2010 nus architecture design year 1 sem 1 portfolio

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2010 nus architecture design year 1 sem 1 portfolio

  1. 1. N EN E OM O G N SE S I ONEDYEA R E
  2. 2. DESIGN ONEYEAR ONE SEM ONE TAN JING XIANG A0073572A STUDIO 1 ALAN WOO
  3. 3. 1/2 TRISHAW AND LIGHT 2 LINES AND COMPOSITION 6ARCHITECTURE PALETTE BODY AND PLACE 11 FORM . SPACE LIGHT . SHADOW COMPONENT AND SPACE 19 ORDER . STRUCTURE MATERIAL AND FORM 24 MATERIAL . COLOURMOVEMENT . CIRCULATION SCALE . PROPORTION 1 STICKS AND PLATES 30 RAMPS AND STAIRS 34 MODULES AND PATTERN 40 JOINTS AND DETAIL 46 CONTENT 1
  4. 4. BAPTISM OF FIRE As part of the Mid-Autumn Festival, 10 teams from NUS set out to recreate the tradiational trishaw with the theme of light. This was our initiation into architecture. CONSTRUCT [noun]TRISHAWAND LIGHT “Concept is intention, “Sentimental design” “Traditional and “Implied form, strategy and style” contemporary” implied space” TRISHAW AND LIGHT 3
  5. 5. TRISHAW: AURORA Aurora was conceived with the intention of creat- ing light and form. The strategy was to explore materiality and the notion of light in materiality. Through the use of wood and acrylic,tradition and modern culture was juxtaposed. Borrowing from tradition, wood was chosen as the seating material and expressed in a parquet pattern to evoke a sense of home. Wood being opaque, blocks light and creates shadows. But here, light underneath the seat sips out through the parquet gaps and creates a floating sensa- tion. Modern culture is translated through the use of acrylic in creating a ‘ghost canopy’, which involves- stripping down the original canopy and replacing it with an acrylic structure that ques- tioned its original form.4 TR I S H A W AND LIGHT “Don’t symbolise: moon as moon, rabbits as rabbits. . .” AURORA
  6. 6. LINES AND ‘GRIDS’COMPOSITION “Negative space is as important as positive space” LINES AND COMPOSITION 7
  7. 7. DECONSTRUCT AND CONSTRUCT DRAWING LINES IS A WAY OF DISCIPLINE THICK, MEDIUM AND THIN ACCURACY IN CONTROL IS VITAL TO CREATE A SENSE OF DEPTH8 LINES AND COMPOSITION 9
  8. 8. ANALYSING A MAP IN SEARCH OF GEOMETRY, BODY AND PLACE TO DECIPHER, TO UNCOVER AND TO REVEAL NEW RELATIONSHIPS10 LI N E S AND COMPOSIT ION 11
  9. 9. DUXTON P L A I N P A R K “DRIFT, FEEL, SENSE AND DOCUMENT” ENGAGE THE SITE THROUGH ONE’S BODY AND THROUGH ONE’S SENSES TO EXPLORE AND TO REDISCOVER “GET LOST, feel your site as you search for it” “Be sensitive, see beyond the surface. If you can’t, try the surface first then start from there. . .”12 B O D Y AND PLACE BODY AND PLACE 13
  10. 10. LIGHT, SHADOW AND MOVEMENT A stranger wanders in this place, searching for a site unfound. Lost is he in his ways, up and down the streets he goes. A winding path leads him on, through shades of trees, to a park beyond. Mid-way through, an opening he sees, a field of grass in evening rays. SITE DOCUMENTATION Across the field he strides, The chosen site is a portion of Duxton Plain Park, which is tucked behind buildings treading on shadows and light. and along alleyways. It is where the shady park opens up to the sky and the trees backen to form an open field. Running through this field is a pathway and people The black figure hovers, of the area use it as a shortcut. By evening, the field would bath in golden rays as into the shade it disappears. the sun sets. However, taken for granted are the shadows- ever cha nging with time and thus imbue the place with different sensations. “Sometimes you may discover something new accidentally”14 B OD Y AND PL ACE BODY AND PLACE 15
  11. 11. “Knowledge + focus + skill” IN THE WORLD OF SHADOW: PLANAR SURFACES Shadow is flat and formless, it takes the shape of its host. This shadow exist in two dimension and moves in two ways: horizontal and vertical. Yet shadow is able to merge with other shadows to form a large area of SHADOW CAST OR SHADOW PATTERN? shadows that connects people and places. Shadow is everywhere yet it is temporal - it is never fixed at one spot. Even when the host is stationary, the shadow will always be moving. It strecthes from and about a point (the host). Forever bound by time and chased by light. “Always have intent in all things you do”16 B O D Y AND PL ACE BODY AND PLACE 17
  12. 12. IN THE WORLD OF SHADOW: THE THIRD DIMESION COMPONENT AND SPACE Shadow not only habits planar surfaces, but also complex surfaces that doesn’t have a distinct plane. A tree for example is home to animals and some species of plants, but it is also where shadow resides. During the day, the sun and the tree will give form to shadow and when night falls, shadow will lurk out from its daytime den and consume the site -shadow is a dynamic ever-changing volume.18 B OD Y A ND PL ACE 19
  13. 13. CARDBOARD MODEL HORIZONTAL Since shadow is affected by light and angles, the model too shall express this notion. The form of the model is a repetition of a basic shape derived from angles of light. The strategy of arranging the shape is based on the behaviour of shadow; as observed in the previous exploration. What resulted is a dynamic form with crevices of varying degree. Some crevices are narrow, some wide, some high and some low which affect the entry of light. The space created is a playground of light and shadow of different intensities. As one walks through the space, one can feel the changes in the volume and atmosphere of space.20 C OM P O NENT AND SPACE COMPONENT AND SPACE 21
  14. 14. ACRYLIC MODEL VERTICAL The acrylic model is an interpretation of light, shadow and volume. By the same strategy, this model is formed with the behaviour of shadow in mind: flip, reflect and stretch about a point or an axis. The acrylic angled planes wrap around itself and onto itself- all interconnected like a large area of shadow. The form is vertically elongated, opens up at the top and has crevices all around it to reveal further, per- haps the sky, a scene or an interesting view. Due to the transparent nature of acrylic, the space is always lightful. Though some parts of the plane has been rendered opaque to arouse a sense of curiousity.22 C O M P O NENT AND SPACE COMPONENT AND SPACE 23
  15. 15. PROCESS [noun] MATERIAL AND FORM “Positive form and space: “To invert is to make “The formwork is but “The result is a negative transparency and void” positive negative” the positive model” of form and space: solid and opaque”24 MATERIAL AND FORM 25
  16. 16. PLASTER MODEL + WOOD WOOD + PLASTER MODEL The changing facade of the model expresses the changing angles of light and the dynamics of shadow. The angled form implies potential space The iintegration of the two materials reveals new qualities of space. The wooden planes are removable which allows for flexibility of furhter and the wood, which complements the plaster sets the atmostphere. explorations.26 M A TE R I AL AND FORM MATERIAL AND FORM 27
  17. 17. “FILL YOUR BIG BACK POCKET” “PLATFORM, WALL AND ROOF” “ROOM, HOUSE, CITY” “KNOWLEDGE + FOCUS + SKILL” “INTENTION + STRATEGY + STYLE” “DONT FOLLOW THE PAST, INTERPRET IT” “FOCUS AND GO DEEP WTH IT ” 1/2 SEMESTER REFLECTION EVOLUTION The negative model (plaster+wood) is the reflec- From failed models to the final tion of the positve model (acrylic). plaster+wood28 M A TE R I AL AND FORM 29
  18. 18. PARTI MODEL TECTONIC MODELSTICKS The intention is to create a unified seam- less structure. The strategy is to weave the structures together so as to create a seemingly continous flow of platform, wall and enclosure.AND PLATES SCHEMATIC DRAWING STICKS AND PLATES 31
  19. 19. 32 S TI C K S AND PLATES STICKS AND PLATES 33
  20. 20. RAMPS AND STAIRS PROCESS SKETCHES The intent was to create a seamless structure through weaving patterns,as express in basketry and the natural growth of shrubs. Both strategies inform each other during the design process. The seamless form was derived by weaving, bending, and angles where platform became wall and roof.34 RAMPS AND STAIRS 35
  21. 21. PROCESS MODEL Learning from the shadow models, the rombus be- “Weaving platform, wall and roof” comes the basic shape that would control the form. To construct a seamless structure, weaving is employed as a strategy. Angles and folds are then included to introduce some degree of dynamics. The weaving of form and circulation starts from a base, goes up and fold, then down and turn. Through this process, the platform weaves itself into a wall, a roof and platform again and again as the process cotinues to create a seamless growth of structures and spaces. As one walks through the model, the space slowly opens up to reveal a wide atrium with a flight of stairs that comes in from outside. Around a corner a low and narrow pathway bends into another space. The space is a narrower and dim, but its ceiling is high. Walking forwards towars the light, one sees the a short flight of stairs. Up the stairs and into a bright open viewing deck. Furhter up, would lead to the tallest viweing point where the structures opens up to reveal the sky. “Weaving form and circulation”36 R A M P S AND ST AIRS RAMPS AND STAIRS 37
  22. 22. 38 R A M P S AND ST AIRS RAMPS AND STAIRS 39
  23. 23. MODULE TRANSFORMATION MODULES The most dominant element of the circulation model is selected as the basic module to be trans- formed. With the intention of creating a seamless structure, the module is further disected into threes and transformed.40 AND PATTERN MODULES AND PATTERN 41
  24. 24. MODULE MODEL A dynamic form seamlessly folding unto itself, revealing gaps to allow light in. It is an enclosed space of light and changing volumes.42 M OD U LES AND PAT TERN MODULES AND PATTERN 43
  25. 25. 44 M OD U LES AND PAT TERN M O D U L E S A N D P ATTE RN MODULES AND PATTERN 45
  26. 26. JOINTS AND DETAIL DETAIL MODELS CITY HOUSE ROOM DETAIL46 J OINTS AND DETAIL 47
  27. 27. “PLATFORM, WALL AND ROOF” “FROM CONCEPT TO ARCHITECTURE” “GROUND YOUR BUILDINGS, THEY ARE NOT OBJECTS” “PLATFORM, WALL AND ROOF” “KNOWLEDGE + FOCUS + SKILL” “PEOPLE DON’T LIVE IN OBJECTS” “GOOD INTENTION, BUT YOU NEED TO COOK IT RIGHT”48 JOI N TS AND DET AIL 1 SEMESTER 49

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