gsa fyp pf

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highlight

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Portfolio Alvin Aucks alvinaucks@gmail.com +65 98382319 https://aucksan.cargo.site Texts running

across mergin

g pages is

02

to begin; This book is made of 02 different types of paper.

The red temari threaded paper 105gsm TEMARI is distinguished by red threads embedded into the paper fabric when the paper is made. Each sheet of paper possesses its own unique pattern as the result of the random positioning and overlapping of the threads. Only one side of the paper contains the thread, this surface is more suitable for foil stamping or with UV finishing. The other side of the paper does not contain any threads. Every piece of paper is unique and different.

Every piece of paper is unique and different.

Like ‘no good spaces’, every one of them has unique characters. There is no one space the same. As a cover jacket, it wraps the book, representing how in everything that seems ordinary on the outside, but there is always a hidden gem in them.

M.G. bleached kraft paper 120gsm Bleached Kraft paper undergoes a treatment using bleach and other chemicals to whiten and purify the natural Kraft pulp. Through this process, the paper becomes stronger than traditional brown Kraft paper. Because of this added strength, white bleached Kraft paper is used heavily in wrapping and packaging.

What makes this paper special is the texture on both sides of the paper. The paper is coated on one side (smooth), and uncoated on the other (rough), I wanted the paper choice to express how there is always two sides to anything, but either way they are still useful and serve its purpose, similarly to the stigma of ‘no good spaces’ that are often deemed useless,.

intentional to fur

ther drive the

03

idea of using ‘no

good spaces’.

006 preamble 022 no good spaces 024 project overview 026 inhabitable in-betweens 056 ‘pondering days’ 106 defying ‘no good spaces’ 142 conclusion

What is pet architecture? Why pet architecture? How is it relevant in the context of singapore. in this book, I’ll be discussing about the questions about pet architecture. You, as a reader, may ask me what that has to do with me. I will get to that in abit. The point of this is to explain the close relationship we have with pet architecture, however is it something not as widely discussed in Singapore. Several things became obvious to me when approaching pet architecture, and I’ll be documenting my insights in this book.

There are many similarities between Tokyo and Singapore, both known for being densely populated and dealing with it in their own ways. One important similarity are the plot ratios imposed on the land use, because of that many ‘in-between spaces’ are left behind. Urban planners in Singapore are often tasked to design and build with the core purpose to ensure that all Singaporeans have a home.

However, in-betweenness are often neglected as they do not fulfil the generic volumetric boundary of spatial design.

Known for being interested in domestic and cultural architecture, I was particular interested in Atelier Bow-Wow’s studied theory on Pet Architecture.

The text ‘Atelier Bow- Wow: A Primer’ by Atelier Bow-Wow is used as a theoretical framework to explore how in-between spaces can be inhabitable in the context of Singapore. In order to further elaborate it in this project, I have derived on a ‘No Good Spaces’ methodology which I will explain in this book.

The idea of in-betweenness will be manifested in the context of interior design.

The project aims to redefine the stigma of no good spaces and allow the hidden value in them to be uncovered. I will uncover and highlight them, letting the public view and reflect on the possibilities of unscripted inhabitations within.

06

Part one, Inhabitable In-betweens, is an installation at Bencoolen street that redefines no good spaces. By displaying unscripted inhabitations, it reveals the hidden value of in-betweenness. Part two, pondering days, is an experiential design under esplanade bridge. Like a landscape amplifier, rain becomes the protagonist of the performance and ‘activates’ the space. Part three, defying ‘no good spaces’, is a speculative design in a HDB maisonette corridor that lay claims on no good spaces and defy against the dictated what can one call their own.

The project helps to understand that the perception of scale does not equate to its actual physical size, as the sense of space is not directly convertible to numbers.

07

Austrian Cultural Forum / Raimund Abraham Location; new york Principle use; office Stage; built size; 25ft wide only

The Austrian Cultural Center is a 25ft wide pencil point tour de force, which makes it a kind of compressed microcosm, or even, at a stretch, a city in miniature.

The super thin tower challenged the limits of what could be built. Previously a townhouse, a twenty-four story high-rise only twenty-five feet across was erected.

The building was a reflection how architecture or space should not be limited, neither does it have to follow the normality of how it should be.

What are the limitations of a small and thin space, and what is the new principle of proportions?

08

I was always interested in Japanese design (Japanese architects, industrial designers, Japanese crafts etc) and is drawn to the meticulousness of their mastery.

There is an undeniable appeal to them. To fulfil my curiosity, I wanted the project to allows me to delve into the realm of Japanese design. This project is influenced

by Atelier Bow-Wow, a Tokyo based architectural firm known for its research exploring urban conditions and micro architecture. The two books that inspired the project topic are Atelier Bow-Wow’s A primer and Pet Architecture Guide Book.

Being interested in domestic and cultural architecture, they have researched and derived many theories: Pet architecture, behaviorology, micro public space, Dame architecture, generational typology and void metabolism. Out of the many, I was particularly keen in Pet architecture.

There are many similarities between Japan (mainly Tokyo) and Singapore, both known for being densely populated. Both being densely populated deals with it in their own ways. Pet architecture, a uniqu e building typology in Japan, strikes my interest in how such small and quirky buildings exist. Using pets as a metaphor representation of smaller / odd buildings and comparing it to humans (larger surrounding buildings), it sums up how architecture should be pet-like; fun, cheerful and quirky. ‘In-between spaces’ are often neglected as they do not fulfil the generic volumetric boundary of spatial design. The idea of ‘in-betweenness’ has to be manifested in the context of interior design and will be in this project.

09

Pet Architecture; to describe a unique typology of building which takes form in left over urban spaces. The term also lends itself to connotations of how we play with these spaces like they are pets: buildings can be playful and not take themselves too seriously. It is not at the forefront of aesthetic design or advanced technology, but it produces a unique characteristic which forces the users to make the most of smaller spaces.

Dame, which mean useless in Japanese, is often use to describe Pet Architecture as this particular type of building typology is usually found in leftover spaces . Pet architecture addresses the spare leftover spaces in urban areas, a unique typology in Japan architecture scene theorized

by Atelier Bow-Wow. These leftover spaces are usually smaller in volume, awkward in shape, sized atypical from the norm and slab in-between two or more buildings / structures. A manifestation of smaller spaces in architectural design isn’t new, but the way ideas are expressed can be different.

_what is pet ar

010

It is not at the forefront of aesthetic design or advanced technology, but it produces a unique characteristic which forces the users to make the most of smaller spaces.

rchitecture? ;_

0 11

The in-between-ness of functional buildings creates these unintentional spaces, instead of leaving them underutilized what more can it function?

This project is influenced by Atelier Bow-Wow, a Tokyo based architectural firm known for its research exploring urban conditions and micro / adhoc architecture.

Using one of its research concept ‘dame’ as a guide to the project, I was interested to question and find out if such pet-like spaces can exist in Singapore, and relook into the stigma of leftover spaces. The in-between-ness of functional buildings creates these unintentional spaces, instead of leaving them underutilized what more can it function?

012

Above: Insert of Atelier Bow-Wow A Primer book. Source by Author 013

I was always interested in Japanese design (Japanese architects, industrial designers, Japanese crafts etc) and is drawn to the meticulousness of their mastery. There is an undeniable appeal to them. To fulfil my curiosity, I wanted the final year project to allows me to delve into the realm of Japanese design.

what is

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It is important to manage the limited land space we have without eradicating existing architecture. With that curiosity to find out how can space utility be maximized in Singapore, I researched into Atelier Bow- Wow, specifically Pet Architecture, to find out how the theory can be explored in Singapore. Similarly, Japan is known for being densely populated too. I chose to research on Atelier Bow-Wow as they are in a rather comparable living conditions. Their approach on theories are also a more down-to-earth manner that I echo with.

Known for researching into micro architecture, the Tokyo based architectural firm closely associated the word ‘dame’ with Pet Architecture.

Anything that is a leftover is usually deemed useless or unwanted; the leftovers on a plate, the trash on the ground or the coffee bean waste after extraction. There seem to always be a negative connotation to the word ‘leftover’. I resonate with that the negativity that ties with it probably makes it less desirable.

014

Designing space based on the given volumetric boundary isn’t something new. As spatial designers, working with an interior or urban boundary is part of the brief.

However, how often are we needed to push the limits of it in Singapore?

Here in Singapore, since the Singapore Improvement Trust (SIT) set up in 1927 till the now current Housing Development Board (HDB), flats are getting smaller over time with prices rising constantly . Older homes that do not fit in the highrise living conditions tend to be demolished and rebuilt into new Build-ToOrder (BTO) flats.

The term ‘yosekiritsu’ and ‘kenpeiritsu’ in Japan shapes and limits the way architecture is built, what is a similar limitation in the context of Singapore? What makes the site interesting is the mix of influences in the planning zone; it has a few arts school in the vicinity, a tech-populated mall and a Buddhist temple a walking distance away. Although the site mentioned is under Rochor planning zone, it has no identity (fig. 1). Can a ‘no label’ space like this echo the surrounding environment and be given an identity?

015

Austrian Cultural Forum / Raimund Abraham Location; new york Principle use; office Stage; built size; 25ft wide only

The Austrian Cultural Center is a 25ft wide pencil point tour de force, which makes it a kind of compressed microcosm, or even, at a stretch, a city in miniature.

The super thin tower challenged the limits of what could be built. Previously a townhouse, a twenty-four story high-rise only twenty-five feet across was erected.

The building was a reflection how architecture or space should not be limited, neither does it have to follow the normality of how it should be.

With a limited architecture volume like this, the narrowness of interior space is pushed.

What are the limitations of a small and thin space, and what is the new principle of proportions?

016

Above: Image of Austrian Cultural Forum. https://www.archdaily.com/633790/ad-classics-austrian-cultural-forum-raimund-abraham Left: Drawing of Austrian Cultural Forum. https://www.pinterest.com/ pin/380202393537930545/

017

Storefront design for Art and Architecture / Steven Holl Location; new york Principle use; exhibition + events Stage; built size; triangular footprint from 1-7m wide only

The facade design at Kenmare Street was restored between 1992 – 1993. The site is shaped in a narrow triangle space that serves as a gallery space for architecture and art. Despite the narrow shape of the gallery and the limited floor area available, the peculiar structure of the storefront allows artists to create site-specific installations that creatively play and interact with the architectural and urban framework they are located in.

ealing

When d

When the ‘walls’ are closed, it shuts the space from the outside, creating an intimate and comfortable gallery space for its user. The panels are designed to flip at various angles, creating a continuity between the inside and outside space.

When opened, the voids on the walls and lighting condition changes, giving the space an ever-changing ambience.

The gallery becomes part of the street and the pathway, blurring the boundary of where the gallery space actually is.

018

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arrow s

with a n

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w do w ace, ho

o as

design s

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the v to fit into

Above: Plan and elevation of storefront design. https://www.inexhibit.com/mymuseum/storefront-art-architecture-new-york/ Below: Image of storefront design for art and architecture. http://storefrontnews.org/general-info/about-storefront/

019

Near House / Mount Fuji Architects Studio Location; tokyo japan Principle use; private residence Stage; built size; site area 66.42m2 building area 37.65m2

The site is located in tokyo, a dense residential area where inhabitants are allocated to limited land. The plot sold was subdivided into two areas by the land owner. That explains the small and awkward shape.

Taking advantage of the small width, the owners brought out its best by cuddling the feeling of nearness and smallness in the space.

Near House feels more like a big furniture or product rather than a house as it interacts with people so closely.

020

The bodily nearness with the softwood textures is within reach for

its user when hands s t r e t c h e d w i d e apart.

Above: Plan and elevation of storefront design. https://www.inexhibit.com/mymuseum/storefront-art-architecture-new-york/ Below: Image of storefront design for art and architecture. http://storefrontnews.org/general-info/about-storefront/

021

Puzzling together the research of the framework and the precedent studies, I knew I wanted a fitting methodology that can be contextualize in Singapore. In my opinion ‘No Good’ differs from ‘Not Good’. When I say one thing is ‘Not Good’, it seems to with-no-hesitation diss the subject and imply that something is bad.

However when I use ‘No Good’, it leaves ambiguity that it disqualifies something from being good. The ambiguity suggest a Third Space condition. Ray Oldenburg mentioned that a Third Space sets a neutral ground for people to gather. They come and go as they wish, there’s no specific activity, yet allows conversations to be engaged Also, ‘No Good’ as a common Singaporean Slang adds the touch of relevancy to Singapore.

‘No Good Space’ makes a suitable methodology as it can be represe or an adjective (useless, unwanted or wasted). The ambiguity in it allo

In my perspective, by stripping away the negative connotation in ‘leftover’, it can be translated to ‘no good spaces’. No good spaces that are often overlooked and left unused, can be redefined purposefully.

ented a noun (a conclusive description of something less desirable as if a being), a verb (no good, less desirable) ows the spatial quality to be less suggestive, giving more openness to possibilities.

no good spaces /nəʊˈɡʊd speɪs/ Learn to pronounce ‘noun; verb; adjective’ noun: a conclusive description of something less desirable as if a being verb: no good, less desirable adjective: useless, unwanted, wasted “that space in-between the two buildings seems like a no good space” “what can you do with that no good space?”

023

in-betweens + neg unscripted

Inhabitable in-betweens: amplify no good spaces through installation

‘pondering days’: experiential space design that is activated by the nat

defying ‘no good spaces’: laying claims to no good spaces

no good spaces

gotiable + re(order) inhabitations

The project aims to redefine the stigma of no good spaces and allow the hidden value in them to be uncovered. I will uncover and highlight them, letting the public view and reflect on the possibilities of unscripted inhabitations within.

tural occurrences

__________leftover space (urban planning guideline)

temporal

__________missed opportunity (won’t even consider)

transactional

__________leftover space + missed opportunity

permanent

inhabitable

Image of intervention 1:50 scale model. Source by Author

026

in-betweens

The project aims to create an installation that can redefine the stigma of no good spaces which are often seem as useless and allow the hidden value in them to be uncovered. The project will highlight such undiscovered micro spaces in Singapore, letting the public view and reflect on the possibilities of inhabitation in such in-between spaces.

027

unknown in The site was a spot that I personally pass by frequently to get to a film shop, however, I never noticed it until recently.

A trolley that was left near the road got my attention to this site that is sandwiched between two buildings (NAFA and a mix used building). The first impression of it embodies the qualities of a ‘no good space’.

Although the site seems unused, a walk into it showed some signs of inhabitation: a bed, undergarment, graffiti, a ‘desired path’ created and human trash. The site was created in between two functional buildings, unintentionally.

028

~ 1100 - 1130

NAFA

RESIDENTIAL

DECK SG

SITE

MIX-USE

The locality of the site was also a consideration as it is at the arts and culture district and near a Buddhist temple. Falling under the planning area of Rochor, the surrounding is projected to be Singapore’s budding arts, culture and educational district. With the initial findings, I am curious to find out about the inhabitability of such in-between spaces.

nhabitation

029

In Singapore, there are also plot ratios that indicates the maximum allowable use of space for development, varied by the area of land. These ratios will determine how big or small the building is. Although the control plans are not as special and detailed as Japan, the in-betweenness of functional buildings often create these unintentional space.

In the site at Bencoolen Street, an unused space is created in- between two very functional buildings. These unintentional spaces created serves no function or purpose as they do not fulfil the conventional volumetric boundary of a building.

Without a functional purpose to these spaces, thus leaving them as useless or abandoned.

The narrow width and depth of the site reminds me of a Machiya House in Japan (mainly Kyoto). In these traditional woodhouse, they serve both the purpose of a shop and a house.

In a Machiya setting, the of the Machiya would be ence to a Machiya House, area of the site.

However, after taking into consideration the existing site context in the vicinity, the extreme ends of the site (point A and B) is in fact the most open while the off-middle is the most private area.

030

Such a force between space and the people inhabiting in it creates a relationship between the both, which is vital in space-making.

front of house is the most open space as it is usually where the storefront will be at. Back the most private areas, which includes kitchen, rooms and toilet amenities. Drawing refer, I first assumed that point A would be the most open and point B being the most private

In Echo of Space / Space of Echo, Atelier Bow-Wow discussed the correlation of a sports court and boundaries.With the boundariesmarked, our bodies naturally seek to react to these guides. The markings on the ground invincibly curates the kinetic experience of the users; the round lines, the rectangular box and the dotted or full lines all creates the human interaction between the people and the space. Likewise, the human activities reciprocates with the boundaries demarcated silently.

These signs displayed the act of traces left behind by humans that inhabited the space. The kind of activities will respond to the site, vice versa the site will show signs of inhabitation. Such a force between space and the people inhabiting in it creates a relationship between the both, which is vital in space-making.

031

The intention of a poster manifestation is to assume the reader to sense the spatial quality of narrowness through in-betweenness. By doing so, I could then sum up the findings. It should inspire the outcomes, reflect how the space will feel and guide the developments ahead.

For the A1 poster deliverable, the dimensions were challenged (without compromising actual surface area) for a physical portrayal of in-betweenness. The void left white is torn out on the printed copy, which gathers the reader to what is in inside the in-betweenness.

032

scan and ‘assemble’ online!

This creates a visual focus on the in-between space, which is the focused limit of the project. The poster mimics a fisheye lens, drawing the attention from a top to bottom and left and right scope. The intent of the poster, marrying the narrowness of the designed poster, assumes the viewer to compare its in-betweenness and narrowness with a bodily comparison with oneself.

033

usin

g ra

Wire meshed used to overlay replicate the dep re

ssed

wm

ater

ials

, the

trac

es o

f inh

abit

atio

n is

mar

ked

.

unknown traces.

034

Thinking through making - This phase is to explore the nature of spaces and boundaries in a more abstract way without having physical limitations of an actual site or place.

Akane Moriyama (b.

1983, Japan) is an artist / designer based in Stockholm. With her background of studying both architecture and textile, she intervenes architectural space with textile. Azorean Spectrum Range aims to extend the interpretation of territory. The long structure gradually transforms from one colour to another, changing in appearance as visitors move across the space, creating a new sense and perception of scale.

What makes the installation a relevant case study is the light touch of the intervention: how the work infuses the museum courtyard with an intimate flair that invites the public to sit and observe, possibly reflecting on the dimensions and potentials of this particular public space.

035

By exploring the xyz axis of the concept models, various materials like wires, paper mache and fabric was used to iterate. Fabric turns out more favorable as the lightness and flexibility of the material gives the space a sort of intimacy, yet set certain boundaries within the space.

036

A walk in the site allowed me to experience the serenity and think about the given qualities nearby.

Mentioned in an essay

by Kengo Kuma, in his years of design he questioned about what architecture and designing a space is to him. In architectural theory functionalism, I acknowledge that there is a strong relationship between our bodies and the surrounding, and each element in architecture has a purpose collectively, hence is it important not to neglect the co-relationship of our bodies and the designed space in spatial design.

The design moments will speculate how people can use and inhabit in the nature of a given space, and how the given boundary will not be limited by its physical volumetrics.

037

038

Expanded metal mesh as a material gave it structural integrity and the flexibility to take form. It also produces the quality of porosity that fabric has. However it lacks lightness and gives a very heavy spatial awareness.

039

Amaike Super Organza is an extremely light fabric invented in japan. It is a very fine 7 denier polyester organza thread, about one fifth or sixth the thickness of hair. The unique and highly advanced processes enable the manufacturer to produce this very light fabric weighting just 10 grams per square meter.

The unique and highly advanced processes enable the manufacturer to produce this very weighting just 10 grams per square meter.

The porosity of the materials balance out the user’s ‘territory’ in the space, also creating a new sense and perception of

l i g h t fabric

scale.

040

041

The full sun is something that we take for granted in a big open space, but in a small s at site) makes it more precious. By mimicking the natural lighting conditions at site, differ harsh contrast. These shadows set unformatted boundaries for inhabitation. The kind of of ephermeral setting.

042

space given only at specific timing (1100-1130 rent shadows were casted: overcast, faint and inhabitation is temporal, giving the user a sort

043

044

These signs displayed the act of traces left behind by humans that inhabited the space. The kind of activities will respond to the site, vice versa the site will show signs of inhabitation. Such a force between space and the people inhabiting in it creates a relationship between the both, which is vital in space-making.

045

In Kengo Kuma’s book Small Architecture: And Natural Architecture, using radish as a representation he describes that what makes anything unique to its locality is the driving forces that affects the object (just like how radish grown in Japan is different from any others). An apple tree grown in Singapore, although seeds might have been sown elsewhere, is unique as the conditions it is grown in are different. Such variable factors make it different. What is it that makes the architecture different in Singapore?

Here we do have many iconic architecture, and we should celebrate the vast amount of unique architectural silhouettes (Figure 16). A pet space in Singapore will different from Japan simply because of its locality; the cultural, mix-religion and many other influences.

What makes the architecture in Japan different cannot be the same in Singapore.

Likewise, what makes the pet spaces different in Singapore different will not be the same in Japan.

The model shows a longitudinal perspective of the many design moments that is speculated to happen within – people gathering, individuals doing activities on their own or merely passing by. The installation draws parallels with Studio Akane Moriyama’s installation by adding a subtle touch to the site. What I did with the porosity and lightness of the Amaike Super Organza fabric is to balance out the user’s ‘territory’ in the space, creating a new sense and perception of scale. What makes the installation ephemeral is the lighting conditions. The different shadows casted through the fabric (faint, overcast and harsh light) sets unformatted boundaries for inhabitation - the inhabitations are temporal, creating moments that are slightly fleeting.

046

n Image of interventio

047

with speculated

design moments

urce by Author

superimposed. So

one point perspective; mix medium render of intervention

1800 panoramic sectional perspective; mix medium render of intervention

Inspired by Situation Normal’s quirky methods of expressing their ideas, a panoramic sectional perspective representation fits the project as it shows both the narrow quality of the site and the surrounding elements. The walking human (bottom right) cut-out at feet is the section cut point of the panoramic section.

panoramic sectional perspective; mix medium render of intervention

The heightened bodily experience keeps us aware that such spatial typography can be design opportunities. The project is a tool to identify such spaces; to use the methodology as a lens to make aware that such no good spaces exist and the opportunities it has.

tangibles

in-betweens

The project is a tool to identify such spaces; to use the methodology as a lens to make aware that such no good spaces exist and the opportunities it has.

By marking _____________ out the traces of inhabitation noticed, the relationship between our bodies and the space is displayed. The displaying of unscripted inhabitation reveals of the hidden value of in-between spaces.

intangibles Traces of inhabitable can be seen anywhere and throughout. The study of the Atelier Bow-Wow’s framework, Pet Architecture, allowed me manifest the possibilities of in-between spaces and contextualizing it in an interior design context.

The installation amplifies such spaces and entice people to ‘display’ traces in them by inhabiting in it.

054

055

‘ponderin Using a ‘missed opportunity’ typology found in Singapore’s urban space, the project aims to create an experiential space design to revalue such insignificant spaces by ‘activating’ it.

ng days’

Chinatown Baseketball Court / Unkown Location; singapore Principle use; mix-use Stage; built size;

One of Chinatown Complex’s kept secret is its basketball court, on its roof. Who would think a basketball court will exist on a rooftop?

This space might be trendy for being an instagram-worthy spot, it beats the conventional use of rooftops; which typically functions to shed water, to protect building interiors or for industrial assemblies.

Spaces like that are c a

k e ; we question to occupy them or not. Utilization of space in Singapore vi t y - l i

How can we value the emptiness of such missed opportunity spaces?

emptiness

058

sometimes demands to not let things go to waste. How much is enough, and when do we not overdo it?

Above: Image of Chinatown Complex basketball court. https://www.ricemedia.co/culture-life-stfu-guide-singaporepeople-who-cant-stand-people/

059

Highline Project / Diller Scofidio Location; manhattan new york Principle use; urban public park Stage; built size; 6.7 acres, 1.5 miles

After the railway line retired, the train track structures were left abandoned and nature took over. After years of debate to retain the beauty, the state of New York and the New York Central Railroad agreed on the West Side Improvement Project, which included the High Line.

What makes it significant in terms of its adaptive reuse historical past. It is admirable to build something new a elements on site gave cues to what possible new designs

060

is the effort to integrate new designs and its and still retaining the old. The florishing nature s to speculate.

What

cues

can we space designers take from the site to value our designs?

Left: Bird’s eye view of Highline. https://dsrny.com/project/the-high-line Top: Old functioning tracks of Highline in 1930s. http://cargocollective.com/Uofanycstudioarch/HIGH-LINE-ARCHITECTURE Below: Integration of old and new elements on the Highline. https://www.archdaily.com/24362/the-new-york-high-line-officially-open

061

MIT Chapel / Eero Saarinen Location; Massachusetts Institute of Technology, united states Principle use; religious, non-specific Stage; built size;

Completed in 1955, the MIT Chapel is a simple cylindrical volume that has a complex and mystical quality within. Saarinen’s simple design with materials and light awakens the spirituality in the visitor.

Located in a small forested area on campus, the brick wall creates an ‘insulated space’ for its visitor to dwell in their emotions.

Above the white marble altar, a metal sculpture that hangs from the skylight shimmers in the sunlight; reflecting and distributing light into the interior of the chapel. Using the natural uncontrolled elements of nature at site, the sculpture appears as a cascading waterfall of light that is constantly adjusting, moving, and redefining the interior of the chapel.

062

Below: Interior space of MIT Chapel. https://www. archdaily.com/112682/ad-classics-mit-chapel-eerosaarinen Right: Skylight opening and sculpture. https://www. archdaily.com/112682/ad-classics-mit-chapel-eerosaarinen

How can we create an intimate space, be isolate while celebrating the u

o

o

t n c l r n l

e

d elements of nature?

063

ca

ke vi t y - l i

u

o

o

t n c l r n l

064

(under)

esplanade bridge

cues

natural occurences e

d

activating spaces

065

066

Above: First firework display at Esplanade bridge. https:// mothership.sg/2019/08/singapore-first-ndp-1966/

The cavity-like space under esplanade bridge fits a missed opportunity space. The opening in-between the highway allows rain to pass through, keeps the space under well-ventilated, and gives a good source for natural lighting. However it is an urban interior typology that will not even be considered for space-making.

To occupy or not? What does the occupation means in an interior design realm.

067

(under)

esplanade bridge

In Singapore chronicles: Environment (p. 28-29), it explains why highways in singapore are designed and built with a split opening.

Concrete is a harsh (and ugly) material to exist in a garden city. When light passes through, it allows greenscape to grow and soften the concrete in a biophilic manner.

The natural occurences at sight is momentarily. In order to embrace the ‘passing by’ qualities, one need to observe for prolong periods. A mere chanced upon moment makes the encounter fleeting and temporal.

How can i use the uncontr

068

natural occurences; rain, light, wind

rolled conditions to highlight such insignificant spaces, but with greater intentions?

069

Above: First national day parade; fireworks display at esplanade bridge; founding father’s farewell; bicentennial experience 2019 .

Rain seeems to mark many significant events in singapore.

In the bicentennial experience exhibition, ‘rain’ was used to commerate marked events in a nostalgic way. Why do rain have to follow with a sad or moody connotation?

How can we celebrate the existence of rain?

070

071

overcast

dim

moderate

072

lighting

073

~1100hrs

~1400hrs

rain; jumps, goes up and down, quiet, makes noise, make mist acoustics of rain: therapeutic, rhythmic, intensity

074

075

(but we always avoid it)

076

Respecting the site’s qualities; On rainy days, the scenery is different from the usual. Rain becomes the dramatic protagonist of the performance. In an urban scale, rain is miniscule: like walls and partitions of a building to create rooms. Rain can create small spaces amid the bigger space of the urban interior.

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If the architecture or urban qualities cannot be autonomous and can only exist as relationships, then how are the relationships to be designed?

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Whereever rain come from, little puddles of water are formed.

These puddles were the initial inspi

The shallow pond on the ground resulted from

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A diagramatic view of how rain will fall through the opening and into the to site.

iration for the intervention.

a natural sighting achieved an unformatted space for users to embrace the quality of water.

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In natural phenomena, subtle differences are reflected closely. Compared to convential s urban interior space, rain droplets are extremely small. However, the effects of it gives for thing substantial. It is far smaller than any everyday scale. In fact we can almost unable t Water vapor in the air con there, only when it is in massive agglomeration. erate or permanent. When

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scale of architecture or an rm to the space as someto sense that it is actually ndenses, forms a cloud, and causes rain to fall. This cycle is transparent. It is neither delibn in collective, in can be perceive as a natural phenomena or as a landscape in our daily life.

Left: Photomicrograph of cloud droplets. Junya Ishigami ‘another scale of architecture’ p.199 Right: Water splash and their peripheral phenomena. Junya Ishigami ‘another scale of architecture’ p.201 083

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Water trinkles, flows down by drop. by roughening the texture, it amplifies rain.

Rain then makes noise, jumps up and down, and becomes the supporting actor of the performance.

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Rain, is uncontrolled. By covering up the openn ditions of rain. Rain as a subject is curated in th

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ng on the roof, it controls the uncontrolled conhe space.

Without eliminating the uncontrolled conditions of light, it is used as a tangent to amplify the natural occurences at site.

The explorations figured out that the varietions were almost considerably unnecessary. The main intention is to control how rain flows and enter the space.

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On a non-rainy day, the show goes on. Rain st replicated and cascaded it on the site.

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teps away from the show while light supports the act. Using light as a tangent condition, the effects of rain is

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Light and rain work hand-in-hand in this performance.

The concept models put together is a visual representation of the in intervention focuses on three key aspects: the roof, the slanting wall

Rain, is uncontrolled.

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Rain as a subject is curated in the space. On a non-rainy day, the show goes on. Rain steps away from the show while light supports the act.

ntervention. The designed l and the ground plane.

By covering up the openng on the roof, it controls the uncontrolled conditions of rain. Rain as a subject is curated in the space. Water trinkles, flows down by drop. By roughening the texture, it amplifies rain.

Rain then makes noise, jumps up and down, and becomes the supporting actor of the performance.

On a non-rainy day, the show goes on. Rain steps away from the show while light supports the act.

Using light as a tangent condition, the effects of rain is replicated and cascaded it on the site. Light and rain work hand-in-hand in this performance.

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‘pondering days’ In my pondering, chasing rainy days that are, simply temporal.

The haiku was inspired by the serpentine pavillion 2019 by Junya Ishigami. In his words, he described his design as ‘A black bird flying in a rainy london sky’. It was poetic and beautifullu described; which sums up his pavillion design very simply.

The haiku is formed using 3 key words, pondering / rainy / temporal, as these were the words that best describes the user experience in the space.

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scan and watch the experience!

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Like a landscape amplifier, the experiential design under esplanade bridge is amplify the natural occurences observed.

In order to ‘perform’ the design outcome without defunctioning what is established, I knew I had to be sensitive with the activities at sight: passing by humans, cyclists, runners or merely people gathering in the space.

800 The tangent pond stretched over a few metres, is detailed down to the 10mm. The detail is almost negligible,

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10mm 6000mm

00mm but yet makes the space when activated by rain.

10mm

500 0 097

1000

2000

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‘pondering days’ In my pondering, chasing rainy days that are, simply temporal.

Interior perspective of intervention under esplanade bridge

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Under the esplanade bridge, a performance is screened, but only activated by rain. From this simple and humble gesture, a new landscape amplifier is born. Neither closed nor completely open, it is a space in itself but it is part of its environment at the same time.

Inside, rain becomes the protagonist of the performance while light s deny its confinement. Thus, the concepts of interior and exterior, in a

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In some way, there is a reminiscence of the most primitive of architectures. One that reunites humans, urban landscape, and matter of earth.

supports it. The space sanctifies a small portion of the urban landscape but respectfully a diffuse and ambiguous spatial experience.

tiable Light enters through the opening. Inside it, we ponder, chase after rain and finds shelter and protection. ‘Pondering days’ coexists harmoniously with the urban interiors, letting in winds. In some way, there is a reminiscence of the most primitive of architectures. One that reunites humans, urban landscape, and matter of earth.

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g n i y def

‘no

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good spaces’ Using Rights to the City by David Harvey as a theoretical framework, the project lay claim to no good spaces in Singapore. As a summative to the personal project, the project will lay claims on no good spaces and defy against the dictated what can one call their own.

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What if people are g the dictated what c

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‘What kind of city we want cannot be divorced from the question of what kind of people we want to be.’

david harvey, rights to the city

Spatial inequality was a result of commodification and capitalism; unequal amount of qualities or resources depending on the area or location. It is a right to change ourselves by changing the city; thus the intervention. In David Harvey’s concept, establishing democratic management over its urban deployment constitutes the right to the city. Quoting him, ‘What kind of city we want cannot be divorced from the question of what kind of people we want to be.’

given the rights to lay claims and defy against can one call their own?

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p1 - p3

How can our

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In Kengo Kuma’s Studies in Organics he refers to us humans as ‘organisms’.

In my intepretation, we organisms (humans) seek shelter.

Buildings exist as a shelters (homes) but also in our urban landscape as a point we ‘enter’ and ‘leave’. Such relationships of organisms entering and leaving the shelter can be quite monotonous. If we seek to shelter, how can our relationship with space be fostered?

‘apertures of inhabitation’

humans

buildings

organism seeking shelter

place of ‘enter’ and ‘leave’

relationship with space be fostered?

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urban landscape

130 towner rd 0 11 2

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Site observations; Double volume space at corridor Leftover space + miss opportunity typology Distanced from the ‘rest’ Exclusive (soloist) - ‘landed in the skies’ Unfamiliar - not like the typical hdb community vibes Way more personalization of space Plants as ornament and personalization In-between the average incomed and wealthy

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distanced

exclusive unfamiliar

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precious / not precious spaces planned / unplanned

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superimposing p1 + p2 into p3

By superimposing the outcomes of project one and two, it display the qualities of the hdb maisonette. In project one, I explored a leftover space that resulted in-between two buildings. In project two, I seek the relationship between nature and space under the bridge through the play of natural occurences.

Project three holds the qualities of both; a narrow corridor space with opportunity for vertical exploration, and a space that is precious and possibly reveals a lot more opportunities, but merely overlooked.

leftover + miss opportunity typology neglected(?) social class issue(?)

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windows

sunlight

In the movie Parasite, the director used three elements in cinematography to portray his vision of works. I used the three elements to study the typological differences between a standard hdb, a hdb maisonette and a landed property.

elevation

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inside

outside

private - bedroom

What defines ‘inside’ and ‘outside’?

Stripping away the relevancy of the movie to social class status, I was particularly interested in ‘windows’. Windows are like the eyes of our homes. In a hdb maisonette, the ‘field of view’ makes it rather unusual due to the double volume space in the corridor. What is an inside space, and what is an outside space?

semi private - dining

Field of view (FOV) is the open observable area a person can see through his or her eyes or via an optical device. On the left shows an illustration of FOV in a elevation and plan view.

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inside

outside

House without Depth / Atelier Bow-Wow

Jalousie House / Limdim House Studio

House N / Sou Fujimoto

Moriyama House / Ryue Nishizawa

Location; vietnam Principle use; residential Stage; built size; 300m2

Location; vietnam Principle use; residential Stage; built size;

Location; japan Principle use; residential Stage; built size; 150m2

Location; japan Principle use; residential Stage; built size; 290.07m2 (site area), 130.06m2 (built area), 263.08m2 (total area)

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Riverbend / Davis Brody Bond

Maisonette (site) / HDB

Location; new york city Principle use; mix-use Stage; built size;

Location; singapore Principle use; residential Stage; built size; 1.8 x 5.2 x 43m (single level)

The case studies were analysized using simple box diagrams in sectional elevations. The boxes demarcate the smaller spaces in the architecture. These small spaces forms interstitial spaces within. The smaller spaces demarcated by plane areas creates interstitial spaces that give opportunities for unformatted inhabitations. This breaks down how interstitial spaces can blur the boundaries of the inside and outside by the use of simple planes.

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inside

outside

private - bedroom inside

no good space

outside

inside + outside + no good space

semi private - dining

inside

outside

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The perimeter of inside and outside is ambiguous; does the corridor fit into an inside or outside boundary? can the boundary of an inside, outside and a no good space be blurred?

What are the possibilities within a hdb maisonette corridor space?

site; 1.8 x 5.2 x 43.495m double volume corridor space

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The collage interstitia back the fa

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e sums up the ideal intervention to be designed; al spaces in the corridor, bringing amiliarity of hdb living.

double volumed

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plane

transparency

porosity The makings of concept models allow me to understand that fundamentally what I needed are solely planes. Using that as a singular element, it can produce many possibilities.

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‘Planes’ were used to explore the various concept models. Planes as a singular element give opportunities for expansion.

With transparency and porosity on planes, it allows for expansion in the space while retaining the spatial quality of the the site.

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degree of

to edit; The concept model gives its user spatial exploration at various heights, however, i’ll need to take into consideration of height limitations.

to edit; The translucent mesh from ground to ceiling creates a dividen within the ground surface.

The design will be raised so that the intervention can be non-evasive.

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multiple permutations of the concept models imposed into the hdb maisonette gives an array of intensity to defiance; the scale of defiance is then dependent on its user.

defiance

to edit; As a large drapery, I’d need to take into consideration the material choice and porosity of it.

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to edit; The scale of each individual cube is amended to 350mm 20mm steel poles. The thickness aims to give the intervention a sort of lightness, while the dimensions of the individual cube gives variety and expansion to the user.

to edit; The perforated openings punched into the surface allows light to pass through. The openings can be more strategic.

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By having multiple permutations imposed into the hdb maisonette, it permits us to lay claims and re(order) what is dicated to be called our own.

A collage and sticker illustration of the intervention at site gives a kind of reject and repel to what is at present; a sort of overthrow of what is dictated.

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Made out of steel mesh, the structure can maintain its shape even with constant input of pressure. the mesh facade can be used as a shade from the harsh natural lights, but also potentially as a habitat for plants to climb. Within the intervention, it allows spontaneous conversations.

The topography of the elements is a potential social space, where the walls, parapet and ‘roof’ are dictated by its user.

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20mm steel poles in 350mm latticcework pattern formation, it seems to lower down out of the ceiling like a matrix. Like a transparent terrain in the sky, the structure is broken to allow people access as well as to generate different uses around, below and on it. It allows all sort of inhabitations from humans to pets, and anything in-between.

A simple cube, scaled to the human body, is repeated to build a form that exists between the organic and the abstract, to create an ambiguous structure that will blur the boundaries between interior and exterior.

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This variant is an attempt to challenge the conventional schemes of the domestic spatial design by proposing a scheme that redefines public and private space; its design places an emphasis on the relationships between the public and private spaces. The facade-like unit strategically placed at the side, so they never directly face each other, which create a sense of privacy.

There are no walls to mark the transitions between the corrdior spaces throughout, creating an interesting dynamic relationship the exterior and interior.

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Made from a large translucent fabric, the curtain for the façade covers a ‘window’ of W5 x H4m, giving privacy to the residents with low degree of defiance. The drapery opens like a stage curtain when pulled. This movement changes the quality of light and thus the character of the corrdior space.

The double volumed space in the corridor can appear like a tower, or a castled private space depending whether the drapery is drawn or open, blurring the boundaries between the outside and inside.

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In reality, we organisms (humans) seek shelter. Buildings exist as a shelters (homes) but also in our urban landscape as a point we ‘enter’ and ‘leave’. Such relationships of organisms entering and leaving the shelter can be quite monotonous. If we seek to shelter, why are spaces not reordered to suit us.

re(or

To re(order) is to simply

The desire to lay claims and to defy the dictated should be called by ourselves. The rights to people is when we come to fill in the spaces, on our own accord.

rder) The desire to lay claims and to defy the dictated should be called by ourselves.

Why are we not using such spaces when it is apparent they they are opportunities? The rights to people is when we come to fill in the spaces, on our accord.

arrange something again (or) differently.

no good spaces

in-betweens + neg otiable + re(order) unscripted inhabitations

Building a house / space is not all about money. To build a good living space, you need to put in thought. How you spend your money is an important question to answer, but what matters more in my opinion is the value and quality of it. Living in a city like Singapore, you do not need everything at home. The city compensates what you do not have. Living in a city, is living with changes and new experiences.

Like our spaces, it should be evolving.

I hope we can understand that the perception of scale does not equate to its (our) actual physical scale, as the sense of space is not directly convertible to numbers.

So, ‘how many square meters’ should not be the sole consideration.

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