B.A. (ARCH) LEVEL 2: SCALE | PRECEDENT | CONTEXT

YEAR 1 LEVEL 2 COMPILATION OF SAMPLES

2018/2019 B.A. (ARCH) 1

SCALE PRECEDENT CONTEXT

IMAGE CREDIT: ZHANG CHUWEI

2018/2019 B.A. (ARCH) 1

LEVEL 2: Scale, Precedent, Context

Studio Leader:

The Year One Semester Two Studio begins with analyses of precedent studies through drawing exercises and culminates in students’ individual design explorations to demonstrate competence in a number of foundational modes of architectural thinking and making, particularly form geometry and composition, tectonic expression, and movement and space in relation to scale, materials, and contexts.

Faculty: Semester 2

Imran bin Tajudeen

Assistant Professor, PhD (Architecture) (NUS)

Stacy Cheang M.Arch (NUS)

Diong Fuhan B.Arch (NUS), M.Arch (NUS), Reg Arch Singapore

Kenneth Koh Qibao

There are three studio exercises that explore the measure of man and the modularity of materials as design generators at different scales. Project 1, the analysis of precedent houses, serves as an introduction to the translation of architectural ideas and materials into spatial, formal-compositional and tectonic expression.

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

Gyn Kong

BA.Arch (NUS), M. Arch (NUS)

Lee May Anne

B.Arch (Hons) (NUS), BA.Arch Studies (NUS), MSIA, Reg Arch Singapore

Project 2, the design of a cabin for individual occupation, connects anthropometry with furniture,

Lim Pin Jie

of materials and their modular units, dimensions, and methods for making and constructing. Project

Ng San Son

B.Arch (1st Class Hon) (NUS), M. Arch (NUS), Reg Arch Singapore

M. Arch (NUS), BA.Arch Studies (NUS), Reg Arch Singapore

for a studio-mate, where the student also acts as an apprentice to a chosen architect, introduces the physical contexts of a site, the programmatic and social considerations of a client, and the genealogical and analytical dimensions of form language, space, and tectonic articulation. Emphasis is placed on graphic communication and the use of drawings to illustrate design.

Tsuto Sakamoto

Senior Lecturer, B. Eng.(1989) Science University of Tokyo (Tokyo, Japan), M. Eng. (1991), Waseda University (Tokyo, Japan), M. Sci. (1992) Columbia University Graduate School of Architectural Planning (New York, U.S.A.)

Tan Peck Leong, Jackson B.Arch (NUS), Dip.Arch (UCL), Arb UK

Teh Kem Jin

Adjunct Associate Professor, MSC, BSC (Hons), MIFireE, Reg Arch Singapore

Imran bin Tajudeen

Level 2 Studio Leader

Woon Chung Yen

M.Arch (NUS), MSIA, Reg Arch Singapore and New York State

Image credit: Aditya Rosli Yr1 AY1314

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2018/2019 B.A. (ARCH) 1

LEVEL 2: Scale, Precedent, Context

Studio Leader:

The Year One Semester Two Studio begins with analyses of precedent studies through drawing exercises and culminates in students’ individual design explorations to demonstrate competence in a number of foundational modes of architectural thinking and making, particularly form geometry and composition, tectonic expression, and movement and space in relation to scale, materials, and contexts.

Faculty: Semester 2

Imran bin Tajudeen

Assistant Professor, PhD (Architecture) (NUS)

Stacy Cheang M.Arch (NUS)

Diong Fuhan B.Arch (NUS), M.Arch (NUS), Reg Arch Singapore

Kenneth Koh Qibao

There are three studio exercises that explore the measure of man and the modularity of materials as design generators at different scales. Project 1, the analysis of precedent houses, serves as an introduction to the translation of architectural ideas and materials into spatial, formal-compositional and tectonic expression.

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

Gyn Kong

BA.Arch (NUS), M. Arch (NUS)

Lee May Anne

B.Arch (Hons) (NUS), BA.Arch Studies (NUS), MSIA, Reg Arch Singapore

Project 2, the design of a cabin for individual occupation, connects anthropometry with furniture,

Lim Pin Jie

of materials and their modular units, dimensions, and methods for making and constructing. Project

Ng San Son

B.Arch (1st Class Hon) (NUS), M. Arch (NUS), Reg Arch Singapore

M. Arch (NUS), BA.Arch Studies (NUS), Reg Arch Singapore

for a studio-mate, where the student also acts as an apprentice to a chosen architect, introduces the physical contexts of a site, the programmatic and social considerations of a client, and the genealogical and analytical dimensions of form language, space, and tectonic articulation. Emphasis is placed on graphic communication and the use of drawings to illustrate design.

Tsuto Sakamoto

Senior Lecturer, B. Eng.(1989) Science University of Tokyo (Tokyo, Japan), M. Eng. (1991), Waseda University (Tokyo, Japan), M. Sci. (1992) Columbia University Graduate School of Architectural Planning (New York, U.S.A.)

Tan Peck Leong, Jackson B.Arch (NUS), Dip.Arch (UCL), Arb UK

Teh Kem Jin

Adjunct Associate Professor, MSC, BSC (Hons), MIFireE, Reg Arch Singapore

Imran bin Tajudeen

Level 2 Studio Leader

Woon Chung Yen

M.Arch (NUS), MSIA, Reg Arch Singapore and New York State

Image credit: Aditya Rosli Yr1 AY1314

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PROJECT 01 ARCHITECTURAL LITERACY FORM LANGUAGE AND TECTONIC ARTICULATION; MOVEMENT AND SPACE

PROJECT 02 DESIGN OF A MICRO-CAPSULE FOR INDIVIDUAL OCCUPATION

Analysis of Precedent House Project 01 focuses on the study of precedent houses, using drawings and models, as an introduction to precedent analyses through exercises on form/language, tectonics/materials, space/light, and scale.

Anthropometry: furniture and fittings; micro-space use Materials: modular units and dimensions; making and constructing

The aim of this exercise is to understand how architectural ideas and materials are translated into spatial, formal-compositional and tectonic articulation by different architects.

You will select a house for study from the following list: 1. Ludwig Mies van der Rohe, Villa Tugendhat (1930) 2. Adolf Loos, Villa Muller (1930) 3. Le Corbusier, Villa Savoye (1931) 4. Mies van der Rose, Hubbe House (1934-5) 5. Frank Lloyd Wright, Falling Water (1935) 6. Louis Kahn, Adler House (1954) 7. Kiyonori Kikutake, Sky House (1958) 8. Paul Rudolph, Milam Residence (1960) 9. Richard Neutra, VDL II (1965) 10. Louis I. Kahn, Fisher House (1967) 11. Charles Correa, Parekh House (1967) 12. Geoffrey Bawa, 33rd Lane House (1960-70) 13. Mario Botta, Bianchi House (1972-73) 14. John Hejduk, Wall House ([1973] 2001) 15. Balkrishna Doshi, Doshi (Sangath) House (1981) 16. Rem Koolhaas, Villa DallAva (1991) 17. Kazuyo Sejima & Ryue Nishizasa (SANAA), Moriyama House (2005)

Project 02 focuses on developing and demonstrating the following skills in the design of a micro-capsule for your individual occupation:

- micro-spatial composition (anthropometry),

- formal composition (dexterity with modules and dimensions), and

- tectonic articulation (materials, construction) You may assume a persona that allows you to articulate the following in connection with a site/ situation of your choosing:

Prospect and Refuge

Your retreat in nature is not a residence but a place to escape the routine of your life. Its prospect is an expression of your outlook: it provides a view of your surroundings that calms or excites you, assures or motivates you, according to your inclination. Yet it is also a place of refuge, your inner sanctuary. This duality drives your design.

Occupation and Leisure

When you occupy your retreat, leisure is your preoccupation. You design this haven of happy pursuits to allow for variety of repose and activity. This is where you while away the hours and feel self-sufficient, and yet at a moment’s notice can abandon it to rejoin the world.

Program: flexible, according to your site/situation and the persona defined Size: 9sqm, max ht 6m.

Site A: Clementi Woods, west- and southwest-facing slopes Site B: MacRitchie Reservoir waterfront

PROJECT 01 ARCHITECTURAL LITERACY FORM LANGUAGE AND TECTONIC ARTICULATION; MOVEMENT AND SPACE

PROJECT 02 DESIGN OF A MICRO-CAPSULE FOR INDIVIDUAL OCCUPATION

Analysis of Precedent House Project 01 focuses on the study of precedent houses, using drawings and models, as an introduction to precedent analyses through exercises on form/language, tectonics/materials, space/light, and scale.

Anthropometry: furniture and fittings; micro-space use Materials: modular units and dimensions; making and constructing

The aim of this exercise is to understand how architectural ideas and materials are translated into spatial, formal-compositional and tectonic articulation by different architects.

You will select a house for study from the following list: 1. Ludwig Mies van der Rohe, Villa Tugendhat (1930) 2. Adolf Loos, Villa Muller (1930) 3. Le Corbusier, Villa Savoye (1931) 4. Mies van der Rose, Hubbe House (1934-5) 5. Frank Lloyd Wright, Falling Water (1935) 6. Louis Kahn, Adler House (1954) 7. Kiyonori Kikutake, Sky House (1958) 8. Paul Rudolph, Milam Residence (1960) 9. Richard Neutra, VDL II (1965) 10. Louis I. Kahn, Fisher House (1967) 11. Charles Correa, Parekh House (1967) 12. Geoffrey Bawa, 33rd Lane House (1960-70) 13. Mario Botta, Bianchi House (1972-73) 14. John Hejduk, Wall House ([1973] 2001) 15. Balkrishna Doshi, Doshi (Sangath) House (1981) 16. Rem Koolhaas, Villa DallAva (1991) 17. Kazuyo Sejima & Ryue Nishizasa (SANAA), Moriyama House (2005)

Project 02 focuses on developing and demonstrating the following skills in the design of a micro-capsule for your individual occupation:

- micro-spatial composition (anthropometry),

- formal composition (dexterity with modules and dimensions), and

- tectonic articulation (materials, construction) You may assume a persona that allows you to articulate the following in connection with a site/ situation of your choosing:

Prospect and Refuge

Your retreat in nature is not a residence but a place to escape the routine of your life. Its prospect is an expression of your outlook: it provides a view of your surroundings that calms or excites you, assures or motivates you, according to your inclination. Yet it is also a place of refuge, your inner sanctuary. This duality drives your design.

Occupation and Leisure

When you occupy your retreat, leisure is your preoccupation. You design this haven of happy pursuits to allow for variety of repose and activity. This is where you while away the hours and feel self-sufficient, and yet at a moment’s notice can abandon it to rejoin the world.

Program: flexible, according to your site/situation and the persona defined Size: 9sqm, max ht 6m.

Site A: Clementi Woods, west- and southwest-facing slopes Site B: MacRitchie Reservoir waterfront

PROJECT 03 DESIGN OF A DWELLING FOR A CLIENT AS AN ARCHITECT’S APPRENTICE This exercise expands upon the exploration in P02 on anthropometry and materials, now applied to the design of a dwelling with the following parameters:

- Designing for a client (negotiation with “architect”)

- Exploration of precedence in design (architect as “apprentice”, need not be from P1) Program: flexible, with the following minimum provision:

- sleeping – eating/cooking – the necessary rooms (toilet and bathroom)

- one or two activities/spaces as the dwelling’s special feature

- ground floor commercial program (option) Design: based on an interpretation of a precedent architect, in conjunction with the client’s program requirements.

Size: max. 120sqm, max. ht. 9m Site: specified empty plot along Victoria Street at Jalan Kledek

Assessment of Project 03 is based upon the following considerations: 1. Designing for a client How have you interpreted your clients’ requirements (uses and needs, the ‘program’) and their vision of their home environment (the mood or ambience, and specified preferences)?

2. Exploration of precedence in design How have you understood and translated your precedent / master architect’s approach and design strategy?

3. Site conditions and urban context in relation to 1 & 2 How have you worked your scheme into the site you are given? Conversely, how have you worked the site into your scheme? You are asked to define which site conditions you have chosen to respond to or consider in your design decisions, and why—for example, what does your site response do for your client, or how does it enhance your translation of your precedence?

4. Architectural literacy Project 03 is also the culmination of the fundamental aspects of architectural literacy and technical competency that you have learnt through the Studio program for the whole semester: anthropometry, considerations on modules and materials/tectonics, and knowledge of drawing conventions and techniques.

5. Conceptual coherence, design sensibility, and rigour in design process.

1. WALL HOUSE 2. YOGIST’S PAVILION 3. THE LIGHT HOUSE ZHANG JINGHAN STUDIO LEE MAY ANNE

PROJECT 03 DESIGN OF A DWELLING FOR A CLIENT AS AN ARCHITECT’S APPRENTICE This exercise expands upon the exploration in P02 on anthropometry and materials, now applied to the design of a dwelling with the following parameters:

- Designing for a client (negotiation with “architect”)

- Exploration of precedence in design (architect as “apprentice”, need not be from P1) Program: flexible, with the following minimum provision:

- sleeping – eating/cooking – the necessary rooms (toilet and bathroom)

- one or two activities/spaces as the dwelling’s special feature

- ground floor commercial program (option) Design: based on an interpretation of a precedent architect, in conjunction with the client’s program requirements.

Size: max. 120sqm, max. ht. 9m Site: specified empty plot along Victoria Street at Jalan Kledek

Assessment of Project 03 is based upon the following considerations: 1. Designing for a client How have you interpreted your clients’ requirements (uses and needs, the ‘program’) and their vision of their home environment (the mood or ambience, and specified preferences)?

2. Exploration of precedence in design How have you understood and translated your precedent / master architect’s approach and design strategy?

3. Site conditions and urban context in relation to 1 & 2 How have you worked your scheme into the site you are given? Conversely, how have you worked the site into your scheme? You are asked to define which site conditions you have chosen to respond to or consider in your design decisions, and why—for example, what does your site response do for your client, or how does it enhance your translation of your precedence?

4. Architectural literacy Project 03 is also the culmination of the fundamental aspects of architectural literacy and technical competency that you have learnt through the Studio program for the whole semester: anthropometry, considerations on modules and materials/tectonics, and knowledge of drawing conventions and techniques.

5. Conceptual coherence, design sensibility, and rigour in design process.

1. WALL HOUSE 2. YOGIST’S PAVILION 3. THE LIGHT HOUSE ZHANG JINGHAN STUDIO LEE MAY ANNE

PROJECT I: WALL HOUSE

PAST, PRESENT

Exploration of time in space

AND FUTURE The past appears much longer in space, yet its stay-time is very short. On the other hand, the future appears to be

W

all house was initially a residence designed

Learning objectives: Project 1, the analysis of precedent

by American architect John Hejduk in 1973

houses, serves as an introduction to the translation of ar-

for a fellow faculty member at Copper Union.

chitectural ideas and materials into spatial, formal-com-

According to Hejduk, this house ‘had to do wiht time’,

positional and tectonic expression. Analyses of a house

where onside of the wall represents the past, the other

precedent through drawing and model-making exer-

side of the wall represents the future, and the wall rep-

cises, as an introduction to the key ideas of a selected

resents the present.

architect and their translation into the chosen house

This analysis, therefore, seeks to explore the relationship between ‘past’ and ‘future’ by unfolding the house occu-

short in space, but stay time is much longer than the past.

design (one seminal/historical example from a list to be provided).

pant’s daily routine in terms of distance and time, thus decoding the metaphor of life embedded in Wall House

by Hejduk.

This perhaps reflects John Hejduk’s optimistic view of the past and future, in this allegory of life he created.

Although the past may be miserable, it will pass quickly. Although the future seems to be unattainable, one would

The spend plenty of time enjoying it.

THE FLEETING PRESENT SPACE/ STAY-TIME ANALYSIS Exploration of time in space

The ‘present’ is reflected in space as a thin wall, which requires minimum time when one walked past it. Its very thinness tells the fleeting nature of the present.

The wall appears two dimensional in elevation. It appears either as a thin line or a solid square. Hejduk also intentially uses axonometric diagrams which only shows two sides of the house to emphasize its two SPACE UNFOLDED

dimensional quality.

Tracing a journey in a day

This perhaps reflects John Hejduk’s optimistic view of the past and future, in this allegory of life he created.

Although the past may be miserable, it will pass quickly. Although the future seems to be unattainable, one would

Portfolio

spend plenty of time enjoying it.

PROJECT I: WALL HOUSE

PAST, PRESENT

Exploration of time in space

AND FUTURE The past appears much longer in space, yet its stay-time is very short. On the other hand, the future appears to be

W

all house was initially a residence designed

Learning objectives: Project 1, the analysis of precedent

by American architect John Hejduk in 1973

houses, serves as an introduction to the translation of ar-

for a fellow faculty member at Copper Union.

chitectural ideas and materials into spatial, formal-com-

According to Hejduk, this house ‘had to do wiht time’,

positional and tectonic expression. Analyses of a house

where onside of the wall represents the past, the other

precedent through drawing and model-making exer-

side of the wall represents the future, and the wall rep-

cises, as an introduction to the key ideas of a selected

resents the present.

architect and their translation into the chosen house

This analysis, therefore, seeks to explore the relationship between ‘past’ and ‘future’ by unfolding the house occu-

short in space, but stay time is much longer than the past.

design (one seminal/historical example from a list to be provided).

pant’s daily routine in terms of distance and time, thus decoding the metaphor of life embedded in Wall House

by Hejduk.

This perhaps reflects John Hejduk’s optimistic view of the past and future, in this allegory of life he created.

Although the past may be miserable, it will pass quickly. Although the future seems to be unattainable, one would

The spend plenty of time enjoying it.

THE FLEETING PRESENT SPACE/ STAY-TIME ANALYSIS Exploration of time in space

The ‘present’ is reflected in space as a thin wall, which requires minimum time when one walked past it. Its very thinness tells the fleeting nature of the present.

The wall appears two dimensional in elevation. It appears either as a thin line or a solid square. Hejduk also intentially uses axonometric diagrams which only shows two sides of the house to emphasize its two SPACE UNFOLDED

dimensional quality.

Tracing a journey in a day

This perhaps reflects John Hejduk’s optimistic view of the past and future, in this allegory of life he created.

Although the past may be miserable, it will pass quickly. Although the future seems to be unattainable, one would

Portfolio

spend plenty of time enjoying it.

PROJECT 2: YOGIST’S PAVILION Translation of movement to spacial experience

T

his project started from a movement which is

Learning objectives: Project 2, the design of a retreat in

later translated into a space through extraction

the form of a small pavilion for individual occupation,

of six key points on human body. Knowledge of

connects anthropometry with furniture, fittings and the

anthropometry is also applied in this project, as each

use of micro-space; and with the use of materials and

movement and extraction of key points is unique to the

their modular units, dimensions, and methods for mak-

person himself. Thus the space crafted allows visitors to

ing and constructing. the design of a retreat in the form

experience exactly what the person had been through in

of a pavilion sited in natural surroundings (9sqm, max ht

performing the movement by manoeuvring variations in

6m) for individual occupation as an introduction to spa-

spatial qualities. In doing so, traditional image of a build-

tial thinking, tectonics, and dimensions/anthropometry.

ing being a box shape can be broken, allowing for more room for creativity and crafting of experience.

MAPPING AND EXTRACTION Anthropometry is used to create an experiential space born out of a movement. The sequence of movement is extracted based on the unfolding movements of six essential pionts in time.

PROJECT 2: YOGIST’S PAVILION Translation of movement to spacial experience

T

his project started from a movement which is

Learning objectives: Project 2, the design of a retreat in

later translated into a space through extraction

the form of a small pavilion for individual occupation,

of six key points on human body. Knowledge of

connects anthropometry with furniture, fittings and the

anthropometry is also applied in this project, as each

use of micro-space; and with the use of materials and

movement and extraction of key points is unique to the

their modular units, dimensions, and methods for mak-

person himself. Thus the space crafted allows visitors to

ing and constructing. the design of a retreat in the form

experience exactly what the person had been through in

of a pavilion sited in natural surroundings (9sqm, max ht

performing the movement by manoeuvring variations in

6m) for individual occupation as an introduction to spa-

spatial qualities. In doing so, traditional image of a build-

tial thinking, tectonics, and dimensions/anthropometry.

ing being a box shape can be broken, allowing for more room for creativity and crafting of experience.

MAPPING AND EXTRACTION Anthropometry is used to create an experiential space born out of a movement. The sequence of movement is extracted based on the unfolding movements of six essential pionts in time.

Y1S2

PROJECT3: THE LIGHT HOUSE From mood images to ambience in space

SECTION

T

his project has its focus on creation of ambience

introduces the physical contexts of a site, the program-

pertinent to the client’s needs. It started with

matic and social considerations of a client, and the ge-

mood images that evoke the same atmospheres

nealogical and analytical dimensions of form language,

and moods as described in client’s brief. These mood im-

space, and tectonic articulation. Emphasis is placed on

ages are then translated through various stategies into

graphic communication and the use of drawings to il-

spacial experience. Functional requirememts and site

lustrate design. The design of a dwelling at a specified

conditions are then integrated to make the house more

urban site (120sqm, max ht 9m) as an apprentice of an

relevant in the context given. Nonetheless, the emphasis

architect with a specified client and design brief as an

is still on the success of translation from mood images to

introduction to the social and cultural dimensions of ar-

atmosphere in the creation of spacial experience.

chitecture, the role of architectural precedents/ contexts

Learning objectives: Project 3, the design of a dwelling at a specified urban site for a specified client, where the student also acts as an apprentice to a chosen architect,

and site conditions, and consequently the operations on form language.

Y1S2

PROJECT3: THE LIGHT HOUSE From mood images to ambience in space

SECTION

T

his project has its focus on creation of ambience

introduces the physical contexts of a site, the program-

pertinent to the client’s needs. It started with

matic and social considerations of a client, and the ge-

mood images that evoke the same atmospheres

nealogical and analytical dimensions of form language,

and moods as described in client’s brief. These mood im-

space, and tectonic articulation. Emphasis is placed on

ages are then translated through various stategies into

graphic communication and the use of drawings to il-

spacial experience. Functional requirememts and site

lustrate design. The design of a dwelling at a specified

conditions are then integrated to make the house more

urban site (120sqm, max ht 9m) as an apprentice of an

relevant in the context given. Nonetheless, the emphasis

architect with a specified client and design brief as an

is still on the success of translation from mood images to

introduction to the social and cultural dimensions of ar-

atmosphere in the creation of spacial experience.

chitecture, the role of architectural precedents/ contexts

Learning objectives: Project 3, the design of a dwelling at a specified urban site for a specified client, where the student also acts as an apprentice to a chosen architect,

and site conditions, and consequently the operations on form language.

1. BIANCHI HOUSE 2. OPEN CAPSULE 3. CANOPY CYNTHIA WEE STUDIO TSUTO SAKAMOTO

1. BIANCHI HOUSE 2. OPEN CAPSULE 3. CANOPY CYNTHIA WEE STUDIO TSUTO SAKAMOTO

MARIO MARIO BOTTA BOTTA BIANCHI HOUSE BIANCHI HOUSE PROJECT 1 PROJECT 1 . .

OPEN CAPSULE

FISHING RETREAT PROJECT 2 .

Analyses of a house precedent.

Analyses of a house precedent.

Designing a retreat in nature.

Focus : Architectural Literacy - Form Language and Tectonic Articulation; Movement and Space.

Focus : Architectural Literacy - Form Language and Tectonic Articulation; Movement and Space.

Focus : Spatial thinking, tectonics, and dimensions/anthropometry.

OPEN CAPSULE

FISHING RETREAT PROJECT 2 .

Designing a retreat in nature.

Focus : Spatial thinking, tectonics, and dimensions/anthropometry.

MARIO MARIO BOTTA BOTTA BIANCHI HOUSE BIANCHI HOUSE PROJECT 1 PROJECT 1 . .

OPEN CAPSULE

FISHING RETREAT PROJECT 2 .

Analyses of a house precedent.

Analyses of a house precedent.

Designing a retreat in nature.

Focus : Architectural Literacy - Form Language and Tectonic Articulation; Movement and Space.

Focus : Architectural Literacy - Form Language and Tectonic Articulation; Movement and Space.

Focus : Spatial thinking, tectonics, and dimensions/anthropometry.

OPEN CAPSULE

FISHING RETREAT PROJECT 2 .

Designing a retreat in nature.

Focus : Spatial thinking, tectonics, and dimensions/anthropometry.

CANOPY

MAN/NATURE/URBANISM PROJECT 3 .

The Architect’s Apprentice: A Dwelling for a Client.

Focus : Social and cultural dimensions of architecture, the role of architectural precedents/ contexts and site conditions, and consequently the operations on form language.

CANOPY

MAN/NATURE/URBANISM PROJECT 3 .

The Architect’s Apprentice: A Dwelling for a Client.

Focus : Social and cultural dimensions of architecture, the role of architectural precedents/ contexts and site conditions, and consequently the operations on form language.

CANOPY

MAN/NATURE/URBANISM PROJECT 3 .

The Architect’s Apprentice: A Dwelling for a Client.

Focus : Social and cultural dimensions of architecture, the role of architectural precedents/ contexts and site conditions, and consequently the operations on form language.

CANOPY

MAN/NATURE/URBANISM PROJECT 3 .

The Architect’s Apprentice: A Dwelling for a Client.

Focus : Social and cultural dimensions of architecture, the role of architectural precedents/ contexts and site conditions, and consequently the operations on form language.

1. VILLA TUGENDHAT 2. MAC-RETREAT 3. TREASURE HOUSE IAN KHOO STUDIO STACEY CHEANG

1. VILLA TUGENDHAT 2. MAC-RETREAT 3. TREASURE HOUSE IAN KHOO STUDIO STACEY CHEANG

FIRST STOREY PLAN FIRST STOREY PLAN Scale 1: 200 Scale 1: 200

FIRST STOREY AXONOMETRIC

FIRST STOREY AXONOMETRIC

SECOND STOREY PLAN SECOND STOREY PLAN Scale 1: 200 Scale 1: 200

SECOND STOREY AXONOMETRIC

SECOND STOREY AXO

FIRST STOREY PLAN FIRST STOREY PLAN Scale 1: 200 Scale 1: 200

FIRST STOREY AXONOMETRIC

FIRST STOREY AXONOMETRIC

SECOND STOREY PLAN SECOND STOREY PLAN Scale 1: 200 Scale 1: 200

SECOND STOREY AXONOMETRIC

SECOND STOREY AXO

BRNO OLD TOWN

VILLA LOW BEER

ANTI-CLOCKWISE

WILLOW TREE

WITH SEMICIRCULAR SEATING

SITE PLAN SCALE 1: 1500

SECOND STOREY CIRCULATION SCALE 1: 400

HORIZONTAL LINES SCALE 1: 400

SECOND STOREY SERVANT SPACES SCALE 1: 400

VERTICAL LINES SCALE 1: 400

FIRST STOREY SERVANT SPACES SCALE 1: 400

CLOCKWISE

AXIS AND VIEWS SCALE 1: 400

FIRST STOREY CIRCULATION SCALE 1: 400

FRONT ELEVATION SCALE 1: 200

NODAL POINTS SCALE 1: 400

SECTION SCALE 1: 250

SHADOW AS A DIVIDER SCALE 1: 400

BACK ELEVATION SCALE 1: 200

BRNO OLD TOWN

VILLA LOW BEER

ANTI-CLOCKWISE

WILLOW TREE

WITH SEMICIRCULAR SEATING

SITE PLAN SCALE 1: 1500

SECOND STOREY CIRCULATION SCALE 1: 400

HORIZONTAL LINES SCALE 1: 400

SECOND STOREY SERVANT SPACES SCALE 1: 400

VERTICAL LINES SCALE 1: 400

FIRST STOREY SERVANT SPACES SCALE 1: 400

CLOCKWISE

AXIS AND VIEWS SCALE 1: 400

FIRST STOREY CIRCULATION SCALE 1: 400

FRONT ELEVATION SCALE 1: 200

NODAL POINTS SCALE 1: 400

SECTION SCALE 1: 250

SHADOW AS A DIVIDER SCALE 1: 400

BACK ELEVATION SCALE 1: 200

1000

875

750

Haruki Murakami is a Japanese novelist, short-story wrtier, and translator whose deeply imaginative and dream-like books have become international best sellers.

1375

750

1125

CLIENT PERSONA:

625

875

625

700

875

625

300

875

875

1125

660 1100

875 710

1000

900 300

1350 450

750

600

1250

1200

1750

1500

9 p.m.

- Wake up and start writing - Finish writing for the day - Run 10km and/or swim 1500m - Read / Listen to music - Sleep

900

Schedule: 4 a.m.

9/10 a.m.

Afternoon

CONTOUR MAP SCALE 1: 8000

1750

1375

1500

Murakami adheres to an extremely strict schedule without variation in order to maintain his mental and physical strength when delving deep for his writing.

SITE PLAN SCALE 1: 2000

SECTIONAL PERSPECTIVE BB’ SCALE 1: 50

EXPLODED AXONOMETRIC SCALE 1: 50

PLAN SCALE 1: 50

1000

875

750

Haruki Murakami is a Japanese novelist, short-story wrtier, and translator whose deeply imaginative and dream-like books have become international best sellers.

1375

750

1125

CLIENT PERSONA:

625

875

625

700

875

625

300

875

875

1125

660 1100

875 710

1000

900 300

1350 450

750

600

1250

1200

1750

1500

9 p.m.

- Wake up and start writing - Finish writing for the day - Run 10km and/or swim 1500m - Read / Listen to music - Sleep

900

Schedule: 4 a.m.

9/10 a.m.

Afternoon

CONTOUR MAP SCALE 1: 8000

1750

1375

1500

Murakami adheres to an extremely strict schedule without variation in order to maintain his mental and physical strength when delving deep for his writing.

SITE PLAN SCALE 1: 2000

SECTIONAL PERSPECTIVE BB’ SCALE 1: 50

EXPLODED AXONOMETRIC SCALE 1: 50

PLAN SCALE 1: 50

NEW

EXISTING

PLAN SCALE 1: 150

TENSION BETWEEN EXISTING AND NEW SCALE 1: 250

VISUAL INTERACTION BETWEEN LAYERS SCALE 1: 250

PRIVATE ENTRANCE

DIAGRAMATIC BREAKDOWN:

PRECEDENCE:

Tension: To highlight the treasure that exists between the existing and new

HOUSE N, OITA, JAPAN SOU FUJIMOTO (2008 )

Visual interaction: Visual Interaction between the layers that preserves privacy and views between the layers

Interaction across layers Preservation of views and privacy Gradual change in domain

Circulation Separated public and private entrances MAIN ENTRANCE

SECTION SCALE 1: 150

CIRCULATION SCALE 1: 250

NEW

EXISTING

PLAN SCALE 1: 150

TENSION BETWEEN EXISTING AND NEW SCALE 1: 250

VISUAL INTERACTION BETWEEN LAYERS SCALE 1: 250

PRIVATE ENTRANCE

DIAGRAMATIC BREAKDOWN:

PRECEDENCE:

Tension: To highlight the treasure that exists between the existing and new

HOUSE N, OITA, JAPAN SOU FUJIMOTO (2008 )

Visual interaction: Visual Interaction between the layers that preserves privacy and views between the layers

Interaction across layers Preservation of views and privacy Gradual change in domain

Circulation Separated public and private entrances MAIN ENTRANCE

SECTION SCALE 1: 150

CIRCULATION SCALE 1: 250

YEAR 1 LEVEL 2 COMPILATION OF SAMPLES

2018/2019 B.A. (ARCH) 1

IMAGE CREDIT: SHARLENE SOW