NYKE CITY

Year 4 Semester 1

To build a NIKE Campus in New York City:

This project was based on New York City, Hudson Yards, a new development undergoing rapid change with glitzy soaring towers, remnants of buildings from its industrial past, and overlooked social housing. The urban context and connection to the High Line was critical to the 2 block Manhattan grid. Undertaking the project at such a scale, our team of 3 decided to propose an urban NIKE campus, a destination for sneakerheads, playground for budding athletes, infrastructure for ideation and prototyping.

As an individual project, I arrived at the concept of creating a city within a city, which was what inspired the architecture. The key programs (Design studio, Collaborators studio, Research Facility, Academy, and Hotel) were expressed through tower blocks, which connect and converge at the podium level/bridges. Large voids were carved between the blocks to create urban spectacle and exhibition matches- basketball, soccer, and ice hockey. These voids are covered by curved glassed roofs to provide transparency for occupants above, while accentuating the atrium space with filtered light.

Retail space is maximized on the ground level, enclosing the courtyards, which provide alternate store frontage where the courtyards become public squares when they are not utilized for sports activities. High Line extension into through and into the building provides spectator seating around the courtyards, an elevated datum for the public to witness the athletes training, prototypings being tested, as a form of advertisement for Nike. Private stakeholders of the campus enjoy an elevated park with a podium trackway encircling the atrium courtyards below.

Site Analysis

Source: http://www.city-data.com/nbmaps/neigh-New-York-New-York.html

Year 3 Semester 2

To build a bathhouse at Fort Canning:

This project sought to explore ways to express the historicity of Fort Canning Hill using water as both an architectural device and narrating device. Fort Canning Hill contains a rich history even before the formation of Singapore as a nation. Its history concerning the relationship with water was studied thoroughly and categorized into four main time periods- Pre-Colonial, Colonial, War period, and Post-War. The key landmarks of each era established the axis for the building form, while characteristics of water used during the time-period were translated to spatial qualities and functions of water during the water harvesting process. The building serves as a machine for water re-generation, using the topography of the hill to collect water from upstream, and channel to different spaces as a systematic process to harvest clean water.

The nature of water during each time period were interpreted as excess, scarcity, economy, and exclusivity from post-war to pre-colonial respectively. Water, is then appropriated differently along each axis, which is also in line with stages of water harvesting. For example, water in the space along the Surrender Bunker (War) is used to store excess rainwater for irrigation along the moat while housing dry spa activities; water along the Forbidden Spring (Pre-Colonial) houses the wet spa activities. The level of access to water during these different time periods is also translated into the publicness of each space, such as when water is in the space along National Theatre Fountain (Post-war), is the entrance foyer of the building, also the axis leading up to the hill along the Raffles Botanical Garden (Colonial) is open to public. The botanical garden cutting along all the axes acts as a purifying agent for the water through biotopes, while the fountains act as a revitalizing agent.

The design process consisted of synthesizing three main criteria- Translating historicity of Fort Canning’s relationship with water into architecture, Water Harvesting, and Integrating public and private spaces within the Spa complex.

Post-War Period-

“The Post-War independence represented Singapore’s Coming of Age; with towering jets of the National Theatre fountain, impressive engineering of the Van Kleef Aquarium and vitality of the River Valley Swimming Pool.”

War Period-

“By 15 February 1942, with Singapore’s water supply in enemy’s hands, ammunition perilously low and civilian casualties mounting, percival then decided to surrender at the Fort Canning Bunker.”

Colonial Period-

“Throughout 19th century, a small reservoir at the Fort Canning was used to supply freshwater to ships stopping in Singapore and the small local population. There was also a botanical and experimental garden showcasing exotic plants of economic importance.”

Pre-Colonial Period-

“During the 14th century, the royal wives and princesses used the freshwater spring on the southwest side as a discrete bathing place, lending its name of ‘Pancur Larangan’, or ‘Forbidden Spring’.”

Data Space

Year 3 Exchange Programme

Shanghai, Tongji University

To construct a retail attraction:

“Media is becoming the store. And stores are becoming the media.” –

Doug Stephens, The Future of Retail, BOFVoices 2017

The idea of a store is becoming more and more elusive as digital online retail plagues each one of our phone screens today. What constitutes a store- a space for storage and transactions; a space of interaction between retailer and consumer; or a space of distribution of experiences? The traditional notion of the store is being challenged in our times with rapid, frictionless means to obtain purchase digitally. Data Space taps into the digital aspect of retail by engaging consumers with a real-time online shopping interface, while providing a tangible, physical experience with 3D holographic projections.

Inspired by the McQueen projection of Kate Moss in a transparent pyramid frame, Data Space employs a similar technique called the Pepper Ghost technique. The Pepper Ghost technique involves a reflective surface at 45 degree angle from the viewer’s angle to the projector, in order to project an illusion of a floating figure.

With the Pepper Ghost technique, along with the digital real-time interface, a hyperreal space is simulated. Using the four sides of the pyramid, a 3D object can be simulated on four sides of the viewing angles. This translation between digital to physical space allows users to experience a hyperreal simulation. The scale of the pyramids are varied in 3 sizes based on the scale of the objects being simulated –human-sized, chair-sized, and book-sized. These pyramids are situated on different heights for different viewing angles suited for the scale of object.

Since the projections of the 3D images are coordinated from the cloud, the data storage of such retail goods can be limitless. As such, users can choose any object from the cloud to view in a physical hyperrealistic space. This means curation of the retail goods and what each consumer sees can be adjusted based on algorithm of users’ purchase history on the digital interface.

To pick a site along Kallang River and tackle the issue of sustainability:

This project sought to address the phenomena of transient workers frequenting the site, a demographic of an estimated 25% of Singapore’s population. Situated in between hotspots for transient workers and directly in front of the Kallang MRT Station, the site remains untouched for development and a reprieve for transient workers on their off Sundays, away from crowds of local activity. The Flea Market, a catalyst program to engage with the transient workers for cheap second-hand goods, aims to revitalize the Sungei Thieves Market closed in July 2017, which was also a hotspot for transient workers. The significance of the Sungei Thieves Market not only strikes the locals as a cultural treasureespecially amongst the former Rochor Centre residents relocated to the Kallang Trivista adjacent to the site, but also deals with a dying second-hand consumer culture; a culture of cherishing goods from one hand to another. The aim of this project is to build on this transient site, a center for transient workers to engage in recreational activities and participate in the Flea Market, while understanding the implications of sustainability and consumer culture on a broader spectrum.

In addition to mapping activities on the current site across different times of the day, a close study of the allocation of the trees on site was made. Dimensions of the volleyball courts were surveyed from the raffia strings pitched by transient workers on site, while dimensions of the Flea Market Stall had taken into account the layouts of vendor seating, display of goods, and viewer circulation arrangements. Each stall was appropriated as 3000mm x 3000mm, which became the fundamental square block for array over the site, while creating offset grids from the edges of the tree bulks. These grids were not only intended to define the surrounding courtyards, but also create a specific order of flexibility within each space. The whole building is formed around the three main banyan trees of the site, defining two main courtyards, while maximizing shade from the trees and wind flow through the courtyards. Flexibility within each space was formed using the order of tartan grids to calibrate modifiable components such as retractable doors, movable panels, and foldable partition walls, designed to adapt to different uses based on the user and climatic changes. The array of the 3000mm x 3000mm grid also allows profileration of the stalls by appropriating the neutral spaces in the rest of the building such as in wet weather conditions.

Phenomenological transparency between the outside and the inside of the building is intended to faciliate transitions between outdoor activity and the indoor programs. This is enhanced by threshold spaces which not only serve as a shading for the interior, but walkways which connect the four main spaces like a continuous spine, consisting of varying heights, materials and light porosity.

To build an eco-lodge at Dairy Farm:

The eco-lodge serves as a camping facility for bird-watchers, as well as for the public to learn about birds in the region. Located directly in front of the Wallace Education Centre (WEC) in Dairy Farm, the site chosen accounts for the variety of trees and bird species within its immediate proximity. The location of the site opposite WEC is unanimous with the aim of the project being a catalyst for understanding wildlife nature within its region.

The topography defines its program: the sheltered amenities and communal spaces for the campers situated at the ground datum; the public domain situated at the general datum of the WEC; and the observatory decks for bird watching situated at the elevated datum that serve as dwelling spaces for campers at night.

On-site studies of the birds’ social behaviour is done to understand the distance proximity optimal for viewing the different species of birds. Bird perches and bird baths were incorporated as secondary structure as ways to lure birds for viewing and photographing. Using stilts as supporting structure, the amount of vertical surfaces were reduced to create a bird-friendly structure while optimizing panoramic views and cater for tent-pitching.

Tri-sit-cle

Eng Jia Wei, Marcus Sim, Keith Tay

Year 1 Semester 2

Overcoming the tyranny of wetness has always been a challenge in the tropical region. This project explores strategies to craft a garden stool that can overcome the effects of wetness in a tropical context, without compromising on comfort and stability. The concept of the chair originates from the idea of having multiple interchangeable seats in the design to ensure that at least one side would be angled away from the rain and remain dry for seating after a passing shower.

To curate a multi-sensorial outdoor experience outside The Cathay to promote the 1995 classic “Ghost in the Shell”. The project requires a built space of 20sqm to be stationed as space for its memorabilia retail displays and projection control to an outdoor projection space, demonstrating conceptual strength and responding to urban landscape.

The idea of a Blur is explored through the cinematic themes in Ghost in the Shell, as well as metaphorically through philosophical ideas of Cartesian dualism. By engaging the public with the installation, the idea of a Blur is demonstrated through dual points of perspective and a visual commentary on the microcosm of reality.

The parti is derived from blurring of three lattice grids, symbolizing 3 points of perspectives in the scene of the movie. The sporadic displacement of nodes on the structure enhances individuality of the users when viewed from outside the structure, while the vantage point of users from the structure highlights the collective nature of passers-by of the ground plane.

By providing high elements and a physically challenging structure, the folly is targeted as youths by engaging adrenaline and adventure.The structure is also situated under two giant canopy trees, providing ample shade during the day, while situating an appropriate distance from the outdoor amphitheatre for night projection.