Sound level: 65 dB/ 67 dB

View from controlled light climate Lux level: 709/ 7064; Clothing: Dark-coloured; Sound level: 62 dB/ 67 dB

Week 5 apparatus: elevation 1

Week 5 apparatus: elevation 2

Week 5 sectional oblique

Sketches of apparatus

In relation to the concept, bodies and joineries

Adapting to different bodies and body relations

The drastic change in height is one of the greatest challenges in closing the probe

Contamination

Taking from the contamination idea in Week 5, the intention of the gauze is to 1) further diffuse light from the scattered light climate into the controlled light climate such that the contrast in the controlled light climate decreases, reducing the effect of glare in the controlled light climate, and 2) play with opacity through layering and cutting apertures in the gauze such that un-diffused light in the controlled climate is funnelled into the scattered light climate, increasing the contrast between the scattered light climate and what one sees through the contamination zone, and thus directing glare into the scattered light climate.

Adapting to different bodies and body relations

The drastic change in height is one of the greatest challenges in closing the probe

Returning to using 3mm greyboard to provide strength and structure despite the weight

Fabrication of controlled light climate

Fabrication of scattered light climate

Enhanced consistency in the pleating of the gauze through increased tension of the threads

Probe 1 closure: plan

Probe 1 closure: elevation

Yew Tee Primary School

Probe 2

Bringing the contrasting light climates and their connecting zones from the head apparatus into Yew Tee Primary School, we sought to craft spaces that promote interactive and experiential learning differentiated by the manipulation of light qualities. Spaces that enhanced the spatial and climatic experiences of the school community. As we revitalise existing spaces, opportunities to introduce new functions that complement primary activity spaces change the defined climatic zones in the head apparatus, adding new unexpected discoveries influencing how we view light.

Analysing existing architecture

What climatic characteristics and problems does the community face?

Possible climatic zoning

How can we translate and scale our observations from the apparatus to architecture?

Developing design language What can we do to integrate the panels and pleated gauze into the existing primary school architecture?

Atrium sketches Building climates past the interior of the apparatus and between adjacent probes

Atrium sketches

How much classroom space can we occupy so that the classrooms can still accommodate 40 sets of tables and chairs?

Classrooms still need to be big enough to accommodate 40 students and respective number of teachers

Atrium sketches

Distribution of atrium such that all classrooms are equally illuminated

After widening the apertures in the atrium

Pushing out the entrance/ exit of the classroom after the atrium eats into the classroom area

Classroom sketches Appropriate sizing of the boundaries making up the classroom

Filling in awkward corners that surrounds the classrooms and their furniture

Classroom sketches

How would light reflect off surfaces such that the classrooms are well illuminated but not too glariing

Parapet obstructs light shining directly at a lower height: is that really what we want?

How much space can we use in the classrooms and for what functions

Wall panels sketches To not obstruct too much light but also bringing in adequate amount of lighting

Golconde dormitory

Operational louvres

Image by Vir,Mueller Architects, Architectural Digest

Gauze wall sketches

How do we make the pleating of the gauze feasible while maintaining the idea of using its pleated density to diffuse light?

Possible species of trees (from NParks) (Top) Melaleuca cajuputi Powell; (Bottom) Hopea odorata Roxb.

Being one of the primary surfaces bringing in daylight, the roof had to balance light and other climatic factors like rain to ensure feasibility of the interior spaces

Fabrication of roof

The Menil Collection Roof daylighting Image by Alamy, CURBED

Faculty of Architecture and Urbanism, University of Sao Paulo (FAU-USP) Roof daylighting - diffusion Image by Julian Weyer

Double layered roof: mitigate rain while bringing in daylight

Final sectional oblique

Embodied carbobn calculations

Energy consumption of fan: 48 Wh * 6 = 288 Wh

Energy consumption of projector: 300 Wh

Total school hours per year: 44h * 52 weeks = 2288h

Total energy of fan & projecter per year: (300+288)Wh * 2288h = 1345.344 kW

Assuming 6h daily of rain for 171 days per year,

Total hours of rain per year: 6h * 171 = 1026h

Energy consumption of lights: 720 Wh

Total energy consumption of lights per year: 720Wh * 1026h = 738.72 kW

Energy consumption of wireless network per year: 6 Wh * 8760h = 52.56 kW

EUI of a classroom: (1345.344+738.72+52.56) kW / 86.05 m2 = 24.83 kWh/m2 · year

system is installed upon available space on the roof.

Total annual solar exposure of PV system: 932 kWh/m2 · year

Efficiency of PV system: 15%

Annual energy production by PV system: 139.8 kWh/m2 · year

Bird’s eye view

3rd Storey

3rd Storey

1st Storey

2nd Storey

Week 8 sectional oblique

Week 9 sectional oblique

Week 10 sectional oblique

Week 11 sectional oblique

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Chelsy TsanYan En

PROBE 1

For probe 1, I partnered with Quek Bing, Justin, and ended the probe partnering with Xiao YiXuan to develop ideas and concepts on how different light qualities influence our visual perceptions. Starting with the restrictions of given materials and boundaries, we challenged how a body could experience a universal head apparatus defined by views. Expanding on the permeability of light rays through varying view frames, we ventured into defining different possibilities of experiencing light with our vision, manipulating hard and soft, opaque and translucent materials to fabricate intricate contrasts between climates. The different permeabilities of the materials were also utilised to manipulate the audial conditions within the apparatus, allowing soft materials to absorb undesirable noise and hard materials to obstruct sound. The result is an apparatus that connects the visual and audial experience between two bodies, with each body still retaining a unique sensory experience different from the other.

CLIMATE

Using light as the main climatic factor and noise as the secondary in research, I learnt to create spatial contrasts in manageable scales, while highlighting the relationship they share through an intermediary space. Through the attempts to connect the climates, challenges like the overlap of climatic zones and the feasibility of climatic relationships needed shaping to make these climates quantifiable based on the human experience.

ENVIRONMENT

On further inspection of the terms used in this semester’s brief, I differentiated the use of ‘environment’ as a tangible quantity as opposed to ‘climate’, which is the intangible experience one gets in space. With these definitions, the research on light qualities becomes clearer in identifying the location and how experimentations should be conducted. Within the head apparatus, the placement of greyboard as louvres or panels would influence how light enters a void. The angles at which these panels are tilted would bring a corresponding degree of light into the void. The assembly of large pieces of greyboard would determine the boundary or dimension of the void and which body part can enter the void. The frequency and size of pleating the gauze would control how much light entering is being diffused in the void. The same amount of attention should also be placed on the venue where the experimentation is happening. While there were other places of consideration such as the jungle at SDE1 and the open grass patch beside Technoedge, I started at the SDE3 drop-off point to take advantage of the exposure to direct sunlight without obstructing vegetation. Deciding to isolate daylight from the sky, the characteristics of the ground where light would reflect into the void became one of the factors we had to minimise. Even the timing at which the experiment was being conducted came into play, which was why we finally chose the open area beside SDE4.

ENVELOPE

Besides the head apparatus and the external environment we had to be aware of, the body in the experimentation is also important. Wearing a darker palette would reduce the visibility of the opposite body into the void and vice versa. Noting the visual impairment of the bodies in question, doubts like the prescriptions working as a variable also enter the picture.

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Chelsy TsanYan En

PROBE 2

Continuing my partnership with Xiao YiXuan, we translated our head apparatus from probe one into one of a larger scale, in Yew Tee Primary School. Here, we developed our findings from probe 1 in the context of the school, considering the programmes and existing infrastructure.

CLIMATE AND ENVELOPE

Stacking probe 1 and superimposing the result onto the block created a cross-climate zone between each replica of probe 1. As this zone did not appear in the experimentation process previously, it added another element to enhance and provide a different lighting opportunity to the spaces.

Using greyboard and gauze also added to the conflicts in enhancing the spaces. As some spaces like the offices and classrooms need not be spaces solely for the obstruction or diffusion of light, the dilemma of combining the two design languages (panels and pleated fabric) becomes prevalent. Possibilities, like using the panels as a guide to weave the fabric or making a doublelayered envelope, challenge the lighting conditions and results. Translating these model-making materials to industrial materials also proved to be a challenge, especially for the translation of the gauze fabric. Due to the pleating method, we chose to diffuse light, the material we translated had to be flexible and durable to maintain the authenticity in the language of the pleated gauze. In addition, there was much more to maintain light qualities as there were also considerations of rain and wind we had to account for to ensure the habitability of the spaces. In other words, it is impossible to target only one climatic factor as everything boils down to one spatial experience.

ENVIRONMENT

Located between a condominium complex and an inner courtyard, the block provided little space for further development of light qualities horizontally. The inner courtyard played a larger role in increasing echo from adjacent blocks within school compounds by enclosing the void. Instead, there was potential for vertical development. As the block consisted of four levels including a basement, having a consistent intensity of lighting condition from the third storey down proved to be a test on how much space we could subtract from the initial programmes in the block. The second and third storeys were classrooms meant to promote interactive learning on the third storey and collaborative learning on the second storey, separated by the amount of light entering the classrooms on each storey by the effect of daylighting from the roof. The offices and meeting rooms on the first storey, and the staff rooms and lounge on the basement encouraged a different but consistently intense lighting quality, differentiated by the larger distance away from the roof. With these differences in altitudes and proximity to the roof, observing how light can potentially enter these spaces becomes crucial in maintaining consistency in climate.

PEER REVIEW

QUEK BING, JUSTIN

During our time working together, despite the equitable distribution of workload, it was still difficult to balance out the workload evenly. Splitting the workload into the ideation phase, model-making, drawings and documentation, and further sub-categories, we managed to produce work efficiently albeit only for a week. Hence, the constant need to allocate work further pushed tension between us.

A major conflict in our partnership is the contribution of ideas. With the uniquely experiential brief this semester, we could feel the huge jump in what was required of us, thus the need to step out of our comfort zone. However, this step was prolonged due to our mismatched pacing in generating ideas. Although basic weekly deliverables were met punctually, they could have been much more developed with the minds of two. Furthermore, despite this issue being raised early on in the partnership, there was minimal progress and thus this static status became the ultimate factor in ending the partnership.

XIAO YIXUAN

I have worked with YiXuan previously and being friends, we could easily resolve conflicts regarding design decisions and work ethic. There were also more active and productive discussions that significantly pushed the project in the right direction. In this partnership, I felt I could take away more learning points as our work pace matched better.

Of course, every partnership has its problems. YiXuan develops ideas quickly but pushes things to be done at the last minute which can make one anxious at times. Our contrasting focus (being a perfectionist) on different aspects of the project also added to the slower progress. In her defence, we do have different work cycles, considering our schedules this semester. She has more time to work during the day and for me, at night. However, we still found ourselves rushing to meet deadlines, so this is one for us to improve on. YiXuan can also be firm in her decisions, which can be helpful at times but for a partnership, her rigidity made it hard to come to a consensus at crucial times. On my part, while I try to be receptive, there is also a limit to how many rejections one can take, so this is another one for us to reflect on.

PROBE 1

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Xiao YiXuan

Having pivoted to this project after Interim 1, one of my first challenges was to familiarise myself with the progress and final product by Chelsy and Justin. As we only had a short time to finalise the apparatus after Interim 1, I had to immediately immerse myself into this new project even though I did not feel sure-footed enough about my understanding of it yet. It was regretful that I only had a short period to adapt to a new project, as I believe I would have felt more confident finalising Probe 1 if I had longer to adapt to my new settings. As the parameters for the project was different in my previous studio, it felt slightly jarring to have to switch my perspective of climate so quickly.

As my contribution to Probe 1 was minimal and limited to the finalised version, I will only be discussing the final iteration briefly. The head apparatus involves two zones with contrasting light qualities, with a “contamination” zone connecting the two. The first zone aims to create brighter conditions with more diffused light. This was achieved using heavily pleated soft material of gauze to create the walls encompassing the first zone. This pleated gauze also acted as an acoustic barrier. The second contrasting zone is darker and aimed to bring in controlled light, which would provide glare. This zone was also less acoustically soundproof and thus noisier. Panels were used to channel the light inwards as strips of glare. The middle “contamination” zone comprises of several frames of gauze. These frames have increasing sizes of a rectangular hole in the middle so that some of the controlled light could travel to the opposite zone, “contaminating” it and creating a gradient of lighting conditions in this middle zone.

PROBE 2

The adaptation of Probe 1 on the primary school was carried out in several different manners. The central idea of our project was three interconnecting layers of envelope, going from the macro scale to micro scale. These envelopes worked simultaneously to emphasise climatic conditions we wanted to achieve.

From Probe 1, a few ideas were extracted to construct our envelopes. We allocated the two sides of the block one certain climatic trait each and then concluded that a combination of both climatic conditions was necessary for the classroom.

Envelope 1, the outermost layer, is concerned with the exterior area around the block and its facades. This envelope comprises of trees planted on each side of the block which were tall enough such that the canopy only started from above the roof and could partially cover it. The overlapping leaves were able to concentrate light and introduce controlled light into the building, providing glare.

Envelope 2 concerns the immediate exterior sides of the block, including the roof. Firstly, the two sides of the block were individually allocated differing light conditions in relation to the side. The side facing the courtyard received more noise from schoolchildren, and was thus assigned to bring in diffused light as the soft material used to generate diffused light could also act as an acoustic barrier. For this side, pleated soft material was placed on the envelope to diffuse incoming light. The other side facing the boundary of the school was assigned to bring in controlled light which would promote glare. Paneling design from Probe 1 was use for this side, though the distance between each panel was adjusted for the human scale. On the top and bottom, panels were closer to each other to block out more light and solar radiation, while the centre panels were further from each other so that more light could enter into the block. This was so that at the human scale, most light would exist around the eye level to accommodate activities such as studying. We aimed for the two sides to form a sort of gradient in between them in regard to light conditions, so that different lighting conditions within the block could be assigned different purposes.

The visual geometry of the flattened roof was inspired by a superimposition of Probe onto the school block, with one half more elevated than the other. Panels were used on the roof to bring in controlled light and introduce a different light quality to the third level of classrooms as compared to the second level. The brighter third level of classrooms could then be used for different purposes as compared to the second level. Atriums were created in between the classrooms, inspired by the superimposition of Probe 1 onto the school block. These atriums, covered by a skylight on the roof, were meant to bring in more illumination to the classrooms. Narrow passageways were added to the middle of these atriums, so that students may use this area for interactive learning outside the classroom, such as gardening.

Envelope 3 concerns the boundaries of the classroom itself. Located between the two sides of Envelope 2, the classroom experiences different gradients of diffused and controlled light. Frames were used to separate the level into three different zones: the corridor, the main teaching area and a reading area. The corridor is situated nearest to the side with panels as this area is the darkest, and the corridor’s function required the least light. The reading area is situated right next to the wall of soft material as this area is the brightest and thus most conductive for reading. A light shelf was added to the upper area of this reading area so that some of the bright light from the wall of soft material could be further channeled into the classroom. The middle area was assigned as the main teaching area as it combined diffused and controlled light so that an optimal level of brightness was achieved.

CRITICAL SELF-REFLECTION AND PEER PROJECT REVIEW

By Xiao YiXuan

PROBE 2 (Cont.)

Material-wise, our main materials were timber and EFTE. Timber was chosen due to its lower carbon footprint and used for constructing the panels. The qualities of timber, such as its relative durability and waterproofness was sufficient for this instance of usage. Specifically, teak was chosen due to it being a common outdoor material in Singapore having higher durability. Soft material was represented by EFTE. As it is fully recyclable, it was one of the most suitable options to have the same qualities as gauze. EFTE is flexible like gauze and can be tinted to control its translucency.

PEER REVIEW

Working together with Chelsy came with many advantages, as we were already familiar with each other beforehand. We were able to be communicative with each other, and thankfully did not have strong reservations about providing each other with feedback on our work ethic. When conflict did arise, both of us were willing to talk it out and resolve it, so fortunately progress was not hindered by unresolved disagreements. Both of us were understanding of each other’s circumstances, and thus made efforts to adapt when necessary so the partnership could continue on smoothly.

However, working in a pair for studio was also a new experience, and thus required some accustoming to. The intensity of this semester meant a high workload every single week. As Chelsy had overloaded this semester, she had frequent classes throughout the week and coursework to along with that. As the semester progressed, I could sense that such heavy workloads every week was fatiguing for us, and especially for Chelsy as she had more courses than me. Nearing the end of the semester, I was concerned that Chelsy and I might start to suffer from burnout and be less able to approach this project with the same mindset as before. Even though we were still able to complete the project satisfactorily in the end, I believe both of us were still negatively affected by growing fatigue and were thus unable to approach our final review in our best mental states.

Chelsy having more courses than me also meant more difficulty in scheduling attempts to meet and work on studio. As I was more favourable of working in the daytime, when I felt I could be the most concentrated, Chelsy’s frequent classes meant she was mostly available only after the evening. Thus, effort was required to compromise with each other on working times especially when certain tasks required both of us to work simultaneously. I was less productive in the nighttime, yet oftentimes Chelsy was only able available to meet then. Though we managed to develop a mutual understanding and compromise, I felt that it could have been more effective, but the duration of the project constrained how much time we had to fine-tune our partnership.

Admittedly, I am quite an opiniated person and could get strong-headed at times. I believe in creating a project that both of us firmly agreed in and were confident with, and thus I placed heavier emphasis on us understanding each other’s point of view. That also led to me being quite critical during ideation and discussion. I understand that Chelsy had a differing stance on this aspect like I did, and thus my comments might have came off as discouraging at times, even though that was not my intention. If given a chance to re-do this project, I believe the collaboration would have been smoother if Chelsy and I were able to reach a better mutual understanding and agreement of each other’s working and ideation styles.