B.A. (ARCH) DESIGN 4: ENVIRONMENT, CLIMATE, ENVELOPE (2020/2021)

YEAR DESIGN 4 2020/2021 BA (Arch) Design 4

Environment Climate & Envelope IMAGE CREDITS TO: ASTON YAP & RICHARD EDRICK

DESIGN 4: Environment, Climate & Envelope “Architecture is the interface of a material and a symbolic substrate for a range of new ideas about social engagement with climatic patterns……….The planetaryinterior becomes the space for cultivating a planetary imaginary, where the role of climate in design is not an obstacle but an opportunity.”

- Daniel A Barber Modern Architecture & Climate, 2020 Imagination is unmeasurable; its application is essential in seeding the conception of an original, beautiful and functional space. Yet that space must be created through measurable means, in the form of technics and technology, encompassing the deployment of materials, construction methods and environmental control, underpinned by architectural science.

In design, the measurable and unmeasurable are never in conflict. The success of a building goes beyond a purely technical narrative, and extends into the unmeasurable realm of experience. The tropics challenges comfort in contradictory ways. Too much shading from the sun, it reduces daylight and too much protection from the rain, it compromises

ventilation. How do we create comfortable and sensory experiences in a hot, wet and humid climate? How does the architect engage with the measurable to imagine the unmeasurable?

There are many ways to investigate the performative and poetics aspect of the architectural form for the tropics. Tay Kheng Soon described the tropical aesthetics as using the design language of line, edge, mesh and shade rather than one of plane, volume, solid and void. Designing in the tropics for Bruno Stagno is about the treatment of shadows and not light. Ken Yeang coined the open-system analogy to regard the building enclosure as an environmental filter that enables selective exchanges between exterior and interior spaces to achieve intended environmental conditions. While for Kevin Low of Small Projects, the tropics brings about a discourse by engaging tropical counterpoint to temperate attributes.

Design 4: Environment, Climate & Envelope is a lesson about design by making, informed by empirical and evidence-based means for developing form & space responsive to the hot, humid and wet climate.

Unit 1 - “Strange Creatures: Tropical Animated Forms”

2020/2021 B.A.(ARCH) DESIGN 4

Cheah Kok Ming (Design 4 Studio Leader, Unit 1 Leader) Associate Professor; B Arch, BA Arch Studies (National University of Singapore); Registered Architect, Singapore

Chang Jiat Hwee Associate Professor; PhD (University of California, Berkeley), M Arch, BA Arch Studies (National University of Singapore)

Roy Pang B Arch (RMIT University); GMM, UDA, DfSP, MSIA, Registered Architect, Singapore

Ronald Lim M Arch (Yale University), BA (Wesleyan University); MSIA, RIBA, Registered Architect, Singapore.

Yuan Chao Assistant Professor (Presidential Young Professor); PhD Architecture (Chinese University of Hong Kong), MIT Kaufman Teaching Certificate (Massachusetts Institute of Technology)

Clarence Credensa Tan Teaching Assistant

Unit 2 - “Adapt\Adapting\Adaptation” Tiah Nan Chyuan (Unit Leader) Adjunct Assistant Professor; AA Dip, BA Arch (National University of Singapore); MSIA, Registered Architect, Singapore

Victor Lee Adjunct Assistant Professor; AA Dip, BA Arch Studies (National University of Singapore); MSIA, ARB, Registered Architect, Singapore and the UK

Tham Wai Hon M Arch, B Arch (National University of Singapore)

Dicle Uzunyayla MSc Arch and Urbanism (Massachusetts Institute of Technology), B Arch (Middle East Technical University); Registered Architect, Turkey

Danette Choong Chu-Xi Teaching Assistant

Unit 3 - “Yield & Overcome: Tropical Coastal Architecture” Fung John Chye (Unit Leader) Associate Professor in Practice; B Arch (National University of Singapore); Registered Architect, Singapore

Florian Heinzelmann PhD (Eindhoven University of Technology), M Arch (Berlage Institute), Dipl-Ing (Munich University of Applied Sciences); Registered Architect, the Netherlands

Wu Huei Siang M Arch (National University of Singapore); MSIA, Registered Architect, Singapore

Jane Chua ­ djunct Lecturer; M Arch (Princeton University, BA Arch (University of CaliA fornia, Berkeley); AIA, RIBA, LEED AP, Registered Architect, USA (California)

Anders Ang Wei Li Teaching Assistant

Unit 1: Strange Creatures “In all works on Natural History, we constantly find details of the marvellous adaptation of animals to their food, their habits, and the localities in which they are found. But naturalists are now beginning to look beyond this, and to see that there must be some other principle regulating the infinitely varied forms of animal life.”

- Alfred Russel Wallace A Narrative of Travels on the Amazon and Rio Negro, 1853 Project: Surviving in an environment is about adaptation. “Strange Creatures” are enveloping forms, each accommodating one person. Each has a persona. To thrive they need to reconcile the bipolar contradictions of the tropical climate. They exploit an aspect of the climate or environment to benefit and express their existence. They are territorial, highly mobile within the confine of their chosen habitat. Their skin, bones, muscles and organs are transformed from salvaged materials and as-found objects.

Pedagogy: Climate and environment as the generator of form is the aim of the studio. The design process will be informed by making and constant evaluation of performance/poetic intent. Choice of materials and techniques deployed will be guided by the climate-responsive strategies and environmental imagination. Students will learn from sense-making their experiences. The hands-on, experimentation and materiality will provide a concrete engagement, makes learning impressionable. The peer review and self-reflection will enable students to create an informed process for evaluating the works of peers as well as self-appraise. There is greater ownership of learning and better retention of knowledge. Each studio leader may modify or prescribe the permutation of the environmentpersona pairing. The studio leader also has the liberty to introduce alternative pairs of site and function challenges. Likewise, the material palette for each material may be prescribed. Remember that the studio begins with an enquiry about form in response to task, place and climate. Your studio leader will guide you with methods to translate ideas into architectural actions.

TASKS: 1. Form your two persons team for the co-creating learning journey.

Task 01 2. Define and understand the persona’s task in terms of comfort and environmental needs.

3. Understand the climate and the environmental context.

4. Identify strategies to achieve climatic/environmental comfort as well as to harness an aspect of the climate/environment.

5. Explore and develop architectural intent with scale models. (Your studio leaders will have prescribed methods for guiding you to translate ideas into architectural design strategies.)

6. Use scale models or digital simulations for evaluating performance intent for refining conceptual design.

Task 02 7. Consider as-found objects and reclaimed materials for fabricating the design intentions.

8. Prototype segments of the “Strange Creature” for evaluating performance/ poetic intents to inform design development.

9. Construct the 1:1 “Strange Creature” Task 03 10. Speculate and discuss the potentials of your “Strange Creature”.

11. Curate and communicate the design process of making, discovery, evaluation and speculation for generating a discourse atial and social context.

BOARDSY

by LIU HENG and AARON YAP Boardsy is tailor-built for a wandering plein air colourist who specialises in watercolouring in the rain scape. He demands a shelter that adapts to different weather conditions to provide comfort while functioning as an extension to the colourist’s toolset.

Boardsy was designed to be an extension to not only the colourist’s tools, but the colourist himself. It travels along with the colourist to different locations, where it can be transformed into a shelter. The multiple surfaces facing all directions envelope the colourist while providing him with watercolour essentials, namely, easel panels, storage shelves, paintbrush holders and adjustable view ports. These panels also act as climate control devices, allowing for roofs and passages of ventilation.

Boardsy has 3 modes, Gloom Mode, Glow Mode, and Gallery mode. The colourist can switch between these 3 modes to accommodate his watercoloring process and his impromptu exhibitions.

Studio CHEAH KOK MING

Three modes of Boardsy

Rain Mode was tested on a public square in a residential estate. Not only was the colourist able to paint comfortably inside Boardsy, many passers-by were also intrigued by the structure, some even coming up to strike a conversation. The unintended effects sparked moments of mingling and joy among the colourist and residents, adding an additional layer to the otherwise mundane neighbourhood.

Boardsy in Rain Mode

Construction instructions

Boardsy consists mainly of plywood planks, PVC tubes, and aluminium rods. The construction is fairly simply, with the panels and fins made out of plywood planks, the horizontal elements made out of PVC tubes, and the vertical members made out of aluminium rods.

The panels and fins are attached to the horizontal elements via PVC pipe holders, which allow the easy rotation of the planks. The horizontal members are then attached to the vertical members through drilled holes.

Boardsy is designed with the intention of being easy to construct, hence the tolerance for errors is quite high. The aluminium rods being flexible yet strong plays a large part in this.

Boardsy comes with a few accessories, which can be used in conjunction with the main body to suit different conditions. These accessories are a mixture of existing technology and new innovations, the colourist is free to customise and add more accessories to the arsenal to improve his work flow.

Attaching an umbrella to Boardsy fully waterproofs it, allowing the colourist to paint in the rain. The umbrella can be attached with standard clothing clips to all vertical members.

Attach umbrella to vertical rod

The large panels are easily rotatable, providing 4 angles to paint on. To secure the panel, clip the cable attached to the panel to the hook attached to the vertical rod.

Rotate to your preffered angle

The water collection device can be set-up to collect water in the rain. The water is then stored in the vertical hose to be used when the colourist needs it. A tap is attached to the end of the hose to control the flow.

Collect and store water from rain

The smaller panels can be used as shelves, cup holders and paintbrush holders. The fins can be rotated to support the panels. The fins and panels also controls the porosity of Boardsy.

Rotate fins and panels to create shelves

Rechargeable lights can be attached to the top panels to light up the interior. These lights can be attached when the colourist paints in night time or for a night exhibition.

Attach rechargeable lights to magnets

Boardsy can be packed up into a compact size. The panels are held together tightly by a few clips attached to either ends of the panels. As such, Boardsy can be transported easily by one person.

Packing up Boardsy

Initial concept

Boardsy the first

Boardsy the second

Boardsy

Boardsy

Painting inside Boardsy

Boardsy Gallery Mode

Boardsy Gallery Mode

Boardsy packed up

THE PIOUS PIPER AND THE SMOKEWEAVER

by ASTON YAP KAI JUN & RICHARD EDRICK The Pious Piper and the Smokeweaver is an enquiry into how passive environmental devices can instill greater levels of comfort for users in the tropics.

Life in the tropics is (and always has been) inundated with various challenges posed by the sun, rain and winds. Instead of classifying the tropical climate as a set of design challenges, this project attempts to make full use of the undesirability of these conditions to in turn create a more comfortable setting for the user – our persona.

The project’s genesis stemmed from our interest in smoke, its intangibility and its (arguably) overwhelming infamy. We wanted to establish a persona, the piper, who thrives with the smoke yet cares and considers about others around him.

We imagined a design which would allow the persona to be comfortable without jeopardising others’ experiences by maximising the climate of the tropics.

Studio CHANG JIAT-HWEE

The piper’s personas: meditative, teacher-like, and conscientious

We developed a hypothetical persona from our research which embraced certain characteristics and traits. We established that the piper is not the average smoker one stumbles upon in public spaces. Instead, he tries to avoid others when he is smoking; seeking refuge in more serene places. In addition, such portrayals reminded us of monk-like figures which would entail wisdom and teaching, involving other people into the equation.

Thus the challenge would be to allow the piper to smoke while ensuring that his visitors or disciples are rid of said smoke.

The piper is then situated in an specific environment which would also pose its own challenges. We selected Pearl’s Hill City Park as the location for the smokeweaver for its conceptual narrative and climatic features: predominant monsoon winds in the NorthSouth axis and intense heat from the equitorial sun.

Climatic considerations of the site

Visualisation of the smokeweaver in place

The personas face multiple dilemmas: - Smoke is part of the piper’s ritual but it poses discomfort for people and damage for the environment.

- The disciples desire to seek the piper but is not accustomed to the piper’s smoke.

- The piper’s conscience prompts him to practice his ritual elsewhere but as a result needs to seek shelter from the environment.

Thus, the smokeweaver aims to address these challenges and amalgamate the various characteristics of the personas and the site to allow for a desired environment for all to emerge.

Instead of restricting and limiting the rituals of each persona (and the public), the smokeweaver harnesses the tropical climate inverting its supposed undesirable quality into a functioning scheme through climatic devices that can potentially create symbiotic relations.

Experiment 1A - Solar chimney replication with hair dryer as heat source

Experiment 1B - Smoke rise accelerated due to heat generated

Experiment 2A - Elongation of chimney’s conductive surface

Experiment 2B - Limited smoke rise as blowtorch acted as point source

Experiment 3A - Investigation of smoke and maneuvering

Experiment 3B - Difficulty in bending the smoke rise trajectory

Experiment 4A - Propelling smoke through a curved funnel

Experiment 4B - Fan blades displacing air particles, accelerating smoke

Experiment 5A - Testing cotton as a filter

Experiment 5B - Little leakage with minimum stains

Experiment 6A - Testing paper towels as a filter

Experiment 6B - Leakage with greater stains

Experiment 7A - Experimentation with an arched trajectory (I)

Experiment 7B - Experimentation with an arched trajectory (II)

Experiment 8A - Staining intensity test from a point source (I)

Experiment 8B - Staining intensity test from a point source (II)

Experiment 9 - Wind catcher model 1 (pivoted)

Experiment 9 - Highest anemometer reading: 2.4 m/s

Experiment 10 - Wind catcher model 2 (rigid)

Experiment 10 - Highest anemometer reading: 1.7 m/s

Black spray paint (Air temp. reading: 34.4 ° C)

200 gsm black paper (Air temp. reading: 42.5 ° C)

Trash bag (Air temp. reading: 41.9 ° C)

Glossy plastic film (Air temp. reading: 41.4 ° C)

Black cloth (Air temp. reading: 42.4 ° C)

Cling wrap (Air temp. reading: N/A)

Isometric dissection of the smokeweaver’s components to harness both the sun and wind

Right elevation of the smokeweaver highlighting the distribution of the chimney covering

Front elevation of the smokeweaver featuring the underside of the solar chimney and the piper’s seating area

The piper and the disciple in the smokeweaver (piper’s smoke is replaced with incense in recreation)

Smoke exiting the smokeweaver

Section of the smokeweaver feat

aturing the piper and the disciple

Design speculation of the smokeweaver’s schematic concept at

t three different scales to address various smoke-related issues

Watch: Experiential Video http://tinyurl.com/breathinglight

WAYANG KULIT: BREATHING LIGHT

by RYAN QUAH KUN HAO & YE GANGHUA Breathing Light attempts to revitalise Wayang Kulit by reinterpreting it through a contemporary presentation whilst meeting the basic comfort need of the Dhalang. The reinterpretation would encompass: 1. the envelope as part of the story-telling process; 2. retaining 360 degree multiperspectivity of the performance.

Wayang Kulit (which could also means ‘Skins Reimagined’) extracts the notion of membrane of an organism skin. Here, each module mimics at a molecular level that would perform a specific function structure, movement, aperture, views, rays. This is achieved through the manipulation of the module’s form, scale, tessellation and joineries. Akin to a living organism, this project breathes - light. The reimagined visualisation reify the movement of the Dhalang through animation of light and shadow on the floor. The Dhalang moves the puppet, which moves the envelope, which mediate the light, which alter the atmosphere. The transference of this energy seeks to elevate the atmosphere during the intense fighting scene. The light scape created on the ground is carefully planned - Seat Zone, Stand Zone, Light Zone, Dark Zone - where the order of movement and behaviour of the spectators is intentionally arranged and orchestrated. This orchestration draws relationship back to the light source where the skin would become an actor of filter and mediator.

Climate, in this project, is essentially about the flow of elements. We attempted to reformulate the task of an envelope that traditionally protects one from the external. This project re-organises the climatic negotiation from outside-in to inside-out, an aspect often neglected yet critical to the atmospheric conditions to an internal space. In speculation, we embraced the Breathing Light’s capacity of transferring and amplifying the energy outward. Keeping to the theme of performance, the entire orchestral is reimagined with its function, element, action and equipment in mind.

Studio ROY PANG

Spatial Organisation

Light-Shadow Mapping

Exploded Axonometric

Plan: Anthropometry and Viewership

Section: Dhalang and Viewer

Envelope Distortion

A - Gender

B - Kendhang

C - Bonang

Design Speculation - Wayang Kulit Family

D - Gong

E - Spectator Seats

F - Dhalang

Front Perspective

Side Perspective

Back Perspective

Back-Axonometry Perspective

Engravement

Engravement

Puppet Holder

Pulling Mechanism

Floor Effect

Floor Effect

HIDEOUT

by NG XIN YI, CHIEW YI YING Our design aspires to shelter and aid wildlife photographers in their journey of capturing the most intrinsic ecosystems.

The process began by interviewing photographers to develop a comprehensive design brief encompassing – assimilation, ergonomics, and thermal comfort.

Due to the abundant variety of animals living in a wet biome climate, mangroves create an opportunity for photographers to capture photos of these unique creatures. Openable snapping modules form the membrane of the structure and are designed as apertures to curate sightlines for the photographer, as well as to react to the climate – ventilation to combat site’s high humidity and closed to provide shelter from the sun and rain.

The module’s band component is constructed using steel measuring tape, where two pieces of bands are connected by a pivot ending, allowing it to snap open and close.

Plants and trees in the wetlands and mangroves tend to adopt traits of the drip tip at their leaves to promote water runoff. This is crucial due to the high levels of humidity in the wet biome climate, as moisture could cause bacteria growth on the leaves. Similar concept is adapted into each module membrane to reduce water retention in the design structure.

To mimic the effect of rain interception found in forests, the modules are arranged in an overlapping manner to prevent rain from entering the structure. For camouflaging, the modules are mimicked in the shape of a leaf, in terms of its overall form and the membrane within.

The overall structure follows the shape and form of the mangrove roots to aid in the camouflage objective. It also allows for the accommodation of various photography stances and room for comfort during long hours of waiting for creatures to emerge in documentation sessions.

Studio YUAN CHAO

Structural form is inspired by the sturdy roots of a mangrove tree,

Our first prototype made from measuring tape and paper.

Subsequently, we introduced the green material to improve camouflage.

COMPONENT REFINEMENT To improve the snapping mechanism, we designed a pivot joinery. The module’s band component is constructed using steel measuring tape. Two pieces of bands are connected by a pivot ending - with one band held in place and the other rotatable by the pivot, allowing it to open and close Each facade module can be tesselated and connected at the ends using the pivot joinery.

Band

Pivot joinery where one arm stays on place and the other rotates about a pivot point

Double membrane facade works most effectively in snapping mechanism, allowing it to open and close more smoothly due to the gap that accomodates bending Facade can be opened in specific positions if necessary: - To allow the photographer to be able to take photos at different angles - To react to the climate; open for ventilation, closed for sun and rain - Allow for different sightlines The membrane is compressible along one axis to allow for opening and closing of the module.

The membrane was made out of two different materials; PVC plastic and laminated brown paper.

PVC plastic Transparent for rain poetics and reflective

Laminated paper Colour for camouflage and shade from the sun

STRUTURE REFINEMENT Structure follows the shape and form of the mangrove roots to aid in the camouflage objective. It also allows for the accomodation of various photography stances and room for comfort during long hours of waiting during documentation sessions.

Mimicking the roots of mangrove trees, the edges of the structure has protruding ends to allow for the structure to be attached securely into the ground.

Roots of mangrove trees

Introduction of unopenable module to allow for cleaner joinery between modules.

Due to the glossy appearance of the laminated brown paper, we replaced the material with waxed brown paper, acheiving a texture similar to that of dried leaves.

Laminated brown paper

Waxed brown paper

Red highlighted parts should be where the openable modules will be, as analysed from the stances adopted by a photographer.

FINAL COMPONENT REFINEMENT

16 degrees (Bottom)

20 degrees (Middle)

24 degrees (Top)

The first iteration of the module had limited overlap between the upper and lower membranes, allowing for rain to enter the structure. As a result, we varied the method of folding the membrane.

The new iteration also consisted of a variation of angles to direct water away from the aperture, where the top row has the steepest angle and the bottom row with the least steep modules.

PASIR RIS MANGROVE

RESIDENTIAL

SEA

PARK

MANGROVE FOREST

the mangrove categorized by diierent zones, with mudflats (leftmost) having highest exposure to sun during diurnal low tides, and forest canopy shades (rightmost) being highly shaded sh and cool.

the wildlife diierent species thrive in diierent zones of the mangrove due to the soil conditions and plant species.

various openable facade modules lining the model allows for a spectrum of views from inside, allowing photographer to capture diferent species residing at diferent levels and zones in the mangrove

sunlight filtered through foilage of trees

rain filtered through foilage of trees

heat & humidity

rain & winds

openable facade allows for increased ventilation into the structure, especially for hot and humid days.

The plastic modules on top allows difused sunlight to filter in.

when raining, top plastic modules divert water to the sides, and angled membranes allow water to drip oo. Modules can be closed when raining to keep out water and cold winds.

CAMOUFLAGE PATTERNS

Pixelating images of the mangrove site to obtain colour palette and ration of each kind of colour (beige, browns and greens)

Simplifying into 3 main colour choices

CAMOUFLAGE PATTERNS

Pixelating images of the mangrove site to obtain colour palette and ration of each kind of colour (beige, browns and greens)

Simplifying into 3 main colour choices

Rearranging modules to achieve visual disruption on the site

Arranged such that certain rows can still be opened with diierent membrane material and colour

Rearranging modules to achieve visual disruption on the site

POTENTIAL ASSIMILATIONS

Unit 2: Adapt \ Adapting \ Adaptation “An adaptation is any heritable trait that helps an organism, such as a plant or animal, survive and reproduce in its environment” Context The current pandemic has challenged the way we live, how we interact with each other and with our environment. We were forced to adapt to new rules and develop new rituals and responses.

In this semester, we will speculate on life in the new normal, within a residential setting and how architecture can help us bridge the opposing desires to isolate and connect, to be inside and outside at the same time.

Precedent Organisms like plants and animals have varying traits that allow them to adapt and survive in their respective environment. Over generations an accumulation of these advantageous traits will become the dominant attribute of how we come to understand the species. Organisms can adapt to the environment in different ways. Beyond physical attributes, they can also adapt by biological and behavioural adaptations. Like Tibetans unique body chemistry that allow them to operate in low oxygen environment and seasonal migration of Gray whales to seek warmer waters. Some adaptations evolve over time to respond to more than one challenge, these traits are called exaptations. Others will lose their function over time when the environment changes and they remain in a vestigial form. The ability of organisms to successfully evolve requires early identification of emerging conditions and constant speculations that may become the dominant trait.

Pedagogy In this unit, you will form a pair and develop a physical prototype to investigate the relevance of dominate attributes of the following building components and speculate on its trajectory of evolution in a residential setting. The unit adopts an inverted classroom methodology with Thinking through Making where students are encouraged to Create, Evaluate, Analyse and Apply their learning.

Task 01 (Create) Probe A (Speculation) Pick one or a combination of the following building components below.

Speculate on an emergent condition this building component need to respond as discussed in articles, reports, films, books, or cultural references. Identify new triggers or parameters the component may need to address, including social and environmental behavioural adaptations in a residential context.

Select one or a combination of the following building components: - Brick (Module) - Roof Tile (Module) - Window (Opening) - External Corridor (Perimeter) - Balcony (Appendage) - Airwell (Void) Select one emergent condition: • Smoke from neighbour’s apartment • Balcony as new social space in cities • Mental health • Alfred Hitchcock ‘Rear Window’ (1954) • Any other relevant conditions You may refer to the typical floor plan of an apartment in Tiong Bahru (Above) as the starting point. This will help you contextualise the various building components as a composition and how they come together as a whole to create a comfortable living environment.

Probe B (Precedent Study of Nature) Select an example of an adaptive response from nature as precedent study. The adaptive response can be either kinetic or passive. Identify the mode of operation of these responses: • Aperture (Open/Close: Pine cone) • Movement (Turn/pivot/rotate towards light: Phototropism) • Filtration (Maximum surface area: Fish gills & mushroom) • Passive design (For ventilation: Anthill) • Any other operation Identify the specific environmental parameter(s) or trigger(s) that your precedent is responding to: • Heat • Rain • Wind • Daylight • Temperature • Humidity

Task 02A (Evaluate) Build a series of physical prototype models to test the parameters identified in Task 01. Build both analogue and digital models of varying scales and document their respective performances with relevant micro sensors, photography in both analogue manner and digital photography/video format. You are expected to make conclusions based on your weekly experiments, any insights gained shall be tested in the next set of iterations. Your work will be graded on a weekly basis purely on the quantity of models and iterations produced.

Deliverable (Weekly Studio) 1. Weekly physical study models at 1:20 (Within 4m by 4m by 4m cube) 2. Documentation of performative results from weekly iterations 3. Photography or video of experiments 4. Drawings, charts and diagrams 5. Evaluation and conclusion of the findings 6. Areas of improvement and trajectory of next iteration of investigation Task 02B (Analyse) At regular intervals throughout the semester, you will be given an opportunity to present a summary of your current findings and failures. In the allotted 5-7 minutes, you are encouraged to share your learning journey, key insights and suggestions forward for your project. Your work at these presentations will be graded on purely on quality of workmanship and finishing, ingenuity and imagination, communication and delivery.

Deliverable (Interim Crits) 1. Full scale 1:10 working models (Within 4m by 4m by 4m cube) 2. Video (max 3 min) 3. A3 research report 4. 1xA0 exploded axo of model showcasing the range of its adaptiveness Task 03 (Apply) After interim 02, you will be tasked to imagine a hypothetical scenario where the lessons from the prototype can be applied into an aggregated model. Students are encouraged to push the limits of the insights from Task 02 & 03 and speculate on its relevance and scalability on larger context of architectural and urban design.

Deliverable (Final Crits) 1. Full scale 1:20/50/100 aggregated model (physical or digital) 2. 1xA0 drawing showing key section of aggregated residential block(s

ZEPHYRLILY

by PHOEBE CHUA, ASHLEY CHNG Rain is often perceived as something to be avoided or hidden from.

Although the phrase “embrace nature” is commonly recited within mainstream media and casual conversation, people do not seem to extend this sentiment to the rain. The condition of rain seems to be synonymous with disengagement: every time it rains, people flee for cover, to the comfort of the indoors.

Recognising that rain is an inherent, unavoidable, and beautiful part of our tropical climate, we sought to reframe these beliefs by designing a space that allows its inhabitants to experience rain positively with each other.

To create such a space, our experiments were conducted with a two performative criteria in mind: (1) to manipulate fabric into dynamic expansion, and (2) to create enclosures that can double up as shelters.The successful fulfilment of these criteria led to the creaation of our flower-like prototype, Zephyrlily.

Watch it bloom with us here: https://youtu.be/LsVj_fts02k

Studio TIAH NAN CHYUAN

WB00 WATERBOMB FOLD

EXPERIMENTAL GENEALOGY

WB01

FIGURE EIGHT

WB04

DOME

WB02

SKEWED

WB05

BOWTIE

WB03

SUSPENDED DOME

WB06

VERTICAL BO

NTS, DIAGRAMMATIC

Experimental genealogy of all fabric fold geome

OWTIE

etries tested for multi-axial movement

WB-P1

CAVE

WB-P3

WB-P2

WAVE

BLOOM

72°

76°

PETAL | 1:20

FLOWER | 1:20

Diagrammatic summary of quantitative data gathered fr

84°

79°

rom experiments on fabric geometry

32X32

16X16

FLOWER | 1:10

LIGHT SIEVE

by ABBRIELLE LOH and YI BIN LEONG Inspired by the physical adaptive qualities of fungi and the behavioural adaptations of termite mounds, this exploration mediates a dialogue between natural morphological adaptations and the behavioural nuances of man.

Our device build on the probe of the Unseen airwell, how cavities can carve and redistribute light deep into spaces.

Using planes, the central aperture of an airwell is broken down into a series of complex crossing layers, sequentially dividing incoming beams of light into a dense bifurcating matrix of indirect illumination, akin to the distribution network of a mushroom mycelium morphology. The precise manipulation of the planes within this network, validated through parametric tools and real-world empirical testing, allows discrete control over different degrees of daylight exposure within the device, defining new territories with varying modes of light quality across the space.

The nucleation sites for these territories are then influenced by the social behaviours of the users within the context, using the filtered daylight as a medium to reconcile space and mind, In our case, bridging the increasingly disparate identities of Tiong Bahru by tying together the old and new, generating a greater urban-private social typology harking back to Tiong Bahru’s intimate past.

Studio VICTOR LEE

Section A-A

The filtering of daylight has historically been an important driver for crafting social spaces within Tiong Bahru. Interstitial spaces in Tiong Bahru used to be populated with natural daylight filtering devices such as trees, where the thermal comfort as well as pleasant lighting qualities generated several focal points of social activity. These spaces include the bird corner, Tiong Bahru market, and even the local mahjong tables located around the estates.

Play of light on the final physical model

Renders of device interacting with interior spaces

These sheltered interstitial spaces tied together the different spaces of Tiong Bahru, creating a larger interconnected social fabric that formed an intimate social environment, fostering the strong identity longtime residents have fond memories of. Likening these complementary connections to a human body, parallels can be drawn toward links between organs (residential and commercial typologies) and the arteries (sheltered interstitial spaces) that supplement and nourish these functions.

However, with the rapid gentrification of the estate, these connections have been slowly torn apart as the programs, residents and physicality evolve. Our intervention aims to recreate these connections, based on the same principles of daylight filtering, to tie together the new identities of Tiong Bahru with the old.

Site analysis diagram

Poche studies of morphological adaptations

Conceptual diagram of mycelial filtering

Probing - translations into architecture

Probing - translations into architecture

Probing - translations into architecture

Probing - translations into architecture

Prototype 1

Prototype 2

Final device axonom

metric and floorplans

Final device secti

ional perspective

THE EXPANDING DUCT

by LEE YIK HENG & NG LEE HAN JOSHUA Buildings can be understood as a series of plenums. If we were to inhabit it, it would allow for a different way of spatial planning within the apartment. With globalisation and virtual platforms displacing traditional models of work, life, and education, a new domesticity which accommodatesfor a global citizen is needed. We believe that mobility, transience, and flexibility is the answer to this emergent condition. The expandable duct is conceived as a portable climatic and productivity device that can adapt to multiple environments.

Separating the conditions of noise, smell, sight, and even the air of the apartment from itself, the project seeks to invite discussions and contribute to discourse regarding minimum existence, maximal consumption, socialisation and isolation.

Studio THAM WAI HON

An essential methodology employed in our project were speculative images that allowed us to visualise, imagine, and probe further questions.

In our speculations, we imagined and tested ideas through plans, sections, models, and photography collages.

We systematically tested out each door type by increasing the scale from a single door frame, to one which replaces the walls of the apartment.

The intention behind varying the scale was to follow our hunch of breaking away from walls as inflexible organising elements of space and territories.

Through these diverse modes of representation, we could be rigorous in our approach towards design.

Video availabe: https://tinyurl.com/expandingdoor A nostalgia for the dynamic architecture imagined in the 1960s (Archigram) led us to use stop motion animation as a medium to communicate the process and trajectory of our project.

Plan: Existing apartment as a plenum

Animation: Redundancy of walls when replaced by the Duct

Our story follows two characters who just cannot stand living together with each other in the same apartment.

Clashing sounds, smells, and sights forces them to seek respite in a portable climatic and productivity device that separates them.

Programmatically, the duct does not suggest or privilege any particular program. Instead, it is programmed by the furniture it consumes. It does not prescribe a label to the combination of furniture within it, such as “Bedroom”, or “Pantry”. The Expanding Duct is neutral and encourages new configurations of furniture, reflecting an increasingly differentiated and personalised notion of domesticity.

Section: The Duct as an Adjustable Plenum

Perspective of speculative apartment from the Duct

Perspective of user while resting inside the Duct

1:1 Model f

1:1 Model fully opened

User in the Duct

fully closed

1:50 Model: the speculative apartment with two Ducts

1:50 Model: the speculative apartment as a series of stacked plenums

THE FOLIAGE OF HUMECTATION

by LIM SI YING YNEZ and AYE AYE THA @ ESTHER SU QING ZHU Outdoor spaces in Singapore are often under-utilised due to the sun and humidity. In Sembawang Hot Spring Park, these conditions are exacerbated. A naturally hot, humid environment clouded with steam, the site witnesses a dichotomy between heating and cooling. As such, our architectural intervention will enable visitors to maximise the use of the pool at all hours of the day, through shading users from the sun and utilising passive cooling to attain optimal thermal comfort.

Adopting the cooling mechanisms within a camel’s respiratory channels through harnessing the steam the pool generates, components will cool the air via condensation and evaporation.

Components will also provide shade from the sun. Through synthesising the different qualities of intelligence from our precedent in nature, our architecture will manipulate air in the space, providing refuge from the sun and humidity of Singapore.

Studio DICLE UZUNYAYLA

Mechanisms within a Camel’s Nasal Passageways

Graphical Analysis of Pool’s Temperatures

The camel has a turbinate structure in its nasal passages; when hot, dry air is inhaled by the camel from the environment, the air is dampened by moist surfaces of membranes.

Evaporation occurs and air is cooled slightly.

Relatively cool air enters and when exhaled, water vapour in air condenses on cool surfaces of membranes and condensate is collected. With that, cool, dry air is expelled.

The system is self-sustaining as the water is retained.

Proposed On-Site Intervention

The shape of the pool guided the creation of the shelter; the mimicking is aesthetically pleasing and also shades the space appropriately. The aggregation consists of three different types of components with gaps within the aggregation ensuring natural light to enter the space with the reflection of the light by the water adding ambience within the space.

Areas with higher foot traffic are more densely populated with shading components, boosting effectiveness of the aggregation and reducing the need for umbrellas.

The shading components also ensure that users collecting pails of water at the higher pools are better shaded and thus, cooled.

Internal Perspective o

of On-Site Intervention

Images of Physical Model

In Singapore, the hot and humid weather makes for a lack of opportunity to enjoy the outdoors. The design intends to tackle the discomfort faced when outdoors, thus encouraging users to enjoy Sembawang Hot Spring Park at their personal thermal comfort through passive design mechanisms.

Analysis of On-Site Environmental Conditions

The openness of the site further exacerbates the heat experienced on-site.

Analysis of On-Site Social Conditions

Due to the hot temperature water and the surrounding granite seats around the pool, the heat absorption around the pool is significantly higher. As such, use of umbrellas is prevalant.

Analysis of On-Site Climatic Conditions

Designed to direct steam out of the architectural space, Component One helps to cool hot air for thermal comfort. Found mainly in dense amounts in the center areas of the pool, the component is aggregated such that it correlates directly to the temperature of the water. Furthermore, said component is further away from the edge, preventing the pool’s usage from being affected.

Component One

Component Two acts as an in-between component between Components One and Two. The design provides some semblance of shade while still letting light through.

Component Two

Component Three provides shade from the sun with its inverted cone shape. The differing sizes of both apertures of the component ensure that air flow is not disrupted while filtering most light to pass through.

Component Three

Material Tests

Material Results

Channel Shape Tests

Channel Shape Tests

Size & Proportion Tests & Results

Absorption Tests

Absorption Tests Results

Shading Tests

Perspective of On

n-Site Intervention

YouTube Video Link

Unit 3: Yield and Overcome “Yield and overcome Bend and be straight Empty and be full Wear out and be new Have little and gain Have much and be confused.”

“To talk little is natural High winds do not last all morning Heavy rain does not last all day Why is this? Heaven and earth!

If heaven and earth cannot make things eternal, How is it possible for man?”

— Lao Tsu

— Lao Tsu

Context Resilience is the zeitgeist prefacing the 21st century as humanity reacts to the convergence of several transformative agents of change. However, the impending existential threat of climate change prevails over challenges such as global pandemic, economic contestation and technological disruption. As cities prepare for the onslaught of these transformative situations, it is crucial to re-imagine what tropical design is about and how it can contribute to enabling resiliency against climate change. In tropical Southeast Asia, early generations of architects endowed this region with countless pioneering works of exemplary tropical design. Here, architect Tay Kheng Soon had consistently argued for a tropical design schema, which is well illustrated by his postulation that: “One of the principal issues of designing in the tropics is the discovery of a design language of line, edge, mesh and shade rather than an architecture of plane, volume, solid and void. An unlearning process is involved, given the dominance of European architecture which forms the substance of the training of architects over the past 200 years.”

The Design Challenge In the cause of tropical architecture and responding to the conundrum of climate change and its concomitant consequences of rising sea levels and urban heat island effect, the task here is to investigate and re-imagine innovative environmental enclosures that mitigate the tropical coastal condition. This challenge is conceived as a furtherance of the spirit of the pioneering architects who invented a plethora of timeless solutions. Very few contextual conditions are more demanding of a tropical response than the beach front. Here one is fully exposed at the mercy of tropical climatic effects—unprotected direct blasts of intense heat, heavy rain, strong wind and brilliant sunlight—coupled with the added effect of sweeping waves and tidal changes.

The Pedagogy Learning directly from realworld conditions by accepting the climate and environment as a source of empirical designs. Learning to observe, cognize, understand, imagine, experiment, document, analyse, ideate and iterate. Learning to evaluate the performance of design. Learning to create design through making. Learning to fail and to persevere. Learning to adopt a holistic approach to integrate divergent influences. Learning how design can yield and yet overcome.

The Project Investigate the tropical coastal condition and create a single-person floating pod for a meditation enthusiast seeking solitude near shore. Prospecting Tay Kheng Soon’s schema, the exploration shall focus specifically on the role of geometry in promoting favourable conditions for human comfort (daylight, airflow) while concurrently mitigating unwanted effects (heat, rain, strong wind). Injecting the coastal factor of hydrodynamic buoyancy lends a unique dimension to the investigation as it can be harnessed for its poetics while introducing a complex force to be contended with. Collectively, this tropical coastal condition engenders the conundrum of yielding (inviting airflow, daylight, buoyancy) and overcoming (undesirable heat, rain, strong wind, capsizing). Such juxtaposition demands a holistic approach in our understanding of the contestation of realworld tropical conditions. Any less and it veers towards reductionism, which could result in limited usefulness. The crux of the challenge lies in finding a balance and optimising the contrasting needs to yield and yet to overcome, quintessence of tropical coastal design.

Equally, as Lao Tsu wisely observes, natural phenomenon is dynamic and transient.

The Tasks The project is to be conducted as close collaboration by a pair of students per group.

Task 1 1. Experience the tropical coastal condition directly to appreciate its multifaceted character under different time-space and environmental conditions.

2. Ideate and develop a method of investigation.

3. Identify a beach front site to conduct your experiment.

Task 2 1. Construct physical models at 1:1 scale to explore the relationship between geometry and performance in resolving various factors of the tropical coastal condition.

2. Construct a raft to act as the floating base for your prototype enclosure. Students may custom design or use readily available products to create the raft at 1:2 or 1:1 scale. The floating base could be shared by different teams in a studio, if feasible.

3. Construct physical models at 1:2 or 1:1 scale of the entire prototype (for a person in seated position) to test its overall performance under different environmental conditions.

4. Observe the phenomenal outcomes of each iterative test and document its performative and poetic effects.

5. Document the entire process and curate its communication through video, pictures, diagrams, drawings, models, etc. Assume that the pod is pre-anchored, say 50 to 100 m from shore, or the user can paddle out and self-anchor it. While it’s useful to consider such functional aspects of design, the focus is on the environmental enclosure. For safety reason, avoid venturing far from the shore. Waist-deep water should suffice for simulating the buoyancy of a scaled or full-size prototype floating structure.

6. For materials of the full-size component or scaled prototype models, consider the relevant dimensional scaling as well as physical properties. These may include sheets (flexible or rigid), tubes (hollow), rods (solid core, stick), mesh (flexible or rigid), blob (air/gas filled), etc. which have an equivalent common construction material.

Task 3 Speculative Design Challenge (to be announced upon completion of Tasks 1 and 2)

KIRIGAMI

by ALLY TAN SWEN YI & SEAH XIE LIANG Kirigami, located at the shores of East Coast Park is a meditative raft aimed to be easily deployable and responsive to both its user and climate.

The user practices Qi Gong meditation, a type of movement that combines controlled breathing with slow coordinated movements. This enables one to heal both mentally and physically while being surrounded by the natural coastal environment.

The user sits in the kirigami, a form of art where paper is folded and cut to create intricate patterns. This technique has the duality to obtain both a 2-dimensional symmetrical pattern (passive) and a 3-dimensional structure (active) which encompasses both active and passive movements of Qi Gong.

Through geometrical testing, we can transform planar surfaces into a 3D volumized shape resulting in an amalgamation of atmospheric spaces.

Studio FUNG JOHN CHYE

Qi Gong Meditation

Ritual & Spatial Experience

Experimentations of Various Attributes

EXPERIMENTATIONS Through geometrical testing, we can transform planar surfaces into a 3D volumized shape, resulting in an amalgamation of atmospheric and spatial quality for a meditative state.

Gradation of No. of Anchor Points Increasing the number of anchor points reduces the stretchability of the structure.

Gradation of Anchor Point Size Increasing anchor point size reduces the size of slit openings.

Gradation of Ring Intensity Increasing ring intensity increases rigidity.

Gradation of Overlapping Curves More overlapped curves, more rigid in model.

Gradation of Structural Rigidity

Section of Raft

Envelope Facing Outwards

Envelope Facing Inwards

Community of Kiriboats

In a typical boathouse, we usually see a series of tight cluttered spaces due to its elongated form. This often compromises interactions in the boat.

To bring a 3-generation family closer together in a boathouse, we aspire to remove walls and merge spaces seamlessly without sacrificing function and privacy as a desire for closeness between the family.

Section of Kiriboat

THIRD LEVEL PLAN F F L +4 . 5 0 SCALE 1:30

12

11

12

11 KID’S PLAY ROOM +4.50 12 KIRIGAMI INNER ENVELOPE

Third Level Plan MEZZANINE LEVEL PLAN F F L +2 . 8 5 SCALE 1:30

10

10 KID’S ROOM +2.85

Mezzanine Level Plan SECOND LEVEL PLAN F F L +2 . 1 0 SCALE 1:30

07

08

09

07 DECK +1.80 08 GRANDPARENT’S ROOM +2.10 09 PARENTS’S ROOM +2.10

Second Level Plan FIRST LEVEL PLAN F F L +0 . 0 0 (W) 5085

SCALE 1:30

(L) 18600

02

04 06

01

05

03 01 DINING ROOM + 0.00 02 KITCHEN - 0.90 03 WALKWAY + 0.00 04 SHOWER +0.00 05 TOILET -0.20 06 LIVING ROOM +0.00

First Level Plan

PERFECT IMPERFECTION

by CHAN JING-EE, NAOMI & FOO JING XI Rooted in the Japanese philosophy wabi-sabi, we aimed to design a floating meditation pod that embraces the notions of imperfection, impermanence and incompletion. Through this philosophy, we utilised the element of rain to orchestrate potential changes in our architectural elements in embracing these key ideas throughout the meditation journey. As a reflection of natural processes, we required a material which characteristics allowed for irreversible change or damage to be done to it - which is where the beauty of paper lies in.

Paper was a material which allowed us to freely explore and express these notions. To do so, we experimented with a range of paper in exploring paper’s different properties to help us achive our desired outcome. We further iterated with various facade types which would help facilitate the material in moulding a certain meditation experience.

Along the lines of imperfection, impermanence and imcompletion - the meditation pid is meant to be used as the medium for one to reflect on the fragility and temporality of life itself, and to embrace the beauty of life’s imperfections as reflected with the gradual disintegration of the pod’s paper facade over time throught the meditation journey.

Studio DR. FLORIAN HEINZELMANN

SCAN FOR

PERFECT IMPERFECTION VIDEO https://youtu.be/TWzmsATAlYI

WABI SABI

1

2

3

IMPERMANENCE

IMPERFECTION

INCOMPLETION

1

2

3

IMPERMANENCE

IMPERFECTION

INCOMPLETION

| Reflecting on change.

| The past, present and future.

| Letting nature to take over its final form.

WHY PAPER?

| Reflecting on change. | Questioning the reason of having a long lasting structure.

| Embrace the imperfection on paper. | Accepting the crease and fold of paper.

| Embrace the effect of weathering. | Discolouration, disintegrate, rust, curl, stain, shrinking due to weather.

BENEFITS OF PAPER

1

SHAPE BEHAVIOUR

ONE’S

| When you have to be careful about your interaction with anything, you become very conscious and start activating your sense to their fullest.

2

3

CONTROL AMOUNT OF LIGHT ENTERING

NEARER TO SURROUNDING

| Discovering subtle beauty. | Colour gradations and how the sunlight changes its shades as time goes by.

THE

| Thin layer of separation. | Seamlessly connected with outside.

MEDITATION JOURNEY | 5 Stages of Emotions

1

2

3

4

5

HOPEFUL

UNCERTAINTY

DISTRACTED

ACCEPTANCE | Settling into

ENLIGHTENMENT

| Completing

| Beginning

| First obstacle

| Waiting to quit

Emotion Flow

MEDITATION JOURNEY | 5 Stages of Disintegration

1

2

3

4

5

HOPEFUL

UNCERTAINTY

DISTRACTED

ACCEPTANCE

ENLIGHTENMENT

| Perfection in form and paper.

| Paper begins to deteriorate.

| Surroundings are progressively revealed.

| From concealed to revealed.

| Completely disintegrated.

FINAL MODEL | CONSTRUCTION

FINAL MODEL

PERFECT IMPERFECTION | 1 : 1 | Meditation Pod | Disintegrates with rain

FINAL MODEL | DISINTEGRATION

FINAL MODEL | DISINTEGRATION

FINAL MODEL | ROOF

FINAL MODEL | ROOF

WATER ROOF

FINAL MODEL | FACADE

FINAL MODEL | FACADE

BREATHE: COASTAL SENSITIVITY

by JAMES CHAN and DANIEL HO Our site at East Coast Park is one that is unique and alluring.

The most prominent feature is its breakwater, that extends towards the sea, providing an unhindered view of the surroundings.

Standing at the edge of the breakwater, one can’t help but notice that little floating buoy bobbing up and down along to the rhythm of the waves. While innocent looking, it is menacing and malicious to those who do not heed its warnings. While small, the buoy is able to deter and even fend off the bravest. This led us to think about our enclosure, which was bigger in size. If a little floating buoy is able to attract so much attention, how would our enclosure, which will be 2 times bigger fare? The “enclosure” which was meant to serve as a place of reconciliation with oneself is now in contradiction with itself.Could this enclosure that we are about to design meld itself into the seas or sail with the winds to avert the attention of its onlookers?

Our meditation pod embraces the notion of sensitivity. This sensitivity blurs the boundaries between user and nature.

To achieve this, we set out two key design objectives.

Firstly, the design of the pod needs to embrace the coastal environment. The pod has to capture the unobstructed breeze and orientate itself to the coastal horizon.

Secondly, the pod must not jut out like the buoy. It must have a porosity that averts the attention of onlookers such that the meditator can feel at ease.

Studio WU HUEI SIANG

SITE ANALYSIS There are two key elements of the site that stood out to us. One, was the unobstructed coastal horizon that presented a calming view and allowed for an unobstructed breeze.

It is also flanked by a pier and a breakwater, which makes it more imposing on the pod and the user. As such, this reinforces our idea about sensitivity and a design challenge to resolve.

Site Collage

Site Elevation

FINAL 1:1 MEDITATION POD MODEL

WIND DOWN @ ECP

by JAMES CHAN and DANIEL HO Wind-Down@ECP is an extension of the site at East Coast Park; an organic ocean campsite made out of individual tents that can accomodate a group or two, as well as several central nodes that hosts a myriad of programmes.

It caters not only to avid outdoor campers, but also seek to enhance their experience by involving the local fishing and boating community.

The form and mechanics of the individual tents changes with the breeze. It soaks up the coastal environment, orienting itself to the breeze and synchronizing the campers with the elements of nature.

The central pod essentially acts as a node in the ocean. The central column - not only a structure - but also a hearth / campfire place / bbq pit that ventilates air through the itself and trusses to the scales of the roof. The roof, through its porous scales, bellows out smoke and establishes itself as a key node and gathering point of the ocean campsite.

As the wind is captured by the individual tents, its roof lowers and spreads out, allowing it to connect to the joints of the central node mechanically. As these pods connect to the central node, they expand the footprint of the campsite organically. This widening of spaces creates opportunities for other camp activities across the individual pods (communal games, picnics, barbecueing, fishing) activities that would otherwise be impossible by the individual pods by themself.

Studio WU HUEI SIANG

TASK 3: WIND DOWN @ ECP

COASTAL CAMPSITE DESIGN DRAWINGS Plans and Sections: The intent for the design drawings was to illustrate the plans and sections as a form of an itinerary that brought out the programmes of the campsite throughout the day.

reWIND and NEUground

by Jan Nicole Betita Lota and Isabello Meo Loo Yan Shan reWind: To provide optimum comfort for users practising seated qigong at sea through the use of a dynamic system that reduces harshness and speed of direct sea breeze.

A gradient of physical wind barriers, made up of double-layered burlap or single-layered, will achieve desired levels of wind entry.

During high wind speeds the system contracts to allow a maximum of 30% of wind to pass through; at low wind speeds the system expands, allowing 100% of wind to pass through.

Ultimately, this dynamic system adapts to user comfort by facilitating low wind speeds and dampening high wind speeds NEUground: An architecture that serves to be a neutral space of interaction and socio-cultural interchange between the Orang Lauts and the mainlanders. It travels along the stretch of water between mainland Singapore and Pulau Ubin to frame different backgrounds and sites.

Their interaction is promoted by the pitstops, market, and communal dining which allow for intimate connections between both cultures and accommodates various groups of visitors. The Orang Lauts also have a space that proves their validity and secure identity so they would be allowed to enter into Singaporean waters just like the earlier generations used to do.

Our architecture will protect these spaces from the harsh sun and wind conditions on the sea. The modular roof system will adapt to the sunpath. The rattan walls will not only control the visible porosity into the spaces, it also controls the north-west wind and how it perpetuates into the space.

Studio JANE CHUA

Texas Horned Lizard

Animal Case Study: Texas Horned Lizard (Week 2) Feature: Ridged scales Operation: Interlocking, Capillary Action Other Feature: Puffed Body Operation: Inflation of air into lungs When it rains, the lizard, puffs up its body, the ribcages become perpendicular to the spine and the lungs fill with air.

This is also to deter predators from hunting them..

When it is hot, the lizard pull their ribs backward to minimize the amount of sun striking their back. In the shade, they flatten themselves against the cooler ground, losing heat to the soil.

Hence, the lizard reacts differently to different weather conditions.

Scales of the Texas Horned Lizard

Meditational Technique Change: Seated Qigong (Week 5) After some thought, we realised that our intial mantra meditation technique was not appropriate for our design concept, our chosen climatic factor, wind, and the expansion and contraction of our modular system would be better used as wind barriers or wind enhancers.

The entire point of qigong is to be exposed to the sunlight and stretched towards the bodie’s extremities, losening our spine and allowing for the lungs to be filled with lots of fresh air. All of the stretching motions are done when the user exhales, the user only inhales as they bring their arms back in the resting position.

Thus, we changed our approach to a more physically engaging activity, seated qigong. Below is an analysis showcasing the variuos movements of this meditation.

Physical Feelings

Inner Feelings

Inhaling while stretching is very contrasting to our own morning stretches, where we normally exhale instead.

Feeling connected to the stretch of sand and allowing the body to become a transition from the sand to the ocean.

The limbs from where the join onto the body starts to loosen up and the body starts to feel lighter.

Our breath becomes larger and connected to the breeze.

Having good posture creates a good balance on the body.

The fact that the ribcage feels like its getting larger allows for and opening up of the torso into the environment.

Expanded Structure in Section

Expanded Structure in Plan

Contracted Structure in Section

Contracted Structure in Plan

Day and Night views of NEUground

N

Prevailing Wind

Site Plan

PROGRAMS

STORAGE FOR OFFICIAL RECORDS

MARKET (DAY) COMMUNAL DINING (NIGHT)

DOCK

- Meant for Orang Lauts - Abundance of light to see the documents - Dry, away from water - Well-Ventilated but block out strong winds.

- Selling of the seafood in which the Orang Lauts catch to the mainlanders.

- Meant for both communities - Good Ventilation - Dry Area - Transforms into a communal dining at night to share knowledge about the Orang Laut diet and futher encourage interaction between them and the mainlanders.

- Meant for Orang Lauts - Wet Area, allows them to get off their boats and onto the architecture - Well-shaded from the sun

Umbrella Roof Structure

Throughout the Day

Curved Roof (on a bright day)

Relaxed Roof (on a cloudy day)

Records Room

Communal Dining on the Mezzanine Small Lookout Tower

Market

Wooden Supports

Dock

Plastic Barrels

Main Floor

Upper Floor