Re-Forest City by Sharne Sulaiman

Re-Forest City Studio Shinya Okuda

Year 4 Semester 1 AY 2018/2019

National University of Singapore BA (Arch) 4 Studio Shinya Okuda

Studio Shinya Okuda

Studio Shinya Okuda Redesigning SDE 2

Studio Shinya Okuda

Guest critics, lecturers and consultants Dr. Shinya Okuda (Studio Tutor) Prof. Lam Khee Poh, SDE Dean (Guest Reviewer) Erik L’Heureux, SDE Vice-Dean (Guest Reviewer) Mr.Yukio Hasegawa, Salad Landscape (Guest Reviewer) Patrick Chia, Director, Design Incubation Center (Guest Reviewer) Acknowledgements: Name (Green technology) Prof. Christophe Sigrist (Structural) Häring Holzbau (Structural)

Studio Shinya Okuda

Content Project Brief Research Program byYap Jit Ning, Amanda and Kim Eunbin

Site and Massing by Sharne Jerhn Dta Sulaiman and Lee Seung Bok

CO2 Emission by Fawwaz bin Azhar and Nizam

Landscape by TanWen Ching Laura and Siti Nur Farah

Tectonics by Lew Bing Quan and Renee Tay Tzeman

Studio Shinya Okuda

Content Proposals Project Samanea by Fawwaz bin Azhar

Core Lab by Kim Eunbin

104

Connecting Lab by Lee Seung Bok

112

Campus Grove by Lew Bing Quan

120

Show Case by Renee Tay Tzeman

128

Unified Terrace by Sharne Jerhn Dta Sulaiman

136

Interstice by Siti Nur Farah

144

The Corutyard by TanWen Ching Laura

152

Re(Vale) by Yap Jit Ning, Amanda

160

Acknowledgements Dr. Terrence Chun Liang Tan (Green technology)

169

Prof. Christophe Sigrist (Structural)

170

HÃ¤ring Holzbau (Structural)

171

Studio Shinya Okuda

Project Brief

Studio Shinya Okuda

Re-Forest City Hybrid Mass Timber Architecture in Tropical High-density Urbanism.

AADL (Advanced Architectonics Design Lab) NUS AR5801 Option Studio (Image: Clearpoint Residence / Milroy Perera Associates / Sri Lanka)

Preamble/ Issue The world climate is changing. The irreversible departure from the bounds of a country’s old climate has been coined as ‘Climate Departure’. Caused by the build-up of greenhouse emissions, climate departure poses a threat to not only biodiversity, but humans as well if left unattended to. Tropical climate zones, where Singapore is located, are projected to experience this impact the earliest. At COP21 in 2015 in Paris, Singapore commits to reduce carbon emissions by 36% from 2005 level in next 15 years, as an initiative to mitigate the global warming. One of the strongest motivations to review timber nowadays is that timber is renewable resource and effective carbon absorber, which is the true game changer of the global warming era. Thanks to year-round sunlight, tropical trees grow 3-4 times faster than the ones in temperate climate. However, up to 3/4 of current usage of regional tropical timber are pulps and chips, and their proportions are still increasing annually. The issue is further challenged by the fact that less than 30% of tropical forest are in sustainable status currently, as in compared to up to 80% in north America / Scandinavian countries, which results continuous deforestation in our region. Despite the fact that many Asian cities used to have rich cultures of timber architecture which were tightly associated with our traditional life styles, it is almost disappearing and being replaced with concrete boxes as a result of rapid urbanization. Fire seems to be one of the major reasons behind the shift, which often destroyed our cityscape in the past. Unlike typical preconception, emergent Mass Timber Construction (MTC) is fireproofed, which triggers increasingly heated up design challenges globally. The MTC has just started in Singapore followed by SCDF approval in 2013, which enabled the NTU Sports hall in 2017, the first local large-span MTC building. However, it’s architectonics strategies under the hot and humid tropical climate are largely unexplored, which is calling for innovative design research projects. Project The “Garden City” vision was introduced by then Prime Minister Lee Kuan Yew in 1967 to transform Singapore into a city with abundant lush greenery and a clean environment. Singapore’s population is projected to reach to 6.9 million by 2030, in which greenery may need to play further pivotal roles to mitigate various issues arising from the urban intensification: noise, privacy, fresh oxygen, micro climate, occupancy comfort, etc. The Re-Forest City in Year 4 studio in this semester is to explore innovative Hybrid Mass Timber Architecture designs to challenge various issues in the tropical high-density urbanism. It aims to create symbiotic relationships between greenery and habitation, not only for living comfort, but also for energy efficient passive design strategy and micro climate, as well as to promote carbon sequestration process through out the building

Studio Shinya Okuda

(Image: Framework / Works Partnership Architecture / USA)

process. Overall, by creating a platform for the next generation architects to debate both positive and critical aspects of the Mass Timber Architecture in the Tropics, the Re-Forest City studio envisions that it raises more awareness on prominent value of tropical forest in the region, to store atmospheric carbon as solid timber architecture form, and ultimately opens up ways toward alternative modernize Asian cities routed in our cultural tradition and tropical climate. Site / Program The entire SDE2+CELC V2.0 will be a living lab that supports an ecosystem of concurrent research, prototyping, innovation and test bedding of technologies, processes and concepts relevant to the built environment. The living lab will be made up of inter dependent research-intensive labs that allow quick translation educational activities and industry practice. To allow faculty members to pursue advanced ign and planning. (..) A stackable design will be adopted. The bottom level will house design and fabrication workshops and labs. The middle levels will contain staff rooms, executive rooms and BIM labs and the top level will be for energy and sustainable buildings research for example, solar and roof greenery research. (Extract from Design Narrative by A/P Goh Yang Miang) The site is located adjusant to exisiting SDE2 + CELC as a part of NUS campus master plan. Planning Parameter is GFA 10,000 sqm, Max. 5 Stories to accomodate Integrated and Flexible Research-Intensivie Living Lab, which includes the following facilities: - Research centres 1,500 sqm - Integrated Workshop 2,000 sqm. - Staff rooms 1,500 sqm - Teaching facilities 2,000 sqm for studio space - Recreational and social spaces + Miscellaneous spaces (circulation, toilets etc.) 3,000 sqm Considerations: a. Building Frontage: Current SDE2 / CELS block lacks main building frontage. Propose main building frontage facing either Kent ridge Crescent / Techno Edge Canteen / Central Library. b. Connection: Consider interface between other building blocks and movement of people between blocks. c. Landscape + Greenery: Avoid any impact on existing trees and consider integration of landscape features with buildings. Learning Objectives - Passive Design strategy for High-density Urbanism - Architectonics for Tropical Mass Timber Construction - Symbiosis between Greenery and Habitation Activities Overview The studio will commance with group research and site analysis which followed by Garden to understand Tropical Plantation. W1 Introduction / Site Visit / Tropical Plantation W2-3 Group Research / Mass Timber Construction W4-6 Individual Design Projects / Interim Review W7-13 Individual Design Projects / Final Review Weightage / Assessment Criteria Group Research Work: 30% Individual Studio Project: 70%

Studio Shinya Okuda

Research

Studio Shinya Okuda

Programs Amanda Yap, Eun Bin

Studio Shinya Okuda

INTEGRATED FLEXIBLE RESEARCH INTENSIVE LIVING LAB REFERENCE DIAGRAM

ble Research Intensive Living Lab Note: Name of labs are reference ONLY ference Diagram Centre for Sustainable Asian Cities (CSAC)

DRAFT 180228

Centre for Centre for Aging Research Advanced Studin the Environ- ies in Architecment (CARE) ture (CASA)

NUS COE in BIM Integration

Urban Prototyping

e ONLY Smart Material Lab

Smart Material

Centre for Project Management and Construction Law (CPMCL) Construction 3D printing

NUS-JTC Industrial Infrastructural Innovation Center

Advanced Architectonics Design Lab (AADL)

Computation

i. PROTOTYPING*7

Center for Integrated Building Energy and Sustainability in the Tropics (CiBEST)

Building Technology

Integrated Flexible Research Intensive Living Lab (Design-Simulation-Fabrication-Testing)

ii. ACCREDITATION

TUV SUD PSB

(Eurocode Accreditation)

iii. COMMERCIALIZATION Building Industry -1514

Studio Shinya Okuda

,etc.

DESIGN FABRICATION WORKSHOP CONCEPT DIAGRAM

ication Workshop Concept Diagram

DRAFT 180228

Design Studios

- 3D Printer Desktop*6

(Glass Wall)

Material Library*1

EXPLORATION - Samples/Catalogue - Suppliersâ&#x20AC;&#x2122; contact

Assembly Area*2

Design Fabrication Workshop Material -

Cardboard Wood Plastics Foam

- Clay - Concrete - Metal - Glass - Stone

Process ANALOGUE - Scrawl Saw - Panel Saw - Circular Saw - Drill - Belt Sander - Hot wire - Oven - Casting (Wet area) DIGITAL - Laser Engraver*5 - CNC Mill Desktop Flatbed - CNC Foam Cutter - 3D Printer Desktop High-quality Large-scale Multi-material*3 - Water-jet Cutter*42019?

-6-

Studio Shinya Okuda

SDE2/CELC CORE FUNCTION

VIRTUAL DESIGN

SIMULATION

Reserch centres 1,500 sqm

Staff rooms 1,500 sqm

RESEARCH EDUCATION

Mate Libr

Studio

2,000 sqm

+ Recreational 2,000

Studio Shinya Okuda

PHYSICAL FABRICATION

ASSEMBLY/TESTING

Integrated Workshop 3,000 sqm

Material storage

erial rary Digital fabrication

Dry assembly Wet assembly

Testing Facilities

OUT

Loading bay

Manual fabrication

/ Social Spaces sqm

Studio Shinya Okuda

MATERIAL LIBRARY

*1 Material Library (Ref. Material Collection ETH ZĂźrich)

Ref. Material Collection ETH ZĂźrich

HOLDINGS: 1. Constantly expanding collection of: - Natural Stone - Clay and Limestone - Application of materials - Non-industrial and industrial manufacturing techniques 2. Additional objects from other fields: - Wood - Wood-based materials - Man-made Stone - Ceramics - Synthetics - Metals - Glass - Animal and vegetable

Studio Shinya Okuda

DRAFT 1802

-7-

Studio Shinya Okuda

FABRICATION: DOA Design Fabrication Workshop 3-D PRINTERS

LASER ENGRAVERS AND CUTTERS

Voxeljet VX1000 Size: 1000 x 600 x 500 mm Weight: 3500 kg

Epilog Legend

A CO2 laser systems is utilized for engraving and cutting of wood, acrylics, plastics, stone, etc. Size: 927 x 813 x 1011 mm Weight: 82 kg Exhaust: 350 - 400 cfm (595-680 m3/hr) external exhaust to the outside or internal filtration system is required. There is one output port, 4â&#x20AC;? in diameter.

3D45 Size: 255 x 155 x 170 mm Working volume: 394 x 515 x 406 mm Weight: 19.4 kg

Epilog Fusion

It is suitable for engraving and cutting of a wide range of materials. It has a dual source laser system of fiber and CO2. Size: 1537 x 1048 x 1073 mm Weight: 292 kg Exhaust: 650 CFM (1104 m3/hr) external exhaust to the outside or internal filtration system is required. There are two output ports, 4â&#x20AC;? (102 mm) in diameter.

EOS Formiga P100 Laser-sintering system Size: 3200 x 3500 x 3000 mm Working volume: 1320 x 1067 x 2204 mm Weight: 600 kg

Studio Shinya Okuda

LATHE MACHINE

BENCH SAW

Conventional Lathe Machine

Precision Ciruclar Bench Saw

Function: Cylindrical turning, counter facing, threading, drilling, taper turning, boring and step boring. Size: 2420 x 1150 x 1700 mm Working area: 360mm x 520mm Weight: 1450kg

MILLING MACHINE

Vertical Turret Milling Machine

Function: Surface milling, slitting, grooving, drilling, end milling and step milling. Size: 1750 x 1700 x 2200 mm Working area: 914 x 406 x 406 mm Weight: 1280 kg

Function: Practically useful for all sawing needs including grooving, ripping and concelated cutting Size: 800 x 600 x 860 mm Working area: 800 x 600 mm Weight: 490 kg

BANDSAW

Vertical Bandsaw Machine

Function: For general purpose saving and angular cuts. Size: 610 x 740 x 2000 mm Working area: 480 x 480 x 450 mm Weight: 188 kg

BELT SANDER

CNC MILLING

CNC Milling

Function: Surface milling, slitting, grooving, drilling, end milling and step milling. Size: 1480 x 1510 x 1960 mm Working area: 1000 x 650 x 250 mm Weight: 250 kg

Horizontal / Vertical Belt Sander Function: For general purpose sanding which includes flat and angular sanding with adjustable table height. Size: 620 x 470 x 629 mm Table size: 2260 x 150 mm Weight: 171 kg

Studio Shinya Okuda

ELECTRIC DRILL

SCROLL SAW

Table Top Scroll Saw Machine Electric Drilling Machine Suitable for all types of materials which includes metal, plastic and wood. Size: 880 x 675 x 1850 mm Weight: 80 kg Table size: 450 x 455 mm

Adjustable table to allow sawing up to 45 degrees Suitable for wood, plastic, cardboard and foam For general purpose of sawing materials into various shapes. Size: 540 x 250 x 330 mm Working area: 368 mm x 220 x 400 mm Weight: 16 kg

METAL BANDSAW VACUUM FORMER

Vertical Metal Bandsaw Machine Formech 686 Vacuum Former

A floor standing vacuum forming machine with pre-stretch and a power table. Working area: 646 x 620 x 325 mm Size: 960 x 1165 x 1932 mm Weight: 215 kg

Studio Shinya Okuda

Suitable for various types of metal such as iron, steel and aluminium For general purpose of sawing materials metallic materials with adjustable blade height Size: 1280 x 850 x 2450 mm Working area: 750 x 1100 x 450 mm Weight: 490 kg

BENDING MACHINE

Universal Hydraulic Bending Machine Suitable for metal pipes and bars For general purpose bending of metals which includes corner bending, edge bending and pipe bending

3D CUTTERS

Frogmill A4-axis CNC foam carving router. Size: 2050 x 1150 x 2050 mm Working area: 1300 x 1100 x 5500 mm Weight: 215 kg

Size: 3560 X 1990 X 2350 mm Working area: 2600 x 320 x 470 mm Weight: 6000 kg

INDUSTRIAL OVEN

Versatil 2500

A CNC router that also allows for engraving and is flexible to fit alternate accessories such as a coolant Spraymist System.

Industrial Baking Oven

Size: 3200 x 1650 x 1700 mm Working area: 2500 x 1250 x 170 mm Weight: 290 kg

Suitable for platic and clay like materials For softening of plastic materials before bending process and drying up of clay like materials Size: 1200 x 1500 x 1700 mm Working area: 1000 x 1000 x 1000 mm Weight: 450 kg

Studio Shinya Okuda

ASSEMBLY AND TESTING: DOA Labs SPACE-SPECIFIC SETTING

WIND TUNNEL LAB Wind simulation studies for different terrain conditions. Area : 24000 x 8000mm

FIRE TECHNOLOGY UNIT BUILDING SYSTEMS & DIAGNOSTICS LAB

It is equipped with systems to demonstrate the design and operational principle of active and passive protection systems such as the sprinkler system. Area : 8000 x 8000mm

AIRBORNE SOUND TRANSMISSION CHAMBER

A room designed to completely absorb reflections of either sound or electromagnetic waves. It allows the detector exclusively hears direct sounds, in effect simulating being inside an infinitely large room.

Studio Shinya Okuda

DESIGN INCUBATION CENTRE PROTOTYPING LAB

Area : 8000 x 4000mm

TIMBER & METAL WORKSHOP

Area : 8000 x 16000mm

INDOOR AIR QUALITY UNIT INDOOR ENVIRONMENT & ENERGY LAB

Area : 12000 x 8000mm

Studio Shinya Okuda

LIGHTING / THERMAL UNIT INDOOR ENVIRONMENT & ENERGY LAB provision of a a range of standard instruments for teaching and research in the area of light, heat and thermal environment. Area : 8000x6000mm(lighting) 8000x4000mm(thermal)

ACOUSTICS UNIT INDOOR ENVIRONMENT & ENERGY LAB

Equipment are available for the testing and demonstration of the acoustical properties of building spaces, materials and components. Area : 8000 x 24000mm

Studio Shinya Okuda

NON-SPACE SPECIFIC SETTING: OFFICES * Small-scaled testing are conducted at their own office tables or Virtual Simulation-based labs

BUILDING STRUCTURES BUILDING MATERIALS LAB

Area : 8000 x 4000 mm

CONSTRUCTION TECHNOLOGY UNIT BUILDING SYSTEMS & DIAGNOSTICS LAB

Area : 12000 x 6000 mm

Studio Shinya Okuda

APPENDIX: SAFETY SIGNS

EYE PROTECTION

HEARING PROTECTION

LABORATORY COAT

Studio Shinya Okuda

FOOT PROTECTION

RESPIRATORY PROTECTION

HAND PROTECTION

IRRITANT

COMPRESSED GASES

BIOHAZARD

LASER RADIATION

FLAMMABLE

ULTRA VIOLET HAZARD

ADDITIONAL: Assembly and Testing

ASSEMBLY - WORKSPACE

FABRICATION LAB Working area: 45 x 17 x 6 m down A multi-robotic system based on an overhead gantry system with movement on a linear axis. Allows for assemblage of prototypes.

Studio Shinya Okuda

ASSEMBLY - ROBOTIC ARMS

ABB robot arms IRB 4600

Working area: 10 x 5 x 2.5m, 1.73 m vertical reach down. Max load: 40kg Footprint: 600 x 600 x 1727 mm

UR5 robot arms

Working area: 0.85m radiua Max load: 5kg Footprint: 0.149m Weight: 20.6kg

UR10 robot arms

Working area: 1.3m radius Max load: 10 kg Footprint: 0.19m Weight: 33.5kg Suitable for processes in which robot and humans cooperate in close proximity.

Studio Shinya Okuda

Site & Massing Lee Seung Bok, Sharne Sulaiman

Studio Shinya Okuda

Site Plan

Studio Shinya Okuda

scale 1:1000

Studio Shinya Okuda

Site Photographs

Studio Shinya Okuda

Sections

Studio Shinya Okuda

Section 1

scale 1:200

Studio Shinya Okuda

Section 2

scale 1:200

Site Model and 3D Digital Model

Studio Shinya Okuda

Massing Studies SDE 3

LT 5

EW 3

Techno Edge SDE 3

SDE LT 5 1

EW 3

Techno Edge

10000 sqm

SDE 1

Information Technology

5 stories

Information Technology 10000 sqm

5 stories 50M

50M

10000 sqm

5 stories 50M

Research centres 1,500 sqm

1,500 sqm

10M

Integrated workshop 2,000 sqm

Staff rooms

1,500 sqm

Teaching Facilities

Integrated workshop

1,500 sqm

2,000 sqm

Research centres

2,000 sqm

10M

Level 5

Level 4

Recreational and social spaces & Miscellaneous Staff rooms spaces 1,500 sqm 3,000 sqm

Teaching Facilities

Recreational and social spaces & Miscellaneous spaces 3,000 sqm

Studio Shinya Okuda

2,000 sqm

3,000 sqm

Level 3

2,000 sqm

1,500 sqm

Level 2

Level 1

SDE 3

LT 5

EW 3

Techno Edge SDE 3

SDE LT 5

EW 3

1 M

40M 1000 sqm

Techno Edge

Information Technology

4 stories

SDE 1 40M

9000 sqm Information

1000 sqm

Technology

4 stories

9000 sqm

60M

40M 1000 sqm

4 stories

9000 sqm

60M

Research centres 1,500 sqm

1,500 sqm

10M

Integrated workshop 2,000 sqm

Staff rooms

Research centres 1,500 sqm

1,500 sqm

Teaching Facilities 2,000 sqm

2,000 sqm

10M

1,500 sqm

Integrated workshop 2,000 sqm

Level 4

Recreational and social spaces & Miscellaneous Staff rooms spaces 1,500 sqm 3,000 sqm

2,000 sqm

3,000 sqm

Level 3

Teaching Facilities 2,000 sqm

Recreational and social spaces & Miscellaneous spaces

Level 2

Level 1

3,000 sqm

Studio Shinya Okuda

CO2 Emissions Fawwaz bin Azhar, Nizam

Studio Shinya Okuda

Introduction Carbon dioxide levels in the atmostphere are rising and as we know trees are natural filters of carbon dioxide. Through photosynthesis, CO2 is absorbed by the tree and oxygen is released. The CO2 is then stored into the tree as a carbon. The capacity of storage increases as the tree grows in its lifetime. The idea of using Timber as a construction material is to replace conventional building materials such as concrete and steel. As we start using timber, space for new trees to be planted will increase hence creating a continuous CO2 absorbing cycle.

Timber Properties The CO2 that has been absorbed by the tree in its lifetime is now being stored as Carbon in the processed Timber. The CO2 will only be released back into the atmosphere once the timber decays.

Embodied Energy Embodied Energy is a method used to calculate the total amount of energy used in the entirety of the construction process. The effeciency of materials can be determined by this method as although the immediate properties shows an obvious choice but other factors such as mining, production and transportation need to be added into the total energy used and CO2 produced.

Studio Shinya Okuda

Calculations Tree Density (kg/m3) Average dry oven density for Hardwood is 700kg/m3 (ie: Eucalypts) Average dry oven density for Softwood is 400kg/m3 (softwood pine)

Tree Volume (m3) Tree height (m) x diameter2 (m2) x 0.7854)/3 (for conical shaped trees e.g. pines) Tree height (m) x diameter2 x 0.7854 (for cylindrical shaped trees e.g. eucalypts) Example: For a eucalypt tree of height 8 metres with a diameter of 40cm, the volume would equal 8m x 0.4m2 x 0.7854 = 1.0 m3.

Tree Mass Tree mass (kg) = Volume of the tree (m3) x density of wood (kg/m3)

Studio Shinya Okuda

Plantation Tree Types The CO2 benefits that come from MET are from the sequestered CO2 from the timber used in the structure. By cutting down the trees to create building materials, we free up more space for fresh new tress to continue absorbing carbon dioxide. Apart from the sustainability aspect of this method, trees are chosen for their lumber strength, susceptibility to environmental factors ,appearance and growth rate.

Absorb

Plantation sourced Timber absorbs Carbon Dioxide throughout the treeâ&#x20AC;&#x2122;s lifetime

Reset

Store

Cleared trees create new space for new set of trees to absorb CO2

CO2 stored in Timber used for construction in a form of Carbon

RE-FOREST CITY: SYMBIOSIS BETWEEN FOREST AND URBANISM IN TROPICAL HIGH-DENSITY ENVIRONMENT Studio Shinya Okuda

Forte Living Apartments Situated in Melbourne, the Forte is a 10 storey mixed used commercial and residential building constructed out of Cross Laminated Timber (CLT). Building Classification: Class 2 Residential & Class 6 Retail Floor

759 CLT Panels Used (Accurate Estimation of Materials)

KEY FEATURES

485 Tonnes Total Weight (Lighter than Concrete/Steel)

25 Shipping Containers Used (Standardised Transportation)

KEY COMPARISON

Timber CO2 Sequestered : 761 Tonnes Equivalent Concrete / Steel : CO2 Emitted 1451 Tonnes

7-Star Performance Rating Environmental Benefits (Noise, Thermal, Speed & CO2 Emissions) 46

Studio Shinya Okuda

8 Months Site Construction Significant Construction Time Savings

Recycle Endlife and Zero Waste Production CLT is Timber and Water Based Adhesives which are environmentally friendly.

圀漀漀搀䤀渀渀漀瘀愀琀椀漀渀䐀攀猀椀最渀䌀攀渀琀攀爀匀椀琀甀愀琀攀搀椀渀䜀攀漀爀最攀匀琀爀攀攀琀Ⰰ 䌀愀渀愀搀愀Ⰰ 吀栀攀圀漀漀搀䤀渀渀漀瘀愀琀椀漀渀䐀攀猀椀最渀䌀攀渀琀爀攀椀猀愀㠀匀琀漀爀攀礀伀昀昀椀挀攀眀栀椀挀栀愀氀猀漀栀漀甀猀攀猀唀渀椀瘀攀爀猀椀琀礀䄀挀愀搀攀洀椀挀倀爀漀最爀愀洀洀攀猀挀漀渀猀琀爀甀挀琀攀搀漀昀䌀爀漀猀猀䰀愀洀椀渀愀琀攀搀吀椀洀戀攀爀 ⠀䌀䰀吀⤀ 䰀嘀䰀愀渀搀䜀氀甀氀愀洀⸀

䬀䔀夀䘀䔀䄀吀唀刀䔀匀

一漀渀 ⴀ 刀攀渀攀眀愀戀氀攀

㄀㔀㈀洀㌀圀漀漀搀唀猀攀搀䜀氀漀戀愀氀圀愀爀洀椀渀最

伀稀漀渀攀䐀攀瀀氀攀琀椀漀渀

䄀椀爀倀漀氀甀琀愀渀琀猀

圀栀漀氀攀䈀甀椀氀搀椀渀最䰀椀昀攀䌀礀挀氀攀䄀猀猀攀猀猀洀攀渀琀䌀㈀䔀洀椀猀猀椀漀渀猀䌀愀爀戀漀渀䘀漀漀琀瀀爀椀渀琀䴀愀琀攀爀椀愀氀猀愀渀搀伀瀀攀爀愀琀椀漀渀愀氀䔀渀攀爀最礀 ⸀㄀㔀洀㌀⼀洀㈀簀 ⸀㜀㔀洀㌀⼀洀㈀㄀㤀㤀洀攀琀爀椀挀琀漀渀渀攀猀猀琀漀爀攀搀⼀㄀㔀㈀洀攀琀爀椀挀琀漀渀渀攀猀

䰀愀戀漀甀爀刀攀焀甀椀爀攀搀㈀㔀─ 刀攀搀甀挀琀椀漀渀椀渀䰀愀戀漀甀爀刀攀焀甀椀爀攀搀

吀椀洀攀刀攀焀甀椀爀攀搀㈀㔀─ 刀攀搀甀挀琀椀漀渀椀渀吀椀洀攀刀攀焀甀椀爀攀搀

匀瀀攀攀搀漀昀伀瀀攀爀愀琀椀漀渀 ⠀瀀攀爀㔀眀漀爀欀攀爀猀 ⬀ 挀爀愀渀攀⤀ 㐀洀㈀⼀搀愀礀簀㔀洀㈀⼀搀愀礀

圀攀椀最栀琀椀渀挀氀甀搀椀渀最䔀挀漀氀漀最椀挀愀氀䈀愀挀欀瀀愀挀欀㐀㘀欀最⼀洀㈀簀㄀⸀㈀㜀㔀欀最⼀洀㈀ Studio Shinya Okuda Studio Title

47 11

Landscape Siti Nur Farah, Laura Tan

Studio Shinya Okuda

Shinya Okuda Studio

Studio Shinya Okuda

Tectonics

Renee Tay Tzeman, Lew Bing Quan

Studio Shinya Okuda

Tectonics of Mass Engineered Timber by Renee Tay and Lew Bing Quan

“Tectonics in architecture is defined as ‘the science or art of construction, both in relation to use and artistic design.’ It refers not just to the “activity of making the materially requisite construction that answers certain needs, but rather to the activity that raises this construction to an art form.” The advent of new materials in construction always results in breakthroughs or advancements in architectural design. These are often derived from the expanded capacity of the materials - in this case the various forms of Mass Engineered Timber (MET). The principle behind MET is to create a larger piece of operative material through the microassembly of smaller pieces. The use of these range from whole timber pieces to veneers to strands or chips of wood fibres. This assembly also gives flexibility to reorientate the direction of the timber grain. Furthermore, the nature of production allows for a stable of curved components with relative ease, as well as significant productive flexibility . By doing so, MET by nature retains most if not all the benefits of timber usage, while increasing its operational capacity via engineering. The latter includes reducing structural inconsistencies, higher humidity/weathering protection, greater spans, complex shapes, reduction in waste via use of smaller components. MET’s usage in the industry can be divided into two categories, conventional and unconventional. Conventional usages see MET returning as a viable, if not more efficient wood-based material used in typical architectural elements - linear items such as beams or columns, planar elements like wall or floor slabs, and complex constructs that include PPVC - whole walls or chambers. Unconventional usage, on the other hand, capitalizes on the unique qualities of MET as compared to other known building materials. For instance, layering in the productive process allows the architect/engineer to customize a single MET component to best address complex loads. Alternatively, a pure timber construction using old vernacular tectonics at an increased scale of dimensions.

Studio Shinya Okuda

Glulam

Laminated Veneer Lumber

Laminated Strand Lumber

Cross-laminated Timber

Makeup

Plies glued in same direction

3-4mm veneers glued in Layered flakes of wood same direction pressed together with adhesive

Lumber units glued perpendicular to the previous layer

Advantages

<10% weight of steel Very strong in and 1/5th the weight of longitudinal direction concrete parallel to wood fibres

Appearance

Glue laminated beams can be very deep Can camber (pre-tense)

Disadvantages

Can make use of small dimension, rapidly growing tree species

Only strong on one axis Weak to torsion/shear High cost

Maximum dimension

Can take higher stresses: bending and shear design values up to 2.5 times higher than CLT Stronger than laminated lumber products

Lower in strength than LVL Weak to torsion

18m x 1.5m x 275mm

24.4mm x 1.2m x 64mm

 



Very little shrinkage, precise tolerances Cross direction allows for good shear resistance on top of conventional load bearing

Conventional load-bearing less efficient due to only perpendicular elements taking load

Applications Post and beam Wall



Floor



Roof



Curved form



Large format panels



 

light framing



Studio Shinya Okuda

Types of Adhesives Advantages

Glue Laminate

Nail Laminate

Dowel Laminate

•

Can be easily premanufactured Adhesives are more airtight

• •

Lower embodied energy Simple and easy to assemble system; can be assembled on-site

• •

Lower embodied energy Easy to recycle or reconfigure

Higher embodied energy due to petroleums, resins, chemicals used as adhesives

•

Not airtight and require additional layers to make airtight, smoke proof, acoustic performing spaces

•

Requires manufacturing precision Thicker than CLT Exhibit more movement and less rigidity

•

Disadvantages

•

• •

Joinery Method

Adhesives

Mechanical

Moisture differential Dowels are manufactured with a lower moisture content. They absorb moisture from the surrounding wood after assembly and expand, locking the joints mechanically

Cross laminated

90 degrees

not necessarily at 90 degree angle

Air tightness



 

 sometimes

 

sometimes

Applications Walls Floor Roof Curved Forms

Beams Columns Built up Triangulated Trusses Tied frames Portals Arches Domes

Studio Shinya Okuda

Building Systems

Slab on Post, Beam and Joist

Slab on Post

Slab on Shear Wall

Floor Systems

Solid Cross-Laminated Timber Slab

Cross- Laminated Timber Compos- Laminated Veneer Lumber/ ite Slab Cross-Laminated Timber Cassette

Common Construction Details CLT- Concrete hybrid Slab

Studio Shinya Okuda

STRUCTURAL TIMBER

ENGINEERING BULLETIN

Glued laminated timber structures. Part 2: construction and connection details Introduction

Structural effects of shrinkage and improper detailing

In Engineering Bulletin No. 8 the engineering principles of open frame forms

As described in Engineering Bulletin No. 1, wood expands and contracts as

of construction, including post and beam and rigid frame construction, were

a result of changes in its internal moisture content. While expansion in the

presented. The most common timber material used – glued laminated timber

direction parallel to the grain is minimal, dimensional change in the direction

(glulam), was introduced.

perpendicular to the grain can be significant and must be considered in

This Engineering Bulletin introduces the construction and connection details appropriate to open frame construction and provides a worked example for a dowelled glulam portal haunch connection. The determination of individual fastener capacities for nails, screws and bolts is not covered here, and reference should be made to the ‘References and further reading’ section for further guidance on the structural design of these components. However, to illustrate the design of a dowelled portal haunch, the derivation of characteristic dowel capacities loaded in double shear is presented in the ‘Structural notes’ section.

connection design and detailing. It is important to design and detail connections so that moisture movements of the timber are not restrained with possible splitting of the timber as a consequence. Account should be taken of other situations that can create tension perpendicular to the grain and possible splitting of the timber e.g. notching of the section, insuffi cient edge distance for actions applied close to the tension face of a member (important in the shoe connections of beam-tobeam connections where bolts carrying shear force at the end of a beam load the supporting beam perpendicular to the grain), eccentric (out of plane) loading of truss connections and loading beams from the tension side.

For information regarding the design of connections for resistance to fire, reference should be made to Engineering Bulletin No. 7.

Effects of moisture accumulation

Detailing considerations

As most connections occur at the ends of members where the wood end

Construction and connection details

moisture accumulation. This can usually be accomplished by detailing drain

Proper connection details are important for the structural performance and serviceability of any timber structure. While this is true for solid sawn as well as glued laminated timber (glulam), the larger sizes and longer spans made possible with glulam components make the proper detailing of connections even more critical. Careful consideration of moisture-related expansion and contraction characteristics of wood is essential in detailing glulam connections, to prevent induced tension perpendicular to grain stresses; which can lead to splitting of members parallel to the grain and corresponding signifi cant reductions in member capacities. Connections must be designed to transfer design loads to and from a structural glulam member, without causing localised stress concentrations beyond the capacity of either the connector or the timber member. Connections should be designed to prevent the build-up of moisture that could lead to decay of the timber e.g. allow for drainage holes in shoes. Refer to Engineering Bulletin No. 1 for more information on the durability of timber.

grain is exposed, it is critical that these connections are designed to prevent holes or slots and by maintaining a gap between the wood and concrete or masonry construction. For external use, the foot of a timber column should be located at least 150mm above external fi nished ground level by the provision of a suitable elevated post base.

Pin-joints and eccentricity The simplest kind of connection is the direct bearing of one component onto another (such as a glulam purlin bearing onto a glulam rafter) where dowels, gussets or housing in a mortise are provided to hold the members in position relative to each other but not to transfer any direct loading. Alternatively, pinned joints can be formed by joining components together with mechanical fastenings (e.g. bolts) which are confined to a relatively small bearing area at the connection (Figures 1 and 2). The use of brackets or shoes such as joist or beam hangers can create eccentricities that must be allowed for in the design of the connection.

www.structuraltimber.co.uk Studio Shinya Okuda REV 0 - 11.11.14/EB009

Common Construction Details Glulam- Steel Interfacing

Studio Shinya Okuda

Typical CLT Wall and Floor Buildups Wall with timber cladding

Encapsulated CLT floor slab

CLT floor slab with finishes

Flat roof with gravel

Pitched roof with cladding

Roofs

Floors

External Walls

Wall with lime render

Studio Shinya Okuda

Controlling Moisture Penetration for MET Conventional Strategies

Moisture penetration is a significant risk for any form of timber structure, mass engineered or otherwise. Typically, a moisture content beyond 20% would be considered unsafe as the structural capacity to bear load becomes implicated. There are two typical ways in which moisture penetration is controlled. The first is through preparatory or topical application of sealants and preservatives. The second is through designing interfaces; limiting contact with non-atmospheric sources of moisture. An additional benefit to exposed MET interiors is that by nature of being permanently hygroscopic, it can passively regulate ambient humidity when given sufficient diffusal space.

Prefab application on Glulam component spans

JTC Blk 81: Concrete L1 to MET above

Studio Shinya Okuda

Tamedia HQ: MET frame behind curtain wall

Moisture control Strategies for MET construction Urban Timber System Proposal The Urban Timber system is a hybrid timber construction which was developed to shape flexible multi-storey timber buildings. Its inspiration comes from some constructed buildings, and was developed by giving special attention to the moisture effect on timber structural elements. This set uses the UT system to illustrate construction details which aim to prevent unwanted moisture effects.

1) Concrete foundation column w/ steel plate joinery to CLT column -dowel based joinery to prevent water path into CLT 2) Multiple column components -Hardwood external segment along perpendicular face. Acts as intermediate barrier against moisture penetration. Positioning allows expansion without creating timber crush

Studio Shinya Okuda

Moisture Control Strategies for MET Construction Urban Timber System Proposal

Facade Design Variants Special attention has to be given to durability when it comes to a timber building design. It is essential to control water intrusion, air flow between interior and exterior as well aswater vapour diffusion. Additionally, in environments with significant temperature differences of inside and out, dewpoint and condensation should be factored into design considerations.

Fig A: Rain Screen system. CLT walls/structure entirely on the inside environment, with CLT deep beams run along perimeter - acting as threshold border. Waterproofing membranes and coatings can be concentrated on CLT deep beam elements Fig B: External continuous glazed curtain wall Fig C: Rain screen wall with balcony. CLT walls/structure elements further recessed Fig D: Double Glazed curtain wall

Studio Shinya Okuda

Acoustic Insulation Strategies for MET Construction Overcoming innate poor sound insulation properties of Timber

Acoustic Properties of MET Wood, as a material with relatively low stiffness and low mass, gives it a limited ability to absorb or diffuse sound waves. Therefore, it is generally required to complement the MET element, usually CLT wall or floor, with additional constructions. Conventional construction typically relies on overall mass or additional insulation elements to address acoustic needs. Floating Ceiling CLT System includes additional lightweights above or below the CLT element, or both.

Resilient Top Floor CLT System has layer combinations above the CLT element via static connections

a) (FS-CS I) Suspended rigid insulation + ceilingboard b) (FR-CS II) Resilient top floor solution + suspended ceiling

a) (FR-CS III) Concrete top surface + insulation + screed/ gravel b) (FR-CS III ) Concrete top surface + insulation

Elastic Layer Top Floor CLT System utilizes elastic membranes above CLT element to absorb vibrations.

Disconnected Ceiling CLT System applies a set of independant beams for the ceiling below CLT floor element

a) (FR-CS II) Continuous elastic interlayer b) (FR-CS II) Multiple layers + elastic interlayer + line elastic support

a)(FS-CN II ) No Coupling suspended insulation + ceilingboard

Type Categorization Floor assemblies included in study are of the following types: Type I - Single CLT/massive wood floor element Type II - Additional lightweight elements above/below CLT/massive wood floor Type III - Hybridized CLT/massive wood elements with floating screed, gravel or concrete as heavy elements FS - Floor Stiff | FR - Floor Resilient | CS - Ceiling Stiff The research tested various different floor set-ups for a sound frequency range of 50-5000hz as a comparison of the most comparable and typical solutions. For all presented data, the total mass per unit area in kg/sqm is given, as overall mass significantly affects the acoustic properties. Analysis of the compilation is expected to yield results on the most influential factor on performance in terms of impact noise.

Studio Shinya Okuda

Proposals Project Proposals

Studio Shinya Okuda

Project Samanea by Fawwaz Bin Azhar

SDE 2 V2 is envisioned as an integrated workshop and research facility between different faculties in the School of Design and Built Environment. To achieve this synergy, Project Samanea is designed with high mixed-use spaces from entrances and lobbies. â&#x20AC;&#x153;Framing of Destinationâ&#x20AC;? or visual connectivity within the facility is coherent no matter where one arrives from. In a larger context, the materials and wayfinding found in the design are tailored to complement the existing greenery and foot traffic. Having the Kent Ridge Green Belt ending at the site, the open courtyard allows the lush greenery to pour inside the workshop spaces which blurs the boundaries of interior and exterior. Having timber as the primary material for this studio required much understanding on its advantages and weaknesses. The constraints of its application here in Tropical Singapore would be mainly the moisture. However due to the limited area of land, a post and beam structure was in applied to achieve a relatively small and regular structural footprint to attain multi use spaces. Another aspect for this system is that it is stackable to a certain height which bodes well with the current building typologies in Singapore. With such close proximity of spaces and fire regulations, buffer layers in a form of concrete screeds are embedded in the structural walls. Passive cooling such as external sun shading devices and the application of green roofs provides a new dimension if greening of space with the urban environment

Studio Shinya Okuda

2 1- Main Entrance 2- Integrated Workshop 3- Central Atrium 4- Boulevard

Studio Shinya Okuda

Integrated Workshop

Courtyard

Main Boulevard

100 Studio Shinya Okuda

Staff Rooms

Stepped Plaza

Staff Rooms

Research Centre

Studios

Research Centre

Studios

Materials Library

Studio Shinya Okuda 101

CORE LAB by Kim Eun Bin

The Re-Forest City in Year 4 studio in this semester is to explore innovative Hybrid Mass Timber Architecture designs to challenge various issues in the tropical high-density urbanisem. It aims to create symbiotic relationships between greenery and habitation, not only for living comfort, but also for energy efficient passive design strategy and microclimate, as well as to promote carbon sequestration process through out the building. The entire SDE2 + CELC in NUS will be a living lab that supports an ecosystem of concurrent reseach, prototyping, innovation and test bedding of technologies, processes and concepts relevant to the built environment. The living lab will be made up of interdependent research-intensive labs that allow quick translation of research findings into educational activities and industry practice. To allow faculty members to pursue advanced research, the labs must be flexible and modular in its space design and planning. Current site is surrounded SDE building and EW1 and Techno Edge. There is also a large green corridor from the Central Library to SDE3 and a large green space in front of the SDE2. SDE2 is directly connected to SDE3 reserch Labs On the second floor. It also has the potential to be linked to the Central Library Plaza. Inside the enclosed building, sde2 is a CORE that connects people to other buildings and draws people together with the front green space and the Central Library Plaza to give them work processing and a different experience. CORE LAB SDE2 can be connected to another building. Watching the exhibition, watching the work process, meeting people and discussing each other. 104 Studio Shinya Okuda

Model Axonometric Image in the site model (from South-East upper angle)

Section perspective Rendering (Approach of main entrance inside)

106 Studio Shinya Okuda

Rendering(Approach of Central Library side) Section perspective

Studio Shinya Okuda 107

ROOF Long span structure

13.

13. 13.

3RD FLOOR STUDIO

14. OPEN STUDIO 15. STUDIO 16. LECTURE HALL

13.

12. 12. 12.

12. 12.

2ND FLOOR

13.

12. reserch centres 13. office

12.

10. 11. 9.

GROUND FLOOR

Social space & fabrication lab

1. fabrication lab 7. cafe 8. library 9. fabrication lab 10. digital lab 11. lecture room

4. 3. 2.

BASEMENT FLOOR

6. 6.

Work Shop 1. 2. 3. 4. 5. 6.

fabrication lab wet assembly wood work shop material storage dry assembly testing facilities.

6. 6.

Exploded Axon

108 Studio Shinya Okuda

Basement floor

groung floor

2nd floor

3rd floor

Plan

Studio Shinya Okuda 109

Model elevation in site model

CONNECTING LAB by Lee Seung Bok

The Re-Forest City in Year 4 studio in this semester is to explore innovative Hybrid Mass Timber Architecture designs to challenge various issues in the tropical high-density urbanisem. It aims to create symbiotic relationships between greenery and habitation, not only for living comfort, but also for energy efficient passive design strategy and microclimate, as well as to promote carbon sequestration process through out the building. The entire SDE2 + CELC in NUS will be a living lab that supports an ecosystem of concurrent reseach, prototyping, innovation and test bedding of technologies, processes and concepts relevant to the built environment. The living lab will be made up of interdependent research-intensive labs that allow quick translation of research findings into educational activities and industry practice. To allow faculty members to pursue advanced research, the labs must be flexible and modular in its space design and planning. As I mentioned, The living lab will be made up of interdependent research-intensive labs that allow quick translation of research findings into educational activities and industry practice. To allow faculty members to pursue advanced research, the labs must be flexible and modular in its space design and planning. Current site has slope and is surrounded SDE building and EW1 and Techno Edge. Connect directly with EW1 and Techno Edge. It can be extend NUS masterplan of connecting one way. Connect directly with EW1 and Techno Edge. It can be extend NUS masterplan of connecting one way. Following NUS Masterplan shape. So connecting road is 45 degree or linear. And two building can connect green space which is near CELC currently. And another space is bus stop. So connecting road can fast and comfortable to people go by. The main 2 way is deviding mass. Dividing center of mass give sunlight to inside of building. And also give easy way to access green space. Cut same degree of front road to give sight and get building frontage. 112 Studio Shinya Okuda

Model Axonometric Image in the site model (from South-East upper angle)

Section perspective Rendering (Approach of back side)

114 Studio Shinya Okuda

Section perspective Rendering(Approach of Central Library side)

Studio Shinya Okuda 115

Site Plan, Plan Exploded Axon

116 Studio Shinya Okuda

Plan Section, Rendering (Interior)

Studio Shinya Okuda 117

Model elevation in site model

CAMPUS GROVE by Lew Bing Quan

Campus Grove envisions the integrated, multi-disciplinary faculty building as a space under and inbetween the trees, mirroring the lush surrounding greenscape. The building mass is conceived as four expanding cores whose top levels come together to form a canopy for the underneath interaction space - the titular grove. This represents the different entities that enable this integration coming together, the Architecture, Engineering and Product Design disciplines, as well as the educational and admin staffs. Coming from a distance, Campus Groveâ&#x20AC;&#x2122;s fused canopy symbolizes both its multidisciplinary contents as well as an architectural continuation of the prominent rain trees as part of the Clementi green belt.Similar to a forest, the access points to the spaces within only materialize upon coming nearer, where the grove and its activities unveil themselves.z The heirarchy and sequencing of spaces is organized by the degree of commonality and mutual accessibility of the programs. This is driven by the desire to create spaces for cross-discipline engagement at appropriate levels of relations, both informal and formal. A mix of horizontal engagement space -such as between researchers and researchers, studios to studios- and vertical interaction, the communal concourse and one-for-all prototyping assembly arena define the nature of relations, allowing the inhabitants of Campus Grove to have fruitful incidental learning from each other. Mass-engineered timber (MET) is a key component of the design, as an agenda from the faculty. This project utilizes it in an outward cantilevering form, with the lightweight and multi-directional strength of MET capitalized for an easier structure. The form in turn reciprocates weather protection for the structure, and enables the underneath spaces to remain rain-free without having to seal the building with a watertight envelope.

120 Studio Shinya Okuda

122 Studio Shinya Okuda

Studio Shinya Okuda 123

124 Studio Shinya Okuda

Studio Shinya Okuda 125

SHOW CASE by Renee Tay

The site is located along a green corridor which extends north-west from Kent Ridge Park across the National University of Singapore campus. Being located at the edge of the campus, the faculty of Design and Environment compound is a symbolic signpost as an entrance into NUS. The project is a re-envisioning of two old buildings: the existing SDE2 and its neihgbouring Center for English Learning and Communication into a research-intensive multidisciplinary living lab. It is meant to engage students from both the Design and Environment faculty as well as those from the related fields in Engineering, owing to the vicinity of the Engineering campus to the north of the site. Alongside being a showcase of the workshop area towards the public domain, the scheme also aims to link workshops, staff offices and research labs t hrough a unifying and bridging layer holding the multidisciplinary studio spaces. The result is also large common/public spaces which can be freely used for large scale, hands on student and research projects. The buildingâ&#x20AC;&#x2122;s main facade faces Kent Ridge Crescent but is stepped back to give visual prominence to the new School of Design and Environemnt 4, Net Zero Energy Building. The new gateway activates the lesser-used bus stop on Kent Ridge Cresc. and provides a new entry into the general SDE compound. It also connects SDE1 and 2 into the main circulation which runs across the site from Clementi Road to the Central Library. The tilted form of the building creates and frame a large public plaza that can be used for outdoor assembly and other actitivities to engage non-SDE stakeholders. The workshop and testing hall, expressed as transparent blocks framing either side of the gateway, become large showcase pieces which reveal and celebrate the workshop functions of making and design. 128 Studio Shinya Okuda

Physical Model South-east Aerial Perspective

Outdoor Plaza 130 130 Studio Shinya Okuda

Sectional Perspective

View from South (Kent Ridge Crescent) 131 Studio Shinya Okuda 131

Programmatic Axonometric 132 Studio Shinya Okuda

Section of North-South Block

Section of East-West block and outdoor plaza

Interior Atrium Studio Shinya Okuda 133

Physical Model from South View

UNIFIED TERRACE by Sharne Sulaiman

The School of Design and Environment (SDE), only at the end of the second decade of the new millenium, seeks to violently depart from its existing programmatic topology and ageing facilities which have proven to have failed in fostering a constructive, productive, and even sensible, academic environment. The schoolâ&#x20AC;&#x2122;s haphazard expansion within a limited built environment formed an incontiguous archipelago of spaces which have frustrated both users and administrators alike. A new architecture is envisioned to break cleanly from a typical factory-like building typology so prevalent in the National University of Singapore (NUS). Returning local architecture to its tropical reality and efficient stewardship of material, a building of Mass Engineered Timber (MET) hybridised with concrete and steel will house a campus room that functions as a giant mixer to facilitate the exchange of knowledge and ideas. This is achieved by uniting all programmes with a single long-span roof, an almost triple-volume atrium to which all programmes are connected. The entire plan is further centred on a partially covered Construction Plaza fronting the public Kent Ridge Crescent where large prototypes can be built and celebrated. A large Workshop takes the lower ground level, having vehicular access for loading and unloading. Above that sits an open plan Interdisciplinary Studio. Terraced yet above are research labs and faculty facilities, all culminating in an expansive Canopy Terrace which overlooks the majestic crowns of surrounding raintrees. Movemen between these programmatic strata are formed as a circulatory spine, with dual purpose as the Material Library, encouraging continual learning and chance encounters. 136 Studio Shinya Okuda

Pedestrian Approach

138 Studio Shinya Okuda

Sectionl Perspective

Canopy Terrace

Studio Shinya Okuda 139

Isometric View (Programme)

140 Studio Shinya Okuda

Isometric View (Structure)

Lower Ground Floor

Upper Ground Floor

2nd Storey

3rd Storey

4th Storey

Structural Strategy

Studio Shinya Okuda 141

South Elevation

INTERSTICE by Siti Nur Farah

The project aims to extend the current green corridor from the Kent Ridge Park across the campus and into the current site of SDE 2. Mapping the current canopy and the experience of walking under the canopy, the project aims to provide this experience of being closely connected to nature within and surrouding the new building. Interstice aims to weave together the indoors and outdoors, in order to stimulate a constant relationship with the surrounding environment. Designed with curiosity in mind, students and staff will be enticed to enter and explore this building to find many inter-disciplinary spaces for design. The scheme is driven by exploring various configurations of grids to explore different spatial experiences that could further enhance oneâ&#x20AC;&#x2122;s connection to the surrounding nature. The different configurations led to different degrees of exposure to the outside and inside that blurs the boundaries between the outdoor and indoor spaces. As such, the scheme created a series of spaces that led to various types of pockets of spaces that allow the users of the building to be in constant connection to the surrounding trees and nature. Having the courtyard placed in the central area of the building, with a stepped entrance from the walkway from the Central Library as well as a ramp system that brings the users to the different layers of the building, it gives endless opportunities for the users to be exposed to nature while still being in their respective rooms. Ultimately, this project celebrates the in between spaces of being inside and outside, indoors and outdoors to create new forms of spaces for design.

144 Studio Shinya Okuda

Axonometric View of Final Model

Perspective View from Kent Ridge Crescent

146 Studio Shinya Okuda

Perspective View from Studio Level

Section A-Aâ&#x20AC;&#x2122;

Structural Axonometric

Studio Shinya Okuda 147

North Elevation

South Elevation

148 Studio Shinya Okuda

East Elevation

West Elevation

Studio Shinya Okuda 149

Elevation View of Final Model

THE COURTYARD by Tan Wen Ching Laura

The Courtyard creates a complex of programs in a constant state of high visual connectivity, with the spaces mixing, interacting, and layering onto each other in a unified system. The building was conceived as a snaking perimeter of research labs, studios and exhibition halls to create a central courtyard. This courtyard serves as the focal point of the building, every other space is seen in relation to the central courtyard which houses a workshop. Situated with Cassia fistula trees, informal and free spaces are formed by the subtle suggestions of space amidst the trees. This green emphasis acts as a visual focus from the exterior of the building, bringing one to focus on its centre and acts as a binding factor to unify the multi-disciplinary space with the workshop. When facing this central courtyard, other programmes are laid out in clear, open volumes to create feelings of lightness while allowing a free plan for easy adaptation of the building to changing needs. Spaces are easily read coherently by users, allowing users to understand the mechanics of the building and its formal construction. A slope leading from the north faĂ§ade allows one to peek into the workshopâ&#x20AC;&#x2122;s assembly space, and guides students into the refuge and security of the social space. Light steel structures were used to maintain a sense of an airy environment through its thinness. Timber-concrete composite panels emphasised the linearity of spaces by exposing the timber struts on the slabs, while CLT walls adds warmth to the building. Translucent PV panels were used for thee atrium roofing, allowing solar energy harvesting while providing shade to the workshop space below.

152 Studio Shinya Okuda

Southeast anonometric

Internal Courtyard view

154 Studio Shinya Okuda

Research labs interior

North Elevation

Studio Shinya Okuda 155

Studios

s ice Offtudios S

Res Wo earch rks hop

Stu dio s Wo rks hop

ion

bit xhi

Exhibition Hall

Basement 2 Plan

156 Studio Shinya Okuda

Basement 1 Plan

Section

First Floor Plan

Second Floor Plan

Third Floor Plan

South Elevation

Studio Shinya Okuda 157

South South Elevation Elevation

RE(VALE)

by Yap Jit Ning, Amanda

RE(VALE), in short for “Revealing the Valley”. attempts to bring to light the grand vision of the school: a built pedagogy. Located at a inconspicuous location of the site, the existing valley becomes a centre point for creation and innovation to occur. Hence, taking cues from the site and with understanding of MET hybrid sytems, the building first began as a vision to express both the valley (where the workshop is located) and the light-weightedness of timber. The building’s front facade facing Kent Ridge Crescent is overlayed with louvres blending with the trees before them while acting as a backdrop to the face of the School of Design and Environment 4, Net Zero Energy Building. As users and visitors enter the building from all directions, they are guided towards the central feature - the assembly area. Surrounding the double-volume space are suspended timber volumes that carve out various zones for storage, fabrication and testing to occur. On the top floor where the research rooms are located, the large timber truss support the suspended steel-timber system and becomes an integral part is creating an unique spatial experience for the occupants. The column-free workshop spaces is only made probable with the use of MET hybrid system. Through the celebration of both the crafts within the workshop and the crafts of the architecture tectonics , the “built pedagogy” is revealed. 160 Studio Shinya Okuda

Aerial view of Site Model

Studio Shinya Okuda 161

Model Massing Study

Assembly Area Artist Impression

162 Studio Shinya Okuda

Sectional Perspective

Column Arrangement

View from Lecture Hall Artist Impression

Workshop Zoning

Service Core + Suspended Volumes + Studio Floor

Research and Office Floor + Truss

Research Floor Artist Impression

Studio Shinya Okuda 163

3 1

Second Storey Plan

First Storey Plan

1. Research and Office Spaces

2. Material Library 3. Open Studio / Exhibition Hall 4. Lecture Hall / Viewing Deck

Main Elevation from Kent Ridge Crescent

164 Studio Shinya Okuda

View from Central Library (left) Elevation from Tecno Edge (Right)

6 9

Basement Plan 5. Material Storage 6. Digital Fabrication 7. Testing Zone

8. Manual Fabrication 9. Assembly Area 10. Loading / Unloading Bay

Site Plan

Exploded Axonometric

Studio Shinya Okuda 165

166 Studio Shinya Okuda

Main Elevation from Kent Ridge Crescent Model (Without Facade)

Studio Shinya Okuda 167

Acknowledgements

168 Studio Shinya Okuda

Dr. Terrence Chun Liang Tan

Christophe Sigrist

HÃ¤ring Holzbau

The ambition is to develop design strategies for architecture and landscape organizations that are not in opposition to the environment â&#x20AC;&#x201C; a fundamentally important shift in conceiving the built landscape today. As such, the Re-Forest City studio is to explore symbiotic relationships between forestry and urbanism.

Studio Shinya Okuda Fawwaz Bin Azhar Kim Eunbin Lee Seung Bok Lew Bing Quan Renee Tay Tzeman Sharne Jerhn Dta Sulaiman Siti Nur Farah Tan Wen Ching Laura Yap Jit Ning, Amanda

Design, Year 4 Department of Architecture School of Design and Environment