I N T E R I O R
C H T I N G S H M I
R I S N E I N
D E S I G N P O R T F O L I O 2 0 1 7 / 1 8
CONTENTS University Projects 01
Personal Project 63
Manifesto 83
The Office
Polytechnic Projects 116
The Arts Hub 137
Pop-up Pavilion 150
Perception
Christine Ng Shi Min
Hi, I am a graduating Interior Design student from Singapore Institute of Technology - Glasgow School of Art. I am always passionate and excited about learning new things, especially in arts and design related topics, where I can let my imagination and creativity go out of the box. This portfolio will present a series of projects that I have done during my school terms in university and polytechnic.
EDUCATION
Singapore Institute of Technology Glasgow School of Art Bachelor of Arts with Honours in Interior design 2016 - 2018 Ngee Ann Polytechnic School of Design & Environment Specialised in Architecture 2013 - 2016 Bedok North Secondary School GCE ‘O’ Level
WORKING EXPERIENCE
Temporary Architectural Assistant CPG Corporation Dec 2016 Internship Urban Redevelopment Authority AUG 2015 - NOV 2015
CONTACT DETAILS
christinengshimin@gmail.com
+65 98302192
TECHNICAL SKILLS
Good Understanding of Autodesk AutoCAD Good Understanding of Autodesk Revit Good Understanding of Adobe Photoshop CS6 Understand basics of Adobe Illustrator CS6 Good Understanding of Adobe Indesign CS6 Understands basics of Google SketchUp Good Understanding of Microsoft Word Good Understanding of Microsoft Powerpoint Understand basics of Photography
COMPETITIONS
Participated • Young Designer Award by Design Intervention, 2015 • Sony Woorld Photography Award by World Photography Organization, 2014 • Planning a Clean & Green Township, Heritage City Yangon by Activistar, 2014 • Nescafe Dolce Gusto Design Competiton (Top 5 Design in Ngee Ann Polytechnic) Won • Planning a Clean & Green Township, Beautiful Manila by Activistar, 2015 [1st Runner Up] • CUBE Competition by URA, 2014 [Top 3 Outstantding Project, GROUP competition] • Youth Olympic Games Mask Design Competition, Inter-House, 2010 [1st Place]
I PERSONAL PROJECT
Holland Village MRT station x appear [here] PERSONAL PROJECT
Introduction In this Personal Project, I will be focusing on the creation of a collective sense of place and identity at Holland Village MRT station, that empasizes on arts & culture in everyday lives and the interactions between makers and buyers. The underground space that connects the station and exits is not just a transition space, but a space that has high potentials in transforming into a bustling place for social gathering and community engagement. My aim is to create a space that ecourage social gathering, engagement, and exchange through the Arts and like-minded individual. Besides food, Holland Village is also wellknown for its local artisans works in handcrafted souvenirs, stationary, cuisines, fashion, musics, and etc. Howevers, these are not reflected in the interior of the Holland Village station, so I propose to introduce more local brands and businesses into the scene and make these local works more physically accessible to the public by holding events, where the public gets the opportunity to interact with local artists. Creating a space that is shaped by the people who use them and also one that truly reflects the life at Holland Village.
P E R S O N A L P RO J E C T 3
The Site:
Holland Village MRT station
LEGEND MRT floor plan Main road Secondary road MRT exits Bus stops HOLLAND VILLAGE SITE PLAN
(tracing paper insert)
THE SITE:
HOLLAND VILLAGE The Holland Village MRT station is located along Holland Ave with 3 exits conveniently spread along the stretch. There are various international schools, universities, residential, and science & biotechparks situated around the perimeter of Holland Village, which contribute to the range of users of the space. Holland Village is home to a diversity of local talented craftsmiths in arts & craft, fashion, food, and music. It offers trendy and chic vibe with undertones of traditional and ethnic ambience, from shops that sell antiques that have open for a few decades at Holland Road Shopping Centre to recent trendy cafes and bars. The cross-cultural character, history, & traditions resulted in a wider range and eclectic mix of homegrown and international shops and restaurants. Exploring the aboveground Holland Village is like treasure hunting, you will never expect what you are going to encounter next, from a wide range of shops and eateries that can be found along Lor Mambong, Lor Liput, & Merah Saga to shopfronts that are designed in their own unique way. The quality of being original is what makes Holland Village unique and a hotspot for people to gather.
P E R S O N A L P RO J E C T 7
Holland Village (OPPOSITE PAGE)
Vendors like the shoe cobblers and the magazine store, that has been around for a few decades, brought back nostalgia memories of the past.
(THIS PAGE)
On the other hands, those nostalgic shops are standing side by side by with renowned internationa brands, with shopfronts uniquely design based on their brands. Their signage, colour of their shopfront, and the materiality of the 2 storey shophouse speak a lot for their characteristics.
P E R S O N A L P RO J E C T 9
Holland Village (OPPOSITE PAGE)
The variety of eateries to choose from along Lor Liput. I really enjoy the sight of how these shophouses standing in a row with individually designed and contrasting shopfronts.
(THIS PAGE)
At Chip Bee Garden, the atmosphere that it exudes will make you feel like you are not in Singapore. these 3-storey shophouse that comes with a balcony, are really unique, I spent a couple of minutes standing there observing how people decorates their balcony.
P E R S O N A L P R O J E C T 11
THE INTERIOR:
HOLLAND VILLAGE MRT STATION Between the Holland Village MRT station and the exits to the aboveground Holland Village is a stretch of shops which consist of a pharmacy, dental clinic, barbershop, shoes repair, and most of which are grab-and-go kind food stall. The space layout is quite straight forward, a linear stretch of shops with its exits branch out from the side. Most people uses Exit A, which will lead them to the bus stop, and Exit B, which will take them to the aboveground Holland Village. During my visit to Holland Village station in the late afternoon, the space has a awide range of users, from students to elderly. Most of them are buying food from the shops there, the elderly mainly bought their food from Old Chang Kee as there are plenty of seats for them to choose from, where as the students are either eat as they go or dine-in store with seatings. The shops that provides seatings for dine-in are only umi-sushi, each a cup, and Old Chang Kee with the most amount of seats available. In my own perspective, if you are there to take a quick bite, then it is indeed very convenient, but if you are there to experience the space, the atmosphere is simply just dull and lifeless.
P E R S O N A L P R O J E C T 12
TRANSITION SPACES   Transitional spaces, especially those that connects the MRT stations and other places are usually left spacious for circulation, whether it is underground or aboveground. I find that people usually spend very short amount of time in spaces like this, the space for them is simply just for transit to somewhere better or just a common meeting place.   However, it would be a total waste of space if the human circulation is low or average at most of the time of the day, like Holland Village. I believe these spaces have more potential than it to be entirely just for transiting purposes. I believe the shops setting along the transition space is for the convenience of commuters, who might be rushing to get a quick bite can just grab-and-go a finger food on the go. For instances, places like Holland Village, where its character is so distinct and unique, this trait of it should be translate to the MRT station as well to create an overall seamless experience aboveground and underground.   The experience of walking along a transition space is definitely not a plaeasant one if all of them are a duplication of one another with little to no variation to differentiate them apart. Therefore in this personal project, I aim to experiment and discover possible ways to transform a dull transition space into a lively hub.
P E R S O N A L P R O J E C T 14
Holland Village MRT Station
(problems faced in HV station shop spaces) (THIS PAGE & OPPOSITE PAGE) 1. the lack of individuality flushed shopfronts, which are very common in modern days retail design and it looks like a duplication of one another 2. dull lightings 3. monochromatic material choice, everything seems dull and lifeless 4. does not has a hint of the existing Holland Village
P E R S O N A L P R O J E C T 16
Design Process:
i. Interim Stage ii. Final Stage
DESIGN PROCESS:
INTERIM STAGE DESIGN   During my interim stage, the design is primarily influenced by the exterior facade of the shophouse and also the type of outdoor dining experience found on the aboveground Holland Village. The flushed shopfronts and dull colour scheme used at the Holland Village station is vastly different from what is found aboveground. If both spaces are to place side my side, you would not be able to relate that both spaces have any sorts of connection.   My project intention at this stage is to create a seamless flow and experience when transitioning these two spaces. Firstly, I have came up with 5 distinct elements and characters that are unique to the aboveground and translate it into the space of the station. Subsequently, is to replace the existing flooring, ceiling, and choice of color scheme with brighter and warmer shades to enliven the atmosphere.
P E R S O N A L P R O J E C T 18
5 DISTINCT ELEMENTS/ CHARACTERISTICS • Human-warmth and connections – usually in smaller specialty shops/ homegrown businesses • Cross-cultural character, history, & traditions – resulted in a wider range and eclectic mix of shops and restaurants • Low-rise shophouses • Pedestrian-friendly narrow lanes • Non-identical shopfront – contribution of multiple factors that led to this unique scene, e.g. cross culture
faรงade height
recess or projection of shopfront
types of windows
awnings
signage
wall colour and texture
P E R S O N A L P R O J E C T 20
Moodboard: Industrial style with a pop of colours & greens
DESIGN FEATURES 1. Recessed and projected shopfronts, painted with specific choice of colour based of the brand 2. Introducing more seating areas that are extended beyond the shops vicinity to the walkways 3. Replacing the existing flooring and ceiling with brighter and warmer colours tones to enliven the atmosphere 4. Specific use of lightings for each individual shops
P E R S O N A L P R O J E C T 22
Illustrated design with existing shops and eateries.
HOLLAND VILLAGE MRT STATION FLOOR PLAN// EXISTING SHOPS SCALE 1:250 (tracing paper insert)
HOLLAND VILLAGE MRT STATION FLOOR PLAN WITH FURNITURE SCALE 1:250 (tracing paper insert)
Illustrated design with existing shops and eateries.
P E R S O N A L P R O J E C T 26
DESIGN PROCESS:
FINAL STAGE DESIGN At the final stage of my design, I plan to incorporate the essence of Holland Village into the station design, instead of just directly applying the physical elements, characteristic, and loose furniture from the above ground Holland Village, I find it quite literal and conventional. So I started off by looking into the uniqueness of Holland Village apart from its physical exterior appearance of the shophouse, which eventually lead me to the homegrown artisan side of Holland Village. On further exploration, I notice that there are actually quite a fair number of Singapore homegrown businesses and brands clusters in every corner of Holland Village that are build up by local craft-smiths in the arts & craft, fashion, food, and music sector. By incorporating this homegrown artisan side of Holland Village into the station, I hope to achieve a space that is completely shaped by the people who use it (people-oriented) and process-centered. Emphasizing arts & craft in everyday life and include the public to be part of the creating and building process.
P E R S O N A L P R O J E C T 27
PRECEDENT PROJECT 1:
TURNSTYLE RETAIL COMPLEX
The Turnstyle retail complex is an integrated commercial development with the city’s underground railway system. In fact, it is a food hall in the Columbus Circle subway in New York. Their project intention is trying to bring the familiar street-level urbanism into the subterranean space. Susan Fine, the developer of the project, wants to achieve a more quirkeir and warmer experience for its user when using the ‘street’, she insisted that all vendors have to be small homegrown brands or businesses. Therefore, larger chain outlet like Subway sandwich is out of the picture. The colourful tiles flooring in the middle of the ‘street’ (see images on the left), are identified as the ‘hot spots’, where you can find kiosks, tables that offers a place to eat, talk, & shop, and interactive digital columns that further contribute to the vitality of the space.
P E R S O N A L P R O J E C T 29
PRECEDENT PROJECT 2:
APPEAR [HERE]
Appear Here is a global leading marketplace for short-term retail space. It connects brands, retailers, designers, and entrepreneurs with available space seamlessly online. Launched in February 2013 by Ross Bailey, Appear Here has become the go-to destination to make creative, retail ideas happen. Same space, same location, but at every week or every month, the vendors and contents of the space keep changing. The retail space unit is a fluid one, with fresh and exciting contents every now and then that awaits the commuters. It can be a juice bar this week and a retail space a few weeks later. The flexibility of the space is what makes the users of the space excited, as they can be expecting new stuffs coming up in every 2-4 weeks time. Very often that these vendor’s customers are limited to the online platform, but by renting a short term physical space, it gives makers and designers the opportunities to promote and showcase their products to a wider range of users.
P E R S O N A L P R O J E C T 31
PRECEDENT PROJECT 3:
SUMMER AT THE U The Summer at the U is an event carried out at Dortmund, Germany every summer. The project is commissioned by Dortmunder U, the Center for Art and Creativity, to PRINZTRÄGER design office, specialise in temporary indoor and outdoor design for trade fairs, pop-up stores, exhibitions and interventions, to permanent interior design, corporate identity concepts, and stage architecture. This even has a diverse range of programs from live music performances to design markets and food. A place in the city where after work meets urban flair, summer breeze meets city lights; a place where days never come to end. The materials used to build up the space are mainly recycled or reuseable items like wooden palettes, which are stack together to form a platform seating area, and shipping containers, which are used to hold individual programs.
P E R S O N A L P R O J E C T 33
IDEATION PROCESS:
A COLLABORATION BETWEEN SMRT x APPEAR HERE The way retail works has been evolving over times, from a must have physical space to sell to the online-only virtual retail platform. In the past few years, retail has been experiencing the rock bottom; but in recent years, trendy pop-ups, events, and workshops have make a turn back for physical retail space in a whole new level. With this collaboration between the two, I believe that both the users/ commuters and the artists will definitely benefit from these. Instead of signing a 2-3 year lease on a shop, Appear Here allows you to rent a space with a minimum of only 2 weeks. If your are not totally commit to a physical space yet, but still want to try it out any way, Appear Here will be your go-to solution. You don’t have to wait for annual or occasional pop-ups events to showcase your products to the public. This will undoubtedly be the best way to build your brand awareness to a larger and wider range of crowds. The new Holland Village MRT station will be a combination of the uniqueness of the existing area with something fresh and exciting from Appear Here. The station will sure be transformed into a place of exchange between buyers and the designers/ makers.
So my proposal are as follow, 1. Shops available at the MRT station will be divided into 2 main groups. Firstly, those belongs to SMRT are for vendors who prefer to sign a longer lease. Secondly, those belongs to Appear Here, where shop units are in short term rental basis, with a minimum of 2 weeks and it is absolutely flexible and affordable. 2. There will be occasional pop-ups to introduce and advertise this new kind of space rental system and giving makers an opportunity to rent a space & make their ideas happen. 3. Incorporating free seating to greatly enhance the welcomness of the space, an explicit invitation to stay and participate in the public realm, that further contribute towards the vitality o the space. 4. Introducing workshop pods for artists to hold small classes 5. Designing and customising a shopfront based on the brands, instead of being identical to one another What will the makers, community, and space benefit for these? • A new way of giving Singapore homegrown brands (in Arts & craft, fashion, food, and music) a new platform to share and sell their ideas • A way of promoting Arts & craft and making it accessible to the public by interacting with the artists during these events and popups • These series of pop-ups and events help to build the community and give people the reason to keep coming back to check out for new brands & shops • These series of pop-ups and events help to build an identity for the place. (Placemaking) • Specially designed shopfronts are usually easier to recognise, the design may be signnificant to the brand, for example the style, the colour, the signage, or even the shopwindow.
P E R S O N A L P R O J E C T 35
LEGEND Sitting platforms Workshop pods Pop-up shops Showcase wall
SPATIAL LAYOUT The station floor plan is divided into 4 main areas, 1. the Sitting platforms, which are built using crates and wooden planks, is a good place for interaction and leisure activities to take place. 2. the Workshop Pods are designed specially for artists to carry out classes for the public to participate. 3. the Pop-up Shops, where artists can rent the space to sell and promote their products. 4. the Showcase Wall area, which is for showcasing of the recents shop’s products or their shopwindow. (the wall on your left after you walk out from the gantry area)
P E R S O N A L P R O J E C T 37
1. SITTING PLATFORMS   The Summer At The U project really inspired me on how these wooden palette are given a second life and being re-use as furniture. Taking inspiration it, I plan on creating something modular, easy-tobuild, and sturdy, where the community can be part of the process of making and building it up. I came up with various modular objects of different shapes and sizes to experiment how I can put them together and form a single volume furniture (see opposite page).   At the end I decided to combine 3 different objects and meterials to produce my final platform seatings, they are red milk crates, wooden planks, and also modular lightweight concrete planters. The red milk crates act as the main structure for the entire platform as well as adding a pop of colour into the space. Whereas the wooden planks helps to add warmness to the overall atmosphere. Indoor plants were also planted using the crates.   These sitting plaatforms creates a more vibrant and lively place for exchange, that encourages more social gathering and community engagement.
P E R S O N A L P R O J E C T 39
Sitting platform exploded perspective
PLATFORM SEATING FLOOR PLAN | SCALE 1:75 (tracing paper insert)
PLATFORM SEATING SECTION | SCALE 1:75
(tracing paper insert)
Platform seatings
P E R S O N A L P R O J E C T 43
2. WORKSHOP PODS   The workshop pods are created for artists to hold workshops and classes for interested parties to participate. The pods are aligned with the seating platform in the center of the walkway as the spotlight of the space. It is a space where people exchange and learn from one another.
WORKSHOP PODS FLOOR PLAN | SCALE 1:75 (tracing paper insert)
WORKSHOP PODS SECTION | SCALE 1:75
(tracing paper insert)
workshop pods
P E R S O N A L P R O J E C T 47
3a. APPEAR [HERE] POP-UP STORE   The Appear Here pop-up store is a space for people to get to know more about the brand, how they work, and some past successful stories of the makers.   I have divided the space into 3 areas, they are the showcase area, the lounge area, and the barista counter. The showcase area is a mixused space, where it can be used as a space to exhibit information of their brand, the brands that they have collabrated with before, and the stories of the makers or as a space to hold talks and events. The lounge area is where they can grab a cup of coffee and have an exchange session with other artists as well.
APPEAR HERE FLOOR PLAN | SCALE 1:75
(tracing paper insert)
APPEAR HERE SECTION | SCALE 1:75
(tracing paper insert)
appear [here] shopfront
P E R S O N A L P R O J E C T 51
Showcase area
Lounge area
P E R S O N A L P R O J E C T 53
3b. MATTER POP-UP STORE   Matter is a local start-up brand online created by Renyung Ho, who aim to put stories back into clothing by sourcing out textile artisans, who have an amazing stories and expertise to share. Her fascination with all cultural symbols and motifs that are found in textiles, architecture, and illustration are all across from Asia. For instances, batik in Indonesia, handloom silk in Laos, and embroidery in the Philippines.   Her sustainable spirit to supports and champions alternative production models for rural textile artisans. Creating a brand that placed more value in ethics and sustainability, transparency and integrity.   Therefore, the furniture that I have used in the Matter pop-up store are all raw and exposed at its original state, for example the light grain texture wood.
MATTER SHOP FLOOR PLAN | SCALE 1:75
(tracing paper insert)
MATTER SHOP SECTION | SCALE 1:75
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MATTER shopfront
P E R S O N A L P R O J E C T 57
3c. SINPOPO POP-UP STORE SINPOPO is a homegrown cafe with an physical shop at Katong area selling nostalgic Peranakan cuisine, that are unique to the area. They had invented cakes and dessert that took inspiration from traditional nyonya kuih, food that we used to eat in the older day and take a modern twist to it. Even the interior of the cafe is designed to match the food that they are selling. I have re-created a SINPOPO cafe that takes on the interior of a traditional coffee shop, with the choice of furniture, decor, and material.
SINPOPO CAFE FLOOR PLAN | SCALE 1:75
(tracing paper insert)
SINPOPO CAFE SECTION | SCALE 1:75
(tracing paper insert)
SINPOPO shopfront P E R S O N A L P R O J E C T 61
BIBLIOGRAPHY PAGE 26 • www.asianurbanepicenters.com/?p=3148 • www.straitstimes.com/singapore/world-cities-summit-to-explore-creative-place-making PAGE 27 • Seating and sitting in the V&A: An observational study by V&A Online Journal, Issue No.3 Spring 2011 • www.bbc.com/news/world-us-canada-39083338 • www. sfbetterstreets.org/find-project-types/streetscape-elements/street-furniture-overview/benches-and-seating PAGE 28-29 • https://www.designboom.com/architecture/architecture-outfit-turnstyle-retail-mta-new-york-subway-columbus-circle-08-26-2016/ PAGE 30-31 • https://www.appearhere.co.uk/ PAGE 32-33
• http://www.prinztraeger.de/arbeiten/sommer-am-u-2015/
P E R S O N A L P R O J E C T 62
II MANIFESTO
Memphis Group x NTU Centre for Contemporary Art Singapore (CCA) MANIFESTO
Introduction For this manifesto project, we are tasked to come out with our own manifesto, by selecting a specific artist, and showcase their works as part of a temporary exhibition at the NTU Centre for Contemporary Art. The artist that I have chosen to work on for my manifesto is Ettore Sottsass/ the Memphis Group. First and foremost, we will be selecting a series of their works that we decided to exhibit in the exhibition space and finally the spatial planing and design of the space. When it comes to Ettore Sottsass and Memphis Group’s works, it is all about exploration and combination of the basics (colours & forms). However, the final product is never basic, but one of a kind, which showcases their unique personality and individualism as Memphis and Ettore Sottsass. They have no limitation when it comes to designing and creating, any colours and forms seems to go well on each other. Hence, I will be translating this idea of free play, free thinking and creating into my spatial layout.
M A N I F E S T O 65
Site Analysis HUMAN & VEHICULAR CIRCULATION:
The nearest mode of transport to the NTU Centre for Contmeporary Arts (CCA) is either by buses or train at the Labrador Circle Line station, they usually enter the site through the shelter walkway, which connects bus stop and CCA. On the other hand, those who drive to the site mostly enter from Malan Road through Alexandra Road and park at the carpark situated right behind CCA block.
VEGETATION & SOURCE OF NOISE CCA is generally surrounded by greeneries, they provides shade to nearby buildings, cool down the surrounding and most importantly act as a noise filter that filter away noise from nearby roads. This makes the site extra peace and quiet, despite being surrounded by roads.
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About Ettore Sottsass/ Memphis Group
Ettore Sottsass was born in Austria and grew up in Milan. He was an Italian Architect and Industrial designer. Throughout his life, he focuses on furniture, jewellery, glass, lighting, and office machine design. Products that he created were mainly design statement rather than office machine, that were designed with bright striking colours, geometric forms, and also his own personal expression that he took inspiration from his travel experience to various countries. His works from the 60s and 70s, were experimental collaboration with younger designer. Within this period of time, he decided to stop doing consumerist products, because he felt that his creativity was being stifled by corporate works. In 1981, Ettore Sottsass founded the Italian design and Architecture group in Milan, Memphis. The Memphis group specialised in designing Postmodern furniture, ceramics, glass and metal objects. They often incorporate plastic laminates and was characterised as ephemeral design featuring colourful decorations and asymmetrical shapes. Their inspiration came from the Art Deco movement, Pop Art, and also the the Kitsch & Futuristics style in the 1950s. Their furniture were often described as bizarre, misunderstood, and loathed.
M A N I F E S T O 72
The collection
15 Ettore Sottsass Suspension Daisy lamp, 1981 Coloured plastics/ acrylics, Ø 120 cm Milan, Italy manufactured by Memphis Milano 16 Ettore Sottsass Colonna stool, Calice vase and Pilastro stool (the collection comprise of 6 vases and 2 stools), 2004 Furniture, colored thermoplastic polymer mass and polymer thermoplastic colored body, 46 cm(H), Ø 33cm, 4.2kg Milan, Italy 17 Ettore Sottsass Quoted from one of his interview 18 Ettore Sottsass Ananke, 1986 Murano Glass, 49 cm(H), Ø 10cm Milan, Italy Memphis Milano vetri collection
01 Andy Warhol Ladies and Gentlemen, 1975 Silkscreen, 99 x 69 cm New York published/printed by Luciano Anselmino, Milan/Alexander Heinrici 02 Andy Warhol Mick Jagger 143, 1975 Silkscreen, 109 x 73 cm New York published/printed by Luciano Anselmino, Milan/Alexander Heinrici 03 Andy Warhol Ingrid Bergman 314 (The Nun), 1983 Silkscreen, 97 x 97 cm printed in New York by Rupert Jason Smith, published in Sweden by Galerie Borjeson. 04 Jeff Koons Tulip, 1995 ̶ 1998 oil on canvas, 283 x 333 cm New York Private Collection
05 Jeff Koons Balloon Dog, 1994 ̶ 2000 mirror-polished stainless steel with transparent color coating, 307 x 363 x 114 cm New York Private Collection 06 Richard Hamilton ‘Just What Is It That Makes Today’s Homes So Different, So Appealing?’, 1956 Collage, 26 x 25 cm Kunsthalle Tubingen, Germany 07 Plenty founded by Pablo Alfieri Pop Bumpers for Sony Entertainment Television, 2016 Video, duration: 25s Latin America
19 Ettore Sottsass ‘Carlton’ room divider, 1981 Furniture, Wood and plastic laminate, 10 Sonia Delaunay 195 x 190 x 40 cm Simultane fabric nos. 22 and 15, 1925 Milan, Italy Clothing Textile , 200 x 200 cm manufactured by Memphis Milano Madrid, Spain 11 Jean Dunand A Radio Cabinet, Circa 19730 lacquered wood with gilt-metal legs, 52 x 79 x 28 cm Paris 12 Jacques-Emile Ruhlmann Writing Table, 1925 Macassar ebony veneer and solid mahogany, with a gilt-tooled calf-leather top, 122 x 75 cm Paris, France designed and manufactured by Ruhlmann
13 Eileen Gray Bibendum, 1926 08 Sonia Delaunay Fully upholstered sofa in Syncopated rhythm the Black Serpent, leather and polished 1967 chromium plated tubular steel base, Oil on Canvas, 300 x 131 cm 73 x 90 x 78 cm Nantes, France Paris 09 Sonia Delaunay Simultaneous Dresses (The three women), 1925 Silkscreen, 135 x 190 cm Madrid, Spain
14 Rene Buthaud Art Deco glazed and gilt earthenware vase, 1925 Ceramic, 99 x 69 cm France
20 Ettore Sottsass “I Designed It For Pitagora” Desk, 1987 Brier-wood and pear-wood veneers, marble, painted wood, 72 x 230 x 155 cm Milan, Italy 21 Memphis Group (Peter Shire) Big Sur Sofa, 1986 LacqueredWood and Upholstery, 71 x 211 x 96 cm Milan, Italy manufactured by Memphis Milano 22 Ettore Sottsass Factotum, 1981 Sketches, drawn and produced for Italian furniture firm, Alchymia 23 Memphis Group (Peter Shire) Bel Air, 1982 Furniture, painted wood & coloured cotton fabric, 123 x 108 x 127 cm designed in Los Angeles, manufactured in Milan by Memphis Milano
36 Sarah Parker Shapes, 2012 coloured paper, London photo by Michael Bodiam
24 Ettore Sottsass “Tahiti” Lamp, 1981 Laminate, Metal and Wood, 65 x 38 x 10 cm Milan, Italy manufactured by Memphis Milano 25 Memphis Group (Barbara Radice) MEMPHIS, Research, Experiences, Results, Failures And Successes Of New Design, 1985 Hardcover, 208 pages, 21 x 30 cm London, UK Published by Thames and Hudson 26 Memphis Group Memoire du style Memphis - Book, 1998 Hardcover, 79 pages, 22.5 x 16 x 1.2 cm Hardback Edition manufactured by Memphis Milano 27 Ettore Sottsass Wolf House, Colorado, 1986 Sketches, drawn and built for art dealer Daniel Wolf in Ridgway, Colorado
28 Memphis Group(Alessandro Mendini) AM5, 2004 32 Anais Harel and Nicolas Ocante Hand made carpet in wool, Mobile Art, 2014 200 x 300 cm painted wooden blocks and Handmade by nepalese craftsmen paper strip, 70 x 70 x 140 cm LIFE’S COMMODITIES 2004 collection Paris 29 Memphis Group (George Sowden) 33 Ladies & Gentlemen Studio Drawing For Interior 1, 2 and 3, 1983 Shape Up Lighting, 2014 Silkscreen (serigraphy) on paper, glass, assorted metal, fabric cord, 51 x 71 cm Length varies New York, United States 30 Memphis Group(NathalieDuPasquier) Dont Take These Drawings Seriously: 34 Laura Inat 1981-1987, Geometrics, 2015 Hardback, 320 pages, Digital illustration printed on canvas, 188 x 282 x 33 cm 60 x 45 cm New York, United States Spain published by powerHouse Books,U.S. 35 Álvaro Peñalta, Natxo Ramón and 31 Bahar Yürükoğlu Mariano Bascuñana Flow Through, Plexiberg, 2016 Delta, 2016 layering of materials and acrylic, painted wooden blocks and video projection, paper strip, 40 x 45 x 60 cm 400 x 250 cm Spain Istanbul photo by Natxo Ramón & photo by Ali Taptık Mariano Bascuñana
37 Anais Harel and Nicolas Ocante The [Super] postable, 2014 acrylic, painted wooden blocks and paper strip, 20 x 8 x 18 cm Paris 38 Álvaro Peñalta, Natxo Ramón and Mariano Bascuñana Compass, 2016 acrylic, painted wooden blocks and paper strip, 130 x 130 x 90 cm Spain photo by Natxo Ramón & Mariano Bascuñana 39 Armand Pierre Fernandez ACCUMULATE!, 2016 Poster, 105 x 75 cm United States 40 TERZOPIANO Still Life // Materials and Shapes, 2016 primodial materials (concrete etc.), Milan designed for AUTOPRODUCTION 41 Anny WANG Treatures, 2016 3D Illustration, Copenhagen
M A N I F E S T O 74
Ideation Process SPATIAL PLANNNING I (OPPOSITE PAGE):
Various type of forms and colours are used in dividing the spaces. The idea was quite literal, in terms of extracting random forms out of the others. The spatial circulation between one space to another also does not show much connectivity and relationship.
SPATIAL PLANNING II (THIS PAGE):
The second stage of planning, I have came out with a layout where the main collection will be surrounded by its history explanation and new works. At the same time, I also tried to take the existing windows opening into consideration in designing an interactive play area, for example light and shadow play. However, I find that the spaces in the centre and those at the opening are too isolated, the spaces don’t interact with one another.
M A N I F E S T O 76
SPATIAL PLANNING III (THIS PAGE):   Improving from the previous design, I have drawn a bubble diagram of how the activity area weave in between the exhibition spaces and how both spaces connect and relates to one another.
Interim Design
ARTWORK 35
ARTWORK 39 ARTWORK 32 ARTWORK 36
ARTWORK 31 ARTWORK 33
ARTWORK 34 ARTWORK 40 ARTWORK 41
ARTWORK 37 ARTWORK 38
ARTWORK 30
ARTWORK 24
ARTWORK 22
ARTWORK 26 ARTWORK 21
ARTWORK 27
ARTWORK 17
ARTWORK 29
ARTWORK 25
Black Box
ARTWORK 18
ARTWORK 16
ARTWORK 10
ARTWORK 28
ARTWORK 09
ARTWORK 20
ARTWORK 15
ARTWORK 23 ARTWORK 08
ARTWORK 07
ARTWORK 06
ARTWORK 12 ARTWORK 13
ARTWORK 03
ARTWORK 05 ARTWORK 14
ARTWORK 04
ARTWORK 19
ARTWORK 11
ARTWORK 02
ARTWORK 01
EXHIBITION FLOOR PLAN During this stage of design, the wall partition that layout the circulation have not been fully explored yet as well as the activity area. However, the overall spatial layout and the layout of the artworks are already planned out.
M A N I F E S T O 78
Spatial Planning (Zoning) Exhibition Area : Introduction Exhibition Area : Ettore Sottsass Main Collection Exhibition Area : New Works Activity/Lounge Area
This temporary exhibition is specially design for families with children (between age 6 to 12) and also for teenagers. From the layout you can see that the space is design in a way that when you enter from the entrance, there isn’t any specific route that you have to follow. It allows visitor to explore the space freely without any guidance. The space is also design in a way that it will draw your interest and curiosity to explore the space more. Every turn at a corner is a surprise to the visitors. Meanwhile, the transparent coloured acrylic partition are also added elements to make the space more welcoming and interactive for both the adults and children. It is like a playground that caters for both parties.
Final Design
PLAN PERSPECTIVE
FURNITURE & FITTINGS
LIGHTINGS
Activity/ Lounge Area 5. Kids Smiling Chair & Table Set 6. Bean Bag Seat 7. HIGHTOWER Ayre Upholstered Bench 8. COALESSE CIRCA Round Ottoman
MATERIAL PROPERTIES
Exhibition Area 1. Pedestal with display case 2. Elevated Straight Base 3. COALESSE Metro Bix Bench 4. Ottoman 3-Peice Lounge Stivi
Reception & Waiting Area 9. Transparent Coloured Acrylic Bench
1. Track Mounted Spot Lights 2. LED Stalk Spotlight 3. Recessed Light 4. Strip Uplighting 5. Hanging Linear Pendant Light 1. Painted Gypsum Board Wall Partitions 2. Transparent Coloured Acrylic Walls 3. Glossy Epoxy Floor Coating (in white) 4. Interior Walls Perimeter Painted in Matte White Finish 5. Black Box Painted in Matte Black Finish M A N I F E S T O 80
Sectional Perspectives
SECTION A-A
SECTION B-B
Spatial Perspectives
PERSPECTIVE 1 | ACTIVITY AREA SURROUNDED BY EXHIBITION SPACE
PERSPECTIVE 2 | EXHIBITION SPACE M A N I F E S T O 82
III THE OFFICE
Apartamento x Cabinet x AA Files magazines OFFICE DESIGN
Introduction   At the start of the office design project, we are given 3 clients to start with, who are from three different magazines publisher, they are Apartamento, Cabinet, and AA Files respectively. After the first stage of research and identifying the unique traits of each magazine, I have came out with multiple spatial collages and models experimentations. Subsequently, we are suppose to choose one of the three magazine to work on and to incorporate the design elements and language into an actual office space.   The site is situated at a mixed-use commercial-residential building in Chinatown, which takes about a 5 minutes walk from the MRT station. The office space itself belongs to WY-TO Architect, and we are tasked to transform the space based on the selected magazine publisher.
T H E O F F I C E 85
Clients Research:
i. Apartamento ii. Cabinet iii. AA Files
Client I:
apartamento Founded in 2007 based in Barcelona, Spain. Currently, Omar and Nacho are shairng an office in Barcelona, where the rest of the team work from the other parts of the world. As they believe that “... the greatest thing for a company as a group of people is that it can be completely decentralised.” Besides publishing the apartamento magazine, the team also holds other job position. For example, Marco works as a design consultant, Omar a graphic designer, and Nacho as a photographer. the team: Omar Sosa, Founder & Art Director (Barcelona based) Nacho Alegre, Founder (Barcelona based) Marco Velardi, Founder & Editor-in-Chief (Milan based) Victor Abellan, Business Partner (New York based) Robbie Whitehead, Managing Editor Varda Sokolowicz, Distributor Maddie Willies, Text Editor
sentences & phrases quoted from interviews & articles: • “... he and his team are interested in the everyday aspects of living and also the way people actually exist in their spaces and their development over time, not just the colour paint on their wall.” • “ A real living is made from living, not decorating.” • “ It happens, not through perfection but by participation.” • “... he is constantly playing with the layout of his space, amassing decoration and the pieces of furniture.” • “ Omar’s desire to move seemingly comes more from his passion for changing and developing spaces rather than inhabiting a single and static environment.” • “ The whole thing has a strong sense of humanity, linking homes to the people who live in them through their narratives, emotions, and lived experiences attached to their objects and interiors.” • “It remind us that we need to always try new things and never stop experimenting.”
T H E O F F I C E 88
Collage I
Collage II
Collages COLLAGE I (OPPOSITE PAGE):
On first impression, it seems like apartamento is presenting to us a variety of homes from various individual, where they are trying to illustrate cosiness in their own terms
COLLAGE II & COLLAGE III (OPPOSITE PAGE & THIS PAGE):
However, that’s not all, from all the artist that they have documented, what they are most interested in are all the small little details, for example their choice of furniture and objects and their placement. As a result, I have created a collage to show the quirkiness in the choice and combination of furniture. The type of decorative tile flooring used in Collage II & III was based on the magazine’s origin, Barcelona. This decorative tile flooring are quite common in most Barcelona homes. Collage III
T H E O F F I C E 90
Concept Model The purpose of the model is to illustrate the possible relationship between human interaction and the space. Omar once said that things only happens through participation. He also preferred an ever-changing layout as compared to a static environment. Hence, the translucent colour paper act as a fabric or partition, that allow users to rotate and move it in order to change the layout of the space. The reason for using translucent paper is to encourage users of the space to interact with one another.
T H E O F F I C E 92
Client II: Founded in 2000 as a non-profit organisation, based in Brooklyn, New York. Their vision is to forge a new type of magazine that is designed for the intellectually curious readers of the future, meanwhile still looking into the previous tradition of well-rounded thinker, especially when the current society is in an age of increasing specialisation. the team: Sina Najafi, Editor-In-Chief Jeffrey Kastner, Senior Editor D. Graham Burnett, Editor Christopher Turner, Editor Brian Dillon, UK Editor Jessica Green, Art Director Kelley Deane McKinney, Associate Director Julian Lucas, Associate Editor Evdoxia Ragkou, Editorial Assistant Ryota Sato, Digital Artist-in-Residence Ryan O’Toole, Website Director Luke Murphy, Website Directors
sentences & phrases quoted from interviews & articles: • “We wanted the theme to be broad and open enough that we could really go into every field of knowledge and culture ̶ the themes could not be associated with or specific to any particular disciplines.” • “ We wanted a very neutral box or container, so that all the various voices would come through as strongly as possible.” • “There was a need for this magazine because art magazines were basically interested in the finish work and often left out the other stuff like sociological, scientific, anthropological, historical and politicl material.” • “We felt that there were many ways of encountering artworks.” • “The magazine has in part about an exuberant encounter with things of interest, rather than critique, judgement, and tastemaking.” • “... knowing many small things, but does so by offering the work of many people who know one.” • “... Cabinet is designed to encourage a new culture of curiosity, one that forms the basis both for an ethical engagement with the world as it is and for imagining how it might be otherwise.”
T H E O F F I C E 94
Collages COLLAGE I (THIS PAGE): When I first read cabinet magazine, it gaves me the idea of cross-disciplinary knowledge and contents. The content can be about anything, from science to history, the content is unlimited. Thus, I created a collage with the combination of furniture and decoratives that are of different style to represent the multi-disciplinary content.
COLLAGE II & COLLAGE III (OPPOSITE PAGE): From Collage I, apart from IKEA furniture, I have widen my choice of furniture to a variety of different style (Collage II). However, the apartamento and cabinet collages looks very similar in the final outcome, and cabinet’s characteristic is not well shown and not distinct enough. Hence, for the third collage, I aim to show the quirkiness in its characteristic from small little details like the individual decoratives.
Collage I
Collage II
Collage III
T H E O F F I C E 96
Concept Model This model aims to show the process and encounters along the journey of realizing and uncover the content(s) that might spark one’s interest. Similar to Cabinet magazine, every single stories are something that we might not expect, because their stories can range from Greek history to even landscape contour. Hence, the use of translucent screen together with a light source is to create the sense of curiosity of what is behind the screen. Different sizes of the frame represents the variety of contents that Cabinet provides.
T H E O F F I C E 98
Client III: AA Files is the Architectural Association School of Architecture’s journal, which is launched in 1981 by the AA’s then Chairman, Alvin Boyarsky. The publication is developed and produced by the John Morgan Studio since its first issue. There is a total of 2 issues being published a year, and sent out to members of the Architectural Association. the team: Alvin Boyarsky, Chairman Thomas Weaver, Chairman/ Main Editor Mary Wall, Editor Mark Rappolt, Editor David Terrien, Editor
characteristics: • Conceived and written as essays not academic papers • The journal encourages writing that privileges ideas over references, an originality of argument over the reiteration of existing positions • The title explore developments in architecture, engineering, landscape and urbanism, as well as the fields that touch on them – philosophy, history, art and photography • Founded as a means of examining influential contemporary projects and opening up ideas to debate • No issue is themed • Content: ̶ Writerly model of scholarship, criticism, and investigation ̶ Works from exhibition and events within the school ̶ Rich and eclectic mix of architectural enquiry from all over the world
T H E O F F I C E 100
Collages COLLAGE I, II, & III (OPPOSITE PAGE):
For one who does not have the knowledge in the Build Environment Sector, they will find AA Files difficult to understand. AA Files actually requires an individual to have the relevant knowledge in order to understand the content itself. Hence, the readers of this magazine are mostly students and specialists, who specialise in this sector. As the role of an individual who is not in this sector, I created their point of view of AA Files -- strict, formal, unfamiliar. Thus, for the three collages, I have used a uniform color scheme, black , to bring out the strict and formal atmosphere. On the other hand, still using some furniture with softer texture to soften the whole space, so it will still trigger the readers’ curiosity and interest to learn.
Collage I
Collage III
Collage II
T H E O F F I C E 102
Concept Model The model portrays as the content of the magazine, showing how different group of people would react to the content of the magazine (or how wthey sees it) The black exterior represents dull, empty, and plain, which is how the non-field related group of people will see it. On the other hand, the colourful interior represents rich, exciting, and heaven, which is how field related group of people sees it.
T H E O F F I C E 104
Final Office Design:
Apartamento
Ideation Process (stage 1) Apartamento’s ideolody of a living space is one that is about, ̶ the interaction between people & spaces ̶ the evidence of human occupation in a space ̶ how the user of the space modify their own space The space “showcase” them as who they are and their way of living. Every little details in their living space reflects them as an unique individual and tells a story about them. Therefore, I aim to recreate and incorporate the elements in this kind of living into a shared office space, where everyone can feel at home and comfortable at every corner of the office.
T H E O F F I C E 107
Spatial Planning (stage 1)
  I want to create a storefront that reflects the magazine --the cosy and homely feeling, where every little things are so personal, intricate and unique to an individual. The relationship between people and spaces are presented at a very personal level, every furniture, decoratives, and details are placed and arranged that holds certain meaning and story.   For that reason, the lounge area is placed in this arrangement, giving visitors the first impression of the magazine. As for the overall workspace, it is a combination of the lounge area, waiting area, and the actual workspace itself. Creating a home-like living space where every corner can be your workspace.
T H E O F F I C E 109
Spatial Planning (stage 2)
In my own term, an office is a place where people gather, collaborate and do work together. However, Omar thinks that a working space can be completely decentralized, where you can work from where you are, be it at home or in a cosy cafe or other spaces that you find comfortable. As a result, I have plan out a space based on the theoretical framework of decentralizing a workspce, where they are allow to work at different corner of the office that they find comfortable. For example the Lounge/ Waiting area and Work space, every corner have a different atmosphere for them to choose from.
However, the outcome appears that the spaces lack of connection and the spatial circulation from the exterior space to the interior space do not have that fluency. Besides the spatial circulation, the potential views from the interior out were not taken into account too.
T H E O F F I C E 111
Spatial Planning (stage 3)
In order to have a smoother spatial circulation and having a view out at every sitting corner, diagrams were drawn to see the relationship between these two. Subsequently, the arrangement of furniture were shifted and re-arranged. Nevertheless, connection between each spaces were also taken into account through the positioning of furniture and having wall openings instead of a physical door which break the flow within the space.
01
02
03
01 Spatial planning (further improvement with amendments) 02 Spatial circulation and relation diagram 03 Potential views and openings diagram
T H E O F F I C E 113
Plan Perspective (final design)
Sectional Perspective (final design)
T H E O F F I C E 115
IV SENSING SPACES (THE ARTS HUB)
The FLOW Arts Hub x National Arts Council Singapore ARTS HUB
Introduction The aim of this project is to provide the opportunity to explore architecture spaces and experiences instilled in the life of the community. For this project, we will be working with the National Arts Council (NAC) of Singapore to transform an existing 2-storey hostel into a community Arts Hub, where it can engage people from all age groups and races to partake, discover, learn, and create the Arts. NAC aims to “bring the Arts to where people work, live, and play”, by collaborating with artists, corporations, and community partners through various art related programme. The Arts Hub itself is located at Chinatown, where the users of the area are mainly the elderly, as well as a handful of tourists. So in order to cater to the users of the area and also people of other age groups, a wide varieties of activities will be held to cater to the community.
T H E A R T S H U B 117
Site Analysis Given Plot Ratio / 1.4 Total Gross Site Area (MAX.) / 4327.42 m2 Gross Floor Area Allowable / 6058.39 m2 Total Gross Floor Area / 5426.40 m2 Land use / Commercial Existing Building Height / 7m New Building Height / 13m The given site is located at Chinatown, flanked by Eu Tong Sen Street, the major road in Chinatown, Pearl’s Hill Terrace, which cut across Chinatown. The strategic site location provide us the opportunity to develop and further improve the current site into a lively gathering node to engage people of all age group in discovering and learning Arts. People gathered at the site or Chinatown are mainly people who lives in the area. Current site issues: 1. lack of vibrancy 2. under utilized, activities only catered to people living in the hostel 3. lack of physical connection between the lower barrack and Pearl’s Hill
(tracing paper insert)
1. Human & Vehicular Circulation
2. Views
3. Green Pockets
4. Solar Analysis
The main circulation is along the Eu Tong Sen Street and Pearl’s Hill Terrace. Hence, the existing entrance of the site act as a node, which provides a good opportunity for them to access the site.
The site itself is surrounded by greenieries, where a few of the trees are conserved and those along Eu Tong Sen Street act as a barrier between the buzzing street and the site.
The views around the site are generally quite pleasing with the presence of lush greenieries along the Pearl’s Hill and along the boundary of the site.
The sun path provides natural sunlight to the site throughout the whole day. The building itself also helps to cast shadow to the outdoor gathering area from direct sunlight.
5. Wind Analysis
The prevailing wind direction is from the SSE & WNE direction, which guide through the building freely with out any blockage. T H E A R T S H U B 120
Stimuli & Design Concept:
Chinese Palace Lantern   A prominent feature of the Chinese Palace Lantern is the sinuous dragon motif, acting as the driving inspiration of The Flow Arts Hub @ Chinatown. It showcases the delicate and graceful craftmanship of the Chinese culture and history, whihc involves a laborious amount of time and effort to produce. These motifs that are crafted on the lantern, which are insoired by the movement of the dragon, stands out from modern simplified chinese lantern.   The dynamism and fluidity of the dragon motif is translated into the circulation within the arts hub. A meandering corridor wraps around the building, allowing the visitors to experience the flow as they transition from one space to another. The curtain walls imitate the translucent paper materiality of the lantern, while the undulating movement of the dragon motif becomes part of the façade skin.
Famous for the delicate and graceful craftmanship, where its motifs are inspired by the movement of dragons.
T H E A R T S H U B 122
1st Floor Plan LEGEND
1. Guard House 2. Drop-Off Point 3. Foyer 4. F&B Area 5. F&B Kitchen 6. Outdoor Amphitheatre/ Stage 7. Ceramic Studio 1 8. Ceramic Studio 2 9. Retail Space 10. Lantern Crafting Studio 1 11. Lantern Crafting Studio 2 12. Lantern Crafting Studio 3 13. Lantern Crafting Studio 4 14. Wood Carving Studio 1 15. Wood Carving Studio 2 16. Wood Carving Studio 3 17. Lantern Painting Studio 1 18. Lantern Painting Studio 2 19. Lantern Painting Studio 3 20. Substation 21. Bin Centre
T H E A R T S H U B 124
2nd Floor Plan LEGEND
1. Management Office 2. Semimnar/ Meeting Space 1 3. Semimnar/ Meeting Space 1 4. Semimnar/ Meeting Space 1 5. Semimnar/ Meeting Space 1 6. Music Room 1
7. Music Room 2 8. Music Room 3 9. Outdoor Seating Area 10. Music Room 4 11. Multi-Purpose Studio 1 12. Outdoor Viewing Deck/ Activity Space
3rd Floor Plan LEGEND
1. Multi-Purpose Theatre/ Hall 2. Stage 3. Male Dressing Room 4. Female Dressing Room 5. Storage Room 6. Visual & Acoustic Control Room
7. Link Bridge to Pearl’s Hill Terrace 8. Black Box 9. Gallery/ Exhibition Space 10. Multi-Purpose Studio 2 11. Outdoor Viewing Deck/ Activity Space
T H E A R T S H U B 126
Basement Plan LEGEND
1. M&E Rooms 2. Car Park
Roof Plan
T H E A R T S H U B 128
T H E A R T S H U B 130
Rendered Perspective
View from drop-off point/ entrance
View from outdoor viewing deck
T H E A R T S H U B 132
View from multi-purpose theatre/ hall
Exploded Axonometric
T H E A R T S H U B 134
Actual Site Model
T H E A R T S H U B 136
V POP-UP PAVILION
RIBBON Pavilion ARTS HUB
Introduction   This primer project, the Ribbon Pavilion, is a temporary pop-up pavilion that will be situated just beside the Arts Hub. The purpose of the pavilion is to raise awareness for the Arts Hub before it even opens it doors to the public. There will be a series of activities that will help to promote the available classes and activities at the Arts Hub, that allows the visitors to experience and know more about the Arts Hub. The design language of the pavilion will be incorporating a similar design language as the Arts Hub.
P O P - U P P A V I L I O N 139
Conceptual Ideas:
Dragon Lantern Dance The concept for this Ribbon Pavilion is derived from the Dragon Lantern Dance . It illuminates during the night and moves in a sinuous and undulating manner. Hence, the circulation in the Ribbon Pavilion is designed in a way that it mimics the movement of the dances (Figure on the Right) to give users the spatial experience of being in a moving dragon. The space will be placed in a way that the Activity Area is the main space, which act as the “core of the lantern” to light up the whole pavilion and it also occupies the largest area. Other spaces will then surround the main space, so that users are able to over look the Activity Area. Ribbon is used as part of the design concept, which is similar to the flow & movement of the Dragon Lantern Dance. The ribbon that wrap around the spaces act as a guide for the users who are going through the space.
P O P - U P P A V I L I O N 141
SITE PLAN/ ROOF PLAN
GROUND FLOOR PLAN LEGEND 1. Exhibition Hall 2. Activity Area 3. Retail Stalls 4. Cafe & Bar 5. Washroom
P O P - U P P A V I L I O N 143
FRONT ELEVATION
SECTION A-A
P O P - U P P A V I L I O N 145
P O P - U P P A V I L I O N 147
P O P - U P P A V I L I O N 149
VI PERCEPTION
Perception @ Atrium PERCEPTION
Introduction   In this project, we have to transform an existing space in Ngee Ann Polytechnic, the Atrium, into an event space where schools can use it to promote their course. For instances, we have interviewed two lecturers from the School of Design & Environment and School of Film & Media Studies to know more about the school needs and requirements if they are to hold an event at the atrium. Following this, I will derive with my own concept design and incorporate the needs and requirements into the final outcome.
P E R C E P T I O N 152
Site Analysis PROS: - Presence of natural daylighting - Many seats available - Good cross-ventilation - Pleasant view out of the lush greeneries - Large empty space, able to hold events & activities of different sizes CONS: - Dark areas, those that are away from void & entrances - Getting from one point to the other require longer route, placement of stairs at wrong area - Bad acoustic, Noisy and loud echoes - Space not fully utilized
Gathering Spaces: The users of the space are usually more attracted towards the food stores, such as Toast Box and Splash. The second most popular space is around the steps, where there are plenty of chairs and tables for students to gather in groups. Views: There is a garden view right beside the atrium filled with lush greeneries. Activities: 1. Purchasing refreshments from vending machine 2. Eating lunch at the food stores 3. Doing project or having discussions 4. Withdrwal of money from ATMs 5. Socialising with friends 6. Occasional events (E.g. CCA camps, exhibition)
P E R C E P T I O N 154
Client needs/ requirements School of Design & Environment: 1) Exhibition will be held once a week 2) 10 sets of layouts and models from final year students will be exhibited 3) Space for counselling and exhibition is required. 4) Focal lighting needed for models 5) Furniture needed for counselling area and in demonstration workshops. 6) Exhibition mainly for students, about 100 pax for an open house 7) Conference room and refreshment area for guests 8) Both an open and enclosed space needed for exhibition and counselling respectively. 9) Exhibition space is to be shared by all DE courses. 10) Basic equipment such as lighting, computers, projectors and speakers are needed 11) Background music to make the place more lively 12) Different entrances for the exhibition hall to ease human traffic 13) Neutral colours to be used for the space, incorporated with greenery.
School of Film & Media Studies: 1) Holds exhibition once a year for graduating batch 2) Screening of Films, displays of banners will be held to promote student films and the course 3) General illumination for surroundings and lightings to attract people for the exhibits 4) Enclosed space for screening works, visible public area for access 5) Interaction space required 6) Seating furniture required for resting purposes during screening time 7) Exhibition area of 100m2 required 8) Storage space needed for banners and screens 9) Equipment such as projectors, speakers and iPad are required.
Concept Design I derived with my concept design by exploring spatial needs by different users. When we are in a space, everyone tend to have very different definition on how we actually define or perceived a space. Therefore, I decided to work on how your preference of a space affects your overall spatial experiences. For instances, how the atmosphere of a space can be change within a same space. Possibly by adjusting the forms, openings, and spatial arrangement, which might play a huge role in affecting your overall experiences. For that reason, I planned to create a design that allows you to see and experience a different kind of perspective within the same space.
P E R C E P T I O N 156
SITE PLAN LEGEND 1. FMS exhibition space 2. Outdoor cafe/ refreshment area 3. Blackbox 4. Counselling/ Meeting room 5. DE showcase/ workshop platform 6. DE exhibition space
SECTION A-A (ACROSS FMS EXHIBITION SPACE)
SECTION B-B (ACROSS DE EXHIBITION SPACE)
P E R C E P T I O N 158
View from entrance
Aerial view
P E R C E P T I O N 160
DE exhibition space & showcase/ workshop platform
FMS exhibition space
P E R C E P T I O N 162
Choice of Furniture
SPOTLIGTHING
PENDANT LIGHTING
Material Board
CONCRETE FLOORING WHITE PLASTERED WALL
WOODEN FLOOR PLANK
TURF LAWN