A0111169M for RIBA Review 2015

CONTENT PAGE FOR RIBA REVIEW Name: LIN DERONG Matric Number: A0111169M Course: BA (Arch) Level 2 YEAR 2 (2014-2015) SEMESTER 2 Project 08 – A ceramics school & gallery: balestier . PLAY SEMESTER 1 Project 07 – A dwelling for an artist & a scientist: UBIN . TRANSGRESSING Project 06 – An architectural folly: STAIRWELL

YEAR 1 (2013-2014) SEMESTER 2 Project 05 – Text, Space, Architecture: room #4 Project 04 – Man, Scale, Context: Prinsep Coffee Kiosk SEMESTER 1 Project 03 – Materials & Tectonics: Strings x Tensegrity

Project 02 – Geometry & Composition: Of the Renaissance + Filippo Brunelleschi Project 01* – Drawing: Nulla dies sine linea *submitted as original physical drawings

balestier . PLAY [phase 01 - 02]

balestier . PLAY [phase 01 - 02]

fthft 01 Project commenced with an understanding of site context beyond the common perceptions. We hope to present the other story of Balestier, where its characters, plot and conflicts are inspected through descriptive and analytical mapping and drawings. Throughout the discourse, conflicts become apparent: the contradictions and coexistence of the past and present in Balestier. We see from our studies that time is a transcendent force both dominating the setting and serving as a backdrop against which the narrative of Balestier occurs. Following section demonstrates a personal understanding of Balestier’s site context.

BUILDING AGE

ROOFSCAPE

balestier . PLAY [phase 01 - 02]

02 A set of Asian Ceramics was tasked to be curated. They were often glorified art pieces due to their romanticised history where many times their original utility is forgotten. Therefore, expounding on the durable functionality of ceramics and its timelessness, a banquet is imagined as a reminder of its everlasting and important roles in the multi dimensional aspects of our civilisation. This fiction is concurrently in line with Balestier’s characteristics where time is relative.

balestier . PLAY [phase 01 - 02] fthft

【宾主】

Host’s ware are usually modest, to show their great hospitality. Ming white porcelain, characterised by their craftsmanship, (lightly brushed intricate motifs, unperceived from far).

URBAN LANDSCAPE

G L O B A L O RG A N I S AT I O N

【茶酒】

Tea and wine is constantly served throughout the banquet

【品锅】 L O C A L O RG A N I S AT I O N

Kamcheng anchors the course, they are the heart of every meal. Selected by its size and capacity in relativity to the course size.

0.

PAT H S

S PAT I A L PAT T E R N S

1.

2-3.

4-5.

6.

7.

8.

S PAT I A L N E G OT I AT I O N S

RITUALS

SECTION B-B

SECTION A-A

SECTION C-C

TA S T E O F A B U N D A N C E

The Spectator and The Spectacle

SECTION D-D

SECTION E-E

SECTION F-F

Reading Place and Placelessness Balestier had been a test-bed for Singapore’s urban development. The investigations uncovered what contributed to Balestier’s evolution, its urban complexity and its resultant sense of place which we experience today. A majority of older buildings situate along the main road with relatively newer buildings behind them. Witnesses to a changing era, the older buildings bear different appearances from the modern buildings, echoing a sense of nostalgia. Presently buildings of various different ages coexist at the site, which is further exemplified by the sections. It gives an interesting sense of place, and allow one to ponder upon the notion of time and it’s relativity.

The essence of the eternal banquet lies in the ”diners“. It is not the food, but the idea of an abundance where people gather and feast. It facilitates as a social gel. The plan thus has to allow visitors to interact with the ceramic pieces. They become part of the spectacle instead of consuming the pieces as mere exhibits. Above: Curatorial plan development.

Once the parameters are set, spatial experimentation is modelled. The geometry of a cone is adopted as an operative device to allow a central radial lightness - diffused light from top. Ceramic pieces are arrayed on thin stilts to further emphasis lightness and spectator’s interactions.

0. Ornaments【摆饰】 1. Appetizers【冷盘】 European made dishes, relatively smaller in sizes juxtaposed with eclectic Peranakan plate.

2-5. Main Dishes 【主菜】 Food ranges from meat, seafood, abalone, vegetables to exotic hunts. Pieces here is an eclectic mix of China made plates for various clientele.

6. Soup 【汤】 Served as a buffer after the heavy meal. Bowl styles juxtapose each other.

7. Starch Based【米饭】 Tang Dynasty Bowls: An Abundance + Hospitality Etiquette - Easy filling starch-based food are reserved to the last so as to allow guests to enjoy the main dishes to their maximum.

8. Dessert 【甜点】 Gourmet dessert served at the end. Usually sweet and in small portions.

A-A JALAN RAMA RAMA

JALAN KEMAMAN

BOON TECK ROAD

BALESTIER ROAD

JALAN AMPAS

WHAMPOA DRIVE

K I M K E AT ROA D

B-B

A-A

B-B AVA R O A D BALESTIER ROAD

M A RTA B A N ROA D PEGU ROAD

BHAMO ROAD M A N D A L AY ROA D

PROME ROAD

Above: Uncovering Site Context - Street Elevation 1950-2010 Elevation of 1950 and 2015 are overlaid. The incongruous mix of buildings in Balestier in undeniable . We can see from the road frontage that some buildings along the main road survived Singapore’s rapid urbanisation and development while new buildings sprouted and towered behind them. This has resulted in an incongruous mix of different buildings that seemingly have a fragmented relationship with each other.

Top Right: Balestier In 50 - Street Elevation 2060s An extension to the previous projection using Balestier’s street elevation, development expounds on the opportunities underground. While surface environment evolves with a continued eclectic mix of buildings that reflects different eras, the disjuncture in Balestier’s physicality is negotiated with an integrated underground network that connects the 2 sides of the street together.

Bottom Right: Balestier In 50 - Up Up Beyond The tension on site would be accentuated but yet celebrated with time. As Singapore moves towards its 100 years anniversary, open spaces and networks would be established on elevated ground and linkways while utilising the roofscape. Previous leftover awkward alleys would be reoccupied and turn Balestier into a dense urban scape. Such would at the same time eliminate potential social vices.

A0111169M_LIN Derong under tutelage of studio Esther WONG, design 04 sheet 2 of 2 for RIBA review, in undergraduate year 2 AY14/15 department of architecture, national university of singapore, 2015

Curating a Fiction: An Eternity The ceramic pieces are arranged according to the rules and rituals of a banquet. The individual functions and hierarchy are juxtaposed with each other and set against the spatial layout of a banquet. Inner most ring forms a visual mass from the 50 000 Tang Dynasty bowls (course 7). The eternity is evoked though the circular geometry. Pockets of spaces (private cabins) are created evenly and equally around the central circle to establish a visual monotony and boundless vista. Central lightness takes on an important operative device which is manifested in the radial ceramic arrangement and central cone roof.

Left: Curatorial Plan

balestier . PLAY [phase 01 - 02]

balestier . PLAY [phase 03 - 04]

fthft

The design concept is set to translate the eternal banquet into a utilitarian building based on the urban study of Balestier. A ceramics school and gallery is requested to be proposed on the 2254 m2 carpark outside Whompoa Market. Phase 03 will marry Balestier and the Eternal Banquet into a translated building.

Henceforth, next phase, 04, entails synthesizing the programs, eternal banquet and Balestier studies into a palpable experience. Form, space, experience are to be coherent and reflective of one another in respect to its use and the place.

GROUNDSCAPE PLAN

2200 5000 3700

STONE CLADDING (FEATURE WALL) CONCRETE RETAINING WALL STEEL ROD BRACING SCREED GRAVEL

3900

40MM STEEL DECKING 10MM SEALANT 25MM CORK WATERPROOF MEMBRANE 20MM PLASTER BOARD

End Note The project began with a close reading of the site context which was followed by a translation of a curatorial document into a building. Design parameters are set according to the curatorial with the site. The resulting disjuncture thus gave opportunities for design strategies and intentions which is later translatable into a coherent language and site suitability.

This design exercise is an extension to the previous semester’s translation from the arbitrary to the tangible real. The building is interwoven into the complexity of the urban context. This intervention hence demands a holistic resolution of urban issues, spatial tensions, and several other challenges.

The Cone + Balestier - Modelling a Social Gel

Celebrating A Progammatic Disjuncture Translating from the eternal banquet, massing models are made in attempts to react to physical site, context and programmatic requirements. Given the underground nature of the building, challenges are posed in terms of its ground perception and its formal language. Once a parti is established, spaces, physical dimensions and anthropometry is refined. The cone transforms from an operative device to the form of the atrium. The landscape on the ground is further evened out.

The project began by questioning the suitability of a ceramic school and gallery for Balestier. Site studies found the need for both green and public spaces in reaction to the site fragmentation. Therefore, design intention began with a gesture of returning the ground to the public - to transform the existing carpark into a public social gel. The eternal banquet thus takes the central stage on site with programs fitting themselves around the central cone in reaction to site.

The building opens out at various instances which affects the profile and landscape of the ground. This is exemplified by the exposed tip of the cone which rises out from the ground, uplifting of surfaces for entrances/ openings and the structural system which radiates from the cone.

It is therefore of paramount that designers know how to hold on to the original ideas and keep the overarching design concept clear throughout. No doubt the design process is long and tedious. Holding on to this clarity guides the process through and opens up opportunities for original problem resolutions. At the end, it is an important soft skill which we had to develop as budding architects - to keep the authenticity of design undiluted throughout the challenge filled process. d.

A0111169M_LIN Derong under tutelage of studio Esther WONG, design 04 sheet 2 of 2 for RIBA review, in undergraduate year 2 AY14/15 department of architecture, national university of singapore, 2015

AY14/15 | DESIGN 03 FINAL PROJECT KAMPONG UBIN SITE STUDIES STUDIO ADRIAN LAI

LOCATION PLAN 1:600

SUGGESTED SITE PLAN 1:100

Building Levels

Targeted Sequential Walthrough of Locations

The site walk became a profound experience for our understanding of Kampong Ubin but it also tells us how to analyse the built and the unbuilt that give different places their character.

Building Height

Built Forms

Building heights have the potential to form datums against which we understand Kampong Ubin,depending on factors like density and proximity, overall bulk and relationship with their immediate and larger surrounding levels. We described these differences as another breakdown of the extent of existing height differences.

Buildings are distributed along or line the existing paths. We continued our analyses of Site by looking at the extent of built forms in Kampong Ubin. We begin by breaking down the building sizes by footprint

Recomposing the Longitudinal Site Elevation as the Built Levels, it is clear that the Tree Canopy levels, the tall ‘walls’ of continuous foliage and the undulations of the ground exerted a greater influence on how we perceived the Site.

1

14

9

Landscape by Materials

Hard Landscape

Spatial Rhythm

The previous documentations and analysis leads us to probe the material details of the site - how it leads to spatial characterisation and experiences.

An extension to the previous diagram, this shows us the materials of the ground which weaves kampong Ubin’s fabric. Through this documentation, it shows the changes in threshold as one moves through the space.

8

Through Nolli Diagram

The Site characteristics begin to reveal themselves via our Analytical Drawings.

This is the first step in documenting kampong Ubin’s soft qualities. Through mapping a nolli diagram, we have an understanding of public/ private/ semi-public spaces, their patterns and their relationships with its programs.

The route we took, the views we discovered and how we reacted to them in finding our way around the island, starts to make sense.

Spatial Phenomena Vegetation Building

Tar

Legends

Gravel

Private Spaces

Granite

Dirt

Semi-Private Spaces

Tar Road

Sand

Public Spaces

Gravel Path

CIRCULATION LOOPS

THRESHOLDS - BY LYNCH ELEMENTS

VANTAGE POINTS

SITE INTERVENTION - SUGGESTED MASTER PLAN

Granite

Dirt Track

Grass

25

Beach

Vantage Points and Visibility of Destinations Built forms work together with the undulation and the existing distribution of different programs to reinforce the zones, identified here as the Inner and Outer Cordon”

Circulation Patterns

Circulation Patterns

Circulation Patterns

The characterisation of our experience of Kampong Ubin is inexorably linked with the sequence in which we encounter the different locales. Notwithstanding specific agenda, an itinerary could be analysed based on the sequences of uninitiated visitors - giving us information about what the existing Site compels or seduces us to do.”

The characterisation of our experience of Kampong Ubin is inexorably linked with the sequence in which we encounter the different locales. Notwithstanding specific agenda, an itinerary could be analysed based on the sequences of uninitiated visitors - giving us information about what the existing Site compels or seduces us to do.”

The characterisation of our experience of Kampong Ubin is inexorably linked with the sequence in which we encounter the different locales. Notwithstanding specific agenda, an itinerary could be analysed based on the sequences of uninitiated visitors - giving us information about what the existing Site compels or seduces us to do.”

Circulation - Connectivity and Loops

Visitor Count and Demographics*

Visibility of the next destination or along the path affects how we find our way around. We analyse accessibility as a function of visibility and proximity to access ways and nodes, i.e. Village Plaza.

Visibility of Landmarks Observation: The Visibility Mapping shows specific places which contain similar colour combination this shows that the outer cordons posses a similar characteristic on the views of the landmarks, whereas, the plaza is dominated by the reference of religious spaces.

Observation: Once one past the main jetty area, we observe that paths seem to loop about the settlement, which prompts exploration and social interaction.

32

34

Observation: Most of Kampong Ubin’s visitors seem to move towards the west, where landmarks like the assembly area provide social spaces. Education spaces are rarely visited. *excludes worshippers who visit the island for religious purpose

39

38

Section A-A

Section B-B

Notes For Projection from the Site Analysis

Section C-C

Built forms work together with the unbuilt forms to compose the atmosphere of rurality at Kampong Ubin. More important than this classification of 'rural', we understood how use patterns and hence, the experience, is shaped. Realising the effects of these quantifiable parameters, we could also start to see how they affect us - our perceptions and our use inclinations/ patterns.

Serial Visions by Sections

Kampong Ubin

This series of sections further shows the depth of each vantage points in the previous diagram. We seek to identify what one sees and encounters as one is engulfed through the village through sequential movements. By cutting sections at strategic locations, it unveils the physical scale and various activities/ rituals of Kampong Ubin.

26

We understood how Winston Churchill’s famous quote “We shape our buildings; thereafter they shape us” anew. Kampong Ubin in its current state is a residue of previous plans and desires in response to natural site forces. Visitors to the place find their way around and experience the current Kampong Ubin in response to this residual state, defining a Site Character for themselves. We speculate a variety of differing futures for this Site, as responses extrapolating from this deeper understanding of the structure of the Site

27

40

THIS IS A BLANK PAGE

THE ARCHITECTURAL FOLLY

3. STAIRWELL. DESIGN BRIEF Transform generic spaces and volumes from PART 01’s water cube into an architectural folly.

This folly will be an articulated formal assemblage of four rooms that corresponds to specific programs and addresses contextual issues of the allocated site: FORT CANNING GREEN. CONCEPT Unfold spatial narrative as occupants move in the folly with minimal formal intrusion to the site qualities.

PROGRAM To maximise the concept through sensorial interactions between the water and the occupants.

PART 01 TRANSLATION

1. WATERCUBE

DESIGN INTENTION x PHENOMENA The four rooms will be arranged in parallel to the moods and sensorial qualities from PART 01 with water flowing poetically under gravity.

PROGRAM To choreograph a water path in parallel with the music:

Playlist For An Extreme Occasion Part Six by The Silk Road Ensemble & Yo-Yo Ma DESIGN INTENTION X PHENOMENA To allow water to flow through a 30cm3 cube poetically under the force of gravity with the play of water velocity CONCEPT To unfold a spatial narrative as water flows

1.

DESIGN STRATEGY: RATIONAL X EMPIRICAL Rational: Musical Analysis (Sound Spectrum & Instruments) Empirical: Subjective moods in which the Music evokes (Colour Coded) AURAL TO FORM The first party drawing from the musical analysis was extracted as the performative structure. Formally water path is intended to flow in an enveloping and cascading manner. In parallel with the music, the party drawings informs the parameters for formalizing the cube. Music is formalised. Water takes several paths from the beginning of the cube 1. Around the model, was it bisects through the volume, around the central core. / 2. Cascades down the spiralling steps under force of gravity.

2.

FORT-CANNING GREEN

2. THE SITE

FORMAL MORPHOLOGY

WATERCUBE TO FOLLY

Stage 1. Formal characteristics of part 01 model is translated to suit the site and programmatic requirements of part 02. Potential spaces in-between water circulation are being explored. It results in two enveloping spirals that produces two distinct routes.

Stage 2. Spaces are sculpted out from the spiral form in response to the site. Human and water circulation are choreographed in accordance to the spatial experiences. The interior program will inform the final folly form.

In response to the axial conflict, site intervention is proposed in the following steps as depicted in the series of diagrams on the left.

1. Engaging Landscape - Axial differences are acknowledged. Existing staircase could potentially connect the 2 elements through reorganizing views and movement.

2. Mediating Shifts - Two different axis are established.

The staircase acts as a mediator for an axial shift to organise the site.

3. Resolving Geometries - Original frontal-face of staircase towards Fort Canning Centre is changed to an 45 degree angle to accommodate to the axial shift. Approach and final view of the folly is pre-suggested following the programmatic requirements. It produces conflicting geometries on the intervention site.

4. Unifying Connections - The geometry is resolved through a circular plan given the nature of the curved surface.

The circle would thus unify the two buildings through mitigating axial changes and directional rotations.

PLANAR PERSPECTIVE

CONCEPTUAL PLAN

CONCEPTUAL PLAN

THE ENTRANCE - SIGHT [LEVEL 1]

SIGHT-SOUND STRIP [LEVEL 1-2]

TOUCH-TASTE STRIP [LEVEL 2]

The initial approach in anticipation.

Sight of cascading water but one will not touch nor hear.

Strict axial order is implemented in its plan in response to the surrounding elements.

Path opens up to two options.

An attempt for a haptic realm - Water by touch through wall openings and cascading pond water . Final space opens up subtly to the lush greenery of Fort Gate Park with a drinking fountain.

AN UPWARD NARRATIVE Potential spatial experiences could be explored in the slope given its depth. Merging of existing staircase and folly - Existing staircase serves as an excellent basis for the folly’s program.

The folly will be an experiential alternative that does not require any further stair climbing. Serving as a transitional space, it brings people from the built environment of fort canning centre to the lush greenery of fort gate park.

3.

HISTORICAL CONTEXT The fort gate is preserved as the only remaining remnant of the former fort wall and gate complex whereas the former military barrack is converted to Fort Canning Centre. Given the fact that both physical elements were built at a different time, they have two different axis which causes a conflict on the site.

1.

4.

SPATIAL EXPERIENCES

SHADING CONDITION Drawing depicts the spaces that receives direct solar radiation and that are shaded by trees throughout the day. With a substantial amount of trees planted at the park, most spaces receive shading by the crown of the trees by evening. This gives us opportunities to play with shadows by tree foliages.

SIGHT - SOUND - TOUCH - TASTE Spatial experiences are choreographed in parallel to the 6 chronological moods of the music in part 01.

Images narrate a series of proposed views.

1. Anticipation: Sight of water/ 2. Anxiety + Rush: Sound of water 3. Upbeat & Electrify: Touch of water/ 4. Contemplation: Taste of water

2.

CONCLUSION SOFT QUALITIES The park is characterised by the following qualities - quiet and tranquil, slow-paced, historical attraction, well-shaded during sunrise and sunset. Human circulation is low throughout the day. Functions of the site would include picnics, taking wedding photographs, gathering, walking dogs and tourist visiting.

YEAR 2 SEMESTER 1 INTRODUCTORY PROJECT / LIN DERONG / A0111169M / STUDIO TAY YANLING / NUS ARCHITECTURE UNDERGRADUATE AY14/15

Translation from aural to form requires a rigorous creative process and a high level of discipline. Carrying forward from part 01- WATERCUBE - we have to further translate and transform the arbitrary into the tangible reality (The Folly). Throughout the process, we have learnt the methods of creating spatial experiences with a clear structure and narration. Using architectural elements as our palette, we experimented various ways of manipulation to cheoreograph how a person is being engulfed though the spaces. This project is the first step towards harnessing our creative process (translating from our minds to reality, in this case, a haptic experience) which will benefit us in future projects. d.

Chapter 1(A): acquiring language | Le Corbusier’s 5 Points of Architecture

Chapter 1(A): acquiring language | Le Corbusier’s Architectural Promenade

Chapter 1(B): interprering text | City of Glass

These set of models are derived from the analysis of the canonical works of Le Corbusier. It is a personal interpretation of his design theories and canons.

“New York was an inexhaustible space, a labyrinth of endless steps, and no matter how far he walked, no matter how well he came to know its neighbourhoods and streets, it always left him with the feeling of being lost. Lost, not only in the city, but within himself as well. Each time he took a walk, he felt as though he were leaving himself behind, and by giving himself up to the movement of the streets, by reducing himself to a seeing eye, he was able to escape the obligation to think, and this, more than anything else, brought him a measure of peace, a salutatory emptiness within. The world was outside of him, around him, before him, and the speed with which it kept changing made it impossible for him to dwell on any one thing for very long. Motion was of the essence, the act of putting one foot infront of the other and allowing himself to follow the drift of his own body. By wandering aimlessly, all places became equal, and it no longer mattered where he was. On his best walks, he was able to feel that he was nowhere. And this, finally, was all he ever asked of things: to be nowhere. New York was the nowhere he had built around himself, and he realized that he has no intention of ever leaving it again.”

“The visitor is so placed that he is without the means of making coherent his own experience. He is made the subject of diametric excitations; his consciousness is divided; and, being both deprived of and also offered an architectural support, in order to resolve his predicament, he is anxious, indeed obliged – and without choice – to enter the building” Colin Rowe, Mathematics of the Ideal Villa

Paul Auster, City of Glass pp. 2-3

Chapter 2(A): creating space | The Translation Using the canonical theories derived from Le Corbusier’s selected case studies, the text is translated into a series of concept models.

Attempts to translate is shown on the right portion with an explosion in a box and volumetric aggregation Whreas the series of the right, attempts to break the rigidity of the Corbusian grid. Asymmetry is created within the grid and thenceforth re-establishing a new grid in relation to the text.

Chapter 2(B): creating space | Processing Language

Chapter 2(C): creating space | Spatial Attempts

text { space } architecture Argubly the room or its approximation is the most basic unit of an architectural space. How it is defined, enclosed and what elements are used to do this, is architecture. Beyond the room are other rooms. The interactions between rooms and together as a whole constitutes the narrative of the space. It becomes the rationale of the architecture. This rationale may be driven by use, purpose or as an expression of an idea. Its entirety when cogent and coherent is what we call an architectural language. The use of “language” is not coincidental elements to construct space. Both utilise language that is articulated by syntax, detail and conventions. The narrative of a book is akin to the narrative of the architecture. The imaginings that are detailed in a narrative way may evoke a space directly.Yet in Architecture, the imaginings are not substance until fixed in a construct.

Space Attempt 1: Around a centre

Space Attempt 3: Machine for a narrative

Prior to translating the text into space while borrowing Le Corbusier’s language, ideas of centrality, ramps, floor levels, unconventional spaces and living machines were being experimented.

This project aims to make a bridge between the text made by the author, the space it suggests and the architectural language of various canonical architects. The bridge device is the physical making of the space. Making use of architectural language, the imaging of the author is made real.

LIN Derong Under tutelage of Dr. Lilian Chee

Space Attempt 2: Demarcating spaces

Space Attempt 3: 1:10 Section in Cardboard

AY13/14 undergraduate year 1 semester 2 Department of Architecture National University of Singapore | 2014

Final Iteration

Process Iteration (L to R)

Chapter 3: making text space architecture | Room #4 (3D Development)

text { space } architecture Final Note A space is like a narrative, unfolding in every turn, every step. Every subsidiary detail matters. Initial ideas were drawn and one would have to translate what is in the mind formally into space, with an order, to create and retain that experience. I have learnt how it is of paramount that one does not lose sight of their unique design objective during the process.Valuable lessons were drawn and this project serves as dĂŠclencheur to our creative journey ahead.

LIN Derong Under tutelage of Dr. Lilian Chee AY13/14 undergraduate year 1 semester 2 Department of Architecture National University of Singapore | 2014

Anthropometry Studies Man | Scale | Context

“Man is the measure of all things�

Study 01 (Bottom Left): A push-cart along Jalan Malioboro: RITUALS Anthropometry leads to rituals which in turn affects our operation. Compact in size, this cart is able to fully maximize the area within and around itself. Its highly systematic organization allows every store item to be within easy reach for a swift operation.

Study 02 (Bottom Right): A Lehesan along Jalan Malioboro: PERCEPTION OF COMFORT Man defines comfort with anthropometry. This drawing depicts such individual subjectivity which causes different perceptions of comfort. In Indonesian Lehesans, it is a cultural norm for one to dine seated on the floor and sodas served in tall glasses. With foreign visitors, the experience may not be as comfortable.

Architecture Design 02 | Project 01

By Lin Derong | A0111169M Under the tutelage of Dr. Lilian Chee | Studio 05 National University of Singapore | Department of Architecture | 2014

Prinsep Street Coffee Kiosk Man | Scale | Context The Brief The design and placement of a retail kiosk along Selegie Road The Kiosk This one-man kiosk will have an enclosed area of no more than 12 sqm which will be secured at the end of business hours The Site Prinsep Link Pinsep St. Junction Cultural and historical value Prinsep Street is often unseen by the commons. It was Jewish quarter until the late 20th century which was named after Charles Prinsep. It has a nutmeg plantation behind Design Strategy Using verb: To Empty as a canon for architectural design Architecture Design 02 | Project 01

By Lin Derong | A0111169M Under the tutelage of Dr. Lilian Chee | Studio 05 National University of Singapore | Department of Architecture | 2014

Street Plan: Behavioral Patterns

Parti Models in 1:50

Process Development 1 in 1:20

Process Development 2 in 1:20

Metaphoric Spatial Experience The nutmeg seed: A fragment of History => Seed: Promise of future (Idea of growth) => Past, present and future in concurrence. => Idea of a seed pod, a sense of individuality.

Proposed Programme: Coffee =>Morning: Office and student crowd =>Evening: Alcohol bars open for social gatherings => Coffee to complement service around area => Allows one to take a break

Architectural Performance Design should allow one to enter the space without any obligations. It should allow one to have a sense of privacy and allowing one to empty their minds and be static.

Site Intervention Circulation on site is noticed to be sparse but has a continuous and seemingless flow. The site characteristics should be retained and thus the design must not be obstructive to this flow and complement it.

The kiosk shall act as a static point in the middle of motion. Such points of statis would create a conducive environment to isolate. => Towards porosity, Lightness, Movement options

FINAL NOTE This project brings one closer to having the savoir-faire of a designer. We were being tasked to propose a 12 sqm kiosk in the precinct site. This demands a deep understanding of the site and discipline to react to the specific needs. Simple and logical solutions should be developed. Thus, we have learnt how site and context sets the design parameters and concurrently how anthropometry is being integrated into the design process as a tool of Street Section: Selegie Road & Prinsep Place

Street Elevation: Selegie Road & Prinsep Place

paramount importance.

materials + tectonics: tensegrity bridge and dome with strings

“technics are the details and methods of architecture: its means of fabrication and production, and its method of joining, sealing and fixing...”

PETER EISENMAN

by LIN DERONG / studio LIANG LIT HOW

Of the Renaisance + Filippo Brunelleschi

geometry & composition

by LIN DERONG / studio LIANG LIT HOW \ year 1 semester 1 project 02 “You are to consider the following statement which was carved above the door of Plato’s academy. ‘Let no one destitute of geometry enter my doors’. The beginning of geometry continues to give lessons today.

The platonic solids are not only the construct of mathematics but also the way the ancient Greeks understand the way the world is made and works. The tradition of this continues into the work of all architects today. In our attempt to create geometries and compositions it is likely the simplest organisations that allows for the greatest of permutations and delight.

You have in Topic A - Drawing, used lines to describe solids and also developed the projections of local architecture thereby relating the drawn image to a real space. This exercise will look at the process of appreciation in the reverse resulting in a process of making. From a set of lines that are disciplined by geometry and organised by a set of geometrical rules, new space will be formed”

(a) (b) (c)

research and appreciation: FILIPPO BRUNELLESCHI attempting composition creating space by melding own composition

“There are two causes of beauty - natural and customary. Natural is from geomerty consisting in uniformity, that is equality and proportion. Customary beauty is begotten by use, as familiarity breeds a love of things not in themselves lovely...”

SIR CHRISTOPHOR WREN

A0111169 LIN DERONG BA (arch) undergraduate | THE FOUNDATION YEARS Department of Architecture | School of Design and Environment National University of Singapore | 2015