Yen Phoaw portfolio by Yen Phoaw

YEN SHAN PHOAW PORTFOLIO WORKS

01 COPULA an integrated complex with a primary school and district community centre 02 FLUX a museum of Buddhist artifacts 03 GRACEFUL TWIST a dance studio for the university of california berkeley at bancroft way 04 POLLOCK AND BARNACLES a fishing platform in the south seas of Singapore 05 I HAVE TWO BEDS, ONE PAYS FOR THE OTHER a home for streetwalkers of Singaporeâ&#x20AC;&#x2122;s only red light district - Geylang 06 HOUSE OF AN ARCHAEOLOGIST a home for an archaeologist that places his passion above anything else 07 SHEAR a wall for ventilation in the tropics 08 TIPPING POINT a balancing toy

CONTACT Yen Shan Phoaw 34 Mei Hwan Drive Singapore 568396 +65 9177 3381 yenshanphoaw@gmail.com

COPULA

AN INTEGRATED COMPLEX WITH A PRIMARY SCHOOL AND DISTRICT COMMUNITY CENTRE National University of Singapore AR4101 Instructor: Richard Ho Fall 2013 This project began with a masterplan proposal of Pearl’s Hill District in Singapore. The government’s planners had proposed a masterplan that physically obscured the central green zone from the surrounding urban fabric, creating a fully ‘privatized’ zone within the city through implicit spatial suggestions. The land use plan mainly reclaimed the whole district for private condominiums, exacerbating the problem of implicit privatization as the rampant gated communities would seal the central green zone from the surrounding urban fabric. The counter proposal suggests a more accessible approach that prevents complete visual obstruction of the central hill, maintaining its innate public nature. The land use plan of the counter proposal suggests a more varied and eclectic mix of land usage that envisioned the intermingling of different commercial, residential and civic plots instead of a series of monotonous private residential development. The second part of the project entailed a development of a particular plot within the masterplan. The plot chosen was zone for civic and community purposes. It was planned to house a primary school and a community center. In addition to its stipulated programmatic requirements, the plot was also an overhead connector that linked two different residential districts - Pearl’s Hill and York Hill. Instead of conceptualizing these two facilities as two separate discrete entities, an approach to gel and explore the possible synergy between the two building typologies was undertaken. Programmatic overlaps were analyzed and spaces were designed to embody great versatility, reducing spatial redundancy that was particularly evident in many school facilities. The project also explored the option of “un-gating” the typical primary school typology that was prevalent in Singapore. Rather than setting up physical barriers to maintain the safety of school children within the primary school, a series of counter surveillance systems were set up via spatial planning. The private and semiprivate areas of the school were lifted up and access to these areas were supervised with the public counter surveillance on the ground level. Besides ‘un-gating’ the school, the design of the school zones also seeks to redefine the traditional clustering methods employed by the Singapore Ministry of Education. Adopting a Montessori approach, children are group in a more varied manner and more informal communal spaces are provided. To reduce the pedantic nature prevalent in most local schooling environments, the classrooms are designed to be visually connected to surrounding greenery and play spaces. This project combines and hybridizes ideas, hence its name ‘Copula’.

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Site Plan

‘Copula’ is sited at north west of the masterplan. It is zoned under the ‘Civic and community’ classification for land use and is a major link connecting two major districts over the main arterial expressway. 1. York Hill Estate 2. Central Expressway 3. Chin Swee Road 4. Pearl’s Hill City Park 5. Outram Road 6. Future proposed Transport Centre 7. Eu Tong Sen Street

Site Model of Proposed Masterplan

The general massing strategy cradles the central green area of the distrcit without obscuring the hill from the extended surroundings.

Hexagonal Plan Classrooms

Hexagonal Plan classrooms allow for great spatial possibilities within the confines of the classroom. Research have also revealed that this classroom shape is optimum to facilitate learning in children as it has an innate tendency to mould a spatially inclusive environment.

New Clustering Strategy

The school is designed to mix the demographic of students. Instead of clustering students solely by their age, the school organises the classrooms about clusters that combine all six grades of students in a single cluster.

Clustering Arrangement

Each minor cluster contains six classrooms of with students of different grade levels. Three minor clusters are then combined in a ring-like fashion to create one major cluster. The whole school constitutes two of these major clusters.

Free Public Passage

Ground level of the school is complete open to the public. Allowing for a complete obstacle-free passage from Pearlâ&#x20AC;&#x2122;s Hill District to York Hill District

Quality of Surrounding Sonic Environment

Quality of sonic environment corresponds to the direction of the highway running beneath the development. Programs are planned in accordance to quality of surrounding sonic environment

Opportunity to Spectate

Open green roofs provides vantage points that allow school children and the public to spectate upon the activities happening in the surroundings.

Aerial Perspective

The completx is situated amongst ample usable greenery that serves both the general public and the school children. Trees are located at strategic locations to shield the complex from noise and dust generated by the highway.

Roof Gardens

The roof of the complex is designed to grant additional green spaces for community farming. This green roof promotes community farming practices among the public and also provides an outdoor venue for students to learn about farming and green practices in this high urbanized city. Green roofs reduce the amount of heat build-up in the roof. These gardens also provide a vantage point for people to view and spectate upon activities at ground level.

Second Level Plan

First Level Plan

Ground Level Plan 0

Floorplans and Landscaping

The hexagonal classroom plans sets the main column grid that outlines the structural arrangement of space. Edges of the building are undulating in plan to weave in and out of the landscape. The landscaping envelopes the building and provides a green link from the pre-existing park into the neighbouring housing estate.

Heart of a Cluster

The central communal stairs act as the main entrance to the school compound. It also demarcates the shift into the private school zone of the complex. The surrounding area of this central stairs become the key communal zone for the school children of the cluster. Steps that double up as mini amphitheatres offer informal recreational gathering spaces for children.

Communal Library and Surveillance

The ground floor of the complex houses communal facilities that can be shared between the primary school and general public. These facilities are designed with fully pellucid walls to provide purposeful visual connections across the deep plan of the complex. This casts a form of implicit counter surveillance within the public realm, advocating the safety of these spaces and safeguarding the entry into the main schooling zones above. 12

Exploded Axonometric

The visual sightlines are planned with the use of transparent walls for communal facilities. The ground level consists of key shared facilities of the estateâ&#x20AC;&#x2122;s community centre and primary school. The first level and second level mainly consists of the school zones and are private/ semi-private in nature. The roof level of the complex are zones of communal farming.

North Elevation

The facade strategy employs a series of thin white steel members that provide key sunshading properties in the tropical climate. These thin white members also serve to unify the different layers that exist in the complex, allowing the building to be read as a whole body instead of its constituent layers and componenets. Glass sliding windows are used to maintain an operable facade that advocates natural ventilation for classrooms. Key communal spaces are always shaded from the tropical precipitation.

Sectional Perspective Cutaway

The section unveils the key heart of the school cluster that is earmarked by a dramatic staircase and how the classroom spaces are arranged about it. The section also shows the unique siting of the complex over a key vehicular highway.

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FLUX

A MUSEUM OF BUDDHIST ARTIFACTS National University of Singapore AR3102 Instructor: Kazuhiro Nakajima Spring 2013 The museum was conceived with the notion of Flux (impermanence) underpinning the “pilgrimage” of each visitor. An abstract exercise of visualising this “spatial flux” was done, and resulted in an imagery of a labyrinthine sacred tropical rainforest – a heterogeneously homogenous space. This “spatial flux” would allow the visitor to experience the sense of flux via the varying sense of scale, lighting and visual cues through floor plans that a designed to be free in nature. The Bodhi Tree was adapted for its structural patterns and lighting quality it provides under its blanket of vines. Ancient Buddhist scriptures provided the inspiration for the building’s linear scripture-like façade with perforations with every accent in the script.Both elements would become the main structural system that supports the building load, much like how these symbols and objects are mediums for devotees to attain enlightenment. Through an iterative process, these abstracted forms and strategies are fused with pragmatic programmatic requirements of the museum complex. Private and public zones are clearly demarcated and alternative routes of circulation considered. A complete internalized environment was imperative for the controlled climatic conditions the museum required. This internalized environment created new opportunities for the architecture to adopt an inward looking approach that shielded the ‘sacred artifacts’ from the dinghy urban surroundings while orchestrating a deeply sensual spatial experience. *this project was nominated for the RIBA President’s Medal 2013 Part 1 Category

The Sacred Forest >

The Buddhist Relic Museum expounds on the nature of this state of flux and a noble pursuit of enlightenment. The journey through its spaces would liken itself to a journey through a dense, labyrinthine forest where light glimmers and treasures await to be found in the most unlikely places. Although everything is stationary, nothing feels stationary - a state of flux in the pursuit of enlightenment.

The Sacred Structural Tree

Buddha sought enlightenment under a mystic Bodhi Tree. The “tree” is thus adopted and becomes a key element in the architecture; “supporting” the whole building literally and figuratively. Inhabitants unknowingly become under the canopy of this “tree” and are subjected to its structural capabilities and immense physical presence. The “tree” provides the main structural structural support for the floor slabs. The organically branched structure looks destablised but actually effectively balances itself. The branches are articulated with an abstraction of the Bodhi Tree, and counterbalances itself in both directions. Due to structural concerns, the maximum angle of inclination for each “branch” does not exit 45° 18

Light box Experiments

The “tree” that underpins the design provides key structural and lighting properties. It adopts the form of an organically branched structure that permeates the various floor levels supporting its load and distributing light to the various floors simultaneously. The contorted organic branching of the “tree” structure hinders the structure’s ability to act as an effective light shaft as the non-linear path curbs the passage of light. This series of“ light box” experiments tests the feasibility of a mirrored interior lining for the “tree” structure that overcomes the encumbrance of the contorted light path. The strength of the light varies with the different times of the day, peaking at the noon and waning at dusk. The existing buildings surrounding the site creates zones of shadows that mainly encroaches the light transmission during dusk. During the key day opening hours, the natural lighting from the exterior is gently filters through the contorted light shafts filling the space with glimmering delight. The changing degree of filtered light throughout the course of the day reminds the inhabitants of the flux that surrounds them wherever and whenever they are.

Geylang : the Chaotic Flux

Untouched by urban projects and developments and so far spared by the gentrification process that has changed the face of Singapore since the 1970s, activities of vice and questionable legality are still prevalent in this district along with the headquarters of clans and religious assosociations. The streets are noisy with and endless stream of frenzy that permeates the streets day and night. Each building structure becomes an abode of temporal respite as the walls shield the unwanted â&#x20AC;&#x153;noiseâ&#x20AC;?. The eclectic human activities at the site keeps the streets in a constant flux that churns endlessly with the span of time.

Monolith of Buddhist Relics

The building form adopts a neutral monolithic block that blends into the siteâ&#x20AC;&#x2122;s urban landscape that consists of eclectic building typologies. Due to the nature of the programs, the facade of the building is introverted and conceal. The facade acts as a shield that eliminates the excessive noise from the surroundings. It also serves to de-contextualise the inner spaces from the rather â&#x20AC;&#x153;profaneâ&#x20AC;? site activities (prostitution, gambling and underground associations). The fenestration patterning is inspired by the innate rhythm found in the Buddhist scriptures, but executed with dexterous modernity. The facade modules have a galvanised steel finish that gives the building an overall subtle glint underneath the sunlight

Exterior Perspective

The armour that shields from the vice

Floorplans

The floorplans indicate the spatial planning and the voids that are punctured througout the building. These voids create great space of volumetric flux that one experiences as he traverse through the building and invoke a sense of reverance from within.

Exploded Axonometric

In order to allow for maximum freedom in the plan, the key programs of the museum are zoned and segmented in terms of the section. Each floor becomes a distinct zone of programmatic activities that have synergistic qualities. Programs that require a quieter ambience are located on the upper floors while the programs involving high level of humn interactions are zoned on the lower levels. The programs are articulated to provide a spatial journey throughout the building.

Technical Spot Details

The main structural strategy of the building employs a series of cores that branches out throughout the buildings, providing the essential support for the floor plates. As an additional provision of structural support, the facade is designed to be structurally rigid. The structural cores are mainly fabricated from a steel truss rigid frame structure that is fitted and welded to specifications. The external encasement of the steel frames consists of two separate layers, an inner later of mirrored surface and an external layer of annodised aluminium with a matte black finish. The encasement is perforated with holes to allow for the diffusion of light from the buildingâ&#x20AC;&#x2122;s exterior indirectly, creating a glimmering lighting effect. The facade system of the building utilises a modular system that consists of customised rectangular hollow sections. Each hollow section has two openings that are glazed and directly located from each other. Similarly, the interior of the module is fitted with a mirored surface that reflects the natural light from the exterior to the interior in an indirect manner. Waterproofing layers are also in place to procide the essential protection from the tropical weather.

The Entrance

The entrance of the building begins as a bridge across a sunken garden. This bridge continues on within the interiors and meanders through the glimmering structural “branches” that obscure the view ahead. The bridge provides a key transitional zone that mitigates the sense of entry from a rather hectic exterior surrounding to a controlled interior. As the floor plates on Level 1 have large voids carved out, one can witness the happenings of the basement level as he traverses across entrance bridge, bestowing a hint of insight for the curious and seeking.

Tea Room

Level 4 contains a myraid of programs that stimulates interaction in the process of learning. The open floor plan has the museum shop and tea room sprawled across the floor, maintaining a certain level of human buzz and social interactions. The glass-walled classrooms can be read as “exhibits of learning”, a foreword of what is to come on the upper levels.

The Gallery

The gallery embodies a sense of mystique and grandeur. Glimmering lights stream into the cloistered interiors with artefacts lining the path of progression. The experience is likens itself to a a dark tropical forest understorey that has random and specular diffused lighting sources.Through the progression of space, a sense of flux is imbued by the lighting and spatial implications of the light shafts as both factors overwhelms the visitor with changing sights.

The Meditation Hall

Level 6 marks the end of the spatial journey of the museum, it contains the quieter programs of the museum - the library and the meditation hall. The spatial quality of the library and meditation hall adopts a reversal in lighting and spatial order. Direct light from skylights flood the interiors, bisected by the beams that run across leaving behind a regulated rhythm of light and shadow. The sense of openness achieved by the space earmarks the â&#x20AC;&#x153;enlightenmentâ&#x20AC;? of the visitors as they ascend from the lower levels of the building to the final level.

Final Model

A central void carved from the floors above allows for a spectacular continuous view of the structural light shafts. On a semantic level, it suggests the indirect interconnectivity of all aspects and the comon thread that binds everything together in the state of flux.

Final Model (Interior)

Light shimmers through the facade and light shafts, illuminating the interiors with a mythical glow

Final Model (Interior)

Large oversized light shaft tower across the main gallery space, perpetuating a lengthening of space in a grand fashion

GRACEFUL TWIST

A DANCE STUDIO FOR THE UNIVERSITY OF CALIFORNIA BERKELEY AT BANCROFT WAY University of California Berkeley Arch 101 Instructor: Jean Paul Bourdier Fall 2012 The project stemmed from the possibility a new dance studio for the University of California, Berkeley. Sited along Bancroft Way, the Berkeley Dance Studio is the main practice venue for dance majors. However, the current facility is lacking and breaching its capacity due to increasing student enrollment and participation. Hence, the studio embarked on a project to propose a new facility that provides better options than the current dance studio. Aside from providing the current programmatic requirements, the design brief added additional spatial requirements that would address this issue of capacity. Servant spaces like changing rooms and offices also demanded additional spatial consideration. Programmatic requirements became a key consideration that outlined the design with specific spatial planning guidelines. Aside from programmatic demands, the site of the studio was nestled in the heart of the university campus. Bancroft Way remains as one of the most busiest streets on campus. This provides an opportunity for exposure and public performances with a constant flow of audiences. Large glass panels were used for windows to provide direct visual connection from the street into the studios. Outdoor practice areas are also lifted from the ground to provide an elevated stage for the public to spectate upon. The main formal inspirations of the architecture is primed from the analysis of dance movements. Consistencies in various dance moves were noted and abstracted to provide formal inspiration. Volumes are suspended with contorted columns to invoke the sense of destabilization and dynamism as perceived from dance motions. The building hence gain a form of anthropomorphism by adopting a graceful twisting stance alike a contemporary dancer.

The Streetview Showcase >

An extensive full length window exposes the upper level dance studio to the streets of Bancroft Way, inviting fellow students and faculty alike to view the happenings within the studio. This establishes a public link between the interiors of the complex to the surrounding streetscape.

Abstraction of Movement

Using certain body parts of a dancer as Cartesian control points, planes can be derived as the points move along space during a dance performance. These planes are generated from a series of observations of different dance genres and then combined to form three dimensional volumes. Innate Consistencies observed across all dance genres include an innate sense of movement and a controlled expression of balance. These consistencies are then adapted and translated into the building form.

Faceted Architecture

The faceted architectural expression is a derivative of the planes generated by the dancerâ&#x20AC;&#x2122;s movements. It seeks to offer a dynamic and bold expression that is befitting of the dance faculty.

Standing Out

The bold form of the building breaks the visual monotony of the street and provides a key focal point on the street. This is complementary to the intent of showcasing the dancerâ&#x20AC;&#x2122;s talent to the public as the public can witness the movements and gracefulness of dancers through the large glazed openings.

Served and Servant Spaces

Main dance studios are mainly focused on the west side of the building while ancillary spaces (like offices, changing rooms) are located on the east side of the building. The central zone consist of the intermediate spaces and key circulation areas that provide informal meeting spaces for students and faculty. By using a different form of material, the central zone links the served and servant spaces.

Site Plan

Located at the south side of the Berkeley campus, the building is adjacent to constant human traffic. It is also surrounding by a mix mash of different low rise building typologies.

Floorplans

The floor plan indicates the clear demarcation of served and servant spaces within the building. Dance spaces (though not shaped in a conventional fashion) provide adequate and additional dancing space as compared to the current facility.

South Elevation

South Elevation facing the main street thoroughfare.

Sectional Perspective

The section shows the three different dance venues in the complex. A more private option on the ground floor, an open and naturally ventilated option on the first floor and a exhibitionist glass showcase on the second floor.

Exterior Perspective View facing the west along Bancroft Way

Exterior Perspective

View Facing the east along Bancroft Way

The Entrance The entrance is designed in the same spirit of the building, using the faceted plans to enclose an opening.

The Outdoor Practice Space

This space is an outdoor platform for dancers opting for a naturally ventilated venue. It also connects the dancers to the surrounding streetscape as their performances can be witnessed by people on Bancroft Way.

POLLOCKS AND BARNACLES

A FISHING PLATFORM IN THE SOUTH SEAS OF SINGAPORE National University of Singapore AR2102 Instructor: Lilian Chee Spring 2012 Fishing has always been in integral part of the Singaporean historical narrative. The nation was perceived as a fishing village prior to its development into an economic powerhouse. Nevertheless, this pastime still retains its relevance in this time and age. While the programmatic requirement of a fishing platform maybe exceedingly basic, the projects is driven by the focus of structural innovation in architecture. The derivation of structure, the site response with the appropriate structural strategy and the materiality and aesthetics of structural expression. The inspiration for the structure’s design undertook a dual approach that utilized a primer that was irrelevant to the site context and a second primer comprising of elements organic to the site. The first primer was Jackson Pollock’s ‘Autumn Rhythm’, an abstract expressionist piece of art that rippled with a form of chaotic monotony. The composition of the painting was analyzed and its innate compositional qualities inspired the spatial arrangement in the plan of the fishing platform. Paint density determined the different tiers of the platform and the corresponded to a concept of ‘structural redundancy’. Locations with the highest paint density had the most heavily structured built ups. The second primer were the barnacles that encrusted the structures in the seawater at the site. Reading into the physical attributes of a barnacle, its tectonic suggestions were used to inspire generate a structure in section. The resulting structure embodied the filigree nature of the barnacle at its upper tiers and heavy massive enclosures at the lower tiers. The combinations of both primers reaped a rich labyrinthine spatial construct that was invoked by innate structural expression. As part of the exercise, the structural details were investigated and designed in depth with considerations pertaining to materiality and constructibility. As an additional bonus, this project seeks to present a duality of habitation at sea. A reflection of the human structure into the underwater realm provides a filigree underwater home for the very sea creatures that inspired this project which their human counterparts roam the surface.

The view from an approaching vessel>

The steel filigree monolith unveils itself as the boat heads towards the fishing platform.

â&#x20AC;&#x2DC;Autumn Rhythmâ&#x20AC;&#x2122; by Jackson Pollock

Isolation of paint colour composition and density analysis The black and white paint splats are analyzed and an abstract pattern is derived from the analysis.

Conversion for rectangular grid into a square grid

The abstract patterns are transformed and made compact into a square grid that serves as the site of the fishing platform

Linking the patterns to Structure

The paint density pattern is then put under a rubric of â&#x20AC;&#x2DC;structural redundancyâ&#x20AC;&#x2122; where the amount of reinforcement in steel structure is determined by the density of the paint values. 41

Barnacles

Barnacles that propagate on the surface of underwater structures.

Adaptation of the Tectonics innate to the Barnacleâ&#x20AC;&#x2122;s Physical Attributes

This results in a solid massive bottom structure that transits into a relatively light and filigree structure. This acheived by utilizing solid steel plates for the lower encasement and a series of frames and steel mesh infill for the upper structures.

Gradual Barnacle Growth

The underside of the structure lies within the water, providing an apt aquatic environment for the grouth of barnacles. The gradual growth of barnacles would eventually overtake the man-made structure and eventually encrust the whole structure within a coat of barnacles and other coral life.

Section

A key section through the fishing platform illustrates the duality of realms established by the project. The varying spatial dimensions can also be read from the differing physical enclosure that envelopes each cell within the grid.

Site Plan

The site is located on the south of Singapore. It is adjacent to St John Island and totally disconnected from surrounding land mass.

Floorplan

The different shading of the floor plate indicate the height of the floor plate. The height of each plate is determined via the pattern derived from the painting analysis. The combination of varying floor plate heights and the varying transparencies of walls invoke a unique spatial experience as one traverse through the structure.

Venue for Leisure

Although the primary program is fishing, the undeterministic nature of the structure allows for a myraid of uses.

Exploded Axonometric

The drawing illustrates the different layers that make up the overall structure

Plan of Singular Cell

Plan Steel Plate Connector

octagonal steel section

22 째 customized steel section

16mm bolt + nut

2mm rivet + nut

Blow-up Axonometric of Steel Plate Connector

Exploded Axonometric of Steel Plate Connection

Detail Model 1:10

Detail Model (Wormâ&#x20AC;&#x2122;s-eye view)

This simulates the experience of an inhabitant as he traverse through the structure.

Final Model 1:50 49

I HAVE TWO BEDS, ONE PAYS FOR THE OTHER A HOME FOR THE STREETWALKERS OF SINGAPORE’S ONLY RED LIGHT DISTRICT - GEYLANG National University of Singapore AR2102 Instructor: Lilian Chee Spring 2012 Singapore has a globally renowned status of being an asian economic powerhouse with stringent laws and clean streets. However, in a particular district of Singapore, Geylang, these laws are sidestepped and vice seeps slowly but surely into the urban landscape. Geylang remains as one of Singapore’s predominant red-light districts. Streetwalkers prowl the streets seeking customers for a livelihood. Some prostitutes operate in sheltered venues that glimmer in an ominous red glow, indicating the establishment’s operations. While many frown upon the flesh trade, we need to understand that streetwalking is nevertheless a job to feed oneself, just like any other job. While being cognizant to the ethical implications of the subject, the project undertakes the challenge of providing a home for streetwalkers that arms themselves with a space of their own. It strives to improve the quality of life, return normalcy and integrity to this group of compromised city-dwellers. By adopting the primary prevalent building typology of the surrounding context, a Singaporean shophouse (a key construct of commerce), this building combines the living and working environment under one roof. Each occupant hence occupies two beds within the house, a bed for business and a bed of her own. The housing concept also operates on a cooperative level that engenders a level of mutual support between the inhabitants. While the individual dwelling units are small, the communal spaces within the building are expansive, something often unattainable for these individuals. These large shared spaces provide the respite required for the inhabitants how often have to contend with overtly private working environments. While adopting a rather simple overall form, a special attention is given to tectonic expression and fenestration options in order to generate different levels of privacy, providing ideal conditions for working, living and play.

The Streetwalker>

Geylang is the main Red light district of Singapore. Streetwalkers like this lady, are a common sight . This project seeks to house these streetwalkers in a dignified and comfortable fashion without compromising their livelihood.

Elements of Habitation

The key elements of habitation are distilled and condensed to form basic living units. These elements are unique to the occupational needs of a streetwalker, hence a particular focus on the dresser. Each units comprises of a bath, bed, dresser and kitchenette. This set of diagrams experiments with the potential stacking and arrangement of these elements adjacent to each other.

Traditional Shophouse Occupation

Each shophouse is a discrete unit with sole propreitorship. Living spaces above the shops are confined to each individual homeowner

Reconfigured Shophouse Occupation

A suggestion of a large communal living space while maintain discrete living units within this communal zone.

living and working zones

differing levels of privacy

archetypical elements of a shophouse - airwell -shutters -yard

Reconfiguring the Shophouse View Facing the east along Bancroft Way

Site Plan

Located at Lorong 14 Geylang, the complex is nestled within the confines of the red-light district. Adjacent buildings are low-rise shophouses that this building pays homage to.

Ground Level

First Level

Mezzanine Level

Second Level

Floor Plans

The floor plans articulate the spatial planning and tectonic expression of each level. The ground level houses the “work zone” where the inhabitants practice their trade. This “work zone” adopts a heavy and private architectural language in order to cater towards the occupational requirements. The first level of the house is the communal level of shared space. This giant living room has little corners for each inhabitant’s appropriation and contain a shared kitchen and dining room. This level is airy and open in direct contrast to the ground level and the top level. The mezzanine level embodies the individual bedrooms of each inhabitant. The top level is the “prep zone” were the inhabitants gear themselves up for work. It subsumes a series of individual dressers and toilets and adopts a rather heavy architectonic expression.

Axonometric Cutaway

The section shows the different tiers that exists in the building and how the different tiers are connected via circulation elements. The property of each inhabitant is also clearly demarcated and expressed, showcasing the different individuals that reside in the building.

Street Elevation

The elevation highlights the typology of the surrounding context. The building seeks to complement the surroundings in terms of massing and proportions without being overtly compliant. The â&#x20AC;&#x2DC;alleywaysâ&#x20AC;&#x2122; in between each building also provide a more covert zone fro the business entrance.

Axonometric Cutaway

The entrances of each establishment are safely cached within these mini alleyway in between buildings, hence providing a transitional threshold from the bustling streets into a more quiet and conducive zone.

Complex Model Photo

Model of the full collection of buildings

Single Unit Model Photo

Model of a singular unit that houses five inhabitants

Exploded Axonometric

The structural strategies of this building lies with the discrete living units. The base of the building is constructed from a solid concrete shear wall system. On these walls rest the living units. These units act as structural cores that lift the upper volume of the building and translate the forces down into the foundation. The upper level of the building is constructed with a steel mega truss that is encased within concrete walls in order to reduce excessive loading but maintain the heavy tectonic expression on the upper level.

Technical Section

An insight into the constructional details of the building.

HOUSE OF AN ARCHAEOLOGIST

A HOME FOR AN ARCHAEOLOGIST THAT PLACES HIS PASSIONS ABOVE ANYTHING ELSE National University of Singapore AR1102 Instructor: Florian Schaetz Spring 2011 The primer of the project was ‘Invisible City’ by Singaporean filmmaker Tan Pin Pin. A subject was chosen from the film and a house was to be designed for that particular character. In this project, an archaeologist was chosen as the subject. The film documents the archaeologist’s activities and his spaces, offering a glimpse into his lifestyle and habits. This archaeologist is a man of passion, perhaps too much passion. Confronted with questions that offer to shaken that passion, he unflinchingly brushes them off, stating the point of his research and evading the lack of logic in some of his answers. Drawing upon his character and personality, a design for a house was conceived. The house would offers a clear reflection of his priorities in life via the exaltation of his passions and the compromise of his physical living environment. This is a house of when historical objects rule over everything else, even the master of the house. Incidentally, the key structural system of the house would serve to exalt, frame and protect the artifacts. This is a house of inversion human-object and perhaps good natured perversity of priorities.

Traverse View of The Interior

Visitors are confronted with encased artifacts that dominate the space 62

Ground Level and Basement Plan

The house comprises of two simple rectangular volumes that are connected via a dramatic staircase. The ground level is primarily for the storage of artifacts while the archaeologist resides in the basement level.

Axonometric

The glass columns are arranged in a semi-circular fashion, becoming cores that enshrine the artifacts and also support the roof of the house.

West Elevation

The building takes a form of a narrow infill in between traditional Shophouses

South Elevation

An indirect entrance into the house instead of an outright entrance that adheres to its neighbors.

Sectional Model Photo

The two distinct levels in the house elucidate the archaeologistâ&#x20AC;&#x2122;s priorities in life and his rather spartan lifestlye.

Interior Model Photo Level 1

Exploded Axonometric

Interior Model Photo

Basement Level: Facing the main staircase

Interior Model Photo Level 1

Interior Model Photo Basement 1

SHEAR

A WALL FOR VENTILATION IN THE TROPICS National University of Singapore AR2326 Instructor: Florian Schaetz Spring 2012 This project pushed for the design and construction of a ventilation screen, a common architectural feature of the tropics. These screens usually comrpise of blocks with various perforations, these block are synonymously coined ventilation blocks. The teamâ&#x20AC;&#x2122;s concept to start with a relatively simple geometric form and create the perforations via a simple shear movement within the cuboid. By setting an internal offset, an inner cuboid is formed within. The internal volume is then sliced diagonally and sheared, creating a unique opening within the outer cuboid. Upon confirming the design, research had to be done prior to casting the ventilation block. Considerations include water to cement to sand ratios, material for formwork construction, and curing durations. Prior experiments were made and a final cast of the design was constructed. Collaborators: Theodore Goh, K.K Loh, Pauline Tanzil and S.K Lee

Exploded axo (formwork) scale 1:2

Axonometric Drawing of Formwork Basement Level: Facing the main staircase

Full Ventilation Wall 1.8m X 1.0m

Singular Block 0.30m X 0.20m

TIPPING POINT A BALANCING TOY

National University of Singapore AR1326 Instructor: Kok Ming Cheah Spring 2011 Limited to the use of just bamboo skewers and 15mm X 15mm wooden square sections, the team was tasked to design and construct a balancing contraption. The contraption needed to span 1.0m and support a brick while being supported at one point. Using the limited material choices to solve the challenge, this project engages the difference in density (though limited) between the wooden sections and bamboo skewers. In order to employ this difference in density and expound on it, the design took the form of a trussed beam structure that has a gradated use of wood section. The end of the beam nearer to the brick employed less wood sections as opposed to the opposite end. In order to provide an aesthetic twist to the design, a slanted fulcrum was adopted, deceptively shifting the pivot point nearer towards the brick while maintain the innate lightness of the structure. The trussed beam was also tapered at both ends to increase its stability against internal warping and in the name of aesthetics. Collaborators: Theodore Goh, K.K Loh and S.K Lee

Oblique Drawing of Balancing Contraption 72

Balancing Contraption

Balancing Contraption 73

ACKNOWLEDGEMENTS I would like to thank everyone that has supported me throughout my journey. You know who you are :) your sincerely,

Yen

Phoaw Yen Shan 34 Mei Hwan Drive, Singapore 568369 H: (+65) 91773381 yenshanphoaw@gmail.com

About Fourth year architecture undergraduate, whose interest resides primarily with architectural design and its socio-cultural implications. Other interest lies in architectural theory, art and muay thai.

Skills

AutoCAD Architecture, ArchiCAD Architecture, Google SketchUp Modeling and Layout, Vray, Adobe Photoshop, Adobe InDesign, Adobe Illustrator, Various Microsoft Office Programs

Education Qualifications

National University of Singapore - Bachelor of Arts (Architecture) – July 2010 – now [current Honours standing : First Class] Hwa Chong Institution - GCE A Levels Catholic High School - GCE O Levels

Awards / Recognition

Dean’s List Yr1 Sem1 NASA Overseas Exchange Award 2012 NUS OED Windscoop Art Installation Design Competition Runner Up NUS OED Brick Art Installation Design Competition Runner Up Berkeley Prize 2012 Winner (International Architectural Theory Essay Competition) NUS Drawing Prize 2013 (Digital Category) WInner 2013 RIBA Part 1 Bronze Medal Nomination

Co-curricular Involvement

NUS Year 1 Exhibition @ ACM 2011 - Sponsorship Director NUS Architecture / Industrial Design Freshmen Orientation Camp 2011 - Treasurer Occupations Publication (2012) - Student Editor NUS Yearbook 2013 - Student Editor NUS Muay Thai - Member

Features @ Publication/Exhibition

NUS Year 1 Exhibition @ ACM 2011 - Year 1 Projects NUS Architecture Yearbook 2012 - Year 2 Projects NUS Architecture Yearbook 2013 - Year 3 Project Occupations (book) - Year 2 Projects Occupations Exhibition - Year 2 Projects NUS City Exhibtiion 2013 - Year 3 Project

Employment

Consultant Incorporated Architects + Planners Internship Period: Dec 2009 – April 2010 Projects Involved :NUH Shophouse at Owen Road Marina Bay Fire Station Research Assistant NUS Period: April 2012 – August 2012 Research Topic: Domesticity and its spaces in Contemporary Singapore’s Public Housing Formwerkz Internship Period: May 2013 - August 2013

Portfolio

http://yenshanphoaw.carbonmade.com/ 75