B.A. (ARCH) LEVEL 3: SITE, STRUCTURE, PROGRAMME

YEAR 2 LEVEL 3 COMPILATION OF SAMPLES

2019/2020 B.A. (ARCH) 2

SITE STRUCTURE PROGRAMME

IMAGE CREDIT: STUDIO VICTOR LEE

AY 2019/2020

2019/2020 B.A. (ARCH) 2

AR2101 Level 3 Design continues the deep dive foundational thematic curriculum of the Department’s Design Studio. The semester’s themes of Structure, Site and Programme are arguably the essence of every architectural project due to the functional and material nature of architecture. And yet, to this quintessential Utilitas and Firmitas, the Department will set forth on a 13-week journey in 13 specific and even idiosyncratic directions as we look to redefine ways to Venustas.

Level 3 Design Studio looks at the world within which we live, work and design: with our internet, our Instagram, our AI, our global warming, our widening poverty gap, our neglected cities, our burgeoning landfills and our plastic oceans, and in the midst of emerging 21st century problems, plus its manifold materials and technologies, to ask that the making of architecture be rethought.

“In the English language you call everything structure. In Europe we don’t. We call a shack a shack, and not a structure. By structure we have a philosophical idea. The structure is the whole, from top to bottom, to the last detail – the same idea. That is what we call structure.”

Mies van der Rohe In ‘Emergent Structures’, if ‘structure’ is simply defined as the stuff that holds architecture up, studios within this unit will test, stretch and reconfigure this rudimentary definition of ‘structure’ to inquire what such ‘stuff’ might be and what it can do. And if architecture begins where engineering ends, emergent structures of the future should exceed mere shelter, and perform beyond the functional.

“Architects do not invent anything, they transform reality.”

Alvaro Siza In ‘Architecture as an Act of Site Definition’, the unit looks at the stuff that makes up our reality.

In city-life and in architecture, we will look at the space-time continuum inside, beside, outside and above our built interventions to approach architectural design as a deliberate act of recognising forms of habits and events, in our tentative steps towards beauty, delight

and the sublime.

Studio Leaders:

Program: “a descriptive notice, issued beforehand, of any formal series of proceedings, as a festive celebration, a course of study, etc …, a list of the items or ‘numbers’ of a concert, etc., in the order of performance; hence the items themselves collectively, the performance as a whole …”

Adrian Lai (Level 3 Studio Leader & Unit 1 Leader)

Adjunct Assistant Professor, BA. (Arch) NUS, AA (DIP) UK, ARB (UK), Reg Arch UK, BOA Reg Arch Singapore, MSIA

Ruzica Bozovic Stamenovic (Unit 2 Leader)

Associate Professor, Dr. Sci, Mr.Sci, Spec.Arch, Dipl. Eng. Arch (University of Belgrade), Reg Arch R. Serbia

Bernard Tschumi, Architecture & Disjunction, 1996

Peter Sim (Unit 3 Leader)

Adjunct Assistant Professor, BA. (Arch Studies) (NUS), B. Arch (Hons) (NUS), ARB (UK), Reg Arch UK

In ‘Emergent Organisational Ideas’, the unit looks at typologies, organisations, sequences, events and use. Spatial sequences and their relations to the Programmatic sequences are re-examined to learn about indifference, reciprocity and conflicts as viable design tactics. Architectural forms, structures and situations will be assessed and hence, designed as relations of Space, Event and Movement.

Faculty: Semester 1 Lip Chiong BA. Arch Studies (NUS), AA (DIP) UK, ARB (UK), Reg Arch UK, RIBA UK

Level 3 Design Studio thus sets forth – to define for ourselves through seeing, thinking and making our way to specific and in-depth understandings of how it is that Architecture can be defined by the idea – the idea of structure, the idea of site and the idea of programme. We organise our studios into 3 units working full throttle within disciplined frameworks – ‘Emergent Structures’, ‘Architecture as an Act of Site Definition’ and ‘Emergent Organisational Ideas’ - to engage with this conceptual and critical training by design.

Melanie Francis

Structure, site and programme are quintessential components of any building project. The act of incorporating their demands into the materialisation of a building will be the basis for which we will push on from. From such foundational skillsets for all young architects, we will push each other to arrive at criticality through ideas of what within these deep mines of desires and bodies of knowledge, could define an Architectural Project. We look forward to an intensive semester of application, production and brinkmanship.

BA.Arch Studies (NUS), AA Dip. London UK, ARB (UK) Reg Arch UK, BOA Reg Arch Singapore, M’SIA

M. Arch (Washington U), B. Environmental Design (Texas A&M U), MSIA, Reg Arch USA (Massachusetts), Reg Arch Singapore

Tan Beng Kiang

Associate Professor, Doctor of Design (Harvard University), MArch II (University of California, Los Angeles), B.Arch (Hons) (NUS), MSIA, Reg Arch Singapore

Lee Hui Lian

B.Arch (Hons) (NUS), M.Arch (NUS), Reg Arch Singapore

Victor Lee

Shinya Okuda

Associate Professor, M. Eng., B. Eng. Reg Arch (Japan, the Netherlands)

Pan Yi Cheng

AA Dip. (Hons) (UK), Reg Arch Singapore

Tham Wai Hon BA Arch. (Hons) (NUS), M.Arch (NUS)

Tiah Nan Chyuan

Adjunct Assistant Professor, BA.Arch (NUS), AA (DIP) UK, MSIA, Reg Arch Singapore

Adrian Lai Level 3 Studio Leader, Unit 1 Leader

Yong Sy Lyng

BArch Cooper Union, BA. Arch (NUS), Reg Arch Singapore

Dr Ruzica Bozovic Stamenovic Unit 2 Leader Peter Sim Unit 3 Leader 23

Image credit: Basement Bar by Dan Slavinsky

32

LEVEL 3 DESIGN STUDIO FACULTY

LEVEL 3: Structure, Site, Program

AY 2019/2020

2019/2020 B.A. (ARCH) 2

AR2101 Level 3 Design continues the deep dive foundational thematic curriculum of the Department’s Design Studio. The semester’s themes of Structure, Site and Programme are arguably the essence of every architectural project due to the functional and material nature of architecture. And yet, to this quintessential Utilitas and Firmitas, the Department will set forth on a 13-week journey in 13 specific and even idiosyncratic directions as we look to redefine ways to Venustas.

Level 3 Design Studio looks at the world within which we live, work and design: with our internet, our Instagram, our AI, our global warming, our widening poverty gap, our neglected cities, our burgeoning landfills and our plastic oceans, and in the midst of emerging 21st century problems, plus its manifold materials and technologies, to ask that the making of architecture be rethought.

“In the English language you call everything structure. In Europe we don’t. We call a shack a shack, and not a structure. By structure we have a philosophical idea. The structure is the whole, from top to bottom, to the last detail – the same idea. That is what we call structure.”

Mies van der Rohe In ‘Emergent Structures’, if ‘structure’ is simply defined as the stuff that holds architecture up, studios within this unit will test, stretch and reconfigure this rudimentary definition of ‘structure’ to inquire what such ‘stuff’ might be and what it can do. And if architecture begins where engineering ends, emergent structures of the future should exceed mere shelter, and perform beyond the functional.

“Architects do not invent anything, they transform reality.”

Alvaro Siza In ‘Architecture as an Act of Site Definition’, the unit looks at the stuff that makes up our reality.

In city-life and in architecture, we will look at the space-time continuum inside, beside, outside and above our built interventions to approach architectural design as a deliberate act of recognising forms of habits and events, in our tentative steps towards beauty, delight

and the sublime.

Studio Leaders:

Program: “a descriptive notice, issued beforehand, of any formal series of proceedings, as a festive celebration, a course of study, etc …, a list of the items or ‘numbers’ of a concert, etc., in the order of performance; hence the items themselves collectively, the performance as a whole …”

Adrian Lai (Level 3 Studio Leader & Unit 1 Leader)

Adjunct Assistant Professor, BA. (Arch) NUS, AA (DIP) UK, ARB (UK), Reg Arch UK, BOA Reg Arch Singapore, MSIA

Ruzica Bozovic Stamenovic (Unit 2 Leader)

Associate Professor, Dr. Sci, Mr.Sci, Spec.Arch, Dipl. Eng. Arch (University of Belgrade), Reg Arch R. Serbia

Bernard Tschumi, Architecture & Disjunction, 1996

Peter Sim (Unit 3 Leader)

Adjunct Assistant Professor, BA.Arch Studies (NUS), B. Arch (Hons) (NUS), ARB (UK), Reg Arch UK

In ‘Emergent Organisational Ideas’, the unit looks at typologies, organisations, sequences, events and use. Spatial sequences and their relations to the Programmatic sequences are re-examined to learn about indifference, reciprocity and conflicts as viable design tactics. Architectural forms, structures and situations will be assessed and hence, designed as relations of Space, Event and Movement.

Faculty: Semester 1 Lip Chiong BA. Arch Studies (NUS), AA (DIP) UK, ARB (UK), Reg Arch UK, RIBA UK

Level 3 Design Studio thus sets forth – to define for ourselves through seeing, thinking and making our way to specific and in-depth understandings of how it is that Architecture can be defined by the idea – the idea of structure, the idea of site and the idea of programme. We organise our studios into 3 units working full throttle within disciplined frameworks – ‘Emergent Structures’, ‘Architecture as an Act of Site Definition’ and ‘Emergent Organisational Ideas’ - to engage with this conceptual and critical training by design.

Melanie Francis

Structure, site and programme are quintessential components of any building project. The act of incorporating their demands into the materialisation of a building will be the basis for which we will push on from. From such foundational skillsets for all young architects, we will push each other to arrive at criticality through ideas of what within these deep mines of desires and bodies of knowledge, could define an Architectural Project. We look forward to an intensive semester of application, production and brinkmanship.

BA.Arch Studies (NUS), AA Dip. London UK, ARB (UK) Reg Arch UK, BOA Reg Arch Singapore, M’SIA

M. Arch (Washington U), B. Environmental Design (Texas A&M U), MSIA, Reg Arch USA (Massachusetts), Reg Arch Singapore

Tan Beng Kiang

Associate Professor, Doctor of Design (Harvard University), MArch II (University of California, Los Angeles), B.Arch (Hons) (NUS), MSIA, Reg Arch Singapore

Lee Hui Lian

B.Arch (Hons) (NUS), M.Arch (NUS), Reg Arch Singapore

Victor Lee

Shinya Okuda

Associate Professor, M. Eng., B. Eng. Reg Arch (Japan, the Netherlands)

Pan Yi Cheng

AA Dip. (Hons) (UK), Reg Arch Singapore

Tham Wai Hon BA Arch. (Hons) (NUS), M.Arch (NUS)

Tiah Nan Chyuan

Adjunct Assistant Professor, BA.Arch (NUS), AA (DIP) UK, MSIA, Reg Arch Singapore

Adrian Lai Level 3 Studio Leader, Unit 1 Leader

Yong Sy Lyng

BArch Cooper Union, BA. Arch (NUS), Reg Arch Singapore

Dr Ruzica Bozovic Stamenovic Unit 2 Leader Peter Sim Unit 3 Leader 23

Image credit: Basement Bar by Dan Slavinsky

32

LEVEL 3 DESIGN STUDIO FACULTY

LEVEL 3: Structure, Site, Program

AR2101 ARCHITECTURE DESIGN STUDIO | LEVEL 3 THEMES: STRUCTURE | PROGRAMME | SITE INTRODUCTION AR2101 Level 3 Design continues the deep dive foundational thematic curriculum of the Department’s Design Studio. The semester’s themes of Structure, Site and Programme are arguably the essence of every architectural project due to the functional and material nature of architecture.

And yet, to this quintessential Utilitas and Firmitas, the Department will set forth on a 13-week journey in 13 specific and even idiosyncratic directions as we look to redefine ways to Venustas.

Level 3 Design Studio looks at the world within which we live, work and design: with our internet, our Instagram, our AI, our global warming, our widening poverty gap, our neglected cities, our burgeoning landfills and our plastic oceans, and in the midst of emerging 21st century problems, plus its manifold materials and technologies, to ask that the making of architecture be re-thought.

In the English language you call everything structure. In Europe we don’t. We call a shack a shack, and not a structure. By structure we have a philosophical idea. The structure is the whole, from top to bottom, to the last detail – the same idea. That is what we call structure.

- Mies van der Rohe In ‘Emergent Structures’, if ‘structure’ is simply defined as the stuff that holds architecture up, studios within this unit will test, stretch and reconfigure this rudimentary definition of ‘structure’ to inquire what such ‘stuff’ might be and what it can do. And if architecture begins where engineering ends, emergent structures of the future should exceed mere shelter, and perform beyond the functional.

Architects do not invent anything, they transform reality.

- Alvaro Siza In ‘Architecture as an Act of Site Definition’, the unit looks at the stuff that makes up our reality. In city-life and in architecture, we will look at the space-time continuum inside, beside, outside and above our built interventions to approach architectural design as a deliberate act of recognising forms of habits and events, in our tentative steps towards beauty, delight and the sublime.

Program: “a descriptive notice, issued beforehand, of any formal series of proceedings, as a festive celebration, a course of study, etc …, a list of the items or ‘numbers’ of a concert, etc., in the order of performance; hence the items themselves collectively, the performance as a whole …”

- Bernard Tschumi, Architecture & Disjunction, 1996 In ‘Emergent Organisational Ideas’, the unit looks at typologies, organisations, sequences, events and use. Spatial sequences and their relations to the Programmatic sequences are re-examined to learn about indifference, reciprocity and conflicts as viable design tactics. Architectural forms, structures and situations will be assessed and hence, designed as relations of Space, Event and Movement.

Each Studio thus sets forth to define for ourselves through seeing, thinking and making our way to specific and in-depth understandings of how it is that Architecture can be defined by the idea – the idea of structure, the idea of site and the idea of programme. We organise our studios into 3 units working full throttle within disciplined frameworks – ‘Emergent Structures’, ‘Architecture as an Act of Site Definition’ and ‘Emergent Organisational Ideas’ - to engage with this conceptual and critical training by design.

Structure, site and programme are quintessential components of any building project. The act of incorporating their demands into the materialisation of a building will be the foundations on which each student will push on from. From such foundational skillsets for all young architects, we will push each other to arrive at criticality through ideas of what within these deep mines of desires and bodies of knowledge, could define an Architectural Project. We look forward to an intensive semester of application, production and brinkmanship. _______________________________________________________________________________________

STRUCTURE OF LEVEL 3 DESIGN STUDIO Level 3 Design Studio will be organised as 3 units of 4 studios each. The 3 units will be formed by studios employing similar pedagogies and approaches to the semester’s themes of site, structure and program. Projects this semester will be the vehicle for students to learn to apply all 3 themes of site, structure and program to design. Each studio will be led by a tutor with specific lesson plans and methods in place. Differences in deliverables between Units, or studios, are expected.

PROGRAMME OF LEVEL 3 DESIGN STUDIO Each student is at liberty to define their own vehicles, suited to the studio’s individual methods and interpretation of this common Level 3 brief. Several parameters are listed below as a guide to generate/develop the brief and projects. These broad parameters may be interpreted and revised as suited to the outcomes and ambitions of individual projects, in consultation with the Studio Tutors.

All projects must, however, observe the following criteria: a. each project must be multi-storey/ multi-level. b. each proposal must address structures in the vertical as well as its interface/ transition to the horizontal.

AR2101 ARCHITECTURE DESIGN STUDIO | LEVEL 3 THEMES: STRUCTURE | PROGRAMME | SITE INTRODUCTION AR2101 Level 3 Design continues the deep dive foundational thematic curriculum of the Department’s Design Studio. The semester’s themes of Structure, Site and Programme are arguably the essence of every architectural project due to the functional and material nature of architecture.

And yet, to this quintessential Utilitas and Firmitas, the Department will set forth on a 13-week journey in 13 specific and even idiosyncratic directions as we look to redefine ways to Venustas.

Level 3 Design Studio looks at the world within which we live, work and design: with our internet, our Instagram, our AI, our global warming, our widening poverty gap, our neglected cities, our burgeoning landfills and our plastic oceans, and in the midst of emerging 21st century problems, plus its manifold materials and technologies, to ask that the making of architecture be re-thought.

In the English language you call everything structure. In Europe we don’t. We call a shack a shack, and not a structure. By structure we have a philosophical idea. The structure is the whole, from top to bottom, to the last detail – the same idea. That is what we call structure.

- Mies van der Rohe In ‘Emergent Structures’, if ‘structure’ is simply defined as the stuff that holds architecture up, studios within this unit will test, stretch and reconfigure this rudimentary definition of ‘structure’ to inquire what such ‘stuff’ might be and what it can do. And if architecture begins where engineering ends, emergent structures of the future should exceed mere shelter, and perform beyond the functional.

Architects do not invent anything, they transform reality.

- Alvaro Siza In ‘Architecture as an Act of Site Definition’, the unit looks at the stuff that makes up our reality. In city-life and in architecture, we will look at the space-time continuum inside, beside, outside and above our built interventions to approach architectural design as a deliberate act of recognising forms of habits and events, in our tentative steps towards beauty, delight and the sublime.

Program: “a descriptive notice, issued beforehand, of any formal series of proceedings, as a festive celebration, a course of study, etc …, a list of the items or ‘numbers’ of a concert, etc., in the order of performance; hence the items themselves collectively, the performance as a whole …”

- Bernard Tschumi, Architecture & Disjunction, 1996 In ‘Emergent Organisational Ideas’, the unit looks at typologies, organisations, sequences, events and use. Spatial sequences and their relations to the Programmatic sequences are re-examined to learn about indifference, reciprocity and conflicts as viable design tactics. Architectural forms, structures and situations will be assessed and hence, designed as relations of Space, Event and Movement.

Each Studio thus sets forth to define for ourselves through seeing, thinking and making our way to specific and in-depth understandings of how it is that Architecture can be defined by the idea – the idea of structure, the idea of site and the idea of programme. We organise our studios into 3 units working full throttle within disciplined frameworks – ‘Emergent Structures’, ‘Architecture as an Act of Site Definition’ and ‘Emergent Organisational Ideas’ - to engage with this conceptual and critical training by design.

Structure, site and programme are quintessential components of any building project. The act of incorporating their demands into the materialisation of a building will be the foundations on which each student will push on from. From such foundational skillsets for all young architects, we will push each other to arrive at criticality through ideas of what within these deep mines of desires and bodies of knowledge, could define an Architectural Project. We look forward to an intensive semester of application, production and brinkmanship. _______________________________________________________________________________________

STRUCTURE OF LEVEL 3 DESIGN STUDIO Level 3 Design Studio will be organised as 3 units of 4 studios each. The 3 units will be formed by studios employing similar pedagogies and approaches to the semester’s themes of site, structure and program. Projects this semester will be the vehicle for students to learn to apply all 3 themes of site, structure and program to design. Each studio will be led by a tutor with specific lesson plans and methods in place. Differences in deliverables between Units, or studios, are expected.

PROGRAMME OF LEVEL 3 DESIGN STUDIO Each student is at liberty to define their own vehicles, suited to the studio’s individual methods and interpretation of this common Level 3 brief. Several parameters are listed below as a guide to generate/develop the brief and projects. These broad parameters may be interpreted and revised as suited to the outcomes and ambitions of individual projects, in consultation with the Studio Tutors.

All projects must, however, observe the following criteria: a. each project must be multi-storey/ multi-level. b. each proposal must address structures in the vertical as well as its interface/ transition to the horizontal.

LEARNING OUTCOMES c. each proposal must create interiors/exteriors that have at least 3 transitions or thresholds of qualitative spatial effects related to the programmatic ideas, i.e. ideas for functional organisation.

Learning outcomes are the fundamentals that every student must achieve before they move on to other design studio levels. They are:

d. overall built-up size to be decided within studios or at the unit level. Lesson plans will largely stage the project into phases, in increasing complexity and to embed fundamental skills in each phase. Deliverables at each phase are evidence of your learning process this semester.

[Key: Evidence of research, making-led thinking and design]

1. Demonstrate a critical understanding of the difference between functions and programme (and where they overlap).

Notwithstanding the production of standalone deliverables for each phase, the transition between phases and intertwining of each phase is also a crucial part of an architect’s training.

Firstly, this is training students to apply findings. Secondly, this is a practice of synthetic thinking and abstraction-tomaterialisation processes. [Keys: produce | apply | conceptual realisations into material realisation] Despite the expected differences in deliverables between Units, or studios, each student should look forward to (1) observing through field work, (2) researching different stores of facts and (3) producing documents / drawings / models / diagrams / videos / etc. to verify subjective versus the objective; and to be instructed on how to apply these findings and conceptual realisations into material realisations. Tutors would look to narrow the production pathways to ensure that the learning outcomes are achieved – students, conversely should treat each exercise and its production deliverables seriously. The deliverables thus defined on a studio level are one method of many others used by other studios. [Keys: techniques / exercises in creating mediums for thinking]

SITE FOR LEVEL 3 DESIGN STUDIO The choice of site will be decided by each studio tutor based on the studio’s approach to the themes. The criticality of learning site analyses techniques is to ensure a coherent urban fabric and city life. Just as we do not tell jokes without punchlines nor deliver punchlines without setups, our architectural interventions should create realities that have a firm grasp on the existing.

[Key: Evidence of research and translation into legible mediums | interpretation of intelligible mediums into insight]

2. Demonstrate a critical understanding of the difference between site and context (and where they overlap).

3. Demonstrate a critical understanding of spatial and material structures (and where they overlap).

4. Demonstrate an ability to evaluate performance of programming.

5. Demonstrate an ability to translate field observations or research information from site into legible mediums.

6. Demonstrate an ability to apply structural principles or knowledge to design inhabitable or occupiable space.

7. Exhibit improvements in technical abilities in a variety of mediums and materials.

8. Exhibit ability to take on different design approaches.

9. Draw and communicate force, weight and gravity through material and time (live & dead loads) 10. Draw and communicate site through various representations; at minimum understanding conventions of topography, natural and artificial edges, boundaries, plots, sidewalks etc.

11. Draw and communicate program through human inhabitation, scale and proportion in relation to operations of the human body in space 12. Be able to produce complex drawings that include 2 or more projections in a single combined drawing.

13. Be able to utilise and control digital drawing with appropriate line weights, line types, etc.

LEARNING OUTCOMES c. each proposal must create interiors/exteriors that have at least 3 transitions or thresholds of qualitative spatial effects related to the programmatic ideas, i.e. ideas for functional organisation.

Learning outcomes are the fundamentals that every student must achieve before they move on to other design studio levels. They are:

d. overall built-up size to be decided within studios or at the unit level. Lesson plans will largely stage the project into phases, in increasing complexity and to embed fundamental skills in each phase. Deliverables at each phase are evidence of your learning process this semester.

[Key: Evidence of research, making-led thinking and design]

1. Demonstrate a critical understanding of the difference between functions and programme (and where they overlap).

Notwithstanding the production of standalone deliverables for each phase, the transition between phases and intertwining of each phase is also a crucial part of an architect’s training.

Firstly, this is training students to apply findings. Secondly, this is a practice of synthetic thinking and abstraction-tomaterialisation processes. [Keys: produce | apply | conceptual realisations into material realisation] Despite the expected differences in deliverables between Units, or studios, each student should look forward to (1) observing through field work, (2) researching different stores of facts and (3) producing documents / drawings / models / diagrams / videos / etc. to verify subjective versus the objective; and to be instructed on how to apply these findings and conceptual realisations into material realisations. Tutors would look to narrow the production pathways to ensure that the learning outcomes are achieved – students, conversely should treat each exercise and its production deliverables seriously. The deliverables thus defined on a studio level are one method of many others used by other studios. [Keys: techniques / exercises in creating mediums for thinking]

SITE FOR LEVEL 3 DESIGN STUDIO The choice of site will be decided by each studio tutor based on the studio’s approach to the themes. The criticality of learning site analyses techniques is to ensure a coherent urban fabric and city life. Just as we do not tell jokes without punchlines nor deliver punchlines without setups, our architectural interventions should create realities that have a firm grasp on the existing.

[Key: Evidence of research and translation into legible mediums | interpretation of intelligible mediums into insight]

2. Demonstrate a critical understanding of the difference between site and context (and where they overlap).

3. Demonstrate a critical understanding of spatial and material structures (and where they overlap).

4. Demonstrate an ability to evaluate performance of programming.

5. Demonstrate an ability to translate field observations or research information from site into legible mediums.

6. Demonstrate an ability to apply structural principles or knowledge to design inhabitable or occupiable space.

7. Exhibit improvements in technical abilities in a variety of mediums and materials.

8. Exhibit ability to take on different design approaches.

9. Draw and communicate force, weight and gravity through material and time (live & dead loads) 10. Draw and communicate site through various representations; at minimum understanding conventions of topography, natural and artificial edges, boundaries, plots, sidewalks etc.

11. Draw and communicate program through human inhabitation, scale and proportion in relation to operations of the human body in space 12. Be able to produce complex drawings that include 2 or more projections in a single combined drawing.

13. Be able to utilise and control digital drawing with appropriate line weights, line types, etc.

EMERGENT STRUCTURES SAMUEL TAN: MEMOIRS OF A COPPER SHEET KEE CHEOW YAN: EQUIPOISE STUDIO PETER SIM

EMERGENT STRUCTURES SAMUEL TAN: MEMOIRS OF A COPPER SHEET KEE CHEOW YAN: EQUIPOISE STUDIO PETER SIM

Memoirs of a Copper Sheet

by Samuel Tan Hao En Memoirs of a Copper Sheet

by Samuel Tan Hao En Our forefathers that built us up envisaged a future that only we can call reality. InThe analysis of the basic properties & characteristics of Copper, towards the discovtime, circumstances may change yetOur through generations motivations ery ofthat howonly deemed weaknesses canInbecome strengths. forefathers that our builtresolve us up and envisaged a future we can call reality. remain the same. time, circumstances may change yet through generations our resolve and motivations Copper is weak as a structural material due to its malleability. However, this inremain the same.

If what we see today was the result of their labour, how then might we transcendherent weakness can be manipulated to explore new ways of copper as deemed deeper into the world they sought to investigating have left structure.

If change what webysee today wasthe thetraces resultthey of their labour, how then might we transcend behind? deeper into the world they sought to change by investigating the traces they have left The malleability of copper can also be utilised to document the dialogue of moveThe Founder’s Memorial serves tobehind? address these questions by acting as a node thatment of visitors and the varying concentrations of human densities due to differencapsulates all the traces our forefathers have left behind for the eyes of the pub-ent points of interests in the structure. This embracement & accommodation for The Founder’s Memorial serves address these questions by acting as a node that lic. The journey begins as one of discovery that provides fresh and to deeper insights change is celebrated rather opposed. encapsulates all the traces our forefathers have left behind for the eyes of than the pubthrough the vivid evocation of the past. lic. The journey begins as one of discovery that provides fresh and deeper insights Through the exploration of how the rolling of copper sheets can withstand comthrough the vivid evocation of the past.

To be able to embrace and thrive in tough circumstances like our forefathers didpressional loads, a semi-circular column comprising of rolled copper sheets was meant that the material of choice should fromand what givesinMarina derived. By investigating the portions To be not ableshy to away embrace thrive tough East circumstances like our forefathers did of the column that were deemed unnecessary for compressional load transfer, parts were cut away, creating cavities that displayed Park it’s identity; the Singapore River. meant that the material of choice should not shytheaway fromcomposition what gives Marina East internal of the column.

Park it’s identity; the Singapore River.

Just as what remains of our forefathers are the traces they have left behind, my in-The resultant form encompasses a centrifugal point upon a planar semi-circular tervention seeks to extend the journey up traces through the understandat the to transfer Just of as picking what remains of our forefathers are the face, tracesnarrow they have lefttop, behind, my in-the compressional load down to a broad base ing and manipulation of the basic characteristics and properties of a single material; that allows for stability. tervention seeks to extend the journey of picking up traces through the understandcopper. ing and manipulation of the basic characteristics and properties of a single material; copper.

16

Memoirs of a Copper Sheet

by Samuel Tan Hao En Memoirs of a Copper Sheet

by Samuel Tan Hao En Our forefathers that built us up envisaged a future that only we can call reality. InThe analysis of the basic properties & characteristics of Copper, towards the discovtime, circumstances may change yetOur through generations motivations ery ofthat howonly deemed weaknesses canInbecome strengths. forefathers that our builtresolve us up and envisaged a future we can call reality. remain the same. time, circumstances may change yet through generations our resolve and motivations Copper is weak as a structural material due to its malleability. However, this inremain the same.

If what we see today was the result of their labour, how then might we transcendherent weakness can be manipulated to explore new ways of copper as deemed deeper into the world they sought to investigating have left structure.

If change what webysee today wasthe thetraces resultthey of their labour, how then might we transcend behind? deeper into the world they sought to change by investigating the traces they have left The malleability of copper can also be utilised to document the dialogue of moveThe Founder’s Memorial serves tobehind? address these questions by acting as a node thatment of visitors and the varying concentrations of human densities due to differencapsulates all the traces our forefathers have left behind for the eyes of the pub-ent points of interests in the structure. This embracement & accommodation for The Founder’s Memorial serves address these questions by acting as a node that lic. The journey begins as one of discovery that provides fresh and to deeper insights change is celebrated rather opposed. encapsulates all the traces our forefathers have left behind for the eyes of than the pubthrough the vivid evocation of the past. lic. The journey begins as one of discovery that provides fresh and deeper insights Through the exploration of how the rolling of copper sheets can withstand comthrough the vivid evocation of the past.

To be able to embrace and thrive in tough circumstances like our forefathers didpressional loads, a semi-circular column comprising of rolled copper sheets was meant that the material of choice should fromand what givesinMarina derived. By investigating the portions To be not ableshy to away embrace thrive tough East circumstances like our forefathers did of the column that were deemed unnecessary for compressional load transfer, parts were cut away, creating cavities that displayed Park it’s identity; the Singapore River. meant that the material of choice should not shytheaway fromcomposition what gives Marina East internal of the column.

Park it’s identity; the Singapore River.

Just as what remains of our forefathers are the traces they have left behind, my in-The resultant form encompasses a centrifugal point upon a planar semi-circular tervention seeks to extend the journey up traces through the understandat the to transfer Just of as picking what remains of our forefathers are the face, tracesnarrow they have lefttop, behind, my in-the compressional load down to a broad base ing and manipulation of the basic characteristics and properties of a single material; that allows for stability. tervention seeks to extend the journey of picking up traces through the understandcopper. ing and manipulation of the basic characteristics and properties of a single material; copper.

16

EQUIPOISE

by Kee Cheow Yan The premise of this project is to design a recreational tower with an observation deck using a chosen material and innovating new ways of utilizing it.

This project seeks to explore the idea of taking wood in its purest form and applying a process to it in order to realize its unlocked potential and inherent characteristics.

The wood was kerfed and modular kerfed panels were created. Kerfing imparted flexibility to the wood albeit at the cost of some structural integrity. A solution would therefore have to be created to resolve this new weakness.

By arranging the panels in a hexagonal arrangement, the simplest even sided radial arrangement, a column could be created which was significantly stronger due to the even distribution of weight amongst the panels.This column was is kinetic in nature and responds to live loads placed on it, producing a contaction/ expansion type of movement depending on the load.

Using this column, the project then sought to tackle a fundamental problem which all towers dealt with, the lack of Vertical Connectivity.

The structure comprises of six core towers arranged in an alternate triangular arrangement. The towers in each arrangement are offset by half a floor, creating intricate mezzanine spaces and an elaborate circulation upwards the tower which exposes the visitors to the panoramic views of the landscape.

Through process and experimentation, the resultant structure formed was one that centered around the three core themes of : Structural Interdependence, Vertical Connectivity and Kinetic Response to Human Circulation.

EQUIPOISE

by Kee Cheow Yan The premise of this project is to design a recreational tower with an observation deck using a chosen material and innovating new ways of utilizing it.

This project seeks to explore the idea of taking wood in its purest form and applying a process to it in order to realize its unlocked potential and inherent characteristics.

The wood was kerfed and modular kerfed panels were created. Kerfing imparted flexibility to the wood albeit at the cost of some structural integrity. A solution would therefore have to be created to resolve this new weakness.

By arranging the panels in a hexagonal arrangement, the simplest even sided radial arrangement, a column could be created which was significantly stronger due to the even distribution of weight amongst the panels.This column was is kinetic in nature and responds to live loads placed on it, producing a contaction/ expansion type of movement depending on the load.

Using this column, the project then sought to tackle a fundamental problem which all towers dealt with, the lack of Vertical Connectivity.

The structure comprises of six core towers arranged in an alternate triangular arrangement. The towers in each arrangement are offset by half a floor, creating intricate mezzanine spaces and an elaborate circulation upwards the tower which exposes the visitors to the panoramic views of the landscape.

Through process and experimentation, the resultant structure formed was one that centered around the three core themes of : Structural Interdependence, Vertical Connectivity and Kinetic Response to Human Circulation.

Studio Title

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Studio Title

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NOT A CINEPLEX GEORGE ZONG: TEXTILE TUNNEL HAZEL PHUA: CINEPLAYGROUND PENNY KWAN: THE DISTRACTED CINEMA LIT YIJIANG: CES’T LA VIE STUDIO THAM WAI HON

NOT A CINEPLEX GEORGE ZONG: TEXTILE TUNNEL HAZEL PHUA: CINEPLAYGROUND PENNY KWAN: THE DISTRACTED CINEMA LIT YIJIANG: CES’T LA VIE STUDIO THAM WAI HON

TEXTILE TUNNEL GEORGE ZONG CHI HAU

The wall, the physical extension of time itself, exists as a single unit of division between space. To cut away that took a volume of the wall effectively allows the viewer to peep into the impossible, that two sides of the wall. As one travels through the tunnel, the building becomes the movie to be watched instead of just being part of the process. Each floor slab and wall is a cut scene, linking together space and time for the viewer’s privileged perspective to form.

NOT A CINEPLEX 31

TEXTILE TUNNEL GEORGE ZONG CHI HAU

The wall, the physical extension of time itself, exists as a single unit of division between space. To cut away that took a volume of the wall effectively allows the viewer to peep into the impossible, that two sides of the wall. As one travels through the tunnel, the building becomes the movie to be watched instead of just being part of the process. Each floor slab and wall is a cut scene, linking together space and time for the viewer’s privileged perspective to form.

NOT A CINEPLEX 31

CINEPLAYGROUND HAZEL PHUA XIN YI

An inter-generational cinema-playground that encourages interaction between people of all ages and backgrounds. The elderly fitness corner on the ground floor is connected to the space by the common lift. The fitness gym and indoor climbing gym are connected through the back door on the third floor.

NOT A CINEPLEX 3

38 NOT A CINEPLEX

NOT A CINEPLEX 39

CINEPLAYGROUND HAZEL PHUA XIN YI

An inter-generational cinema-playground that encourages interaction between people of all ages and backgrounds. The elderly fitness corner on the ground floor is connected to the space by the common lift. The fitness gym and indoor climbing gym are connected through the back door on the third floor.

NOT A CINEPLEX 3

38 NOT A CINEPLEX

NOT A CINEPLEX 39

THE DISTRACTED CINEMA PENNIE KWAN JIA WEN

Art house cinema has always tried to be avant-garde, using filming and narrative techniques not normally found in hollywood movies. Through mapping freytag’s structural techniques used in “A Land Imagined”, a new way of experiencing films can be curated. However, in this fast-past world, people seem to be more concern with the immediate and the now, easily getting bored during such films.

Hence, the need for “escapes”.

NOT A CINEPLEX 67

70 NOT A CINEPLEX

NOT A CINEPLEX 71

THE DISTRACTED CINEMA PENNIE KWAN JIA WEN

Art house cinema has always tried to be avant-garde, using filming and narrative techniques not normally found in hollywood movies. Through mapping freytag’s structural techniques used in “A Land Imagined”, a new way of experiencing films can be curated. However, in this fast-past world, people seem to be more concern with the immediate and the now, easily getting bored during such films.

Hence, the need for “escapes”.

NOT A CINEPLEX 67

70 NOT A CINEPLEX

NOT A CINEPLEX 71

CES’T LA VIE LIU YIJIANG

This project realises the harsh realities of Singapore and puts a dystopian spin on it. Using an airship catering to the VVIPs of CE LA VI, local films are screened onto the everyday to portray and allow the exclusive to understand the excluded. Within the walls of their private rooms, they consume the movie while consuming the population.

NOT A CINEPLEX 55 SECTIONAL PERSPECTIVE

CES’T LA VIE LIU YIJIANG

This project realises the harsh realities of Singapore and puts a dystopian spin on it. Using an airship catering to the VVIPs of CE LA VI, local films are screened onto the everyday to portray and allow the exclusive to understand the excluded. Within the walls of their private rooms, they consume the movie while consuming the population.

NOT A CINEPLEX 55 SECTIONAL PERSPECTIVE

THE SHOPHOUSE REDEFINED A TYPOLOGICAL INQUIRY OF PROGRAMME ELTON NEO: IN-OUT SYNERGY RYAN NEO: THE OPEN SHOPHOUSE KOH ELENE: LIVING AND POTTERY-ING LIM QILEI, DANIEL: THE SPICE HOUSE STUDIO VICTOR LEE

THE SHOPHOUSE REDEFINED A TYPOLOGICAL INQUIRY OF PROGRAMME ELTON NEO: IN-OUT SYNERGY RYAN NEO: THE OPEN SHOPHOUSE KOH ELENE: LIVING AND POTTERY-ING LIM QILEI, DANIEL: THE SPICE HOUSE STUDIO VICTOR LEE

IN-OUT SYNERGY FINAL PROPOSAL 1

I N - O UELTON T SNEOYHWEE N EZHAN RGY FINAL PROPOSAL 1 ELTON NEO HWEE ZHAN

The project aims to redefine shophouses and allow Dyeing Artisans to work & live in.

idea aims is to introduce exterior qualitiesand intoallow TheThe project to redefine shophouses designated interior spaces for a smooth process of in.

Dyeing Artisans to work & live workspaces to be planned out, while affectingexterior human qualities comfort. into The idea is tonot introduce

designated interior spaces for a smooth process of

The synergy among all the reconfigured shophouse workspaces to be planned out, elements allow this project to be possible.

while not affecting human comfort.

The synergy among all the reconfigured shophouse elements allow this project to be possible.

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IN-OUT SYNERGY FINAL PROPOSAL 1

I N - O UELTON T SNEOYHWEE N EZHAN RGY FINAL PROPOSAL 1 ELTON NEO HWEE ZHAN

The project aims to redefine shophouses and allow Dyeing Artisans to work & live in.

idea aims is to introduce exterior qualitiesand intoallow TheThe project to redefine shophouses designated interior spaces for a smooth process of in.

Dyeing Artisans to work & live workspaces to be planned out, while affectingexterior human qualities comfort. into The idea is tonot introduce

designated interior spaces for a smooth process of

The synergy among all the reconfigured shophouse workspaces to be planned out, elements allow this project to be possible.

while not affecting human comfort.

The synergy among all the reconfigured shophouse elements allow this project to be possible.

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THE OPEN SHOPHOUSE FINAL PROPOSAL 11

T H E O P E N S H O P H ORYAN U SNEO E

FINAL PROPOSAL 11

Stepped Display Area/ Stairs to Exhibition

Frontal View of Staggered Air Wells

Link-Bridge

Air Well Intersecting FiveFoot-Way

Stepped Display Area/ Stairs to Exhibition

Frontal View of Staggered Air Wells

Link-Bridge

Air Well Intersecting FiveFoot-Way

This shophouse seeks to investigate the RYAN NEO programmatic qualities of open/close and public/private in the modulation of the five-foot-way, stairs and airshophouse well/ service block elements.

This seeks to core investigate the programmatic qualities of open/close and public/private Their resultant intersections redefine in theinteractions modulation and of the five-foot-way, stairs the typical Shophouse type’s spatial experience, and air well/ service block core elements. allowing for the redefinition and inhabitation of newand programme conventions.

Their resultant interactions intersections redefine the typical Shophouse type’s spatial experience, allowing for the redefinition and inhabitation Five-Foot-Way/ of new programme conventions.

Public Walkway

Five-Foot-Way/ Public Walkway

OVERALL STRUCTURE VIS-A-VIS TECTONICS Overall, the building is primarily supported by a reinforced concrete post-and-beam framework. To achieve the floating monolithic architectural OVERALL VIS-A-VIS tectonics of STRUCTURE the biulding’s final form, TECTONICS its columns have been pulled away and inside from the five-foot-way.

Overall, the building is primarily supported by a reinforced ‘archway concrete In-situ concrete-casted post-and-beam framework. achieve portals’ cantilever from theseTocolumns, the floating emphasising monolithic architectural effectively both the tectonics of the biulding’s final form, floating mass as well as providing a its columns have pulled away reinterpreted and been abstracted take and inside from the five-foot-way. to the arches that commonly frame traditional five-foot-ways. In addition, a In-situ concrete-casted ‘archway flat roof construction further adds to the portals’ cantilever from thesetectonics, columns, building’s spatial-volumetric effectively emphasising both the presenting an immediate visual floating well as providing a towards mass the as reinterpreted carvedreinterpreted abstracted core take out spaces of and the investigated to the arches thattypical commonly frame elements of the shophouse, traditional five-foot-ways. addition, a namely the five-foot-wayInand stairs, flat roof as construction further adds to the as well the air well/ service block. building’s spatial-volumetric tectonics, presenting an immediate visual towards the reinterpreted carvedout spaces of the investigated core elements of the typical shophouse, namely the five-foot-way and stairs, as well as the air well/ service block.

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THE OPEN SHOPHOUSE FINAL PROPOSAL 11

T H E O P E N S H O P H ORYAN U SNEO E

FINAL PROPOSAL 11

Stepped Display Area/ Stairs to Exhibition

Frontal View of Staggered Air Wells

Link-Bridge

Air Well Intersecting FiveFoot-Way

Stepped Display Area/ Stairs to Exhibition

Frontal View of Staggered Air Wells

Link-Bridge

Air Well Intersecting FiveFoot-Way

This shophouse seeks to investigate the RYAN NEO programmatic qualities of open/close and public/private in the modulation of the five-foot-way, stairs and airshophouse well/ service block elements.

This seeks to core investigate the programmatic qualities of open/close and public/private Their resultant intersections redefine in theinteractions modulation and of the five-foot-way, stairs the typical Shophouse type’s spatial experience, and air well/ service block core elements. allowing for the redefinition and inhabitation of newand programme conventions.

Their resultant interactions intersections redefine the typical Shophouse type’s spatial experience, allowing for the redefinition and inhabitation Five-Foot-Way/ of new programme conventions.

Public Walkway

Five-Foot-Way/ Public Walkway

OVERALL STRUCTURE VIS-A-VIS TECTONICS Overall, the building is primarily supported by a reinforced concrete post-and-beam framework. To achieve the floating monolithic architectural OVERALL VIS-A-VIS tectonics of STRUCTURE the biulding’s final form, TECTONICS its columns have been pulled away and inside from the five-foot-way.

Overall, the building is primarily supported by a reinforced ‘archway concrete In-situ concrete-casted post-and-beam framework. achieve portals’ cantilever from theseTocolumns, the floating emphasising monolithic architectural effectively both the tectonics of the biulding’s final form, floating mass as well as providing a its columns have pulled away reinterpreted and been abstracted take and inside from the five-foot-way. to the arches that commonly frame traditional five-foot-ways. In addition, a In-situ concrete-casted ‘archway flat roof construction further adds to the portals’ cantilever from thesetectonics, columns, building’s spatial-volumetric effectively emphasising both the presenting an immediate visual floating well as providing a towards mass the as reinterpreted carvedreinterpreted abstracted core take out spaces of and the investigated to the arches thattypical commonly frame elements of the shophouse, traditional five-foot-ways. addition, a namely the five-foot-wayInand stairs, flat roof as construction further adds to the as well the air well/ service block. building’s spatial-volumetric tectonics, presenting an immediate visual towards the reinterpreted carvedout spaces of the investigated core elements of the typical shophouse, namely the five-foot-way and stairs, as well as the air well/ service block.

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L I V I N G A N D P OT T E R Y- I N G FINAL PROPOSAL 3 KOH ELENE This shophouse enhances the public’s appreciation for pottery, whilst creating private and cantilevered living spaces for pottery artisans.

The workshop exposes making process, whilst the inner gallery experience is accentuated through an ascending circulation climax of light to mid-dark airwells, that end with the final pottery transaction space.

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L I V I N G A N D P OT T E R Y- I N G FINAL PROPOSAL 3 KOH ELENE This shophouse enhances the public’s appreciation for pottery, whilst creating private and cantilevered living spaces for pottery artisans.

The workshop exposes making process, whilst the inner gallery experience is accentuated through an ascending circulation climax of light to mid-dark airwells, that end with the final pottery transaction space.

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THE SPICE HOUSE FINAL PROPOSAL 7 LIM QILEI, DANIEL

THE SPICE HOUSE

This shophouse explores the carvings and isolated solids as possible volumetric spaces.7 FINAL PROPOSAL LIM QILEI, DANIEL It seeks to capture the physical, and visual, qualities of ventilation through tectonics and composition.

This shophouse explores the carvings and isolated solids Each space is curated to a degree of airflow and asallow possible volumetric spaces. humidity needed at different stages of spice-making.

It seeks to capture the physical, and visual, qualities of ventilation through tectonics and composition.

Each space is curated to allow a degree of airflow and humidity needed at different stages of spice-making.

KEY SECTION

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55 KEY SECTION

THE SPICE HOUSE FINAL PROPOSAL 7 LIM QILEI, DANIEL

THE SPICE HOUSE

This shophouse explores the carvings and isolated solids as possible volumetric spaces.7 FINAL PROPOSAL LIM QILEI, DANIEL It seeks to capture the physical, and visual, qualities of ventilation through tectonics and composition.

This shophouse explores the carvings and isolated solids Each space is curated to a degree of airflow and asallow possible volumetric spaces. humidity needed at different stages of spice-making.

It seeks to capture the physical, and visual, qualities of ventilation through tectonics and composition.

Each space is curated to allow a degree of airflow and humidity needed at different stages of spice-making.

KEY SECTION

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55 KEY SECTION

YEAR 2 LEVEL 3 COMPILATION OF SAMPLES

2019/2020 B.A. (ARCH) 2

IMAGE CREDIT: STUDIO VICTOR LEE

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