LAU ENCI JONATHAN Y1S1 STUDIO REPORT

INDIVIDUAL REPORT Jonathan Lau Enci // A0234863Y AY 2021/22 Semester 1 Tutor: Albert Liang

B. Arts (Architecture) – National University Singapore

JON LAU STU DIO 10

Table of Contents 1.

Warm-up exercise 1.

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Topic A (Precedent Studies) 1.

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Line Drawings Classicism: Pantheon Modernism: Barcelona Pavilion Post-Modernism: Jurong Town Hall

Topic B (Parametric Design) 1.

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Canopy Data Visualisation Data Actuation

Warm Up: Line Drawings

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Line drawing inspired from my charger. Line weights were used to outline a silleoutte of a phone Line drawing outlining a sketch of SDE4. Direction of lines emphasise the start of a new space.

Lines on a grid to show flow of movement through blocks Sketch of lines converging at different intersections. Lines in the centre have a darker line weight to give emphasis on the shape.

Topic A Ex 1: Classicism – The Pantheon

The Pantheon Architect: Marcus Agrippa

The Pantheon is an example of ancient Roman architecture from the classical era. It was known to have many different architectural features where many buildings in the future took inspiration from. The Pantheon is a structure which holds many significant values to the Romans while being a structural feat.

Different sorts of pillars which can be observed on Roman classical structures. In the case of the Pantheon, Corinthian pillars were used to support the building. The seven sanctuaries within the rotunda of the Pantheon represented the seven known planets to mankind at that point of time. The coffers around the dome, which appear in a 5 by 28 grid, also has some form of significance. 28, which is the same number as the number of columns in the rotunda, was also a perfect number to the Romans.

The oculus at the top of the rotunda is the Pantheon’s only source of light. The trail which the daylight follows changes throughout the year with respect to the solar events. The oculus is said to be a portal to the heavens.

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Geometrical Analysis of the Pantheon. Ad Quadratam can be observed in the construction of the Rotunda, as well as the use of significant numbers Sectional Cut of the Pantheon.

This allows us to observe the interior and understand how the rotunda was constructed.

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Floor Plan of the Pantheon Front Elevation of the Pantheon

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Front elevation of the Pantheon Stereo atomic model Exploded roof reveals the interior of the Pantheon. It allows us to see the different structural features in the Pantheon

Topic A Ex 2: Modernism – Barcelona Pavilion

Barcelona Pavilion Architect: Ludwig Mies van der Rohe

The Barcelona Pavilion is the work of German architect Ludwig Mies van der Rohe. It was known to be a mark of modern architecture, being one of the first to use industry-cut, mass produced material.

The Barcelona Pavilion, though small, was the start of many different architectural inspirations. Mies van der Rohe used the Barcelona Pavilion to demonstrate the term ‘less is more’ in a design context. The Pavilion uses a variety of different stones to give the pavilion colour and texture. Mies van der Rohe also made a statement with crucifix-shaped pillars, a first of its kind.

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Basic site plan and south elevation, which is the front of the building Circulation analysis of how people move in the Barcelona Pavilion Movement of natural light in the Barcelona Pavilion Geometrical analysis of the Barcelona Pavilion Further geometrical analysis on additive and subtractive geometry

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Top view of the Barcelona Pavilion model Top view of the model with exploded roofs. This allows the observer to understand the circulation within the pavilion better Front view of the model Back view of the model

Topic A Ex 3: Post-Modernism – Jurong Town Hall

Jurong Town Hall Architect: Lim Chong Keat Jurong Town Hall is no stranger to many of us Singaporeans. It was one of many buildings which marked the start of post-modern architecture in Singapore.

With its long, white, brutalist façade, this building has been an icon in the Jurong East skyline.

The interior of Jurong Town Hall also has modern features, such as a theatre, auditorium, office spaces and meeting rooms.

It also features a central atrium which has a glass roof, allowing natural light to pass through. This emphasises that the atrium is the centre of the building and is a meeting point for people in the building. Such circulation features allow the ease of movement within the building.

Topic B Ex 1: Parametric Canopy

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Circulation from SDE2 Circulation from the pathway connecting SDE1 and SDE3 Circulation from technoedge Circulation around central trees Ariel view of movement in the area from technoedge canteen

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Illustrated Second iteration of the proposed walkway. (View from technoedge) Illustrated second iteration of the proposed walkway. (View from SDE1 and SDE3) Plasticine model of walkway Representation of proposed parametric roof of the walkway Structural features of the model where a mesh structure was reinforced with a stick to support the weight of the plasticine

Final proposed drawing of the walkway to be implemented between SDE1 and SDE3. Roof has parts which contains smaller holes to prevent sunlight from entering on spots which are not as well shaded. These parts are also thicker, which aids in reducing light scatter as well.

Topic B Ex 2: Data Coding Visualisation

Thank you, Next Artist: Ariana Grande Arrangement: Adam Neely Visualization: Jonathan Lau Design Consideration Synesthesia played a crucial role in my visualization process. While studying and understanding the different aspects of this piece, I tried to interpret and represent different parts geometrically. In addition to this, I tried to see this piece in colour as well to understand and interpret the mood and movement of the song better. For example, the vocal movement of the song was represented as one continuous line that fluctuates with respect to the strength of the lyrics. The fact that it was a constant focus throughout the song gave me the decision to place it in the center. The bass on the other hand, was represented with discrete squares. The bass, though it produces notes, had a percussive value as well. I represented the bass through squares (which represents its percussive nature. However, I positioned the squares in a way to represent the movement of the bass in parts where it stood out more. This was to prevent the representation from getting too busy unnecessarily.

For this representation, I took reference from a musical diagram called the circle of fifths as shown in the diagram as shown on the right.

This chart is a representation of how many sharps or flats there are in each key. The circle of fifths is a diagram to show how closely linked keys are to each other. For example, it would be smoother to transition from the key of C to G rather than from the key of C to A at (Ab) By taking reference from the major key (as this song is in the key of D at major 7, I analyzed the chords being played in each part, where each note was given a larger spike based on its harmonic value in the chord, which are as follows: Largest spike: Root note of chord Moderate spike: Chord body Small spike: Chord extensions/modifiers No spike: Not in the chord With the harmonic repetition in mind, I also duplicated the curve with respect to the number of times it was played, causing a darker line intensity to be produced without affecting the line weights (which I intended for to stay the same). This would allow for visualization on which chords were repeated more and which was repeated less.

Topic B Ex 3: Data Coding Actuation

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Continuous representation using fabric of the pre-chorus of the song Continuous representation using fabric of the tag of the song Discrete representation using ceramic plaster of the pre-chorus of the song (Top view) Discrete representation using ceramic plaster of the tag of the song (Top view)

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Discrete representation using ceramic plaster of the pre-chorus of the song (Front perspective) Discrete representation using ceramic plaster of the tag of the song (Front perspective)

Year 1 AL Studio Department of Architecture School of Design and Environment