Dialogical Designs and Heterotopic Architecture in the New Normal by Constance_Lau

Land reclamation as a closed form of development

Dialogical Designs and Heterotopic Architecture in the New Normal

Image credits: cover: Yin Menghua Existential Therapy in the City of Floating Landscapes this page: Li Jiaying facing page: Claudine Fang Thepage outcome is Chen the proposal of a ‘city’ thatChoong combines the aforementioned qualities, located in and amongst the next L-facing: Siqi, R-facing: Danette skyscrapers of our existing CBD. Extending the notion of “existential therapy” to the design of skyscrapers, a back cover: Claudine Fang

typology that will play increasingly important roles in the future of land-scarce Singapore with a growing population is key. Taking inspiration from Tatiana Bilbao’s (Not) Another Tower and the density studies in MVRDV’s Farmax, a city that encapsulates patchworks of civic activities amid floating landscapes, integrated within rainwater harvesting systems that simultaneously serve as structural supports, is created to form a vertical community that is functionally, socially and environmentally sustainable. 2

A Minor Architecture of Capitagreen: Microcosms of disp

To complement the deconstruction process, reconfiguration of the multitu in the office buildings will produce a new typology of public s Dialogical Designs Where layers of vertical space which was once controlled byand private corp limited access, it can now be free and accessible for all.

Heterotopic Architecture in the New Normal 3

The Amenity & Movement

Studio Tutor: Dr Constance Lau Acknowledgements: Our heartfelts thanks to the guest critics Lilian and Chee Kit for their invaluable advice and comments, also to Mervin Loh for organising our web presence. <https://dialogical-designs-heterotopia.tumblr.com/>

Behind the Veil Of The Tropical Modernist

Guest critics: Associate Professor Dr Lilian Chee

Chee-Kit Lai

SDE, National University of Singapore Associate Professor and Deputy Head (Academic) Research by Design Cluster Co-Leader Department of Architecture

Mobile Studio Architects (Director) @mobilestudioarchitects The Bartlett School of Architecture / UCL / Faculty of the Built Environment Director of Exhibitions (Acting) BSc Architecture (Unit 9 Design + Technical Tutor) @design.unit9

BSc AIS (Project Coordinator)

Studio Introduction

Dialogical Designs and Heterotopic Architecture in the New Normal Design methodology:

The role of dialogue in design practice is adopted to create a coherent position that is also questioning and incomplete and thus a stimulus to students’ creative development. Significant issues regarding the notion of work that is ‘questioning and incomplete’ are raised in Umberto Eco’s book The Open Work (1989) with the capacity for user intervention to assume authorship to shape the reading and outcome of the work. In this instance, studio teaching encourages the student to assume authorship and further shape the reading and outcome of the design brief.

This interest in multiple interpretations is approached by means of the architectural narrative. This is constructed as a design tool and employed to integrate the different facets of research material during the working process. Consequently, the experience of architecture is seen as ongoing theoretical and physical responses. Design authorship furthers this practice by means of precise decisions which encourages user involvement, resulting in the creation of new meanings and different readings of the work.

This is enabled by the expansive range of topics raised in this design brief that provide material for independent research, reading and analysis as means for critical thinking to inform innovative design work.

(The full design brief is on pp. 188-197).

Design brief and projects:

This creation of multiple readings and interpretations is furthered through spatial explorations in Michel Foucault’s notions of heterotopia and heterotopic spaces. These allude to ‘counter-spaces’ that occur in the voids and/or peripheries of established locations and more importantly, comprise of layers of meaning within their apparent uses and contexts. This exists outside the usual order of things.

Recognising that the complex nature of architecture is the outcome of working with different elements that pairs both practice and theory, knowledge required to understand and interpret the built environ¬ment is essential. Hence, the first of the design iteration processes looks to site research and ideas concerning site-specificity that refers to qualities inherent not only to the site in question, but ones which specifically have the ability to drive and are catalytic for precise on-site design decisions, as well as engaging with underlying transitionary and intermediary conditions.

Through site choices that engage with ideas of reclamation and the notion of the/an ‘in-between’ space, farsighted post-pandemic issues that urgently require attention are taken onboard. In addressing the ensuing new-normal, the practice of architecture must first consider the city as a site of interconnected components and recognise that all concerns are interrelated. Accordingly, this not only regards building anew, but the refinement of prevailing arguments and works of architecture within the existing city and urban scape. Hence design development processes must first acknowledge and learn to pursue latent opportunities within the existing milieu.

To summarise, the notions of dialogue, user-centric multiple interpretations and unprecedented issues of site that allude to ideas of a heterotopic space, are employed to formulate architectural proposals for the new – post Coronavirus – normal. As evident in this submitted body of design work consisting of individual design statements that define the premises of the individual arguments, and drawings to further describe the research questions raised through different presentation conventions, research material is critically and inventively used to structure and articulate the ensuing new narratives with innovative solutions that depict how – Singapore - a city can be reimagined through multiple perspectives.

Contents

Proposals CHAI Ruige

Infilling the CBD with Urban Living: Accommodating Delivery Men as Contemporary Users and Observers of the New Norm

CHEI Ji Hyo

The Corridors: A Heterotopia or Panopticon; Invisible yet Visible: The patient, The hospital, The shophouse

CHEN Siqi

An Alternative Singapore Story of Lives and Sites; CBD Amusement Park: Amenities of Entertainment for the next century

CHOONG Chu-Xi, Danette

The Unitary Proposal: The Tale of The Farmer, The Businessman and The Environmentalist; The Colour Field of the First Harvest

FANG Yutian, Claudine An Antidote for a society dominated by Symbolic Capital and A Minor Architecture of Capitagreen: Microcosms of displaced landscapes

LI Jiaying

102

The Healing Spectrum: Heterotopia and Well-being Existential Therapy in the City of Floating Landscapes

SHU Hongqiao

120

The Heterotopia in Gardens; A Vertical Sprawling Garden and Futuristic Library

SONG Benjiao

138

Hidden labyrinths and heterotopic spaces from the viewpoints of Chinese paintings; The city showroom of constructed landscapes, alternative readings and experiences of the Singapore River

YIN Menghua

154

Open work, Closed site: The deconstruction of a constructed landscape as a multilayered heterotopia; Post-Pandemic Open structures and Upcycling Marina Bay Cruise Centre

Zhang Qining

174

Heterotopic Exhibition Space in Museum; Review and Encounter Qinshihuangdi and His Terracotta Warriors

Design Brief

188

Infilling the CBD with Urban Living: Accommodating Delivery Men as Contemporary Users and Observers of the New Norm

Dialogical Designs and Heterotopic Architecture in the New Normal

CHAI Ruige

Infilling the CBD with Urban Living: Accommodating the Delivery Men as Contemporary Users and Observers of the New Normal

by CHAI Ruige

Walter Benjamin’s Arcades Project is a vast montage of 19th century Paris in which he quotes and reflects on topics such as Parisian arcades, fashion, flaneur, advertising, prostitution, etc. By rag-picking from printed sources a wealth of details about daily existence, Benjamin brings to life a world of things. As a start of the research project, the first Chapter of the Arcades Project is carefully examined and redrawn with my understanding in two mediums – literary and visual montage. From there, the derived method of presenting Paris is adopted and applied to the research of Singapore’s Heartland and the Central Business District (CBD), the area of interest and the site of the project, respectively. Arcades Project by Walter Benjamin

Literary montage of part of Arcades Project

Visual montage of part of Arcades Project

Infilling the CBD with Urban Living: Heartland

In heartlands, state-imbued “perfection” relating to orders and standards had been constructed and applied to many aspects, from architecture, conducts, to government documents. As inspired by Walter Benjamin’s Arcades Project, the research project explores the authentic image of the heartland by “rag-picking” gaps that are excavated from a myriad of resources, ranging from online articles, publications, to poems and photographs by local artists. The research unveiled that under the state-constructed perfection, gaps are created mainly through the users and usages. The beauty of gaps makes heartlands colourful and livable places that redefines the idea of perfection.

Literary montage of heartland, capturing the gaps under the Constructed Perfection

Visual montage of heartland, capturing the gaps under the Constructed Perfection

Catelogue of forms of gaps uncovered in Heartland

CBD

While also having a â&#x20AC;&#x153;perfectâ&#x20AC;? image in terms of its planning and urbanscape, the CBD for the period of post-pandemic are analysed using the same method of research. By looking at categories such as Architecture and History of Land Reclamation, gaps are identified as the rich supply of amenities that used to be carriers of social lives pre-pandemic, but left severely underused when their users vanished because of the pandemic policies. Such amenities identified on site include bars & restaurants and shops & supermarkets (e.g. 711s). Hence, with social amenities in place in the CBD, bringing back users and urban living becomes the pending issue.

Visual montage of existing gaps in the CBD - the â&#x20AC;&#x153;forgottenâ&#x20AC;? amenities during the pandemic

Literary montage of gaps at CBD and its surrounding

Visual montage of gaps at CBD and the surrounding

Doughnut economy that emphasises basic human needs and environmental sustainability, applied to the case of the CBD. 20

Conceptualisation for infilling the CBD with Work-Life Balance while harnessing existing underused amenities

The idea of the flaneur, the social life observer, was conveyed in the Painter of Modern Life by Charles Baudelaire and A Bar at the Folies-Bergère by Édouard Manet. Inspired by the reading of the two, the project proposes a protagonist of CBD’s urban living in the new normal – the delivery men, the overlooked contemporary users and observers of post-pandemic urban living.

Accommodating the Delivery Men as Contemporary Users and Observers of the New Normal

The Experience of Mr & Ms Delivery The Users of the New Normal

The Observers of the New Normal

The pandemic and the aftermath saw the CBD devoid of life and activities. While work-fromhome policies emptied the skyscrapers, supporting amenities like restaurants, bars, convenience stores were affected. The lack of a residing population within the CBD further meant that these facilities and public urbanscapes became transient spaces, namely thoroughfares for services and especially the delivery person, who travels back and forth between these service providers and the populated HDB districts located at the periphery of the CBD to deliver food and services. While the objective of infilling the CBD with urban living is underlined in Section A of the project, the profession of the delivery man, as an overlooked user of urban space under the new-normal is also highlighted.

The implementation of the various phases of lockdowns have limited most activities to the home, and gatherings to small numbers. As a result, the delivery personnel who move about have become the main connective conduits for people and the activities that cannot be personally carried out. Similar to Mr M. G., the 19th century Parisian flaneur concocted in the imagination of Charles Baudelaire in his book, the Painter of Modern Life, Mr and/or Ms Delivery in this instance is the contemporary protagonist who observes and collects different forms of lives at every corner of Singapore, though not in the form of paintings, and not in prolonged moments in cafés but through continuous movement. While moving between households and businesses, Mr. and Ms. Delivery see snippets of life, intermittently hear whispers, cries or laughter, and have brief conversations with different individuals. On job review websites, though complaints such as “constantly on-the-go” and “fast-paced and back-breaking” appear from time to time, indicating a need to design proper work-life balance and specialized facilities, the happiness working as a delivery person can also be glimpsed: “learned much about the community with people”, “learn more about people characteristics and behavioral”, “see something new every day”, “make a good friend”. Thus, this project proposes to enhance the positive qualities of this often overlooked profession and explore their contributions as ‘modern flaneurs’ and observers of the urban scape and urban living, by creating a heterotopia through networks and spaces that foregrounds Mr and/or Ms Delivery and their daily adventures.

Design Iterations Before Finalisation Iteration 1

Iteration 2

Iteration 3

Final Design Description: The proposed architecture occupies and connects the left-over and in-between spaces amongst the existing vacant skyscrapers. Hence, from the reclaimed ground from where the CBD sprung, the airspace has now also been reclaimed. The architecture comprises of three integrated layers that supplement each other. The first is the connections crossing over the space in-between existing skyscrapers. They capitalise on the fast and slow movements of the delivery people, paying special attention to opportunities that exaggerate â&#x20AC;&#x2DC;slowerâ&#x20AC;&#x2122; movements, allowing the design to encapsulate the fun aspectsâ&#x20AC;&#x201C; observing and exploring urban living - of their job. The second comprises of housings, shops, markets, and playgrounds that infill urban living into the CBD.The last layer consists of specially designed facilities for Mr and Ms Delivery in order to address their needs as overlooked users of urban space. These facilities such as parking, storage and charging, and service and maintenance perform as walls, floors and structures that supplement the first and second layer.

Collation of typologies that curate slow movements for the Observers of the new norm

Moments of slowing down or stopping and ensue the identity of observer

Layered bridges capturing the range of slow movements to enhance delivery menâ&#x20AC;&#x2122;s identify as modern flaneurs

Specialised facilities for Delivery men as Users of the new norm. Facilities serve as structures, surfaces, thresholds of architecture

In summary, on one hand, the proposed network infills the CBD with heartland living to revitalize the current CBD while also function as places of worklife balance after the pandemic. Delivery men, the protagonists of the heterotopia, on the other hand, are able to enjoy quality working as users in the new normal while ensuing their identity as observers at the same time.The collation of Mr and Ms Deliveryâ&#x20AC;&#x2122;s experiences creates a unique montage of post-covid urban living that forms a chapter in the Singapore version of Walter Benjaminâ&#x20AC;&#x2122;s Arcades Project.

A new typology of urbanscape in the new normal

The Corridors: A Heterotopia or Panopticon; Invisible yet Visible: The patient, The hospital, The shophouse

Dialogical Designs and Heterotopic Architecture in the New Normal

CHEI Ji Hyo

The Corridors: A Heterotopia or Panopticon? Singapore – My heterotopia begins as communal spaces of public housing, the long corridors found within HDBs much like the five foot ways, are an extension of the homes. They provide a glimpse into people’s lives, encouraging the manifestation of communal activities. An example of how this threshold space was animated would be through the investigation of Bugis Street of the 1970s. Bugis was not only the centre stage for the trans-community that garnered international attention through their nightly performances, but also a place of acceptance, where they developed a connection with their community. However, in pursuit of rapid development, they were deemed counter-productive and hence pressured to “behave” by the government. Foucault coined the term panopticonism, to analyse the act of surveillance and asserted that it was not simply the fear of being watched but instead it was the inculcation of self-discipline. Foucault explained that discipline was exercised through the manipulation of space, compartmentalising the subordinates while ensuring that they were visible, resulted in an asymmetrical surveillance. My research highlights how in spite of the fact that the trans-community fell victim to such surveillance, the heterotopic qualities found within the shophouses helped mitigate the gaze. The effects of this row of shophouses were widespread, Singapore was the leading country for Sexual Reassignment Surgery. Bugis with the trans-community continued to prosper through the next decade before it was physically stripped apart, after 1989, many were forced out of the publics sight.

Invisible yet visible: The patient, The hospital, The shophouse Today, some of that community have found their way in isolation within the shophouses of Rowell and Desker Road where many were branded as merely sex workers since. They have been outed by society and their families, and in the time of Covid-19, they have become one of the most severely in need. The proposal seeks to reintroduce the Gender Identity Clinic into the site of Rowell and Desker Road, a patient-centric hospital retrofitted into the existing shophouses. As a historic district, the shophouses are required to maintain their facades, the architecture hence capitalises on these existing qualities to conceal itself . The hospital is an opportunity for the community to undergo SRS, HRT and other forms of therapy to transition. It is empowering as it provides opportunities for collaboration, not only as patients but also as counsellors. The architecture also utilises principles of transparency to distort and overlap perspectives as a means to warp visual intrusion from the surrounding site and also present the individual spaces as part of a greater whole, hence granting privacy without isolation.

Bibliography

Foucault, M. (1977). Discipline and Punish: The Birth of the Prison. New York City: Pantheon BOoks. Foucault, M. (1973). The Birth of the Clinic: An Archaeology of Medical Perception. London: Tavistock. Orwell, G. (1949). Nineteen Eighty-Four ( 1984). New York: Hardcourt. Rowe, C., Slutzky, R., & Hoesli, B. (1977). Transparency. Basel: Birkhèauser Verlag. Miyauchi, T., & Keyakismos. (2017). HDB Homes of Singapore. Singapore: Gatehouse Pub. Lilian Chee, D. X.-m. (2013). Home + Bound: Narratives Of Domesticity In Singapore And Beyond. Singapore: Centre For Advanced Studies In Architecture (Casa), Department Of Architecture, National University Of Singapore. Rowe, C. (1976). The Mathematics of the Ideal Villa and Other Essays. Massachusetts: The MIT Press. Anderson, S. (1987). The Fiction of Function. Assemblage, 18-31. Foucault, M. (1994). The Order of Things: An Archaeology of the Human Sciences. London: Vintage. The Independent. (19 June, 2016). National Heritage Board criticised for ‘whitewashing’ history of Bugis Street. Retrieved from The Independent: https://theindependent.sg/national-heritage-board-criticised-for-whitewashing-history-of-bugisstreet/ Hui, K. X. (16 April, 2017). Hostile stares and friendly words on the streets. Retrieved from The Straits Times: https://www.straitstimes.com/singapore/health/hostile-stares-and-friendly-words-onthe-streets Shan, H. P. (28 December, 2014). Sex change operations dwindling in Singapore. Retrieved from The Straits Times: https://www.straitstimes.com/singapore/sex-change-operations-dwindling-in-singapore Hui, K. X. (10 OCtober, 2016). Needy transgender people have a roof over their heads again. Retrieved from The Straits TImes: https://www.straitstimes.com/singapore/needy-transgenders-havea-roof-over-their-heads-again Eco, U. (1989). The Open Work. Cambridge: Harvard University Press. Australia, B. f. (August, 2002). The Sailor’s Birthday Present. Retrieved from Yawning Bread: http:// www.yawningbread.org/guest_2002/guw-078.htm Koon, T. Y. (2002). The Mak Nyahs: Malaysian Male to Female Transsexuals. Singapore: Eastern Universities Press. Lo, L. (2003). My Sisters: Their Stories. Singapore: Vicom Editions.

Studio Title

An Alternative Singapore Story of Lives and Sites; CBD Amusement Park: Amenities of Entertainment for the next century

Dialogical Designs and Heterotopic Architecture in the New Normal

CHEN Siqi

An Alternative Singapore Story of Lives and Sites CBD Amusement Park: Amenities of Entertainment for the next century CHEN SIQI

Abstract: The project explores Foucault’s ideas of heterotopic spaces through

This is juxtaposed into a series of routes that provide new means of

the reconciliation of three main issues: social status, private and

connecting the existing spaces and buildings. Hence by means of

public spaces, and Singapore’s architectural icons. Through a

movement, new relationships and dialogues between the spaces,

reading of Bernard Tschumi’s Manhattan Transcripts, three distinct

events and users are created.

layers resulting from site analytical studies as well as new iterations for space, event and movement are used to set-up the key design

Through designing the Amenities of Entertainment, the project cre-

principles.

ates an alternative heterotopia of practical absurdity, reclaiming the facets of entertainment embedded within the CBD, at present,

Sited at the southern part of the reclaimed land of CBD, the alter-

across time and, even as we progress into the centuries ahead.

native Singapore story devised as a cinematic set and anchored through the notions of ‘amusement’ is argued through two existing events, the F1 race and the Chingay parade. At present, both events

Key Spaces & Architecture Description:

temporarily transform the CBD into amusement parks, creating new

‘Amenity and Movement’ foregrounds the conventional functions of

boundaries as defined by their routes.

the toilet while embedding this traditional typology within new notions of amusement and entertainment. The up-cycled programs in

Inspired by the ideas and in-between private-public characteristics

this instance include:

of the public toilet, usage as intertwined with arguments concerning space, status and location are explored. Through this narrative

The Runway of Loos This 30 metre runway, a pun on high-end

for amenities and entertainment, the story of CBD where the afore-

fashion shows, is located alongside a parallel row of loos, and con-

mentioned temporary events demand high levels of services and a

cludes with a view of the Singapore skyline. The feature serves as

post-pandemic city where cleanliness is foregrounded, the proposal

a metaphor for the parallel routes taken by the two social classes

to reclaim and showcase a basic necessity such as the public toilet

while interjecting ideas of entertainment with an essential and func-

is revisited. Hence a future-looking urban plan template regarding a

tional necessity. The exposed plumbing network that connects the

new typology for amenities that is grounded within ideas of enter-

water from the pool to the flushing and washing systems, performs

tainment and connectivity is devised.

multiple roles as framing and sound devices, the latter when water gushes through the pipes.

Through a system of grids, three locations with different types of intersections within the site extent are chosen to form designs for

The Revolving Wall A supporting feature that moves up and down

amenities within the discussions of Space, Event and Movement.

in synchrony with the movement of the escalators, thus framing dif-

The typology for ‘amenity and movement’, selected as the design

ferent scenes on the different levels, changing the paths of move-

focus is further derived from studies of films about, and in architec-

ment and enclosing spaces for entertaining activities.

ture. The movement patterns of the selected protagonists are extracted and conceptualized into a series of programs, objects and

The Platform Superimposed above the corridors of movement, this

events.

overhead platform subverts the planar organisation below with its winding and curved form and visually singles out a view of the Sin-

‘Amenity and movement’ explores the interchangeable definition of private and public spaces and interweaves the previously separated paths and spaces taken by the consumer and worker, as indicators of the different social classes in Singapore’s society.

gapore Flyer. Hence a connection is forged between the architecture of the amenities to a Singapore icon to cement the identity, role and program of ‘amenities and entertainment’ as a typology for the ensuing century.

Anchoring this particular architectural intervention is the facility termed as ‘high dive’ in reference to the roles of water and plumbing that occur concurrently with the function of toilets.

PROLOGUE: BERNARD TSCHUMI, THE MANHATTAN TRANSCRIPT & RAFFLES HALL

Prior to the design stage, the Raffles Hall transcript is constructed as a further study of a Heterotopic space in Singapore using the 3 key principles: Space, Event & Movement illustrated in Tschumiâ&#x20AC;&#x2122;s Manhattan Transcript. Further studies on Parc de la Villette and Le Fresnoy explores the relationship of how the ideas in the Transcript are realised in architecture. The studies, researches and its relation in-between forms the premises for the projectâ&#x20AC;&#x2122;s design of the masterplan and the architecture.

Study on Le Fresnoy

The Raffles Hall Transcript

Mindmap on the researches and their relationship in constructing a heterotopic cinematic space

THE STORY: MIGRANTS, CONSUMER & THE ICONIC SITES IN SINGAPORE

Two Singapore stories are created to set up the issues on site. The stories revolve around a migrant worker. In the first story, the worker is invited to Clarke Quay right after the construction of the Singapore Flyer, the issue of social status, and the different pinions towards Singapore’s icons across the time is discussed through a conversation between the worker and his contractor.

The second story happens years after the construction, during this post-pandemic situation. The worker comes back to Singapore as a consumer and the robustness of the CBD and the Flyer have died down. The conversation between the worker and his daughter in the Flyer capsule discusses the idea of the public-private spaces. The story of CBD then begins with the question, “Where is the rest of the amusement park?”

THE SITE: CBD AMUSEMENT PARK & THE PUBLIC AMENITIES

The alternative story of CBD devised as a cinematic set and anchored through the notions of ‘amusement’ is argued through two existing events, the F1 race and the Chingay parade. At present, both events temporarily transform the CBD into amusement parks, creating new boundaries as defined by their routes.

Through a system of grids, locations with different types of intersections within the site are chosen to form designs for amenities of Space, Event and Movement. Instead of a supporting feature, the amenities in the project takes dominance to become an independent feature itself. The typology for ‘amenity and movement’, is selected as the design focus of the project.

THE ARCHITECTURE: AMENITIES OF ENTERTAINMENT FOR THE NEXT CENTURY

The ‘amenity and movement’ includes the traditional functions of the toilet while having features of entertainment enriching and intermixing with these essential features. The architecture explores the interchangeable definition of private and public spaces and interweaves the previously separated paths of the different social classes, the consumer and worker in Singapore’s society.

Anchoring this particular architectural intervention is the facility termed as ‘high dive’ in reference to the roles of water and plumbing that occur concurrently with the function of toilets. The movement of the diving event into the pool determines the passage, and the touching of the water surface forms the space. This is juxtaposed into a series of routes that provide new means of connecting the existing spaces, buildings and roads on the site. Hence by means of movement, new relationships and dialogues between the spaces, events and users are created.

The colour of the amenity takes inspiration from the movie ‘Joker’ in which the bright and amusing colours are used to portrait notions of darkness as implied by the public toilet. The absurdity of the amenity therefore, is also premised in the context of the film.

The Amenity & Movement

The amenity and movement is functioning 24 hours and throughout the year. During the events, the normality of the toilet amenities and the connections contrasts with the craziness in the events. For other times of the year, the absurdity of the programmes and the new interpretation of the amenity functions foregrounded the normalness of the city.

Choreography of Movement

The Platform

Runway of Loos

The Revolving Wall

Maze of Movement

THE END

The Unitary Proposal: The Tale of The Farmer, The Businessman and The Environmentalist; The Colour Field of the First Harvest

Dialogical Designs and Heterotopic Architecture in the New Normal

CHOONG Chu-Xi, Danette

Studio Title

The Unitary Proposal: A Tale of The Farmer,The Businessman & The Environmentalist by Danette Choong Chu-Xi

SINGAPORE – Global supply chains are imperiled by the Covid-19 pandemic. Severe disruptions of food and daily commodities has left an import dependent Singapore vulnerable with a limited reserve to keep her swelling population fed. Consequently, the resurgence of local food production and the restoration of a sustaining secured nation is imperative to address the ongoing crisis. The Unitary Proposal, under the doctrine of a heterotopia, stems from a time of crisis to begin a discourse on the dichotomy between a utopian and dystopian. Singapore’s restoration prompts food sovereignty as a shared responsibility between The Farmer, The Businessman and The Environmentalist. The Famer is an award-winning chef and horticulture-book author. The Businessman is a Nobel Prize Winner for his experimental approach to examine society’s consumption and demands to alleviate food insecurity. The Environmentalist is part of TIME’s 2019 Next Generation Leaders series to change the people’s awareness on food consumption and production. The dialogue embarks on a process of reconciliation between food production and her nation, preluding with a Farm reconditioning reclaimed land forming the Greater Southern Waterfront. Over a duration of 30 years, the Farm shapes itself into a unitary ambience which depicts a rather fractural relationship where the sum of the parts is greater than the whole. Analogous to The Situationist City, the map takes on the techniques of (1) The Drift and (2) The Eternal Law- the former is influenced by the attraction and repulsion of parts, and the latter refers to the cut up of things waiting to be picked up to be put together in new ways (Sadler, S., 1989). The Farm, piloted by the characters’, becomes a platform for food sovereignty to propose institution control on the research and education, production, distribution, and consumption of food– an alternative to the dwindling imported food model. The Farm, however, is not oriented towards the eternal (Foucault, M., 1967). By the Year 2030, after growing methods are transcended to its student, the Farm is considered passé. The proposal runs according to its timeline, where each newly added layer enhances the notion of an educational facility.

TIMES 100 Interview The Farmer Years ago, The Farmer, taught me how to grow my first pot of herbs; I remember she was so encouraging, showing me how to carefully prepare the prepare the perfect soil and moistening it with just the right amount of water. There is magic in the way The Farmer teaches. She wins you over immediately with an inexorable combination of warmth, honesty, deep understanding of horticulture and cooking with that high-spirited laugh of hers. If anyone can show us how to cook and garden, it is The Farmer. It is no surprise that her book “Mama’s Peranakan Kitchen” is such a classic. Her book is rich with science and traditional techniques but never feels weighty; it has a joyful, whimsical quality that unmask cooking and harvesting in a very personal way. You can sense that same cheerful disposition and curiosity in The farmer’s book - she is learning from farmers who care for their land and making their grandmother’s recipes that have been passed down from generation to generation. The Farmer showed us what a beautiful experience it is to understand your ingredients – where they come from, who grew them, how alive they are, how people around the world transform them in delicious, diverse ways. I love the passion and presence which The Farmer delivers this message about food. At the end of the day, it is a universal message, and it is one we have forgotten: consumption is about care. The Farmer is an award-winning chef and horticulture-book author.

NOBEL PRIZE The Businessman Facts The Businessman The Severiges Riksbank Price in Economic Sciences in Memory of Alfred Nobel 2018Born: 7 September 1970Affiliation at the time of the Award: United NationsPrize Motivation: “for his experimental approach to alleviating food insecurity” Prize Share: 1/1 LifeThe Businessman was born in Singapore, South East Asia. He studied at Harvard University and completed his PhD in 2000 at Massachusetts Institute of Technology. He has been a member of the United Nations on Economic Activity in Food Trade since 2013, and prior to that an economic advisor to the Agri-food and Veterinary Authority of Singapore’s administration. At its heart, economics deals with the management of scarce resources. Nature dictates the main constrains on economic growth and our knowledge determines how well we deal with these constrains. The Businessman’s findings deal with interaction between society, the economy and climate change. In the mid-2010s, he created a quantitative model that describes the global interplay between economy and the climate. His model is also used to examine society’s consumption and demand.

TIMES 100 Interview The Environmentalist Every civil rights movement leader tries to influence society. The Environmentalist has done this through criticising the price of raw water sold to Singapore (from Malaysia) and calling for research and development to create alternative sources of water over the years. It is clearly not power or money that has kept him going – it is a genuine belief in the potential of protecting our food sources and a sense of responsibility to steward the company in what he believes is the right direction. Faced with tension between the company’s belief in consistency and courage, the “openness” of realities in the climate of Singapore’s food insecurity, The Environmentalist will need to make hard choices. The Environmentalist deserves great credit for daring to try to personally persuade the local government to join his proposal of an urban farm in Singapore’s CBD. This approach holds the possibility of history – making changes on the little red dot to make the people feel safer. The Environmentalist is part of TIME’s 2019 Next Generation Leaders series

1078 Studio Title

The Colour Field of The First Harvest by Danette Choong Chu-Xi

“(W)hoever experiences one of these Joycean ‘agglutinations’ will enjoy the sensation of looking through a first plane of significance to others lying behind it.” -Rowe & Slutzky Sited along Prince Edward Road in Singapore’s Central Business District, the architecture begins at the Former Singapore Polytechnic. Whilst retaining the building’s original façade, the inauguration of the Unitary Proposal reinstates the tropical modernist with slotted and juxtaposed spaces behind its veil. This composition between the façade elevation and continuous succession of added architecture layers expresses the modern building as a “source of poetic sensation” (Sadler, S., 1989) for open interpretation of literal and phenomenal transparency. In the pursuit of a heterotopia, the scheme takes on precise and determined functions that synchronizes with the expansion of a food production educational facility. The phases follow as such: [Year -41] The Beginning of a Utopian: Former Singapore Polytechnic [Year 0] The Unitary Proposal: Integrating an Urban Farm into an Existing Structure [Year +2] The First Harvest: An Agriculture School [Year +5] The New Establishment: A Seed Bank and Conference Centre [Year +30] The Third School: An Urban Farm and Food Production Park Behind the planar modernist façade, the architecture is valued as an educational facility as it starts with on-site learning (Growing) resulting in The First Harvest. The discourse proceeds to more speculative ideas of archiving (Seed Bank) and global exchange (Conference Centre). Eventually, the proposal becomes a catalyst for the conversion of unoccupied green spaces to become a multifold of landscaping as an extension of the urban farmlands. The Greater Southern Waterfront is transformed as a third school (Food Production Park), and the new masterplan serves as an introduction to the field of thinking and working towards food sovereignty. Just like a patchwork, the The Colour Field of the First Harvest is a sum of many parts to create a greater whole.

Behind the Veil Of The Tropical Modernist

The Sunken Field

Prince Edward Road, Singapore

Annoucing The New Establishment Prince Edward Road, Singapore

The Library of Seeds Prince Edward Road, Singapore

Expansion of The Farm Prince Edward Road, Singapore

Fields of The Highway Prince Edward Road, Singapore

An Antidote for a society dominated by Symbolic Capital and A Minor Architecture of Capitagreen: Microcosms of displaced landscapes

Dialogical Designs and Heterotopic Architecture in the New Normal

FANG Yutian, Claudine

An Antidote for a society dominated by Symbolic Capital & A Minor Architecture of Capitagreen: Microcosms of displaced landscapes by Claudine Fang Yu Tian

A heterotopia is a point of resolution for a society in crisis, a society seemingly in a state of arrhythmia as defined in Rhythmanalysis. It aims to bring society back to a state of eurhythmia, a state of harmony and resonance. It exists as a culmination of the tension between capitalism and the push for justice, namely the need for a more egalitarian and inclusive society. Singapore, a city defined by codes and order, produces a textual language of its own. A well-constructed language as mentioned in The Order of Things is necessary to introduce the possibility of a constant order into the totality of representations. The constructed textual language is consolidated into a Book of Codes, used as a means of communication between the people and minor architects. With the interpretation of these representations of the textual into physical actions that contest the order, structures of power become undone. This proposal thus questions the pre-pandemic emphasis on capitalism and examines the role of coding in architectural design. In this post-pandemic era where changing global trends are reshaping the way in which people live, work and play, the Central Business District (CBD) is chosen as a site where a minor architecture is used to deconstruct underutilized office buildings. Such buildings are described as “content and ubiquitous; in appearance they refuse to acknowledge regional styles, climates or landscapes” (Stoner, 2012). Their arid language of mostly glass facades and steel structures makes them vulnerable to minor experiments as they can easily be deconstructed and diminished as if it were another kind of ‘natural’ resource. The CBD is thus likened to graveyards of the capital, which are “representative of the fields, forests and quarries of our present time”. In doing so, the segmentation and management of time brought about by the manifestation of the political ceases to exist and fluid time is given back to the people, liberating them. It is a place where visitors from all walks of life are invited to participate, representing a confluence of cultures that reflects a microcosm of Singapore’s multi-racial society. To complement the deconstruction process, reconfiguration of the multitude of floors within the office buildings will produce a new typology of public spaces. Where layers of vertical space which was once controlled by private corporations had very limited access, it can now be free and accessible for all. The juxtaposition of public spaces onto once privatized spaces further perpetuates the ambiguous nature of a ‘public space’. The function and programme of the spaces will be determined through participatory design, where the community will be involved in collaborative design processes to determine the type of spaces they envision these new spaces to have. Authorship is put into reverse, and the design process becomes editorial. Within the new typology, microcosmic systems of public spaces emerge, creating varied spatial experiences that facilitates a wide range of activities and interactions. These public spaces take precedence from landscapes present within the surrounding context, displacing them. The physical spaces within the microcosms become a ‘democratic resource’, acting as a ‘stage’ for social interactions and cultural practices through allowing for the mixing of people of different races and socio-economic backgrounds. Thus, the public spaces in itself becomes a communicative medium. In its totality, it is a catalyst for responses that seeks to mobilize and bring about change for the betterment of society and contributing to a larger Singaporean identity.This can only be achieved through the site that caters to the masses, containing spaces that bring forth experiences for all.

An Antidote for a society dominated by Symbolic Capital

The CBD is likened to graveyards of the capital, which are â&#x20AC;&#x153;representative of the fields, forests and quarries of our present timeâ&#x20AC;?

Book of Codes

The constructed textual language is consolidated into a Book of Codes, used as a means of communication between the people and minor architects. With the interpretation of these representations of the textual into physical actions that contest the order, structures of power become undone.

A Minor Architecture of Capitagreen: Microcosms of displaced landscapes

To complement the deconstruction process, reconfiguration of the multitude of floors within the office buildings will produce a new typology of public spaces. Where layers of vertical space which was once controlled by private corporations had very limited access, it can now be free and accessible for all.

Participatory Design

Authorship is put into reverse, and the design process becomes editorial.

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Bibliography: Bremner, Lindsay and Till, Jeremy, A Cracking Read: Toward a Minor Architecture by Jill Stoner (2012), <https://www.architectural-review.com/essays/books/a-cracking-read-toward-a-minor-architecture-by-jill-stoner> [accessed 26 September 2020] Calvino, Italo, Invisible Cities (United States of America: Harcourt Brace & Company, 1974), pp. 69 Comaroff, Joshua, Built on Sand: Singapore and the New State of Risk (2020), <http://www.harvarddesignmagazine.org/issues/39/built-on-sand-singapore-and-the-new-state-of-risk> [accessed 14 August 2020] Fogarty, David, Cities step up bid for green pandemic recovery (2020), <https://www.straitstimes.com/world/cities-step-up-bid-for-green-pandemic-recovery> [accessed 14 August 2020] Foucault, Michel, The Order Of Things: An Archaeology of the Human Sciences (London: Tavistock/ Routledge, 1970), pp. 136-177 Hee, Limin, Constructing Singapore Public Space (Singapore: Springer, 2017), pp. 197-212 IPBES, Global assessment report on biodiversity and ecosystem services of the Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (2019), ed. By E.S. Brondizio, J.Settele,S. Diaz, and H.T.Ngo (Germany) Kiang, H.C, Liang, L.B, New Asian public space: Layered Singapore (Singapore: National Univeristy of Singapore, 2009) Kornhaber, David, The Birth of Theater from the Spirit of Philosophy (Evanston, Illinois: Northwestern Univeristy Press, 2016), pp. 46-50 Kwang, Kevin, Singapore society must maintain â&#x20AC;&#x2DC;informal and egalitarian toneâ&#x20AC;&#x2122;: PM Lee on tackling inequality (2018), <https://www.channelnewsasia.com/news/singapore/singaporesociety-must-maintain-informal-and-egalitarian-tone-pm-10239110>[accessed 12 September 2020] Lefebvre, Henri, Rhythmanalysis: Space, Time and Everyday Life (London/New York: Continuum, 2004), pp. 11, 14, 16, 46-50 Office for Metropolitan Architecture, Two Libraries For Jussieu University, Paris (Architectural Association School of Architecture, 1993) pp. 36-44 Pallasmaa, Juhani, The Eyes Of The Skin: Architecture and the Senses (Hoboken, New Jersey: John Wiley & Sons, 2005), pp. 26-34 Remizova, Olena, The Structure of The Architectural Language (Ukraine: Kharkov National University of Civil Engineering and Architecture, 2015), pp. 82-83 Schumacher, E.F, Small Is Beautiful: A Study of Economics As If People Mattered (New York: HarperCollins, 1973) Spina, Danton.C, Confused Spaces: Theatricality as a Device for Defining Different Types of Public Space (United States of America: the Faculty of California Polytechnic State University, 2013), pp. 1-16 Stoner, Jill, Toward a minor architecture (United States of America: MIT Press, 2012), pp. 1-19, 38-39, 104-105 Subramanian, Samanth, How Singapore Is Creating More Land for Itself (2017), <https://www.nytimes.com/2017/04/20/magazine/how-singapore-is-creating-more-land-for-itself.html?auth=login-google1tap&login=google1tap> [accessed 14 August 2020] Vidal, John, The Rapid Decline of The Natural World Is A Crisis Even Bigger Than Climate Change (2019), <https://www.huffpost.com/entry/ nature-destruction-climate-change-world-biodiversity_n_5c49e78ce4b06ba6d3bb2d44> [accessed 22 August 2020]

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The Healing Spectrum: Heterotopia and Well-being Existential Therapy in the City of Floating Landscapes

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Dialogical Designs and Heterotopic Architecture in the New Normal

LI Jiaying

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The Healing Spectrum - Heterotopia and Well-being by Li Jiaying

Mental well-being has long been an overlooked entity in Singapore. Currently, most diagnosis results from subjective clinical interviews, which are designed to map out the symptoms of the patients in order to classify them towards a specific category. However, mental health conditions lie on a spectrum, and many psychiatric disorders are connected with overlapping causes and symptoms. As such, an ‘in-between’ space is formed, as current clinical boundaries do not reflect distinct underlying pathogenic processes, and hence existing specialist places and treatments may not sufficiently address the mental health problems in Singapore. Heterotopia, in relation to heterotopic spaces is then created to reclaim the ‘in-between’ sites in the mental health sector.The healing spectrum, which comprises education, prevention and cure, is developed in this space, where emotional well-being is considered a natural and assumed aspect of its function. By encompassing multiple meanings within its manifested uses and established contexts, it is hoped that well-being can be introduced into the larger community as a part of the new normal in post-Covid Singapore. Education: Located at The Promontory to form part of the skyline and celebrate the achievements of the country, the choice of site contributes to the promotion of well-being by educating and raising public awareness. Prevention: Inspired by the work of Peter Zumthor and Juhani Pallasmaa, the roles of the sensory realms which include sound, smell and touch are used to construct restorative environments within a dense urban context. Cure: The existential therapy approach introduced by Irvin D.Yalom, unlike conventional clinical practices, is not symptom-centred, and restrictive models that categorize or label people are avoided. It works with both group and individual dialogues that enable people to find independent authorities in exploring their lives. Four ultimate concerns of life - death, isolation, freedom and meaninglessness are identified and exemplified in the final proposal through a series of plans that encapsulate the variation in programs, light and shadow conditions as well as sensory experiences in a vertical city. Furthermore, the therapeutic solutions suggested by Yalom are eventually transformed into an architectural language to create healing spatial experiences. Composing a meticulous assemblage of human activities, material presences, atmospheres and forms that influence the way people see, hear, smell, touch and feel.

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Existential Therapy in the City of Floating Landscapes The outcome is the proposal of a ‘city’ that combines the aforementioned qualities, located in and amongst the skyscrapers of our existing CBD. Extending the notion of “existential therapy” to the design of skyscrapers, a typology that will play increasingly important roles in the future of land-scarce Singapore with a growing population is key. Taking inspiration from Tatiana Bilbao’s (Not) Another Tower and the density studies in MVRDV’s Farmax, a city that encapsulates patchworks of civic activities amid floating landscapes, integrated within rainwater harvesting systems that simultaneously serve as structural supports, is created to form a vertical community that is functionally, socially and environmentally sustainable.

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Treatment Plans Plan 1

Education

Forming the Skyline

Prevention

Senses and Well-being

Cure

Existential Therapy

Juhani Pallasmaa

Peter Zumthor

Irvin D.Yalom

Establish the healing spectrum. 106

Plan 2

Tatiana Bilbao - (Not) Another Tower

Ancillary facilities responding to surrounding context.

Plan 3

MVRDV

Increasing density of spaces for functionality. 107

Prescription-Education Forming the Skyline.

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SINGAPORE

The City of Well-being

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Prescription-Prevention Senses and Well-being.

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Site Analysis Touch and Shadow

Smell and Wind

Hearing and Sound

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Multi-sensory experience in a vertical tower.

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Precsription-Cure Existential Therapy.

Meaninglessness

Freedom

Isolation

Death

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Death Although the physicality of death destroys us, the idea of death saves us. Oneâ&#x20AC;&#x2122;s recognition and acceptance of death can provide a radical shift of life perspective.

Absolute Silence

Diminishing Light

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Isolation Being alone is likely to be tolerable only for someone of relative maturity, whose sense of self is reasonably reliable â&#x20AC;&#x201D; someone who can comfortably hold onto feelings of connection, even when there is nobody else there.

Library-Intellectual Maturity

Meditation Space-Emotional Maturity

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Freedom Awareness of the concept of freedom and the recognition and acceptance of personal responsibility.

Individual Therapy Spaces

Group Therapy Spaces 117

Meaning

There is a dilemma in our hu life, as we exist in a universe t

Engagement is the therapeuti regardless of the

Therapy Spaces Amid La

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glessness

uman need to have meaning in that has no inherent meaning.

ic answer to meaninglessness, e latterâ&#x20AC;&#x2122;s source.

andscapes, Cafe and Theatres

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The Heterotopia in Gardens; A Vertical Sprawling Garden and Futuristic Library

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Dialogical Designs and Heterotopic Architecture in the New Normal

SHU Hongqiao

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THE HETEROTOPIA IN GARDENS Heterotopia is a utopia in the real world. It can superimpose incompatible space on a single space. It also exposes and connects all other spaces at the same time. The heterotopic space stand outside of time which can represent the past, present and future. Lastly, space provides the illusion of boundaries. In this project, I would like to explore the heterotopia through the design of gardens. ‘The garden provides an image of the world, a space of simulation for paradise-like conditions, a place of otherness where dreams are realized in an expression of a better world.’ (Meyer, 2003: 131) Foucault took Persian garden as an example of heterotopia. The Persian garden “is the smallest parcel of the world and the same time is the idealized model of it”. The Charbagh (four-fold design) layout design in Persian garden has a strong symbolic meaning of four parts of the world. Hence, the garden is a microcosm and “a sort of happy, universalizing heterotopia”. The Practice of Garden Theory (2000) states that the ‘first nature’ is wilderness, ‘second nature’ is the cultivated landscape and ‘third nature’ is the garden which is a combination of nature and culture. In the past, design of the gardens tends to be formal, symmetrical and enclosed. While the contemporary design of gardens largely inspired by modern architecture (“form following function”). But the most frequently discussed notion concerns the same topic, which is a tension or overlap between ‘nature’ and ‘culture’, or wilderness and order in garden design. The boundaries of garden play the role of dividing and joining the outside world and the interior space. A VERTICAL SPRAWLING GARDEN AND FUTURISTIC LIBRARY Singapore which has limited land resources and high-density level puts a lot of effort to achieve a garden city. Gardens by the Bay is a landmark of Singapore which also represent Singapore’s plan of “a city in a garden”. It is located next to the site of CBD and become a famous tourists’ destination. Due to the increasing problem of overpopulation and overcrowding, it is inevitable to have more skyscrapers in the future. Hence, cities will expand vertically. Supertrees in Gardens by the bay illustrate the idea of a vertical garden. Most of Singapore’s green open space are “destination parks” instead of truly integrated into residents’ daily lives. In the future, the garden will overlap with other programs to become a vertical sprawling garden. The library is a place for knowledge collection and provides a sense of community. Due to the development of technology and covid-19 pandemic, the E-library becomes more popular. The knowledge would be stored as data instead of physical papers in the future. And with the increasing trend of smart cities, different components in cities and the world is going to be more controlled and connected invisibly. ICT industries would be the leading industry in the world. Most of the services would be autonomous. The notion of the garden would help balance the mechanical and cold feelings of future technologies. Hence, I would like to propose a vertical sprawling garden and futuristic library. The proposal aims to form a space for the ‘fourth nature’ where both natural environment (garden) and new developments (library) are integrated and be able to meet the futuristic needs. There are three portions of the architecture which are the past, present and future. The past consists of two remaining building from the current NLB. The present represents the transfer stage. The future represents the possibility. The core structure has two layers which are delivery tube and water storage system. It will function as a book tube and data tube to deliver reserved books and data to specific collection points. The water collection system run through the building represents the invisible connection between all other space. And plants will grow up in both vertical and horizontal direction to blur boundaries between ‘order’ and ‘nature’.

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Biobibliography 1. Architecture /Mouvement/ Continuité October, 1984; (“Des Espace Autres,” March 1967 Translated from the French by Jay Miskowiec) 2. Johnson, P. (2012) ‘The Eden Project – gardens, utopia and heterotopia’ HeterotopianStudies [http://www.heterotopiastudies.com] 3. Art.

Meyer, S. (2003) Midlertidige Utopier [Temporary Utopia] Oslo: Museum of Contemporary

4. Grant Associates. (2020, January 16). Gardens by the Bay. https://grant-associates.uk.com/ projects/gardens-by-the-bay 5. arXiv, E. T. F. T. (2020, April 2). Get ready for more and taller skyscrapers. MIT Technology Review. https://www.technologyreview.com/2018/08/20/2343/get-ready-for-more-and-taller-skyscrapers/ 6. Lin, H. and Luyt, B. (2014), “The National Library of Singapore: creating a sense of community”, Journal of Documentation, Vol. 70 No. 4, pp. 658-675. https://doi.org/10.1108/JD-11-20120148 7. 1-2-3 … Fourth Nature? | ParadoXcity Studio Venice. (2011). ParadoXcity Studio Venice. https://pages.shanti.virginia.edu/Venice_11Sp_ALAR/resources/1-2-3-fourth-nature/ 8. Architects, S. (2018, April 13). Interview with Ken Yeang for share-architects.com. SHARE Architects. https://share-architects.com/interview-with-ken-yeang-for-share-architects-com/ 9. Dézallier d’Argenville, A.-J. (Antoine-Joseph), 1680-1765. (1712). The theory and practice of gardening: Wherein is fully handled all that relates to fine gardens ... London :Printed by Geo. James, 10. Morgan, L. (2016). The Monster in the Garden: The Grotesque and the Gigantic in Renaissance Landscape Design. PHILADELPHIA: University of Pennsylvania Press. Retrieved November 14, 2020, from http://www.jstor.org/stable/j.ctt16xwc9bw

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THE HETEROTOPIA SPACE

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THE HETEROTOPIC GARDEN

10126 Studio Title

Studio Title

11 127

“A CITY IN A GARDEN”

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NATIONAL LIBRARY AND GARDEN

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132

133

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Hidden labyrinths and heterotopic spaces from the viewpoints of Chinese paintings; The city showroom of constructed landscapes, alternative readings and experiences of the Singapore River

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Dialogical Designs and Heterotopic Architecture in the New Normal

SONG Benjiao

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Hidden labyrinths and heterotopic spaces from the viewpoints of Chinese paintings Song Benjiao (A0215883X) In Foucault’s book “The order of things”, in his interpretation of Borges’s Chinese Encyclopedia, he mentioned the word “heterotopia”. Foucault describes a monstrous quality in Borges’ classification that derives not from the strange juxtapositions of the classification but from the fact that the common ground on which such meetings are possible has itself been destroyed. Just like other Borges’ maze novels, they explode the possibility of distinguishing between these objects by offering no space for the objects to meet. So heterotopia is like a hidden labyrinth, by dissolving the gaps between (a) and (b), Borges shows the impossibility of making links in a void. The new spaces, though formed in part by all other spaces, offer an alternative view of what we can see of the different maze characteristics of heterotopias and the reality they reflect. From this perspective, the true portrayal of this maze-like heterotopia is Chinese painting. With further exploration of the labyrinth characteristics of heterotopia through the painting “Living in the Fuchun Mountains” painted by Huang Gongwang in the Yuan Dynasty, in the perspective of Chinese painting, the picture has no focus, it depicts a journey, and the elements on the way are reordered and scattered in the picture with abnormal connections. The city showroom of constructed landscapes, alternative readings and experiences of the Singapore River - Discontinuous route By studying the space along the Singapore River, the route along the Singapore River is discontinuous and will be blocked by bridges and clear boundaries between plots. Except for some areas of the river mouth, many other places lack open space for public activities. - Concentrated elements Due to the concentration of elements in each plot, it is mainly manifested in the single architectural form and function, unlike the scattered and fusion of elements in Chinese painting. The connection between the plots is weak and self-contained, and people’s activities are limited to the purposeful conversion between locations. The entire area cannot be a continuous area. - Constructing a new landscape in Chinese painting’s way This project intends to use the labyrinth characteristics of Chinese painting and its lack of focus to explore a new way of connecting the plots using scattered elements, integrating the experience of the Singapore River into it, and constructing the landscape along the Singapore River in a city showroom. This city showroom is an event exhibition hall. When there is no special exhibition, it attracts people to carry out activities in it, showing the various scenes of Singapore River.

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Bibliography: • • • • • • • • • • • •

Foucault, Michel, The Order Of Things (London: Routledge, 2005) Foucault, Michel, ‘Of Other Spaces: Utopias and Heterotopias’, trans. by Jay Miskowiec, Diacritics, vol. 16, no. 1, Spring, 1986, p. 22-27. The original text based on the 1967 lecture is, ‘Des Espace Autres’, Architecture /Mouvement/ Continuité, no. 5, October, 1984, pp. 46-49. Borges, Jorge Luis, El Aleph (Madrid: Alianza, 1993) Borges, Jorge Luis, Ficciones (Porto Alegre: Editora Globo, 1976) Topinka, Robert J., “Foucault, Borges, Heterotopia: Producing Knowledge In Other Spaces”, Foucault Studies, 2010, 54 https://doi.org/10.22439/fs.v0i9.3059 Dobbs, Stephen, The Singapore River “Debbie Ding: Here The River Lies”, Dbbd.Sg, 2020 <http://dbbd.sg/works/here-the-river-lies.php> [Accessed 15 November 2020] Harding, Andrew, “Five-Foot Ways As An Embodiment Of Public And Private Rights: The Origin, Survival And Preservation Of Spatial Heritage In Singapore And Beyond”, SSRN Electronic Journal, 2018 https://doi.org/10.2139/ssrn.3144859 “Singapore (1980-1990) / Concept Of Bu Ye Tian And Its Criticism – ASIAN CITIES RESEARCH”, Fac.Arch.Hku.Hk, 2020 <https://fac.arch.hku.hk/asian-cities-research/singapore-1980-1990-concept-of-bu-ye-tian-and-its-weakness/> [Accessed 15 November 2020] “Singapore / Chinese Cultural In Bu Ye Tian Proposal – ASIAN CITIES RESEARCH”, Fac. Arch.Hku.Hk, 2020 <https://fac.arch.hku.hk/asian-cities-research/singapore-chinese-cultural-in-bu-ye-tian-proposal/> [Accessed 15 November 2020] “Reclaiming The City: Waterfront Development In Singapore - T. C. Chang, Shirlena Huang, 2011”, SAGE Journals, 2020 <https://journals.sagepub.com/doi/abs/10.1177/0042098010382677> [Accessed 15 November 2020] “Under One Roof: How The Covered Walkway Conquered Singapore”, RICE, 2020 <https://www. ricemedia.co/culture-life-one-roof-covered-walkway-conquered-singapore/> [Accessed 15 November 2020]

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Hidden labyrinths and heterotopic spaces from the viewpoints of Chinese painting

· The definition of heterotopia: Hidden labyrinth “Book of Imaginary Beings” , Borges -- Chinese encyclopedia

the relations of different objects: abnormal connections - reorder Borges’ classification explodes the possibility of distinguishing between these objects by offering no space for the objects to meet. The common ground has itself been destroyed.

Heterotopia is like a hidden labyrinth. Just like the mazes written by Borges, they are full of abnormal connections. Different elements are like scattered points, scattered in different positions of the maze, but they can be connected through some abnormal connections. After countless permutations and combinations, countless kinds of heterotopias will be produced.

Compliant heterotopia principles： - Third principle.

The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible.

- Fourth principle. Heterotopias are most often linked to slices in time - Sixth principle.

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The last trait of heterotopias is that they have a function in relation to all the space that remains.

· Chinese painting - the portrayal of maze-like heterotopia

The School of Athens Raffaello Santi 1509-1510

“Living in Fuchun Mountains”

Huang Gongwang 1350

Chinese painting - a collage of certain fragments and elements in a journey

Reorder in the “Fuchun Mountains” Scatter perspective Reorder a series of time, space and objects to express a certain feeling Splicing together the scenes seen during a series of routes, not following the laws and order of nature, only based on the author’s impressions and feelings

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· The labyrinth qualities of Chinese painting - “Living in Fuchun Mountains” Introduction of “Living in Fuchun Mountains” Huang Gongwang(1269-1354）

a child prodigy -- being an official -- being imprisoned -- joining Taoism, returning to the mountains and forests in FuChun, and living a life of fishing and chopping wood

This picture was presented to his friend Wuyoushi, and it is also his best work in this life. He was 81 years old when he draw this painting. This image is a retrospect of his life before his death, and it is also like a memory of the country and a nostalgia for mountains and rivers. Cycle -- round-trip Woven paths -- countless time and journeys 7 figures in the painting

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Ancient Chinese film -- A story of traveling between mountains and rivers

Seems like different angles of the same mountain

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Reorder the scattered elements

Huang Gongwangâ&#x20AC;&#x2122;s Destiny Symphony: Four movements

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Âˇ The spacial labyrinth of Chinese painting

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The city showroom of constructed landscapes, alternative readings and experiences of the Singapore River Âˇ Site issue

Singapore River

1819

after 1950 disappear transform overlay

5 6 600m

forest, islands, rivers boat, quay, some buildings some zone, roads

2 3

Gathering of single element (space form,function) in each segmented plots -- clear boundary

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Âˇ Elements and experiences in each plots the changes of the river bank and the skyline

the continuation of the story of shophouse

the contrast of government & cultural

government

shophouse

art

shopping mallďź&#x152;official buildings

layer 1 - facade of shophouse

route 1 - round trip (front & back road of shophouse)

route 2 - Five Foot Way

layer 2 - components of western buildings

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Âˇ Collage of elements and experiences of the Singapore River constructing a new landscape

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Open work, Closed site: The deconstruction of a constructed landscape as a multilayered heterotopia; Post-Pandemic Open structures and Upcycling Marina Bay Cruise Centre

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Dialogical Designs and Heterotopic Architecture in the New Normal

YIN Menghua

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Open Work, Closed Site, The Deconstruction of a Constructed Landscape as a Multilayered Heterotopia Post-Pandemic Open structures and Upcycling Marina Bay Cruise Centre by Yin Menghua A0173422M

The practice of architectural design in this instance is approached via the arguments raised in Umberto Eco’s The Open Work (1989). The design proposal explores the theoretical notions of ‘openness’ through multiple interpretations that occur in issues of site, techniques of programming and user interventions. The process begins by critiquing existing predetermined readings of sites in Singapore, specifically sites of reclamation in the central business district (CBD). Hence in response to the notion of a fixed site, a system that prioritizes flexibility in programming through a range of scales is proposed for a post-pandemic context. Open work An ‘open work’, according to Eco, is incomplete by nature of its configuration and hence requires completing. The author of open works only hands over the components of a construction kit. The poetics emerge as the interpreter chooses for himself his own modes of approach and his own manner to set up the interpretation, and thus extend to the utmost degree his perceptual faculties. Explorations of The Open Work that begin with Alexander Calder’s mobile sculptures and readings of Baroque architecture is extended to modern architecture, in this instance, Ludwig Mies van der Rohe’s Barcelona Pavilion. These different interpretations and outcomes of ‘openness’ are employed as design strategies to formulate an architectural proposal that consequently reveals these ideas through a range of – S,M,L,XL – scales on the chosen site of the Marina Bay Cruise Centre. Closed site The notion of open work is simultaneously used to critique the rigidity of land use in Singapore, specifically the reclaimed sites in the central area. These sites of reclamation are symbolic of the state’s agenda of progress and, as it shifts its focus from one phase to another, constructs closedness and inequalities through mono-functional “islands” of infrastructure. With over-engineered forms and gigantic scales, these clusters reject any alternative interpretations and contributions afforded by an ordinary user, resulting in poor resilience when the external environment changes as demonstrated during the pandemic. The deconstruction of the constructed landscape As a counter to the fixed reading of site, an open structure is proposed at one of the most closed sites, the Marina Bay Cruise Center, a defunct building in the aftermath of the pandemics. Although sited at the waterfront, the Marina Bay Cruise Center invites only the cruise passengers and rejects any public use. The first step towards flexibility enabled the site to unbiasedly maintain its entertainment function and be transformed into an isolation facility when required.

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Post-Pandemic Open structures and Upcycling Marina Bay Cruise Centre As opposed to the closedness of the cruise center, the components of the proposed open structure comprise of ambiguity, multiplicity, and incompleteness. It offers alternative readings across a spectrum of scales â&#x20AC;&#x201C; from the smallest scale of a curtain, to the largest scale of the masterplan. At the Small scale, the reflectiveness and softness of specific material choices negates the fixed existence of the architectural elements. At the Medium scale, furniture units are dually designed as architectural partitions and means of enclosures so that users, through new arrangements, are empowered to construct their own spatial boundaries and experiences. At the Large scale, the state of the architecture is indeterminate and adaptable. In anticipation of future pandemics, the structures can be quickly converted to an isolation center. Exterior boundaries are set up but a certain level of user autonomy remains in the interior spaces. During normal conditions, they are sites of public leisure, at the same time offering routes into the entertainment facilities within the cruise for public enjoyment. Other than programmatic spaces, pockets of in-between spaces without intended functions are left for the creative interpretations on the part of the user. At the eXtra Large scale, the open structure enables alternative routes to experience the site. It spans from the cruise center to the leftover spaces at shore whereby the formerly closed site of high-end consumeristic entertainment is opened up as a part of a public waterfront. Hence the land is given back to the people. The structure, as a piece of open work, juxtaposes the fixedness of Marina Bay Cruise Center. Being ambiguous and incomplete, it can be approached by anyone in any desired manner. It is up to the user to decide how the story unfolds within.

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Open Work

The Traffic Light

The Art Work

Examples of Open Work in the Field of Art and Architecture 158

The Open Work

Open Work

Movement and Multiplicity in the Calderâ&#x20AC;&#x2122;s Mobile Sculptures

Barcelona Pavilion as the theatre

Barcelona Pavilion as the landscape garden

Barcelona Pavilion as paradoxical asymmetries Reflectiveness and the sense of mystery

Asymmetrical symmetries & Abstract specificity

Multiple routes and open circulation

Multitude of readings and contestations

Barcelona Pavilion in relation to Open Work 159

Closed Site

Land reclamation as a closed form of development 160

Closed SIte

Closed â&#x20AC;&#x153;islandsâ&#x20AC;? of infrastructure

Level of resilience across 4 sites during the pandemic 161

The Deconstruction of a Constructed Landscape

Re-reading the site as an isolation facility

Re-reading the site as public leisure 162

Post-Pandemic Open Structures and Upcycling Marina Bay Cruise Centre

Steel

Glass

Fabric

String S - Material ambiguity - reflectiveness, softness and dynamism

163

M - Movement of architectural elements and multiplicity 164

Steel Frame Glass Wall

Steel Frame Curved Glass Wall

Marble Wall Glass Panel

Steel Frame Glass Wall

Steel Frame Plastic Chair

Steel Frame ETFE Membrane

Translucent Fabric

Opaque Fabric

Steel Frame Glass Panel Cable Connection

M - Movement of architectural elements and multiplicity 165

As Isolation Facility

As Public Theatre L - Alternative intepretations of architecture 166

As Isolation Facility

As Public Theatre

L - Alternative intepretations of architecture 167

L - Multiple routes and open circulation 168

L - Multiple routes and open circulation 169

As Isolation Facility 1 MRT Station 2 Test Centre 3 Waiting Zones 4 Isolation Ward 5 Recovery Exit

2 1

XL - Alternative intepretations of site 170

As Public Leisure 1 MRT Station 2 Visitor Centre 3 Market / Cafe / Fishing Station 4 Public Theatre 5 Cruise Entertainment 6 Flea Market 7 Indoor Concert 8 Water Sports Station

2 1

XL - Alternative intepretations of site 171

Bibliography Calder, Alexander. 1932. “Comment Réaliser l’art?,” Abstraction-¬‐Création, Art Non Figuratif, 1, ed. by Calder Foundation, New York: 6 Calder, Alexander, and Jean Davidson. 1977. Calder: An Autobiography with Pictures (New York: Pantheon Books) Constant, Caroline. 1990. “The Barcelona Pavilion as Landscape Garden: Modernity and the Picturesque,” AA Files, 20: 46–54 Eco, Umberto. 1989. The Open Work, trans. by Anna Cancogni (Cambridge: Harvard University Press) Evans, Robin. 1990. “Mies van Der Rohe’s Paradoxical Symmetries,” AA Files, 19: 56–68 Foucault, Michel. 1984. “Of Other Spaces,” Architecture Mouvement Continuité, 5, ed. by Jay Miskowiec: 46–49 <https://doi.org/10.2307/464648> Lau, Constance. 2016. Dialogical Designs, Dialogical Designs (London: Department of Architecture, University of Westminster), pp. 282–92 Lim, Tin Seng. 2017. “Land From Sand: Singapore’s Reclamation Story,” BiblioAsia <http://www.nlb.gov.sg/biblioasia/2017/04/04/land-from-sand-singapores-reclamation-story/> [accessed 12 August 2020] Pousseur, Henri. 1959. “Scambi – Description of a Work in Progress,” Gravesaner Blätter: 48–54 Quetglas, Josep. 2001. Fear of Glass : Mies van Der Rohe’s Pavilion in Barcelona (Basel: Birkhäuser) Sartre, Jean-¬Paul. 1946. “Les Mobiles de Calder,” in Alexander Calder: Mobiles, Stabiles, Constellations (Paris: Galerie Louis Carré), pp. 9–19 Schulze, Franz. 1990. Mies van Der Rohe : Critical Essays (New York: Museum Of Modern Art ; Cambridge, Mass) Wittkower, Rudolf. 1990. Art and Architecture in Italy : 1600-1750 (London: Penguin Books), pp. 131–35 Zhuang, Justin. 2018. “Marina Bay,” Singapore Infopedia (National Library Board) <https://eresources.nlb.gov.sg/infopedia/articles/SIP_2016-06-21_160714. html> [accessed 15 September 2020]

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Heterotopic Exhibition Space in Museum; Review and Encounter Qinshihuangdi and His Terracotta Warriors

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Dialogical Designs and Heterotopic Architecture in the New Normal

ZHANG Qining

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Heterotopic Exhibition Space in Museum --- Review and Encounter Qinshihuangdi and His Terracotta Warriors

by Zhang Qining Foucault claims in his article “On Other Places”that heterotopias are a part of every culture, though they are manifested differently in different places and times. A heterotopia can also function differently and in different situations, for example The terracotta warriors exist in every dynasty in China, with different forms of expression according to the culture and national traditions of that time, from the real-human-scale of ultra-realistic terracotta warriors of the Qin Dynasty, relativity smaller figures the Han Dynasty, and the famous Tri-colored glazed pottery of the Tang Dynasty, they are all the fragments of the terracotta warriors in different dynasties and cultures. One aspect of heterotopias that Foucault mentioned is the role that is relation to other places. The terracotta warriors were created because qin Shi Huang still wanted the support of his army and his own kingdom after his death, but after he died, thousand years past by, when people discovered the terracotta worriers, the role of terracotta army displaced from the art pieces and historic heritage from the defender of the tomb. The displacement in physical space was happened after the terracotta was found - the filed and villages on the site was forced move to surrounding neighborhood, and transformed to the archaeological site, and as archaeological work progressed, more terracotta warriors and pits were found, leading to the expansion of the terracotta warriors site and of course, many people in the village changed from farmers into docent and staff in the terracotta museum. Foucault highlighted that the focuses on heterotopic space places which have a “strange” relation to other places by suspending, neutralizing or reversing the relationships through which we can point at them, reflect or conceive them. Some examples of these: 1.The exhibition, “The First Emperor: China’s Terracotta Army”: the terracotta warriors in they transformed historic reading room into a gallery which is very different space that we normally has a exhibition in, the unique historic reading room with the famous deck in the reading room was suspended and have the exhibition space above them, which exhibition space and the reading room are juxtaposing and incompatible. 2.The Fabric wall is a screen for projected images of the recover-colored terracotta army with the army besides to give a sense of scale and reversing, and it’s like a sort of ground theatrical battle. That representing the third character of heterotopia that Foucault mentions is that heterotopias are able to oppose, in the same place. 3.The exhibition in Australia combines the work from a chinese modern artists to help that have a better express of the terracotta warriors both spatially and visually; In compare with other terracotta warriors’s exhibitions, the bright exhibition environment interacts with each terracotta warrior’s individual space (a separate booth), where people stop to see the details of the terracotta warriors and suspended themselves.

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4.The exhibition in In the Asian civilization museum has the same idea, but with different result: the art work, from Singaporean artist Justin Lee, placed at the entrance to the museum’s galleries. he created his own version of the terracotta army, accompanied by fairy-like maidens with a decidedly contemporary slant. The sense of the reversing relationwas made by the compare and contrast between modern art and ancient art, and the time link between past and present gave empathy to audience. They also neutralizing the cross-space of the room for exhibition - to make the layout of exhibits’ catalogue is similar with the layout of terracotta army pit and represent the layout of Qinshihuang tombs in XiAn.

Zoom out a little bit, the Asian civilization museum applyed the new wings and the rejuvenation of the museum building is defined by the clarity of architectural expression, and the manipulation of daylight to sculpt building form and illuminate gallery spaces. The architecture of the new 2015 extensions is unapologetically contemporary and forms interesting counterpoints to the existing building, and completes the accumulation of time the history. no part of the heritage building has been demolished. Rather, where past unsympathetic insertions have removed heritage façade features, these have been restored and revealed for the first time in years. Daylight is employed as a device to delineate and distinguish new from old, facilitate a sympathetic contiguity and create a symbiotic dialogue between the two. Heterotopia is a concept used by philosopher Michel Foucault to describe places that are simultaneously physical and mental. After research of terracoota worriors, the tomb of Qin Si Huang Di, and exhibition space in museums and gallery, I defined heterotopia is a displacement of imaginary utopia or a parallel space that makes utopia possible somewhere else. In this project I am imagining an architectural heterotopia to review and encounter with Qinshihuang’s wish that he want the support of his army and the vast territory after his death. The ideal is an endless space where people can observe, meet, share knowledge and “notionally” travel. The proposal consists of an underground world that is concealed by a garden-like mini-park on top. Only entrance and two light-wells reveal its existence below. Inside this underground labyrinth the visitor can wander and discover new spaces, on different levels, varying in size and proportion. His legacy kingdom and story continues to exist throughout the labyrinth by means of memory and knowledge. A space that provides a time journey, where Qinshihuang conquered the entire china and built the first empire in Chinese history. The graden on roof top and the small grass filed with the square pop-up to represent how the terracotta figures was placed in the pit, different texture is because of the different apparence of terracotta, and the irregular cuts is referring the broken terracotta The big interior facade from the roof top to the lowest level a scenographic experience set within the whole atrium space; theatrical, atmospheric, narrative and multimedia. The floor gradually enlarger from top to bottom represent the wall in the Qinshihuang’s tomb. And at the bottom level is a gap with rough texture to represent the rivers and mountains substitute which in the rest place of Qinshihuang. I wanted to show some ways that people could approach history in a social and civic way closely - that the audience came face to face with remarkable objects, and were time traveled into another world, after they walk though every movements on the building. People get really close to the warriors, so they could see the terracotta army were craft separately which is the real works of art.

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One aspect of heterotopias that Foucault mentioned is the role that is relation to other places.

The terracotta warriors were created because qin Shi Huang still wanted the support of his army and his own kingdom after his death, but after he died, thousand years past by, when people discovered the terracotta worriers, the role of terracotta army displaced from the art pieces and historic heritage from the defender of the tomb.

The displacement in physical space was happened after the terracotta was found - the filed and villages on the site was forced move to surrounding neighborhood, and transformed to the archaeological site, and as archaeological work progressed, more terracotta warriors and pits were found, leading to the expansion of the terracotta warriors site and of course, many people in the village changed from farmers into docent and staff in the terracotta museum.

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2010.6.26 - 2011.6.26 at Toronto & Montreal, Canada- The Warrior Emperor and China's Terracotta

Foucault claims in his article “On Other Places”that heterotopias are a part of every culture, though they are manifested differently in different places and times. A heterotopia can also function differently and in different situations, for example The terracotta warriors exist in every dynasty in China, with different forms of expression according to the culture and national traditions of that time, from the real-human-scale of ultra-realistic terracotta warriors of the Qin Dynasty, relativity smaller figures the Han Dynasty, and the famous Tri-colored glazed pottery of the Tang Dynasty, they are all the fragments of the terracotta warriors in different dynasties and cultures.

2017.11.18 -2018.3.11 at Richmond, US Terracotta Army - Legacy of the First Emperor of China

2018.4.20 - 8.12 at Cincinnati, USA - Terracotta Army - Legacy of the First Emperor of China

September 15, 2019 – December 15, 2019 at the Bangkok National Museum, Thailand

2018.12.15 - 2019.4. 22 at Wellington, New Zealand

May 24, 2019 – October 13, 2019 at National Gallery of Victoria, Melbourne, Australia

2011.6.23 - 10.16 at Singapore - Terracotta Warriors: The First Emperor and His Legacy

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The room still within the exhibition, and people wonâ&#x20AC;&#x2122;t notice that they been lifted up into the dome.

The round ground was divided into two halves by the doorway: one half is represent the work achievements of the First Emperor and another half is for his entire life, and each object been treated as an important fragment in the whole narrative exhibition to tell the story about the whole life of the First Empire in China. Final display section - Broken terracotta

Main displays - terracotta warrior figures, horse-drawn chariot, and terracotta entertainers

Final display section - Reconstructed kneeling archer with color - adjacent to the broken figures, represent the reconstruction of Chinese empire and history

Preliminary displays - Culture development in architecture - building materials and palace model

Preliminary displays - Imperial administration and laws - the standardization of weights and measures, the writing system, and coinage Preliminary displays - Introduction and narrative frame to the exhibition - kneeling archer Preliminary displays - Military conflicts and the deployment of troops - weapons, gold and jade

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Atrium though 2nd floor to 3rd floor

3rd FLOOR

Escalator from the 1st floor entrance for exhibition

2rd FLOOR 3. Conversations It's not just city planners who shape Singapore's physical landscape; everyone has a part to play.

4. Learning the fundamentals Try your hand at city planning through a dynamic 8-player game and see how you can meet the needs of a city-state within limited land. See how innovative solutions can help overcome this.

2. Periods of Progress Travel through time to discover how Singapore overcame many challenges and transformed itself from a fishing port to a cosmopolitan city within a short period of time.

5. Planning Sustainable Read about different strategies that have helped to shape what Singapore is today.

Up to 3rd Floor

6. Brush with History Discover how proactive conservation efforts have helped retain important historic buildings and structures and the rich identity and heritage of many areas.

8. Study Area See how Singapore's central area has changed over the years by exploring different layers of the city through flip books.

7. Urban Design Learn the art and science of creating memorable buildings and street capes that help make Singapore more distinctive and create your own city skyline.

Space and movement 1. Vibrant Cities Explore what other cities do before immersing yourself in the sights and sounds of beautiful Singapore through a 270-degree panoramic show

Down to 2nd Floor

9. Distinctive Districts Experience the buzz and distinct characters of Singapore's unique districts - Singapore River, Marina Bay, Orchard Road, Bras Basah, Bugis.

10. Central Area Model Get an exclusive bird's eye view of Singapore's central area at one of the largest architectural models in the world.

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access allay 1

main car access heavy but orderly traffic the boundary of the Chinatown

access allay 2

site location is behind. Aviod the niose and traffic chaos from the west face of site

office building, high point in elevation

Cross Street

shops on the South Bridge Road

The diversity of the buildings promotes the multi-cultural and heterotopic of the surrounding environment Tample Street

shops

Pagoda Street

Mosque Street shops

Buddha Tooth Relic Temple

shops

Sri Mariamman Temple

Cross Street

Masjid Jamae (Chulia)

parking car access vagetationon the site

Shops and bar on Club Street

Quiet at daytime

main pedestrian access vagetationon the site on the side of the boundary

East face of site location open space with no hide

cross Street

office building and shops

more narrow street compare with Cross St. less people walk on the street

public green space

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Club Street

North face of site location open space with no hide

South Bridge Road

shops on the Cross Street

New Bridge Street

Larger grass texture represents the thick wall between every five rows of terracotta worriors in the XiAn original site The transparency light threshholds provides better for the whole building

Roof top

The graden on roof top and the small grass filed with the square pop-up to represent how the terracotta figures was placed in the pit, different texture is because of the different apparence of terracotta, and the irregular cuts is referring the broken terracotta.

-1 Level

Inside this underground labyrinth the visitor can wander and discover new spaces, on different levels, varying in size and proportion.

-2 Level

A small garden as the rest place of visitor -3 Level

-4 Level

The floor gradually enlarger from top to bottom represent the wall in the Qinshihuangâ&#x20AC;&#x2122;s tomb. And at the bottom level is a gap with rough texture to represent the rivers and mountains substitute which in the rest place of Qinshihuang.

-5 Level

-6 Level

-7 Level

-8 Level

show some ways that people could approach history in a social and civic way closely - that the audience came face to face with remarkable objects, and were time traveled into another world, after they walk though every movements on the building. People get really close to the warriors, so they could see the terracotta army were craft separately which is the real works of art 185

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Museum, just as it can be a source of imagery for the people in its creation of the ideological landscape, also acts as a repository of information. Or is a heritage of existing culture. The ideal is an endless space where people can observe, meet, share knowledge and â&#x20AC;&#x153;notionallyâ&#x20AC;? travel. The proposal consists of an underground world that is concealed by a garden-like mini-park on top. Only entrance and two light-wells reveal its existence below. Inside this underground labyrinth the visitor can wander and discover new spaces, on different levels, varying in size and proportion. His legacy kingdom and story continues to exist throughout the labyrinth by means of memory and knowledge. A space that provides a time journey, where Qinshihuang conquered the entire china and built the first empire in Chinese history.

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Dialogical Designs and Heterotopic Architecture in the New Normal

Abstract: The role of dialogue in design practice is adopted as questioning and incomplete, with the capacity for user intervention to assume authorship to shape the reading and outcome of the work. This creation of multiple interpretations is furthered through spatial explorations in Michel Foucault’s notions of heterotopia and heterotopic spaces that encompass layers of meaning within their apparent uses and established contexts. These arguments, in conjunction with Italo Calvino’s ‘Invisible Cities’ (1974) and Darran Anderson’s ‘Imaginary Cities’ (2015) will be used to formulate a post-pandemic narrative for how – Singapore - a city can be reimagined through ‘interdisciplinary approaches that embrace multiple perspectives’.

Design Brief Segments: The role of dialogue in the practice of design From ‘invisible’ to ‘imaginary’ cities, dialogue and interdisciplinary design The notion of heterotopia and Michel Foucault’s thesis on the ‘in-between’ Virtual access and new ideas of site in architecture Reclaiming the ‘in-between’ sites and hosting narratives of the new normal

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The role of dialogue in the practice of design In his discussion regarding the use of dialogue in design practice, Jonathan Hill compares the didactic approach to an alternative that emphasises the role of dialogue and focuses on ‘developing a generous community of open-minded individuals’ where ‘the aim is to create a coherent position that is also questioning and incomplete, and thus a stimulus to students’ creative development, not a limit’.1 This approach forms a fundamental aspect of this design research proposal which examines the role of dialogue as a form of enquiry and a methodology for the creative practice of design in relation to issues of site. Significant issues regarding the notion of work that is ‘questioning and incomplete’ are raised in Umberto Eco’s book The Open Work (1989) that explores the capacity for user intervention to shape the reading of the work. This concept is also demonstrated in Walter Benjamin’s The Arcades Project, described as ‘the blueprint for an unimaginably massive and Labyrinthine architecture, a dream city in effect’.2 The contents of Benjamin’s book can also be argued to be a site-specific reflection on life in Paris during the 19th-century. Nonetheless, Eco’s concept of ‘openness’ and the creation of multiple interpretations for the work to be deemed complete is highly evident. In this instance, studio teaching encourages the student to assume authorship and shape the reading and outcome of the design brief. Italo Calvino’s Invisible Cities (1974) is constructed as a series of verbal reports which the traveller Marco Polo makes to Kubla Khan, Emperor of the Tartars.3 Through a dominant theme of transitoriness, the emblematic characters of eleven cities are established through convincing tactile and visual descriptions. The text is designed to reveal only at the end that all the cities depicted radiate from and retreats to Polo’s home of Venice in Italy. Hence this book of dialogues transcends general classifications and assumed arguments of what constitutes real, as opposed to imaginary cities.

Jonathan Hill, ‘Dialogical Designs’, in Dialogical Designs, ed. by Constance Lau (Milton Keynes: Lightning Source, 2016), p. 7. Examples of how the construction of individual narratives as ongoing dialogues in architectural design as articulated through projects are also evident in this publication. 2 Walter Benjamin, The Arcades Project, ed. by Rolf Tiedeman, trans. by Howard Eiland and Kevin McLaughlin (Cambridge, Mass. and London: Belknap Press of Harvard University Press, 1999). Eiland, ‘Translators’ Foreword’, in The Arcades Project, pp. iv–xiv (p. viiii). 3 Italo Calvino, Invisible Cities, trans. by William Weaver (Florida: Harcourt Brace and Company, 1974). First published in Italian in 1972. Italo Calvino, ‘Italo Calvino on Invisible Cities’, A Journal of Literature and Art, no. 8, Spring/Summer, 1983, p. 39. ‘In fact, the historical Kubla, a descendant of Genghiz Khan, was Emperor of the Mongols; but in his book Marco Polo referred to him as Great Khan of the Tartars, and thus he has remained in literary tradition’. The Description of the World, later known as The Travels of Marco Polo was published in the late thirteenthcentury. This manuscript and subsequent iterations have inspired poets, writers and travellers including Christopher Columbus who set sail in 1492 with his own marked up copy. 1

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In this instance, the notions of dialogue, user-centric multiple interpretations and unprecedented issues of site that allude to ideas of a heterotopic space, will be used to formulate an architectural proposal for the new – post Coronavirus – normal. The material from this body of research will be critically and inventively used to structure and present the ensuing new narratives with innovative solutions, that can be eventually furthered for the NUS ‘Innovation Challenge’ call.

From ‘invisible’ to ‘imaginary’ cities, dialogue and interdisciplinary design In Calvino’s text, the term ‘invisible’ refers to the idea that the places discussed are not ‘recognised cities’. The fabrications are devised as eleven short chapters and has been further suggested that the symmetrical structure of the book, with a central element, observes the design techniques apparent in constrained writing.4 Calvino has spoken about the role of authorship regarding the open-ended and unrestrictive qualities of this organisational method where the mythical city of Baucis at the centre of the book is an ‘image of absence’. Hence ‘it becomes clear that the author’s view no longer counts’ and ‘it is only the text as it stands which can authorize or rule out this or that reading of it’.5 Calvino’s writing has been likened to ‘a long prose poem’, ‘an imagist poem’ and ‘descriptive prose’ where ‘phrases are as finished as lines of poetry’. The city is portrayed as a ‘cultural symbol’ and experienced through ‘the immediacy of its impressions’ and ‘the convincing visual and tactile beauty of its descriptions’.6 Hence the fabric and experience of habitation are not only explicitly articulated through the medium of text but more importantly, very much open to the reader’s interpretations. A key source for the work is Samuel Taylor Coleridge’s ‘Kubla Khan Or, A Vision in a Dream’. This preceding poem of fabricated conversations between Polo and Khan which was completed in 1797 and published in 1816, also elucidates a vision of Khan’s ‘oriental castle’ purportedly, as depicted in Andreas Walsperger’s c.1448 medieval European map of the world. In Darren Anderson’s Imaginary Cities: A Tour of Dream Cities, Nightmare Cities, and Everywhere in Between (2015), the discussion of utopias, dystopias and discourse regarding the intermediary are inevitably associated with existing issues in actual cities. The book starts with a tribute to Calvino and similarly begins with the chronicles of Polo evocatively titled, ‘The Man of a Million Lies, or How We Imagine the World’. The notion of the imaginary in this body of work is presented 4

This refers to the consideration of new writing patterns that often allude to mathematical structures. The technique is most associated with the group Oulipo, an abbreviation for Ouvroir de littérature potentielle, translated to mean ‘workshop of potential literature’. 5 Italo Calvino, ‘Italo Calvino on Invisible Cities’, A Journal of Literature and Art, no. 8, Spring/Summer, 1983, pp. 41-42. 6 Guy Davenport, ‘Invisible Cities by Italo Calvino and William Weaver’, The Georgia Review, vol. 29, no. 2, Summer 1975, pp. 499-501.

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as a literary labyrinth that weaves through a vast array of interdisciplinary resources inclusive of ‘literature, film, art, philosophy, architecture, video games, and pop culture’.7 While the author has described his work as ‘a pop-up book’, ‘to scale’ where ‘you can live inside it’,8 the format of the book is also comparable to a wunderkammer (wonder chamber). This sixteenth-century conception known as ‘cabinet of curiosities’ was essentially a collection of seemingly unrelated objects where the readings and meanings of the various pieces were reliant on their immediate contexts.9 In this instance, the gaps between the objects are also of significant interest in the generating of different readings and multiple interpretations in relation to discussions of polyphony or ‘many voices’, and arguments concerning reinventing from the ‘in-between’.

The notion of heterotopia and Michel Foucault’s thesis on the ‘in-between’ The spatial explorations in Michel Foucault’s notions of heterotopia and heterotopic spaces advances this discussion on multiple readings and interpretations of existing sites that are accomplished through engaging with latent transitionary and intermediary conditions.10 In this instance, Foucault’s arguments allude to ‘counter-spaces’ that occur in the voids and/or peripheries of established locations and more importantly, comprise of layers of meaning within their apparent uses and contexts. The conception of heterotopias first appeared in his book The Order of Things (1966), the next discussion occurred in the radio broadcast ‘Utopie et littérature’ (Utopia and Literature), followed by his lecture ‘Des Espace Autres’ (Of Other Spaces: Utopias and Heterotopias) in 1967. The last lecture and ensuing published essay is regarded as an influential articulation of this theory where discussions concerning architecture and architectural space are made explicit.11 The architectural arguments are explored via six principles and expressed through a host of seemingly incompatible typologies that include cemeteries, gardens, brothels, cinemas, museums and ships. The ideas of differentiated sites are furthered through the reoccurring word ‘emplacement’, a term which implies placement, location as well as situation, and consequently provides additional ways to engage with issues of site. This not only contributes to basic understandings of site in the practice of architecture but encourages new ways to engage with inherent multifaceted qualities cumulating in new design tools for inventive urban interventions. Positioned between utopias and

Kirkus Reviews <https://www.kirkusreviews.com/book-reviews/darran-anderson/imaginary-cities/> [accessed 14 May 2020]. 8 Kathleen Rooney, Chicago Tribune <https://www.chicagotribune.com/entertainment/books/ct-prj-imaginary-citiesdarran-anderson-20150716-story.html> [accessed 14 May 2020]. 9 Darran Anderson, pp. 25 and 27. 10 The word ‘heterotopia’ is generally used to describe medical conditions where organs and/or normal tissue is abnormally displaced. 11 The 1967 lecture was presented to an architectural audience.

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dystopias, these investigative studies are able to enhance existing attitudes towards site studies and simultaneously address the current situation of unprecedented and unpredictable realities brought on by the global Coronavirus pandemic. From dialogue and interdisciplinary design to heterotopias, the exploration of new communication methods required to navigate a world transformed into virtual environments, is both fitting and necessary. In addressing the ensuing new-normal, the practice of architectural design must first consider the city as a site of interconnected components and recognise that all concerns are interrelated. Accordingly, this not only regards building anew, but the refinement of prevailing arguments and works of architecture within the existing city and urban scape. Hence design development processes must first acknowledge and learn to pursue latent opportunities within the existing milieu.

Virtual access and new ideas of site in architecture In design practice, the aforementioned notion of ‘polyphony’ refers ‘to a relational activity between different actions’.12 Hence the complex nature of architecture is the outcome of working with different elements that pairs both practice and theory where the knowledge required to understand and interpret the built environment are essential. The first of these design iteration processes looks to site research. Attention is drawn to the capacity to distinguish between conventional assumptions concerning site studies in relation to design practice in general, and the notion of site-specificity that affects the manner in which site information is collected and employed during the working process. A work of architecture may presumably be related to its site simply because the design takes into account basic site data regarding pedestrian and traffic flow patterns, the proportions of surrounding buildings, elevational studies and other generic regulations.13 While these site attributes may be accurate for a particular site they are also strategically applicable to most forms of site studies generally required during the course of design development and building. Site-specificity in this instance refers to qualities inherent not only to the site in question, but ones which specifically have the ability to drive and are catalytic for precise on-site design decisions and processes. In other words, the innovative manners of engagement are specific to this one particular site and hence, the precise working methods employed, and eventual outcomes are not

Yeoryia Manolopoulou, Architectures of Chance (Surrey: Ashgate Publishing Ltd., 2013), p. 124. A further reference is noted as: Mikhail Bakhtin, The Dialogic Imagination (Austin: University of Texas Press, 1981). 13 Constance Lau, ‘On-site as an interdisciplinary practice’, in Pisani, Franco, ed., #ONSITE, Il Quaderno, The International Studies Institute (ISI) Florence Architectural Series, Spring 2020, p. 50. The examples of site studies listed are by no means exhaustive but include a range from masterplan, to data related to the more immediate context of the said site. 12

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transferrable. How then do these understandings apply to land reclamation practices and literally, the construction of new sites that are devoid of history and arguably any instances of context. More strategically how do site studies as currently conducted take place in this new normal where material from personal visits and certain forms of data collection are not possible. New approaches will also be required to address the fallout from the pandemic when cities became ‘invisible’ literally, devoid of people, traffic, and essentially life. The ensuing site narratives revolve around our cities as they were last seen and experienced, as they were remembered, and how they will be imagined. For ‘architectural design cannot but be, in and of itself, a form of fiction’.14 Hence the current situation entails the development of additional and new methods of conducting site studies that will inadvertently alter the practice of design and architecture. Returning to the roles of dialogue, narrative and ideas outside architecture, issues of site and site-specificity concerning Calvino’s work is two-fold. First, the dialogue between Polo and Khan is used as a framing and narrative device to structure the creation and construction of the fifty-five imaginary cities. Yet, it is also made explicit that the city and/or site in this instance is allegedly Polo’s hometown of Venice, ‘every time I describe a city I am saying something about Venice’.15 To Calvino, ‘a city is a combination of many things’ including memory and desires, as well as ‘a place of exchange’ that likewise involve memory, desires and words’.16 Aptly the site of Venice is evocated throughout the book and mapped through these aspects and qualities. Hence this discussion on the architectural site in relation to design practice focuses on the contributions of interdisciplinary collaborations and the creation of new ways to engage with issues of site as opposed to operating within assumed processes.17 Beginning with one assumption that design starts at the moment of site investigative studies and in order for any exclusive features and traits to be adopted, co-authorship through collaborating with different disciplines to develop new working practices and the sharing of expertise from the onset is important.

Franco Pisani, ‘Where does architecture live?’, in Pisani, Franco, ed., #ONSITE, Il Quaderno, The International Studies Institute (ISI) Florence Architectural Series, Spring 2020, p. 9. 15 Italo Calvino, Invisible Cities, trans. by William Weaver (Florida: Harcourt Brace and Company, 1974). First published in Italian in 1972. p. 86. 16 Italo Calvino, ‘Italo Calvino on Invisible Cities’, A Journal of Literature and Art, no. 8, Spring/Summer, 1983, p. 41. 17 Constance Lau, ‘On-site as an interdisciplinary practice’, in Pisani, Franco, ed., #ONSITE, Il Quaderno, The International Studies Institute (ISI) Florence Architectural Series, Spring 2020, p. 50. 14

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Reclaiming the ‘in-between’ sites and hosting narratives of the new normal The expansive range of topics raised in this design brief provides material for independent research, reading and analysis as means for critical thinking to inform innovative design work. Through a site that engages with ideas of reclamation and the notion of the/an ‘in-between’ space, we take onboard far-sighted post-pandemic issues that urgently require attention. These include new communications systems to facilitate remote living; green initiatives for a low carbon future where cities are redesigned to reduce traffic and encourage other modes of transport, as well as the retrofitting of buildings to achieve low carbon ratings. This will stimulate the green job creation economy.18 There has also been talks among the global C40 Cities network to coordinate economic recovery that encompass better public healthcare, reduce social inequality and address the climate crisis. The ensuing modified globalisation, especially with regards to supply chains and food security have accelerated the sourcing of sustainable food sources and reduction of food waste. Consequently self-sufficiency has become a crucial debate topic. The Marina Barrage was completed in 2008 to address Singapore’s water obligations and at present urban farming is actively advanced to augment the local food supply. Other local matters stemming from current disruptions are broached in the Straits Times ‘Covid-19, Great Disruption’ series.19 Through your critical assessment of the issues raised, how would you formulate an appropriate architectural argument and/or proposal that is local, but simultaneously considers the global scheme of pandemic recovery initiatives. These proposals can be furthered to become part of the NUS ‘Innovation Challenge’, conceived ‘for students to turn the pandemic crisis brought on by the coronavirus into an opportunity’. The key criteria of ‘making people better, making society better and making the world better’ through ‘interdisciplinary approaches that embrace multiple perspectives, including those from the arts and culture, health, social work, sports, and technology’.20 Ongoing land reclamation projects have increased Singapore’s land area by 23% in just over half a century and this is architecturally most evident within the central urban core which encompasses both the old and new business districts. The first instance in 1822 historically took place at the Telok Ayer Basin under Stamford Raffles’ colonial administration. At present, the central urban core includes the Central Business District (CBD) of Shenton Way, the colonial and museum districts, as well as the reclaimed Marina Bay area to the south of Shenton Way. This is the new Marina Bay

Fogarty, David, ‘Cities step up bid for green pandemic recovery’ <https://www.straitstimes.com/world/cities-step-upbid-for-green-pandemic-recovery> [accessed 14 May 2020]. 19 ‘Covid-19, Great Disruption’ <https://www.straitstimes.com/tags/covid-19-great-disruption> [accessed 14 May 2020]. 20 Davie, Sandra, ‘NUS setting aside $6 million to fund graduates’ ideas that make society and the world better’ <https://www.straitstimes.com/singapore/education/nus-setting-aside-6-million-to-fund-graduates-ideas-for-the-goodof-society-and> [accessed 14 May 2020]. The window for submissions to the ‘Innovation Challenge’ is open from 1 June to 31 December 2020.

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financial district and also the site of the city’s new architectural icons – the Marina Bay Sands and Gardens by the Bay. Yet post pandemic, Singapore is looking to accelerate the decentralisation of the CBD as remote working and social distancing become part of the foreseeable future.21 This can also be read as part of a wider global green pandemic recovery network where definitions of non-essential travel are rewritten as safety precautions with the positive effects of reduced carbon emissions. The post-Covid world would also be influenced by a ‘battle of narratives’ in the fight for soft power and competing visions’.22 In this instance, architecture as a tool and/or device through new means and mediums, is used to construct your narratives that can be expressed as landscapes, buildings, details and/or experiences. Through these questions and the key consideration of the ‘in-between’ space that will host your narrative, the translation of research material into a design project describes your programs for Singapore’s future as a city. Almost half a century ago, Calvino articulates his enduring reasons and speculations for the existence of cities:

The desire of my Marco Polo is to find the hidden reasons which bring men to live in cities: reasons which remain valid over and above any crisis. What is the city today, for us? I believe that I have written something like a last love poem addressed to the city, at a time when it is becoming increasingly difficult to live there. It looks, indeed, as if we are approaching a period of crisis in urban life; and Invisible Cities is like a dream born out of the heart of the unlivable cities we know. Nowadays people talk with equal insistence of the destruction of the natural environment and of the fragility of the large-scale technological systems (which may cause a sort of chain reaction of breakdowns, paralyzing entire metropolises). The crisis of the overgrown city is the other side of the crisis of the natural world. The image of “megalopolis” - the unending, undifferentiated city which is steadily covering the surface of the earth - dominates my book, too.23

Karamjit Singh, ‘Acceleration towards a decentralised CBD as remote working takes hold’ <https://www.straitstimes. com/business/property/acceleration-towards-a-decentralised-cbd-as-remote-working-takes-hold> [accessed 14 May 2020]. 22 Khanna, Vikram, ‘A glimpse into the post-Covid-19 world, from the EU diplomat-in-chief’ <https://www.straitstimes.com/opinio n/a-glimpse-into-the-post-covid-19-world-from-the-eu-diplomat-in-chief> [accessed 14 May 2020]. 23 Italo Calvino, ‘Italo Calvino on Invisible Cities’, A Journal of Literature and Art, no. 8, Spring/Summer, 1983, pp. 40-41.

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Hence from the invisible to the imaginary, ‘if a city can be imagined, it can be reimagined.24 Taking the view that this project will be remotely tutored, your multi-disciplinary body of work that takes the form of many guises and mediums will be woven together by appropriate platforms and/or interfaces that accentuate the notion of ‘open work’. Be clear about how the choice of each precise medium may best describe a specific aspect of your conversation. Referencing the dialogues between Polo and Khan, Calvino and us, the readers, consider how your proposal effectively and inventively communicates your arguments to your audience.

Bibliography: Anderson, Darran, Imaginary Cities: A Tour of Dream Cities, Nightmare Cities, and Everywhere in Between (London: Influx Press, 2015). Calvino, Italo, Invisible Cities, trans.by William Weaver (Florida: Harcourt Brace and Company, 1974). First published in Italian in 1972. Calvino, Italo, ‘Italo Calvino on Invisible Cities’, A Journal of Literature and Art (Columbia), no. 8, Spring/Summer, 1983, pp. 37-42. Corner, James. Taking Measures Across the American Landscape. New Haven and London: Yale University Press, 1996. Davie, Sandra, ‘NUS setting aside $6 million to fund graduates’ ideas that make society and the world better’ <https://www.straitstimes.com/singapore/education/nus-setting-aside-6-million-tofund-graduates-ideas-for-the-good-of-society-and> [accessed 14 May 2020]. Eco, Umberto, The Open Work, trans. by Anna Cancogni (Cambridge, Mass.: Harvard University Press, 1989). First published in Italian in 1962. Fogarty, David, ‘Cities step up bid for green pandemic recovery’ <https://www.straitstimes. com/world/cities-step-up-bid-for-green-pandemic-recovery>. See also Taylor, Matthew and Sandra Laville, ‘City leaders aim to shape green recovery from coronavirus crisis’ <https://www. theguardian.com/environment/2020/may/01/city-leaders-aim-to-shape-green-recovery-fromcoronavirus-crisis> [accessed 14 May 2020]. 24

Kathleen Rooney, Chicago Tribune <https://www.chicagotribune.com/entertainment/books/ct-prj-imaginary-citiesdarran-anderson-20150716-story.html> [accessed 14 May 2020].

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Foucault, Michel, ‘Of Other Spaces: Utopias and Heterotopias’, trans. by Jay Miskowiec, Diacritics, vol. 16, no. 1, Spring, 1986, p. 22-27. The original text based on the 1967 lecture is, ‘Des Espace Autres’, Architecture /Mouvement/ Continuité, no. 5, October, 1984, pp. 46-49. Khanna, Vikram, ‘A glimpse into the post-Covid-19 world, from the EU diplomat-in-chief’

<https://www.straitstimes.com/opinion/a-glimpse-into-the-post-covid-19-world-from-the-eudiplomat-in-chief> [accessed 14 May 2020]. Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhattan. Rotterdam: 010, 1984. First published in 1978. Kwiatkowski, Alexander and David Stringer, ‘How Singapore plans to survive world’s impending food crisis’ <https://www.bloomberg.com/amp/news/articles/2020-05-23/how-singapore-plans-tosurvive-world-s-impending-food-crisis> [accessed 14 May 2020]. Lau, Constance, ed., Dialogical Designs, (Milton Keynes: Lightning Source, 2016). Morgan, Luke, The Monster in the Garden, The Grotesque and the Gigantic in Renaissance Landscape Design (Philadelphia: University of Pennsylvania Press, 2016). Ng, Michelle, ‘Pandemic highlights need to move offices closer to homes’ <https://www. straitstimes.com/opinion/pandemic-highlights-need-to-move-offices-closer-to-homes> [accessed 1 July 2020]. Pisani, Franco, ed., #ONSITE, Il Quaderno, The International Studies Institute (ISI) Florence Architectural Series, Spring 2020. Strano, Michael S., ‘Feeding cities of the future’ <https://www.straitstimes.com/singapore/feedingcities-of-the-future> [accessed 14 May 2020]. Vidler, Anthony, Michel Foucault and Pamela Johnston, ‘Heterotopias’, AA Files, no. 69, 2014, pp. 18-22. ‘Building new post-Covid-19 workplaces’ <https://www.straitstimes.com/opinion/building-new-postcovid-19-workplaces> [accessed 22 June 2020].

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Dialogical Designs and Heterotopic Architecture in the New Normal

AR5801 - NUS M.Arch I - 2020/21 Department of Architecture School of Design and Environment