P O R T F O L I O
Undergraduate work by Goh Jin Ping, Joshua for NUS B.A. (Arch)
0 1 The Green Wave A Hospice
The Catalogue Retail Mall for Startups
Ubin Screen Dwelling for a Researcher & Artist
0 3 Unravel 24-hour Ceramics Gallery at Balestier
0 5 Foundational work
P R O F I L E
A current architecture student at the National University of Singapore who is seeking work opportunities that would offer new perspectives to architectural design. The thing I enjoy most about architecture is finding intrinsic value in the creation of functional spaces; the materializion of a meaningful community experience. My personal motto is that a designer should always be keen to experiment with new media, yet constantly refine his workflow and intuition.
+65 96697696 +65 62512516
WORK EXPERIENCE Architecture Intern May 2014 - Jul 2014
56 Trevose Crescent #04-06 Singapore298088
TECHNICAL SKILLS Adobe Photoshop Adobe Illustrator Adobe InDesign
2.5 years consistent use
2.5 years consistent use
English Mandarin Japanese
Making 3-D digital models for various residential projects. Drafting detail and carpentry drawings for various residential projects. Assisting in design competition for Archifest 2014. Compiling and editing mood images. Administrator Mar 2013 - Jul 2013 • Managing class and tutors’ schedules. • Collecting and managing tution fees. • Maintaining MS Excel spreadsheets. • Organizing student materials for classes.
Yen’s Tuition Centre
2 years consistent use
Architology Pte Ltd
EDUCATION B.A. Arch (In progress) Aug 2013 - Present G.C.E. A Level Jan 2009 - Dec 2010
National University of Singapore
Anglo-Chinese Junior College
QU EE NS W AY
ALE XA ND RA RO AD
R GREEN CORRIDO
01. THE GREEN WAVE The Green Wave is a proposed high-density hospice located in the vicinity of Alexandra Hospital that aims to challenge the conventional “sprawling village” model typical of hospices as a means to address land scarcity in Singapore. A high-density model is advantageous to the well-being of palliative care patients by reducing horizontal circulation and thereby enhancing access and mobility. Wards located on high floors afford its occupants with excellent views and provides much needed privacy for the patients and their caregivers. Recognising the immense benefits that therapeutic interaction with nature can bring palliative care patients, the project features a central landscaped courtyard that aims to extend the exprience of the adjacent green corridor to the hospice’s occupants.
The design process began with experimenting with different ward configurations under various conditions required in the Singapore context, namely having multiple patients stay together in a ward and sharing certain facilities. Extensive reasearch was done on how the circulation paths of day-to-day hospice operations could be optimized while at the same time retaining as much as possible the character of a sacred living space. Inpatient
1-bed room 1-bed room
Admin Core Legend reception
dental treatment medical services daycare dining
welfare services barber photo studio training
caregivers & volunteers
Initial iterations focused on creating a shared but intimate social interaction space between patient rooms in a cluster format. The key was to provide every patient with their own personal balcony view, helping them reclaim a sense of personal space and dignity.
Ward tower plan (4th to 10th floors)
A final decision was made to incoporate earlier ward layouts into a radial grid, forming a point block that houses a confortable 10 patients per floor and allows for the wards to have blaconies overlooking all directions. The podium block shared by all patients takes a curved form around the ward tower, compacting all essential programmes and services for the convenience and ease of the patients. The courtyard between both blocks attempts to highlight an architectural dialogue between differing levels of privacy and social interaction. Ground floor plan
Ward views outwards in all directions
Main circulation compacted vertically
2nd floor plan
Balconies with greenery form a shaded facade
3rd floor plan
Section A - Aâ€™
View of the courtyard
Mechanical and electrical
View of a 4-bed ward
02. THE CATALOGUE As startup business are becoming increasingly popular, many of their owners find the cost of establishing a physical shop prohibitive. Recognising this problem, the goal of the project was to ease rental costs by having a conducive exhibition area for these businesses to showcase their products on a seasonal basis, just like a catalogue, while also providing proper retail space for businesses that want to set up permanent shops. Located on a hypothetical site, The project features an ascending ramp that spirals throughout the building and allows the customer to â€œbrowseâ€? at leisure, with core services connected by lifts at either end. Visitors can find some respite from the crowd and shopping on the green roof, which also functions as an outdoor venue for special events.
Startup businesses usually do not have funds to open a permanent shop and rely heavily on roadshows for market exposure. Retailers selling budget or secondhand items also require a shop space that is flexible enough to showcase an ever-changing variety of goods.
Inspiration was derived from the spiralling ramp of the Ssamziegil Mall in Korea. The shopperâ€™s sense of orientation is deliberately dissipated, encouraging them to wander and explore the mall. Its central outdoor atrium is also widely used for temporary markets.
The Catalogue features two types of retail space alternating along a spiralling ramp: 1. A showcase “platform” for seasonal exhibitions 2. A shared 2-shop unit that has a spillover shopfront where shop owners can use to display additional goods or as workspace.
The showcase “platform”
The 2-shop unit
1st floor plan
2nd floor plan
3rd floor plan
4th floor plan
Section Shared shopfronts
Ground level pedestrian access
03. UNRAVEL (Part I: Urban Study) The introductory part of our second year project demanded an in-depth urban and architectural study of the district of Balestier, Singapore. The site in question spans the entire stretch of Balestier Road and its surrounding streets from Jalan Rajah all the way down to the Central Expressway, with a greater emphasis on the area bounded by Whampoa Drive, Kim Keat Road and Sungei Whampoa. Balestier is a challenging place to define, being a venue of many concurrent historical developments resulting in a plethora of architectural styles and skylines we see today. It is a transitional zone of sorts, an informal boundary between urban and suburban Singapore while at the same time retaining its own unique heritage and charm.
Working in a small team, we attempted to loosely classify the architectural makeup of Balestier in terms of seven distinct building typologies based on certain physical characteristics. As buildings from different historical periods usually take on a typical form with several defining features, this method enabled us to visualize a chronological “map” of Balestier’s development. Conserved pre-war shophouses reflecting Balestier’s commercial heritage form a lines of facade along several stretches of the main road, interspersed with contemporary mid-rise offices and budget hotels. The Whampoa HDB estate and high-rise condominiums are mostly clustered behind the bustle of the main road, but the occasional podium block is reminiscent of an architectural boom in the 1970s where mixed-use residential and commerical typologies were first built around the country. While a standard block condition does not exist, there is an unspoken order in the layering of developmental pattens throughout Balestier.
Renditions of the seven building typologies found in Balestier
Block condition of the Kim Keat area
Block condition of the Jalan Rajah area
03. UNRAVEL (Part II: 24-hour Ceramics Gallery) Following the group urban study of Balestier, we were tasked to individually design a ceramics gallery and school that would sit on a triangular-shaped site between Balestier road and the Kim Keat estate. As a way of reflecting the character of Balestier as an amalgamation of various activities and histories, the theme of the project is discovery. People head to Balestier for all sorts of reasons, but may be oblivious of how it can transform into a totally different world at different times of the day. The main intent was therefore to create a gallery that would simulate a heightened awareness of this dynamism by adopting a curatorial strategy that expresses itself differently at day and night. This also led to an exploration of how the gallery could be designed to be partially accessible for 24-hours a day.
The curation for the main gallery was worked around a selected list of artefacts from the Asian Civilisations Museum. To faciliate the dual day-night display, the ceramics were classified into two broad categories of “seen” and “unseen”; the former being polychromatic and lustrous while the latter being monochromatic and more homogeneous in form. The idea was to highlight the display of the “seen” sequence in the day by flooding the main gallery with natural daylight, but at night, the more subtle and understated aesthetic of the “unseen” sequence would be emphasised with recessed lighting fixtures, creating a dynamic exhibition experience.
The initial design of the building consisted of a massing of three blocks, each catering to a specific user group (visitor, student and staff) which were radially connected to a circular main gallery. The main gallery space was to serve as a transition zone both figuratively and literally as the gently sloping topography of the site required the three blocks to be built on slightly different levels. Hence, the main gallery features a shallow circular stairwell that connects all the blocks together while at the same time directing the main exhibition route.
The massing was developed into a more complex form with outdoor spaces carved out in the various blocks to encourage visual interaction, and each block was oriented to suit its user group. the visitor block faces the main road, while the staff and student blocks face towards the Whampoa market and food centre as a means of engaging the residents who frequent the area. The space between the blocks form a plaza consisting of outdoor shelves that can be used for temporary exhibitions and to display the works of the ceramic school students. An alternative entrance to the main gallery allows pedestrians to enter it directly and use it to cut through the building without needing to walk into the three blocks, facilitating a 24-hour access.
The ceramics school facade (top, this page) features horizontal shelves that may be used for storage as well as display. The 24hour access to the main gallery (bottom, this page) leads directly to an alleyway, providing a shortcut for residents. A site model at 1:200 scale (left, opposite page) and a detail model at 1:25 scale (right, opposite page) were made for this project.
04. UBIN SCREEN HOUSE As part of a second year project on small-scale housing, we were individually tasked to design a shared dwelling between two people, one with a scientific profession and the other with an artistic profession. The Ubin Screen House accomodates a ornithologist and a woodworker as they reside and conduct their work around the island. Inspired by the intricacies of Japanese carpentry, the house consists of a screen portion occupied by the orithologist that interlocks with the main house occupied by the woodworker. The screen is then enveloped by the surrounding forest, allowing the ornithologist to conduct his work as a peripheral observer.
1st floor plan
2nd floor plan
05. FOUNDATIONAL WORK As a way of understanding basic structural principles, we undertook a project of designing a bridge spanning 600 mm and a dome spanning 400 mm that was able to bear the load of 2 drink cans. The brief required the design to incoporate a modular system using a material of our choice. I worked with two different types of modular origami which were made by weaving regular paper pieces together, each having a different structural assembly based on their geometry.
Drawing exercises of selected architectural works were done in the first year of study. This included architectural analysis as well as familiarization of drawing conventions.