ARCHITECTUREDESIGN TWOYEAR ONE SEM TWO

PROJECT 01 RETREAT AND RELATIONS WHERE OH WHERE? READING THE SITE ODE TO THE OLD DESIGN PROCESS DESIGN INTERVENTION MODEL PHOTOS

PROJECT 02 METHOD AND PROCESS WHERE OH WHERE? READING THE SITE CASE STUDY CLIENT AND USER DESIGN PROCESS DESIGN INTERVENTION MODEL PHOTOS

01 02

RETREAT AND RELATIONS

PREAMBLE

What are the differences between an abstract spatial model and an architectural design that deals with ‘real’ spaces and site? How do we move from the abstract to the less abstract? Less abstract and not quite real because we are not going to build and live in our design (yet).

Our life is real, the room we live in is real, so we are familiar with the real! But are they designed? or are they merely outcomes of convenience, negligence and ignorance? Is our environment dictated and became a reflection of the real or is the real designed by us to be better than the previous reality?

To design is to improve the real. To design is to imgaine better reality.

PREAMBLE

03 04

Old bungalow

Diary Farm Estate

Bukit Timah Expressway

LOCATION & CONTEXT

The old bungalow is located at the end of Dairy Farm Park, beyond the Wallace Educa-tion Centre. It rests on a slope at the edge of Bukit Timah Nature Reserve. Journey-ing to the site involves going through a straight gravel-path lined by tall trees. This path would then open up to Diary Farm Park but the site lies beyond a steep slope, hidden on the right surrounded by a lush garden.

Wallace Education Centre

Bukit Timah Nature Reserve

WHERE OH WHERE? WHERE OH WHERE?

05 06READING THE SITE

SITE PLAN

READING THE SITE

SITE AND THE MATERIAL CULTURE OF A BUILDING

How does the building relate to the site? Or for that matter , what does “relating to site” mean? What is the nature of the landscape that surrounds the building? How does it affect the way we perceive the building? Does it affect the way the space is configured? How to seize opportunities and ac-centuate certain qualities of the site and building through design intervention.

BODY IN SPACE

The understanding of the building and the site is of course not disembodied. It is through the body that one perceive, and which distinguishes the real space from the abstract space. A body in space is at a very basic level about scale. Scale among many factors like light, tactile, thermal and visual qualities shape our experience of space.

In other words both tangible and intangible shape our understanding of the real.

07 08READING THE SITE

BUILDING

READING THE SITE

CONTEXT

09 10

CONTEXT: ZOOM IN, ZOOM OUT, ZOOM IN AGAIN

Contextual study involves looking at the micro level and at the macro level and then drawing relationships between the two. It may be studying one aspect or many aspects, most of the time the study would reveal more than what is expected. This is where discovery happens and where

inspiration surface.

SITE ANALYSIS

Wind Flow and

Sunpath

Vegetation Garden Plants Light and Shadow Zones:

Nature vs. Man-made

Noise Analysis Pedestrial Circulation Views and Vistas

READING THE SITE READING THE SITE

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EXISTING BUILDING PLAN EAST ELEVATION

ODE TO THE OLD ODE TO THE OLD

WEST ELEVATIONBACK SHED -

FRONT AND BACK ELEVATION

Understanding the exist-ing structure in terms of space, materiality, visual quality and so on to discover how the building relates to the greater context.

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SOUTH ELEVATION SECTIONNORTH ELEVATION

ODE TO THE OLD ODE TO THE OLD

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PROCESS SKETCEHS

SITE STUDY ORGANIZATIONOF SPACE

THE FOREST GRID SPATIAL EXPERIENCE

DESIGN PROCESS

DESIGN INTENT

A retreat is where I get away from problems to unwind and indulge in my past time. This retreat should be appropriate for the space and the context of the site. With that in mind, my retreat is an urban es-cape into the rainforest to collect and document seeds and leaves.

Walking under the trees, the canopies form different light and shadow patterns. Some spaces are hidden others are revealed as I traverse through the many trunks.

DESIGN PROCESS

17 18DESIGN PROCESS

1 parti model 2 forest model 1 x 2 = 3house + forest

BUILDING PLAN

DESIGN INTERVENTION

Bedroom

Specimen/study room

Bathroom

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EAST ELEVATION EAST ELEVATION SECTION

DESIGN INTERVENTIONDESIGN INTERVENTION

21 22

SOUTH ELEVATION NORTH ELEVATION

DESIGN INTERVENTIONDESIGN INTERVENTION

23 24MODEL PHOTOS

DUALITY . ENCLOSED YET OPEN,OPEN YET ENCLOSED . STICKS AND PLANES . RHYTHM OF HEIGHTS. LIGHT AND SHADOW

MODEL PHOTOS

25 26MODEL PHOTOS MODEL PHOTOS

WHIMSICAL . A SEAT THAT GREETS . FOREST SENTATION . ORDER AND STRUCTURE . SMALL AMONGST THE TALL . OPENINDIVIDUAL SPACE . MATERIALITY AND COLOUR . SLENDER . SUBTLE . SENSITIVE . REACHING UP TO TOUCH . TWO AS ONE

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PREAMBLE

The Architectural design process is multilayered and non lin-ear. The prior encounters had created an awareness of the fundamental design elements. The creation of a product is almost inevitable but the process dictates the quality. The ability to control the design process, how to develop ideas and using various investigation strategies needs elaboration, understanding and structure.

In this project, the method, technique of design refinement, process of spatial development and the level of discussion that is brought out in the architecture becomes the focus.To guide the progressive process, there will be 3 principal areas to assist design genesis:

1. An Architectural precedent case study as the principal foil for architectural arguments anddiscussions.

2. A Narrative backdrop as reference to develop a simple brief and a precise schedule of areas.

3. An investigative and sensitive but individual review of the site to form the external context.

METHOD AND PROCESS

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LOCATION & CONTEXT

The site is located in Bukit Pasoh, where most of semester one’s work was situat-ed. In a very tight alley between Bukit Pasoh Road and Duxton Plain Park is the site. A long and narow strip of land used mainly as a fire escape route, a motorcycle park-ing lot, service truck entry and as a shortcut for pe-destrians.

Site

Pinnacle at Duxton

WHERE OH WHERE? WHERE OH WHERE?

31 32READING THE SITE READING THE SITE

CONTEXTSITE

33 34CASE STUDY CLIENT AND USER

JOHN SOANE’S MUSEUM

It was to begin with, a residential home for Sir John Soane, that was later converted into a mu-suem. Built during the 1800, the musuem consist of three terrace units skillfully merged together as one by Soane himself. The building expresses symmetry and strong alignment. It is also about proportion and rooms that looks into room and beyond. Skillyfully liad down are courtyards be-tween rooms and galleries with skylights, making

the otherwise small house look and feel big.

CLIENT AND USER

Based on the movie, Rear Window by Afred Hitch-cock, a character was chosen.

Mine was the pianist with the seductive music. From my interpretation, he is a person who has two personalities. One which likes to be seen play-ing music and therefore enjoys showing off like an exhibitionist. The second one is a private person, whose personal life and affairs like eating, sleep-ing, reading are hidden from public view. Some-

how it is like a case of Dr. Jackle and Mr. Hyde.

35 36DESIGN PROCESS DESIGN PROCESS

37 38DESIGN PROCESS

MODEL EVOLUTION

DESIGN INTERVENTION

WEST ELEVATIONSITE PLAN

39 40DESIGN INTERVENTION

2ND STOREY PLAN

1ST STOREY PLAN

DESIGN INTERVENTION

ISOMETRIC DRAWING

41 42DESIGN INTERVENTION DESIGN INTERVENTION

SOUTH ELEVATIONLIGHT AND SHADOW STUDY

SOUTH ELEVATION

43 44MODEL PHOTOS MODEL PHOTOS

Dim alley

Bright courtyard

THREE TOWERS . ROOF RHYTHM . BACK AND FRONT . PLANES AND FINS . OLD AND NEW . INTERVENTION

45 46MODEL PHOTOS MODEL PHOTOS

ADAPT . ROOF PROFILE . TRANSPARENCY . PLANES AND FINS . RESPONSIVE . CONTRAST . CURIOUSITY MATERIALITY . DUALITY . OPEN COURTYARD . GUESTS . FLOW OF LIGHT . PUBLIC AND PRIVATE . SURPRISE

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TAN JING XIANG A0073572 YEAR ONE SEMESTER TWO STUDIO 2 FONG.H.C

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