B.A. (ARCH) LEVEL 6: COMPREHENSIVENESS & TECHNICAL INTEGRATION. SELECTED WORKS.

YEAR 3 LEVEL 6 COMPILATION OF SELECTED WORKS

2019/2020 B.A. (ARCH) LEVEL 6

COMPREHENSIVENESS & TECHNICAL INTEGRATION

IMAGE CREDIT: GOH KAR HUI, MD SYAZWAN MENZIES

LEVEL 6: Comprehensiveness & Technical Integration “Always design a thing by considering it in its next larger context -a chair in a room, a room in a house, a house in an environment, an environment in a city plan.”

Eliel Saarinen There are two main takeaways when we interpret Eliel Saarinen’s words. One could say a comprehensive design needs to consider its context in a systemic way. A building with its physical presence and its activities will affect its environment in many ways. Does it create adverse effect to its surrounding, noise to the neighbourhood, congestion to the access roads or destroy biodiversity as it replaces the lushness that was existing or erase collective memories? Or does it add to and even regenerate the community in which the building is serving by offering amenities, alleviating flood, producing food or enhancing biophilia?

It is about the idea that frames the building as an active contributing member in its context, like a lifeform’s symbiotic relationship with the ecological system.

The second idea about comprehensiveness is integration. It is about a unifying framework or narrative that merges disparate solutions together. Integration is a process of establishing order by making sense of the relationships between different demands in a situation. In the design of a building, it may be about organizing a hierarchy of spaces for different functions or a mini-infrastructure to manage diverse systems. There is the aim of creating a simpler entity that is capable of performing multiple or complex roles. Higher forms of integration become organic in which every element relates to one another establishing a symbiotic order or a synergy. In a way, for an architecture to be in a systemic relationship with its context, the process will

demand a greater depth of synthesis and integration.

Design 6 is about comprehensiveness and technical integration. Each of the three Studio Units will offer their unique methods and architectural vehicles to facilitate students in attaining the key learning objectives of Design 6.

Cheah KokMing Level 6 Studio Leader, Unit 1 Leader Joseph Lim EeMan Unit 2 Leader Ong Ker-Shing Unit 3 Leader

2019/2020 B.A.(ARCH) LEVEL 6

Unit 1: Assoc Prof (Ar) Cheah Kok Ming

(Level 6 Studio Leader & Unit 1 Leader)

Ar Chaw Chih Wen Assoc Prof (Ar) Fung John Chye Mr Liang Lit How Ar Christina Thean

Unit 2: Assoc Prof (Dr) Joseph Lim (Unit 2 Leader)

Ar Chu Lik Ren Prof (Ar) Richard Ho Assoc Prof (Ar) Wu Yen Yen

Unit 3: Assoc Prof (Ar) Ong Ker Shing (Unit 3 Leader)

Ar Chin Kean Kok Ar Darlene Smyth Snr Lecturer Tomohisa Miyauchi

THINKING ‘DETAIL’ CRAFTING ARCHITECTURAL INTEGRATION “Always design a thing by considering it in its next larger context - a chair in a room, a room in a house, a house in an environment, an environment in a city plan.”

– Eliel Saarinen

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PREAMBLE: There are two main takeaways when we interpret Eliel Saarinen’s words. One could say a comprehensive design needs to consider its context in a systemic way. A building with its physical presence and its activities will affect its environment in many ways. Does it create adverse effect to its surrounding, noise to the neighbourhood, congestion to the access roads or destroy biodiversity as it replaces the lushness that was existing or erase collective memories? Or does it add to and even regenerate the community in which the building is serving by offering amenities, alleviating flood, producing food or enhancing biophilia? It is about the idea that frames the building as an active contributing member in its context, like a lifeform’s symbiotic relationship with the ecological system.

The second idea about comprehensiveness is integration. It is about a unifying framework or narrative that merges disparate solutions together. Integration is a process of establishing order by making sense of the relationships between different demands in a situation. In the design of a building, it may be about organizing a hierarchy of spaces for different functions or a mini-infrastructure to manage diverse systems. There is the aim of creating a simpler entity that is capable of performing multiple or complex roles. Higher forms of integration become organic in which every element relates to one another establishing a symbiotic order or a synergy. In a way, for an architecture to be in a systemic relationship with its context, the process will demand a greater depth of synthesis and integration.

Design 6 is about comprehensiveness and technical integration. Each of the three Studio Units will offer their unique methods and architectural vehicles to facilitate students in attaining the key learning objectives.

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PROJECTS: There are three options of project, each with its narrative and emphasis on technical imagination:

THE COMMUNITY CONNECTOR: Cheah Kok Ming Unit

THE STUDENT-CENTRIC CAMPUS FACILITY: Joseph Lim Unit

THE THIRD TEACHER:

Ong Ker-Shing Unit _______________________________________________________________________________________

LEARNING OBJECTIVES: Building on the foundational skillsets developed thus far, this programme reinforces the students’ understanding of the integration of architecture design concepts at both macro and micro-scales. The learning objectives are: 1.

2.

3.

4.

5.

Ability to plan and organize the conflicting and complementing architectural relationships arising from the programme and the site.

Ability to formulate integration strategies from construction and environmental system to develop/drive the architectural design.

Ability to develop the architectural design from concept to detailing an exemplary portion of the resolved architecture.

Ability to design the presentation package and to effectively communicate the design eg drawings, models etc Ability to curate & reflect on the process and the learning outcomes.

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EVALUATION CRITERIA: •

Criticality of thinking at addressing issues of the programme, site and architectural design.

•

Degree of independence & depth at developing appropriate design directions and process.

•

Soundness of the site planning and architectural design, demonstrating functional sensibility and sensitivity to architectural qualities.

•

Appeal of architectural design that reveal creativity, innovation, aesthetics & intelligent insights.

•

Comprehensiveness of design Integration addressing tectonic and environmental systems.

•

Efficacy of visual presentation and design communication.

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UNIT 1 - THE COMMUNITY CONNECTOR “Threshold provides the key to the transition and connections between areas with divergent territorial claims and as a place in its own right, it constitutes essentially the spatial conditions for the meeting and dialogue between areas of different orders.”

- Herman Hertzberger 2008

PREAMBLE: One lesson we take from Herman Hertzberger’s architecture is his treatment of interfaces between spaces. He calls them ‘in between’ or ‘spaces between objects’. In his housing, the transition from the public realm to the entrance of the dwelling is negotiated by an interfacing zone which serves several purposes – a resting area, footwear storage, a personalized display, a threshold for informal social meeting. Likewise in his school, there is never an abruptness between 2 realms, the meeting between the classrooms and the corridor is always via spatial entity, energized with opportunities from the adjacent functions. His architectural interfaces are a form of integration. It is an architectural action that enriches the value of the adjacencies by establishing a symbiotic relationship between the different realms. In Hertzberger’s works, they became spatial catalyst for social interaction, participation and place-making. This studio unit examines the idea of integration in architectural design across three scales – the scale of the site, the scale of the building and the scale of the architectural elements.

PROJECT: Rivers make strong geographical edges and in most instances, also give rise to the differences of the regions behind the two banks. As an example, west of the Singapore River is more commercial while the eastern part was associated with civic and cultural stature. The project examines the potential of a modest-size student housing and an elderly’s recreation club at creating new community spaces by capitalizing on its interfaces with the river, the footbridge and an abandon railway bridge. It has the ambition to become a social node that connects and benefits the residences from the two sides of the river. The expected GFA is about 2500 sq metres.

PLOT: The site is located northeastern side of the Sungei Ulu Pandan. It encompasses the Old Jurong Line Railway Bridge and a reinforced concrete footbridge. It is to be assumed that the newly constructed ramp linking the footbridge to the ground level is non-existent.

TREE DWELLERS LEE HONG XUAN STUDIO CHEAH KOK MING

Tree Dwellers

by Lee Hong Xuan

Located in a quiet spot along Ulu Pandan river, Tree Dwellers came from a series of questions of “How can we put a hostel for 100 hostelites among the trees?”, and “how do we experience the qualities of the trees without touching the trees?”. The vignette idea started from a hostel room that uses tree leaves as natural screening, coupled with perforated sliding panels to demarcate a room, yet not losing sight of our beautiful surroundings. Over time, 8 Tree Hostel Towers are erected among the trees side, with light-weighted tree pods attached on that houses single or double students and providing utilities for basic needs.

The river side sees the communal Waterfront Hub with rows of hanging hollow bamboos stimulating the sound of rustling leaves as wind blows, and perforated roofs to imitate the shadows of tree leaves. The connector in the middle became an active aging stretch that marks the beginning of the space from the pedestrian bridge. The project grows from an unbending space to an organic end. A way of appreciating the notion of trees, Tree Dwellers is about understanding the beauty of living with the trees.

WEATHER, DECAY, REGENERATE SHARMAINE LEE STUDIO CHRISTINA THEAN

Weather, Decay, Regenerate

by Sharmaine Lee

To bond the two communities, the students and the elderly. By applying the concept of weathering, d of the community and to also blend the building into the surrounding environment.

decaying and regenerating. This illustrates how architecture must constantly evolve to suit the lifestyle

NEO - KAMPONG CHIN WEN XUAN STUDIO FUNG JOHN CHYE

Neo-Kampong

by Chin Wen Xuan

Neo-Kampong, a compound which aims to blur the boundaries between 2 contrasting demographics, youth, and elderly. At the same time, the architecture respects the essence of creating threshold, common and gathering spaces shaped naturally by strategic placement of buildings and natural contour, blurring the boundaries between man-made and nature.

Following the idea of “Gotong Royong”, which means “cooperation in a community”, it involves the spirit of sharing and volunteerism to promote a selfless approach towards living and interacting. The compound is designed to facilitate sharing between the 2 demographics, sharing of life stories, sharing of knowledge, sharing of skills. Invoking the sense of nostalgia in its users, the design revives the old malay kampong house, with a contemporary approach towards encapsulating the principles, but not replicating.

Through interactions and meetups between people, while utilising details considered to make the architecture ergonomic and friendly, it creates a home, a familiar one, a nostalgic one, in this fast pace society.

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UNIT 2 - STUDENT-CENTRIC CAMPUS FACILITY PREAMBLE: The studio unit has two project vehicles on different sites with a common focus on the material and spatial interpretation of architecture. Individual studios are to explore the relationship between technology and human interfaces in developing an architectural program of a co-curricular facility on campus.

PROJECT: PLOT I: KENT VALE

The project site is located at Car Park A of Kent Vale Phase 2 where the existing 60sqm SDE Tropical Technologies Lab sits.

The project may be interpreted as an addition to the existing facility or its total reconstruction and location on site http://www.sde.nus.edu.sg/arch/research/technologies/tropical-technologies-laboratory/ Project Option I The design brief calls for a research facility of 2000 sqm of floor area with the following components: 1.

white space for short term occupancy for campus community interaction, meetings, cafe and human-centric programs.

2.

the humanistic component is related to the research activity and its technological dimension in seeking responses to the relationship between man and machine. The overall function of the facility and its thematic nature can be determined by each studio within the unit for example: •

human habitat and food

•

tropical shelter and controlled climates

•

digitally augmented theatre performances

•

google campus for start ups, etc,

to address the integrated nature of man, architecture, and digital/machinistic futures.

3.

there can be social spaces which are monitored in terms of social behaviour or In terms of building performance over different periods of time as a ‘living lab’

4.

The facade components of this facility can be used for recording performance readings and to this end they can be adjusted or replaced for study and comparison.

5.

The facility can also test •

different cooling systems and lighting conditions; hybrid, chilled beams, ambience and task lighting

•

acoustic material to diminish noise level

•

rainwater harvesting and recycling methods in compact scales of implementation. Other than grey and black water, recycling can be explored to the limits of closed-water loops in a zero-waste facility.

6.

Café

7.

Bicycle parking, rental and charging points

Most importantly the facility is intended for self-learning and is intended to be a place for students to experiment and create in a cross-disciplinary spirit.

PLOT II: YIH

The project site is at YIH and the project boundary includes the area in which the temporary architecture studios, meeting rooms are occupied, and the student services centre at road level.

It does not include the indoor sports facility but studios are expected to incorporate a canteen and outdoor refreshment areas on site.

Total GFA should not exceed 2000 sq for one student.

The YIH was built in 1975 with the main campus at Kent Ridge and upgraded in 2010. http://newshub.nus.edu.sg/headlines/0110/yih_opening_22Jan10.php Project Option II The YIH location is zoned in the campus master plan for student recreational activities.

Studios may suggest NUSSU OSA and activities in line with the campus policy of seeking vibrant recreational environments in a student hub.

In addition to end of semester get-togethers , jams and hops, studios will introduce programs suitable for the project to have student occupancy on a daily basis in between lectures.

It can be a place to chill out or to work on an essay or a with a group on a project assignment.

The facility is also a place for students from any discipline to work on creative recreational projects with interdisciplinary learning.

Studios may characterise and focus their student centered spaces to enable 1.

student social interaction

2.

project discussions

3.

small scale student performances and parties, (jams and hops)

4.

student society meeting rooms, e.g. Stage and Costume Ideation by Centre for Arts with NUS Drama NUS Dance

5.

exhibition and display of students research work in a public gallery (or nursery/mini conservatory landscape)

6.

Food + Beverage Outlets

7.

bicycle rental parking and charging

The architecture of the YIH cluster is conceived as a student hub in in the heart of Kent Ridge Campus for students to form a collection of individually designed buildings.

NEO-AGORA GOH KAR HUI + MD SYAZWAN MENZIES STUDIO JOSEPH LIM

Neo-Agora

by Goh Kar Hui, Md Syazwan Menzies Reminiscent of the agoras found in ancient Greece, the project comprises of a sequence of 4 stoas interconnected by a weave of thematics squares that allow for a myriad of student activities to occur. From spontaneous flea markets and impromptu jamming sessions to festivals and concerts, the agoras facilitate informal human experiences as well as large social gatherings reviving the true spirit that the site, Yusof Ishak House was originally intended for.

The weaving grand boulevard intentionally spills out to mediate between the existing conditions and the built project. Key entryways such as the linkways and footpaths are designed to transition the public into a new realm that the project offers, whilst still reacting as part of the existing landscape.

The current YIH is located at the epicentre of the university campus and as such is the hub of co-curricular activities and various student committees. Recognising this to be the genius loci of the site, the four blocks are designed as flexible structures that not only allow for but encourage these types of activities to take place.

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Boulevard Perspective

Market Square Perspective

Boulevard Perspective

Market Square Perspective

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156 156

Finger Blocks Perspective Finger Blocks Perspective

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Longitudinal Section across the topography Longitudinal Section across the topography 157 157

Cutaway Isometrics Media & Society Block + Performance Arts Block

Visual Arts Block

Sectional Perspective

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Visual Arts Roof

Visual Arts Facade

Cutaway Isometrics

Market Block + Visual Arts Block

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Market Core Roof

Market Core Facade

The Market Core

The market block is located in the heart of the open

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Finger Blocks Sectional Perspective

Varied learning spaces conforming to different pedagogical methodology is provided above two blocks. Interactive seminar pods which is suspended above, rotate and merge along different axis with its resultant dynamic forms influencing its immediate environment, both internally and externally. These pods are mostly transparent with its activity exposed. While the option of screens is available, the classes conducted within are generally encouraged to remain open to views from onlookers. This perpetuates a culture of visual engagement and engenders the space with the programmatic stamp of an educational institution.

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A SERIES OF SENSORIAL FOLLIES TAN HONG XI, CLARENCE STUDIO CHU LIK REN

A Series of Sensorial Follies

by Tan Hong Xi, Clarence

T3, TROPICAL TECHNOLOGIES TESTBED CHUA MING HAO STUDIO WU YEN YEN

T3, Tropical Technologies Testbed

by Chua Ming Hao

T3, Tropical Technologies Testbed, is a urban, community centric research facility derived from the con reliance on mechanical systems in areas with low urban porosity and challenges the tropical paradigm façade detailing, wind is accelerated through the building skin. In doing so, a unique spatial conditions ty centric activities.

nstraints of the site, namely the wind shadow of Kent Vale. The architecture attempts to address the of bringing natural ventilation beyond 12m from the façade. Through the sculptural wind runways and s are created which necessitates the programmatic functions of research, woodworking and communi-

wind shadow and venturi effect

sit

te

every time the lab sprung alive, parents would bring their children down to marvel in the wonders of modern technolo

ogy

sectional

l perspective: urban research hub

4

5

1. prefab cutting sawing

2. modelling: chiselling , chamgering

1

3. finishing: spraypainting, sanding

3

2

4. assembly

workshop level plan

5. storage/ transportation

spatial hierachy of woodworking

UNIT 3 - THE THIRD TEACHER “There are three teachers of children: adults, other children, and their physical environment.”

- Loris Malaguzzi Founder, Reggio Emilia school

PREAMBLE: In the Reggio Emilia philosophy of education, the environment is designed and set up to speak and to invite interaction. The early childhood school environment is central to experiential learning. This requires a comprehensive integration of the classroom environment to the school spaces surrounding it, the outdoor spaces immediately surrounding those, and then also the larger community beyond. At the other end of the scale, the supportive environment needs to extend down to the smallest details, from sub-room enclosures like niches and nooks to wall coverings to furniture and small storage items.

Considering the centre within its context, we have to also understand its intimate role in the neighbourhood. Families make physical and emotional ties to these places where they sometimes have to leave their children for the whole day every day. This is not just a place of teaching, but a place where children grow up. You must consider the role of design in communicating the philosophy of how a child should be raised and establishing transparency, accessibility and trust. This is not wholly positive concern, as many residents find preschools and childcare centres near their homes to be a dis-amenity due to the extreme noisiness of children playing.

Technically, the childcare centre should be understood as a complex layering of several systems: safety, security & health, pedagogy, ergonomics, maintenance, environmental, etc, each with its own set of requirements and impositions upon the organisation of the plan.

For example, health concerns mean that different areas of the school must be able to be physically segregated so that in times of contagious disease outbreaks, sections of the school can be isolated without compromising the functioning of the whole. Security and safety concerns come because the centre caters to multiple users and user groups that are granted different levels of access to the centre and to the children. Children of different age groups have different ergonomic needs, ability to concentrate and autonomy (affecting degree of enclosure required), as well as differing degrees of immediate access to toilets. Centres have clean and dirty routes.

PROJECT: In this studio, you will design a large child-care centre. Child-care centres are preschools with additional requirements. Here, children learn, eat, bathe and nap and are generally looked after from as early as 7am to as late as 7pm from Mondays to Fridays and even half-days on Saturdays. There are no school holidays. The centres only close on Sundays, Public Holidays and on some designated days for Professional Development.

For context, the Ministry of Social and Family Development has since 2016 opened several Large Child-Care Centres within residential communities to serve the surrounding neighbourhood so as to encourage young couples to have kids, and enable mothers to return to the workforce. These centres cater from 300 to 1000 children and are much larger than private centres or other childcare centres located within HDB void decks.

Whilst all of these Large Child-Care Centres have heretofore been operated by one of five “Anchor Operators” that have been appointed by the Early Childhood Development Agency, you should not be restricted to choosing one of these Anchor Operators as your client. The school pedagogy should be loosely based on Reggio Emilia, and decided together with your tutor. The centre should accommodate 26 infants (and 6 teachers) and 450 children (and 35 teachers) split into 5 year groups. There is a GFA cap of 2500sqm.

PLOT: Your site is a 5540sqm plot in the residential town of Sengkang in the northeast of Singapore.

Sengkang is one of the most populous new towns with a relatively young demographic—most of the residents are part of the working population.

The site sits on the corner of Fernvale Link and Sengkang West Way. Immediately to the south is an Early Intervention Programme for Infants and Children (EIPIC) Centre that shares the main entrance driveway from Fernvale Link. On your site there currently exists a Mega Centre school for My First Skool, which you will, for the purposes of this project, imagine is not there.

PLAY NIGEL CHEW STUDIO ONG KER SHING

Play

by Nigel Chew ... because kids don’t remember their best day of television.

Outdoor play is the best environment for children. The dynamisn and richness of the outdoors creates the best environment for play. Interiors must transcend the boundaries of their physical massing in intimate dialogue with the outdoor PROJECT DESCRIPTION spaces.

by Nigel Chew As each age group differs in motor skill, cognitive and social ability, this demands a diverse yet targeted range of playgrounds. The outdoors and indoors are designed together and are inextricably linked.

The outdoors, afford the dynamisn and richness of moving foliage, shadows, wind, weather, sounds and views. While ... because kidsprovide don’t remember their bestfor daya of television. the indoors, the opportunity carefully and and richness of the outdoors creates the best explicitly designed interior space, given meaning by the f their outdoors. physical massing in intimate dialogue Playgrounds and Classrooms are one and the same.

Outdoor play is the best environment for children. The dynamism and richness of the outdoors creates the best

y, this demands a play. diverse yet targeted environment for Interiors must transcend range the boundaries of their physical massing in intimate dialogue with the outdoor spaces. and are inextricably linked.

As each age group differs in motor skill, cognitive and social ability, this demands a diverse yet targeted range of playgrounds. outdoors and indoorsand are designed , shadows, wind, The weather, sounds views. together and are inextricably linked.

citly designed interior space, given meaning The outdoors, afford the dynamism and richness of moving foliage, shadows, wind, weather, sounds and views.

While the indoors, provide the opportunity for a carefully and explicitly designed interior space, given meaning by the outdoors.

Playgrounds and Classrooms are one and the same.

THE DELICATE BALANCE LI JIAYING STUDIO DARLENE SMYTH

The Delicate Balance

by Li Jiaying

During the site visit, a stark contrast was shown between the uniform and repetitive HDB buildings surrounding the site and the children with unique and diverse identities. As such, the pedagogy of the childcare center is to allow children to overcome constraints and develop their individual potential, at the same time not to be detached from the society but become contributing members in the future.

The Multiple Intelligences (MI) theory proposed by Howard Gardner suggests that there is more than one intelligence and early childhood education should not be ‘one- size fits all’. Furthermore, the classroom environment can contribute as an important factor that helps to develop children’s individual potential. Hence, various spatial and detailed design strategies were adopted to cultivate children’s distinct intelligences, at the same time encourage interaction between the public and children. Achieving a delicate balance, and allowing children to master the art of belonging while being themselves.

ACHIEVING BALANCE

Structural System Sectional Perspective Drawing

g

MAINTAINING INDEPENDENCE

Concrete Finish Column Polished Concrete Finish Reinforced Concrete LED Light Gypsum Board Ceiling

Wood Flooring Reinforced Concrete Wire Hanger Hanging Keel Gypsum Board Ceiling

Column-Slab Connection Detail Scale 1:5

HYGGEHJEM ANG JEE KIAT VICTOR STUDIO TOMOHISA MIYAUCHI

Hyggehjem

Hygge [h(y)oo-guh] A Danish cultural concept and value of warm, happy coziness and togetherness, which people make time for in everyday life. Outside of Denmark, hygge is commonly referred to as “the good feeling you get from a well-curated, cozy, and aesthetically pleasing environment.”

Synthesizing the Reggio Emilia pedagogy with the Nordic approach to pedagogy in the Danish tradition, Hyggehjem seeks to become a second home for its pre-schoolers by focusing on the qualities of freedom to play, children’s culture, democracy, outdoor culture and artistic expression. Developed with a typical section, the scheme emphasises free-flowing spaces that overlook one another, allowing children to move around and make their own decisions on how to spend their free play time. Each module repeats in an alternating manner akin to a modified rowhouse typology, allowing the negative spaces to define outdoor play areas. The final module is modified to house an infant nursery and office spaces as part of the programmatic requirements. The primary connecting element is a main circulation through the extrusion axis. with a separate roof to allow for ventilation in a tropical setting.

AR3102 Ang Jee Kiat Victor A0167777H

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12

1

1

Hyggehjem Section

2

1 WC Core 2 Central Circulation 3 Food Preparation 4 Cafeteria 5 Informal Seating 6 Workshop 7 Circle Time 8 Free Play 9 Outdoor Play 10 Balcony 11 Transition Space 12 Circulation Core

Level Three

8

Level Two

7

6

Level One

3

4

5

Ground Floor

Structural Systems

405x360 Column 30mm Decking 225x120 Joist 225x120 Beam Tension Cable 250x500 Metal Plate

100mm Downspout 50x300 Timber Plank 200mm Drainage Concrete Slab 300x600 RC Beam

Central Circulation: Alternating Column Arrangement

Roof Shingles Timber Decking 200mm Batt Insul 225x120 Joist Waterproof Membrane 330x150 Beam Metal Plate 225x120 Transfer 405x360 Column

225x120 Roof Beam 225x120 Beam 225x120 Transfer

225x120 Joist 405x360 Column Metal Plate

Carpet Flooring Timber Decking 225x120 Joist 225x120 Beam Metal Plate 405x360 Column 20mm Pane Glass 100mm Alum Frame

405x360 Column Metal Plate Concrete Seat RC 1000mm Foundation Concrete Slab 300x600 RC Beam

Climatic Considerations

East Ventilation Outlet (Massing Scale) East Ventilation Outlet (Massing Scale)

East Ventilation Outlet (Massing Scale)

Prevailing NNE Winds

Sun Path (Annual Variation)

West Ventilation Outlet (Massing Scale)

West Ventilation Outlet (Massing Scale)

December Solstice

West Ventilation Outlet (Massing Scale) Equinox

June Solstice

outdoor play area defined by negative space between alternating bays

children’s freedom emphasised by open plan play area

office space overlooks nursery. children, parents and teachers have meetings in the transition space above

inte rnal open air decks allow for shaded and cool outdoor play areas

“Given the environmental and material challenges that fra section provides a rich and underexplored opportunity fo thermal, and func

Lewis, P., Tsurumaki, M., & Lewis, D. J. (2016). Manual

ame architectural practice in the twenty-first century, the or inventively reimagining the intersection of structural, ctional forces.”

l of section. New York: Princeton Architectural Press.

YEAR 3 LEVEL 6 COMPILATION OF SELECTED WORKS

2019/2020 B.A. (ARCH) LEVEL 6

IMAGE CREDIT: TAN HONG XI, CLARENCE