01 // C ur ator ial Planning & S e que nc e //
02
// S ite R e s pons e // // De s ign S tr a te gie s //
03
// De s ign A ge nda // // De s ign De ve lopm e nt //
a
U r ban S tr a te gy S patia l E xpe r im e nta tion
b
S patia l E xpe r im e nta tion f ur the r De ve lopme n t
c
For m a l & S patia l De ve lopm e nt
d
For m al & S pa tial R e vis ion
e
R e vis e d Pla nning S patia l S tr uc tur ing
04
// Fina l De s ign //
05
// Te c tonic S tudie s // // De tailings //
01 // Cu rato ri al Planning & Seq uenc e //
// Ceramics Catogorisation
Ceramics Organisation Studies //
Parti Model
Ceramics Categorisation by timeline There is a trend and pattern when we analyse the ceramic pieces available in terms of the origin date and place. Shipwreck ceramics spans widely through the dynasties whereas early to global ceramic trades occur in a sequential manner. Since majority of the ceramics can be timely linked to every shipwrecks ceramics of every century, hypothetically, the discovery of shipwrecks ceramics is a tipping point to discover and unveil the ceramics in the later centuries.
// Ceramics Catogorisation
Distribution Diagram //
// Ceramics Placement Studies
Types of Ceramics
Gallery Sequence Studies //
// Curatorial Sequence
// Study Models _ Curratorial Spatial Quality
Study Models _ Interior quality //
Shipwreck section Interior quality
a
a
The idea of shipwreck section is to allow the public to discover for themselves the birth of every ceramics’ style and culture through the diverse range of every pieces from each century. Entrances to each shipwreck section is like a suction into a universe of ceramics (figure a). Undulating and multiple leveling coupled with slits of openings were experimented to evoke a sense of mystery and lost to the discovery of ceramics in the shipwreck section. The slits of opening are cheorographed to carefully celebrate the main piece of a certain dynasty to give a sense of hierachy to the space (figure c).
a
a
b Globalisation of Ceramics Interior quality It is a space of highest hierachy to the whole gallery. It is the celebration of China Ceramics and it’s influence to other countries. Therefore, ceramics from different countries are placed at the perimeter with China at the center to maintain a sense of relation when public view every pieces.
Shipwreck sections (a) + Introductory Gallery Space (b)
Globalisation of Ceramics with China Core at the Center
b
c
02 // Sit e Resp onse // // D esign St r at egies //
// Charratte Session
Charratte Session _ Programme //
Upper Floor
Charratte Study Models There were many possibilities and interpretation to the site and curratorial sequence during the charratte session. The challenge is the combination or compromisation of urban gesture and curatorial design to fit to the context of the project which will be explored further in the later stage.
Lower Floor
// Human Flow Studies
Initial Massing _ addressing both formal & informal zones //
Programmes extending into Whampoa Market
Possible Nesting of Pedestrain Accross the Site When I analyses the human traffic flow through the site, I realise many people crossess the site extensively to get to their homes, market or simply to take a public transport. This makes the juxtaposition of the site between formal and informal zone a busy human traffic zone. Since the programme of the site is to create a ceramic school and a museum, there is a possibility to nest and educate the public on ceramic making when they crosses the site.
Open Plaza below Museum and Ceramic Studio
03 // Design Agend a // // D e s ign Develop ment //
a // Ur b an St r at egy // // Spati al Exp er iment at ion //
// 2nd Massing Study
Urban Strategy _ Sketches //
View from Whampoa Market Maintaining the ground porousity, most of the programmes of the building sits on the site directing strategically towards different direction to draw human traffic to the central courtyard. The idea of having a learning space through interactive spaces and chance encounters can be obviously seen in how studio and gallery spaces anchors to each other and the branching of gallery onto the ground to meet passer-bys.
// 2nd Massing Study
Programme & Circulation Exploration _ Sketches //
Top View from Whampoa Drive
Top View from Balestier Road
// Spatial Study Model
Branching out of Gallery from China Core and Relationship with Ceramic Studio above
Branching out of Gallery from China Core and Relationship with Ceramic Studio above
Spatial Relation Exploration _ Sketches //
03 // D e s ign Develop ment //
b // Spati al Ex pe ri ment at ion f ur t her Develop ment//
// Development Study Model
Programme Development _ Sketches //
Top view from Balestier Road
Top view from Balestier Road
// Development Study Model
Section through Site Exploration _ Sketches //
1
2
Side view
3
4
5
Connection to Whampoa Market
03 // D e s ign Develop ment //
c // Fo rmal & Sp at ial Develop ment //
// Floor Plans
Spatial Planning _ Sketches //
Towards a Fluid Connection After numerous processess, there came a possibility to explore on creating a fluid transition from spaces to spaces since the urban strategy tackles on the invitation of human traffic into the site. By doing so, public will be able to see and experience the seamless transition and connection from central courtyard to gallery and to ceramic studio before they exit back into central courtyard again. In addition, eye-rest space will not be treated as a series of pocket of space by itself but a fluid insertion into the whole mass.
03 // D e s ign Develop ment //
d // Formal & Sp at ial Revision //
// Floor Plans
Spatial Planning _ Sketches //
Formal Simplification It is essential to relook at every stages of design to analyse the appropriateness and logic of it. In the previous exploration, there were some spaces that goes wasted for the interest of the form, resulting in a massive and alien scale nested within Balestier Road. Therefore, this process is a analyzation and derivation of a logic to the programme of this project.
03 // D e s ign Develop ment //
e // R evised Planning // // Spat ial St r uc t ur ing //
// 3rd Massing Model
Design Revision _ Sketches //
Towards Spatial Intimacy
// Development Study Model
Design Revision _ Sketches //
Towards Spatial Intimacy There is a need to revisit the design due to the appropriateness of context the School and Museum is located in. Since the ceramic pieces are little, the museum should be of a scale of a neighbourhood museum where public should experience every single ceramic art intimately. Also keeping in mind the curratorial sequence and urban strategy, the programmes are packed into 2 main blocks connected by a bridge which signifies the chronological progression of ceramic popularity. Then, there were many spatial interactiveness and exploration being brought forward from all the previous studies to be incorporated into the revised design to maintain the main design concept of educating public through chance encounters and exposure of ceramic making processess.
// Development Study Model
Programme Planning & Structural Intervention _ Sketches //
Explocation on relationship between Public Spaces, Gallery & Ceramic Studio
Sectional Studies
04 // F inal Design //
// Exterior Perspective along Whampoa Drive
// Urban Strategy
Site Plan //
// Model _ Longitudinal Perspective
// Model _ Internal Spatial Quality
Floor Plans //
Shipwreck Section Museum + Museum Office
China Core gallery space with sky terraces
// Vignette _ Internal Spatial Quality
Programme Distribution //
Gallery - Globalisation of Ceramics Section
// Vignette _ Internal Spatial Quality
Circulation Sequence _ Ceramic Artists & Museum Goers //
Sky Terrace - 3rd Floor
// Model _ View from Whampoa Market
// Section A-A _ cutting through ceramics gallery, studio, 2nd storey plaza & central courtyard
// Sectios & Elevations
05 // Tec t onic St ud ies // // Det ailings //
// Tectonic Studies _ Processes
Tectonic Studies _ Processes //
Studies on Tectonics of Gallery and Studio Space
Studies on Tectonics of Gallery Porosity The celebration of China Core is the climax of the whole ceramic gallery. Introduction of trellises as a form of tectonic progression from the public spaces to the main gallery is an important aspect to highlight the importance of the space. In addition, solid encasement wrapping around the gallery and studio space further emphasize the volume as one intrinsic entity.
Structuring the Main Gallery & Studio
Details Development
Initial Tectonic Ideas
// Tectonic Studies _ Processes
Tectonic Studies _ Processes //
Feature Space Tectonics In this sectional model, one can see a choreographed chronological progression of gallery spaces to it’s final celebration of China Core from the early discovery of ceramics. The idea of learning through exposure of internal studios to the public is also coherent with the treatment of architectural joints and enclosures. The tectonics of the space and architecture elements takes on the analogy of exposed intestine. Spaces are planned to wrapped around each other to enhance the interactiveness and energy of learning ceramic history and making processess. In conjunction to that, the elements of the building peals off from the skin and envelope to influence the spatial atmosphere. Therefore, the internal spaces evokes a certain deconstructed form as compared to the exterior.
Progression of Gallery Spaces with Ceramic Studios above and Public Spaces below
Ecentuating 2 volumes of Internal spaces with Open public spaces
// Sectional Perspective with detailings through feature space
// Details 1 & 2