3. 1/2 TRISHAW AND LIGHT 2
LINES AND COMPOSITION 6
ARCHITECTURE PALETTE
BODY AND PLACE 11
FORM . SPACE
LIGHT . SHADOW COMPONENT AND SPACE 19
ORDER . STRUCTURE MATERIAL AND FORM 24
MATERIAL . COLOUR
MOVEMENT . CIRCULATION
SCALE . PROPORTION 1 STICKS AND PLATES 30
RAMPS AND STAIRS 34
MODULES AND PATTERN 40
JOINTS AND DETAIL 46
CONTENT 1
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]
TRISHAW
AND LIGHT
“Concept is intention, “Sentimental design” “Traditional and “Implied form,
strategy and style” contemporary” implied space”
TRISHAW AND LIGHT 3
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. LINES AND ‘GRIDS’
COMPOSITION “Negative space is as important as positive space”
LINES AND COMPOSITION 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 DEPTH
8 LINES AND COMPOSITION 9
8. ANALYSING A MAP IN SEARCH OF GEOMETRY, BODY
AND PLACE
TO DECIPHER, TO UNCOVER AND TO REVEAL
NEW RELATIONSHIPS
10 LI N E S AND COMPOSIT ION 11
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. 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. “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. 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. 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. 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. 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. 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. “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+wood
28 M A TE R I AL AND FORM 29
18. PARTI MODEL
TECTONIC MODEL
STICKS
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
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. 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
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. 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. 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. JOINTS
AND DETAIL
DETAIL MODELS
CITY HOUSE ROOM DETAIL
46 J OINTS AND DETAIL 47
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
