inhabitable 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.

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’.

unknown inhabitation

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.

NAFA DECK SG ~ 1100 - 1130

RESIDENTIAL

SITE MIX-USE

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 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.

wn inhabitation

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

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

In a Machiya setting, the front of house is the most open space as it is usually where the storefront will be at. Back of the Machiya would be the most private areas, which includes kitchen, rooms and toilet amenities. Drawing reference to a Machiya House, 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.

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.

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.

using raw materials, the traces of inhabitation is marked.

Wire meshed used to overlay replicate the unknown traces. depressed

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.

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.

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.

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.

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 light fabric 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 scale.

The full sun is something that we take for granted in a big open space, but in a small space given only at specific timing (1100-1130 at site) makes it more precious. By mimicking the natural lighting conditions at site, different shadows were casted: overcast, faint and harsh contrast. These shadows set unformatted boundaries for inhabitation. The kind of inhabitation is temporal, giving the of ephermeral setting.

The full sun is something that we take for granted in a big open space, but in a small space given only at specific timing (1100-1130 at site) makes it more precious. By mimicking the natural lighting conditions at site, different shadows were casted: overcast, faint and harsh contrast. These shadows set unformatted boundaries for inhabitation. The kind of inhabitation is temporal, giving the user a sort

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.

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.

Image of intervention with speculated design moments superimposed. Source by Author

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

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.

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‘pondering days’

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.