ARCHITECTURE PORTFOLIO NUS YEAR 1 SEM 1 SHERRY GOH
WORKS
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h tt p s : / / i s s u u . c o m / s h e r r y g o h q w // NUS YEAR 1 SEMESTER 1
Inventing Regional Cuisine // Page 5 12 Senses and Experience Field // Page 9 A Sense of Scale: Penang // Page 15 Exploring the Possibility of Material // Page 25
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Biomimicry for Our Built Environment // Page 31 Geometry and Composition in Structure // Page 37 Tropical Paradigm: I-Light // Page 47 Constructing the Intangible City: Cynotype // Page 51
Inventing Regional Cuisine Drafted in collaboration with Ms Ruqxana Vasanwala Prologue: Food is the essence of our daily life. Food is more than a substance that provides nutrie nutrients to support our health and wellbeing. We enjoy food because of the variation of tastes; sweet, sour, salty, bitter, and umami. The taste and experience of cuisine are further expanded by the sense of smell, texture, visual presentation, and memory associated with it. We enjoy food because there is so much variation of sources. The sources of food are the species of plants and animals, but also the places where they are grown and cultivated. We enjoy food because there is so much variation when preparing food and turning it into cuisine. Food and cuisine are also closely related to culture and religion, as diet is an important part of them. Food is a form of life; it is plants and animals that we harvest and benefit from. Food has moral, ethical, and health implications. We need to ensure that we all have good access to quality food. Food is more than a necessity – it is about how people cooperate from production to preparation. It takes many people and much effort to get the food to the point where you take a bite. What is your favourite food or cuisine, and why? Is it a type of food, a particular dish prepared by a special one, a food you eat during a special occasion, or a food you eat at a special place? What makes food special in our daily lives? Why is food prepared in a certain way – cut or smashed, fried or boiled, hot or cold? This week we explore the world of food and cuisine. Assignment: This week, the studio will explore the topic of ‘Food and Cuisine’ in a very creative way. The assignment is to invent a new iconic recipe and cuisine for Singapore. It is the dish that people around the world will associate with Singapore. Is this really possible? Well, let’s just try and see!
Group members: Anders Jane Sherry Sher Zeno
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12 Senses and Experience Field In collaboration with Horst Hellmann and Chang Yong Ter Prologue: Science knows that there are 12 human senses, but each sense has a specific influence on the human soul, and on human health as well. It is important for architects to be aware of this because the building and its environment can affect health. This is especially important impor for children, as their entire organism and soul life are developing. At the University of Goettingen, Germany, Professor Christian Rittelmeyer has done research on the design of school buildi ngs, resulting in a book: Einfuehrung in die Ge Gestaltung von Schulbauten , or Introduction in the Building of School Buildings . In it, he gives proof that even architectural forms can have an influence on children’s health. Walter-Siegfried Hahn is an experienced designer of sense-experience-fields all over Europe, and also in other countries. He has based his ideas on the 12 senses, and his playgrounds are not just for children, but people of all ages, even beyond one hundred. In a time when so many people are sitting inside and doing their work and having very limited sense experience, such sense-experience-fields are absolutely necessary, not only for m moving the body but moving the soul and spirit at the same time. He writes: The experience-field is a method to look at life: not haunted by past experiences or drawn away by dreams, but in the presence of the NOW. It is also a place with installations, experiences or artwork that supports you in the endeavour of being present. We have two examples in the English-speaking world of experience-fields so far (there is an abundance of them in Central and Northern Europe). Unless there are conscious efforts made by the designers of our physical environment, the world will be increasingly deprived of such senses and experiences. Commercialisation and infrastructurisation dominate our daily environment, leaving no spaces for humanity to experience the range and potential of our senses and emotions, and making it increasingly harder to stay healthy in our own being. Assignment: For homework, each student will be assigned to cover 1 of the 12 senses: Touch, Life, Movement, Balance, Smell, Taste, Sight, Warmth, Hearing, Speech, Thought, and Ego. Each student will have to define the sense and come up with a playstation (playground instrument), which will cultivate that particular sense and associated experiences when used.
Project by: Sherry
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Shadow Analysis: Sun path study yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy yyyyyyyyyyyyyyyyyyyyyyyyy
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Shadow casted at 1200 hrs
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Shadow casted at 1600 hrs
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A Sense of Scale: Documenting and Representing Architecture and Southeast Asian Cities Dr Imran Bin Tajudeen, Deborah Emmanuel, Dr Lee Kah Wee, Dr Johaness Widodo Prologue: A sense of scale s is indispensable in understanding architecture and drawing. When we say a space is ‘tight’, ‘cosy’, or ‘oversized’ or overwhelming for a particular purpose, we are referring to a sense of ‘human scale’ or the measure of space required for human activity. The fine scale measure of space and form for bodily movements for various tasks requires familiarity with the domain of study named anthropometry. An awareness of the human body’s dimensions also serves as a measure for estimation. A sense for proportion refers to dimensions of parts in relation to the whole and is esse essential in visual estimation when documenting what you see. Familiarity with different scales and the required level of details of construction is also fundamental to architectural drawing. In this exercise for Week 6 and Recess Week (Fieldtrip), you will learn to sense and recognise the application of scale in architecture and deploy architectural drawing conventions by recording and documenting buildings, streetscapes and urban sidewalk activities in the Southeast Asian cities you will be visiting neighbourhoods, and sid for your fieldtrips. Through drawing and observation, you will also learn to recognise type and model in architecture and distinguish this from style as you document buildings of a single type and compare them with your studio mates. This trains you in ways of seeing, reading, distinguishing, and representing/drawing form, volume, surfaces, spaces and architectural features. You will be documenting architecture and sur the spaces of the city at three scalar levels: (1) the small and medium scaled buildings of a fine grain city neighbourhood, (2) the body and the public/private threshold, and (3) an awareness of urban morphology and the overall layout and orientation of a city. Overall objectives of the exercises (a) understand the morphology of the old city (overview provided during walking orie orientation tour) and be able to discern neighbourhoods as sociomorphological units (combining both a sociocultural and a physical, architectural morphological perspective) (b) document and learn about building typology from the field, understand model variations and distinguish these from ‘style’ (to be explained during lecture) (c) document and learn about anthropometry from the field, in street activities and everyday culture of the sidewalk and five footway (public/private thresholds, economic activity, street life)
Drawings by: Sherry
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Floor Plan | Scale 1:400 18
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Front Elevation (A) Scale 1:100
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Section of Threshold Space Scale 1:100
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Resource, Sustainability & Tropical Climate: Exploring the Possibility of Material Aurel von Richthofen, Future Cities Laboratory, Singapore ETH Center Prologue: This workshop wor “Exploring th e Possibility of Material” gives the participants the possibility to develop and test alternative construction materials made from renewable resources. All modern construction materials make the best use of specific material properties. Some exhibit good compressive strength (for instance earth) while others better tensile strength (for instance bamboo). So called composite materials make the best use of two or more material properties by combining specific base materials (for instance bamboo-reinforced earth). In this workshop we will search for 3 basic material properties in alternative ma material resources: A binder that acts as a glue, a filler that acts as compressive member, and a tensile element. The students will learn that alternative resources can fulfill one or many of these attributes and that their combination will lead to The lecturer will introduce the concept of resource scarcity, life-cycle assessment and alternative construction materials. The problem of sustainable use of resources in construction as well as in all other industries is not isolated nor restricted to one material: energy, space, time, human capital, eco-system services etc. can all be considered resour resources and in a circular economy where nothing would go to waste. The challenge of this workshop is to identify such a resource and return it to a circular system by possibly up-cycling it. The assignment for the workshop is to: (a) Identify a scarce resource (natural, artificial, energetic, waste product, space, etc.) describe the pressure this resource exercises on an ecosystem, describe the consequences of a ‘conventional’ continuous resource exploitation or waste accumulation. (b) Speculate on the potential of your resource and identify the gap in perception: Why it has not been activated so far? Explain your approach to activate it and describe the external parameters necessary to make this approach viable. Assess the resource in terms of renewability, sustainability and innovation character. (c) Apply a transformation technique (a concept explained by the lecturer) to the resource and produce an object that could be considered a building material. Develop and document this technique or tool.
Group members: Anders Jonathan Sherry
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Biomimicry for Our Built Environment Prologue: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: :::::::: :::::::: ::: :::: :::::::: ::: :::: :::::::::: N:::::: ::::::::: :::: :::::: ::::::::::: :::::::::: ::: ::::: ::::: :::: ::: :: :::::: ::::::: ::: ::::: ::::::::: :: ::: ::::::: T:: ::::::::: ::: ::::: :: :::: 10 :::::::: ::: :::: ::: :::: ::::::::: :::: ::::::::: :::::::: :: ::::::: ::::::: :::: :: ::::::: :: ::::: :::::: M::: :::::: :::: :::: :::: :::::: :: :::: :: ::::: ::::: :: :::: ::: :::::::: ::::::: ::::::::: ::::: ::::::::::: :: : ::::::: ::::: ::::: :::: ::q::::: ::::-::::::: ::::::::::: :: ::::::::::: ::: ::::: ::::::: :: ::::::: P::::: ::: :::::: :: ::::: ::::-:::: :::::: :: ::::: ::::: – :::::: :::: :::: :::: :::::::: :: ::::::: :::: : :::-::::::::: :: :::::::::: ::::::::: :::: ::: ::::: :: ::::::::: T:::: ::::: :::::: :::: :::: :::::::: :: ::::::: ::: ::::::::: :::: ::: :::::: :::::::: :::::: ::: (::::): :::::: S::: S::: (::::::): ::: T::::: T:: ::::: :::::: ::: :::: ::::/:::::/::: ::::::::: :::::::::: :::::: ::: ::::::: :::::::::: T:: ::::: ::::: ::: ::: ::: ::::: :: :::::::: ::: ::: ::: ::-:::::: :::::::::: ::::: ::::::: (::: ::: :::: ::::: ::::) :::: :::: :::::::: ::::::::: :: ::: ::::::::: :: ::::::::::: T:: ::::::::: :: :::::::::: ::: ::::: ::::::: ::: :::::::: :::::: ::::::::: :::::: ::: ::::::::: :::::: :::: ::::: ::::: ::: :::: :::::::: :: ::::::: :: ::::: ::: ::::: :: ::::::::::: ::: : ::::::: :: ::::: :::::: :::: :::: :::::::: ::: ::: ::::::::::: :: :::::: ::::::::::::: :::::::::: Assignment: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: :::::::: ::::::::::: T:: :::: :: :: ::::: :::: ::::::: :: ::::: :: ::: ::::::: ::::::::: ::q:::::: :::: :: :::::: :::: ::::: ::::: :: :: :::: :: ::::::: ::: :::::::::: :::: ::::: :: :::::: ::::-:::::::::: :: :::: ::: :::: :: ::::::: ::: ::: ::::::::: ::: ::: :: ::::::: :: ::::::: :::: j::: ::: :::::::: T:: ::::: :::::: :: 1:189 :::::: :::: ::: ::: :::::::::: :x:::::: ::::::::: :::::: :x:::: 841 ::::::: F:: :::: :x::::::: ::: :::::: ::: :::::::::: ::::::: :: ::: :::: ::: ::: :::::::: ::::::::: ::: ::::::::: :::::::::: :: fl::: :::::: ::: ::::::::: :: ::: :::::::::: :::::::: :::: ::: :: :::::::::: ::: :::::::::::: :: :::::::: ::: ::::::::: ::: :: :::: : ::::: :::: ::::: :: :: :: :::::::: :: : :::: :: ::::::::: :: ::::: :::::: :: ::: ::::: :: :::::::: :: :::: :::::: (:: ::::: ::: 11 :::::::: :: :::: ::::::: ::: :::: ::: :::: ::::: ::::::::); :::: :::::: ::::::::: ::::: :: ::::: ::: ::: ::: ::::::::: :::: :::::: ::: :::::: ::: ::::::: : ::: ::: :::: ::: ::: ::::: – :::::: ::::::: ::::: :::::: ::: :::: :::: ::::::
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Resource, Sustainability & Tropical Climate: Geometry and Composition in Structure In collaboration with Dr Kim Hyeong III, AR1327 Structural Principles Prologue: “Engineering problems are under-defined, there are many solutions, good, bad and indifferent. The art is to arrive at a good solution. This is a creative activity, involving indi imagination, intuition and deliberate choice.” Ove Arup Architects and structural engineers work hand in hand to come to artistic solutions and innovations that reconcile humanity and nature, aesthetics and function, material usage and multiple usage of spaces. With these considerations in mind, how can we generate a unique structure and envelope that suits people, nature, and the environment in the tropics? Assignment: We will continue working on Structural Assignment 2 from AR1327 Structural Principles. The aim and evaluation criteria are as discussed and stipulated in the structure class with Dr Kim. The focus and evaluation criteria for design studio will be on aesthetics, creativity and integrity of geometry and composition in design, whereas for structure class will be on function, performance and technical resolution of structure. The brief was to design two types of structures: Span(bridge) + Dome (Roof), using only one material for each form (either in basswood or in papercard of 250gsm or lighter). The absolute linear dimension of each module has to be no more than 100mm in length. Other than a successful, elegant and inventive spanning and /or enclosure, the weight will be of critical consideration. The lighter solution will engender a better score. On the premium attached to weight efficiency you will be evaluated within each A sub category. Requirements: (a) Bridge a gap between two parallel edges 600mm apart. (Span) (b) Enclose a square void of 400mm X 400mm (Dome) The minimum rise of the span is to be no less than 50mm. The load at mid-point as a point load shall be two full coke cans in weight.
Group members: Amber Chan Hao Jane Sherry Weng Shuen
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Resource, Sustainability & Tropical Climate: Tropical Paradigm Drafted in collaboration with Dr Abel E. Tablada de la Torre and Dr Chang Jiat-HweeI for i-light Pavilion Prologue: “Are those involved aware that they have perhaps unwittingly legitimised the primacy of the cube and the surface plane as the language of form and space applied to the problem of tropical aesthetics notwithstanding the physics of tropical design?” Tay Kheng Soon “‘Neo-tropical’ had the motive not only to restore but also to challenge the current status of topicality. We are, in no way, claiming higher or a totally new ground. However, it is timely to challenge certain comfortable notions of the all-important issue of identity usually tied to the vernacular. What is Singapore’s vernacular anyway?” Chan Soo Khian impor “It is important that architects and students of architecture from hot-humid South East Asia understand the climatic factors which influence building design and structure and find appropriate expression of this in the context indicative of our tropical region and our associated culture. Because of the lack of sufficient written material on tropical architecture, there is a danger of students merely regulating images from foreign magazines that do not address the regional issues of this climate, culture and context.” Jimmy Lim As prospective architects educated and trained in the tropical region, how would you weave the threads of the language of form and space to define architecture that is deeply rooted in the climate, culture, and context of Singapore? Assignment: Topicality Discourse and Debate: Please form two teams of 5–6 students in regular studio. Based on the reading assignments, discuss and debate the opposing positions on topicality in architectural design by Tay Kheng Soon and Chan Soo Khian. One team will therefore take Kheng Soon’s position, and the other will take Soo Khian’s. Requirements: Tropical Paradigm: Each team is to compose their own statement defining topicality in architecture and city. Tropical Architecture: Based on the statement, create an envelope that encloses a square void of 600 mm x 600 mm, or a circle of 600 mm diameter. You may also incorporate ideas on structure from the previous assignment. Please prepare a base in the way that you can poke your head into to experience the inside of the envelope. The model can simply be placed between two tables for this. The height of envelope should be between 400 mm and 600 mm. Please also consider the effect of lighting on the box. The box can be lit from inside or outside.
Group members: Anders Jane Sherry Weng Shuen Zeno
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Photographs of model Each documenting the sway of the strings along with the wind
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Constructing the Intangible City In collaboration with Tamae Iwasaki, Eitaro Ogawa, and Singapore Tyler Print Institute. Prologue: So far, for this semester, we have covered a variety of themes concerning our built environment, such as ethical and societal engagement, human senses, the relationship with nature, place, and people, culture and identity, space, and aesthetics. Architecture is an art and synthesis of all those capacities. To become architects with such myriad capacities, it is essential that we be able to observe, feel with deep sincerity, and be empathetic to the people whom we serve as designers of their home and city. Only with empath such strong foundations and values can architects deploy their skill and technology for the betterment of our built environment. This week, studio will explore our capacities to be expressed via an artistic process called cyanotype, in collaboration with Singapore Tyler Print Institute. Workshop: Cyanotype is a photogram technique that involves imprinting exposed chemical-coated paper with the details of physical objects, or imprinting clear film with paint-marker drawings/writing. Basically, how you block the light that falls on the paper will determine the final appearance of the cyanotype. Many artists do cyanotype using half-tone dot film, so that the results look like blue photographs.
Group members: Amber Annabelle Anders Chan Hao Elvin Jane Jonathan Sherry Weng Shuen Zeno
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