10 minute read
preamble
from gsa fyp pf
by Alvin Quek
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.
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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?
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. 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 architecture? ;_
_what is pet architecture? ;_
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?
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 atelier bow wow about how i perceive architecture and space design should feel like
useless; what kinda space pet architecture usually reside at how i can rename them?
why use it as a framework
where it exist in japan why call it pet architecture
method to inclusion of space
what i think pet architecture is types of space it exist at
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.
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?
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.
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?
With a limited architecture volume like this, the narrowness of interior space is pushed.
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/
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. When dealing with a narrow space, how do we scale design so as to fit into the volumetric boundary?
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.
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/
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.
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/
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 represented a noun (a conclusive description of something less desirable as if a being), a verb (no good, less desirable) or an adjective (useless, unwanted or wasted). The ambiguity in it allows the spatial quality to be less suggestive, giving more openness to possibilities.
