CITIZENS’ ASSEMBLY Seeing Beyond the State Narrative Through the Counter-Spectacle
Azizul Izwan NUS M.Arch (2015/16) Thesis Design Portfolio
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CITIZENS’ ASSEMBLY
Seeing Beyond the State Narrative Through the Counter-Spectacle
Prologue Increasingly, we are witnessing many cities across the globe consciously branded and marketed to replicate the Bilbao Effect for the long-term economic and political aims of the city. They involve delicate urban planning strategies to create an integrated urban environment and infrastructure to host occasional large-scale but short-lived spectacle events, so much for the projection of an ideal image of the city to the international eye. However, beneath this spectacular urban façade, does the stories of the urban dwellers tell a similar image of progress and equality among all groups of people? Being a City State, the urban spectacle in Singapore has another agenda – a concrete manifestation of the State Narrative also conveniently known as The Singapore Story. Amidst the urban spectacle in Marina Bay, the venue for several spectacle events throughout the year lies the Singapore Flyer. A tool to view and 2 |
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understand the city as curated by the State and merely a visual decoration to the Singapore skyline. Its financial failure is evidence of the infeasibility and unsustainability of such urban spectacle strategies, turning yet another structure into a white elephant. This thesis questions the objectives and impacts of the urban spectacle phenomenon in Singapore. It involves using the Singapore Flyer as an architectural and political tool to understand the city beyond the visual and beyond the State Narrative such as the hidden socio-political issues that Singapore needs to address as a City State. As a result, this transforms the wheel from a machine to facilitate passive spectatorship of the State Narrative into an integrated complex that promotes active participation and contribution of the unofficial narratives of Singapore as contributed and curated by her citizens.
CONTENT PAGE
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Prologue
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Urban Spectacle Phenomenon
Origins of the Urban Spectacle The Singapore Story Urban Spectacle in Singapore Chasing Rainbows through the Tower of Babel
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Choice of Site
Reclamations at Marina Bay Singapore Flyer - Breakdown of Components Problems of the Singapore Flyer - Site Studies Reasons for Failure Intervention and Objectives
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Initial Approach
Process Drawings Process Renderings Process Models
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Final Resolution
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Site Approach Form Derivation Programme Drawings Renderings Models
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Acknowledgements
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http://www.oddcities.com
Urban Spectacle Phenomenon Origins of the Urban Spectacle The phenomenon of the urban spectacle rose from a social trigger. Our society of spectacle is increasingly addicted and bombarded by the consumption of visual images every day. This is fuelled by advances in optical and visual technologies, from the camera lenses to capture such images to its reproduction in digital and hard copies through the printing press, the mass media and the new media. Imagery hence becomes an important medium of communication that is ‘instantaneous and louder’. 4 |
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The spectacle is an inverted image of society where relations between commodities have supplanted relations between people and passive identification with the spectacle supplants genuine activity. The spectacle is not a collection of images. It is a social relationship between people mediated by images. The spectacle obfuscates the past, imploding it with the future into a unified mass, a type of never-ending present. Thus the spectacle prevents individuals from realizing that the spectacle is only a moment in history.
http://tw.hdstockphoto.com
The society understands the world through images. Imagery hence shape their desires and identities be it as an individual or as a collective community. This reduces the authentic social life into a mere representation; a decline from being, to having, to appearing to have. Applying this to the urban scale forms the gist of the urban spectacle. Its objective is to create a curated physical landscape as a backdrop to project a make- believe representation of the idealized image of the city in order to achieve her long term
economic and political ambitions. The Guggenheim Museum in Bilbao is an example of using architecture as a city-branding tool to achieve this objective; in the process transforming a sleepy post-industrial city into a ‘Cultural Capital’ and tourist destination. Today many other cities with the same objectives are investing billions in architecture, urban master planning and infrastructure in order to replicate the ‘Bilbao Effect’.
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The Singapore Story
Bottom: 9 August 2015, 8.47pm. SG50 National Day Parade. Panoramic shot of Marina Basin and its surrounding area as seen from Marina South. Urban Planning guidelines from authorities including that of night lighting allows for the orchestration of an integrated photogenic urban landscape of Singapore especially during spectacle events where this urban setting becomes the backdrop to portray an idealized branded image of the city to the international eye.
In 1997, then Deputy Prime Minister Lee Hsien Loong introduced the National Education (NE) initiative. The new program was launched with the objective of inculcating a heightened sense of national identity in young Singaporeans, which he claimed was necessary if they were to face the challenges of the future successfully. The Singapore Story is the official State Narrative of Singapore. The “Singapore Story,” as he labelled the officially sanctioned history of the nation, constitutes, he said, “the backdrop which makes sense of our present. It shows what external dangers to watch out for, and where our domestic fault lines lie . . . Our young must understand Singapore’s unique challenges, constraints and vulnerabilities” Being a nation made up of an immigrant population with multiethnicities, the State needs to establish an ideology and a sense of national identity within its citizens so they remain rooted and not result in a brain drain of her much needed human resource that had been invested into the population in schools to prepare them for the workforce to support Singapore’s economic sustainability. In addition to the implementation of lessons in schools and textbooks, the values of the ideology of The Singapore Story continue to be reinforced and play a part in other institutions and situations such as National Service, the State media and also symbolic events like the National Day Parade and the National Day Rally. The Singapore Story has a two-pronged approach. The first is to celebrate the success stories of the past to instil a sense of pride in her citizens. The other is to introduce the element of fear and vulnerability in order to propagate the crisis mentality and perpetuate this ‘national struggle’ in fear of future failures. By implanting such national ideologies onto citizens, the State have better press and social control over the population so they may cooperate with the justified and rationalized state policies so as to secure long-term political stability.
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Urban Spectacle in Singapore
Besides attempting to replicate the Bilbao Effect in projecting a marketable image of Singapore to the international eye, the urban spectacle in Singapore has another agenda. It is a physical manifestation of The Singapore Story to inform and remind generations of locals and foreigners of the official State Narrative. It forms the backdrop in symbolic and historic national spectacle events such as the National Day Parade, which is also an avenue to reinforce the national ideology of The Singapore Story. Such massive expenditures on the urban spectacle feeds on public resources yet favour only the super-rich elite minority causing them to be underutilized. Such superficial strategies conceal social relations and actual crises taking place within the city. The majority becomes under-represented, causing them to feel neglected amidst this dilemma between national necessity and global ambition. This poses a threat to the sense of national identity and cooperation among citizens that the State needs. If extrapolated to an extreme end, this could lead to a revolt by the population.
Top: Night lighting at Marina Bay Sands on NDP Preview dated 31 July 2015. Private commercial buildings and landmarks in the vicinity of Marina Basin have special lighting schemes during special occasions giving the illusion that the celebratory events extend beyond the event venue but also throughout the entire Marina Bay. Bottom: SG50 National Day Parade at the Padang on 9 Aug 2015. Besides the ‘spectacular’ urban setting backdrop, spectators are fed with powerful images on large projector screens that provokes certain emotions to further the national agenda of The Singapore Story. From the video tribute to Mr Lee Kuan Yew to celebratory moments as seen here where the spectators themselves become live props as recoded footages are selectively projected conveying an image of a united nation celebrating this historic occasion.
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Chasing Rainbows through the Tower of Babel
“For the young, let me tell you the sky has turned brighter. There’s a glorious rainbow that beckons those with the spirit of adventure. And there are rich findings at the end of the rainbow. To the young and to the not-so-old, follow that rainbow, go ride it.” Mr Lee Kuan Yew (1923-2015)
Entitled “Chasing Rainbows through the Tower of Babel” this montage aims to illustrate the hard truths behind the urban spectacle phenomenon in Singapore.
Just like how the construction of the Tower of Babel was an ambitious attempt to reach for the heavens, this urban spectacle made up of the elements of Singapore’s urban spectacle landscape is a physical mechanism to chase for the rainbow that PM Lee has been encouraging his citizens to pursue. On the outside, these bombastic architectural icons are orchestrated as an enormous and impressive ‘Tower of Babel’ to portray an ideal image of Singapore as a progressive City State to the International Eye in order to attract foreign talents, capital and expertise to achieve her economic goals and global ambitions. It is perpetually in a state of under construction, in a never ending journey of progress to grow taller and bigger so as to reach for the clouds and the virtual rainbow. This background of the urban spectacle is also used during national spectacle events like the National Day Parade to communicate the imagery of the national progress that the State wants her citizens to believe in. This helps to reinforce the national ideology of the State Narrative which is grounded on celebrating past successes despite overcoming the odds and how the journey of this national struggle is far from over, warning citizens to never be complacent. It is the perpetuation of this two-pronged approach that the State uses in this national ideology of the official narrative in order to get citizens to cooperate with the rationalized state policies in order to secure and maintain political stability and sustainability; how the foundations of success had been laid by the pioneer generations and the baton is now being passed to the younger generation. Singapore’s future is now in their hands and it is their responsibility to chase this rainbow to secure a better future for the next generation in this never-ending national struggle. However, within the walls of this facade of the Tower of Babel is a huge empty soulless void. Underneath it are the many unofficial narratives of the majority of the ordinary citizens who were not made known, including those that are suppressed. A portion of the population that are suffering do feel neglected by the State amidst this national progress in this dilemma between national necessity and global ambition. Action should be taken before this phenomenon of the urban spectacle extrapolates to an extreme end causes these suppressed people to launch a chaotic revolt.
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Choice of Site Reclamations at Marina Bay The extensive land reclamation works at Marina Bay allows the Singapore Government to establish an urban master plan on a blank canvas since the 1970s with three main objectives; increasing Singapore’s prime land space, the formation of a manmade freshwater reservoir and the creation of a new civic square to replace the Padang to host recreational activities as well as significant landmark events. 10 |
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Today the Marina Bay has transformed into an orchestrated urban spectacle with its majestic fleet of skyscrapers and the necessary supporting networks of infrastructure to accommodate the traffic in hosting those occasional spectacle events of both national and global scales. It is the venue to project that ideal marketable image of Singapore to further her global agendas and ambitions.
Strategically located at the epicentre of Marina Bay Reclamation Project, between the two waterfront basins is the Singapore Flyer. Unlike other urban spectacle elements, its primary function is purely visual; a vantage point to view the surrounding spectacle and a visual decoration to the Singapore Skyline. Its failure into receivership reflects the unsustainability of such superficial strategies.
To put it simply, the Singapore Flyer becomes an architectural and political tool to view and understand the city of Singapore according the State Narrative through the curated urban spectacle. However, beyond these spectacular and glimmering facades are many inactive white elephants on typical days, just like the Singapore Flyer itself, secretly hiding a ghost town within.
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Top Left: 1:7000 site model illustrating the full extent of the land reclamations at Marina Bay with the Singapore Flyer at its epicentre.
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Bottom Left: The Singapore Flyer together with other architectural icons orchestrate a visual decoration to the Singapore Skyline.
Top Right: Singapore Flyer strategically oriented and located at the junction between Marina and Kallang Basin to maximise views of the of the surrounding urban spectacle.
Bottom Right: Despite its central location, the isolated site is generally inaccessible and inactive as they are reserved mostly for other spectacle events which are not held on a daily basis.
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Singapore Flyer - Breakdown of Components
Main Superstructure
Longitudinal Elevation
Cross Elevation
Boarding Platform
Plan
Isometric
Floor slabs and window wall facade
Carpark floor slabs
Vertical cores and structural grid
Carpark structural grid
Singapore Flyer | Exploded Isometric
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Problems of the Singapore Flyer - Site Studies
Bottom: URA Master Plan 2014 Land Use Map
A study of the URA Concept Plan 2001 and the evolution of the URA Master Plan reveals that the site at Singapore Flyer has been zoned for commercial use. However, this plot of land had been placed amidst reserve lands with no designated permanent land use. Currently, these reserve sites are venues used for other spectacle events such as the F1 Pit Building and the Floating Platform. These sites are generally inactive other than the occasional spectacle events during the festive periods throughout the year. With little permanent infrastructure implemented on these reserve sites, the Singapore Flyer is isolated and inaccessible with very few visitors that it depends on for commercial sustainability. Though strategically located between two waterfront basins, its location is being cornered and its proximity to the water body is not maximized to its full potential due to a lack of comprehensive water transport network.
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Since the site is being surrounded by reserve lands which have little permanent infrastructure, the URA Master Plan could not extend several urban networks into the site at Singapore Flyer. This includes its limited access to site for all modes of transport and a lack of Activity Generating Unit in the vicinity. This explains for its low visitor traffic on top of the lack of other amenities to create a multiplier effect. The opaque massing of the massive Benjamin Sheares Bridge also creates a visual barrier which further contributes to its visual disconnection and isolation.
Bottom Left: Urban planning policies and networks implemented within the Downtown Marina Bay precinct
Bottom Right: Satellite images of Downtown Marina Bay displaying the actual evolution and development of the site over the years
Historical satellite images reveal that though the vicinity of Marina Centre has existed since 1980s, the surrounding site has always been left unused till as recent as 2006 when construction for the F1 Pit Building began.
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Other Reasons for Failure
Besides site constraints, there were other reasons why the Singapore Flyer, meant as a tourist magnet fail to sustain economically. Firstly, there is a lack of programmatic function. While other spectacle elements also offer visual spectacle from their respective perspectives, they have other primary functions, be it sports, entertainment, commercial or hospitality. The sole function of the Singapore Flyer is visual - a vantage point to view all other spectacles. The tourism capacity of Singapore is also too small and incomparable to that of other major cities. Secondly the notion of implementing a Giant Observation Wheel just like the London Eye lacks originality and in itself meant it had to compete with the original one regardless of its size advantage. The implementation of the Singapore Flyer is rather forced and had little significance to the history of Singapore or its urban landscape. This is unlike the case of the Eiffel Tower in Paris. Also another instrument used today as a vantage point to view the urban spectacle, it has its own unique identity and a historical significance - it was used as the main entrance for the Exposition Universelle in 1889. It represents the art of the modern engineer at that time and intended to signify Paris as the centre of the Industry and Science which prepared the way for the Scientific Movement of the 18th century and the French Revolution of 1789. Overall the failure of the Singapore Flyer is an evidence that such urban spectacle strategies are unsustainable especially in the absence of any symbolic significance or meaning to the local community.
Right: View from a capsule of the Singapore Flyer overlooking Kallang Basin
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Interventions and Objectives
Reflecting on this issue, although city branding is a necessity for the city and her population to survive and progress, citizens and foreigners alike should not be totally blinded by the urban spectacle and be informed of the authentic life of citizens and the social, economic and political issues that the city needs to address. Thus the intervention is to create a complex where the State Narrative and the counter narrative coincides, a complex that juxtaposes the spectacle and the counter spectacle so visitors could witness and compare this discrepancy. On one hand, the spectacle is curated by the State but on the other hand, contents of the counter spectacle are curated by citizens themselves. As a result the complex become a venue beyond passive spectatorship but also active participation. More than that, it becomes a place where democratic discussions and debates are held to gather feedback on new pressing issues before milestone decisions and policies are implemented in an attempt to practice true transparent governance. It is a symbolic move to indicate and acknowledge the silent revolution in Singapore where the people are empowered and the method of governance has changed from a top-down iron-fist approach into one where the Government works hand-in-hand with the people through winning hearts. Hence the existing Singapore Flyer will be retrofitted to meet these objectives and a series of programs are arranged as avenues for citizens to raise current issues and express their counter narratives in different mediums.
Left: Perspective from internal podium courtyard of the underside of the superstructure
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Initial Approach The Enclosure of Counter-Spectacle In this initial approach, the architectural intervention adopts a radical operation that transforms the Singapore Flyer from a spectacle into a counter spectacle. Structures are built around the existing superstructure to support a program where it becomes purely a place to explore the counter- narratives of the city, as opposed to the State Narrative. 20 |
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But what exactly is the architecture of counter-spectacle? The architecture of spectacle is one composed of order and symmetry. It is one where its form is crucial since it emphasizes the visual. It is static as if it is prepared and frozen for that perfect photogenic moment. Thus the opposite is true for the architecture of counter-spectacle.
The architecture of counter-spectacle is one composed of unplanned chaos and disorder. Therefore it is also dynamic and ever-changing never in a perfect state. Visual aesthetics is of little importance. Thus the architecture of counter-spectacle is the architecture of formlessness. But how can architecture manifest itself without form?
In this intervention, capsule passengers ride the Singapore Flyer but instead of viewing the surrounding urban spectacle, the view is blocked by two towering blocks. Instead they are witnessing the activities of counter-narratives in action. These tower houses flexible and generic unplanned spaces free for citizens to use to air their views on the relevant issues.
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Top: Perspective of overall complex in contrast to the Singapore Skyline from Marina South where the view of the Singapore Flyer is increasingly hidden.
Middle: The atrium plaza sits underneath the main superstructure which is sandwiched by the two towers on either sides Bottom: Interior perspective of the Political Theatre with an overhead strip window revealing the movement of the Singapore Flyer
Programs in the towers include libraries, galleries, studios and others. Their contents are unregulated and contributed by ordinary citizens. These are mediums for the citizens to express their narratives to the capsule passengers. As more contents are accumulated, its modular construction allows for vertical addition. The overall elevation expresses the display of power struggle between the two parties. As the towers grow higher due to increasing content, the Singapore Flyer’s superstructure is increasingly blocked and unseen from the Singapore skyline, evidently proving that the counter narrative is growing and challenging the State Narrative. This will prove the increasing discrepancy between the State Narrative and the counter narratives. 22 |
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Main Superstructure
Boarding Platform
North Block
South Block
Political Theatre
Vertical Circulation
Congress Plaza Atrium Carpark & Rooftop Deck
Main Entrance
Exploded Isometric
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3rd Storey Plan
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1st Storey Plan
10th Storey Plan
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Final Resolution Mutual Juxtaposed Co-existence The finalized approach adopts a less radical intervention and resolution. Here, the alternative counter-narratives are not seen as one which is necessarily opposite or contradicting to that of the State Narrative. Despite the differences, both narratives are allowed to interact so one may conduct a constant reality check on the other in working towards an ideal 28 |
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utopia where both narratives are balanced as the State and her citizens work hand-in-hand cooperatively towards a new method of transparent governance through winning hearts and mutual respect instead of one of an iron-fist approach. Here, both narratives are allowed to co-exist so that visitors may compare their contrasting differences. Visitors may still ride the
capsules of the Singapore Flyer to view the surrounding urban spectacle - a mechanism of the State Narrative in projecting that ideal marketable image of Singapore. However towards the end of the ride, visitors will witness the workings of the counter narrative in action, not just its final product. This is when they learn about the realities and issues that Singapore has
to deal with and the authentic life of the ordinary citizens. The results is an interesting architectural dialogue that facilitates the interaction of both narratives and the programs they require. The Citizens’ Assembly becomes a political arena to learn, explore and also contribute towards resolving the relevant current issues that needs to be dealt with.
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Site Response
With a lack of substantial water transport network in the vicinity, site accessibility is limited to land networks and are confined only to the west through narrow roads and pathways. A lack of public transport access also makes the site which has been cornered highly inaccessible. The space under the canopy of the Benjamin Sheares Bridge is a huge underutilized space. Hence, this opportunity provides a huge primary pedestrian access to the site whilst turning the space into an informal ‘park’ for impromptu political gathering. It is here that visitors are greeted with banners and posters as teasers to the content topics of the heated discussion and debates within the complex. The architectural orientation of the complex is built upon the existing orientation of the superstructure of the Singapore Flyer. Oriented towards the two waterfront basins, the axis along the narrow circumference of the wheel is an axis to view the surrounding spectacle on both ends. This becomes the axis of spectacle to which the architectural form will respond to. Thus, the axis of counter-spectacle is oriented perpendicularly which is also the axis where the Singapore Flyer is being viewed through its main elevation as a visual spectacle element to the Singapore Skyline. Visitors enter into the complex from the park though this axis of ‘being seen’ to symbolize how they are here to seek and understand the City State beyond the visual.
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perpendicular axes of ‘seeing’ and ‘be seen’ and axes of spectacle and counter- spectacle
reinforcing axis of spectacle on the ground with two opaque walls
counter-spectacle elements in perpendicular axis
addition of People’s Congress and Silent Memorial along main counter-spectacle axis
curvature of front wall to contrast degree of spaciousness between start and end of Flyer Tour
terracing towards one side to form massing to block and terminate view of urban spectacle
puncturing front wall for outflow of activities, landscaping below bridge canopy as informal gathering spaces
deviation of axis of lattice structure, direct access for visitors to Tourism Block
Form Derivation
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The overall layout of the complex is composed of two opaque walls that houses supporting secondary programs at the rear and an interactive scroll wall at the front - a space to write down their views on current issues and contribute to the counter-narrative. Sandwiched in between them are discrete floating volumes oriented in a perpendicular axis where the
primary programs of counter spectacle are housed. The Tourism Block is an exception as it punctures through the front wall to welcome visitors, directing them to the Boarding Platform. Hidden behind the rear wall is the Silent Memorial, an extension of the main axis of counter spectacle, the counter narrative of the past, where there is nothing else to discuss or debate.
Program Layout
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As opposed to the architecture of spectacle, the architecture of counter-spectacle is about formlessness, employing the simplest forms. There is nothing spectacular to see. It intends to confuse through disorder. Before approaching the main complex, visitors pass by the impromptu park which is largely shaded under the canopy of the Benjamin Sheares Bridge. The addition of irregular landscaping and a series of forest of columns help to define spaces of different sizes to facilitate impromptu gatherings of different scales. These columns act as flagpoles that could be used to hang posters and banners for citizens to publicize their agenda on a certain issue. With no reference orientation and under the overarching canopy of the flyover, giant rain trees, forest of columns and its accompanying banners, visitors feel confused as they are bombarded by the array of views and opinions projected at them. Even before entering the site, visitors get to anticipate the current controversial happening inside the main complex. After wondering through the shaded park, visitors ascend a flight of stairs and the front elevation of the Citizens’ Assembly abruptly reveal before them. The seemingly random forest of columns gradually morphs into order and form a regular lattice structure which paves the way into the complex head-on along the axis of counter-spectacle. Visitors with the main purpose of participating in the counter-narrative head straight into the front wall opening. All activities take place within a well enclosed space so they are free to express themselves. For visitors such as tourists who choose to explore the State Narrative first, they may deviate from the axis of counter-spectacle to the left and ascend through an escalator to the Tourism Block, the only ‘floating volume’ that extends beyond the front wall. This will lead them to the Boarding Platform to ride one of the capsules of the Singapore Flyer. The Singapore Flyer continues to operate as usual, spinning in the same direction except that it periodically stops at certain intervals to facilitate boarding and exit of passengers as well 38 |
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as to allow visitors to pause and have a closer look at the different panoramas each interval offers. After entering the capsule at the boarding platform, capsule passengers rise above the enclosed walls of the complex and the panorama of the surrounding urban spectacle unfolds before them as the wheel spins. Starting from the F1 Pit Building, the horizon gradually stretches further as the capsule continue to ascend upwards. Eventually the passengers’ field of view stretches far beyond the Kallang Basin. Such is the journey of exploring the city through the lens of the State Narrative. Passengers find themselves stuck in a capsule which moves in a restricted one-liner rotary and repititive circulation. They temporarily lift themselves off the heavy burdens of the realities of life on the ground and have their heads in the cloud as they are fed with these curated views of the urban spectacle; the static visual facades of the Singapore Skyline barely aware of the actual activities or the authentic life happening within them, if any. The projection of such images of the glossy pomp and pageantry of these architectural icons are meant with the objective of reinforcing the ideologies of the State Narrative, showcasing the idealistic image of Singapore that the State wants locals and the foreigners to believe in. However, beneath this spectacular urban façade, does the stories of the ordinary citizens paint a similar image of progress and equality among all groups of people? Once at the top of the wheel, passengers get to look back down at what is vertically below them on the ground. That is the first instance when capsule passengers notice of the contrasting co-existence of two different narratives. On one side capsule passengers get to observe a bird’s eye view of the entire site. Citizens from all walks of life converge at the park from different directions and head towards the main complex through the axis of counter-spectacle, ready to express a concern and actively participate in the political process by the various means. On the other side passengers spot a bird’s eye view of the Silent Memorial, almost forgotten as it stands in isolation in a cage-like structure, away from the other programs as it is separated by the rear wall.
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Gallery of Counter-Spectacle
Studio
Tourism Block
Exit Platform
People’s Congress
Citizens can express their counter narratives and socio-political concerns of the City State not only verbally but also visually in the form of thought-provoking artworks; paintings, sculptures, models etc. Spaces provided range from pigeon holes to entire temporary galleries.
Common space for citizens to gather, interact and create the various mediums of expression and communication which can then later be displayed in the galleries. Spaces include model workshop facilities and indoor and outdoor painting studios.
Visitors deviate from the axis of counter spectacle and directly access the tourism block through escalators which will eventually lead to the boarding platform of the Singapore Flyer, the starting point of the urban spectacle.
After a complete round around the Singapore Flyer, visitors exit here and may proceed to the capsule of counterspectacle at the 3rd storey of the People’s Congress
The epicentre of the entir formal debates and congre citizens can congregate to social and political issues and near future of Singap utilize the space for feed opinions from citizens on
As passengers descend back to the ground, they continue to enjoy the scenic view of the urban decorations at Marina Basin and its surrounding spectacular elements from the Central Business District and Gardens by the Bay. However at a certain specific point, the view of the spectacle gets disrupted. This is the start of the counter-spectacle experience that visitors are not aware of when they first board. This is where they are fed images of the counternarrative happening live in action. 40 |
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The termination of the urban spectacle starts with the roof mullion extensions that are aligned with the motion of the wheel. Tracing them as the capsules move will lead passengers to peek into the skylight of the Collaborative Commons and the GroundUp Library where citizens are actively exploring and developing on the counter-narratives. Gradually the panorama is blocked by the two massive walls on both sides and the opaque facades of these floating volumes creating a rather dark and claustrophobic atmosphere
Sectional Perspective
re complex, this is where ess sessions are held where o discuss the controversial that concern the present pore. The State could also dback sessions to gather important national issues.
Ground-Up Library
Political Theatre
Rehearsal Studios
Collaborative Commons
All contents of the Citizens’ Assembly are contributed by ordinary citizens, not the State. Here, citizens get to contribute to pool of knowledge and information of the other side of The Singapore Story which was previously unknown.
Thought-provoking political plays or musicals provide another unique platform to express, educate and inform the masses on certain issues that concern the population of this City State in the present or near future.
Additional spaces for performers to rehearse their plays and performances at the Political Theatre.
A venue for like-minded citizens to hold small-scale sessions to collaborate and discuss on relevant topics or projects together. Spaces include conference rooms and computer rooms.
in contrast to that at the Boarding Platform where facades are more transparent and the massive walls are tapered to create a wider space. The climax of the Flyer experience occurs within the People’s Congress. This ‘grounded’ volume is the intersection of the two perpendicular axes and has the highest hierarchy. Its blank opaque walls creates an element of surprise and mystery as passengers anticipate upon penetrating into this volume. Inside,
they witness a live congress session in action. Within one complete round, the capsule has transformed from a vehicle to facilitate the State Narrative into one that promotes the counter-narrative which as seen here is more dynamic, lively, chaotic and omni-directional. Passengers may alight the capsule at the Exit Platform and continue to explore an engage in the counter-narratives with other citizens to get to know the City State better inside-out.
Sectional Perspective
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1st Storey Plan
3rd Storey Plan
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5th Storey Plan
4th Storey Plan
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Sectional Cut Along the Axis of Counter Spectacle Silent Memorial An extension of the axis of counter spectacle, the memorial is a symbolic statement to acknowledge the State’s dark and harsh past of silencing those seen as causing threats to the national security. This applies especially to the political exiles and other unsung heroes that were detained without trial. They are the
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‘losers’ in history that could have otherwise curated the State Narrative today. They are the alternative counter narrative of Singapore. In order to symbolize their forced silence and erasure from the historical records of Singapore, the memorial consists mainly of a huge central void with an empty plinth at its centre.
Longitudinal Section
People’s Congress
Forest of Columns
The intersection point of the axes of spectacle and counter spectacle. Capsule passengers descend into this opaque enclosure to experience the gradual metamorphosis in sight from the spectacular facades of Marina Bay to witnessing an actual congress session; citizens discussing the deeper issues of the City State.
Informal gathering spaces for publicizing fellow citizens’ views to influence other visitors upon entering the complex. Overall visitors feel confused under the canopy of the flyover, trees and politically charged banners before commencing the axis of counter spectacle through the lattice structure.
Longitudinal Section
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The Elevation of Counter Spectacle The massing of the complex compose of two opaque terraced walls on both sides to reinforce the axis of spectacle and create a caved enclosure to terminate the view of the spectacle. In between them are floating isolated volumes. Their facades are designed to be 52 |
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more porous on one end but more opaque on the opposite side in contrast to create a dark and claustrophobic atmosphere as the spectacle view is terminated and capsule passengers begin to witness the counter spectacle in action on the ground below.
Cross Elevation
The elevation of counter spectacle intends to confuse and oppose the spectacle. The two massive opaque blank walls juxtapose with the filigree structure of the Singapore Flyer. The asymmetrical wall intends to disrupt the geometrical order and block the view
of the main superstructure of the Flyer. However it will never be able to compete with this giant machine of the State Narrative. Random narrow strip windows on the wall emphasize the horizontality of the axis while giving no hint of the interior spaces within them.
Longitudinal Elevation
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Exit Platform Boarding Platform Bookstore
Outdoor Studio Space Model Workshop
Gallery
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Cutaway Isometric Projection | Overall Complex
Structural Extension of Roof Mullion
Conference Rooms Collaborative Commons Rehearsal Studios Political Theatre Ground-up Library
Cutaway Isometric Projection | Overall Complex
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Citizens’ Assembly
Cutaway Isometric Projection | People’s Congress
The Architecture of Formlessness
existing Singapore Flyer superstructure
inverted arch supporting roof structure external rib structure with spider glass curtain wall configuration raw concrete wall free of finishing or cladding
service ladder to access spindle of Singapore Flyer
capsules of counter-spectacle
subtle boundaries at every level to create sense of arrival upon entering opaque volume of the People’s Congress
internal vertical circulation
Cutaway Isometric Projection | People’s Congress
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Citizens’ Assembly
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Citizens’ Assembly
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Citizens’ Assembly
ACKNOWLEDGEMENTS Dr Lee Kah Wee - Thesis Supervisor
for his superior guidance and assistance towards topic and design development
Davin Lim, Eugene Lim, Georgina Foo, Jamie Goh - Studio Members
for helping each other out throughout this satisfying journey during the two semesters
Family Members & Friends
for providing physical and moral support towards the completion of this thesis project
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AZIZUL IZWAN BIN ROSLAN NATIONAL UNIVERSITY OF SINGPAORE MASTERS IN ARCHITECTURE 2016
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Citizens’ Assembly