2011   nus architecture design year 1 sem 2 portfolio
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2011 nus architecture design year 1 sem 2 portfolio

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    2011   nus architecture design year 1 sem 2 portfolio 2011 nus architecture design year 1 sem 2 portfolio Presentation Transcript

    • 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 PHOTOSPROJECT 02 METHOD AND PROCESS WHERE OH WHERE? READING THE SITE CASE STUDY CLIENT AND USER DESIGN PROCESS DESIGN INTERVENTION MODEL PHOTOS
    • 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.01 P RE AM B L E 02
    • Bukit Timah Nature Reserve Old bungalow Diary Farm Estate LOCATION & CONTEXT Wallace Education Centre 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. Bukit Timah Expressway03 W H E R E OH WHE R E ? WH E RE O H WH E RE ? 04
    • 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. SITE PLAN05 RE A D I N G T H E SI T E RE AD ING TH E SITE 06
    • CONTEXT BUILDING07 RE A DI N G T HE SI T E RE AD ING TH E SITE 08
    • Wind Flow and Noise Analysis Pedestrial Circulation Views and Vistas Sunpath 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. Vegetation Garden Plants Light and Shadow Zones: Nature vs. Man-made SITE ANALYSIS09 RE A DI N G T H E SI T E RE AD ING TH E SITE 10
    • 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. BACK SHED - EXISTING BUILDING PLAN EAST ELEVATION WEST ELEVATION FRONT AND BACK ELEVATION11 O D E TO T H E OLD O D E TO TH E O L D 12
    • NORTH ELEVATION SOUTH ELEVATION SECTION13 O D E TO T H E OLD O D E TO TH E O L D 14
    • SITE STUDY ORGANIZATION THE FOREST GRID SPATIAL EXPERIENCE OF SPACE 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. PROCESS SKETCEHS15 D E S I GN PR OCE SS D E SIG N P RO C E SS 16
    • Bathroom Specimen/ study room Bedroom 1 parti model 2 forest model 1x2=3 house + forest BUILDING PLAN17 D E S I GN PR O CE SS D E SIG N INTE RVE NTIO N 18
    • EAST ELEVATION EAST ELEVATION SECTION19 D E S I GN I N T E R VE N T I O N D E SIG N INTE RVE NTIO N 20
    • SOUTH ELEVATION NORTH ELEVATION21 D E S I GN I N T E R VE N T I O N D E SIG N INTE RVE NTIO N 22
    • DUALITY . ENCLOSED YET OPEN,OPEN YET ENCLOSED . STICKS AND PLANES . RHYTHM OF HEIGHTS. LIGHT AND SHADOW23 MO D EL PHOT OS M O D E L P H O TO S 24
    • INDIVIDUAL SPACE . MATERIALITY AND COLOUR . SLENDER . SUBTLE . SENSITIVE . REACHING UP TO TOUCH . TWO AS ONE WHIMSICAL . A SEAT THAT GREETS . FOREST SENTATION . ORDER AND STRUCTURE . SMALL AMONGST THE TALL . OPEN25 MO D E L PH OT OS M O D E L P H O TO S 26
    • 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 and discussions. 2. A Narrative backdrop as reference to develop a simple brief and a precise schedule of areas. METHOD AND 3. An investigative and sensitive but individual review of the PROCESS site to form the external context.27 28
    • Site 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. Pinnacle at Duxton29 W H E R E OH WHE R E ? WH E RE O H WH E RE ? 30
    • SITE CONTEXT31 RE A D I N G T H E SI T E RE AD ING TH E SITE 32
    • JOHN SOANE’S MUSEUM CLIENT AND USER It was to begin with, a residential home for Sir Based on the movie, Rear Window by Afred Hitch- John Soane, that was later converted into a mu- cock, a character was chosen. suem. Built during the 1800, the musuem consist Mine was the pianist with the seductive music. of three terrace units skillfully merged together From my interpretation, he is a person who has as one by Soane himself. The building expresses two personalities. One which likes to be seen play- symmetry and strong alignment. It is also about ing music and therefore enjoys showing off like an proportion and rooms that looks into room and exhibitionist. The second one is a private person, beyond. Skillyfully liad down are courtyards be- whose personal life and affairs like eating, sleep- tween rooms and galleries with skylights, making ing, reading are hidden from public view. Some- the otherwise small house look and feel big. how it is like a case of Dr. Jackle and Mr. Hyde.33 C A S E ST UDY C L IE NT AND USE R 34
    • 35 D E S I GN PR O CE SS D E SIG N P RO C E SS 36
    • MO D EL EV O L UT I O N SITE PLAN WEST ELEVATION37 D E S I GN PR O CE SS D E SIG N INTE RVE NTIO N 38
    • 1ST STOREY PLAN ISOMETRIC DRAWING 2ND STOREY PLAN39 D E S I GN I N T E R VE N T I O N D E SIG N INTE RVE NTIO N 40
    • SOUTH ELEVATION SOUTH ELEVATION LIGHT AND SHADOW STUDY41 D E S I GN I N T E R VE N T I O N D E SIG N INTE RVE NTIO N 42
    • Bright courtyard THREE TOWERS . ROOF RHYTHM . BACK AND FRONT . PLANES AND FINS . OLD AND NEW . INTERVENTION Dim alley43 MO D EL PHOT OS M O D E L P H O TO S 44
    • ADAPT . ROOF PROFILE . TRANSPARENCY . PLANES AND FINS . RESPONSIVE . CONTRAST . CURIOUSITY MATERIALITY . DUALITY . OPEN COURTYARD . GUESTS . FLOW OF LIGHT . PUBLIC AND PRIVATE . SURPRISE45 MO D E L PHOT OS M O D E L P H O TO S 46
    • TAN JING XIANG A0073572 YEAR ONE SEMESTER TWO STUDIO 2 FONG.H.C47 END 48