NUS DoA M.ARCH1 OPTIONS STUDIO - PEACE, PLACE AND GRACE (2020/2021)

YEAR 4 OPTIONS STUDIO COMPILATION OF SELECTED WORKS

2020/2021 M.ARCH 1 STUDIO FIONA NIXON

PEACE, PLACE AND GRACE

IMAGE CREDIT: KEEFE CHOOI

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 FIONA NIXON

PEACE, PLACE AND GRACE Tropical Asia is the birthplace of the hyperluxury resort. This hotel typology is unique in its combining a hippie trail expectation of authentic engagement with indigenous culture, incongruously combined with all the pampering expected by the prosperous. PostCOVID-19, well-to-do domestic travellers from large countries and the so- called 1%— international guests with the wherewithal to circumvent travel restrictions—are expected to be the first to drive revival in the hospitality market.

Work in this realm has fed and made famous many Singapore architects: KHA, WOHA, SCDA, and Bedmar. The studio examined the output of these designers and the brands they have moulded, as part of a broader exploration of the issues that (ought to) affect design - cultural appropriation, appropriateness, sustainability, economic development and patronage. After this period of contextual research and reflection, a resort was scoped and designed, advancing from brief writing through master planning, architecture and interiors.

Practising internationally, we are often designing in a place that is not ‘our’ place, where we must quickly develop a deep and respectful understanding of the local landscape, built culture, world view and economy. The vision of our clients is to create resorts that are particular to their location, are sensitive to its ecology and create opportunities for the advancement of staff who host there.

‘Critical Regionalism’, in particular, can guide us in our design, helping to root architecture in its context without resort to scenography.

Kenneth Frampton, the movement’s bestknown proponent, once described its generative emphasis on ‘topography, climate, light; on tectonic form’ - phenomenology (experience, reflection and ethics) rather than symbolism.

Our studio adapted this approach, with technique and precedent (place), function and service (grace) the essential basis for an architecture that addresses the intuitions of its inhabitants (peace). The identification of the ‘first principles’ of a locale - its climate, topography, geology and biome - helped us to evolve architectural responses that were deeply suitable, and parallel to indigenous styles without parody, creating contemporary places of pleasure and pride.

We’d like to offer our heartfelt thanks to all the guest lecturers who have generously given us their time. Kristian van Schaik and David Gowty speaking about their development as Architects and specific projects they worked on under the aegis of Kerry Hill. Matt Shang inspiring us with his cinematographic and storytelling approach to Interior Design.

Viraj Chatterjee showing his Landscape Architecture projects across Asia, defined by their use of water. Peter Hogg alerting us to the ancient indigenous culture of Australia and evolving approaches to designing in that context. And to all our guest critics, David Gowty, Tan Szue Hann, Alessandro Perinelli, Matt Shang, Darlene Smyth and Susan Tan. My personal thanks to the students for their enthusiasm, energy and creativity. The future of hospitality design in Singapore looks bright.

Fiona Nixon

LIMINAL CHAN DE QUAN

Schedule Public

Semi-public

Tour Centre Reception View Deck

Recreation Room Meeting Room Spa

Restaurant Outdoor Pool Poolside Cafe/Bar Retail Wedding Pavilion Bridal Room

Private Pool Villa 1 Bedroom Villa 2 Bedroom Villa

View Deck

Spa Wellness

Site Section Axis

Semi-public cluster

1BR/2BR Cluster 1BR/2BR Cluster

View Deck

Site Section Cross

Banyan Tree Bajo is a project located on Bajo Island, Flores, Indonesia, featuring a luxury resort in the midst of a major boat and ship route from the bustling port of Labuan Bajo. It is an attempt to reinvent the typical island resort typology, whereby the design focus is largely on faraway views of the horizon, the sea and neighbouring islands, leveraging on concepts and ideas brought about through the critical regionalism movement. Furthermore, the project aims to capitalise on the liminal nature of the island, creating a form of hyperawareness by guests on the locality of Bajo island, forging its identity through various physical characteristics which Bajo island experiences.

Liminal - quality of ambiguity that occurs in the middle stage of a rite of passage.

Bajo island, located just offshore from the busy tourist destination that is Labuan Bajo, acts as a transition point between the urban and the natural. To the East is Labuan Bajo port, where the surrounding settlement which has expanded and prospered due to the growing tourism trade has adopted an efficient and urban approach to planning, creating a landscape consisting of 5 x 5m modules, in which all buildings, dwellings, civic buildings and retail stores adhere to. To the West lies Komodo Island, a popular tourist destination and nature reserve, filled with untamed nature and vibrant wildlife. Bajo island lives in a state of the in-between, straddling the boundary between the urban and the natural.

Water Flow

Sun Shading

Slope Analysis

Placement of 5x5 modules onto the undulating terrain

8

4

6

7

5 5 3 5 4

2

1 Legend 1 Reception 2 Changing Room 3 Indoor Bath 4 Sauna 5 Hot Bath 6 Relaxation Room 7 Outdoor Bath 8 Salt Bath

Spa Bath Plan

4

3

2

1

Legend 1 Reception 2 Private Bath 3 Indoor Bath 4 Outdoor Bath

Spa Bath Section

5

4

2

3 1

Legend 1 Reception 2 Store/Bathrooms 3 Library 4 Office 5 View Deck Access

Reception Plan

2

1

Legend 1 Reception 2 Library

Reception Section

Greenery

Bedroom

Bathroom

Living

Commune

Outdoor Public

Modules

Semi-public

Threshold

Private

3 2 4 5

3

1

2 4 5

3 2 4 5

Legend 1 Communal Space 2 Outdoor Space 3 Living Space 4 Bathroom 5 Bedroom

Pool Villa Plan

4

Pool Villa Section

3

2

1

ROSEWOOD KOMODO KEEFE CHOOI CHUEN WAI

ROSEWOOD KOMODO Labuan Bajo, Flores, Indonesia

The need for a getaway has transcended the need to disconnect from the world, but it is about reconnecting, and affording unique experiences that transforms oneself. Sprawled across the hilly grounds of a small island off Labuan Bajo, the luxury resort responds to its seasonal environment, carving out private and protected spaces that burst out into the surrounding dramatic landscape, creating an incrementally transformative experience that exemplify the archetypal human experience.

The Wetlands (wellness centre) The Plateau (event deck) Mangrove pavilions The Summit (ocean pool)

Ocean suites Ocean villas Ocean view pavilions The Arrival The Bridge (reception and lounge) The Summit (hilltop pool) Hilltop pavilions Beach view pavilions Beach villas

MASTERPLAN

Luxury in modesty The physical site is characterised by a duality in its seasons: lush tropical greenery in the wet season, and sparse grasslands in the dry season. The concept of seasonality is then extended beyond the physical affects on nature, to the way human behaviour is affected. This is translated to spaces that hark back to the archetypal human experiencee, using the alternation between spatial compression and release to create a journey of transformation that gradually impacts the traveller.

VILLA Two-person ocean-facing rooms

7 6

1

2

5

3

14

8

Living room

9

Pool deck

Bedroom

10

Pool pit

Balcony

11

Pool

Bath

12

Daybed deck

6

Toilet

13

Dining room

7

Shower

14

Ocean deck

1

Foyer

2

Bathroom

3 4 5

13

8

4 9 10 11

2nd storey plan

12

1st storey plan

PAV I L I O N S 2-person hillside rooms

7 6

1

2 5

3 4

1 Foyer 2 Bathroom 3 Bedroom 4 Balcony

8 Living room

5 Bath

9 Pool deck

6 Toilet

10 Pool

7 Shower

11 Daybed deck

8

9 10

2nd storey plan

11

1st storey plan

the summit H i l l t o p p o o l a nd res taurant

the sunset O c e a n p o o l , bar, res taurant and k id’s club

the arrival A rriv a l p a vi l i on

the bridge R e c e p tio n l ounge and l i vi ng r oom

the wetlands Com prehensi v e w el l nes s cent r e

LUSTRE ANJI VERNON LIM HONG WAY

The abundance of natural resources have been vital to the prosperity of Anji county. In the 1970s, limestone mines enrich the villagers by processing limestone into cement. However, the mines where shut down and soon the county shifted its focus on eco-protection and production. With the aim of pursuing the harmony of humans and nature, as well as that of the economy and society, green developments becoming the main focus of the village. Bamboos that are native to the area soon contribute greatly to the economy, with villagers encouraged to start individual enterprises, which focused on bamboo products like chopsticks and cool mats.

Lustre Anji is a luxury resort that aims to appreciate the c indigenous limestone by bringing focus and value to the material. Pure, white and massive blocks of limestone sits on the mountain, peaking out through the dense and lush bamboo forest, glistening under the sun and glowing, when illuminated by the moonlight. Openings are carved out from the limestone blocks and timber frames the scenic views of the site.

As one enters the building, a sense of tranquility is evoked as the limestone blocks serve as a contrast to the chaotic bamboo forest that surrounds them. The limestone captures the energy from the environment in the form of warmth and light and re-emits them to the occupant, as compared to the dark and cold forest.

The rustling of the bamboo forest is also blocked off by the dense walls of the limestone blocks.

月 石 LUSTRE ANJI 安 Huzhou, China 吉

CONCEPT DIAGRAM

Solid limestone block

Horizontal grooves on facade

Fenestrations carved

Glowing in the groves

Bamboo propagation method to influence layout

Monopodial

Blocks locatedaway from each other, joined by a single path

Monopodial

Public buildings as interconnected blocks

MASTER PLAN

8

7

4

2

1 6

LEGEND:

3

5

1. ARRIVAL BUILDING 2. EVENTS BUILDING 3. F&B BUILDING 4. WELLNESS BUILDING 5. 1 BR VILLA 6. 1BR + POOL VILLA 7. 2BR VILLA 8. RETREAT

LE G E ND: P U B L IC B U IL D IN G S P R IV A T E B U IL D IN G S

PUBLIC BUILDINGS

LE G E ND: A R R IV A L E V E NTS F &B W E LLNE SS

PRIVATE BUILDINGS

LE G E ND: 1 B R V IL L A 1 B R + P O O L V IL L A 2 B R V IL L A RETREAT

PUBLIC BUILDINGS Studio Title

11

ARRIVAL PLAN 6 6

5 1

4

8 4 7

3

2

LE GE ND 1.

2.

3.

4.

5.

6.

7.

8.

SECTION

E NTRA NCE R E C E P T IO N A D MIN L O UNGE R E T A IL RE STROOM R E F L E C T IO N P O O L GR A SS PA TCH

EVENTS PLAN

3

4 2

1

7 7

9 10

8

5

6 LE GE ND 1.

2.

3.

4.

5.

6.

7.

8.

9.

10 .

SECTION

E NTRA NCE FOYER B R ID E ’S R O O M W E D D IN G L A W N P R E -F U N C T IO N B A N Q UE T HA L L RE STROOM K IT C H E N STORE C H IL L E R

F&B PLAN LE GE ND 1.

2.

3.

4.

5.

E NTRA NCE T E A HO US E T E A R E T A IL D IN IN G A R E A C A B A N A P R IV A T E ROOM K IT C H E N STORE C H IL L E R R O O M RE STROOM R E F L E C T IO N P O O L

6.

7.

8.

9.

10 .

5

9 8 6

10 10

7

9

7

4

9

6

7

2

6

5 3

4

6

1

8

1

10

2 1

LE GE ND 1.

2.

3.

4.

5.

6.

7.

8.

9.

10 .

SECTION

BAR W IN E C E L L E R K IT C H E N C H IL L E R STORE LOCKER ROOM RE STROOM S UN DE C K PO O L L O UNGE

2

3 9 9

WELLNESS PLAN 7 10 5

5

12

10

9

5 10 6

3

9

10 10

4 12

9

10 5

2

9 5 12

8 1 11

6 4

LE GE ND

5 3

SECTION

1

1.

2.

3.

4.

5.

6.

7.

8.

9.

10 .

11.

12.

13 .

R E C E P T IO N C O MMU N A L P O O L PO O L S A UNA W A S HR O O M LOCKER ROOM GY M S P A R E T A IL D O U B L E T R E A T ME N T R M S IN G L E T R E A T ME N T R M STA FF ROOM STORE R E F L E C T IO N P O O L

PRIVATE BUILDINGS

1 BEDRROOM PLAN

87 10

7 12

5

5

1 5

12

10

9

3 10

6

3

9

10

9

7 2

8

5

10

52

9

4 5 12

8 10

6 15 11

7

6

11

9

10 2

12

3

12

6

10

4

4

9

4 5 3

SECTION

LE GE ND

1

1

1.

2.

3.

4.

5.

6.

7.

8.

9.

E NTRA NCE B E DR O O M W A R DR O B E B A T HR O O M O UT DO O R S HO W E R BA LCONY PO ND S E R V IC E E N T R Y PLA NTE R

1 BEDRROOM + POOL PLAN

7 10

1 5

5

12

10

9

5 10 6

7

3

10

4

3 8

9

10

4

12

5

2

9

10 5

2

9 5

6

12

7

1

9

8

11 6

LE GE ND

4 5 3

SECTION

1

1.

2.

3.

4.

5.

6.

7.

8.

9.

10 .

11.

12.

E NTRA NCE L IV IN G R O O M D IN IN G R O O M B E DR O O M W A R DR O B E B A T HR O O M S UN DE C K S E A T IN G PO O L PO ND S E R V IC E E N T R Y PLA NTE R

2 BEDRROOM PLAN 10 15 14

15

5 12 12

11

4 8

13 9

3 14

2

6

LE GE ND

1 7

SECTION

1.

2.

3.

4.

5.

6.

7.

8.

9.

10 .

11.

12.

13 .

14 .

15 .

E NTRA NCE L IV IN G R O O M D IN IN G R O O M MA S T E R B E D R O O M MA S T E R B A T H R O O M B E DR O O M 2 B A T HR O O M S A UNA W A L K -IN W A R D R O B E O UT DO O R S HO W E R / T UB PO O L S UN DE C K S E A T IN G PO ND PLA NTE R

RETREAT PLAN 19

12

17

8

18 2

7 12 12 10

9

3

20

6

11 LE GE ND

5

4

1.

2.

3.

4.

5.

6.

7.

13 7

5 14 1

8.

9.

15 16

SECTION

10 .

11.

12.

13 .

14 .

1.

E NTRA NCE 2.

L IV IN G R O O M 3.

D IN IN G R O O M PA R E NTS’ R O O M 4 .

5.

B A T HR O O M 6.

B E DR O O M 3 W A L K -IN W A R DR O B E MA S T E R B E D R O O M MA S T E R B A T HR O O M S A UNA K IT C H E N O U T D O O R S E A T IN G SE RV A NT ROOM W A S HR O O M

L A UNDR Y R O O M S E R V IC E E N T R Y PO O L S UNDE C K PLA NTE R PO ND

YEAR 4 OPTIONS STUDIO COMPILATION OF SELECTED WORKS

2020/2021 M.ARCH 1 STUDIO FIONA NIXON

IMAGE CREDIT: VERNON LIM