Y1S1 Architecture Portfolio | Goh Yifan

Y I FA N 2018 Y1S1 PORTFOLIO

G O H

W O R K S

HEARTH2 HEARTH IN A HEARTH

ACCENT DEVELOPING SENSE OF EGO

TRAIN PARTICIPATORY DESIGN PROCESS

BANDARHARJO FIELD TRIP

PARABOX SANCTUARY FOR THE STATELESS

KUBARANG TROPICAL PAVILION

HEARTH2 HEARTH IN A HEARTH A typical hawker centre is a place where people come and go to eat or take away food – there is little interaction between these people if they do not know each other.

In this project ‘Hearth2’, the aim is to create a hawker centre – a focal place where people gather not just to eat but also engage with others, creating a bustling atmosphere.

SITE ANALYSIS GEYLANG BAHRU

Geylang Bahru is an elderly district, and the hawker centre is surrounded by residential homes. Since its is considered the nearest hawker centre for the residents, it can thus be seen as a hearth.

HEARTH There is a lack of focal area of activity within the hawker centre, and the hearth is considerably scattered.

There is also lack of interaction across tables and seating of people are usually segregated.

MOUND The overall layout of the hawker centre is ordered so that people can manoeuvre through spaces with ease and convenience especially since this area is an elderly district.

Site is also flat surfaced with the surrounding flooring allowing convenient access for the elderly.

ROOF There is a need for artificial lighting due to covered roof. However, the high ceiling in the hawker centre allows better ventilation within the area.

ENCLOSURE In overall there is lack of natural ventilation within, where coolness of the hawker centre is largely due to massive number of fans.

CONCEPT The newly proposed hawker centre is based on our observations and lessons learnt from our site visit, with further improvements and new features included to create a hearth within a hearth, attracting users to stay within.

This is thus how the name ‘Hearth2’ came up.

HEARTH2 SKETCHES AND DRAWINGS

FEATURES NATURAL ELEMENTS

Inspired by vernacular architecture, roof is weaved which allows sufficient amount of natural lighting within, thus reducing the need for artificial lighting.

Natural ventilation can take place as well, as warm air rises and escapes via the weaved roof, and sufficient wind can enter within via louvres.

FEATURES HUMAN ELEMENTS

It also features a central stage, which acts a hearth within the hawker centre, where performances and other activities can be held which can provide much fun and happy atmosphere. This facilitates social interaction amongst the audience as well.

Having an elevated verandah with long tables on top of it encourages interaction between strangers. Engagement can also occur with others who are just outside the hawker centre as well.

ACCENT DEVELOPING SENSE OF EGO

One would expect playgrounds to be spaces where kids play and have fun. However, these days, playgrounds are usually seen to be empty, as children are now immersed in phone games.

Playgrounds around in Singapore seem relatively similar too, where there is no attracting factor for children to play since they all look the same. As such, this play space is designed as a form of challenge to attract kids to play due to its tall and daunting structure. Kids are continuously curious, thus it can be a space for exploration as well.

CONCEPT Sense of ego entails one’s ability to be confident of oneself, as well as being able to be humble and help others in need. Through this play space, it is hoped that self-confidence and cooperation can be cultivated for children playing in the installation. It is intended to be a focal area of activity for the kids where they gather and play, thus explaining the name ‘accent’ which means an emphasis on something.

TRAIN PARTICIPATORY DESIGN PROCESS The intention of this project is to create a participatory design process for gym users. Our selected target audience is as such because they have a strong preference for specific diets as compared to those who do not exercise that often, and also these diets are not easily prepared by public eateries.

As such, through this design process, we hope that this kitchen will provide opportunities for gym users to learn from one another outside the gym and foster great bonds by cooking for each other and learning recipes from one another, as well as allow the spread of knowledge and set aside a space specifically for various unique diets of the gym users.

DESIGN PROCESS

DECIDING SITE & ANALYSIS It is more ideal for the community kitchen to be positioned near gyms for convenient access.

Thus, it is important to understand the movement of people around the area to obtain a more accessible position for the kitchen.

UNDERSTANDING USERS & STAKEHOLDERS It is also important to be aware of the users and stakeholders so as to understand the needs as well as who we are working or collaborating with so that their opinions will not be neglected.

COLLECTING DATA (PRIMARY) Surveying is essential in order to gain insight on what kind of features and atmosphere to incorporate into the proposed community kitchen. This collection of data is only the first step of understanding because the users have a wide variety of preferences, and further analyses are needed to have better knowledge on what they like or dislike.

COLLECTING DATA (SECONDARY) This is why a board game is created for the users and in stakeholders to further analyse the varied preferences among them.

More importantly, this game is meant to encourage interaction and engagement among them so that they can understand one another, which is different compared to step 3 where it only involves us understanding the users and stakeholders.

The game also intends to provide opportunities for discussions and negotiations so that every player’s opinion will be respected.

The game board consists of a 10 by 10 tiled base, a space sufficient enough for players to utilise. The dots represent the starting spots for each player involved in the game.

At the start of each game, each player receives a set amount of money depending on the number of players.

4 players: $75 each 5 players: $60 each 6 players: $50 each 7 players: $45 each 8 players: $40 each Once a tile is placed down it cannot be removed. This encourages more discussion among players preventing rash decisions made.

There are in a total of 7 categories of tiles that can be utilised on the game board, ranging from cooking to recreation facilities.

On the first turn, every player is required to buy a tile from the banker and place it on their respective starting spaces.

Players can only place the subsequent tiles vertically and horizontally, to prevent rushing of the game and everyone will think and plan wisely for the placing of subsequent tiles.

On subsequent turns, players can choose to purchase a tile or draw a mystery card. Instructions on the card must be followed.

The game ends when one of the 3 following situations occur: All squares on the board are filled up.

One player runs out of money.

All players agree to end the game.

ANALYSIS OF DATA & REFINEMENT From multiple sessions of playing the game, patterns and common features can be identified.

The simulated layout of the kitchen will be based on a combination of results from multiple games played.

Feedback and opinion will be sought from the users and stakeholders during and after real-life simulation of the kitchen layout and changes and refinements will be made to create a more improved version of the community kitchen.

BANDARHARJO FIELD TRIP ‘BANDARHARJO’ is a documentation of my field trip to Semarang, more specifically Bandarharjo, a sinking city. Singapore does not experience any natural disasters, yet in Bandarharjo, flooding and sinking is extremely common, and this contrast made me treasure myself and whatever surrounds me even more.

This field trip to Semarang has been extremely fruitful, as it made me understand more on its distinct vernacular architecture and the anthropology of the locals there.

A SINKING CITY Land subsidence is a huge problem in Bandarharjo. Mainly due to groundwater extraction, houses and buildings in Bandarharjo are sinking at about 8 cm a year. As such, there is a need for people living there to take precautions and make preparations, and has thus greatly influenced local architectural styles in order to adapt to such conditions.

To understand further on local architecture, 3 houses along the alley Jalan Ujung Timur 3 are documented. All 3 of them display distinct characteristics among them, thus ideal for comparison.

Each house is unique with their own distinct addresses, as well as customised design features.

CORRUGATED ROOF Fireproof, cheap, and durable Easy to install

BRICKS & CONCRETE For stronger structure

HOLES WITH MESH For

better

ventilation

and

prevent intrusion of insects

RAINWATER COLLECTION Using plastic bottles, most likely for laundry, toilets and cooking

WALL CRACKS Probable

impact

from

land

subsidence

STAIRS For elevating house Alleviate problems of sinking from land subsidence

CERAMIC TILES Usually found in houses where families have better standard of living

CLAY TILED ROOF Heavy and dense High maintenance as they are difficult to replace

OUTDOOR STOCKPILING Their

way

of

adapting

to

diminishing interior space due to flooding of house

LACK OF DOORS Due to lack of space within, thus to prevent obsruction of spaces

LOSS OF SPACE

HOUSING

Due to flooding Lack of sanitation as flooding areas become dumping ground

LIGHTING Provides easier navigation at night

PAINTED WALLS Gives house a more furnished appearance

DETAILING Usually found in more developed houses

where

families

better standard of living

have

The alleys in Bandarharjo may be narrow but are full of activity. Sounds of children laughing and screaming can always be heard and despite the small space and derelict housing, the locals seem to be happy and delighted all the time, something that is rarely experienced in my own country.

They also act as gathering spots for the locals living along the walkway to come together and engage and interact. It also acts as a playing space for the kids as they run and chase each other. In overall these create a lively atmosphere within the alley.

The flooring of the alley has plenty of drainage holes, so as to channel away excess rainwater to prevent flooding of shallow living space.

Sun-dried rice crackers, most likely a communal snack, is commonly seen on roofs or at the top of the stairs of the houses.

FIELD TRIP SKETCHES SEMARANG

-rebuild skies darkening, thunder rumbling gone are the carefree laughter wind blustering, rain beating all back in their shelter windows shattered, walls torn homes destroyed and gone

as we expand like wildfire the quest for water never retires from beneath we extract neglecting its subtle impact

as it gradually sinks space within shrinks when half is occupied by nothing there’s barely room for anything apparel and supplies fill up wherever empty junk and murky waters surround within at least there’s some room to sleep in just flies and mosquitoes aplenty

but not all is lost new buildings ensue redesigned and rebuilt taller and stronger than before entrances raised, steps above ground their flight to safety is now found villages newly born, a life for which they crave away from their watery grave.

PARABOX SANCTUARY FOR THE STATELESS

The stateless are those who do not have a citizenship. As such, they lack identity and freedom to have access to local amenities, which is understandably a huge struggle and challenge for them. On the other hand, being bounded by law and order as a result of obtaining a citizenship may mean this may not be the best outcome after all.

As such, the ‘parabox’ intends to create a juxtaposition of order and disorder, rigidity and freedom within the cubic space. The causation of paradox in the box-like space thus explains the name ‘parabox’.

Thus, the intention is to create a space of freedom for the stateless, as well as an ordered space to show the potential lack of freedom as they desire for a citizenship, thus the ‘parabox’ is designed to highlight the integration and contrast between smooth and striated spaces.

3

4 2

5

1 6

1

The concept of smooth space is demonstrated at the ground level of the cubic space, where wavy like structure and contours give the image of freedom to roam around and explore.

Images of contours are printed onto the smooth space using the technique of intaglio, so as to enhance the smooth and wavy imagery, as well as integrate with the surrounding forests.

2

These vertical and horizontal glass panels in the middle layer act as imaginary platforms for users to imagine themselves in the ordered and unreal space, while the concept of real space is experienced in the smooth space below at the ground level.

3

The concept of striated space is demonstrated at the top layer of the cubic space, as glass panels are arranged in a grid-like ordered manner to create feelings of restriction as users within look upwards, creating the paradox in that process.

4

Images of tree branches are etched onto the glass panels, creating a collage of trees as a result of layering. Images of these trees vary across all points of view as well, to integrate with the surrounding forests.

5

There is plenty of interlocking within smooth and striated spaces, as well as between them to show integration and homogeneity, yet complexity and chaos in the overall cubic space.

6

There is also a distinct area of emptiness to highlight the contrast between smooth and striated spaces. It also acts as an escape from the chaos from the integration of smooth and striated spaces.

KUBARANG TROPICAL PAVILION Neo-tropical architecture is a topic that has sparked debate and different views on. People who support modernism believe that modernism and modernist design should represent a brand new design language in tropical context, such as the use of louvres, concrete, and glass panels, with structures dominated by form, order and structure. On the other hand, some also believed that there is a need to avoid these modern elements in design since these are heavily westernised and thus they do not integrate with the tropical surroundings and its nature.

In my personal opinion, while I believe that while modernity brings an essence of excitement and refreshment in terms of environment and experience, design language should still vary depending on the local context, and should not be dominated by modernist elements which may not suit all tropical contexts. The design language of neo-tropical architecture should blend and integrate with the users involved and the surroundings.

CONCEPT The intention is to apply features of vernacular architecture while creating modernity as well.

Weaving, inspired by Indonesian vernacular architecture, is done in a random and disordered manner, drawing inspirations from tropical rainforests, where canopies and trees are all different in shapes and sizes.

The concept of a dome for some essence of modernity is created, and is layered and supported via random and disordered weaves to create a homogeneous structure and provide sufficient shelter from the rain. It also possesses varying weave density depending on light direction and wind flow.

FEATURES TROPICAL INTERVENTIONS

The dome is sloped and has three layers, which help to shelter the users within as rain drains away via the weaved structure.

The weaved structure allows sufficient natural lighting within via the gaps in the weaving. The entrance of the faรงade faces northwards to prevent direct sunlight from entering within.

Natural ventilation is achieved as wind enters and hot air within escapes via gaps in the weaved structure.

Density of the weaving decreases from top to bottom so that at ground level more optimal cooling will be provided for the users within.

APPLICATION The weaves of the ‘kubarang’ can possibly be made of bamboo in real life due to its strength and flexibility.

The ‘kubarang’ can be installed in both rural and urban contexts.

In rural context, it can be a pavilion where people gather, rest, cook or even play, while in urban context, it can be an area where exhibitions and performances can be held.

© 2019 Goh Yi Fan All Rights Reserved.