Radicle by Yee Foo

RA D I C L E por t folio 2016

LAI . YEE FOO

My deepest gratitude to my parents who always support and believe in me throughout the course of my studies in archtecture.

vincentlai1992@gmail.com +65 92358692 1 Rivervale Link #12-01, The Rivervale Singapore 545118

LAI YEE FOO

1 Rivervale Link, #12-01, The Rivervale, Singapore 545118 vincentlai1992@gmail.com +65 92358692

EDUCATION 2014 - present

National University of Singapore _ Department of Architecture Singapore Bachelor of Arts in Architecture

Fall 2016

ETH Zurich

_ Department of Architecture D-ARCH (semester exchange programme)

Switzerland 2009 - 2012

Singapore Polytechnic Singapore Diploma in Architecture (merit) _ GPA: 3.933 upon 4.0

2006 - 2008 2005 2002 - 2004 1999 - 2001

Chong Boon Secondary (Singapore) International school of Sino-Canada (ShenZhen, China) Phei Shin Primary (Penang, Malaysia) Zhong Hwa Primary (Penang, Malaysia)

AWARDS & ACHIEVEMENTS 2016 2016 2016 2015 2012 2012 2012 2012 2011 2011

ETH exchange scholarship ETH Zurich NUS Awards for Study Abroad (NASA) exchange scholarship National University of Singapore Milton Tan Memorial Fund (MTMF) scholarship National University of Singapore Department of Architecture Merit Prize SIA:SKIN design competition_ national level Singapore Institute of Architects Medal Diploma graduation award Singapore Polytechnic Graduation Caremony Valedictorian Runner-Up & Special Mention (Sustainable Design) BIM competition 2012 (Architecture) _ national level Merit Prize Hunter Douglas Competition _ school level 3rd Prize 2010 AAET Engineering Science, Innovation and Technology Design Competition _ regional level Director’s Honour Roll 2011 Diploma Year 2 award

EXIBITIONS & PUBLICATIONS 2016 2015 2015 2013 2012

NUS Design 2016 dialogues projects: Veneration of Craft & Digital Indeterminacy NUS Design 2015 thought and process project: Harmonial Deflection NUS City Exhibition _ annual design showcase project: Harmonial Deflection Archiable _ platform for arhcitectural students project: Dance Organism Singapore Polytechnic Graduation Show projects: Dance Organism, AAET competition scheme, Urban Muscle (Boston Competition)

RELEVANT SKILLS 3D modelling simulation tools graphic & presentation Language Proficiency

Rhino (Grasshopper), AutoCAD, 3Ds Max, Sketchup, Ecotect Analysis 2011, Vasari Adobe (Photoshop, Illustrator, Indesign, Lightroom), Keyshot rendering, V-ray English (fluent), Mandarin Chinese (intermediate), Malay (conversant)

SPECIAL INTERESTS arts & music sports

Abstract Drawing, Piano Volleyball, Badminton, Track & Field page 1

PROFESSIONAL EXPERIENCE 2016 June - August

OPEN Architecture

// Architectural Intern Beijing, China _ Worked in a team to experiment on massing and schematic designs for Luxelake A3 mixedused programme & devising landscape strategies _ Assisted in developing presentation drawings for Luxelake A3 & A6 _ Prepared Luxelake A6 masterplan for 3D printing _ Investigated housing, commercial, office & public space typologies _ Devised detailed and perspective drawings for Nepal disaster relief housing Projects involved: LuxeLake A3 & A6 plot // Nepal housing for disaster relief

2015 July & October

Vo Trong Nghia Architects

// Architectural Intern Ho Chih Minh, Vietnam _ Modeling & 1:1 scale mock-up of Bamboo Forest Pavilion in Ho Chi Minh office _ Actual construction of Bamboo Forest Pavilion in Tokyo _ Devised a concept scheme for Sherman Contemporary Art Foundation pavillion in Sydney Projects: Bamboo Forest Pavilion Gallery MA in Tokyo (built in October 2015) // Sherman Contemporary Art Foundation (SCAF)

2014 June - July

LAUD Architects

// Architectural Intern Singapore _ Developed DECK tmeporary gallery drawings for submissions to URA planning authority _ Schematic design stage and 3D modelling for Philips Singapore Projects: DECK temporary gallery, Philips Singapore Headquater (addition and alteration)

2012 - 2014

Singapore Armed Forces *mandatory national service

// Lieutenant

Singapore _ Appointment held: Intelligence officer

2012 April - July

Aedas

// Temp Staff (Arch) Singapore _ Assisted in designing station entrances above ground _ Modelled train station ground structures (permanent & temporary enclosures) _ Developing station roof structures for 3D printing Projects: Thomson line (Singapore Mass Rapid Transit aka. MRT)

2011 March - April

ARC-studio

// Architectural Intern Singapore _ Assisted in developing graphics and presentation for Indian Heritage Centre Competition _ Assisted in preparing drawings for Urban Redevelopment Authority (URA) submission _ Modelled Foresque residences clubhouse, guardhouse, roof terraces _ Developed conceptual designs for White House Park interior finishes Projects: The Indian Heritage Centre Competition // White House Park @ District 10 // Foresque residences // Setia Sky residences

2010 Feb - April

Metropolitan Office Experimental _ Mo-X

// Architectural Intern

Singapore _ Assisted in restaurant interior design in Raffles City _ Developed schematic design for facade of Montigo Resorts _ Modelled 6 Holland Park house Projects: 6 Holland Park house // Montigo Resorts Nongsa in Batam // Raffles City basement restaurant

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RADICLE [rad-i-kuh l] Botany.

1. the lower part of the axis of an embryo; the primary root.

2. a rudimentary root; radicel or rootlet.

The radicle in my architectural studies started with my education in diploma with deep apprehension and foundation in comprehensive construction knowledge from conceptual design stage, craft, technical detailings to compliance of building authorities’ regulations.

Through most projects I execute, a further development in detailings does not encumber the overall concept but strengthens it.

With this deeply rooted radicle, I further my undergraduate studies in National University of Singapore (NUS), developing further in theoretical studies and approaches, enforcing a deeper cultural and political understanding of the changing landscapes of Singapore’s built environment.

As I advance further in my research and projects, the radicles are embodied within all drawings and sectional perspectives.

BA.(Arch) studies selected works 2014 - 16

Diploma studies selected works 2009 - 12

contents

01

Veneration of Craft new artisanal retail concept

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Digital Indeterminacy deployable office for tech company

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Chronological Antiquity ceramic museum in Balestier, Singapore

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Dance Organism dance centre at Armenian street, Singapore

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Harmonial Deflection water folly & water cube experimentation

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Streneous Connection abstract painting to architectonic spaces

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Superdry Spectacle tropical shelf

dexterity

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Bamboo Forest TOTO Gallery MA, Tokyo

professional works

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Voices National Installation & Mural competition

competitions

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Dwelling 3214 ASEAN regional design competition

Artworks & Visions personal works

design projects

01

Veneration of Craft Making pilgramage to mecca of artisanal retail

Instructor: Fong Hoo Cheong Independent Project National University of Singapore Year 3 Semester 1, 2015 As Singapore enter to the age of progressive development, the act of buying and investing is a reflection and engine of economic growth. As such, increasing number of commercial retails are set up to exploit on foreigners and locals purchasing power which leads to high consumption rate, in other words, high consumerism. High consumerism leads to pollution caused by industrial factories, poverty, and numerous social and ecological problems. Such problems are denied of any links to consumerism in the interest of profit by major shareholders.

Current commercial retails typologies are designed to entice you with dynamic advertisement and store diversities. This quality is done through an implementation of countless and almost mesmerizing amount of store at every level in a mall as shown in sectional diagram in the following page.

This project intends to posit a cessation of consumerism by decreasing the frequencies of retail exhilaration through establishing new vertical spatial relationship with profound appreciation for the making process of crafts or artisanal products. New urban configurations can be instrumental in affecting a humans psyche and provide social benefits that provide a renewed sense of contentment not through materialistic consumption but an entirely new urban lifestyle.

Veneration of Craft

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1 Ais building Japan

2 Orchard Ion Singapore

3 Plac Unii, Warsaw Poland

CURRENT COMMERCIAL TYPOLOGIES Most of the commercial malls we see today exibits continuous row of retail shops one after another tightly knitted on each floor, provoking a sense of excitement as one shopper progresses in their journey. Such excitment will lead shoppers to be blinded by the attractiveness of products, potentially leading them to purchase the goods regardless of their needs.

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1 Anada Temple

2 Pantheon

3 Angkor Wat

4 Borobudur vertical pilgramage Plans Main space (climax) Preamble to main space Open-space, free-flowing space (introduction space)

Sections

TEMPLE METAPHOR

spatial reference in celebrating and worshiping of craftsmen Crafted or artisanal products should be deemed as scared operation/ ritual. Instead of just publicising/ selling the final product, the making process should be celebrated and perceived as a sacred endeavour. The spatial sequence and quality to artisanal worshipping could potentially cross reference with the existing temple typologies.

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Veneration of Craft 01

SITE LOCATION The site is situated along the road of a highly popular commercial shopping district in the heart of Singapore, Orchard Road 5

Veneration of Craft

WHY VERTICAL ?

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TYPOLOGICAL COMPARISON

w o r s h i p s p ace

By providing another dynamic and tightly knitted space to new retail will result in another typical retail typology in Singapore. Therefore, to allow for greater appreciation in the making of crafts, the shopping experience should be broken down into multiple layers vertically, allowing shoppers and crafts enthusiast to appreciate each making of craft one floor at a time as they climb vertically with injection of meditative spaces. This process of shopping allows for greater appreciation on the intricacy of craft-making, which is the central idea of how JTC wants to celebrate Artisanal works.

To assist in a more sustainable/ ethical retail, consumer should have enough time for research and decisionmaking. The new retail landscape is a palace of making, educating the public to appreciate the making of craft. This ultimately will be a total fresh new concept for retail in Singapore where the idea of exciting and fast-paced retail experience in a typical mall is dismissed.

SITE STRATEGIES

loading/ unloading of goods will be channeled through the minor road to minimise traffic congestion on major roads.

the programme of new retail should start above the roof level of surrounding commercial mall, cutting away any relations.

level 2 (public space on ground floor starts here)

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Veneration of Craft 01

CHINESE LANDSCAPE PAINTING as precedence The chinese landscape paiting embodies a similar character and setting to the veneration of craft. It potrays mountains with tranquil environment for contemplation. The emphasis of the painting also lies in the gaps between mountains covered by misty clouds, the ‘气’ in chinese term. Trails and staircases walked by mountain goers experience a sense of calmness as they progress in their journey upwards. It is a jouney of making pilgramage to experience the nirvana of nature.

RELEVANT vs IRRELEVANT PROGRAMMES The ratio between relevant spaces (retails, designer showcase, artisanal workshops, event hall, F&B) and irrelevant spaces, ‘气’ (public, resting and meditation spaces) are equally distributed vertically. It is essential to interject equal amount of irrelevant spaces for shoppers to think, meditate and rest as they appreciate and worship the making of craft.

At every intermediate floors of the climb, public spaces with seating areas and greeneries are introduced as resting or meditation space. In addition, these spaces encourage interaction between artisans and shoppers as well as a possible nest for a variety of activities to be held.

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Veneration of Craft 01

TOWER STUDY MODELS The retail spaces should clearly develop a distance from each other, allowing for public meditative, and craft celebration space to be inserted at every intermediate levels. Myriad forms of meditative spatial qualities are generated by combining independent towers of different retail configurations, from fully opened, partially sheltered to fully sheltered.

TOWER MORPHOLOGY This is an initial conceptual morphology of the artisan retail. Layering in a ‘mountain’ like form, public circulation are designed to spiral up each tower through meditative spaces. During the journey, public can walk into every artisan’s retail stores too.

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CENTRAL AREA perspective

An inner oasis of artisanal workshops and retails are connected by vertical circulation (staircases) with intermediate sanctuary spaces 9

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VIEW FROM NEIGHBOURING TOWER (UOB tower)

The arrival to the top of this architecture invites one again to another sanctuary space. A strategy utilised to slow down the pace of high consumption behaviour

TOWER CONFIGURATION 11

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8th storey plan

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Section A-A

Veneration of Craft 01 10th storey plan

Section B-B

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artisan’s workshop & retail space

meditative space

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SPATIAL RELATIONSHIP meditative, public, retail space 16

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PART SECTIONAL PERSPECTIVE

meditative space and public courtyard spaces in relation to artisanal retail spaces 20

DETAIL 1

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DETAIL 2

DETAIL 3

STRUCTURAL CONCEPT tower A configuration 22

_epilogue

Veneration of Craft

- approach

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In this project, I took a parallel approach of commercial typological research with formal programmatic experimentation to test the possibility of breaking away from the current model of Singapore retail mall. Mainly trying to counter react or maybe defiantly going against what most commercial retail mall ask for.

In my research, I have found numerous projects attempting to hype up the commercial spaces in order to attract consumers by introducing many design features such as sky garden, natural ventilated spaces into the retail zones. However, the typological fundamentals of a retails in Singapore remains the same, it has to do with high density, efficiency and the presence of continuous excitement, or else the mall will suffer economically.

To derive at my proposal, I aim to do the opposite, dismissing all the qualities (mentioned above) that yield high economic benefits. My initial response is to create few towers where multiple activities can be held in the sky, away from the hype of commercial retail zones on the ground.

-challenges The brief call for a new artisanal retail concept of low to mid rise to be built and operate in a sustainable way. From my strategies to approach this brief, it will not fulfil all the requirements, obviously. Therefore, I will have to search for a secondary programme that will allow my proposal to be more meaningful.

Artisans are unique in a way that the production to merchandising of goods are in one place. In a typical retail store, the creation of a product is always hidden away from our sight. Capitalising on this process will be an interesting one. However, I do not want to just celebrate the creation of a product, I want consumers to ‘worship’ and learn from it. Every artisanal product is viewed as a sacred object different from one another. Therefore, I combined the typology of worship place and retail in a vertical form, almost like making a pilgrimage climb to the ‘mecca’ of artisanal works.

Spaces of sanctuary like quality and carefully injected above artisanal workshop area where one can observe and learn from the making process.

- design prospects

-potential further development

High consumerism has always been part of Singapore’s economic drive. The act of buying and investing heavily is a reflection and engine of that growth. However, high consumerism has always lead to pollution caused by industrial factories, poverty, and numerous social and ecological problems. Such problems are denied of any links to consumerism in the interest of profit by major shareholders. The behaviour that leads to high consumption in Singapore has partly to do with the psychological stress in the environment we are living in, together with the enticement of retail products. My aim is to find alternatives to replace the act of high consumption. It is to find for a possibility where one can heal psychologically while one meanders through the artisanal retail shops. Then the act of buying will not be an irrational one.

I am quite keen in the psychological impact commercial retails or architecture has on people in Singapore. As a city become more urbanised and globalised, the influx of commercial activities will undoubtedly surface in people’s life. Will this be of a positive impact on the people psychologically in the long run? What kind of architecture or programmes can demonstrate or embody a reverse to the high intensity urban lifestyle? I am interested to research into other metropolis city in around the globe to find other unique ways to test the idea of ‘anti-consumerism’ in light of finding a common ground acceptable to most people.

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02

Digital Indeterminacy Deployable office for tech company

Instructor: Neo Sei Hwa Independent Project National University of Singapore Year 3 Semester 2, 2016 New media companies possess a unique form of working rigour, constantly inventing and improving applications that feeds on the relentless cycle of social media. Social media is always changing and updating itself and this runs almost as parallel to the idea of deployable or flexible architecture. Instagram was chosen as protagonist in this project mainly because it is one of the commonly used application on smart phones and the relationship between the creators and public users can be potentially enchanced for the benefit of improving the application. Hence, giving rise to the idea of connecting people and the virtual environment through an appropriate agglomeration of intriguing architectural spaces and tectonics.

The project site is located along the fringe of central business district and residential zone in Newton area. Threshold of such polarities strategically creates a potential of gravitating public circulation through the site, connecting residents and office workers indefinitely, enriching the demographic on site. Majority of the office programmes hover across the site creating an extensive ground area for multipurpose activites. Activities on ground area acts as ‘inspiration backdrop’ to the creators and programmers working above.

In order to allow for easy deployability of each hovering office space, light-weight steel hexagon modules are secured onto 4-point mast structure with the aid of steel cable system. The modules also possess the flexibility to be modified and multiplied on site through asysmmetrical configuration according to the extent of Instagram’s growth and spatial necessity.

Digital Indeterminacy 02

POSTULATING ON THE FUTURE OF OFFICE TYPOLOGY With the advent introduction of biophilia and open plan design in working environment in recent years, it enhances the notion of sustainability and interaction within the office. However, instead of applying a one size fits all approach to the future office space, this project seeks to investigate into the organisation and programme necessity to develop a unique strategy to define sustainability and interactive space of its own.

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SITE OVERVIEW Located at the central area of Singapore, Newton area is contiguous to central business district area. The given site demarks one of the last building structure in the Newton zone.

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ANCHORING FACILITATOR OF URBAN MARKERS The site has the potential in emanating Newton’s identity by serving as anchor point to surrounding urban markers. Strategically, exploration of Newton district starts and ends on the site.

FREQUENT CONNECTIVITY Most pedestrain frequent sheltered walkway to connect from Newton MRT, office and residential area due to the hot climate of Singapore, resulting in minimal time spent on open ground area.

Therefore, the site could designed for microclimate to enchance ground activities.

RESTORATION After massive construction of Newton Downtown train line through intense land excavation, the site is left with empty grass land. Hence, this presents a great opportunity to restore the environment with lush greeneries. Potentially, since Scotts road is a bridge between Newton residential zone and Orchard city centre, it creates a green buffer between two polarities.

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Digital Indeterminacy 02

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Pedestrain circulation through site

Aerial observation & activities rentention zones

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Facilitating observation & activities

Informal vs formal work spaces

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Service zones & vehicle access

Overall zoning

SITE ZONING The site serves as connection to the relentless flow of pedestrain crossing between residential zones, public transport ameneties (mrt & bus stops) and office buildings throughout the day.

The main strategy is to clearly define the zones of respite towards back of site, office spine on the periphery and open public space in accordance to current condition shaped by surrounding infrastructures and elements. While to create a comfortable introspective environment, permanent office corridor spine posits as a means of enclosure to the internal courtyard.

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PROGRAMME DISTRIBUTION The core programmes (offices, conference rooms, library and administrative spaces) are distributed in radial arrangement. Gravitating towards the center holds a multi-purpose hall and Instagram exibition within the realm of public space. Such configuration enables the possibility for aerial observation of public activities serving as backdrop or inspiration for the programmers’ on daily basis.

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initial conception of creating hovering structure that accomodates office spaces observing public activities below series of visual funnel accentuating a sense of focus over ground activities massing development of office and public programmes tectonic development of flexible and permanent construction modules, where spaces among flexible modules are well nested within the inner site bounded by permanent spaces towards the north-east 32

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TECTONICS EXPERIMENTATION

TECTONICS CIRCULATION

The process of deriving a modular system was initiated by the basic geometry of cube. The cube is then subtracted by angular cuts coupled with the various methods of stacking to enhance the degree of vertical spatial connection visually and physically. Further developement of the module incorporate pivoting joints for ease of dismantling and assembling.

Angular undulating surfaces are designed to maintain a continuous visual and spatial connection between levels, allowing users for exploration through multiple floors indeterminately. The modules are able to multiply 90 degree vertically and diagonally 45 degree in elevation.

basic scissor joint frustum pyramid unit the module develops a flexibility for retracting and expanding based on the tectonics of umbrella spatial exploration of permanent and indeterminate space of office and public spaces eventual module illustrating the spatial and structural potential 34

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Ground condition making spaces below programmer’s offices

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open plaza

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perspective from Bukit Timah road

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CIRCULATION SEQUENCE

M&E SERVICES

Office circulation occurs mainly on the periphery and office spaces hovering above the plaza allowing for observation onto public circulation happening within the condition-making boundary below.

M&E risers & toilet discharge pipe are embedded within the mast structure. Whenever a unit is deployed, it is conveniently connected to the services. On the ground floor, the M&E piping is concealled underneath modular timber decking.

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Digital Indeterminacy 02

creators’ and programmers’ office space

AERIAL OBSERVATION Hovering position and angular tectonics of each programmers’ office module enabled a degree of observation over ground floor open plaza. Each suspended module is latched onto 4-point steel mast structure, reinforced with steel cable.

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construction diagram

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flexi module part section

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_epilogue

Digital Indeterminacy

- approach

02

Initially, the project started off with an intensive research and understanding of the site our office will be located which is Newton. This is followed by choosing a client of our choice. I guess this juncture was a unique one, in contrast to my previous projects which are usually feed with contextual information and client profile from the beginning. The rigor in selection begins with identifying professions or companies that could potentially work with the notion of flexible space.

New media companies possess a unique form of working rigour, constantly inventing and improving applications that feeds on the relentless cycle of social media. Social media is always changing and updating itself and this runs almost as parallel to the idea of deployable or flexible architecture. Instagram became the natural choice as it is one of the most common app around empowering everyone to share life moments. Hence, I see this as a possibility to connect people and the virtual environment through an appropriate agglomeration of intriguing architectural spaces and tectonics.

- challenges I think the challenge to this brief is to determine a focus to the solution of deployable office. Instagram operates in a very indeterminate phenomenon, in which smartphone application popularity and office expansion or contraction that accommodate technical staff could occur indefinitely depending on the rate of end users. On the other hand, I do not wish to solely design a space or frame to accommodate working spaces but rather a space for inspiration provocation by feeding on the indeterminate social activities. This leads to the notion of developing condition making spaces to accommodate a myriad of human activities for the public and office workers. Therefore, the main challenge lies in deriving a modular construction system to condition make spaces.

This scheme eventually manifested into a complex hexagon module with a total of 56 pivot points and a size of 9m x 9m (width) x 4.2m (height), one that is radically challenging to construct but yet possess the possibility for deploy-ability and multiplicity.

- design prospect

- potential future development

There are numerous ways of developing deployable structure logically and economically. The quest for sustainability in construction remains one that is highly popularised by ‘green’ technologies. One of my attempt for this project is to tackle sustainability from a programmatic perspective with the means of deployable structure. The notion that spatial functions are able to change flexibly within the control of a single constructed module, tailored to the profile of an institution or organisation, is a key to achieving long term sustainability. Essentially, finding a congeniality between a construction system and the organisation.

To develop or test this project to incorporate the use of digital technology. Instead of a mere shell to accommodate office space, I wish to delve into the possibility of tectonics animation, working in congruent to the nature of Instagram. It always disturbs me to think that office buildings offers nothing more than just a platform for work, production and collaboration, instead, why not a tool for inspiration and experimental ground. Facebook and Instagram started off without proper working environment, the eventual move to bigger office space merely accommodates the demand for expansion and development. Disturbance and disorganisation possess higher ability for ideas provocation.

These qualities sparks my curiosity in architecture or any space making to be exact.

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Chronological Antiquity Ceramic museum in Balestier, Singapore

Instructor: Roland Flores Sharpe Independent Project National University of Singapore Year 2 Semester 2, 2015 This project explores the curratorial process of ceramic pieces through centuries which serves as guiding parameters for the implementation of ceramic museum in Balesteir community, Singapore. The manipulations of ceramic arrangements in accordance to their history, popularity and sizes reflects directly on the spatial sequence and tectonics developed. Sequential progression of the museum is experienced through the medium of constriction, layering and expansion enforced with the manipulation of natural light.

Balestier Road is seen as a basin of traditional, old shophouses and public housing surrounded by pockets of new condominiums. In addition to being a populated residential zone, the commercial strip along Balestier Road appeals mainly to food & beverage stores and old retail malls. With the advent of conserving shophouse typologies and history of Balestier, heritage trails are paved for the tourists and whoever interested in history of the place. This mixture of demographic inspires a strategy in creating a space for social convergence.

The ceramic museum coupling with ceramic studio, cafeteria, temporary exibition space strikes a congenial effort in gravitating towards a nodal gathering space in Balestier. To achieve that within the hustle and bustle built up zones, the museum is elevate from the ground, allowing for organisation of myriad events and to tranverse directly through the site with ease. Such is an effort to return communal space back to the community and generate possibilities for activities within the locality.

Digital Indeterminacy 02

CERAMICS CATEGORISATION

CERAMICS CATEGORISATION BY TIMELINE A trend or pattern could be traced when we analyse the ceramic pieces 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 in unveiling other ceramics in later centuries.

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DISTRIBUTION DIAGRAM

CURATORIAL SEQUENCE A chaotic display of ceramics in shipwreck section possess a sense of enigma, immersing visitors to the early discovery of ceramics. Gradually, a sequential introduction to ceramics popularity and global influence unfolds itself accordingly along the way, reflected by expansion of spatial width and porosity.

Insertion of transition space could potentially incorporate outdoor garden spaces or spaces decorated with miscellaneous ceramic pieces.

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COMMERCE RADIUS The front of the site along Balestier road is highly packed with multiple programmes with retails, services, hybrids, hotels and 24 hours convenience stores being the closest. These programmes generated constant pattern of highly intensive circulations and activities throughout the day. Towards the back of the site (Whampoa residential), the programmes are less intensive, compromising of only f&b and retails serving mainly the residents near the locality.

DIRECTING THE PUBLIC The strategy to undulate the landscape to direct and nest the crowd is strategically crafted by analysing the entry point of circulation around the site. Cores or vertical circulation to the gallery and studio space are placed on the edge of site to create a outdoor central plaza on ground area.

massing 1 addressing the polarity of informal (Whampoa residential) and formal zone (Balestier Road) massing 2 mantains ground porosity and the anchoring of studio and gallery space to enhance the understanding of ceramic making development of study model incorporating the progression of level and spatial arrangement scaling down to increase spatial intimacy in response to miniature size of ceramics 53

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Longitudinal Perspective

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Shipwreck section museum + museum office

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China Core gallery space with sky terraces

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Globalisation of Ceramics Collection gallery section

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PROGRAMME DISTRIBUTION

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Retrospecting on chronological progression 3rd floor sky terrace

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CIRCULATION SEQUENCE

ceramic artists & museum goers 62

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Approach from Whampoa Market 63

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FRONT ELEVATION _ polarities in facade opacities

Transparent facades are oriented towards the central courtyard to ecentuate it’s importance

SECTION ACROSS CERAMIC GALLERY, STUDIO & PUBLIC SPACE A clearly defined museum volume lifted above public ground space

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SIDE ELEVATION

Layering facades in the middle reflects the chronological display of ceramics in accordance to their history

EXTERIOR PERSPECTIVE ALONG WHAMPOA DRIVE

The landscape undulation and elevated museum aims to provide an informal public space, forging a sense of community within this locality

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Huge volume space signifies ceramics’ globalisation surrounded by studio displaying the making process & public space beneath Part Section A-A

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Progression of Gallery Spaces with Ceramic Studios above and Public Spaces below

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Ecentuating 2 volumes of Internal spaces with Open public spaces

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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.

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Dance Organism

Dance centre at Armenian street, Singapore

Instructors: Lorain Kok, Teoh Swee Bing, Phyllis Low Independent Project Singapore Polytechnic Year 3, 2011-2012 The building concept explores the relationships between the human heart, lungs and blood vessels and using them as analogies to the circulation and programme organization of the building. The idea of rejuvenation of blood cells in our body strikes a similarity to a dance centre that seeks to influence and rejuvenate the public’s mind on contemporary dance. Therefore, the public are like ‘blood cells’ while dancers act as ‘lungs’ that disseminates oxygen.

In order to maintain identity and to ‘tread lightly’ on the existing site, a significantly large banyan tree is kept as the ‘heart’ of the development in a Central Courtyard.

Main activities and circulation throughout the building revolves around the Central Courtyard, which is designed to be a relaxing and comfortable space for users to mingle around.

In the human circulatory system, the heart acts like an engine in our body that circulates the flow of blood cells. Hence, blood cells have to pass through the heart in order to be pumped to other parts of the body. This concept is adopted and applied to the ‘heart’ of the development, which is the Central Courtyard. The journey throughout the building starts and ends at the Central Courtyard.

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SITE RESPONSE Located in the midst of Singapore’s Central District is the site that will house one of Singapore’s well-established dance schools- T.H.E Dance Company. With the site being surrounded by historical buildings, lush greeneries and a modern urban grid, it has the unique potential for ‘social centralization’providing a meeting point/ gathering place for different user groups that may pass through the site.

Instead of creating an isolated identity within a density, this project aims to create a passageway, a thoroughfare that connects to the public through the ‘heart’ of dance culture. By doing so, the architecture creates a sense of place instead of just space.

APPLYING HUMAN RESPIRATORY SYSTEM ANALOGY TO SPATIAL CONFIGURATION Oxygen is supplied to blood cells as it passes through the human’s lung via blood vessels. The process of oxigenating act as analogy to the ‘oxygenation’ of public’s mind on dance culture. Therefore, using the analogy of blood vessels as public circulation route serving as main artery through the dance centre.

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SPATIAL ORGANISATION In order to attract and create more public activities on the Ground Floor, major spatial programmes such as the Dance Studios, Black Box (experimental performance space) and Management Offices are elevated and situated on the 1st Storey Mezzanine and above. This allows the ground floor to be porous. The key functional spaces on the Ground Floor are Café, Retail, Ticketing Booth and Alfresco Dining, which cater more towards the public needs.

The key strategy towards spatial distribution of the main spaces is in accordance to formal vs. informal spaces. The front part of building, facing Armenian Street, accommodates spaces such as the Management Office (formal) and is linked via a bridge ramp from the main lobby. The change in level and narrow circulation gives a sense of demarcation between the informal and formal spaces.

The major functional spaces are designed to be sprawling and distributed in order to create an exciting journey of discovery for the public. Therefore, the 2 Dance Studios, Management Office, and Resource Centre are broken down into smaller parts and distributed vertically throughout the building.

Placements of service cores are at the edge of the building. By doing so, the public circulation paths are able to freely puncture through all functional spaces throughout the entire building, enabling a smooth and seamless vertical transition between levels for the public.

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JOURNEY THROUGH THE ‘HEART’ OF DANCE CENTRE The public’s ‘Journey of Dance’ starts at the Central Courtyard of the development through the central free-form feature staircases and pathways. Throughout the journey, ‘chance encounters’ are designed to occur between dancers and the public as the pathways of the public & private realm cross each other.

Every space in the building is designed through stages of experiences and experimentation of the human behaviour. Every path or corridor throughout the building provides a certain sense of mood or discovery. Therefore, the journey and spaces unfolds gradually to a climax.

PUBLIC CIRCULATION PATHS DIAGRAM

Multiple linking paths are created to link the existing public circulation paths into the heart of the development (Central Courtyard). The Central Courtyard is designed to be sunken to create an internal green sanctuary that provides reprieve from the hustle and bustle of the city and the existing urban infrastructure out of the site. The linking paths meander intricately downwards to give a sense of unpredictability when entering the building.

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Section across Administrative spaces, Dance Studio & Public spaces

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Section illustrating combination of Public & Private spaces

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MULTIPLE PERSPECTIVES IN DISCOVERING DANCE MOVEMENTS One of the most prominent features in this project is the meandering pathways, which act like blood vessels carrying the ‘blood cells’ (public) into the ‘heart’ of the development. These meandering pathways direct people from the entrances at Fort Canning Link and Armenian Street into the building.

Once inside the building, dynamic punctuations of circulation paths into dance practice spaces are created in providing a whole new experience in discovering contemporary dance. For instance, the public is able to view dance activities from multiple angles and slits. Sounds of dancers shuffling between Dance Studios & the rhythmic resonance of dance footwork also make the spaces come alive.

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Exterior perspective of Dance Centre from Fort Canning Park

Section A-A cutting across Central Courtyard, Resource Room, Management Office, Dancer’s Dressing room, Blackbox & Alfresco Dining

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CHANCE ENCOUNTERS & SPATIAL DEMARCATION In order to rejuvenate the public’s mind on contemporary dance, multiple ‘chance encounters’ between dancers and public are introduced within the communal and private corridors. This usually happens when public circulation paths cross the main corridor paths used by dancers and working staff. The design of fluid, open spaces provide opportunities for dancers and public to interact and mingle.

In this project, experimentation on the shifts of floor levels is important to differentiate different spatial programmes and for the process of rejuvenation. There are some private spaces where the public are not supposed to enter. Instead of using a mere concrete wall to segregate the spaces, the design of level differences creates a sense of invisible demarcation between the private and public zones, but yet still able to overlook each other.

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PART SECTIONAL PERSPECTIVE Blackbox, Alfresco Dining & Roof Terrace

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Harmonial Deflection water folly & water cube experimentation

Instructor: Chaw Chih Wen Independent Project National University of Singapore Year 2 Semester 1, 2014 “Playlist for an extreme occasion: Part Six’ by Silk Road Ensemble is the backbone to an architectural translation of the water cube project. My focus sets to seek and express the dynamic and indifferent yet harmonic tunes caused by collision of sounds from different instruments. The deflection of multiple distinct tunes within a realm introduces a hybrid and new species of sound.

Ultimately, this project is a series of experimentation to concretise the harmonial deflection of the audible. As a driver and influence to a water folly sets in Fort Canning Park, it harnesses the potential of dead fallen leaves to enhance the 4 realm of senses to create the spaces. The smell, taste, touch and hearing senses heighten according to the interaction between the tectonics articulation, dead leaves and water at different part of the folly.

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Impression and Analysis of “Playlist for an extreme occasion: Part Six”

by Silk Road Ensemble

Yee Foo . 2014

ABSTRACTION TRANSLATION “Playlist for an extreme occasion: Part Six’ by Silk Road Ensemble This 2:42 minutes classical piece is unique in its way because of the marriage of instruments, traditional and modern. In the start of the composition, different instruments are played repetitively with myriad trajectories. At 1:10 min, the first clash between all instruments came together, clashing into the first realm of chorus. Sequentially, the second half of this classical piece presents a divergent of ensembles into their independent realm as combination of different instrument changes.

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THE AUDIBLE TRASLATION

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CHAMBERS OF SENSES development of water folly

Since the water folly will be situated in a tropical setting with lush greeneries, combining water and leaves heightens our sensorial sensitivity. In the vignette above, starting sequentially from the left, depicts the multi-sensorial dimensions within the water folly.

1. Touch The touch of rain water droplets as it filter through leaves that are caged above 2. Hearing Within an enclosed space, water flowing through fallen leaves produces rustling sounds As one progresses through the folly, stepping on fallen leaves produces rustling sounds 3. Smell Within an intimate space, the smell of dead leaves can potentially be transformed into pleasant wooden aroma coupled with water 4. Taste Transpiration of leaves under clear glass enclosure provides a chance to taste fresh droplets of water

Fallen Leaves collection structure Water tasting realm, produced by leaves transpiration process Inclination to sense of hearing space, curated leaves collection area Folly entrance, consistent rhythmic introduction

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WATER FOLLY ON SITE fort canning park Near a flight of staircase leading to the peak of Fort Canning park, an open grass patch covered with big canopy of trees and infinite fallen leaves offers nothing more than a great potential for a water folly insertion. Fallen leaves possess distinctive wooden aroma, rustling sound when stepped on and offers certain poetic element in nature. While through transpiration of living leaves, droplets of fresh water can be extracted for tasting. Therefore, this water folly aims to extract the charm of the leaves, delivering it through four medium of senses (smell, touch, hearing and taste).

Water folly final model

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Streneous Connection Abstract painting to Architectonic spaces

Instructor: Mdm Juneita, Low Poh Sing Independent Project Singapore Polytechnic Year 1 Semester 1, 2009 “ There are 3 forms of visual art: Painting is art to look at, sculpture is art you walk around, and architecture is art you can walk through”- Dan Rice.

In this primer, we are tasked to design a Hub that pays tribute to either two great artists, Wassily Kandinsky or Piet Mondrain. I choosed Wassily Kandinsky’s paintings as it fascinates me with expressive strokes, colours combination, geometrical elements.

Interestingly, my first few encounterance of his paintings seemed like a solodification of music onto a canvas. I can feel a sense of tonality, melody and rhythm by looking at the paintings. Kandinsky’s paintings are often broken down into three different categories: point, line and plane, each conveys a certain message and mood. Line can be viewed as the product of force, while different arangement of lines exudes different emotions.

‘TWO-GREEN-POINTS’ by WASSILY KANDINSKY Dynamic shapes such as geometical shapes of triangle emulating a sense of energy, a characteristic of an abstract art. Overlaping planes suggest many layers in painting that expresses multiple ideas at a specific moment. Starting of year 1930, Kandinsky’s started to change his style from fanciful colours to geometrical shapes to expresses his emotions. He mentioned that different shapes and background colours can set different mood in an art piece.

In translation, dynamic shapes such as triangles, trapeziums and sharp angled planes are utilised in the hub’s design. It gives a very strong protruding force that suggests that there are no boundaries in abstract art. Curve lines that form a bridge-like form on the Hub gives a sense of connection to the whole structure.

To extrapolate the multilayer readings from ‘Two Green Points’, the whole journey is layed out into 3 sections: first impression, confusion and understanding. The concept is to instill a sense of discovery into the hub. As one’s journey progress, he/she will slowly learn the characteristics and styles of Kandinsky’s painting- Overlapping and Intersecting of contrasting geometry. By the end of the journey, a clearer understanding of Kandinsky’s style will suffice.

APPROACH The approach to the Hub is strategically positioned behind a little hill. The peak of the slope stops directly at the middle of the Hub. Therefore, as one approach the Hub, the structure reveals incrementally, giving a sense of discovery. In Kandinsky’s painting, there were two green points situated on the top centre of the painting which relates to the title “Two Green Points”.

That being the node of painting which eventually be translated into the space. Two elements, curvature structure projecting from the ground and gradient increasing planes leads to the climatical space (yellow coloured zone in diagram above).

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Dialogue between two distinctive spaces & geometry

Entrance to Hub

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1st storey plan

2nd storey plan

SPATIAL EXPERIENCE Firstly, visitors are hit by dynamically extruding planes in the start of the hub, emulating a sense of confusion as how one initially confronts an abstract painting. Consequently, the play of lights serves as spatial direction guidance. Light penetrates through the spaces through slits, corners and paths ahead. Users are lead through the spaces by light.

Dynamic shapes with overlapping layers are exagerated in the main space, heightens the visitors appreciation for the structure.

The huge space is showered by light rays penetrating through roof’s branch-like structure. In the main space, all the elements of Kandinsky’s painting can be experienced in a 3D structural space.

side elevation

Entrance to Hub

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Superdry Spectacle Tropical Shelf

Group Project, in collaboration with Melcas Lim, Ziyuan Chew, Tessa Kok, Elizabeth Ho & Krita Yeong National University of Singapore Year 2 Semester 2, 2014

IDEATION

Breaking away from the banal, the mundane and the archetypal forms and function, the design proposes a redefinition of a typical outdoor cabinet where it is an expression of the quintessential relationship between form, materials and tectonics. The design aims to express the materiality and joinery, while striking a balance between densification and complexity and to successfully achieve its functionality and purpose.

DESIGN

The design consist of an elevated structural core, together with carefully crafted display spaces that is cantilevered from the core, which is protected from the weather by means of transparent acrylic pieces. The display space is cantilevered by horizontal members that are bolted to the vertical elements of the structural core. The interaction of elements of the display space creates an interplay between horizontal and vertical elements that speaks of purity and intimacy.

FORM & STRUCTURE

The form is vertical in its expression and is designed in layers - cantilevered display spaces that breaks the monotony of an otherwise smooth vertical surface. The display spaces are vertical in language and wraps vertically around the structural core, enhancing the vertical expression of the design. The structure is a L-shape core, consisting of 3 main vertical components, where each of it is formed by 4 vertical elements coming together, where the axial end of each structural component terminates elegantly with steel metal plates that elevates the entire cabinet from the ground.

TECTONONICS

The aim was to successfully integrate its joinery and design so that the design is coherent and consistent. The expression of the lap joints and dowel connections in its purest state is used throughout the entire design so as to give the design its character and identity. There is also a clear distinction of bolted joints at the core and dowel joints at the cantilevered display space to suggest a sense of structural hierarchy and intensity.The connection method between elements is heavily imbued in the design which ultimately gives it its aesthetic value.

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We started out with the idea of having a strong and stable L-shaped core in which the display shelves will be branched out, cantilevering from it.

Exploring timber strips in its untouched and unedited vertical state, with minimal horizontal strips. Maintained different heights for each display shelf. The shelf has a tall L-shaped core in the centre with four display shelves attached to it.

The displays will be sitting on the ‘branches’ and will be covered all around by clear acrylic for waterproofing and display purposes.

We felt the need to explore further as the elements were not integrated will enough and simply putting an acrylic box on top of the timber elements felt too easy and undesigned.

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In this iteration, the structure is not stable enough as the core is not strong enough and too thin to balance all three display shelves.

The acrylic box is not well integrated with the timber strips, and does not provide much shelter from the elements.

Designing for tropical climate: Precedents studies on tropical climate design such as moonsoon window is referenced to create a more breathable shelf to get rid of moist in the interior shelf.

Therefore, we allow gaps at the base and top of the shelf to cross ventilate and still mantain an appropriate roof overhang to prevent rain water from entering the shelf.

Identifying main core elements: As a step further, we relooked at the core again. We felt that it was too dense and heavy hence we decided to only keep the most necessary elements. We also understood that if they were spaced to far apart, the strength and stability weakens thus we decided to cluster the timber elements, 4 at a time, to form a stronger yet slimmer core.

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Building on main core elements: After reducing much of the density in the core, we made sure we did not compromise on its strength and stability. The nature of the core was that it is slim and tall. And by that nature, it is reliant on a good base to bring the centre of gravity of the entire base lower. We explored on many options on how we could do so with heavier material and elements such as metal cross-plates and concrete slabs for the base.

Simplification & experimentation of joints: We proceeded on to exploring how we could detail the connections from timber to timber and to express it in the overall form.

We explored using lap joints, which is a very versatile yet simple form of joinery. Instead of terminating the timber elements at the joints, we wanted to extrude it further out to counter the balance the weight on its opposite side and also to exaggerate the usage of the simple joints.

Poetics between Timber & Acrylic: We wanted to express the 2 elements, timber and acrylic, separately, yet still suggesting the intricate relationship between both of them. We wanted to express the lightness of the acrylic thus we ‘exploded’ the acrylic panels from the timber elements that are actually supporting it. We achieved that effect by introducing another element into the picture which is through the usage of bolts and nuts. They are thin but yet very strong thus they were the perfect choice of connection between the clear acrylic and timber to give the ‘floating effect’.

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1.1 Study model - iteration 3 In this iteration, inadequate horizontal support resulted in wabbling of cantelivered display shelves.

1.2 Study model - iteration 4 With twice the horizontal supports, we increase the exposure of display area by decreasing the amount of vertical timber strips.

1.3 Study model - iteration 6 This was an attempt to use timber strips as waterproofing for the shelter of display shelves. However, it was difficult to achieve due to minute gaps between timbers which requires sealants to patch. Such method might affect the pure aesthetic value of the overall edifice.

2.1 Lap Joint grooves The grooves of the lap joint were made 10mm deep in consistency and were carved out using the router wood milling machine available at the workshop. However, in terms of manual method, we experimented with using the table saw, chisel tool and mallet.

2.2 Lap Joint grooves refinement After several tests, the manual method yields cleaner finish as compared to the milled version. However, this required much more effort and time.

2.3 Lap Joint reinforcement 8mm wooden dowel and nut and bolt reinforcement were used to fasten the lap joints. The construction were similar where by it simply required a drill through at the intersections. The difference however was where the nut and bolt option required a wider surface to embed the head - 4mm for the thread and 8mm for the head. The dowel method appeared much more seamless as compared to the nut and bolt however not as secure.

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3.1 Shelter joint experimentation Initially, timber dowels are used as shelter support. However, it proves difficult to adjust the level and securely tighten the acrylic planes onto the shelves.

3.2 Waterproofing - top The nut and bolt detail not only expressed each material independently but also allows flexbility for height and angle adjustments.

Each compartment was weather proofed by also having a acrylic plane over it. The horizontal plane is angled to efficiently drain off water.

3.3 Waterproofing - side Narrow grooves were incorported to hold 2mm acrylic sheets that form the the dry boundary of the display. These grooves, similar to the lap joint method were carved by a table sawvand clean up using a hand filer.

4.1 Base Termination To prevent wood from decaying, the entire structure is lifted off the base with steel plates in a cross angle. The steel plates are bolted to the core and aluminium angles which is secured to a concrete base for stability.

4.2 Gaps leveling Precise gaps distance between timber strips and steel plates are necessarily kept consant to prevent the overall structure from wabbling when erected.

4.3 Sub-structure A concrete base was neccesary to give stability to the structure considering the moist soil would not be sufficient to hold it unless its structure is embedded deep enough. To reduce the need to set the structure deep, it is bolted to the thick base and further topped up with concrete to hide the L angles

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Image courtesy of archdaily.

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Bamboo Forest TOTO Gallery MA, Tokyo

Vo Trong Nghia Architects, Vietnam Summer Internship 2015 The bamboo pavillion was made up of a series of 11 bamboo arches in modules combining with intersecting grid systems which eventually grew into three dimensional spaces. 31 boxes are planted to stabalise and house greeneries on the overall pavillion structure. The main purpose of the bamboo pavilion was to house the 30th anniversary exhibition of Gallery MA from 17 October to 12 December 2015 in Tokyo, Japan. With the demonstration of Bamboo forest, it aims to introduce greneries back into the city and embrace the beauty of bamboo in modern construction.

Before the actual mock-up construction was conducted, we made a detailed working model of 100 scale. The model was then brought to site and used as an important source of reference. As it was difficult to present all the joineries and position of every single bamboo in the construction drawings, model served as a better medium for communication as it could be observed and understood from all angles. Besides referring to the model, a group of skilled craftsmen were able to solve and innovate detailing issue on site. They could conceptualize the building process before actually building it. Initially, they would propose a typical tying joint. Architects would then feedback based on aesthetics values and perhaps request for more options if not satisfied. Such communication are essential in presenting pleasant and intricate architectural qualities in a pavillion design.

Vo Trong Nghia Architects Philosophy Vo Trong Nghia Architects establish itself as a practise advocating for sustainable architecture and usage of natural material through a balance between traditional and contemporary construction methodology. His works are unabashedly and evidently influenced by his Masters’ thesis on aerodynamics, wind and water, whereas passive designs are believed to be the solution to tropical climatic issues. The city of Ho Chi Minh presents to him as perfect testing ground when rapid industrialisation affected by maximising business opportunities have resulted in congested and bare street profiles with little greeneries.

The vehicle of the construction team by his firm offers more than just the methods of production - it provides a degree of control over process that is mostly disclosed to architects. The practice constantly develops new construction details through experimentation and making one-to-one prototyping, at the same it is a good training to build up in-house skill sets that are required to realize the intricate designs.

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NOSTALGIA IN MODERNITY For once, the notion of architectural approach deviates from mass studies to the emphasis and sensitivity of material capabilities. It is through the exercise of model making and erection of 1 to 1 scale mock up that introduce me to the reality and intricacies of constructing and manipulating a natural material such as bamboo. In most of VTN’s bamboo pavilions and structure, joints are often achieved in the most nomadic way with ropes and bamboo carved dowels. Very minimum usage of steel joints and cables, unless the scale demands of it.

With that, I think architecture today still embodies a certain basic or primitive methodology in construction that presents a certain nostalgic experience in the modernity we are living today. Such beauty can be felt in a myriad of scale, ranging from an overall architectural admiration to an intimate relationship with the structure.

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design development through digital and physical model experimentation 1:1 scale mock up construction in Vietnam with group of architects, craftsmen and interns actual full scale pavillion construction in Tokyo with Japanese student volunteers and Vietnamese architects and craftsmen 110

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Voices

Singapore Institute of Architects Installation and Mural Competition (SIA:SKIN) - commemorating 50 years of Singapore’s independence

Merit Prize Group effort, in collaboration with Wu Yu Chen, Tan Chiew Hui & David Ardiansyah Fall 2014

Voices represents the aspiration of the people who conceive the city, the people who build the city happen, and the people who breathe the city with life.

Approaching from the roadside, one will notice the constellation of geometries basked in a projected view of Singapore city skyline, that is composed of a series of sound-waves. As voices are captured from the surroundings, the silhouette pulsates with life, reflecting the dynamics of the people and city living. Every individual voices/ views are the heartbeat that would continue to palpitate the city as it reverberates into the projected skyline.

As one makes a turn, the wall sparks into life, showcasing the architecture excellence of the nation in the past decades. The mural features buildings that are bastions of their era, having architectural, cultural, social, economic or political values. The composition follows a chronological order. From right to left, the mural retells the story of Singapore’s success broken down in decade-long storyboard, composed of iconic architectures. The early decades reflected Singapore as a young nation in need of massive re-housing project in the midst of modernising. Her tenacity grew as she began to look and reach out further. With the inauguration of Changi airport, she opens With the inauguration of Changi Airport, she opened herself to the world and invited talents to ensure a smooth sailing in those time of rough seas. The endeavours bore fruits with the nation teeming with towers of economic powerhouses, which are in dilemma with the regional architecture of tropical city —a question eventually of her identity. Finally, entering the millennium, Singapore is armoured with information and knowledge that at best should be used to educate her citizens on the built environment.

At the end of installation, public voices recorded into the system will be transformed into silhouettes of sound-waves, composed of their own words. These contributions will continue to fill up the rest of the courtyard wall and finish the overall composition of the mural. Installation materials would be reused and recycled for this purpose.

Public combined voices, that form a collage of silhouettes of Singapore skyline, eventually reflect their aspirations for Singapore.

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Exterior perspective of Projector Installation and Mural

VOICES INSTALLATION The microphone placed at one corner of the wall also serves as the platform for the public to express their thoughts and aspirations for the nation that is turning 50 this year. The more people voice their aspiration, the more the silhouette would resonate the dynamics (with the aid of synthesizer). Apart from the soundwave installation, key policy makers and architects are featured on the gable wall (with mural wall), in sync with the content on mural. These projected videos are means to reach out and educate the public on the architecture excellence of the nation in the past decades.

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Mural along alley

MURAL OF SINGAPORE’S ASPIRATIONS The mural composition consists of geometry that highlights the individual era and its architectural philosophy. From bottom-up, complex building geometry transforms into simple geometry, highlighting the practice of architecture in distilling ideas. Relevant text speeches made with regards to the Singapore’s history of architecture and built environment are then overlaid in addition to videos projected. Texts take the centre of attention as they echo the aspirations of architects and policy makers in conceiving and constructing the city. Their voices become real and inevitably shape what today Singapore is.

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Dwelling 3214 ASEAN regional design competition

2nd-Runner up Group effort, in collaboration with Choo Xin Wenn, Toh Hui Ping, Aint Zar Chi Lwin, Ei Phyu Phyu, Joshua Tan & How Kwang Yi Fall 2011 The adopted design concept is to create an environment that enables low-income families to connect with each other with the aim of elevating the quality of life. By connecting one family to another, it forms a community able to self-sustain among themselves. This is made possible through an overall architectural masterplan and self-sustainable mechanism such as water purification system. With this system, lowincome families will only rely minimally on the resources provided by the government.

Design Intentions - To improve the quality of living conditions with low-cost recycled building materials.

- To encourage interaction between different families and promote sharing of energy resources among them.

- Promote self-sustainable and self-sufficient home without over dependent on the country’s resources.

Design Strategies One key design strategy to acheive a cost effective home would be to use materials which is in less popular in the market, these materials can be low cost and yet strong and durable. In most cases, especially in South-East Asia, Timber and Bamboo would be the most suitable materials. Moreover, Timber and Bamboo are recyclable and being natural materials, they are environmentally friendly.

Another design strategy to realize this concept would be to design self-sustaining features within and around the home. Some of these features include a cost-effective water collection and filtration system, a low-cost green roof and a manual power generator. Cost effective measures also include creating a modular architecture system that are able to multiply whenever there is a need.

The last strategy would be to create an experience in their daily lives. Based on their typical lifestyle, namely farming, interacting with people and so on, different themes are being used to design different spaces such as communal space, farms and so on.

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REGIONAL CONSIDERATION Regional tropical and semi-temperate climate conditions, varied vegetation density, natural disasters propensities and existing pollution are taken into consideration for the design decisions of low-cost housing.

DESIGN INSPIRATION Match Box and sticks are inspiration behind the formation of community. The units are connected with one another to from a space at the center (courtyard). This creates a community space for people to use and gather. The orientation of the units allows the user from various units to have visual connection.

This acts as a form of reflection for the low-income family to understand and improve their living.

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Aerial view of Community configuration

PROGRAMME & MASTER PLANNING The main idea is to have a small community to share a common space. As this small community grows larger, a larger community is formed and they will then share a larger common space which include facilities such as wells which serves as a meeting point for every family. Finally, when this community grows even larger, a small town is form with efficient transport system such as roads.

A small community is form when 4 houses come together. these 4 houses or 20 people will share a communal area where they can meet up with their neighbours to interact or share items. Most importantly, they will be able to get a feel of their neighbours’ lifestyle and hence realise that there may be others whose life is harder than theirs. Consequently, a larger community is formed when 12 houses combine in a single plot of land. These 12 houses or 60 people will then share a common well as water source and a farm as food source.

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Dining Area

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FLEXIBLE UNIT CONFIGURATION

SUSTAINABLE FEATURES

The layout of the each individual unit can be changed to suit the needs of people of different ages as well as different family sizes, enabling high adaptability through time.

The core sustainable concept features easily constructed materials such as wood as interchangeable facade and green roof that naturally cools internal temperature. All design features are plural in its benefits to the sustainability of the dwelling as illustrated above.

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Internal Courtyard

WATER PURIFICATION SYSTEM The key objective of these water systems is to provide the house and its occupants with a self-sustaining water supply. This will reduce the need to depend on government water supply and thus reduce the cost of water per month. Taking an average of 5-6 persons per family with the average consumption 160l a day per person, the daily consumption of water is 0.88 m3 a day. The water system we are proposing will treat and hold enough water to feed the family on the following conditions:

1. The family does not over use or waste water 2. The amount of water treated and ready for use must have an allowance to feed the family for 2 days in a row 3. The occupants must fill up the raw water tank themselves everyday from the open well.

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MATERIALS & STRUCTURAL COMPOSITION Steel frame is being used for the house because steel has higher strength and is more sustainable compared to other common building materials such as concrete. Moreover, the quantity and dimensions od the columns can be reduced due to the high strength and bearing capacity of steel. For the walls and slabs, timber is used as it is locally available with affordable price in most of the third-world countries.

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“Driss tell me, in your opinion, why people are interested in art?

“I don’t know, it’s business?”

“No. Because this is the only trace of our passage on earth.”

The Intouchables (2011)

Artworks & Visions Personal Works

Whenever I set foot in new territory, my brain constantly paint a faint yet romantic image of the place. Perhaps, romanticising is indeed my forte.

Every ink carries the very my intimate thoughts and reaction to the construct of our world. To resurface the forgotten and unknown potentials.

AMORPHOUS RECONSTRUCT 2014

Revolutionary edifice should arise from the very structure that was initially employed to protect against war disaster, the vertical bomb shelter.

Skepticism on workability of such vertigo filled the minds of inhabitants. Now, it has become the fundamental core for new life. Apocalyse of war, a state of immense confusion, shall allow intuition to take precedence over logical construction.

AGENDA AGENDA AGENDA 2015

Relentless evening pedestrain flow of office workers outside MacPherson train station, Singapore. All seemed to have specific agenda commanding their limbs. Fluidlity of pedestrain paths so predictable, probably rushing to back their abode.

Pale black signifies exsiting building footprints or constant as you might perceive.

The pedestrain flow can be perceived as relentless stream of water, streaming through voids. Here, convergence and divergence springs to life.

RESISTING CENTRIFUGAL 2015

Development of heartlands in Singapore has increasingly created various selfsustaining communities, slowly diminishing the original city center. Using the analogy of a series of gears, rotating and chaining all heartlands today. We strike to create a more comprehensive linkage between distinct localities.

HO CHI MINH CITY URBAN PROCESSES 2015

Scarcity of parks and leisure pockets in dense Ho Chi Minh City might one day be reinvigorated by urban planners. Imagine the sprawl of green, lurking at every street corners.

CONSTRUCTIVE ELEMENTS 2015

This is a deconstructed conglomeration of household accessories such as antennas, outdoor shelters and steel frames found on most houses’s roof in Ho Chi Minh city.

BLOCK GEOMETRIES 2015

Inspired by the balcony of one particular abode in Ho Chi Minh City. Block Gemetry is very much an intuitive compositional process, the likes of the artist & the structural logic of the built. A distribution of heavy & light concrete, opaque & perforated thrershold.

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