NUSARCHI_PORTFOLIO [Y1S1]

ARCHITECTURE_ PORTFOLIO " AY 2 0 2 0 // 2 1 "

A C O L L E C T I O N OF WORKS by D A R R E N T E O WEI JUN Y1_S1 NATIONAL UNIVERSITY OF SINGAPORE [B.ARCH | DESIGN01]

[A0216393A] STUDIO_WUYENYEN

"SEEING..

THINKING..

MAKING." ." [ DESIGN_ONE ] AN INTRODUCTION TO BASIC DESIGN CONCEPTS | METHODOLOGIES | ARCHITECTURAL REPRESENTATION

2_70

In DESIGN ONE, we were introduced to a wide range of architectural ideas, ranging from traditional representation and Singapore architecture, to emergent trends operating on the frontiers of data-driven and digital techniques in the field of design today.

Ideas of space, form, proportion, composition, and order were examined and explored. As foundational design components, these provided requisite grounding in developing a visual language through practices of drawing, sketching, and model-making.

We were also introduced to ways of understanding and responding to information and data, and the ab-

straction of architectural ideas in the production of architectural drawings and three-dimensional scale models. As a result, we could evaluate such representations as part of the fundamental process and methodology of contemporary computational design, and as an extension of traditional methods of gathering and analysing information.

DESIGN ONE is about imparting ways of seeing, thinking, and making through graphical and formal vocabularies and introducing a variety of ideas on approaching design, expression and representation.

This allows us to explore our own way of making that exemplifies our thoughts on space and architecture.

70_3

4_70

CONTENTS [ TOPIC A ] Katsura Imperial Villa _ Exercise 1 Maison Cook | Schroder House _ Exercise 2 Golden Mile Complex _ Exercise 3 [ TOPIC B ] Dome| Pavilion [ TOPIC C ] Infographic _ Exercise 1 Continuous | Discrete_ Exercise 2

70_5

TOPIC A_EX 1 "KATSURA IMPERIAL VILLA" TO DISCOVER orthography | order | geometry | axis rhythm | symmetry | hierarchy | repetition proportion | scale | metaphors THROUGH [ CLASSICISM ] WITH hand mechanical drafting of PLAN, SECTION, ELEVATION

6_70

Through the observation and exploration of plans, elevations and sections of the Katsura Imperial Villa, we were able to extract ordering principles through astute analysis, which were then layered on with annotational linework over the projection drawings. The use of light and shadow through pencil work, depth and transparency through shading and hatching, represented our analyses on the Villa with more clarity and articulateness.

As a result, we are able to identify the guiding principles of this building as well as ideological correlations between composition, proportion and a higher order.

70_7

ANALYSIS_01 [PLAN]

DESIGN CONCEPTS

CONNECTIONS TO NATURE

A key concept of Japanese architecture is its gardens. This is exemplified in:

V1

V2

MODULARITY

Vertical and horizontal units that are modular (Fusuma doors, Tatami mats, Shoji screens) allow for seamless and harmonious expansion of the villa.

CUSTOMIZATION OF SPACE

Usage of Fusuma doors instead of fixed walls allow for customization of space to cater for different functions as well as to create more unique spatial experiences as seen in:

D

E

F

Additionally, Tatami mats placed in similar directions across rooms create a uniform-looking space when doors are opened.

Opening/closing doors can create different nature viewing experiences.

Mats arranged in similar directions allow rooms to appear bigger and deeper.

SUN-SHADING

CLOAKED IN THE SHADOWS

Areas of importance are shaded throughout the day as the Villa’s longer side if constructed along the Sun’s path.

Activities held in these areas are enhanced, bringing more meaning to the experience, as seen in:

S1

8_70

S2

The staggering of the building form allows for a panoramic view of the garden from the New Shoin.

The darkness heightens the sensors and brings focus to the act of making/drinking tea, allowing guests to fully appreciate its subtleties. In combination with nature, the experience proves to be meaningful and introspective.

SUN’S PATH

Doors inbetween rooms can be opened to expand space for bigger receptions.

Door 1 can be left closed to create a private room away from the main audience halls. Doors 2 and 3 can be opened/closed to cater to larger/ smaller functions. There is only one charcoal brazier, which can be shared if the doors were opened.

Door 1 can be opened to create a bigger room for bigger moon-viewing events. Doors 2 and 3 can be opened to combine the audience halls with the waiting rooms.

The darkness within the Villa along with the Shoji screens help frame a clear and beautiful view of the garden.

70_9

ANALYSIS_02 [PLAN]

CIRCULATION

SOCIAL HIERARCHY

Social hierarchy can be observed upon analysis of circulation routes and zoning.

Servants Guests Emperor Garden can only be appreciated along Guests’ and Emperor’s paths.

ZONING BY FUNCTION Spaces are planned and zoned clearly with their functions considered.

A

Emperor’s Residence, tucked away at the corner the villa, ensuring priva- cy and exclusivity.

B

Servant’s Quarters, situated in the middle of the New Shoin and Middle/ Old Shoin so as to effectively and effi- ciently serve guests/Emperor.

C

Main Guest Building situated at the front-facing the garden to connect guests to nature.

Legend: 1. Small Dressing Room 2. Bath 3. Ante Room 4. Main Dressing Room 5. Bedroom 6. Closet/Store 7. Study 8. Reception/Sitting 9. Kitchen 10. Audience Halls 11. Waiting Room(Servants) 12. Entrance Hall 13. Entrance 14. Waiting Room (Guests) 15. Moon-Viewing Platform

10_70

70_11

ANALYSIS_03 [ E L E VAT I O N ] HEIGHT OF ROOFS

Roof height reveals hierarchy relating to the importance of certain areas in the Villa.

GREATEST IMPORTANCE

A

B

LEAST IMPORTANCE

C

SHOJI SCREEN TYPOLOGY

Shoji screen of different designs are used for rooms depending on their functions and purposes, as depicted in:

1

2

BUILDING GROUND

3

CONSTRUCTED

ABOVE

This prevents mold build-up during humid seasons, and in combination with engawa, provides inhabitants with a great overall view of the garden from a greater height.

12_70

A B C

70_13

NEW SHOIN MIDDLE/OLD SHOIN

SERVANTS/WORK AREAS

ANALYSIS_04 [SECTION]

ENGAWA (THE PORCH/VERANDA) Technically not inside the building, but still considered part of the Japanese house, the Engawa blurs the distinction between outdoors and indoors, connecting its users with nature.

In the villa, the Engawa sizes are determined by its orientation to the garden, as seen in:

E1

E2

INTERACTION BETWEEN SPACES Spaces can be expanded by opening Fusuma doors to create bigger spaces for bigger functions, or closed to create private rooms away from the main event.

Examples can be at:

S1

S2

BUILDING GROUND

CONSTRUCTED

ABOVE

The Villa’s floor is elevated above ground, enhancing viewing experience into garden.

Examples can be at:

V1

14_70

V2

E1 marks the widest Engawa in the Villa as it is right in front of the garden; wider than E2 which is mainly used for circulation.

Private spaces can be created for more formal/important discussions or meetings.

Even if the viewer is sitting, the garden can be viewed at eye-level, allowing panoramic appreciation of the garden along the horizon.

An expansion of spaces across audience halls to create bigger rooms for bigger rooms for bigger functions/ events. In this case, the charcoal brazier can be shared between rooms.

70_15

16_70

70_17

18_70

70_19

TOPIC A_EX 2 "MAISON COOK | SCHRODER HOUSE" TO DISCOVER form | space | movement structure | sequence tectonic & stereotomic THROUGH [ MODERNISM ] WITH hand mechanical drafting of EXPLODED AXONOMETRIC PROJECTION and MODEL-MAKING

20_70

Model-making was introduced as a method of thinking and understanding of the selected precedent. After the analysis of both Maison Cook and Schroder House, we translated our readings of the projects into 2 exploded axonometric drawings that are most representative of our assessment. The architectural content of the drawings presented views that exemplified aspects of the building that we have identified to be the strength/key focus of the projects.

Both drawings were also composed in a way that provided value to the comparison between both projects.

As a result, what was produced were a carefully and thoughtfully constructed and composed set of drawings that best articulated the stated design intentions of the architects that could be compared and directly for productive discourse.

70_21

A N A LY S I S _ C O M P A R I S O N " M A I S O N C O O K " [LE CORBUSIER] " S C H R O D E R H O U S E " [GERRIT REITVELD] A side-by-side comparison of the analysis of two Modernist homes in regards to: facade/composition presence on site direction of expansion of space structure form circulation zoning of functional spaces connection to nature

[FACADE & COMPOSITION]

[PRESENCE ON SITE]

[EXPANSION OF SPACE]

[STRUCTURE]

22_70

[FORM]

[SEQUENCE]

[MOVEMENT]

[ZONING]

[CONNECTION TO NATURE]

70_23

24_70

In Maison Cook, Le Corbusier exposes the occupants to various curved forms located along the house’s main circulation paths. These seemingly-sculptural forms serve as a testament to the genius of his Free Plan concept, reminding those that encounter them of the capabilities that come with designing through his 5 Points of Architecture.

[LE CORBUSIER]

"MAISON COOK"

CIRCULATION_SEQ U E N C E

70_25

26_70

[GERRIT REITVELD]

"SCHRODER HOUSE"

A L T E R N A T I I N G _ C I R C U L A T I O N In contrast to its erratic and eccentric facade consisting of overlapping orthogonal elements such as lines and planes, the circulation around the house is mainly radial in nature. The flow of movement is governed by the central spiral staircase and can be altered on the second floor depending on the configuration of the living space. Should the partitions be opened, the circulation on the second floor is similar to the first, being that most if not all movement returns to an origin point: the stairwell. However, once the partitions are closed to create a larger living space, circulation is altered to revolve around the spiral stairs instead.

70_27

28_70

70_29

30_70

[LEVEL 1]

[LEVEL 2]

[LEVEL 3]

[LEVEL 4]

70_31

TOPIC A_EX 3 "GOLDEN MILE COMPLEX" TO DISCOVER interiority & exteriority | context | approach sequence | interior space | exterior city private & public | perspectival manipulation | sequential vignettes THROUGH [ EARLY INDEPENDENCE SINGAPOREAN ARCHITECTURE ] WITH SITE VISIT, hand mechanical drafting of SECTIONAL PERSPECTIVE, RHINOCEROS6 on setting up perspectives

32_70

Moving on from buildings of less than 5 floors, in Exercise 3 of Topic A, we are faced with a megastructure of immense scale.

Through an analysis of Golden Mile Complex, we are to develop a keen sense of experiential, phenomenological and social understanding of the space as well as the people whom they serve. After formulating our own analysis of the architect's design intent, sectional perspectives with views we deem to best encapsulate the strongest instance of contrast in sequence, interiority/exteriority

or perception is to be constructed.

The final composition of the sectional perspective should express relationships between spaces, especially in the case of a megastructure like Golden Mile Complex, as well as express qualities of spaces in relation to other spaces.

70_33

ANALYSIS_ [SEQUENCE] IN TER IOR | E XT ER IOR

Walking through Golden Mile Complex, a visitor is constantly in transition between spaces that are interior and exterior, with some spaces that possess attributes of both.

Entering the building suggests moving from the exterior into the interior, but within the complex is the center of activity full of hustle and bustle from the shops and eateries, blurring the line between interior and exterior.

The visitor enters the small lift that takes him upwards to the playdeck. Here he transits from interior back to exterior.

Moving into one of the residential units, the visitor enters an interior, more private space. But once he steps out to one of the many balconies on the stepped terrace, he is once again brought out to the exterior.

34_70

[ B R U TA L I S M ] LI G HTN ESS IN C ONC R ET E

There are key elements present in this brutalist megastructure that enable it to appear lighter and airier despite its size and materiality.

Introduction of the stepped terrace effectively cuts overall building volume into half, reducing its size

Constructing the central atrium that cuts diagonally through the building allows for visual connection to the sky.

The stepped terrace allows for columns to be exposed, emphasising on the building’s lightness

[ S PAT I A L _ R E L AT I O N S ] A SER IE S OF C O NNEC T IO NS B E T W E E N S PAC E S As a building of such immense scale, it is difficult to analyse as a whole structure. The building is hence instead looked at by breaking it down into parts of a whole.

The approach to the structure is defined by the clear difference in scale as seen in comparison between building and street-level.

At the heart of the structure, two spaces with different ambiences and atmosphere; two different worlds separated by nothing more than a thin sheet of metal

Visual connection between private and public, with some private spaces more exclusive than others.

Exposure to the exterior and an inhabitant’s neighbours, presenting the complex as a community.

70_35

36_70

70_37

TOPIC B "DOME | PAVILION" TO DISCOVER site | context | human movement human engagement | tectonics connection | detailing | materiality THROUGH [ PARAMETRICISM ] WITH MODEL-MAKING, computer-aided design in RHINOCEROS6

38_70

In this topic, we were introduced to the concept of parametricism: namely module, unit, field and variations of module through transformation.

We further learnt that designing in a digital environment neccessitates a constant toggling to its physical reality, where overall strategy and form must be balanced and informed by actual performance, gravity and structural detail, in a constant iterative process.

envelope of dome and bridge for initial visualisation. However, these modules have to be tested in the actual physical building of models to demonstrate that the design can withstand loading (point load of 1kg/spread load of 2kg). The toand-fro process of design and testing is to be expected and forms part of the learning process.

RHINO6 was introduced as a modelling tool to explore modular design and to populate modules into an overall

70_39

STEP 01_ "MODULE EXPERIMENTATION" [TESTING: MODULES + JOINERY] Through rigorous experimentation and research, my team has finalised our module choices down to four. Witin each module type, we experimented further with different joinery/construction methods in order to create and select the module that would perform the most efficiently under load.

Modules were initially made with balsa wood for its softness to allow for easy experimentation and construction.

After further experimentation, we decided on the selected module for its ability to take advantage of the axial strength of the wood, as well as strength when forming a cluster.

40_70

[Module_Type01]

[Module_Type02]

[SELECTED]

[Module_Type03]

[Module_Type04] 70_41

STEP 02_ "VARIATION OF PARAMETERS" [ C R E AT I N G M U LT I P L E VA R I AT I O N S ] Upon selection of the chosen module and system of joinery, we set out to vary the parameters of the cuts etc. to create variations of the module, so as to serve the different functions and brief of the bridge and pavilion.

To increase the strength of both structures, the initial balsa wood used for experimentation was replaced with basswood.

Additional variations of the module were introduced to create a truss for the bridge, preventing deflection. A new clip module was introduced to the pavilion to ensure proper distribution of force.

42_70

[PAVILION_VARIATION]

[BRIDGE_VARIATION]

[TRUSS_VARIATION]

[CLIP]

70_43

STEP 03_ "POST RATIONALISING" [IN CONTEXT TO SITE] With our final selected module, along with its variations, we were able to construct the pavilion and bridge which managed to fulfil the requirements of the brief as well as support load with a high efficiency.

Following the success of our structures, we were to insert them back into their given sites. The structures were then positioned and adjusted so as to fully conform to the present site characteristics.

44_70

[VIEWS] Movement from the bus stops to SDE3 would allow for views into the building through the permeable pavilion.

[CIRCULATION] Majority of people entering the pavilion are students of SDE. The pavilion would facilitate movement from the bus stops to SDE3 and SDE4.

[WIND] The site faces the atrium in SDE4 which brings in a strong sea breeze throughout the day.

The breeze passes through the bridge due to its form

[CIRCULATION] The bridge connects SDE3 and SDE4, facilitating movement to different classrooms. THe flat horizontal portion of the bridge allows for efficient and objective movement from building to building.

70_45

46_70

70_47

48_70

70_49

TOPIC C_EX1 "INFOGRAPHIC" TO DISCOVER method | time | infomation processing computational design thinking THROUGH [ DATA INFORMATION SYSTEMS | INFOGRAPHICS ] WITH computer-aided design/hand mechanical drafting

50_70

The objective of this exercise is to introduce information systems and the methods of how they can be represented through another language suntax that then can be coded into form, through methodical, systematic translation.

The information should not directly relate to architecture. This found information is to be reproduced in our own “code� language through drawing, developing a strong sophisticated legend by setting their own prarameters that are able to code all aspects of the found infor-

mation. We are to design the way in which each of the parameters demonstrate its intrinsic value and how best a consistent language of penned line work with differentiated, coded syntax can capture the entirety of the information, presented on a single drawing.

70_51

NON-LINEAR NARRATIVE_ 2 SEQUENCES "MEME N T O" [ A N A LY S I N G_M O VIES] The chosen set of information I decided to translate to a code comes from the movie "Memento" by Christopher Nolan. The movie is presented in a unique, atypical way, in that it has a non-linear narrative structure that encompasses of 2 sequence of events from the same timeline.

These sequence of events are presented as scenes in black & white and scenes in colour; black & white scenes are in chronological order, whereas colour scenes are in reverse chronological order. Throughout the movie, the scenes alternate between black & white and colour.

In accordance to the timeline that these sequence of events share and considering the way by which this movie is structured, both sequences will eventually meet in the middle, where black & white fades into colour, bringing the movie to a satisfying close.

[ PAR A M E T E R S] The following sets of parameters were translated into codes to be represented in the infographic:

52_70

[FINAL INFOGRAPHIC]

70_53

[ P RO C E S S _ S KETCHES]

INFOGRAPHIC Attempts to fully comprehend the movie as well as the uniqueness and qualities of its time sequences and order. Movie was watched multiple times in order to clearly understand the plot and narrative, which might lead to new parameters being discovered/ideation of how to represent certain parameters. Many sketches were made in order to understand and experiment with the best way to represent infographic such that it is accurate to the key feature of the movie that is the structure.

54_70

70_55

TOPIC C_EX2 "CONTINUOUS | DISCRETE" TO DISCOVER materiality | application of actions and functions inter-connectivity | performance | feedback field | generative effects | action-reaction THROUGH [ RESPONSIVE_NON-ORTHOGONAL MATERIAL | NON-RESPONSIVE_INERT MATERIAL ] WITH MODEL-MAKING, hand mechanical drafting

56_70

Through the use of continuous and discrete materials, we learn how feeding information through action to material is akin to working with all other construction material of timber, concrete, glass etc. and necessitates the adoption of those materials characteristics.

By imparting order, structure, code-like rules when assigning actions, we are to translate the codes from the infographic onto discrete and continuous materials such that 3-dimensional models are formed.

By working with discrete and continuous models, we are given different ways of representing our infographic and the nature of its structure.

Upon construction of the models we understand the positives and negatives of both discrete and continuous, as well as get a better understanding of which material better exemplifies our ideas and thoughts.

A personal challenge for me was to figure out a way to translate largely narrative parameters into actions that could be executed on the material.

70_57

[ P RO C E S S _ S KETCHES]

CONTINUOUS_MODEL CHOSEN MATERIAL: VINYL The challenge was to translate parameters that were mostly narrative/location-based, into actions that could be applied onto the continuous and discrete models.

Another obstacle that was faced was to be able to obtain a form from making such actions on the continuous model that was self-supporting, whilst being able to properly and accurately convey the time structure of Memento.

DISCRETE_MODEL CHOSEN MATERIAL: FOAM Constructing the discrete model was more straight-forward as compared to the continuous model. The idea was to take advantage of the unresponsiveness and independence of each piece to represent both orders (movie + story) in the model, such that both orders could be read accordingly to the view of which one is looking at the model, whilst being able to at least maintain the level of information shown in the continuous model.

58_70

70_59

Locations where the main character visits throughout the film are mostly recurring, hence it was possible to assign physical legends to the scenes according to location. These locations can also be categorised according to their levels of tension within the scene, and these levels of tension are translated over to the models through the multilating/warping of material.

To represent polaroids in the model, it was interpreted that taking a polaroid was an action more tangible than referencing the polaroid. Hence, in the physical legend, taking a polaroid is depicted as a protrusion out of the model, and referencing the period being depicted as a void.

[CONTINUOUS_MODEL]

DINER/OTHERS TATTOO SHOP

POLAROID TAKEN

BLACK&WHITE 60_70

COLOUR

DISCOUNT INN

NATALIE'S HOUSE

DODD'S MOTEL ROOM

POLAROID REFERENCED

*DENOTED BY LENGTH

ABANDONED BUILDING

[DISCRETE_MODEL]

DINER/OTHERS TATTOO SHOP

POLAROID TAKEN

BLACK&WHITE

COLOUR

DISCOUNT INN

NATALIE'S HOUSE

DODD'S MOTEL ROOM

ABANDONED BUILDING

POLAROID REFERENCED

*DENOTED BY LENGTH 70_61

DRAWINGS_ [CONTINUOUS] ACTS

The model takes the form of a spiral. Vertically, the spiral is separated into three rings, with each ring representing the Acts of the movie. A rise from one ring to the next denotes a transition to the next act.

POLA RO ID

Within the spiral are scenes connected via thread, symbolising the relationship between taken polaroids and referenced polaroids.

ACT I [Cut @ 80mm]

62_70

ACT [Cut @

T II 250mm]

ACT II [Viewed from Top]

70_63

64_70

Within the spiral are scenes connected via thread, symbolising the relationship between taken polaroids and referenced polaroids.

POLAROID

When viewed at elevation, the movie order can be read from the model. When viewed otherwise, the model depicts story order. The end of the movie is dneoted by the meeting of the last totem of each side, signifying the transition from Black & White to Colour.

SEQUENCE

[DISCRETE]

_D RAWI N GS

70_65

66_70

70_67

CLOSING_STATEMENTS [ TUTOR ] Much gratitude to Yen for the constant guidance and patience throughout the semester. I have learnt a great deal under her tutelage and will continue to give my best effort for as long as I continue studying this compelling discipline that is architecture.

[ STUDIO MATES ] I am thankful for the consistent support given to me by my studio mates and friends that make the rigorous nature of architecture school bearable and at times even stress-free.

68_70

70_69