Architecture Portfolio- Year 2 Semester 1

LANDCADD 1987

Sharne Sulaiman PORTFOLIO

YEAR 2 | SEMESTER 1 TUTOR | LOOI CHEE KIN | MELANIE FRANCIS LANDCADD 1987

LANDCADD 1987

7891 DDACDNAL

7891 DDACDNAL

7891 DDACDNAL

for

M y Pa r e n t s

Copyright Š 2016 by Sharne Sulaiman All rights reserved. Published in Singapore by shiraz by Sharne Sulaiman.

Printed in the Republic of Singapore.

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G illman Barracks Totem Ancestor From Music to Architecture 04 Spatial Composition 06 Taking the Line for a Walk

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Theatre House for Noel Gay History of Gillman Barracks 25 Musical Theatre as Spectacle 30 Reinterpreting the Gillman Facade

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To t e m A n c e s t o r

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From Music to Architecture John Cage’s Totem Ancestor (1942) for the prepared piano was first addressed musically; an in-depth analysis was conducted for its frequency, harmony, structure, etc.

It was also examined intuitively, examining tonal quality in dynamics, colour, texture, and tension.

C o l o u r & Te x t u r e

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Findings were that there existed an inherent structure masked by free form melodies, tempos and dynamics within Totem Ancestor as a strict 4/4 beat and distinct, repetitive phrases.

The piece of music could be seen as continuous whole, a free form aural journey of a singular line. Superstring was used to explore this concept, inspired by the Superstring Theory that attempts to explain all particles and fundamental forces as vibrations of tiny strings.

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Pat h way E x p l o r at i o n s

S p at i a l C o m p o s i t i o n The suggested grid of the 9X9 cube was respected, and the philosophy of continuous play and composition was adopted to most faithfully translate Totem Ancestor into spatial terms.

The discovery of the incomplete cube allowed this spatial parallel to occur. The incomplete cube is a line created by cubic edges, giving the notion of a cube despite the nonexistence

of one. This mirrors the free form yet structural strictness seen in Totem Ancestor.

Rules were set up to control the pathway required to be formed by ensuring that the pieces were connected systematically and rigorously.

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The counterpoint found in Totem Ancestor, as melody accompanied by clashing bass counter melody, was expressed spatially by counterpointing volumes opposite to the assemblage of incomplete cubes. This was meant to create an increased sense of space and give greater attention to the pathway formed by the continuous line of incomplete cubes.

Many iterations were tested to find the ideal translation.

I t e r at i o n s

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The final process model was meant as a springboard for the next part of the project. It was imagined as architecture without coordinates. There was no up nor down. It represented a faithful interpretation of Cage’s music in totality.

It was superstring rationalised.

Final Process Model

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Va r i o u s Vi e w s a n d E l e vat i o n s

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Response to Site A particular site was chosen within Gillman Barracks to develop a dwelling which used the language formed in the preceding process.

This site was in a deep basin having elements of water, land, and greenery. Potential was found in an Axe Naturel and Axe Historique inherent to the site. Two colonial buildings sat across each other on opposite ends of the site, while a stream, which sprang from an amusing drain waterfall, bisected the site.

For the intervention to be sensitive to site, it had to be situated at the intersection between the two axes to relate the two to each other and with itself. The intervention was also to enhance the qualities of site.

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Ta k i n g t h e L i n e f o r a Wa l k The intervention’s architecture was conceptualised as a continuous line. This was developed from the language of the process model.

The line would twist, turn, and zigzag about the site, centred on the two axes, being read as music against the site’s dense forestry.

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Massing Model

P r o g r a m m at i c I n s e r t i o n Three rooms were required by the brief, namely a bedroom, a kitchen, and living room.

Room 1 • A cosy, enclosed space for one person to rest/sleep • Little to no exterior sound to be heard within the space • Little to no interior sound to be heard outside of the space • Ambient, indirect light within the space yet ensuring visual connection to the outside

Room 2 • A lively space for nourishment (cooking and eating) for one person • Minimal to ambient exterior sound to be heard within the space • Minimal to ambient interior sound to be heard outside of the space • Good natural ventilation to remove cooking smell • Diffuse, direct light within the space and framing views outside

Room 3 • An exposed space for more than six persons to interact socially • Exterior sound to be heard within the space • Interior sound to be heard outside of the space • Strong indoor/outdoor relationship • Diffuse, direct light within the space

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S c h e m at i c E x p l o r at i o n s

Te s t S k e t c h e s

Vi g n e t t e

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Dwelling The house was designed with nuances and sensitivity to axes.

Internal spaces draw attention to external ones where intentional pockets were created to connect with, and appreciate, the site.

Dematerialisation of the form was done through use of material in order for the language of the incomplete cube to be read against greenery as musical architecture.

L i v i n g R o o m R o o f Te r r a c e

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Kitchen D e m at e r i a l i s at i o n S o u t h Vi e w

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E n t r a n c e p at h

L i v i n g R o o m R o o f Te r r a c e

L i v i n g R o o m S t r e a m C o u r t ya r d

A l u m i n i u m Pa n e l l i n g a n d Frosted Glass

E a s t E l e vat i o n

Th e at r e H o u s e f o r N o e l G ay

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Anger welled up in Arai as he cursed the British artillery. The British infantry appeared on the verge of surrendering, he thought, yet their artillery keeps pounding us. They all should be shot.

History of G illman Barracks Gillman Barracks, as Singapore’s last post to fall to the Japanese in the Second World War, embodies an incredible amount of history.

Construction of Gillman Barracks began in 1935 and was completed in 1936 on a hilly jungle. It was specially built to accommodate the 1st Battalion, the Middlesex Regiment, which was sent to double the British army’s infantry strength in Singapore. The camp later became home to the 2nd Battalion, the Loyal Regiment.

Tw o S o l d i e r s A l o n g a C o r r i d o r

Back of Block C

When they entered, they found to their surprise 60 pale faces staring at them out of pyjamas, from beds arranged tightly in a U-shape in the wide room. The barracks had been turned into a hospital. Those who seemed asleep, The man whom Gillman Barracks is named af- with only their faces turned to the entrance ter, was a World War I veteran, having been were the severe casualties. Those who sat gazetted into the Royal Artillery of the British upright in their beds and those standing next army in July 1889, eventually rising to the to their beds all held up their hands high in rank of General Officer Commanding-in-Chief, surrender. Only a moment ago, Arai had Eastern Command, in March 1931. In early entertained the idea of killing them all, even 1927, Gillman had spent over three months in in surrender. But now, looking into the ashen Singapore, leading Colonel L. N. Malan and faces of these wounded soldiers, the thought Lieutenant Colonel R. F. Lock in a commission quickly faded. sent by the War Office to prepare a report on the defence requirements of the new naval base in Singapore. The two roads running through Gillman Barracks pay tribute to these leading officers.

Since its previous use by the Singapore Armed Forces (SAF), and its current repurpose as an arts hub, it is unfortunate that the wealth of heritage connected with this place is not remembered. Perhaps forgetting the deep scars of the Second World War were intentional.

The barracks have now been reduced to mere shells without its original soul.

Block A

Then at six in the evening, the guns fell silent.

All firing stopped. Just nothing - along the entire front! Arai, Nakagawa and Katayama looked at each other. Singapore without shelling was a novel experience, extraordinarily out of place. An empty ringing persisted in the ears.

Pa r a d e S q u a r e

With midnight the occasion, Commander Okubo mustered officers and soldiers of a minute of silent prayer for the deceased British soldiers, saluted the Regimental Flag with deep respect, bowed low in the direction of the Imperial Palace, addressed his thanks to the entire Regiment, and led three rounds of Banzais. For the first time in combat, Arai did not try to hold back his tears. It had been a savage war.

Block D Barracks

At 2230 hours, Commander Okubo issued order No. 70 from Gillman Barracks. It was the final order of the campaign: 1. The enemy has surrendered.

We extend condolences to the fallen British Commonwealth soldiers.

2. The Regiment will retain its present position overnight.

3. Each unit will gather its forces and disarm the enemy according to orders. One detachment will inspect the wounded enemy assembled in Gillman Hospital.

4. I remain on Hill 136.

Block E

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Serjeants Mess

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Ar m Ci y K ne i ma ne & ma Bo Co wl rp in or g at Al io le n y

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Swi

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30 Yards Shootin g Range

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Far Sub elf Aqu Clu a b

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Block C

A Bl o

ck 20

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120M

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Garage

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k

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Bl

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Recreation Ground

ade Ground Par Parade

Blo Block E

Block B

ck F

Block D

Historical mapping suggests that the original centre of gravity of Gillman Barracks was where a demolished group of barracks were centred around a parade square. The number of photographs taken towards it and the stories related indicate its significance. This area is known as Hill 136 in war records.

Buildings now demolished within the existing Gillman Barracks district fail to retain the original topological relationships between structures.

Existing Buildings Demolished Buildings

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S i t e A n a ly s i s Connectivity was examined in detail. Proportion and scale of existing Gillman Barracks buildings were also documented.

Through analysis, it was found that buildings were either too far from each other, or were already demolished. The need to stitch back the broken fabric was apparent. This was to be done by inserting interventions to serve as “stepping stones” between the colonial buildings or restore the original topology.

A site of interest for this intervention is at the junction between Lock Road and a service road to Block 10, where a long 40 metre block used to stand but was likely demolished during the course of the SAF’s tenancy.

Master Plan A master plan was formulated by the studio to ensure the sensitivity to site for all proposals.

This was done after comprehensive and careful analysis of the entire Gillman Barracks. The agenda of the master plan was to: Connectivity

Scale & Proportion

Spheres of Influence

1. Stitch the disjointed fabric of Gillman Barracks 2. Enhance the character of Gillman Barracks 3. Pay tribute to the extensive history of Gillman Barracks Interventions were only allowed within defined spheres of influence.

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N o e l G ay ( 1 8 9 8 - 1 9 5 4 )

b. Reginald Moxon Armitage A dwelling was to be designed for a performance artist, and Noel Gay was the natural choice. In 1936, Let’s Have a Tiddley at the Milk Bar was one of the top three British tunes.

It was released the year Gillman Barracks was completed and was likely played during its opening celebrations. Its march-like beat is appropriate for the barracks’ military setting.

Noel Gay was Reginald Armitage’s stage name; Stanley Hill was his other name for more sentimental works. He was a popular British composer in the 1930s. His humble origins as an organist launched him into the world of revues and music halls. He went on to write full musical theatre works after his encouraging success. Some of his famous songs include The King’s Horses (1930), and The Lambeth Walk (1937). The Lambeth Walk remains a popular hit even in the 21st century, being revived by his progeny Richard Armitage and Alex Armitage.

The British spirit of community, sharing, festivity, and freedom were embodied in his music.

Gay’s tunes were so catchy that they created a dancing fever across Europe. It is most probable that Gillman Barracks was infected with this fever having colonial relations to its motherland.

Fa m i ly Tr e e

N o e l G ay 1 898 -1 95 4

R i c h a r d A r m i ta g e 1 92 8 -1 98 6

Charles A r m i ta g e

Angela D i c k s o n -w r i g h t

Alex A r m i ta g e

Sophie Claire A r m i ta g e

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P l a n s o f R o m a n Th e at r e s

Scaenae Frons

Precedent Studies Origins of theatre as we know it, the Roman theatre, was studied.

The semicircular form was meant to gather individuals as one people, with a common focus on the scaenae frons. The scaenae frons

served as the backdrop to a play. It was a facade meant to imitate imperial palaces/ basilicas as a play’s setting. Actors entered and exited from scaenae frons as if they were dwelling within it.

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Certain programmes were required]by the brief for the residence of the performing artist as well as the performance of his works.

Space(s) for rest Space for nourishment Space for social interaction Space(s) for practice Space for performance Space for cleansing

12 m2/person 15 m2 20 m2 25 m2 30 m2 6 m2

Short studies were conducted to gauge the size of the dwelling required by Noel Gay and a small troupe of actors/singers to perform his work.

M u s i c a l Th e at r e a s S p e c ta c l e The intervention attempts to take the persona of Noel Gay to the extreme. Since he created his character, Noel Gay, perhaps his life could be imagined as spectacle. Gay becomes the theatre to be observed.

The scaenae frons was interpreted as Gay’s dwelling- a residence of glass boxes within which his life can be closely observed and consumed as entertainment.

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Pulling grids from Block 9 and Block 22, new spaces were created from preexisting ones, ensuring continuity to and consistency with the old.

In a nod to the history of Gillman Barracks, a connective axis to the once existent parade square is drawn.

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Process Models

A circular gesture was adopted to address the site being at a junction corner where Lock Road and a service road to Block 10 intersect. It also helps to address the circulation (pedestrian and vehicular) moving in various directions at this point of entry into the district of Gillman Barracks.

A particular emphasis was placed on the theatre, creating an space focused on Gay’s residence. It was the theatre which was so inseparable from the persona of Noel Gay. It was planned that it would be open to sky

to allow the existing tree canopy to imitate the intricate ceilings of music halls and opera houses. Using the topography of the site, the amphitheatre is gently raked, to allow seating, dining, and dancing. These were all functions available in the music hall.

The veranda of Gillman Barracks was retained as a social interaction space to respect the colonial typology and as a response to climate to create naturally ventilated but elementally shielded spaces.

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R e i n t e r p r e t i n g t h e G i l l m a n Fa c a d e To allow greater appreciation for the elements of the architecture of Gillman Barracks, the proportions of the original facades were studied. Through several iterations, the proposed invervention’s facade separates the key elements of entablature, column, and balustrade, retaining their original dimensions for congruence with the scale of Gillman Barracks.

This ornamentation via tectonics provides an avenue for variety and communication, allowing the layman to recognise the important elements of the architecture of Gillman Barracks.

Other details of the intervention were developed. A latticed screen was created from tessellating patterns of transoms in Block 9, serving to dematerialise the amphitheatre wall and providing a limited amount of visual connectivity between the exterior and interior of the building.

Aluminium perforated panels with similar design was also formulated to create some privacy for resident. It imported a translation of Noel Gay’s music into the architecture, enlarging perforations where notes would have been on a musical score.

S o u t h Vi e w

E a s t Vi e w

R o o m s a n d A m p h i t h e at r e

Entrance and So c i a l In t e r act i o n S pac e s

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Kitchen Aluminium P e r f o r at e d Pa n e l s

L at t i c e S c r e e n s

B e d r o o m A l u m i n i u m P e r f o r at e d Pa n e l s & ladder

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Kitchen

So c i a l In t e r act i o n S pac e : Plaza

B at h r o o m

So c i a l In t e r act i o n S pac e : Balcony

A m p h i t h e at r e

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So c i a l In t e r act i o n S pac e : Balcony

S o u t h E l e vat i o n

LANDCADD 1987

LANDCADD 1987

LANDCADD 1987

7891 DDACDNAL

7891 DDACDNAL

7891 DDACDNAL