Gsa Y4 Final Portfolio Spread
Gsa Y4 Final Portfolio Spread
Gsa Y4 Final Portfolio Spread
Introduction 6
List of Projects 9
Precedent References 10
Theoretical Texts 16
Project Methods 19
Project 1: HDB 83
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INTRODUCTION
Every material develops a certain look and feel over time, which
contributes to a certain aesthetic of the object it embodies. Also, the
physical nature, structure and endurance of these materials change
over time; for example, concrete breaks, wood wears out, metals
are subject to fatigue. This “aging” stimulates the development of
material traces. Whether deliberate or unintentional, every crack and
scratch that materials manifest as we interact with objects inscribes a
story. Interactions with materials result in alterations, imperfections and
ultimately unique objects, which carry traces of time and life.
Understanding and interpreting material traces will be of growing
importance in design practice as traces make a space unique and
also impact how spaces are perceived and valued over time. Such
spaces have to address all the senses simultaneously and fuse our
image of self with our experience of the world. How often do we, as
practitioners in the industry today, question about the materials used
and the presence of the multi-sensory experience when designing
spaces?
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LIST OF PROJECTS
Brief:
Living and dying is part of the mundanity, it is constantly happening and
making changes in our life, just like how materials deteriorate over time,
be it man-made or natural materials. Therefore, HDB and Columbarium
are the sites that are being chosen for the following two projects.
Both locations might have a huge contrast, but it represents the most
fundamental aspects of mundanity. This will then incorporate the light
and shadow that come into play at different timings of the day which will
eventually impact how people perceive the spaces within.
HDB
Project 1:
The first project will look into residential areas and more specifically into
the HDB estate in Singapore. The target user will be the residents living
in the area and the aim of this project is to allow engagement and
interactions to take place within the mundanity of our life as well as to
bring convenience and to create a multi-sensory experience within the
living spaces. This project will focus on three areas;
∙ How can the cladding design impact the corridor space and interior
space?
∙ How does the light and shadow impact the detailing of the contact
points and the way of life within the interior?
COLUMBARIUM
Project 2:
The second project will look into the existing columbarium in Singapore.
With the previous project focusing on three different areas, this
project will go in depth to study, analyse and to examine on the various
approaches of material traces and multi-sensory experience. The
research done on the previous project will be very useful and applicable
in this part of the project and it will focus on;
∙ What are the similarities and differences that could be found in the
mundanity of a different site when the same explorations and
understandings of the HDB are being applied to the columbarium?
∙ How can the cladding design impact the walkway and every section
of niches?
∙ How does the light and shadow impact the detailing of the contact
points and materials within the spaces?
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JUHANI PALLASMAA
HIROSHI SUGIMOTO
ENRIC MIRALLES
The personal project will be referring to the several precedent studies.
Notably, the ideas, experiencing and making, and observations from the
works and methods of Juhani Pallasmaa will carry significant weight as JACEK TYLICKI
we progress in this project. Specifically, on Pallasmaa’s expression on the
significance of the tactile sense for our experience and understanding THOMAS HEATHERWICK
of the world.
RACHEL WHITEREAD
W A B I - S A B I
K I N T S U G I
BRUNO MUNARI
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JUHANI PALLASMAA HIROSHI SUGIMOTO
By touching material we experience more than by the bare gaze at The following projects will make use of film photography as a method of
it. Structures have a visual effect but by touching them we feel more exploration to understand how traces of life can be captured especially
components of their construct. Hardness, depth, temperature are some the detailings of every material. By varying the length of exposure to
of the components that can vary in materials that give the same visual achieve tonal richness, it will also show results with different levels of
impression. The eye observes and investigates, whereas the touch detailings due to different intensity of light that comes into play.
approaches and feels. So when the light makes space for shadow,
our other senses are sharpened including the sensitivity to touch. In the
following projects, the cladding designs will allow people to engage
and interact, and with different configurations of the claddings, people
are able to achieve different types of sensorial experience.
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JACEK TYLICKI ENRIC MIRALLES
Jacek Tylicki is specialized in the field of land and nature art. The freely formed buildings utilized massive building materials and
His conceptual projects often raise social and environmental steel, and develop their relationship with the environment and connect
issues. Video and photography plays an important role in his themselves to it. The form is constructed using often unusual materials
work as a record of its elusiveness and transience. Through his art, which are generally left with natural surfaces. For the following projects,
Tylicki lays a stress upon personal experience bearing witness to raw materials will be used to understand how different intensity of light
artistic truth. He searches on his own account for an authenticity and that cast shadows on these surfaces can affect the depth of field and
a fullness of existence in its relation to nature. Material traces show alot also the way people perceive spaces.
about the users and also on how the material has deteriorate over
a period of time. Hence, for the following projects, research will be
done to understand material properties and how it changes over time
like discolorization or oxidation due to various weather conditions or
human activities.
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JUHANI PALLASMAA
“The Eyes of the Skin”
DAVID LEATHERBARROW
“On Weathering”
THEORETICAL TEXTS LEONARD KOREN
“Wabi-Sabi – for Artists, Designers,
Poets & Philosophers”
The personal project will be referring to the following theoretical texts
and methodologies from various practitioners and philosophers.
Understanding their theories and intention behind each of their work, JUNICHIRO TANIZAKI
and also to analyse on what are the aspects and processes that are “In Praise of Shadow”
crucial to an outcome and in this case, it will be the aspects of materiality
and sensorial experience of a space or an object.
WALTER BENJAMIN
“To Live is to Leave Traces.”
BRUNO MUNARI
“Design as Art”
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PROJECT METHODS
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A pinhole camera was made for the purpose
of capturing traces of life in terms of materiality
and sensorial experience. The shutter was made
to function manually so as to allow myself to
manipulate the amount of exposure to the film.
Hiroshi
Sugimoto
To craft his exquisite black
and white images, he uses
a 19th-century-style, large
format camera, exploring
his idea of photography as
a method for preserving
and modelling time.
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The results of the developed film was unexpectedly
interesting as it was blurry and it functions as a visual
memory in our mind, knowing the existence of such
traces but not in a very distinct form.
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The main purpose of this colour film is to capture Some of the frames were being overlayed and it was
traces of everyday life. It was taken at home as it is very inconsistent because after each exposure of the
a place where most of the interactions take place. film, rolling of the film will have to be done manually
for the next exposure.
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To capture on how material traces and sensorial The black and white film was being developed in a
experiences can come into play and fuse together workshop where it allows myself to learn about the
in a space, black and white film was being used in processing part and the manipulation of different
this part of the exploration. In addition, the light and exposures with the machine can actually achieve
shadow play an important part in this exploration as different tonal richness and contrast.
well.
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The individual frames were being enlarged
and the play of light and shadow becomes
evident, making the depth of the spaces and
distance ambiguous, and invite unconscious
peripheral and tactile fantasy, just like how the
sunlight comes into play in the two projects.
At different timings of the day, it changes the
way we perceive the spaces within.
Hiroshi
Sugimoto
Playing with various
length of exposure
can achieve tonal
richness and it will
function as a kind
of visual memory.
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Casting is part of an exploration in this project. In this
experimentation, plaster was being used to cast on
different surface area and different ways of layering
will actually show various results in terms of texture
and consistency. Experimentation includes getting
the plaster out of the cast at different timing so as to
understand the material properties at various stages
of drying.
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Food colourings were added to the plaster and
this part of experimentation is to understand
how different methods of mixing of the food
colourings can result in an outcome that shows
a great difference. Colourings were dripped
into these two plasters and one of it was left
untouched, allowing the colour to spread
itself while the other plaster was being stirred
and mixed well. Overall, it shows how different
approaches can result in the contrast of the
consistency of the colours.
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Enric
Miralles
The forms and materials will
interpret the place, traditions
and history in a personal and
poetic art.
Rachel
Whiteread
The sculptures are created
for the exploration of the
layerings in buildings, and the
traces that are left behind by
the change of use of places.
Kintsugi
Just like casting of the
plaster, it is not about the
physical qualities or how it
looks, but the beauty of how
it conveys a philosophy not
of replacement, but of awe,
reverence and restoration.
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CONTACT POINTS
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Initial observations are conducted in my
own neighbourhood in Yishun estate. It is a
mature estate and traces of contact points
are more likely to be discovered and indeed,
people’s traces are evident in almost every
corner of these spaces. As there are limited
spaces in the HDB flats, residents will usually
make use of the spaces along the corridor
or the walkways, therefore wear and tear will
tend to occur more frequently.
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Due to the lower rate of maintenance in the
old HDB estate, be it man-made or natural
materials, the deterioration of the structure
and surface of the facade and objects can
be seen clearly in almost every corner. Peeling
paint layers, faulty letter box etc, shows plenty
of the spaces and the estate.
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Dakota Crescent HDB Estate
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Observations are also conducted at Old
Airport Road HDB estate to make a compare
and contrast with my HDB estate and to realise
that this estate is of a smaller scale in terms
of living spaces in each household. Hence,
corridor spaces are commonly used in this
estate and there are more contact points
as belongings or items that belong to each
household can be seen hanging or leaning
against the corridors.
Old Airport Road HDB Estate
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Jacek Be it man-made or natural material, it
Tylicki will still deteriorate over time without any
The deterioration itself is controlled maintenance and such deteriorations
by nature’s intensity, by time and
space, by substance and causality, certainly have attachments of people
and does not depend on man’s living or people who once lived in that
interference. It also shows that every particular spaces. It is all these traces
material deteriorates in its very
that represent the mundanity in our HDB
own unique way.
estates.
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In the secondhand furniture and fixture
warehouse, obervations are conducted
and it is clear that items that are discarded
by people are mainly due to scratches,
cracks or discolorations. However, people
are still coming in to purchase such items
at a negotiable price as they find meanings
in these unwanted items and contact
points might be something that are being
valued in this case.
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CLADDING METHOD
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In a way to reflect the meaning of these
traces in a more practical approach, the
method of cladding is being explored and
applied. Mock-ups were done to further
explore and understand how cladding of
the facades can play a part in the HDB.
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Like what is mentioned earlier, light plays
an important role in the mundanity. While
exploring on how cladding can reflect
traces, shapes and patterns are formed
unknowingly with the play of light.
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Shapes and forms are translated from the
material surfaces and reflected onto the
cladding. With different forms and at
different time of the day, the interior can
be perceived in many ways.
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The mock-ups previously showed rigidity
in the patterns and therefore, it opens up
more opportunities to explore on how to
soften the structure and also understanding
how other elements can be replaced. In
this case, the mock-up uses fabric and
metal wire so as to give the overall structure
a sense of flexibility.
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Weaving cotton thread together with the
metal wire gives the overall structure a
balance between rigidity and flexibility.
Shapes and patterns formed are more
organic and uncontrollable and in a way
reflects on how a material deteriorates
and disintegrates in its very unique way.
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A collage on how these forms of cladding
can be applied in the mundanity of the
HDB. It has function of overlaying and sliding
different layers and shapes of cladding to
suit the residents’ needs. For example, the
cladding can function as a shade even for
the potted plants or laundry just along the
corridor. It can also provide privacy for
the residents. At the same time, this movable
cladding allows flexible configurations
according to the needs of the residents.
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Exploring into different materials is crucial as
balancing rigidity and flexibility requires trial
and error with various material components.
Therefore, thin plastic film was used as part of
the exploration as the thin plastic film is able
to soften the overall rigidity of the structure.
In addition, the weaving of the metal wire will
counterbalance the flexibility of the plastic
film.
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Engagement is the whole idea of this exploration,
to allow people to understand, function and to
engage with these material surfaces, whereby
they are able to make use of the rigidity and
flexibility of this modules or structures to bring
much more convenience to their daily life.
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Fabric was being used in the process of
exploration as it offers more variations
on how the overall structure, when used
in cladding, is able to affect the spaces
within the compound and also affecting
the level of engagement with the residents
of the HDB.
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Juhani
Pallasmaa
A space usually involves several
realms of sensory experience
which interact and fuse into each
other. So when the light makes
space for shadow, our other
senses are sharpened including
the sensitivity to touch.
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Thin aluminium sheets were used in the
exploration to understand how different
materials can achieve various possibilities.
As it was used in cladding and exposed to
different weather conditions, it will definitely
oxidize and deteriorate over time. It is important
to understand that the engagement of this
cladding comes from both the residents
and nature itself. Therefore, the overall
structure and appearance will alter from
time to time, providing the residents with
different experiences of the structure and
the spaces.
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The main purpose of exploring different materials
is to breakthrough from what is commonly seen
and used in cladding by our current world. It is to
make use of the rigidity to explore and to soften
the overall structure and appearance of cladding
that affects the spaces and the given sensorial
experiences, and also to replace the common
elements with new aspects that allow people to
engage and to interact.
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Like what was mentioned earlier, the
claddings allow the residents to slide
or overlap to the desired areas to
fulfil their needs. As the residents
have nothing much that they can do
to the corridors, these flexibilities have
in a way allow them to engage with
the configuration of the claddings. At
the same time, while configuring the
claddings, the residents have also in a
way, altered and created a whole new
sensorial experience in the spaces like
the corridors. Each configuration gives
a new experience as the presence of
light and shadow plays an important
role too.
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The explorations have enlightened
myself in the way that materials have
different properties and qualities, and
when put together, it achieves a certain
balance in terms of rigidity and flexibility
that affects the spaces eventually with
the play of light and shadow and also
affecting on how people perceive the
space that changes from time to time.
This is evident especially when the
materials deteriorate concurrently and
the sunlight coming in at different timing.
Touching is a key factor that can give
the users an immediate sensorial
experience and every contact point
can be unique in its very own way.
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PROJECT 1: HDB
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As the corridor space will be facing
all kind of weather conditions, the
claddings will have to offer a balance
between flexibility and rigidity. In this
case, cotton gauze fabric was used in
making test pieces as it offers strength
through its weaving and small tiny
holes allow ventilation to take place
during humid day.
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The weaving concept will be used in
the initial design of the cladding in this
project as it offers not just ventilation,
but also shading and at the same time,
it also provides certain level of privacy
for each household.
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HDB Block Floor Plan
FLOOR PLAN
SCALE 1:150
SITE ANALYSIS
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Cladding Variations
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Sectional Perspective 01
Sectional Perspective 02
Sectional Perspective 03
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The rendering approach of this project
is to render in different timings of the
day. As the claddings are movable
and are able to be reconfigured and
with the play of light at different time
of the day, it will certainly cast a variety
of shadow patterns that will ultimately
impact the way we perceive the
corridor spaces as well as the interior
spaces. Therefore, the whole idea of
the design is so that it changes after
use, and it changes constantly even
when it is not in use.
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1PM
3PM
Corridor
6PM
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Corridor spaces in the afternoon Interior spaces in the afternoon
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Corridor spaces in the evening Interior spaces in the evening
METABOLISM
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Primary Aluminium Frame
∙ Flaps face down ∙ Flaps slightly facing down ∙ Flaps fully opened ∙ Flaps slightly facing up ∙ Flaps face up
∙ Receive minimal sunlight ∙ Receive decent amount ∙ Receive great amount ∙ Receive great amount ∙ Receive great amount
∙ Cover from heavy rain of sunlight of sunlight of sunlight only in the of sunlight only in the
∙ Decent ventilation ∙ Decent ventilation ∙ Good ventilation afternoon afternoon for a short
∙ High level of privacy ∙ Decent ventilation period of time
∙ Decent ventilation
∙ High level of privacy
3PM
Scenario 1
3PM
Scenario 2
3PM
Scenario 3
3PM
Scenario 4
3PM
Scenario 5
Reconfiguring of the claddings to allow sunlight to reach in Claddings used as cover during heavy rain
Sectional Perspective 02
SECTION
01
BLOCK KALSIA FLOOR PLAN BLOCK KALSIA FLOOR PLAN
SECTION
COMMON WALKWAY
SECTION
01
PAGE 155
SECTION
01
Sectional Perspective 01
WAY
SECTION
01
Flooring in concrete
finishing
Sunscreen frame in
aluminium finishing
Flaps will rotate downward
when the lever is being
pushed below
Sunscreen support
in steel finishing
4PM
6PM
PAGE 184
Ambient lightings are being used for the night
time so that it gives a soft touch and a warmer
ambience to the interior spaces. An indirect
approach is being applied in these lightings
so that the light reaches a surface before
reflecting and spreading to the other surface
areas. The purpose for this approach is so
that the visitors will be less distracted from the
indirect ambient lightings and their attentions
will be directed to the niches itself. As for
the walkway, it will have a dimmer lighting
as compared to the individual section. With
such approach being applied, the individual
section will become the focal point in each
block of the columbarium.
“Hiroshi Sugimoto - 220 Artworks, Bio & Shows On Artsy”, Artsy.Net, 2018 <https://www.artsy.net/artist/hiro-
shi-sugimoto> [Accessed 10 October 2017]
Kroll, Andrew, “AD Classics: AD Classics: Igualada Cemetery / Enric Miralles”, Archdaily, 2018 <https://
www.archdaily.com/103839/ad-classics-igualada-cemetery-enric-miralles> [Accessed 10 October 2017]