2. 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
3. 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
4. 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 Expressway
03 W H E R E OH WHE R E ? WH E RE O H WH E RE ? 04
5. 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 PLAN
05 RE A D I N G T H E SI T E RE AD ING TH E SITE 06
6. CONTEXT BUILDING
07 RE A DI N G T HE SI T E RE AD ING TH E SITE 08
7. 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 ANALYSIS
09 RE A DI N G T H E SI T E RE AD ING TH E SITE 10
8. 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 ELEVATION
11 O D E TO T H E OLD O D E TO TH E O L D 12
9. NORTH ELEVATION
SOUTH ELEVATION SECTION
13 O D E TO T H E OLD O D E TO TH E O L D 14
10. 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 SKETCEHS
15 D E S I GN PR OCE SS D E SIG N P RO C E SS 16
11. Bathroom
Specimen/
study room
Bedroom
1 parti model 2 forest model 1x2=3
house + forest
BUILDING PLAN
17 D E S I GN PR O CE SS D E SIG N INTE RVE NTIO N 18
12. EAST ELEVATION
EAST ELEVATION SECTION
19 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
13. SOUTH ELEVATION NORTH ELEVATION
21 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
14. DUALITY . ENCLOSED YET OPEN,OPEN YET ENCLOSED . STICKS AND PLANES . RHYTHM OF HEIGHTS. LIGHT AND SHADOW
23 MO D EL PHOT OS M O D E L P H O TO S 24
15. 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 . OPEN
25 MO D E L PH OT OS M O D E L P H O TO S 26
16. 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
17. 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 Duxton
29 W H E R E OH WHE R E ? WH E RE O H WH E RE ? 30
18. SITE CONTEXT
31 RE A D I N G T H E SI T E RE AD ING TH E SITE 32
19. 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
20. 35 D E S I GN PR O CE SS D E SIG N P RO C E SS 36
21. MO D EL EV O L UT I O N SITE PLAN WEST ELEVATION
37 D E S I GN PR O CE SS D E SIG N INTE RVE NTIO N 38
22. 1ST STOREY PLAN
ISOMETRIC DRAWING 2ND STOREY PLAN
39 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
23. SOUTH ELEVATION SOUTH ELEVATION
LIGHT AND SHADOW STUDY
41 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
24. Bright courtyard
THREE TOWERS . ROOF RHYTHM . BACK AND FRONT . PLANES AND FINS . OLD AND NEW . INTERVENTION
Dim alley
43 MO D EL PHOT OS M O D E L P H O TO S 44
25. ADAPT . ROOF PROFILE . TRANSPARENCY . PLANES AND FINS . RESPONSIVE . CONTRAST . CURIOUSITY MATERIALITY . DUALITY . OPEN COURTYARD . GUESTS . FLOW OF LIGHT . PUBLIC AND PRIVATE . SURPRISE
45 MO D E L PHOT OS M O D E L P H O TO S 46
26. TAN JING XIANG A0073572 YEAR ONE SEMESTER TWO STUDIO 2 FONG.H.C
47 END 48
