Y1S1 Architecture Portfolio (2018/19)

ARCHITECTURE NUS YEAR 1 SEM 1 LEONG JIN LING PORTFOLIO A documentation of works executed by Leong Jin Ling during her first semester of study at the National University of Singapore, Bachelor of Arts in Architecture, BA(Arch).

conceptual Community Kitchen & Participatory Design

practical 12 Senses & Experience Field

Constructing the Intangible City

Sense of Scale Elements of Architecture

Tropical Paradigm

Geometry & Composition in Structure

Exploring the Possibility of a Material

Her works are arranged as a progression of her way of thought, from the conceptual to the practical.

They showcase her reflections and learning throughout this semester. They are representations of her self-discovery and growth.

The list of questions presented in this portfolio will thus offer insight into her introspection.

as a designer

who are you?

Community Kitchen & Participatory Design PROLOGUE

ASSIGNMENT

The architect, or designer, is a leader in his field.

He initiates the design of buildings and cities, while facilitating and negotiating amongst the parties involved in this design process. As a good designer, we inevitably design for a cause - we attempt to fulfil the needs and desires of the users of space.

This week, the studio will explore the idea and process of participatory design.

Architecture is more than a piece of art; it has social values that it uses to serve the people.

The architects, or designers, will invite the users of the space to participate in the decision-making process of designing this community kitchen.

The goal is not the final design or product of a community kitchen, but to design a process whereby architects, or designers, gather the needs of users of the space to design challenges.

RVReCipes!

CHAN SIEW EE, SARAH CHUA YAN JUN, CHRISTOPHER TASYA GRACIELA LEONG JIN LING

I aspire to be humble in my approach to design - to keep an open mind and heart to all, yet to be zealous and firm when the time arises.

I aspire to design for the people themselves - for the knowledge and skills I possess is my power, a power to yield for a greater good.

I aspire to grow and learn with the people, experts and the Common Joe alike - because to serve and to learn is all the same.

as a designer

how do you represent a concept?

Constructing the Intangible City PROLOGUE

ASSIGNMENT

The architect, or designer, with myriad capacities, is able to observe, feel with deep sincerity and be empathetic to the people whom we serve as designers of their home and city.

This week, the studio will explore our capacities to express, via an artistic process called collage and collagraphy, in collaboration with Singapore Tyler Print Institute (STPI).

Only with such strong foundations and values can architects deploy their skill and technology for the betterment of our built environment.

The studio will be creating an art/architecture work based on the architectural theory by Professor Hiroshi Hara on his idea of ‘Discrete Space’, as well as the text (‘Marginality as Site of Resistance’) written by an American Feminist writer and professor Bell Hocks.

DELIVERABLES A cube 50 cm x 50 cm for a 1:10 scale of a 5 m cube, with a human and a tree at 1:50 scale The cube is to include artistic techniques and processes such as collage, bricolage and collagraphy, learnt at STPI

the cube As a studio, we chose to present our cube as a critique of marginalisation itself. we defined marginalisation on the basis of disparity in income levels. Contemporary design is used to represent the modern and wealthy. Vernacular design is used to represent the indigenous and less-rich.

1

CONTRAST IN PRINT

CONTEMPORARY

OUTER FACADE: basic colours of black, white and grey, with regular triangular shaped patterns to represent minimalism and uniformity INNER FACADE: basic colours of black and grey, with imprints of the vernacular (wheat, koi, lily, waves) to represent an illusion of bridging the contemporary and vernacular and hence the wealthy and the less rich

1

VERNACULAR

STAIRCASE: warmer colour palette, with different print shapes (wheat, koi, lily, waves) on each level to signify the different income levels and social class on a hierarchy INNER STAIRCASE WALLS: scrap cardboard material, with black imprints of the vernacular (wheat, koi, lily, waves) to display the lowest income levels and their status

BACK

FRONT

LEFT

2

VOID SPACE

representation of the ever-existing inequality between the social classes, and the incapability to bridge the two

RIGHT

FRONT

BACK

LEFT

3

STAIRCASE WITH NO ENDING

representation of the innate desire to reach for higher levels of income and social hierarchy, yet there is no limit to this hunger

4

EMPTY POCKETS IN FACADE as peep holes into the inner facade, highlighting the outer facade as a mask

RIGHT

STUDIO ABEL

Thus, it becomes and rich and less

is understood, that the contemporary a mask for the vernacular - the modern on the outside hides the less wealthy pristine reality on the inside.

We criticise marginalisation here in its subtle form.

We observe that in many urbanised states today, inequality - and hence, marginalisation - may not be visible on surface. We choose to highlight society’s incapability to confront these realities, and rather conceal and neglect.

A concept can be portrayed through visuals in art.

These visuals do not limit themselves to the tangible and quantifiable - colour, shapes, materials, sizes. They, too, are intertwined with the intangible and qualifying process of production - techniques and approaches to creation.

Architecture is art. We represent our way of thought, opinion and ideas - of logic and emotion - through showcasing our design concept. It is, thus, essential to consider the tangible and intangible aspects of our work, and to do so with respect, modesty and sincerity.

as a designer

how can you present the physical and metaphysical?

12 Senses & Experience Field PROLOGUE

ASSIGNMENT

The architect, or designer, must be aware of how the built environment can affect the well-being of others.

Infrastructure dominates our current environment, leaving minimal spaces for humanity to experience, acknowledge and manage the range and potential of our senses and emotions.

Each student will be assigned to cover one of the 12 senses. He will have to define his allocated sense and design and construct a playstation (playground instrument), which will cultivate that particular sense and associated experiences when used.

Rudolf Steiner first proposed the 12 senses as a philosophical theory - touch, life, movement, balance, smell, taste, vision, warmth, hearing, language, concept and ego.

Today, these 12 senses are advocated by Waldorf Education. They are adopted to create playgrounds and sense-experience-fields all over Europe.

DELIVERABLES 1 x 1:10 scale model of the experience-field 1 x A2 sheet explaining the sense and rationale of the playstation

balance balance touch

taste

speech ego

Balance is a multidimensional sense.

It is experienced through physics and metaphysics.

Hence to truly experience balance is to understand the meaning of the two.

nt me ve mo

tho ug ht

life

sense of balance

warmth hearing

smell sight

]

water island of the lower senses: touch, life, balance This island of the lower senses is one of the playground islands of the 12 senses. It facilitates an exploration of the definitions of balance. It is an observation and challenge to this lower sense through the built environment. It is the realisation of the ability to achieve a sense of balance within oneself - both physically and metaphysically, and evokes self-awareness in this process.

The theme of this island is “water”, alongside “fire” and “earth” of the other two. The free movement of people within the islands represent “air”. Together, they form four of the classical elements, which were proposed to explain the nature and complexity of all matter in terms of simpler substances. These materials are experienced and comprehended by all beings through their senses.

A MACRO PERSPECTIVE AN OVERVIEW OF SPACE

YIN & YANG

as a symbol of balance Plan of the playground island follows the general shape of the Yin and Yang, serving as a reminder of duality and existence of contrary forces which have achieved stability.

THE RIVER

as a symbol of purity and wisdom River of running water down the island serving as a reminder of serenity and to be calm in unaffected in situations of chaos.

A MICRO PERSPECTIVE ELEMENTS OF SPACE

SEE-SAW

as a pathway between the two parts of the island The see-saw challenges the physical sense, allowing children to understand the most basic levels of balancing.

STEPPING STONES WITH HAND GRIPS as a boundary for the island The stepping stones made of different natural materials and shapes, encouraging learning and play.

DOUBLE ROOF translucent ETFE roof with a wave-feature Allows flow thus reducing heating up of space due to solar radiation.

VINES ON CEILING growth of creeper plants Natural shading and cooling effect within sheltered space

SLANTED COLUMNS wood material of varying heights Creates waveform within the space to cohere with theme of island.

Creates illusion as a challenge to sense of balance.

ROPE GRIPS & STEPPING STONES installation for children As a continuation of the stepping stone installations on the island itself.

SHELTER SPACE WITH LEANING COLUMNS

LEONG JIN LING

Architecture is experienced every day through our contact with the natural and built environment.

These are the physical environments shared by a collective.

The metaphysical environment is experienced by an individual himself, as part of his own entity. It is the visualisation and interpretation of what is around him, and thus is evidence of his own consciousness.

Hence, architecture presents both the physical and metaphysical. Yet in itself is a challenge, to construct space that is conducive and secure for one to experience, acknowledge and comprehend himself and his existence.

as a designer

what are the elements you can adopt across any context?

Elements of Architecture PROLOGUE

ASSIGNMENT

The architect, or designer, considers the composition of elements in his design of a building.

This week, the studio will explore the unique architectural elements inspired by the tropical climatic and cultural context in Singapore. The challenge is to design a new hawker centre typology incorporating the four elements of architecture.

Gottfried Semper defined the four elements of architecture through his theoretical model and analysis of a Caribbean hut. He identified the four elements as the hearth, the roof, the enclosure and the mound.

The studio will be divided into three groups. Each group will select one of the existing 107 hawker centres in Singapore from the list. Students are to observe the hawker centre in terms of its four elements; Record the analysis and learning points in terms of these elements, climate and culture; Design a new hawker centre based on the group’s observations.

DELIVERABLES 1 x 1:50 scale model of the new hawker centre of site plan 20 m x 20 m 2 x A2 sheets analysing the original hawker centre, providing findings for the elements, climate and culture

726

HAWKER ANALYSIS As as a start, we sketched and analysed the hawker centre by identifying features within the centre itself that stood out most to us.

We conducted preliminary research on these features, so as to better understand their structural, mechanical and aesthetic purposes.

DESIGN PROCESS By identifying the direction the current hawker centre faces, we could further analyse the natural conditions to which it is commonly exposed to. These include wind directions and its exposure to the sun, as well as its proximity to neighbouring buildings, transport networks and other urban features.

We then started designing based on the four elements of architecture.

ENCLOSURE Repeated pattern of ventilation screens and fully opaque metal sheets result in poor ventilation and lighting within the hawker centre.

MOUND Hawker stalls positioned in branched and staggered manner result in the disruption of horizontal and linear human traffic.

HEARTH

ROOF

Central public space mostly only a transitional space between the hawker stalls and the dry goods and wet market, thus it is not efficiently utilised as an activity space.

Mimic of sawtooth roofs in an inward square arrangement result in disarray of interior orientation and floor plan, to which follow the arrangement of the roof.

FRONT VIEW

CROSS

SECTION

SIDE VIEW

AIRFLOW AND CROSS VENTILATION

PROPORTION AND COMFORT OF SPACE TO A HUMAN SCALE

GROUND FLOOR

SECOND FLOOR

back

back

left

left

20 m

front

right

20 m

front (main entrance)

right

20 m

20 m

MARTIN PUNG MING EN TASYA GRACIELA LEONG JIN LING

It seems, these elements present themselves as a paradox. They offer the limitless, but also the limited. They allow one to expand his creativity, yet still, ultimately, mark his boundaries.

Thus, to be a good designer is to draw this connection, to work within the limits, but also outside the box.

as a designer

what is the foundational knowledge you should possess?

Sense of Scale PROLOGUE

ASSIGNMENT

The architect, or designer, possesses a good sense of scale - it is indispensable in studying, understanding, presenting and practising architecture.

This week and next week (field trip), students will learn to sense and recognise the application of scale in architecture and deploy architectural drawing conventions by recording and documenting buildings, streetscapes and urban neighbourhoods, and sidewalk activities in the Southeast Asian cities they will be visiting for their field trips.

A sense of human scale is the measure of space required for human activity. The fine-scale measure of space for bodily movements for various tasks requires familiarity with the domain of study named anthropometry. An awareness of the human body’s dimensions also serves as a measure for estimation.

A sense of proportion refers to the dimensions of parts in relation to the whole and is essential in visual estimation when documenting what we see.

Familiarity with different scales and the required level of details of construction is also fundamental to architectural drawing.

Through drawing and observation, students will also learn to recognise the type and model in architecture, and distinguish this from style. Students will present, discuss and compare these documentations within the studio. This exercise aims to train students to see, read, distinguish, and represent form, volume, surfaces, spaces and other architectural features.

Students will be documenting at three scalar small and medium-scaled buildings of a neighbourhood, (2) the body and the public or and (3) an awareness of urban morphology layout and orientation of a city.

levels: (1) the fine-grain city private threshold, and the overall

DELIVERABLES 1 x A2 sheet base map of field trip city and its urban neighbourhoods at 1:10000 scale, per studio 1 x A2 sheet urban neighbourhood preliminary study from field trip, per team 1 x A2 sheets urban neighbourhood observation from field trip, per team 1 x A2 sheets building facade and entrance plan at 1:50 scale with feature documentation (none-scale) from field trip, per student 1 x A2 sheets sidewalk or five-foot-way documentation from field trip at 1:20 scale, per student

Sketches and field trip journal (perspectives, details) from direct observation to supplement your record above, per student Photography (to accompany with your spoken-words poem, to be included in the exhibition and performance), per student Spoken-words poem, per student 60 seconds video recording people using public spaces in the neighbourhood, per student Choreography performance from field trip, per studio

ASIA AFRIKA STREET GEMPOL DWELLING QUARTER BRAGA STREET

For our field trip, our studio evaluated three main areas as part of our urban studies: 1. Asia Afrika Street 2. Braga street 3. Gempol Dwelling Quarter

URBAN ANALYSIS & STREETSCAPE SKETCHING

Gempol

1923: SOLID VOID ANALYSIS OF GEMPOL QUARTER

2018: EXPANDED LAND PLOTS AND THEIR FUNCTIONS

A inner compound for the low-income an analysis of the dwelling units

B

C

inner compound for the middle-income

outer ring for the wealthy

an evaluation of the redevelopment of dwelling units

a study of the usage of dwelling units

inner compound for the middle-income

` `

LEONG JIN LING

A good sense of scale is evidence of one’s awareness of himself.

It is mindfulness manifested in the mind of a technical man.

as a designer

how shall you use tropical conditions to define language and form?

Tropical Paradigm PROLOGUE

ASSIGNMENT

The architect, or designer, practising in the tropical region, aims to integrate the climatic and cultural conditions into his design. He defines the language and form of architecture through these conditions.

This week, the studio will be divided into two groups, each taking on the standpoint of Tay Kheng Soon or Chan Soo Khian.

There is a discourse between vernacular and contemporary architecture in a tropical context. This is prevalent between Tay Kheng Soon and Chan Soo Khian, who stands for both the former and latter respectively.

Vernacular architecture takes into consideration the integrity of the materials and their natural form, in harmony with what is true to the local identity.

Contemporary architecture, on the other hand, is highly influenced by the West, with great appreciation for form and regularity.

Each group is to discuss and debate the opposing positions, and ultimately compose their own statement defining tropicality in architecture and the city.

DELIVERABLES 1 x 1:50 scale envelope that encloses a square void of 60 cm x 60 cm, or a circle of 60 cm in diameter Performance test: A 15 cm flag will be placed in middle, exposed to wind, vertical rain and light from a 60-degree angle. The flag should be able to sway freely without direct exposure to light. It should be protected from rain, and no holes should be visible from the top of the central area.

the final curtain call Before designing the tropical paradigm box, we needed to understand the tropical conditions to which we are frequently exposed to, particularly so when we are located near the equator.

1. Exposure to high levels of solar radiation 2. Heavy precipitation throughout the year 3. Temperatures remain relatively consistent above 18 degrees Celcius

DESIGN PROCESS

DIRECTION OF LOUVRED-PANELS ALLOW DAYLIGHT PENETRATION WITHOUT DIRECT EXPOSURE TO SOLAR RADIATION

GRADIENT OF LOUVRED-PANELS ALLOW FOR WIND FLOW AND CROSS VENTILATION

BOTTOM PANEL

TOP PANEL

CHUA YAN JUN, CHRISTOPHER JOHAQQIS BIN JOHARI MARTIN PUNG MING EN TASYA GRACIELA LEONG JIN LING

The tropical conditions are perhaps integral elements of our identity in design, or perhaps rather - they are determinants.

To acknowledge their existence is thus an acknowledgement of our presence within their realms. To use them to define our design language and form, is thus an honour of their supremacy.

as a designer

what can you adapt from the natural world?

Geometry & Composition in Structure PROLOGUE

ASSIGNMENT

The architect, or designer, is a builder himself. It is crucial for him to consider the structural principles and aesthetics behind his design. They determine the his design form.

This week, the studio will work on their projects, as a continuation of Assignment 3 from the AR1327 Structural Principles module.

In natural history, the origin of form is traced back to the interaction of inorganic and organic chemical structures, under the influence of living evolution.

From whichever starting point in the contemplation of its origin, materials and the way they are brought together into space is the central act in the creation of architecture.

The focus and evaluation criteria for the design studio will be on aesthetics, creativity and integrity of geometry and composition in design, whereas for the structure class, it will be on function, performance and technical resolution of the structure.

DELIVERABLES 1 x dome model enclosing a square void of 40 cm x 40 cm 1 x span model to bridge a gap between two parallel edges 60 cm apart A1 drawing of the Plan, Elevation & Section of the models at 1:2 scale 1 x report with process models

the shell & the spine

BIOMIMETIC ARCHITECTURE: a contemporary philosophy in architecture that seeks solutions for sustainability in nature - replicating the natural forms and understanding the rules governing those forms

CHAN SIEW EE, SARAH CHUA YAN JUN, CHRISTOPHER ER WEN XUAN LIM KUN YI JAMES SHARIFAH NADIAH LEONG JIN LING

Sometimes, we comprehend nature as if it is our restrictor.

Yet, sometimes, we ought to appreciate these same restrictions - for these rigid, inflexible and stringent characteristics are, somehow, origins of our artistry.

as a designer what can you learn about a material’s properties and its adaptation to your design?

Exploring the Possibility of a Material PROLOGUE

ASSIGNMENT

The architect, or designer, understands the material he adopts for his design. While its mechanical properties and aesthetic appeal are two of the prime considerations, he ought to review its sustainability and renewability in the long term.

This week, the studio will explore the possibility to develop and test alternative construction materials made from renewable resources.

The issue of resource scarcity has been a rising and pressing issue. Hence, it is important to access a material’s life cycle, and ultimately search for alternative construction materials which can achieve structural integrity, beauty and renewability.

The problem of the sustainable use of resources is not restricted to the material alone. Other input of resources can include energy, space, time, human capital, eco-system services and the environment.

The studio will be divided into three groups. Each group will identify a scarce resource - natural, artificial, energetic, waste product, space etc - and develop a method of usage for this resource, returning it to a circular system by possibly upcycling it.

Each group is to speculate on the potential of their resource and identify its limitations, accessing its renewability, sustainability and innovation character.

DELIVERABLES 1 x physical material sample or model per group 2 x A2 sheets displaying a graphic representation of the process

the tiramisu brick THE FILLER:
 CONCRETE WASTE SAND

THE TENSILE ELEMENT

THE FILLER

CONCRETE WASTE

THE TENSILE ELEMENT

ORGANIC AND INORGANIC WASTE

MECHANICAL TEST I TENSILE TEST DEAD LEAVES

LEAVES HELD UP WITHOUT TEARING OR STRETCHING YET, OUGHT TO CONSIDER IF PROPERTIES WILL REMAIN EVEN AFTER DECOMPOSITION

PLASTIC PLASTIC HELD UP THE WEIGHT BUT STARTED TO TEAR

YET, OUGHT TO CONSIDER THE TOXICITY OF THE ELEMENT IF EXPOSED TO AIR FOR A LONG PERIOD OF TIME

FRONT VIEW

SIDE VIEW

THE TENSILE STRENGTH OF EACH MATERIAL WAS TESTED INDEPENDENTLY USING THE SETUP ABOVE. THE MATERIALS ARE PINNED AND USED TO CARRY A TEST LOAD OF 1 KG. AN ASSUMPTION, BUT ALSO A LIMITATION, MADE IS THAT THE TENSILE PROPERTY OF THE INDIVIDUAL MATERIALS IS DIRECTLY CORRELATED TO THE TENSILE STRENGTH OF THE FINAL BRICKS THEMSELVES. HENCE, WE CHOSE TO INFER RESULTS FROM THE ORIGINAL TENSILE TEST TO ANALYSE THE TENSILE STRENGTH OF OUR BRICKS. WE ASSUMED THAT THE FILLER THUS WILL NOT AFFECT OUR TENSILE ELEMENTS.

FABRIC FABRIC HELD UP WEIGHT WITHOUT TEARING YET, OUGHT TO CONSIDER IF PROPERTIES WILL REMAIN EVEN AFTER LONG-USE DUE TO ITS ELASTICITY

MECHANICAL TEST II COMPRESSIVE TEST

DEAD LEAVES STRENGTH - WITHSTOOD THE WEIGHT OF 300 G, BUT CRUMBLED UNDER THE WEIGHT OF 1 KG

RIGIDITY - SLIGHT DEFORMATION RELIABILITY - UNRELIABLE, PROPERTIES OF STRENGTH AND RIGIDITY OF LEAVES (ABOVE) CHANGE WITH TIME DUE TO DECOMPOSITION

PLASTIC

STRENGTH - WITHSTOOD THE WEIGHT OF 300 G, BUT CRUMBLED UNDER THE WEIGHT OF 1 KG

RIGIDITY - SLIGHT DEFORMATION RELIABILITY - RELIABLE, PLASTIC DOES NOT DECOMPOSE OR DAMAGE EASILY.

IN ORDER TO TEST THE COMPRESSIVE PROPERTY OF EACH MATERIAL, THE CONCEPT OF LAYERING WAS APPLIED IN THE SET-UP ABOVE. THE MATERIALS ARE LOADED ON TOP WITH 300 G AND 1 KG WEIGHTS RESPECTIVELY, AND THE OBSERVATIONS ARE EVALUATED BASED ON THE A SET OF CRITERIA:

HOWEVER, SMOOTH SURFACE OF PLASTIC DOES NOT CONTRIBUTE TO THE SHEER STRENGTH OF THE CONCRETE BECAUSE OF THE LACK OF FRICTION. TOXINS RELEASED INTO THE ENVIRONMENT IN THE LONG TERM.

STRENGTH - AMOUNT OF WEIGHT CARRIED RIGIDITY - EXTENT OF DEFORMITY RELIABILITY - POSSIBILITY OF THE CHANGE IN PROPERTIES OVER TIME

SAND IS MOULDED INTO A PYRAMID-LIKE SHAPE OF 5 CM IN HEIGHT WITH THE MATERIALS LAYERED IN BETWEEN

FABRIC STRENGTH - WITHSTOOD THE WEIGHT OF 1 KG RIGIDITY - MINIMAL DEFORMATION AND PYRAMID RETAINED SHAPE RELIABILITY - RELIABLE, FABRIC DOES NOT DECOMPOSE OR DAMAGE EASILY

Our group was inspired by current real-life exploration and applications of materials.

Ultimately, we still needed to evaluate our final products.

We wanted to explore the possibility of keeping the original properties of the material itself - without any chemical or physical alteration, for example.

Thus, we conducted research on the working principles of Mechanically Stabilised Earth (MSE), and adapted our learning points to our design process.

ER WEN XUAN MARTIN PUNG MING EN LEONG JIN LING

Quality can be derived from one’s essence.

Thus, to prove one’s value is to study his finest attributes.

STUDIO ABEL TABLADA DE LA TORRE

I would like to extend my love and gratitude to the group of people whom I’ve spent days and nights with in the studio.

I wish you all, the best of what you can be.

Professor Abel Tablada de la Torre Chua Yan Jun, Christopher Xing Zhiyan

Er Wen Xuan Johaqqis Bin Johari Lim Kun Yi James

Rebecca Chong Shu Wen

Tasya Graciela

Martin Pung Ming En

Chan Siew Ee, Sarah

thank you.

AFTERWORD Architecture never stands alone. It is a subject that intertwines all other subjects.

Perhaps, itself, merely of all others integrated, then to define itself as one.

Therein, lies its magnificence.

Š LEONG JIN LING A0187472U