Trifecta Vol. 2

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TRIFECTA Life

Thoughts

Ventures

Titled “Life” , this is where the architectural journey begins. Imbued with the myraid of emotions solidified through the struggle, it is now revealed to many.

Titled “Thoughts” , this is where the perception of the world is constantly re-evaluated against the discourse of architecture.

Titled “Ventures” , this is where a leap of faith is taken; to dare and to dream, to explore the challenges not pertaining to school alone.

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PROJECTS Y1 | The Edge Y2 | Habitude Residences

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Y3 | The Cracks That Bind Us COMPETITIONS Greensparks - Fusion Square Green Academy - Symbiotic Village

PROJECTS Y2S1 | Memoirs of a Copper Sheet Y2S2 | The Lesser Evil Y3S1 | The Terminal Y3S2 | Hierarchical Thresholds Y4S1 | Deviancy: Subverting Assumed Structures of Law COMPETITIONS Hydroscape

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L Titled “Life”, this is where the educational journey is documented. Imbued with the myraid of emotions solidified through the struggle, it is now revealed to many.

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Y1

THE EDGE 9 / 10 / 14

- 18 / 2 / 15

Typology: Single Residential Development Location: Joo Chiat Rd, Singapore

My artist inspired me to create a house that depicts verticality and horizontality through the rectilinear expression of overlapping lines. Due to the metal etching across his works, the artist creates a “grid” across his works. To express this element better, the design strategy for the house would be to use the overlapping of lines created by the “grid” formed by vertical and horizontal lines.

Through the exploration of the various aspects of verticality and horizontality, I sought to create overlaps through the rectilinear expression of lines. Exploring the overlaps through section, elevation and floor plans, I aimed to express the overlaps both expressively and subtly.

I wished to create a house that would act as both a professional workplace and a relaxing home. To balance both, I decided to focus on contemporary living as the style of the house by expressing it through both the form as well as interior spaces.

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HABITUDE RESIDENCES 27 / 4 / 15

- 11 / 2 / 16

Typology: Multi-Residential Development Location: Commonwealth Crescent, Singapore

Commonwealth Crescent being one of the first satellitle towns to be built in the 1960s, has retained a rich heritage that has been untouched by urbanization occurring around it. This can be seen from the market still retaining the traditional 2 storey market and hawker centre, despite being renovated recently in 2011. The elderlies are accustomed to such a layout due to the demolished market’s previous layout.

A rich heritage of traditions and habits built over time can be seen through the layered lifestyles the elderlies living in the estate experiencing day to day. The daily ritual of heading to the hawker centre for breakfast before going down to the market to supply their daily necessities have imbued deep memories for the elderlies there, and in the process, adding to the ever increasing built up tradition the place has.

Similarly, we can utilize the idea of layered lifestyles to recreate new rituals and memories for the residents in not only our building but for the estate as well.

By creating spaces that are in close proximity from each other, be it vertically or horizontally, we can recreate the sense of progression that the elderlies experience through their trip to the market each day.

Creating different spaces catered for each age group will allow for interaction on a day to day basis due to their close proximity. The spaces will also overcome the lack of visual connectivity between levels that the market has, thus elevating the lifestyles of the residents and public due to their practical and functional uses.

Overtime, the building will create new traditions and rituals for the new members of the community as well as current residents there, adding on to the rich heritage of the site. The new building will be seen not only to be able to coexist with the old but also be able to adapt to cater to the different needs of future generations.

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2nd Storey Plan

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ACCESSIBILITY

CRACKS

PLINTH

PUBLIC // PRIVATE STREETS & L ANDSCAPING

CENTRAL CONVERGENCE

ZONING

VERTICAL PODIUM

OFFICES TUCKED AWAY BELOW PUBLIC CIRCUL ATION ROUTES

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T H E CRACKS T HAT B I N D US 27 / 6 / 16

- 11 / 2 / 17

Typology: Mixed-Use Development Location: Cross St, Singapore

POROSITY IN THE CRACKS: To uncover the different aspects pertaining to the aesthetics and spatial unfolding of both explicitly capitalistic space (in this case, an office typology), and the exploration of its refutation to create new constellations.

Walter Benjamin, a philosopher in the 1920s, mentioned in his essay that porosity of the streetscape is quote “… the inexhaustible law of life, where building and action interpenetrate.”

Not only in his time but also in ours, whereby we witness capitalism’s vitality taking over, mutating and transforming itself to have a heartbeat as discernible today as in the 1930s, from the repurposing of shophouses that were never designed to host activities that now inhabit them to the utilitarian character offices exhibit now.

By tackling the manifestations of capitalistic architecture through infusing the porosity of the city, the cracking and pulling apart of floorplates bind the internals of a building with its exterior - the street.

The resultant interpenetration of private & public domains both within and around the building challenges how buildings should be designed as an active extension of the street, belonging to the city and not as sole entities in isolation.

In order to allow for a porous vertical podium whereby private activities are able to occur even with public permeability, we looked back onto how one experiences the street, whereby the freedom to roam is experienced by the continuous cityscape, where above reside the sky and the views that are bounded to it having no knowledge of what is happening below ground.

Taking reference from how the street conceals what is happening below, it now provides privacy for intimate activities to transpire. Two layers were thus determined, “above ground” and “below ground”, whereby the public street sits atop the staggered floors, with the public that traverse them having no knowledge of what is happening below where the offices reside; blurring the extents of private and public in an office development.

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MANIFESTATIONS OF CAPITALISTIC SPACE Situated at the junction of Cross St. & Club St, capitalism’s vitality oppresses the site on both ends.

It’s manifestation is seen from the repurposement of old shophouses that were never designed to host activities that they do today, to the utilitarian character offices exhibit.

Isolation The street is the boundless plane whereby many buildings stand in isolation, contributing neither to the urban fabric and even resulting in the inaccessibility of the ground plane, impededing movement.

Confinement Horizontal podiums deem the public as profane, confining them to the lower tiers in the name of privacy.

Deep Floorplans Deep floorplans sacrifice views, daylighting and possibility in opting between A/C & natural ventilation.

Utilitarian Core The utilitarian localization of a central core, hard and consolidated in nature that sacrifices the very heart of an office building, segregating people and relinquishing central spaces of intrigue that office workers need in order to break away from the monotony which utilitarian architecture has created.

“The Cracks That Bind Us” identifies the aspects of utilitarian architecture inherent in present day offices and counteracts them in it’s design through the inception of the porosity of the city.

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Plinth

Rather than resist the continuous plane of the city, the plinth is raised and acts as an extension of the streetscape, allowing for the mirroring of activities and circulation to both pass under as well as connect upwards and into the vertical podium.

Vertical Podium

As opposed to its neighbours, rather than horizontally, the podium adopts a vertical stance, inhaling the public upwards, giving them access to all the floors and panoramic views unavailable due to confinement at the first few floors.

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Public Core

The displacement of the utilitarian core to allow for a central public core, the heart of the building is replaced by central spaces of intrigue that public have access to.

This is where the street is inhaled into the very heart of the building, breaking the monotony office workers experience.

Staggered Floors

By staggering floors, big floorplates are broken up, allowing for views to be opened up while retaining privacy.

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T Titled “Thoughts” , this is where the perception of the world is constantly re-evaluated against the discourse of architecture.

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Y2S1

MEMOIRS OF A COPPER SHEET 12 / 8 / 19

- 14 / 11 / 19

Tutor: Peter Sim (Director, FARM) Typology: Tower Location: Marina East Park, Singapore Abstract The premise of the brief is based upon the conception of a reactive structure that challenges structural conventions through the use of a single material. Being sited in Marina East Park and adjacent to the Founder’s Memorial that enshrines the memory of our founding fathers, the chosen material should reflect the values of the Memorial - the ability to thrive in tough circumstances like our forefathers did. Coupled with what gives Marina East Park it’s identity - the Singapore River - the material should also be able to react in tandem and thrive in the harsh conditions presented by the salt water body.

Intervention Just as what remains of our forefathers are the traces they have left behind, my intervention seeks to extend the journey of picking up traces through the understanding and manipulation of the basic characteristics and properties of a single material - copper.

Material Analysis The analysis of the basic properties & characteristics of copper, towards the discover y of how deemed weaknesses can become strengths.

Despite being weak as a structural material due to its malleability, this inherent weakness can be exploited to frame new methods of employing copper as structure.

Through the exploration of how the rolling of copper sheets can withstand compressional loads, a semi-circular column comprising of rolled copper sheets was derived. By investigating the portions of the column that were deemed unnecessary for compressional load transfer, parts were cut away, creating cavities that displayed the internal composition of the column.

The resultant form encompasses a centrifugal point upon a planar semi-circular face, narrow at the top, to transfer the compressional load down to a broad base below that allows for stability.

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SITE

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PLAN BASEMENT

1ST STOREY

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TA C T I L I T Y O F COPPER EXHIBIT

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SECTION

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S PAT I A L COMPOSITION

LO O KO U T D E C K

VISUAL EXHIBIT

AU D I TO RY E X H I B I T

TA C T I L E E X H I B I T

H I STO RY OF COPPER GALLERY

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STRUCTURAL COMPOSITION

S PAC E S

K E YSTO N E & PERIMETER RING

INTERNAL COLUMNS & BEAMS

EXTERNAL COLUMNS

COLUMN - COLUMN JOINERY

BALLAST

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THE LESSER EVIL 6 / 1 / 20

- 16 / 4 / 20

Tutor: Dr Yuan Chao Group Members: Samuel Tan, Chelsea Ho, Ryan Chiam Typology: Pavilion Abstract The cyclical alternation of weather as seen from Junya Ishigami’s House of Wind & Rain is abstracted as an enduring dispute between comfort and discomfort. Within this dispute, Mediation is deemed as the act of Give & Take, whereby everything comes with a price - with comfort comes discomfort.

Investigation It is human nature to gravitate towards the best comfort available to us. Rather than designing the envelope purely from a comfort standpoint, we wanted to exploit this inherent human nature by putting it to the test through an envelope that celebrates the coexistence of comfort and discomfort to observe how people respond differently when confronted with spaces of contention.

Hence, we wished to investigate how the complexity of a dilemma could be presented through an envelope that worked in conjunction with the environment to provide comfort within discomfort. Comfort and discomfort will be manipulated through ceiling heights and rain.

Climatic Response By focusing on the element of rain and the discomfort it brings, the project explores how the envelope responds as a mediator that celebrates the coexistence of comfort and discomfort through the control of rain. Visitors will face the decision of choosing “the lesser evil” caused by conflicting discomforts within the envelope, emphasizing the individuality of their personal preference of comfort.

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Experiencing Rain in the Day

Exploring the relationship between Profile & Grooves

ENTRANCE Design Focus:

1 | Directing of pathways to influence location of low headroom and drip intensity.

2 | Utilizing low headroom and drip intensity to create the conflict of comfort and discomfort.

3 | Allowing for shade with adequate lighting through utilizing a coherent pattern of grooves that would be illuminated when viewed from below.

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Experiencing Rain in the Night

Exploring the relationship between Profile & layering of Peaks

MIDDLE 1 | High headroom (Anthropometric Comfort) with high drip rate (Physical Discomfort) 2 | Low headroom (Anthropometric Discomfort) with low drip rate (Physical Discomfort).

3 | Creating higher drip rate in the middle as opposed to the sides.

4 | Creating a dark, cavernous enclosure through lowering the peaks along the perimeter.

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Experiencing the Aftermath of Rain Exploring inconsistent drips through ridges

EXIT Design Focus:

In the Aftermath phase, the desired type of drip is one of inconsistency, as observed when traces of rain is seen dripping off overhangs after the rain. In our envelope, ridges are adopted in the final phase to recreate this spatial quality.

The Ridges follow a diagonal pattern to form panels which take heed to the varying gradients of the roof’s sloping underside. This variance in gradient adds another factor that contributes to the inconsistency of drip.

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Structural Exploration Duality in function

Rail System

Pantograph /Scissor Mechanism

Tenfold Linkage

Hinge Joint

The envelope strives to achieve duality in function, whereby a flexible structural system allows for the envelope to be fully compressed during rain so as to provide shade and channel rainfall towards the narrower basins at the middle.

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Spatial Composition Conflicting discomforts

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Discomfort by heights: hatches define areas within the envelope below a comfortable standing height of 1700mm.

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Discomfort by rain: hatches define areas within the envelope susceptible to varying degrees of wetness.

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Spaces of contention resulting from conficting discomfort.

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Spaces of Contention The irony of finding comfort within discomfort DAY GROOVES, EQUALLY DISTRIBUTED INTENSITY NIGHT SATURATED SPONGE, UNEQUAL DISTRIBUTED INTENSITY AFTERMATH RIDGES, INCONSISTENT INTENSITY

Discomfort by Rain The irony of finding comfort within discomfort The one who walks through the passageway experiences rain in 3 phases.

Rain in the day, in the night, and its aftermath.

As one seeks refuge from showers during the day, steps quicken, seeking the nearest shelter. Rhythm of drip points follows suit, paths converging to a central congregational shetler.

A t dusk, rain becomes temperamental, while people are at standstill. Drips are controlled through thickness of saturated sponge, placed close together, detering light from entering.

At last, the rain ceases, traces are left behind. The inconsistent drips of these traces are accentuated by ridges arranged in a diagonal fashion.

Discomfort by Height The irony of finding comfort within discomfort The hatches define areas within the envelope below a comfortable standing height of 1700mm. When confronted with these lower headrooms, one’s physical boundaries are encroached. This forces them to lower themselves, navigating through the space to find an area where they can stand comfortably again.

Contrarily, children are unaffected by the change in headroom, and as such respond differently within the envelope. Spontaenity and play takes charge and give rise to greater individualised interactions with different parts of the envelope.

Human Anthropometry The irony of finding comfort within discomfort As Man traverses into the structure to find reprieve from the constant drips, he finds himself at the precipice of a cavernous interior that dictates he crouches in order to enter.

The sudden realization that within the envelope, no true victory over discomfort could be had. Rather, the cost of being dry meant the constrainment of his physique.

He begins to understand that discomfort could be endured, as long as the benefits of comfort displaced those of discomfort.

Man proceeds to explore the remaining portions of the envelope, seeking to find his best preferred form of comfort.

Structural Composition Duality in function The envelope strives to achieve duality in function, whereby a flexible structural system allows for the envelope to be fully compressed during rain so as to provide shade and channel rainfall towards the narrower basins at the middle.

Sectional Composition Anatomy of Basins

VERTICAL SURFACE TREATED WITH ADDITIVE TUBULAR STRUCTURE 25mm THICK UNDERSIDE RIDGE 50mm WIDE [PANEL], 30mm WIDE [BASIN] 25mm THICK VERTICAL GROOVES HORIZONTAL SURFACE TREATED WITH ADDITIVE

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Y3S1

THE TERMINAL 12 / 8 / 20

- 13 / 11 / 20

Tutor: Bobby Wong Typology: Hospice, Public Healthcare, Rail Network Location: Whampoa, Jalan Ampas, Singapore Abstract The hospice is the amalgamation of the sacred and the profane.

When broken down to its root, we witness the remaining sliver of life in its terminally ill patients that is sacred being sustained by what is profane, the life support machines. As Jeremy Bantham suggests, punishment is never for the victim, rather a spectacle for its audience to witness. If the parasitic relationship between patient and terminal illness is one of punishment, how then might we allow for the staging of the illness for its audience, the residents of Whampoa to see?

By drawing upon how the profane protects what is sacred in a hospice, the intervention seeks to demystify the hospice typology, and in doing so, protect the dignity of its occupants and sanctity of its interior whilst outwardly projecting the illness to Whampoa.

The Terminal’s name is twofold, serving not only as a home for the terminally ill, but as a final departure point for patients and public commuters alike through the establishment of a railway network above the Whampoa canal that extends deep into the heart of Whampoa.

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SETTING THE STAGE FOR TERMINAL ILLNESS

PART 01: RECEPTION OF THE ILLNESS “AUDIENCE”

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PART 02: PROJECTION OF THE ILLNESS AS FACADE “COSTUMES”

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PART 03: OUTWARD EXPRESSION OF THE PROFANE LIFE SUPPORT SYSTEMS AS BUILDING FACADE

1 | ROLLER PUMPS FOR MOVING BLOOD IN PULSES

HEART - LUING MACHINE CARDIOPULMONARY BYPASS IS A TECHNIQUE WHERE A MACHINE TEMPORARILY TAKES OVER THE FUNCTION OF HEART AND LUNGS, MAINTAINING THE CIRCULATION OF BLOOD AND OXYGEN CONTENT OF THE PATIENT’S BODY.

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2 | TRANSFORMER & ELECTRICAL CONNECTIONS 3 | EMERGENCY BATTERY 4 | CONTROL PANEL FOR ENTIRE MACHINE 5 | WATER RESISTANT COMPUTER WITH BACKUP

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1 | MONITOR 2 | BRACKET FOR DIALYZER CONNECTION LINES 3 | DIALYSATE OUTLET TUBE 4 | DIALYSATE INLET TUBE 5 | DISINFECTION CONNECTOR 6 | FILTER 7 | WATER CONNECTOR 8 | VENT TUBING

HEMODIALYSIS MACHINE DIALYSIS IS NEEDED IF THE KIDNEYS NO LONGER REMOVE ENOUGH WASTE AND FLUID FROM ONE’S BLOOD TO KEEP THEM HEALTHY. A SPECIAL FILTER CALLED AN ARTIFICIAL KIDNEY, OR A DIALYZER, IS USED TO CLEAN THE BLOOD IN THE BODY. THE DIALYZER, OR FILTER HAS TWO PARTS, ONE FOR BLOOD AND ONE FOR A WASHING FLUID CALLED DIALSYATE.

9 | POWER SUPPLY UNIT

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MECHANICAL VENTILATOR MECHANICAL VENTILATORS AID A PATIENT’S BREATHING IF THEY FIND IT DIFFICULT OR ARE UNABLE TO BREATHE ON THEIR OWN BY PUSHING AIRFLOW INTO THEIR LUNGS.

1 | INTERNAL COMPRESSOR 2 | BREATHING CIRCUIT 3 | OXYGEN RESERVOIR 4 | FILTER 5 | AIR INTAKE 6 | EXHALED AIR OUTPUT

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1 | MECHANICAL PUMP 2 | PROTEIN RESERVOIR 3 | CARBOHYDRATES RESERVOIR 4 | FATS RESERVOIR 5 | VITAMINS RESERVOIR

TOTAL PARENTERAL NUTRITION ADMINISTRATION MACHINE (TPN) AS A TREATMENT FOR INTESTINAL FAILURE, NUTRITIONAL SUPPORT IS GIVEN COMPLETELY VIA THE BLOODSTREAM, INTRAVENOUSLY WITH AN IV PUMP. TPN ADMINISTERS PROTEINS, CARBOHYDRATES, FATS, VITAMINS AND MINERALS.

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PART 04: THE PROFANE SUSTAINING THE SACRED SPATIAL ORGANIZATION OF THE SACRED BEING SHIELDED BY THE PROFANE T R IF ECTA

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+4000 mm 2ND FLOOR PUBLIC HEALTHCARE CONSULTATION ROOMS

-6000 mm HIDDEN SACRED SPACE PRIVATE SANCTUMS & THERMAE BATHS

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+11500 mm 2ND FLOOR PUBLIC & HOSPICE HEALTHCARE TREATMENT ROOMS & GARDENS OF RESPITE

+7400 mm 2ND FLOOR HOSPICE RESIDENCE & RAIL NETWORK MOBILE HOSPICE ROOMS CARETAKER’S HEADQUARTERS

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Bobby Wong (Honorary Fellow, National University of Singapore)

“Samuel was in my Year 3 2020/2021, Semester 1 studio. Samuel was one of two students in my studio who in my opinion, are capable of producing work of distinction and are also endowed with other attributes.

Besides having this ability to design, Samuel is sufficiently grounded with architectural knowledge and skills to assist students to enable new inventions and emergence.

Samuel would often go into details and at scales normal students would fear to venture into. His work is therefore highly considerate, incorporating and prefabricating details (building components like pipes etc) into one monolithic whole, such that they have a “3-D printed” form, feel and expression to them.

For reference, please refer to Samuel’s Year 3, Semester One final output. It is with this knowledge, I write without hesitation to support Samuel in his future endeavours.”

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HIERARCHICAL T HRESHOLDS 06 / 01 / 21

- 15 / 04 / 21

Tutor: Jacqueline Yeo (co-founder, PLYSTUDIO Architects) Typology: Inclusive Library Location: Margaret Drive, Singapore Disability & Threshold - The Eye of the Beholder The pitfall of approaching inclusive design purely from an infrastructural standpoint without first seeking to address the systemic perception of disability only results in the ruin of the former.

Thus, an inclusive space is one that engages in equal parts infrastructure and society, augmenting how disability is perceived and enlivening the myriad of bodies it houses.

Before one begins to engage the assumptions of spaces deemed appropriate for the confluence of typical users and people with disabilities, the logic of a threshold must first be defined. An interrogation into its definition lays bare a contradictory tone wherein its duality is summarized as such: the level at which one begins to feel or react to something; a limit or boundary. The former alludes to the possibility of surmountability, whilst the latter is an unsurpassable delineation.

By situating thresholds vis-a-vis the topic of disability, one begins to see how both run parallel to the other with regards to visuality. The quote “disability is in the eye of the beholder” stems from the prejudices inherent in the viewer, and is not at all dissimilar to how the surmountability of a threshold is contingent on the eye that perceives it.

Dwelling the Threshold To dwell the threshold is to formalize Heterotopia - a parallel space that contains undesirable bodies to make a utopian space possible. The accommodating of differences gives the spaces what Michel Foucalt describes as having the property of being in relation to all spaces in a way that inverts the set of relations to expose an alternative to the status quo.

As prejudices are founded upon the lack of knowledge and aroused by sight, the pursuit of a Heterotopic space that accommodates differences is undertaken through an architecture of observation that gives the differing user groups time to acquire knowledge of the other through an architecture of observation wherein prejudices are set aside to allow for a truly inclusive space.

‘The Library as Streetscape’ - Disability and the Library Typology To embrace disability is first to invert the very nature of a library - exclusive, dense, quiet, private.

By regarding the library as a public space such as the streetscape is to override the exclusive character and deemed accepted behaviours that bind it, allowing for a broader range of behaviours and conditions.

An inclusive library is thus one that embodies the inclusivity of the streetscape - the ability to contain a myraid of bodies along with having what Michel Foucalt describes as the property of being in relation to all spaces.

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PART 01: INTERROGATING THRESHOLDS

Disability is in the Eye of the Beholder Threshold Archetype: Corridor Nature of Threshold: Directional Investigation: What is commonly held on the exterior - the handrail - now becomes the sole viewport for those within. Prejudices of those within are challenged, as the notion of disability begins to blur along with the varying nature of hands that grasp it.

Out of Sight, Out of Mind Threshold Archetype: Antechamber Nature of Threshold: Omni-directional Investigation: Users are subconsciously guided along the main pathways due to its scale. For users who shy away from human contact, secondary pathways that lead to the hidden space at the centre of the antechamber allows refuge to be sought.

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Corners Threshold Archetype: Door Nature of Threshold: Transitory Investigation: A door is an opening that allows for the traversing between worlds. As the nature of the door is contingent on the termination of the corners of the room, the relationship between room & structure inevitably follows.

Freedom of Choice Threshold Archetype: Entrance Nature of Threshold: Transitory Investigation: One might think that the multiple entrances serve as pathways to different spaces, that the freedom of choice to decide whether or not one might wish to share the same space as a person with disabilities is given.

Yet as one traverses inwards, the central space that binds all the entrances forces them to confront their prejudices towards people with disabilities.

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PART 02: DWELLING THE THRESHOLD

Architecture of Observation The processional nature of interstitial spaces allow for the confrontation between user groups to be delayed whilst proffering a means for discreet observation. All the spaces relate to each other through the engagment of perceptive bartering, with knowledge gained of other user groups as currency.

Where Two Worlds Meet The introduction of a staircase draws out the distance between both spaces, resulting in a void.

The neutrality of the staircase, serving two different worlds yet belonging to neither is seen from its siting in the void. As opposed to other spaces where knowledge is bartered via perception across adjoining space, it is now exchanged through the void where it is susceptible to augmentation by light and shadow.

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Fleeting Glimpses The heightened state of activity as seen from the constant flux of bodies that an antechamber exchanges means that the knowledge being proffered should be directed and singular.

For users who shy away from human contact, secondary pathways that lead to the hidden space at the centre of the antechamber allows refuge to be sought. The interiority of this haven is subject to the fleeting glimpses of the people who pass by it through the layering of singular, inwardly directed windows.

The Pursuit of Stillness User Type: Users with Hypersensitivity Function: Learning Space Aspects of Suppression: Light and Peripheral Perception Through varying the depth of vertical planes that line the ceiling, areas with a shorter depth experience greater direct light whilst areas with a deeper depth experience a greater amount of diffused light. This gradual reduction in lighting reduces the glare of direct light that would render a hypersensitive person uncomfortable and distracted from what is being taught.

The descent into a sunken space suppresses the observation of peripheral activity happening around, calming users with hypersensitivity via reducing distractions. Nature is also used to further calm the users through a reflection pool that reflects the green canopy of trees and sky, framed by a slit in the wall.

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The Pursuit of Engagement User Type: Users with Hyposensitivity Function: Reading Room Aspects of Exaggeration: Light and Physical Movement Through the introduction of openings in the ceiling, direct light is allowed to bounce off the interior walls. The alternating locations of such openings orchestrate a sequence of varying degrees of light and shadow, brightness and darkness within the interior. A heightened awareness of the environment is stimulated in users with hyposensitivity due to the alternating physicality and lighting of the interior.

Staggered Relationship Varying Depth of Baffles Intermediary as Lightwells & Viewports

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The Pursuit of Negotiation User Type: Typical & ASD Function: Shared Space Aspects of Transition: Depth of Viewports, Framing of Viewports, Escape Spaces The depth of viewports is augmented based upon the adjacency of the type of user. Viewports with greater depth not only help to distance the typical user from users with ASD but negotiate the acoustical aspects. Viewports with lesser depth shorten the distance between the interior and exterior, providing users with ASD a quick means of escape to the outside.

Intermediate walls help direct the views of typical users from the deep viewport on the inside to the shallow viewport on the perimeter. These walls work in tandem with the thick interior walls, providing carved out spaces of privacy where users with ASD can seek refuge.

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PART 03: A HIERARCHY OF THRESHOLDS

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PART 04: FINAL MODEL

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Jacqueline Yeo (co-founder, PLYSTUDIO Architects)

“I was the Design Tutor for 3rd Year Design at the University of Singapore and have taught Samuel from January - April 2021.

Throughout the 4 months, I have worked closely with Samuel to develop and refine his ideas for the Final Design project - that of an Inclusive Library. Our studio focussed on a deliberate methodology, which he took ownership of right from the beginning and showed a rigorous and refreshing design development.

This culminated in a delightful project that had an intricate spatial choreography that showed maturity in the thought process. In particular, he has been very committed to developing a restrained and thought provoking building that addresses not only the relevance of the topic set out by the brief, but also creates a counterpoint argument that has been largely resolved through an original spatial solution.

As a student, Samuel is outspoken about his ideas and equally open to critical opinions and advice - having done so in our weekly studio sessions and our own discussions. I have also appreciated his contributions towards the learning journey of his peers as he has been an active participant in student review sessions. I am fully confident of recommending Samuel for any further pursuits that he might be applying for.”

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SUBV E RT I NG ASSUM E D ST RUCT UR ES OF L AW 10 / 08 / 21

- 19 / 11 / 21

Tutor: Dr Constance Lau Typology: Novel, Court of Law Location: Orwell’s 1984, The Former Supreme Courts Singapore Year: 2021

From Novel to Law The novel 1984 with its Orwellian society of a supposed utopia has managed to remain relevant today through the medium of the book. If 1984 is liberated from its current medium that is linear with a closeended narrative, could its new readings result in a rapture that informs and alters the perception of reality?

Deconstructing 1984 thus allows us to realize the pertinence of deviancy in society through investigating its potency in dismantling structures of power by exposing the disjunctions and gaps in them.

In the creation of multiple readings through the notion of deviance, the Situationist International’s rejection of usual directives suggests the possibility of the existence of uncharted ways of inhabiting space. An intertextual reading of Tschumi and the Situationists reveal parallel sentiments of chance, where the collision of events is the construction of situations occurring within the gaps. Through techniques of the dérive that allow for collisions between Inmate, Judge and Jury, coupled with the détourning of allegorical symbols of law and excerpts from 1984, the element of chance is embraced and taken on as a key agent in the production of multiple readings of Law. The peeling back the cover of the novel 1984 vis-a-vis an intertextual reading of the Dialogic Imagination uncovers the strained existence of dissent and deviance birthed within the cracks of society. Amidst its violent conflict with power and control, allegories present in architecture operate as a foil to convey and allude to notions of power, as opposed to their actual use and habitation. This intersection between logic and pain in the subconscious creates the gap between prescribed space and the space of the mental process, suspending both time and logic, thereby positing deviancy and its abstraction and interpretation by the creative user as an experimental methodology. By applying Tschumi’s graphical technique of questioning assumptions through the collisions between actors, movements and space onto the gaps in 1984, the novel’s fixed narrative is subverted, emancipating it to an outpouring of new readings.

When deviancy as critical method is transposed to the rigidity of Law and its execution in the Former Supreme Courts, assumptions are apprehended through the systematic exhibiting of the fallacy in how their reading is inherently ambiguous and thereby not fixed. Deconstructing the Former Supreme Courts consequently reveals its flippant and superficial qualities, hinting at an architecture that is not only an image but the possibility that the rituals associated with it are outdated or not the one and only. The implications of the subjectivity of Law are far-reaching as it problematizes the current authoritative legal system by putting forth the re-arguing of Trial by Jury in Singapore’s context, siting the jury as creative user. If deviancy is defined as having an individual opinion on a matter, the architecture of the Supreme Courts should then be an artifice whose gaps allow for multiple readings of Law by the jury.

If Law can never be assigned to a singular reading, how might the element of chance liberate Law’s complexities and contradictions through multiple readings that allow its constant re-apprehension?

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Deconstructing Orwell’s 1984 to it’s System of Languages 01 | Provenance ~Of Self with History~ Having lived through an era teeming with civil unrest and external threats, each piece in Orwell’s ouevre can be attributed as responses to historical events and societal issues amalgamating into the novel of 1984 - a manifesto written amidst the throes of death. 1984’s use of historical allegories not only served to reflect the visceral reality of the time, but also intended to convey Orwell’s final warning to the future.

02 | Allegories ~Symbols and Time~ Historical allegories surface as symbols in 1984, allowing them to move past their origins and evolve with the ever evolving reality of its reader without losing their inherent meaning. The different symbols in the book are mapped out in accordance to the pages they occur, using each individual page as site so as to grasp how differing symbols could act independently or in conjunction with each other to give new meanings. Each symbol is also traced back to the agency of which it is orchestrated by, underscoring the conjunction of Shared Authorship that paints the bleak reality of 1984.

03 | Storyline Fragments ~Deconstructing Linear Narrative~ By deconstructing the novel of 1984 to reveal two factors - the Triggering of an Event and the resultant Key Event borne of it - characters and symbols that dwell amidst it are implicated, subjecting them to speculative inquiry that goes unmentioned within the book.

This relationship between speculative inquiry via implication based on actual storyline events creates the Storyline Fragment, a key piece of information that consists of the actual storyline of the book along with new possibilities and open-endedness such as an early, unscripted demise of the protagonist.

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~ Deconstructing Orwell’s 1984 ~ T HOUGH T S

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~ Linear to Non-Linear Narration ~ NAT IONAL UN I V ERSI T Y OF SI N GA PORE

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Dérive in Videogames ~ to go in a different direction ~ to drift through different objectives, ignoring their hierarchy of importance 01 | The Story Structure in Games The theme of drifting is conducted via an investigative study into the contemporary medium of storytelling - videogames - reveals the plenitude of ways narration can be linear or non-linear, depending on the creative intents of its author. Drifting is a creative tool amidst this narration, with both author and player partaking in it.

Drawing 02: A Non-Linear Reconstruction of Storyline Fragments in Orwell’s 1984 01 | The Limitations of the Medium of the Novel If 1984 is liberated from its current medium that is linear with a close-ended narrative, could its new readings result in a rapture that informs and alters the perception of reality?

Through 1984’s deconstruction towards a non-linear narrative, its historical allegories and symbols are given the freedom to reorganize themselves in a myriad of possibilites. This takes the novel a step further towards opening itself to greater room for interpretation and abstraction, allowing it to engage more deeply with the everevolving reality of its reader as creative user.

02 | Reconstructing the Novel of 1984 as Map The contents of 1984 are détourned into a map, allowing for historical allegories and symbols to reorganize themselves in a myriad of possibilities. The map engages the element of chance through unscripted encounters, whereas the novel only reveals events that are in direct contact with the protagonist.

Events are read as occurring simultaneously as opposed to their linear discovery in a novel. This parallels reality in its multiplicity of unfolding events at any point in time that then shape the world, whereas the novel only reveals events that are in direct contact with the protagonist.

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~ The Continent of Oceania ~ T HOUGH T S

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~ Speculating Deviance in Storyline Fragments ~ NAT IONAL UN I V ERSI T Y OF SI N GA PORE

Translating Text to Space By applying Tschumi’s graphical technique of questioning assumptions through the collisions between actors, movements and space onto the gaps in 1984, the novel’s fixed narrative is subverted, emancipating it to an outpouring of new readings.

Drawing 01: Speculating Deviance in Storyline Fragments 01 | Construing Known Acts of Deviance & Spaces of Resistance Moments of Deviance is first explored through what is known which is the book’s actual storyline, characterized by known Acts of Deviance and Spaces of Resistance. These factors are then used to translate the storyline fragment into spatial fragments that reflect the relationship between Event, Site, Movement.

Drawing 02: Speculating Deviance in Storyline Voids 01 | Construing Unknown Acts of Deviance & Spaces of Resistance Deviance is also explored through the gaps existing in the abovementioned reconstructed map, allowing for speculation of colliding entities and resultant events that are otherwise nonexistent within the novel. These reflect the independent relationship between Event, Site, Movement.

Each Speculative Void strives to represent alternate acts of deviance and their architectural implications.

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~ Speculating Deviance in Storyline Voids ~ T HOUGH T S

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Deconstructing the Former Supreme Courts The deconstruction of the Former Supreme Courts consequently reveals disjunctions in both the ideas of Law as well as the building of Law. 01 | The path of the Inmate, Judge and Spectator Disjunction in the access to the Supreme Court is seen through its three separate entrances that cater to the inmate, judge and spectator. The public accesses the building via its main entrance, confronted with an allegory of justice on the pediment of the building. However, irony is seen through how both the entrances for the judge and inmate reside at the back of the building - obscured from the allegorical reminder of justice - as well as being situated symmetrically opposite from each other. This alludes to the portrayal of justice as being meant for the public, and not so much the judge or inmate.

02 | The Prisoner’s Tunnel Disjunction in the architecture of the Supreme Court is seen through the belying of its neoclassical style that conveys hierarchy of floors in its facade by hiding a secret mezzanine floor. Each courtroom in the building has a dock, in which prisoners sit when they are on trial.

Behind the prisoners, in a portion of the dock that is partitioned off, is a trap door that leads down to the lock-up tunnels.

03 | The Portrayal of a Supposed Monument Disjunction in the architecture of the Supreme Court is seen through its portrayal of a monumental elevation whilst its section reveals a reading of three disparate buildings. Much emphasis was given to the design of the building’s exterior, which was seen as an important symbol of British power and authority, thus seeking to emulate the Old Bailey Courthouse in London (1905). Greater attention was placed at the front of the building, featuring high ceilings and larger volumes for maximum visual impact, while the less visible spaces at the back were treated in a utilitarian manner characterized by small labyrinthine rooms with low ceilings.

04 | Disjunction in Hierarchy between Plan and Elevation On plan, we see how it is no longer the monumental front that takes precedence, but the Rotunda enclosed at the centre that serves as the Law Library.

05 | A Monument of Law without the Courts of Law A disjunction between the portrayal of authority and the judicial proceedings is seen through how the neo-classical facade reinforces the authority of a courtroom and its judicial process yet none of the spaces behind it are courtrooms. The critical spaces - the courtrooms - are in fact hidden in the least prominent wing of the supreme court.

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The Contrived Nature of Law Singapore’s allegories of Law, apart from Lady Justice, are all construed by the artist himself. Notions of Retribution, Abundance, Prosperity, Gratitude and Protection are expressed in its pediment.

Deconstructing the Former Supreme Courts consequently reveals its flippant and superficial qualities, hinting at an architecture that is not only an image but the possibility that the rituals associated with it are outdated or not the one and only.

Drawing 01: Prudence’s Mirror 01 | Law’s Self Creation, Self Justification & Self-Referencing The origins and evolution of Law is contrived from its attempt at validating itself and its actions through the device of art and allegory so as to exert its idealized form of truth and justice upon society. The creation of Law is a process of self-construction of its own identity and the claiming of absoluteness unto itself.

The drawing can be read as a mirror, referring to how law reflects and references itself infinitely, wherein the unquestionable nature of the mirror’s truth reflects its own. Symbols of Law do not exist outside the mirror but are infinitely reflected in it as they too aid in the construction of Law’s identity, whilst being the product of Law’s construction.

Drawing 02: Encountering Chance in Law 01 | The Collision of Events as the Construction of Situations From the consolidated remains of the Former Supreme Courts, the speculation into the regular and irregular relationships is conducted through the Situationist Ideas of the plaque tournantes, derive, detournement alongside Tschumi’s collision of events.

This entertains the ideas that the paths by the Judge, Inmate and Jury are no longer segregated, but become a series of intersections and collisions where the element of chance that reveals Law’s true face – multiple readings and opinions by the jury as the creative user.

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Speculating Deviance in Spatial Voids Void 01 - Into the Light (Inmate) The Inmate’s route within the Former Supreme Courts is shrouded in secrecy, an unseen pathway where only origin and end is revealed.

Not only is this attributed to reasons of security, but it also reinforces the identity taking process the inmate is subjected to - a prescribed singular spatial condition of living in the shadows away from public perception.

Subversion of Authority The rejection of the identity taking process and its prescribed spatial conditions of shadows and secrecy gives opportunity for collisions between inmate, judge and jury. Utilizing an existing air-well in the Supreme Courts, the path of the inmate takes him from the darkness and brings him into the light, exposing him to judge and jury before he reaches the dock.

The language of the cell, now free from its confines to the shadows, spill out and contaminate the ideal portrayal of hierarchy and grandeur in the courtroom.

Void 02 - Parity of Treatment (Jury) The relationship between the inmate, judge and spectator is already established through the layout of the courtroom, as seen through the inmate’s dock, judge’s bench and the public gallery.

Subversion of Authority The void space between all 3 agents and their positions in a courtroom becomes an opportunity for the Jury’s Secret Viewing Room reside. Embedded into the floor rather than atop a floor, the room is situated directly above the inmate and judge’s positions.

Cutouts in the floor of the Jury’s Secret Viewing Room subverts the strictly orchestrated placement of agents within the courthouse. The shift in perception in viewing from above rather than at eye level thus overcomes the highly orchestrated layout of the courtroom, ultimately ensuring parity of treatment of both the inmate and judge.

Void 03 - Hidden Affairs (Judge) As opposed to the prescribed fact of both agents taking disconnected pathways upon entry to the building with the courtroom as the sole point of convergence, the air-well’s direct relationship to inmate and judge suggests an opportunity for interaction between both prior to their attendance in the courtroom.

Subversion of Authority This newfound relationship manifests in the Prosecutor’s Interrogation Rooms situated within the air-well itself. The subversion of authority from the public’s eye thus allows for acts of interrogation and coercion that would otherwise be unacceptable in the eyes of the public.

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Creating Multiple Readings Law NAT IONAL UN I V ERSI T Y OF SIof N GA PORE Possible Readings of Judgement Chit #1600 - 531 If Law can never be assigned to a singular reading, how might the element of chance liberate Law’s complexities and contradictions through multiple readings that allow its constant re-apprehension by the creative user?

Drawing 01 - Orginial Folded Map Due to the folded nature of the Map, all details of the court case and the Former Supreme Court are hidden except for the case charges.

Drawing 02 - The Subjective Revealing of Case Information By unfolding the first flap of the Map, contrasting excerpts detourned from 1984 present themselves for the creative user to choose. These choices then impact what case information is revealed, impacting the multitude of choices and resultant readings that lie ahead.

Drawing 03 - Condemnation “Under the chestnut tree, I sold you and you sold me” is read against the allegorical drawing of the Tree, symbolising the “Rod of Justice”.

Here, the brutal information of the case, revealing the bloodied murder weapon, victim information and location information compels the creative user to chart out the path of Condemnation, wherein Justice is read as Punishment.

Drawing 04 - Mercy “Perhaps one did not want to be loved so much as to be understood” is read against the allegorical drawing of the Lamp, symbolising the symbol of hope, a light for one’s path in the darkness.

Here, the accused along with her household information is revealed, showing she has two children to care for. This allows the creative user to evaluate her circumstances and possibly lean towards charting out the Path of Mercy.

Drawing 05 - Swift Justice The folding of the Map in such a manner composes the swiftest path to “Justice”, revealing only the Judge, Commissioning of Oath, Courtroom, Judge’s Bench, Lady Justice and God to the creative user.

Drawing 06 - Guilty Here, the Path of Justice as Punishment is charted out, revealing the “Grotesque Portrayal of Justice”. Allegorical drawings of the “Rod of Justice”, “Retribution”, “Death’s Hour”, “The Hanged Man” and Lady Justice’s scales are read as a single narrative.

Drawing 07 - Innocence The Path of Innocence is charted out, revealing the allegorical drawings of The Lamp, The Judge, “Protection”, “Gratitude”, The Lamb and Lady Justice are read as a single narrative.

Drawing 08 - The Ideal Portrayal of Law The nature of the Map’s folds conceal elements of punishment, revealing only the postive connotations that are birthed only as a T R IF ECTA result of the faithful executing of Law.

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A Drifter’s Companion to The Former Supreme Courts

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V Titled “Ventures” , this is where a leap of faith is taken; to dare and to dream, to explore the challenges not pertaining to school alone.

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FUSION SQUARE 14 / 12 / 15

- 8 / 4 / 16

BCA-CDL GREENSPARKS 2015-2016 COMPE T I T ION Local Competition: 1st RUNNER UP Group Members: Samuel Tan, Atheerah Kamal, Isaac Tan, U Jin Seah, Emily Lai Typology: Pavilion Location: City Square Mall, Singapore Fusion Square: A Place of Discovery Fusion Square takes influence from the long-standing local heritage around the site, redefining and transfiguring the essence of it unorthodoxly - Fusion Square is the keystone where adults, youth and children alike can aquire and exchange new knowledge and ideas. Where the vision for tomorrow’s future begins with the innovation of today.

The Night Life for Families Office workers from the adjacent buildings are able to head to the node after work with their children to engage in family centric activities like movie screenings. Thus creating versatile spaces that allow for the coexistence of work in the day and enjoyment at night promotes a healthy lifestyle of a work-life balance.

History for All The deep rooted tradition that surrounds City Square Mall is just waiting to be explored, only if we take steps to make it accessible to the public. Here, they are able to access the history of not only Jalan Besar Road but also the buildings which make it unique. Not only will they be able to gain immediate knowledge via stationed computers, they can also see all of the adjacent buildings from the vantage point on top of City Square Mall in the beautifully crafted spaces that Fusion Square has.

Bringing Back Youths Through Events Being at the heart of a site with deep rooted tradition, art exhibitions held here will blend seamless into the rich existing context. With the many traditional shophouses located at the adjacent streets, Farrer Park is in many ways similar to bugis. The only entity that is missing is the intangible energy inherent in areas with large crowds of youths. Modern day art exhibits held within the flexible second floor layout creates help to draw back the younger crowd, with the intention of injecting the area with the bustle it formerly once had.

Nostalgia Amidst a Contemporary Setting Places of learning, especially those in a fixed environment, can get mundane very quickly over time. By creating a conducive space that allows for full height panoramic views on both sides, scholars are able to take a visual break through resting their eyes upon the city skyline in the distance. Intricate shadows casted by the sun through the Orientally inspired frames invoke sense of nostalgia inherent in the once dominant shophouses. A contemporary setting that taps on both the tangible aspects of human comfort, as well as the intangible aspect of human emotions makes Fusion Square a destination one would constantly desire to return to.

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SYMBIOT IC VILL AGE 03 / 6 / 16

- 01 / 8 / 16

GREEN ACADEM Y 2016 COMPE T I T ION International Competition Group Members: Samuel Tan, Atheerah Kamal, Isaac Tan, U Jin Seah, Emily Lai, Shoki Koh Typology: Conservation, Addition & Alteration, Mixed-Use Development Location: Marzabotto, Italy How do you unite a people of different skillsets, ideologies and backgrounds to work for a common goal?

Our starting point was to firstly see how the existing structure could congregate people from all walks of life; from start-up entrepreneurs to researchers, students and visitors.

The building will ultimately be inhabited by people, and it is up to them to determine whether the building can become the hallmark of ecology and technology - this will be the outcome of unification to a common vision: a leading example of what the best training centre could be to the world, out of a small industrial town in Marzabotto.

The profile of the original paper mill building is integral in keeping to our design intent, where we wish to celebrate the architecture of the past, for the future. To honour the memories of the old paper mill, the original building outline was conserved, leaving the underground to be the best suited place for the building extension.

To stimulate cross-field collaboration and dialogue to further the vision, we reimagined the spaces inside of the Paper Mill Factory. It is not to be horizontally programmed spaces, floor by floor. Instead, the removal of the existing floor slabs allowed for the idea of using modular blocks. Through overlapping and stacking arrangement of the blocks, the ultimately done to eliminate the barriers and boundaries of specifically programmed spaces; where now, the studios, offices and research labs leak into each other. Through the manifestation of a modular block representing a pixel, and with the amalgamation of other blocks, form a larger and coherent picture.

Users are not confined to their own space in the building, rather, are now encouraged to move around the building to converse and work with other people from different occupations. Afterall, great ideas come from working in multidisciplinary teams.

Creating an Architecture of a sustainable urban village undoubtedly enriches the culture of cooperation and collaboration that is quintessential to sustaining a cornerstone of ecology.

Technology changes, but spaces built around the culture of moving forward with unity, do not. This is how a symbiotic village can become the epicentre for a more responsible society and a more sustainable future.

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HYDROSCAPE 06 / 01 / 21

- 15 / 04 / 21

BAUHAUS CAMPUS 2021 COMPE T I T ION International Competition Tutor: Bobby Wong Group Members: Samuel Tan, Chelsea Ho, Kee Cheow Yan Typology: Educational Institute, Water Treatment Facility Location: Dessau, Germany Year: 2021 Art as Mediator between Science and the City Dessau has long been associated with the rise of the Bauhaus movement and a strong advocate of reshaping the modern society of its time. However, it has since fallen into a state of self-effacement and graceful decline.

The dissolution and closure of the Bauhaus in 1933 saw the end of a mode of learning which embraced art and technology as parts of a whole. This has led to the disassociation between art and science with an ever-widening chasm forming between both.

A solution is required to tackle this conundrum at its core, the education system. A new typological blueprint based on the previously established ideology of the Bauhaus - the combining of artistic development and scientific investigation - can operate both at the macro scale by linking the New Bauhaus Campus with the infrastructure of Dessau while at the micro-scale, induce a state of thought, reflection and a shift in perception for the town residents and foreign visitors.

With the intent of making the city of Dessau becoming contingent on the intervention, the acknowledgment of the city’s vision and geological location must first be undertaken. With an abundance of rivers adjacent to the plot, the project aligns itself to the vision of Dessau by utilizing its natural resources to aid it in its goal of projecting its image as a sustainable city. The intervention should thus be firstly understood as a water treatment facility whereby residual byproducts of its machines and processes allow for the conception of art and innovation.

In response to the exclusivity of the former Bauhaus whose doors were open only to the elite and the skilled, the intervention seeks to challenge this pedagogy by positing art as a spectacle for all to enjoy that gives rise to ts secondary role - a return to publicness. Occurring in the form of a public waterscape, a paradigm shift in the relationship between art and science is proposed. Through the provision of opportunities for outsiders to engage with and observe the artisans and their craft made possible by the process of water purification, the relationship between art and science is drawn via the programmatic investigation between the overlapping processes of water purification and artistic creation.

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M Titled “Misc” , this is where the miscellaneous external projects reside.

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