Y1S2 Architecture Portfolio (2019)

ARCHITECTURE PORTFOLIO LEONG JIN LING

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STUDIO SANSON

P1: ARCHITECTURAL LITERACY Form Language and Tectonic Articulation; Movement and Space

P2: DESIGN OF A MICRO-CAPSULE FOR INDIVIDUAL OCCUPATION Anthropometry and Materiality

P3: DESIGN OF A DWELLING FOR A CLIENT AS AN ARCHITECT’S APPRENTICE Designing for a client and exploration of precedence in design

P1: ARCHITECTURAL LITERACY Precedent study of The Wall House 2

by John Quentin Hejduk John Q. Hejduk was an American architect and artist. His architecture reflected his profound interest in the planning and circulation of spaces, shape, symbolism, systems and relationships between spatial entities.

His architecture was his interpretation of contemporary culture - his ways of thinking becoming highly influential in bridging modernism and postmodernism architecture.

The Wall House 2

The Wall House was designed for the landscape architect Arthur Edward Bye in 1973, but it was only built in 2001, a year after the death of Hejduk himself.

It was intended to be built in Ridgefield, Connecticut, but now resides in Groningen, Netherlands.

The delay was due to the high costs of construction on the woody terrain of Ridgefield, located in the foot hills of Berkshire Mountains.

It was readopted as part of Daniel Libeskind’s masterplan experiment in Groningen, known as “Making the City Boundaries (1990)”.

Libeskind himself was a former student and admirer of Hejduk.

1

Concept

“It must be understood that so-called architecture is ultimately made up of parts and fragments and fabrication.”

Judith Turner, ‘John Hejduk’ for Five Architects

“Abstract Art attempts to destroy the corporeal expression of volume, to be a reflection of the universal aspect of reality.”

John Hejduk, 1985

Since a reconstruction of perceived images is carried on in the viewer’s mind, one shifts entirely from images to spatial abstractions. It is on this level of abstraction that Hejduk links abstract painting to architecture.

Hejduk believed that architecture is a sum of its constituent functions and spatial volumes. He believed that, to experience architecture is to break up this experience in the form of memories along a timeline memories created from the use of space.

He accentuates this belief by distinctively and purposefully separating spaces to cater to different functions, each separated by a common wall.

2

Colour

“The left of the wall is blue, for evacuation, for bathing, for water. The storeroom is yellow and the study is red. These are the primary colours (red, yellow and blue).

Moving to the other side of the wall, we see the other colours (orange, green, violet and purple) I saw how the primary colours could be greyed down, and yet made more saturated, more dense, so the Bye House (the Wall House) is a colour wheel of muted primaries and muted complements, with a grey wall.”

John Hejduk, 1985

Hejduk was inspired by the colours of Le Corbusier’s Villa La Roche.

Corbusier utilised a non-primary, polychromatic colour scheme - from dark grey, to lucid blue and pale sienna, so as to emphasise the asymmetry of the space while suppressing or magnifying architectural volumes based on their shades and effects on one another.

3

Cubism

“The bird has two implications of space.

On the one hand, its appearance is itself a challenge of flattened space, in that the freedom of a flying bird is always associated with full dimensions of space. Thus, the movement of a bird suggests spatial tension.

On the other hand, the live body of the bird that registers the sensation of space while one paints the sensation of space was always Braque’s aim. In turn, the character of space is exemplified through the bird, and space depicted through the bird.”

John Hejduk, 1985

An artist himself, Hejduk gained ideas from his appreciation of Cubism and Surrealism art. He explained the organisation of The Wall House, referring to that of George Braque’s Studio III (1949).

He explained that a flying bird implied the existence of a threedirectional axis in reality, thus a three-dimensional convention.

He believed that the painter himself was aware of, and hence was experiencing the existence of this three-dimensional space in the production of his work.

Likewise Braque, Hejduk designed the Wall House with this concept -strong x-y axes from its plan, and the third axis in its heights and volumes.

Hejduk perceived good architecture to possess strong plans and proportions, naturally delivering good form and organisation.

P2: DESIGN OF A MICRO-CAPSULE FOR INDIVIDUAL OCCUPATION Anthropometry Modules and Dimensions Materials and Construction This retreat is designed for myself to escape routine, seeking refuge from the intensity and activity of living.

It is a place for leisure, yet limited for an extended stay. It is a place for recovery, yet limited as a permanent sanctuary.

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1

Site Analysis

Clementi Woods Park is a community park in Singapore that is situated at Clementi Road next to Kent Vale, along West Coast Road and next to West Coast Plaza.

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Its amenities include jogging routes, allotment gardens and playgrounds. In partnership with Ngee Ann Polytechnic since 2007, Clementi Woods Park also serves as an outdoor classroom and laboratory to its students.

PANORAMIC VIEW OF SITE DISTRIBUTION OF TREES NEAR SITE

EAST VIEW

WEST VIEW

NORTH VIEW

SOUTH VIEW

2

Persona

This pavilion is built based on my habit of observing yet not being observed, the choice of active or passive participation in social activity, preference towards close enclosure yet exposure to the above.

Programmes within the pavilion include a preparation area, a dining area, a resting area and an observation deck.

An external feature includes a shaded gathering area, for both my guests and the public.

Trajectories - Long horizontal planes and single directional movement in each space

Human Scale- Spaces specifically cater to my proportions

Levels - Height as an element for overseeing activities within the pavilion and around the pavilion

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5 3

1

Preparation area

From the linearised form, there is emphasis on a single trajectory into the space. The space is planned such that a routine can be completed from the point of entry of the space to its end. There is a direct flow of travel, achieving eďŹƒciency.

Towards the end, the resting area is at a perpendicular to the rest of the programme spaces. This accentuates the idea of the stop of time,

2

Dining area

3

Resting area

4

Observation Deck

5

Outdoor Gathering Area

FIRST LEVEL PLAN

SECOND LEVEL PLAN

P3: DESIGN OF A DWELLING FOR A CLIENT AS AN ARCHITECT’S APPRENTICE Negotiation and Communication Application of Precedence Studies Programming and Form Design This project focuses on the application of design concepts from precedent studies, producing form and allocating function within the plot of land assigned.

The aim of this project is to allow students to experience the discussion and communicative process of a simulated architectural project, while training decision-making skills and time management, which are of high importance in real-life scenarios.

1

Site Analysis

The plot of land is located at a cross road between a busy Victoria Street and quieter Jalan Kledek.

It measures 20.5m in length, with one end measuring 6.9m in width, and the other end at 5.3m in width.

Alongside, at diagonals and behind this site are rows of shophouses with a consistent typology. Directly beside this site rests a substation, while common neighbouring amenities include food and beverage outlets, pubs and bars, hotels and retail stores.

The nearest bus stop “Opp Stamford Pr Sch (01129)� is conveniently located at 3.0m away from the site, while the nearest train stations are Bugis and Lavender, at distances of 0.5m and 0.6m respectively.

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Food and Beverage

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Retail and Commerce

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Vintage Cameras Museum

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Click Art Museum

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Client’s Brief

The client required minimal in terms of the interior programming.

Besides spaces designed for resting, dining, and cleansing, she requested for one or more “contemplation spaces�, where she is able to unwind from her daily anxieties and stress. Henceforth, it was important for these spaces to be less accessible to her guests, serving as her own private thinking spaces.

Proportion - Symmetry and Volumes of Space

Hierarchy of Spaces - Private and Non-private Spaces

Discrete Spaces - Separation and Thresholds

Tree as a common visual entity across all spaces

Private and non-private spaces to be distinctively separated based on their constituent functions

Private spaces allow her to observe activity in nonprivate areas, particularly in points of entry

Long trajectories to anticipate guests entering her dwelling

Minimal distractions from sounds and movement in her focus and relaxation spaces

3

Process

Panels 1, 2, 3: Exploration into circulation within interior spaces and allocation of programmes within the space

Connectivity - Use of ramps, stairs and corridors within space

Areas of space - Floor plans used as indication of space for private and non-private areas

Levels - Dierent levels as indication of hierarchy

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4

Panels 4, 5: Deriving form from studying its interior

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5

Open and enclosed spaces - Private and non-private areas indicate its secludedness or exposure to exterior environment

Materiality - Simple usage of material due to basic functions of every element and eect of natural daylight

Responsiveness to context - Consideration into general heights of neighbouring shophouses and additional function as a shelter for the public

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Final

Plot of land in three-dimensional space

Plot of land in two-dimensional plan

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Vertical volumes:

Non-private spaces bounded between private spaces

Horizontal: Allocation of circulation and living spaces

Vertical: Distinction between non-private and private spaces

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Horizontal Volumes: Transition of spaces

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Three-dimensional space segmented into 3 by 3 cuboid

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Two-dimensional plan segmented into 3 by 6 land plots

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First Level Plan

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Void C3 to match the height of neighbouring shophouses

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Void C2 to allow growth of tree

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Hierarchy of space by floor plans

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5

Second Level Plan

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Third Level Plan

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Roof Plan

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Consistent vertical heights for general living spaces

Top view perspective drawing

1

Axonometric view of ground land plots

2

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Transparency of partitions perpendicular to land plot dependent on functions from 0.0m to 3.0m above ground

2

Non-private and private circulation to dierent spaces at 1.5m above ground

Ramp as an invitation to activity space above

Stairs as eďŹƒcient paths to her private spaces

Partitions parallel to land plot to demarcate singular trajectory to nonprivate area

3

Continuous circulation from 1.5m to 3.0m above ground with diverging trajectory

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Upper private space to follow similar enclosed volume and form

4

Dierence in areas allocated for non-private and private activities

Non-private area to be deep along land plot

Private area to be wide and flat along its width

Opaque partitions to enclose private spaces

5

Planned routes to complete circulation

Use of long symmetrical trajectories

6

Singular pathway to access upper private area

7

Plan of upper private level and roof plan of courtyard to follow consistent L-shape

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5

Upper private roof to complete the form

6

Doors, windows and openings as thresholds to cross between areas

7

Accessibility of spaces to human scale (open top)

8

Top roof plan with L-shape form

Dwelling in relation to context

Cantilevered form serve as shelter to connect bus stop to five-footway of neighbouring shophouses

1

Bedroom

2

Study Room

3

Main Guest Room with Toilet

4

The Gallery

5

First Level and Circulation

Acknowledgements I would like to extend my gratitude to the studio:

George Zong Chi Hau

Lim Kun Yi James

Ng Huei Ying

Su Yung En

Xiong Jiaxi

Yew Mun Hing