NUS DoA M.ARCH1 OPTIONS STUDIO - HOUSE OF THE MUSES (2020/2021)

YEAR 4 OPTIONS STUDIO COMPILATION OF SELECTED WORKS

2020/2021 M.ARCH 1 STUDIO BETTY NG

HOUSE OF THE MUSES

IMAGE CREDIT: LIN YINGYING

MASTERS DESIGN PROJECTS INTERESTS Masters Design Projects include those explored in two Options Design Research Studios (M.Arch 1), the Advanced Architecture Studio and the Thesis project in M.Arch 2. All studios may explore issues relevant to the interests of the Research Clusters, adjunct teachers and professors in practice. Students are encouraged to capitalise on faculty expertise in widening the scope of investigations which collectively strengthen the Thesis Project in M.Arch 2.

Essential and Elective modules are useful in underpinning your Masters studio investigations.

Although Options Design Research studios may be varied in content and method, students are advised to be selective and to use them as ‘learning runways’ to identify a Thesis topic and to apply accumulated knowledge there. The Advanced Architecture Studio preceding the Thesis may be used to explore thesis drivers in greater detail and focus.

It is expected that the Thesis project will be the most comprehensive and extensive study of all the Masters Design Projects. _______________________________________________________________________________________

DESIGN AS INQUIRY Masters projects can be research investigations where design forms a principal mode of inquiry.

Methods can be heuristic or empirical or in mixed modes of inquiry.

There are a number of research methods in design investigations leading to different outcomes but they are by no means exhaustive: • textual/graphic analysis of theoretical concepts with investigations drawn from critical discourse using text references, works of art/representation • quantitative analysis to verify qualitative hypotheses with simulation, physical experiment, prototype testing and mixed methods • scenario-driven speculative design to suggest solutions to emergent need. The process in itself is a new way of seeing/thinking which generates many solutions. One version of a solution may be articulated spatially and in full materiality • new research knowledge is interpreted in architecture as a new way of thinking/making/ experiencing • existing practices, processes or existing technologies are applied to design and which produce ‘unprecedented’ outcomes

PROJECT ATTRIBUTES A good Masters project is one where: • the research process informs design strategy which can be followed through a coherent sequential process of explorations or iterations • the research generates an underlying order giving rise to a number of architectural or urban propositions • the research or issues engaged with, give rise to new solutions through design, some of which are singular, permutable or recombinant • it addresses the contextual specificities of site, material, spatial, culture and program and all of the above are communicated through architectural drawings, well-crafted models and annotations which curate a design process and outcome(s) that can be understood without a verbal presentation by the author Beyond a commitment to individual academic portfolios, Masters projects play an important role in characterising the discursive ethos of a design school. It is important that you do your best. _______________________________________________________________________________________

RESEARCH CLUSTERS RESEARCH FOCUS At DOA, our advanced research delves into critical issues of architecture today and tomorrow.

In particular, we anticipate and observe new demands and novel forms of buildings, cities, environments, and nature that are emergingthroughout Asia and the equatorial region. DOA research clusters coalesce creative practice, technology, urbanism, landscape, preservation, and the specific expertise of our faculty members into a productive synergy and alignment between teaching and research.

The following five clusters drive the M Arch I Design Research Studio Options sequence, the M Arch II Design Thesis and the graduate level elective offering across our Master of Architecture programme. These are nonetheless included in the BA Arch programme booklet so that students may understand the various research interests of their faculty. _______________________________________________________________________________________

I. RESEARCH BY DESIGN The Research by Design (RxD) cluster develops translational research approaches through creative practice. It emphasises the importance of rigorously engaging critical and creative practice in making, writing, and thinking in architecture. RxD strives for innovation and influence in the built environment through its research outcomes. To date, a number of these outcomes have won awards and made considerable impact.

RxD focuses on design in Asia and around the equator, and on research into contemporary concerns as well as the identification of speculative future directions. Members work in a range of design modes from sole authorships to collaborative and interdisciplinary configurations.

As a group, RxD leverages its combined creative expertise, teaching within design studios and graduate elective modules. Research outcomes include leading buildings, texts, exhibitions, installations, films, drawings, photographs, and object-making, alongside design monographs, edited volumes, and research papers. RxD’s commitment towards integrative and translational creative practices empowers design research with intellectual and critical bearings, for a discipline in transformation.

II. HISTORY, THEORY AND CRITICISM The History, Theory and Criticism cluster develops critical capacities to examine questions of built environmental production and consumption within the historical and contemporary milieu.

Taking architecture and urbanism in Asia as a primary focus, members work in interdisciplinary and transnational modes. Our members conduct research into a wide range of topics against the context of colonial/postcolonial and modern/postmodern Asian contexts, teaching these with the aim of encouraging historical literacy and consciousness in students, to enable them to understand how the present is historically sedimented. Besides teaching, members also publish widely and in diverse forms, organise and participate in major conferences and workshops, curate key exhibitions, and advise both governmental and non-governmental organisations in related fields around the world.

III. TECHNOLOGIES The Technologies cluster investigates environmentally performative or sustainable building forms and systems, and generative-evaluative processes for designing liveable environments.

It employs traditional and emerging technologies that contribute to a new understanding of the human ecosystem, and emerging computational methods and techniques for discovering the relationships betweenform and performance.

Members investigate the relationship between human and natural landscapes, at every scale, from the building component scale to the urban scale. Special emphasis is placed on the examination of high-density Asian cities, and on application of design and building technologies in a tropical context.

IV. URBANISM The Urbanism cluster aims to contribute towards development of sustainable resilient models and innovative advanced urban strategies to cope with various environmental, social, economic and technological challenges facing Asian cities today and in the future. The starting point for this research is a comprehensive understanding of the complexity and distinctive characters of emerging urbanism in the region. Against this backdrop, members investigate emergent urban design issues related to community and participation; conservation and regeneration; ageing and healthcare; well-being and built form; modelling and big data; and resilience and informality.

These issues are examined from multiple perspectives and through both inter-disciplinary and transdisciplinary collaborations, in order to question conventional norms and conceptions and establish new visions for a progressive and human-centric sustainable urban future.

V. LANDSCAPE STUDIES The Landscape Studies cluster undertakes research to generate new knowledge of landscapes as socio-ecological systems, and promotes the use of knowledge in governance systems and landscape design to improve the well-being of humans and enhance the ecological integrity of the environment. The geographic focus is primarily high-density urban regions in Asia; however members of the cluster also work in the transitional zones within the rural-urban continuum, where urban regions are expanding at a rapid rate and encroaching into rural landscapes.

The overall research approach is both interdisciplinary and transdisciplinary. The cluster looks not only at advancing theoretical concepts and knowledge, but also applying the knowledge in practice and public policy, to shape the environment. Areas of research span a wide spectrum of the socioecological dimensions of landscape: from landscape science and landscape management, to design research and sociobehavioural studies.

STUDIO BETTY NG

HOUSE OF THE MUSES The earliest use of the word “museum” was in the early 17th century, and it is believed to have originated via Latin from the Greek mouseion, or “seat/house of the Muses”.

Since then, there has clearly been an evolution in museum design and in ways of showing art. This studio aims to investigate and look deeper at this evolution: from the salon, to the appropriated office space, to the white cube, which has become the standard approach since the 1970s.

Participants will be invited to reflect on the relationship between architecture and the ecosystem of the museum, and on the evolution of the display of art.

They will be prompted to consider future trajectories in museum design and in the presentation of art: What shape or form will displays and the role of museum move towards in the future? Could we, and should we, challenge the current “museum standard”?

Betty Ng

ENCYCLOPAEDIC MUSEUM FOR CONTEMPORARY ART CHEE JIA XIN

After the research, what I thought are the Guggenheim’s iconic buildings offers a variety unique event spaces and is a timeless location for an unforgettable New York experience.

In fact, I think that museum is a place where allow the interface between the viewer, art and architecture.

Hence,

How the museum bring the relationship between art and human closer?

How the architecture interact with the user?

How the architecture influence the way we see/exhibit the artwork?

How the architecture affect the journey of the museum visiting?

Scale and proportion?

Outdoor or Indoor?

Scale of contemporary art versus size of space

Contemporary art comes in a varitety of sizes, types and medium, from the tiniest to the extraordinary huge pieces. They are in the spectrum of scale, S,M,L,XL. Talking to the scale in art, the scale is the overall physcial size of artworks or objects in the artwork.

It always relateds the scale to the size of the human body. How big or small

the pieces is to us. A particular type of art shouldn’t just be to a specific kind of space as well as a small artwork shouldn’t just be placing to the smallest room in the gallery. To achieve the best visual impact of waht the artist wants to the visitor to get, the small artwork can be placed in a big room too !

Site Analysis

Pasir Panjang Power District

Located at the south part of Singapore, which is at the sea-side.While, most of the museum in Singapore located at museum planning district which nearby CBD area inside concrete jungle. However, this site is more closer to the nature.

10m

The buildings inside the power station district are rearrange based on the hierachy of dimension. In a result, it is show that the site provide a very wide range of different size of buildings. From S,M,L to XL.

20m

Masterplanning

The face of the building which is facing each other will be striped-off and replace with a new facade in order to enhance the visual connecivity between these buildings.

A sculpture garden are then design as an intangible connection at the ground floor. Aim to foriming a “loop” between the buildings and also lead the visitor from one building to another building when walking throught the garden.

Design Strategies for Power Station A&B Original facade was stripping off and replace with steel mesh facade in order to appreciate the beauty of the structure, blurring the boundary outdoor and indoor as well as create more visual connection with Power Station B.

Injecting new exciting space which is in variable of form into the exisiting building.

Create a contrast with the typical space (cube) that exist in the power station. Also to provide more option to the artist when having an exhibition

Original facade which is facing the sea are re-design to become more open, and allow the visitor to enjoy the view of sea.

Studio tower and Archive tower are added into the existing building.

Schematic diagramme of spaces

gallery

gallery

gallery

gallery Idea of using turbine hall as a core to connect the other gallery spaces.

The archive tower and studio tower are connected at the ground floor via a courtyard.

turbine hall

gallery

architve tower studio tower

sculpture garden courtyard

From the making of art, art exhibition to the conservation / maintenance of art. A series of programme are inserted into these building and forming the cycle of encyclopaedic museum of contemporary art.

Diagramme showing the variation of space that can be use for art exhibition inside the museum. For example, they are in different height, the degree of lighting exposure, degree of enclosure, materiality of space and etc.

Catalogue

e of space

Glass roof are use to ensure the nature light can be flood into the turbine hall

corridor

corridor

gallery

gallery

lobby

Existing structure are kept to celebrate the historical building. It also create contrast between the art and space.

Selctional Perspectiv

Sectional Perspective

Turbine hall

not-to-scale

ve B-B’ - Day Time

e B-B’ - NightTime

New spaces are using the distinctive and translucent polycarbonate wall panel as the exterior wall. The characteristics of the material offer soft, diffused lighting to the surrounding. It will created a lantern-likw glow from the building in the evenings.

not-to-scale

sculpture garden

main museum

Some spaces are fully enclosed, while some space are semi-enclosed and also fully open space.

Showing different height of spaces. Provide all kind of possibilities to the artwork. bar & cafe roof garden

art corridor

art corridor

gallery

gallery

art corridor

turbine hall

Sculpture garden are design to breach the gap betwwen the buildings and lead the visitor drom one building to another building.

art corridor

gallery

art corridor

gallery

roof garden

gallery

art corridor

boiler hall workshop

Sectional Persp

Extruded from new injecting spaces, can be served as billboard.

Existing facade remain.

not-to-scale

South Elevation

archive building

studio tower

courtyard

storage tower Glass roof are use to ensure the nature light can be flood into the turbine hall

archive gallery

archive gallery

studio

studio

archive gallery

art library discussion area

reading area

private library

private library for the artist

art library open for public not-to-scale

pective A-A’

New facade, integrated with metal mesh to blur the boundaries between the interior and exteior, also showing the exposed internal structure of the building.

not-to-scale

East Elevation

Turbine Hall

Art Corridor

Art Corridor

Boiler Hall

THE NICHE & THE COMPREHENSIVE LEONG SIEW LENG

The Niche & The Comprehensive: Guggenheim in Thailand Mission Statement : To create a global museum complex with an emphasis on its role as facilitator of conversations and connectors of different communities by forging a supportive museum network.

Site : Chatuchak, Bangkok

Through the museum survey done by the studio, it was revealed that museums today can be roughly categorized into two different categories, the comprehensive and the niche. The comprehensive museums are characterized by their large amount of collections and the large sizes of the museum, like MoMA and the Prado Museum. On the other hand, the niche museums are characterized by their more specific, limited collection (or the non-existent of it) which could be created under the hand of a single owner or an organization with specific interest.

It was speculated that, in the future, when our world is increasingly digitised and as artists move away from embodying their artistic expressions in objects, both type of museum will start facing issues of survival. The large comprehensive museum with its faded character will start becoming a soulless, obsolete warehouse of art objects; while the smaller niche museum with its limited audience reach and unstable financial income will eventually faces the fate of being ousted out by the existing pecking order of museums.

In the bid to maintain the relevance of art museums in the world today, the project proposes that the museum community shift its emphasis on museum collection to museum connection, thereby placing more importance on the role of museums as physical spaces that facilitates conversations and connects communities. The final proposal is the creation of a museum space that allows for the existence of a symbiotic relationship between these two types of museums, helping one to gain public awareness and visitor traffics while reviving the other by injecting lives and the lost spirit of art.

The project chooses the Guggenheim as the subject for the comprehensive museum because Guggenehim was one of the first comprehensive museum to realize the issues of their growing museum collection. The Guggenheim’s strategy was to create a franchise model that distributes their artworks all over the world. However, the franchise model is no longer a feasible solution for the 21st century as the global citizens are increasingly aware of these neo-colonialism attitude of cultural domination. On the other hand, Thailand was chosen as the site because it is undeniable that the Thai contemporary art scene had been booming in recent decades but without a strong stimulant, the booming art scene might not lasts long enough for it to grow to the global standards. It is in hope that the cooperation of Guggenheim and the local Thai niche museums are able to paint a multi-narrative art world of the new 21st century, that this project was borne.

The Museum Hierarchy: As Seen From the Artists’ Journey

Andy Warhol

A look into the artist’s career throughout his/her lifetime would reveal that the artists would always start off with shows in commercial gallery before they start exhibiting in museum. Their first few shows with the museums would usually be group shows and their first major solo show tend to always be in so-called niche museums like ICA Philadelphia or Kunsthalle Basel. These are smaller museums that does not place emphasis on building museum collection but instead focuses on discovering upcoming artists and helping the artists in their career. The survey had shown that both the niche and the comprehensive museum are equally important in maintaining the balance of the art ecosystem. Yet, the pecking order of museum continues to exists due to emphasis on museum collection.

Program Breakdown

In the existing Guggenheim model, as little as 1% of the gallery spaces are allocated for the local artists eventhough the museum does own a considerable amount of local artworks. For the proposed project, about 30% of the gallery spaces will be allocated specifically for the regional niche museums in Thailand. At the same time, there will be a temporary exhibition space that is shared among the Guggenheim and the Thai museums. This space will become the backbone of the museum which supports the interaction of these two types of museums.

process diagram

The intersection of the niche museum into the temporary gallery spaces create opporturnities for visitors to the Guggenheim to discover the Thai local niche museum. The garden space also acts as an attractor to draw users out from the comprehensive museum.

THE FORUM LIN YINGYING

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THE FORUM The proposed project is to create a new self-sustaining and reciprocal art + commerce model which accommodate both art and commercial programs. Art museum in this model, though financially supported by commercial activities, rather than being subordinate to commercial activities should be independent and proactive.

The project aims to both spatially redefine and the relationship between art and commerce in the hybridized model and to materialize it through architectural strategies.

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Office

Hotel

Exhibition Hall

Museum Commercial Museum Public Program

Hotel Gallery

Museum Storage Museum Administration

Retail

NUS AR5801 - House of the Muses

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YEAR 4 OPTIONS STUDIO COMPILATION OF SELECTED WORKS

2020/2021 M.ARCH 1 STUDIO BETTY NG

IMAGE CREDIT: CHEE JIA XIN