Carnivalesque Urbanism | Urban Museum - Experimental Campus by Zhong Ying

CARNIVALESQUE URBANISM URBAN MUSEUM - EXPERIMENTAL CAMPUS

â&#x20AC;&#x153;Countries with no creation and illusion are the most miserable places on Earth.â&#x20AC;? -Montesquieu, 104th Persian Letter, 17211

2014, Wei Haoyan: Carnivalism in Public Spaces in Chongqing, p. 123, Public Space in Urban Asia

PROLOGUE

In Singapore’s modern society today, most people are held back by rules and legislation (which are usually established by governmental organisations) that regulate the way they think and express themselves, as well as realistic and monetary concerns that affect the pragmatism of doing things. As a result, this attitude has compromised the tendency of people to take ownership and participate in the building of their environment and spaces that they inhabit1.

Rarely in today’s society will there be a situation where new development is built around public spaces inhabited by people; instead, there is an increasing trend of a top-down design approach where public spaces that people can occupy are often dictated by the organisations that are responsible for the design intervention of a site. Also, the notion of participatory design of public spaces have been near to non-existence since the independence of Singapore in the 1960s.

In addition, there is an increasing sense of resentment towards the way of life here, expressed over modes of public outcry over inefﬁciencies of systems that govern our country over social media and public forums. Very often in the top debates that dominate the country, is also the lack of identity of a “truly Singaporean culture”2. Due to existing laws which prohibit the exhibition of riots and protests, this sense of escape have mostly been expressed through forms of literature, where poets would narrate about the ongoing dismay in the city state3.

These drawbacks have collectively created a resistant culture of a widespread oppression and negative attitudes towards various systems and norms. There is a resistance against authority, and people need to convert this into a constructive resurgence in the form of escape, freedom and creativity to spur social change, that was once inherent in the people that formed a source of motivation when Singapore attained independence from Malaysia in 1965.

In a spatial sense, people are surrounded by architectural spaces and infrastructure all the time, which shapes the way they circulate, live, interact with other people, and their mood of the day. A more subtle form of escape can also be manifested in the way people reminagine the use of public spaces.

The increasing privatisation of public space4, as well as societal issues such as the absence of social inclusiveness and rampant stereotyping of the minority in our city state5 are the accompanying motivations for this thesis.

1 The Online Citizen; The Singapore Story - A failure of pragmatism. from http://www.theonlinecitizen.com/2009/08/the-singapore-story-a-failure-of-pragmatism/ 2 Singapore More than Meets the Eye; Kirpal Singh, Singapore Identity... Musings upon a Theme. from http://singaporemagazine.sif.org.sg/singapore-identity-musings-upon-a-theme 3 2013, Deborah Emmanuel, Angry Singapore Poem. from http://softshockk.blogspot.sg/2013/04/angry-singaporean-poem. html 4 Prof Jason Pomeroy, Defining Singapore Public Space - From Sanitisation to Corporatisation 5 2008, Jessica, Shiuan, Siti, Manhong, Yun Jing, The Attitudes of Tertiary Students toward Foreign Construction Workers

Excerpt from Angry Singapore Poem by Deborah Emmanuel, 2013

WHY “UNEXPECTED”?

There is an interest in how unexpected relationships between people are formed through social inclusiveness in the way they reimagine the use and functions of a public space.

How do “unexpected relationships” come about and why does it form?

What a thing means is simply what habits it involves1. For instance, a perceived bed brings about habits of action such as sleeping and resting. A perceived public square brings about habits of sitting, resting, talking and possibly, interaction with other people’s habits of interaction. Public spaces exist in the form of anticipating these habits, and is what encourages fresh habits to occur. Henri Lefebvre states that a spatial code ‘is not simply a means of reading or interpreting space; rather it is a means of living in that space, of understanding it, and of producing (and reproducing human activities in) it’2.

“Unexpected relationships” exist due to a time-recurring everyday ecosystem between the built environment (the perception of architecture and infrastructure) and humans (activities and habits). The transposition of activities and habits onto these spaces by humans can be illustrated in two scenarios:

1 PERMISSIVE SPACES Tolerated spaces endorsed by authority, characterized by multiple degrees of behaviour, derived from a freedom of interpretation of the spaces. Usually contains facets of pre-conceived notions of how the space can be used by the public. This is done through curated events or passive architectural elements (such as stone benches in a park). Sometimes, permissive spaces allow people to do activities they otherwise cannot do on “normal” days due to the indirect sense of assurance given by authority to license particular activities to be carried out. For instance, activities on public roads that are otherwise illegal on “normal” days due to the primary function of roads as circulation channels for vehicles.

2 UNCURATED SPACES Spaces given meaning by the general public through the habits they associate the space with. There are 2 possibilities: A. When spaces intended for a certain purpose or function becomes recurated by certain groups of people to be for another use. Over time, this reimagination creates an inherent pattern that forms part of the altered characteristic of a site, thereby constituting evolving relationships between the people that use the site. B. When spaces unintended for any purpose at all becomes curated by certain groups of people due to the potential they see in injecting a new characteristic to a site, thereby introducing a fresh ecosystem of interpersonal relationships between human and infrastructure.

NEUTRAL FUNCTION Every space (be it curated/uncurated) has a designated primary function by authority. This provides a neutral basis of usage of the space by people in the case where curatedness/uncuratedness ceases to occur. For instance, the neutral function of a back alley of a row of shophouses is to house Maintenance & Engineering (M&E) amenities and back of house functions (kitchens, etc.)

1 2

Pentti Maattanen, Space, Time, and Interpretation, p. 17 Pentti Maattanen, Space, Time, and Interpretation, p. 17

MEANING OF A THING

HABITS IT INVOLVES

Relationship between Meanings and Habits

+ Meaning of a bed = Habits of sleeping

Meaning of a public square = Habits of talking, sitting, resting

Henri Lefebvreâ&#x20AC;&#x2122;s spatial code

Architecture and Habits, as facilitated by time, leads to unexpected relationships

Permissive Space

Uncurated Space

CARNIVALESQUE THEORY | MEANING

The Carnivalesque Theory was ﬁrst conceived by Mikhail Bakhtin in the 20th century. To understand the theory, one must ﬁrst understand ‘Carnival’.

Political Theorist Andrew Robinson writes in his article1 that the ultimate aim of carnival can be seen as a catalyst that removes social hierachy and barriers and therefore aims to encourage real interaction between goers through the notion of ‘taking part’ instead of simply ‘watching’. Carnivalesque is therefore a byproduct of its parent term, that aims to recreate social platforms that can serve as transient escapes into a reality where fantasy, freedom and the occasional profane behaviour takes precedence over systems and legislation that are seen to temporarily govern normalcy, practicality and boredom. In addition, Carnivalesque looks to reignite the oppressed through creativity, humour and randomness, neglecting the sobriety of power and authority.

“A carnival is a moment when everything (except arguably violence) is permitted. It occurs on the border between art and life, and is a kind of life shaped according to a pattern of play. It is usually marked by displays of excess and grotesqueness. It is a type of performance, but this performance is communal, with no boundary between performers and audience. It creates a situation in which diverse voices are heard and interact, breaking down conventions and enabling genuine dialogue.

For Bakhtin, carnival and carnivalesque create an alternative social space, characterised by freedom, equality and abundance. During carnival, rank is abolished and everyone is equal.

Carnival is a kind of syncretic, ritualised pageantry which displays a particular perspective. It is a brief moment in which life escapes its ofﬁcial furrows and enacts utopian freedom. It is also sanctioned by the highest ideal aims of human existence, not by the world of practical conditions.

It also encourages the return of repressed creative energies. It is joyous in afﬁrming that the norms, necessities and/or systems of the present are temporary, historically variable and relative, and one day will come to an end.

In carnival, everything is rendered ever-changing, playful and undeﬁned. Hierarchies are overturned through inversions, debasements and profanations, performed by normally silenced voices and energies.

For instance, a jester might be crowned in place of a king. The authoritative voice of the dominant discourse loses its privilege. Humour is counterposed to the seriousness of ofﬁcialdom in such a way as to subvert it.

Carnivals have turned into state-controlled parades or privatised holidays, humour and swearing have become merely negative, and the people’s ‘second life’ has almost ceased. However, Bakhtin believes that the carnival principle is indestructible. It continues to reappear as the inspiration for areas of life and culture. Carnival contains a utopian promise for human emancipation through the free expression of thought and creativity. Rabelais stands out here for a style which is irreducibly unofﬁcial and unserious, and irrecuperable by authoritarianism.”

1 Ceaseﬁre; 2011, Andrew Robinson, In Theory Bakhtin: Carnival against Capital, Carnival against Power. from https://ceaseﬁremagazine.co.uk/in-theory-bakhtin-2/

The Fight Between Carnival and Lent by Pieter Bruegel, 15591

1 the many-headed monster; 2015, manyheadedhailwood, Food for Though III: A Literary Critic and the Carnivalesque. from https://manyheadedmonster.wordpress.com/2015/04/13/food-for-thought-iii-a-literary-critic-and-the-carnivalesque/

CARNIVALESQUE THEORY | INFLUENCES

The Carnivalesque Theory has inﬂuenced the establishment of various social movements, one of them being Reclaim the Streets, a global collective with a strong ideal of community ownership of public spaces. They proclaim themselves as a subversive movement against the dominant inﬂuences of globalisation and ill effects of capitalism1. Through their carnivalesque-styled protests, they attempt to advocate that the main obstructors of public streets (which they deem as public spaces) are vehicles, and not people.

They are seen as living substantiation of Hakim Bey’s theory of Temporary Autonomous Zones (TAZ), deﬁned as temporary, nomadic spaces of freedom created through occupation, imagination and transformative action of the site, which then disperses and forms at another location, thus avoiding authoritative and legislative confrontation2/3.

1 Wikipedia; Reclaim the Streets. from https://en.wikipedia.org/wiki/Reclaim_the_Streets 2 Third Text; Reclaim The Streets! From Local to Global Party Protest. from http://www.thirdtext.org/reclaim-the-streets 3 Beautiful Trouble A Toolbox for Revolution; Theory: Temporary Autonomous Zone. from http://beautifultrouble.org/theory/ temporary-autonomous-zone/

Reclaim the Streets Event Posters1

Reclaim the Streets Event Happenings2

1 Beautiful Trouble A Toolbox for Revolution; Case Study: Reclaim the Streets. from http://beautifultrouble.org/case/reclaimthe-streets/ 2 Third Text; Reclaim The Streets! From Local to Global Party Protest. from http://www.thirdtext.org/reclaim-the-streets

CARNIVALESQUE THEORY AND SINGAPORE’S SOCIAL OPPRESSION | HOW IS IT IMPORTANT TO THIS THESIS?

Singapore’s society, since our independence in 1965, is governed a lot by pragmatism, economical stability and social safety. The government of Singapore passes laws that often dictate the way people can use a space or the way people can move about through a space. However, there are people who crave to participate creatively, instead of taking whatever is given to them from authority. It has become human nature for them to crave for a sense of chaotic unpredictability away from this safe, repetitive haven that also happens to have boast of the lowest crime rates in the world. Today, there exists curated events organised by authority that promotes appreciation of creativity, but not so much of participating in the collective and collaborative production of creativity from the general public.

The ﬁrst part of this thesis focuses on the expansion on the notion of Spatial Disobedience. There is an increase in the privatisation of public spaces in Singapore1, thus leaving people to creatively look for spaces for avenues to gather and engage in activities with their peers.

Migrant workers, especially those in the construction sector, face a lot of pressure at work. As a result, they need an outlet where they can take a respite from the hectic of their duties. This is facilitated by the government’s mandatory Sunday rest day, allowing them out of the workplace and domitories until a stipulated curfew timing. During a visit to Little India’s Burmah Road Green Field where thousands of migrant Bangladeshi workers gather every Sunday with their friends, I had a casual conversation with a group of them. The question I had for them was why would they gather there, instead of curated recreational places such as Orchard Road, which is dubbed “Singapore’s Shopping Street”.

The answer I received could be summarised into a limitation of freedom to do what they want. At Orchard Road, they would have to behave; they would not have enough money to spend in the high-end stores there, and people will judge them due to pre-existing stereotypes that they are migrant workers. On the other hand, at Little India they would have opportunities to meet all their friends from other construction companies, while there also exists a human scale of infrastructure and amenities, with walkable distances to food reminiscent of home back in India, cheaper prices of weekly supplies like SIM cards (which they would use to communicate with their families in India and friends in Singapore). Without a ‘proper’ space to gather, this made them creative; they would either have to improvise through inhabiting spaces such as outside Mass Rapid Transit (MRT) stations, or follow existing trends and inhabit spaces with their peers, such as the Green Field at Burmah Road.

In the late 2013, there occurred a riot in Little India, where up to 300 migrant workers demonstrated violently against authoritative ﬁgures such as the police and even neutral parties such as ambulance personnel2. Many argued that social oppression due to people’s stereotypes of foreign workers was one of the main catalysts of the incident3.

In general, people need a real form of release; currently, is the social and urban fabric in Singapore enough for us to truly escape from the realities and harshness of capitalism and its negative side effects of unhappiness, stress and social tensions?

The birth of public spaces can be broken down into 3 stages; design, construction and use (by the public community), via a top-down approach. Is there a possibility that these parties are pulled equal to the same social plane, where, in the context of the creative use of space, there exists a carnivalesque collaboration between these 3 parties? 1 Prof Jason Pomeroy, Defining Singapore Public Space - From Sanitisation to Corporatisation 2 The Straits Times; 2014, Lim Yan Liang & Walter Sim, Little India Riot: One Year Later - The night that changed Singapore. from http://www.straitstimes.com/singapore/little-india-riot-one-year-later-the-night-that-changed-singapore 3 2008, Jessica, Shiuan, Siti, Manhong, Yun Jing, The Attitudes of Tertiary Students toward Foreign Construction Workers

Crime Index for Country 20161

Burmah Road Green Field on a Sunday

Little India Riots, December 20132

3 parties of design pulled to the same social plane for creative carnivalesque collaboration

1 2

Numbeo; Crime Index for Country 2016. from http://www.numbeo.com/crime/rankings_by_country.jsp asiaone; 2014, Walter Sim, Little India Riot: Bus driver will not face charges

KEY OVER-ARCHING TOPICS

SOCIAL OPPRESSION OF THE MAJORITY STEREOTYPING OF THE MINORITY (WITH RESPECT TO THE MAJORITY) LEGISLATION & REGULATION GOVERNING PRODUCTION & REPRODUCTION OF PUBLIC SPACE

PEOPLE CRAVE FOR A SENSE OF CREATIVE FREEDOM & RELEASE

CARNIVALESQUE PARTICIPATION & COLLABORATION APPLIED TO ESTABLISHMENT OF PUBLIC SPACE

BLANK

CASE STUDIES

As a pre-requisite to this thesis, we will ﬁrst examine the two scenarios of Curated and Uncurated Spaces in detail, using people’s autonomous reinterpretation of selected existing public spaces in Singapore, and how these scenarios inﬂuence social relationships between different groups of people. Case studies will be compared via the following two measures:

1 DEGREE OF CARNIVALISM

The degree of carnivalism is a quantitative measure of ‘deviation from normalcy in daily life in terms of form, layout and usage of a space’, which was coined by Wei Haoyan in his contribution as part of the publication of Public Space in Urban Asia (2014)1.

In this thesis, we will be using the Degree of Carnivalistic Participation (DoCP) as a quantitative measure of carnivalesque urbanism of public spaces in Singapore. The purpose of this measure is to explore the spectrum of elements (architectural, social, etc) that constitutes to a balance between polarities of rebellion and the creative use of space (in the architectural sense in a public context). Due to overarching topics of social oppression, stereotyping of the minority and legislation controlling usage of spaces, additional parameters

- Degree of deviation of practices (activities) - Degree of deviation of layout - Degree of deviation of physical form - Use frequency - Variety of people that inhabit the space (who are the majority/who are the minority) - Permissive, Uncurated or Uncurated | Permissive; ownership taken by public - Emotions/Level of Excitement while walking through the space during usage - Sense of creative carnivalesque freedom in terms of reimagining how space can be used - Unexpected relationships due to the conversation between the built environment and people

ADDITIONAL PARAMETERS

EXISTING PARAMETERS

such as those listed below will contribute to DoCP:

The scoring system will be consistent across all parameters (0,1,2), with ‘0’ being quantitatively minimum, ‘1’ moderate and ‘2’ maximum.

2 SCALE OF UNCURATED - UNCURATED | PERMISSIVE - PERMISSIVE

Uncurated entirely; given meaning on own accord by public, might not be tolerated by public

UNCURATED

Uncurated; tolerated by authority and the public, and might contain amenities catered for by authority to facilitate public use

UNCURATED | PERMISSIVE

Curated spaces, operated under tolerance by authority and public; usually activities carried out here are controlled and organised to facilitate a public event

PERMISSIVE

2014, Wei Haoyan: Carnivalism in Public Spaces in Chongqing, p. 114, Public Space in Urban Asia

UNCURATED

PERMISSIVE

THIEVESâ&#x20AC;&#x2122; MARKET

URBAN VENTURES, KEONG SAIK ROAD

BEDOK NORTH HDB CORRIDOR

PLAY IT FORWARD, ESPLANADE BRIDGE

BURMAH-KINTA ROAD GREEN FIELD

UNCLE RINGO CARNIVAL, MARINA BAY SANDS

KALLANG MRT

90s THEMED-ART MARKET, TANJONG PAGAR RAILWAY STATION

ROWELL ROAD BACK ALLEYS ST ANDREWS CATHEDRAL WOODLANDS JUNGLE BROTHEL ORCHARD YOUTH SKATE PARK

U THIEVESâ&#x20AC;&#x2122; MARKET TRANSPOSING SHOPS ONTO NARROW STREETS PROGRAMME/MEANING Open-air shop booths by Collectors & Kurung Gunis HABITS INVOLVED Collecting, Organising, Arguing, Talking, Helping (Mutual Dependency), Walking, Sitting, Shopping NEUTRAL FUNCTION Roads, Pathway

The uncurated space of the market co-exists with the neutral function of the roads/pavements. The narrower roads (due to the width of the shop booths) pertain to the human scale as people circulate along the axes of the market. A place where Kurung Gunis sell their stolen, picked up goods. Vendors moved in and out batch by batch over the years due to urban development around the Sungei Road area, adapting to the narrow, compact streets to establish their businesses. The government has proposed for the elderly vendors here to go for skills upgrading programmes or apply for hawker permits when the market is collapsed in 2017.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: 6-10 HDB units Minority: Other units in same block Majority: Foreign workers Minority: All others Majority: Foreign workers Minority: All others Majority: Foreign workers Minority: All others Majority: Foreign workers Minority: All others Majority: Foreign workers Minority: All others Majority: Youths. Kids Minority: All others Majority: People in the know of event Minority: All others Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Uncurated; tolerated by authority and the public, and might contain amenities catered for by authority to facilitate public use

UNCURATED | PERMISSIVE

PERMISSIVE

These market spaces are a physical extension of the lives of these people as Kurung Gunis on other days, as goods harvested are sold here in this social space. An undertaking that gradually became tolerated by the general public and the authorities, with rules now governing the business ettiquette.

S 1

Reason People take ownership of sharing of shop booth spaces Uncurated; maintained over time to cater for future use Uncurated; authority provides for public amenities Uncurated; authority provides for public amenities Uncurated, but a tolerated space Uncurated; have to abide by church rules Uncurated; and even illegal and rebellious Uncurated; Youth are given autonomy to run the space Permissive and curated

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Mutual dependency in terms of setting up of tentages Community creatively adapted to empty space over time Haphazard spatial selection of setting up of picnic mats Volleyball nets anchored to trees; mats as spectators Back alley functions recreated for vice activities Haphazard spatial selection of setting up of picnic mats Pockets of clear spaces in jungle are used for activities Demarcated space where

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

serve;friendship, arguments Mutual dependency; nannying each othersâ&#x20AC;&#x2122; kids Spend time with friends every Sunday; friendship across mats Make new friends through a volleyball game or across picnic mats People who visit the alley become friends with shop owners Sharing of food or conversation across picnic mats People usually meet up in groups prior to entering jungle

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

Conversations between complete strangers due to activities Praise from strangers who enjoy music played by someone People were mainly focused on their own groups of family/friends People were mainly focused on their own groups of family/friends

U BEDOK NORTH HDB CORRIDOR TRANSPOSING COMMUNAL ACTIVITIES ONTO AN EMPTY LIFT LOBBY SPACE PROGRAMME/MEANING Gathering space for residents who engage in communal activities HABITS INVOLVED Eating, Talking, Learning, Teaching, Running, Cycling, Walking, Sitting, Playing NEUTRAL FUNCTION Corridor Space

Located in one of the oldest estates in Tanah Merah, block 77 has been around since the 1980s. Over the years, the absence of the lift to level 13 of the block allowed for the ï¬&#x201A;exible reinterpretation of the lift lobby space by the residents who live around it. This space has served as a communal space for them, where they would engage in activities such as mahjong, meals, traditional paper cutting lessons, drinking sessions, and is also a space where their children would freely run around and play with each other everyday.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Uncurated entirely; given meaning on own accord by public, might not be tolerated by public

UNCURATED | PERMISSIVE

PERMISSIVE

The empty lift lobby space serves as a physical extension (apart from their own living room spaces) of the daily cohesive culture of these 6 households. Corridor spaces are maintained in the midst of the communal activities that are carried out there.

S 1

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

U BURMAH-KINTA ROAD GREEN FIELD TRANSPOSING LEISURE ACTIVITIES ONTO AN INTERSTITIAL, OPEN-AIR LEFTOVER FIELD SPACE PROGRAMME/MEANING Gathering and lounging place for foreign workers every Sunday HABITS INVOLVED Arguing, Talking, Walking, Sitting, Shopping, Sleeping, Running, Eating, Kissing, Praying, Playing NEUTRAL FUNCTION Vacant state land free to be used by the public1

During Sunday off-days for foreign workers, they would come here to meet their friends, rest, pray, eat, mingle due to the close proximity of Little India. The surrounding Urban Fabric has been programmed in such a way that foreign workers treat this space as the central of their web of possible activities around Little India.

1 Singapore Land Authority; Land for Community Use. from https://www.sla. gov.sg/Services/LandforCommunityUse.aspx#.VvkkZHqYBCw

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Uncurated; tolerated by authority and the public, and might contain amenities catered for by authority to facilitate public use

UNCURATED | PERMISSIVE

S 1

PERMISSIVE

This space is a spillover space for foreign workers from multiple zones of Little India embedded within urban fabric of Little India. Although this space is largely uncurated in terms of how people will use the space, it contains amenities provided for by authority, such as public dustbins and public portable restrooms.

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

U KALLANG MRT GREEN SPACES TRANSPOSING LEISURE ACTIVITIES ONTO A LEFTOVER, SHADED FIELD SPACE PROGRAMME/MEANING Gathering and lounging place for foreign workers every Sunday HABITS INVOLVED Arguing, Talking, Walking, Sitting, Sleeping, Running, Eating, Kissing, Playing, Drinking NEUTRAL FUNCTION Vacant state land free to be used by the public

This space serves as a spillover from the nearby Kallang Riverside Park, where Filipino workers would set up volleyball nets anchored to trees and engage in informal matches, with onlookers (most often boyfriends of these Filipino workers - foreign Bangladeshi workers) amongst the people residing under the vast shading provided by the trees. Kallang MRT offers convenient amenities via the 7-Eleven store at the lobby of the station, which possibly serves as another motivation for the congregation of people there. People would set up temporary tentages as a precautionary measure against harsh weather, as well as to create more private spaces for making out with their partners. Long term usage of this space is evident from the unintentional creation of a walkable path that leads from the depths of the space to the entrance of the station.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Uncurated; tolerated by authority and the public, and might contain amenities catered for by authority to facilitate public use

UNCURATED | PERMISSIVE

PERMISSIVE

Although this space is largely uncurated, it contains amenities provided for by authority, such as public dustbins.

S 1

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

U ROWELL ROAD BACK ALLEYS TRANSPOSING ILLEGAL, PROFANE ACTIVITIES ONTO A HIDDEN SPACE PROGRAMME/MEANING Illegal shops, sex shops and brothels HABITS INVOLVED Hiding, Arguing, Talking, Walking, Sitting, Sleeping, Running, Eating, Kissing, Sexual Intercourse, Playing, Drinking, Shopping, Collecting, Organisating, Touching NEUTRAL FUNCTION Back alley M&E, back of house functions for shophouses

Coupled in between 2 rows of shophouses along Rowell Road, this back alley boasts illegal programme such as prostitution and unlicenced sex shops, and is especially crowded on Sundays when foreign workers have their day off. This phenomenon substantiates the notion of the creative freedom of escape from legislation and regulation due to their failure to attain proper licences. People take complete ownership of these back alley spaces, creatively and illegally converting back kitchens and unused toilets into spaces for vice activities, whilst some are remained open to allow potential customers to maintain visual contact with prostitutes inside (mainly foreign workers streaming in from the surrounding urban fabric).

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thieves’ Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Uncurated; tolerated by authority and the public, and might contain amenities catered for by authority to facilitate public use

UNCURATED | PERMISSIVE

S 1

PERMISSIVE

This space sustains its vice nature due to its defensibility of disguise and concealment. It does not directly inﬂuence public order, thus it is tolerated by the public and authority and is granted as a permissive space, where the co-existence of such activity is a creative extension of the neutral function of the shophouse spaces.

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

serve;friendship, arguments Mutual dependency; nannying each others’ kids Spend time with friends every Sunday; friendship across mats Make new friends through a volleyball game or across picnic mats People who visit the alley become friends with shop owners Sharing of food or conversation across picnic mats People usually meet up in groups prior to entering jungle

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

U ST ANDREWS CATHEDRAL TRANSPOSING LOUNGING ACTIVITIES ONTO A SHADED FIELD OF A SUPPOSEDLY-PRIVATE RELIGIOUS SPACE PROGRAMME/MEANING Resting, picnic spaces for foreign workers every Sunday HABITS INVOLVED Talking, Walking, Sitting, Sleeping, Eating, Kissing, Playing, Praying NEUTRAL FUNCTION Private church green space

On Sundays, this supposedly-private space transforms into a public space. Located within the premises of St Andrewâ&#x20AC;&#x2122;s Cathedral, this space welcomes foreign workers from the surrounding urban fabric (Peninsula Plaza, Adelphi, etc) to circulate and spillover, as they use the shaded and lush grounds as picnic and resting spaces, with the Central Business District (CBD) in the backdrop. Occasionally, these people would walk into the air-conditioned church to pray and lounge on the church seats. The church allows these people to use the spaces until they close in the later evening, transforming this space back into a privatised public space.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Deviation degree of physical form S Reason

Shops follow road axes

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Uncurated; tolerated by authority and the public, and might contain amenities catered for by authority to facilitate public use

UNCURATED | PERMISSIVE

PERMISSIVE

Space serves as a spillover space for foreign workers streaming in from the surrounding urban scape (Adelphi, Peninsula, etc.). People are free to engage in any activity in their groups, as long as they obey the rules of the church grounds, and not do anything outrightly pervasive.

S 1

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

U WOODLANDS JUNGLE BROTHEL TRANSPOSING ILLEGAL, PROFANE ACTIVITIES ONTO A HIDDEN SPACE EMBEDDED WITHIN A COMMUNITY SETTING PROGRAMME/MEANING Illegal brothel HABITS INVOLVED Hiding, Talking, Walking, Sitting, Sleeping, Eating, Kissing, Sexual Intercourse, Drinking, Touching NEUTRAL FUNCTION Restricted State Land in the jungle

Making use of the shade and secrecy that a heavily forested area can provide, a micro-community set up an illegal brothel den in the middle of a jungle that is located within a HDB community setting in Woodlands. Small groups of people can be seen entering the space everyday during the evenings to engage in sexual as well as lounging activities.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Uncurated entirely; given meaning on own accord by public, might not be tolerated by public

UNCURATED | PERMISSIVE

S 1

PERMISSIVE

People trespass a restricted state land to carry out their vice activities illegally, thus disregarding its neutral function of being a prohibited space owned by authority.

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

U ORCHARD YOUTH SKATE PARK TRANSPOSING SELF-INITIATED, CREATIVE YOUTH ACTIVITIES ONTO A TUCK-AWAY SPACE BEHIND URBAN FABRIC PROGRAMME/MEANING Skate, Graﬁtti Park HABITS INVOLVED Talking, Walking, Sitting, Sleeping, Eating, Painting, Skating, Running, Videotaping, Shouting NEUTRAL FUNCTION Skating Ramps in an open public space

Grafitti crews and skating crews are often seen occupying the spaces here, showing off their craft and skills. The walls defining the space changes with time due to the nightly endeavours by the grafitti crews. In the day, skaters interact with each other, and teach each other new tricks, as part of an inherent culture of collective encouragement, which was also observed when their friends fall and injure themselves. There is a mutual respect rule set in this park, established by youth gangs, who have affiliates to the crews. Locations of where paint can be sprayed is based on a hierarchy system which dictates where certain walls are of more significance than other walls.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thieves’ Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Majority: All Minority: NA

Only on selected public holidays

Majority: People in the know of event Minority: All others

Uncurated; tolerated by authority and the public, and might contain amenities catered for by authority to facilitate public use

UNCURATED | PERMISSIVE

S 1

PERMISSIVE

Space is one fo the few spaces in Singapore that is permitted for graﬁtti, where informal rules and ettiquette that deﬁne respect and co-existence with each other (in the case of youth gangs) are set by the youth that run the space.

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

Moderate frequency

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

P URBAN VENTURES, KEONG SAIK ROAD TRANSPOSING CARNIVAL ONTO A PUBLIC STREET PROGRAMME/MEANING Arts Carnival HABITS INVOLVED Talking, Walking, Sitting, Shopping, Running, Lying down, Drinking, Eating, Dancing, Exercising, Painting, Drawing, Sleeping, Laughing, Singing NEUTRAL FUNCTION Public road

Organised by LOPELAB as one of the events of Singapore Design Week, the aim of Urban Ventures was to encourage a reimagining of public space as well as to experience the transformative powers of design and art1. Keong Saik road was closed, and people began to occupy the streets, engaging themselves in activities and workshops that were offered by the booths that were set up during the event, which lasted for less than a day. This happenings at this event was a toned-down, less exciting and more subtle version of the carnivals organised by the Reclaim our Streets movement, although both events beared the same notions of reactivating public space that streets can offer. 1 Peatix; Urban Ventures - by LOPELAB. from http://urbanventures.peatix. com/?lang=en-sg

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thieves’ Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Deviation degree of physical form S Reason

Shops follow road axes

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Curated spaces, operated under tolerance by authority and public; usually activities carried out here are controlled and organised to facilitate a public event

UNCURATED | PERMISSIVE

PERMISSIVE

On a “normal” day, people are not free to walk on a public street due to the obstruction of vehicles. The authorities have permitted the pedestrianized access of the streets for very controlled carnival-like activities.

S 1

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

P PLAY IT FORWARD, ESPLANADE BRIDGE TRANSPOSING ODD PROGRAMME ONTO A FORGOTTEN SPACE UNDER A BRIDGE PROGRAMME/MEANING Piano-playing at informal gathering spaces HABITS INVOLVED Singing, Talking, Walking, Sitting, Cycling, Running, Lying down, Drinking, Eating, Dancing, Exercising, Sleeping, Laughing, Playing music NEUTRAL FUNCTION Public space under bridge

Who would expect playable pianos to randomly appear under a bridge? Play it Forward is a public piano movement that can be played by strangers in public spaces. Their aim is to encourage self-expression and social interaction and bonding through the medium of music. Musically-inclined people were seen serenading the public with their skills, while people who did not know music slammed the keys and shouted song lyrics as a form of release1.

Interestingly, this space is a unqiue occurrence of a curated event plugged into an uncurated space, where (the majority) Burmese foreign workers would gather, have a drink and sing loudly as a form of self entertainment. 1 Facebook; Play it Forward Singapore. from https://www.facebook.com/playitforwardsg/info/?tab=page_info

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Majority: All Minority: NA

Only on selected public holidays

Majority: People in the know of event Minority: All others

Curated spaces, operated under tolerance by authority and public; usually activities carried out here are controlled and organised to facilitate a public event

UNCURATED | PERMISSIVE

S 1

PERMISSIVE

The odd placement of the pianos complement the already bustling nature of the spaces due to the foreign workers who use music to liven up the space. Without authoritative approval, these pianos could not have been placed here.

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

Moderate frequency

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

P UNCLE RINGO CARNIVAL, MARINA BAY SANDS TRANSPOSING CARNIVAL ONTO AN OPEN SPACE NEXT TO NATIONAL ICONS & CBD PROGRAMME/MEANING Carnival HABITS INVOLVED Singing, Talking, Walking, Sitting, Cycling, Running, Eating, Laughing, Playing music, Playing games, Kissing NEUTRAL FUNCTION Vacant state land for events spilling out from MBS

Uncle Ringo has operated since the 1980s, setting up carnivals in heartlands and on open spaces in the city. In this instance, their motive was to coincide with iLight @ Marina Bay, locating themselves in the heart of the event’s circulatory ﬂow1. 1

UncleRingo. from http://uncleringo.com/about-us

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thieves’ Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Curated spaces, operated under tolerance by authority and public; usually activities carried out here are controlled and organised to facilitate a public event

UNCURATED | PERMISSIVE

PERMISSIVE

The carnival rides was simply ‘plugged onto’ the existing vacant state land space. Licensing is required for Uncle Ringo to set up on this plot of land.

S 1

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

P 90S THEMED-ART MARKET, TANJONG PAGAR RAILWAY STATION TRANSPOSING ART-THEMED PROGRAMME ONTO HISTORICALLY-RICH PRIVATE SPACE PROGRAMME/MEANING Art-themed market HABITS INVOLVED Singing, Talking, Walking, Sitting, Running, Lying down, Drinking, Eating, Dancing, Laughing, Playing music, Photographing NEUTRAL FUNCTION Heritage site that is otherwise closed to public on “normal” days

Tanjong Pagar Railway Station is known for its rich heritage and legacy of being Singapore’s main pit stop for people coming back from Malaysia since British rule. As it is due for renovations soon, the normally-out-ofbounds privatised heritage site is opened for public access on selected public holidays. In this instance, it was opened on Good Friday to accommodate an arts market, bringing local artists’ and the general public together on an evening of mutual appreciation in the ambience of music by local musicians with the city in the backdrop.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thieves’ Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

Variety of people that use the space S Reason

Reason High frequency everyday

Moderate frequency occasional days

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

Majority: People in the know of event Minority: All others

Curated spaces, operated under tolerance by authority and public; usually activities carried out here are controlled and organised to facilitate a public event

UNCURATED | PERMISSIVE

PERMISSIVE

As people enjoy the art-themed market, they are also immersed in the context of a site that is presevered due to its heritage value, thus leaving its neutral function as a subconscious backdrop of the event. Without permission from authority, this space would have been inaccessible by the public on a “normal day”.

S 1

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

UNCURATED

U / U|P / P

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

ANALYSIS OF DEGREE OF CARNIVALISTIC PARTICIPATION

From the results, the following analyses can be made: 1 ‘Deviation degree of practices’ and ‘sense of carnivalesque use of space’ are generally low-scoring, which indicates that the creativity (in terms of how freely the space can be used probably due to fear of authoritative repercussions) of how uncommon activities are carried out in spaces in Singapore is low.

2 With regards to ‘variety of people that use the space’, there are still spaces that are not entirely socially inclusive. For instance, on Sundays, the majority of people at Burmah-Kinta Road Green Field are migrant workers. On weekdays, on the contrary (when the space is void of foreign workers), there is an absence of the minority which in this case, are locals. There is probably a pre-conceived notion that the space is meant for foreign workers, as they are the main inhabitors of the space on Sundays. Thus, locals do not have the tendency to use the space on weekdays.

3 (Secondary analysis of 2nd point) Probably, sometimes curation and permissiveness are necessary for social inclusiveness. Only people who can engage in activities that are related to the space will be interested to use a space (if it is left in its natural state). If spaces are curated, it will appeal to a greater majority of people due to the understandable logical sense of amenities and functions that define a usable space. However, people will have a reduced tendency to participate in creatively deﬁning the spaces they inhabit.

When people begin to take ownership of the spaces they inhabit, they have the opportunity to participate in a carnivalesque manner, and sometimes deviate its neutral function away from intended use through physical form or layout. This thus breeds an intrinsic motivation for other people to continue this ecosystem that facilitates in reproducing the use of the spaces, possibly pertaining to a certain sense of social inclusiveness amongst people.

The urban and social context also helps an uncurated space thrive. The Burmah-Kinta Road Green Field is a spillover space for foreign workers due to context of surrounding infrastructure and amenities; they form the majority of people who inhabit this space. Foreign workers inhabit this space because the people that are in the urban context are of the same social status. Thus they have a freedom to behave and use the space in a manner that is socially accepted by their peers. If this majority of people were transposed into the urban context of Orchard Road, they would have to behave in a totally different manner, in that, they will have to observe certain rules of conduct that will govern the way they express themselves and the way they inhabit the spaces there. This works likewise, if the people who usually inhabit Orchard Road spaces are transposed onto Burmah-Kinta Road Green Field spaces.

DEGREE OF CARNIVALISTIC PARTICIPATION Evaluation Factors Space Thievesâ&#x20AC;&#x2122; Market

Deviation degree of uses S Reason 0

Deviation degree of layout S Reason 1

Shops follow road axes

Deviation degree of physical form S Reason 1

Bedok North HDB Corridor

Traditional Paper Cutting Lessons

Tentages as representation of shops

Use frequency S 2

Burmah-Kinta Road Green Field

Kallang MRT 1

Volleyball & making out in public

Illegal prostitution, illegal shops

Rowell Road Back Alleys U

St Andrews Cathedral

1 U

Woodlands Jungle Brothel

Illegal selling & purchasing of goods

Making out publicly on church grounds Illegal prostitution; brothel

Picnic mats laid out by people

Picnic mats; volleyball nets

Shopfronts of illegal shops masked with religious statues

Large, shaded spaces

Picnic mats laid out by people

Secluded, shaded spaces in jungle

space

Relatively large, shaded by trees

Secrecy; hidden from view from main street

Orchard Youth Skate Park

1 U

Urban Ventures, Keong Saik P Road Play it Forward, Esplanade Bridge

Tanjong Pagar Railway Station

Controlled carnival activities

Playing piano under a bridge

Actual carnival activities

Uncle Ringo Carnival, Marina Bay P Sands

1 P

Key location for youth gangs to meet up

Art-themed activities

Youth Skate Park located in dense commercial urban fabric

Public Street, but closed by authority

Large space under a bridge

space

Large, elongated space

Entrance to brothel spaces are not obvious Park sits on an island surrounded by modes Shop booths set up on parking lots

Carnival rides

Tiered space (platform train track platform)

SCORING: 0 - MINIMUM; 1 - MODERATE; 2 - MAXIMUM

Reason High frequency everyday

Moderate frequency occasional days

Variety of people that use the space S Reason 2

High frequency only on Sundays

High frequency especially in the evening

High frequency only on Sundays

Moderate frequency on daily evenings

Only during Urban Ventures

Only when people choose to participate

Moderate frequency

Only on selected public holidays

Majority: All Minority: NA

U / U|P / P

S 1

Majority: People in the know of event Minority: All others

Uncurated, but a tolerated space Uncurated; have to abide by church rules Uncurated; and even illegal and rebellious Uncurated; Youth are given autonomy to run the space Permissive and curated

Permissive and curated

Curated; site is only opened to facilitate event

Majority: All Minority: NA

Excitement/ Emotions S

Reason

Sense of carnivalesque use of space Reason S

Feeling of able

contraband, antique goods

Good form of release with neighbours

Intimidating, bustling, noisy

Intimidating, unexpected encounters

Exciting; sexual activity in a jungle Friendly, at times intimidating due to gangs Exciting sometimes, but still curated

Unexpected relationships S

Warm feeling when piano is played by someone

Feeling of fantasy, but still curated

Reason Competitive due

Friendlies,

constantly allowed People lay on the streets and painted themselves

opposing

crews

Can play any tune on piano depending on user

Carnival rides were

Shop booths were placed on platform; none on train track

CARNIVALESQUE PARTICIPATION OF ESTABLISHMENT OF PERMISSIVE PUBLIC SPACE

For a ‘sense of carnivalesque freedom’ to be achieved in terms of the use of public space, ﬁrstly there has to be mutual agreement that the social planes of authority, ‘construction people’ and the general public are equalised when it comes to the establishment of a public space. This ﬁrst step is vital to ensure social inclusiveness, by abolishing pre-conceived stereotypes of each other’s social status. Following, carnivalesque participation between these 3 parties will then serve as a process, where permissive public space is the product, which can be creatively reinterpreted, reimagined and reproduced in a excitingly chaotic yet controlled (ideal) manner.

Following, we will explore a possible carnivalesque scenario if the abovementioned ideals do occur.

3 Possible carnivalesque scenario if the abovementioned ideals do occur1

1 Badminton Central; Riot: 28 face charges, 53 to be deported. Original Image from http://www.badmintoncentral.com/forums/showthread.php/69880-Singapore-Also-Can/page461

THE CARNIVALESQUE | YOUTH CULTURE IN ORCHARD ROAD

Orchard Road is known for its urbanistic inﬂuence on tourists, youth, commerce and foreign workers, with tourists forming the majority during the weekdays and foreign workers forming the majority during the weekends due to Sunday being their off-day. The youth also has a signiﬁcant part in shaping the development of Orchard Road over the years.

In the beginning, it was already evident that youths saw Orchard Road as their enclave, where ‘Centrepoint Kidz’1 would inhabit places such as Centrepoint and Far East Plaza everyday after school. They would change into the most fashionable clothes and meet up with their youth gang members at the underground Macdonald’s, sometimes fooling around and making gestures such that their presence were made known to the public. Problems at home, academic frustrations in school and personal identity issues were their main reasons, in this instance. They saw Centrepoint as their safehouse, where they were able to express themselves freely in the form of dance, games, jokes, to even illegal activity such as glue-snifﬁng and drugs.

Today, this behaviour still exists, although no longer at the original enclaves of Centrepoint or Far East Square. Youths who have the monetary ability continue to inhabit the frontages of Orchard Road, where commercialism, arts and entertainment are their main motivation. However, there is still a continuation of this particular group of youths who use Orchard Road as a physical extension to their homes in the heartlands, which they inhabit mostly throughout the day, due to problems at home and in school. Today, these groups of youths mainly ﬂock to the Youth Skate Park established by the National Youth Council (NYC), which they view as an escape from home, school and a place where they can meet their friends from their gangs, or graﬁtti and skate crews. It is a place where they can channel their frustration from home and school to a manifestation of their creative abilities in the form of grafitti, skateboarding and breakdancing, just to name a few.

In the boundaries of this permissive space, the grafitti crews are able to ‘vandalize’ the walls as and when they desire, as long as they abide by the grafitti rules that were collectively set by the grafitti crews.

Despite the nature of the space being permissive to the actions of the youth, there is a common consensus amongst youth and people that inhabit Orchard Road that such manifestation of creativity should not be only enclosed within the enclave of the skate park. The space, tucked away behind the towering commercial buildings where it is out-of-sight from most Orchard Road goers and tourists, silences and shuts out the prevalent creative talent that is inherent in the youth culture. Making known this colourful culture might also serve as a positive impact on them, providing them with a more purposeful escape, where public acknowledgement of their skills and presence can be transformed into an intrinsic motivation and encouragement for themselves.

These youth need an extension of this manifestation of their creative abilities, through a physical continuation of the existing skate park spaces, away from the highly commercialized and gentrified nature of Orchard Road.

Wikipedia; Centrepoint Kids. from https://en.wikipedia.org/wiki/Centrepoint_Kids

Centrepoint Kidz, from a footage aired on national television in the 1980s1

SOM

ROA

A O

ROA

TER

EXE

ERS

Youth Skate Park Island hidden by vegetation, vehicular circulation & commercial skyscrapers Commercial skyscrapers encasing island that Skate Park sits on Other Orchard Road buildings

1 Screen Grab from Youtube; Rare archive Centrepoint Kids documentary footage. from https://www.youtube.com/watch?v=mB_DDE-eqFk

THE CARNIVALESQUE | MIGRANT WORKER CULTURE IN LITTLE INDIA

Back in 1822, Little India used to be known as Chulia Campong, according to the British Colony’s Jackson Plan, when Singapore was colonised, to pertain to racial segregation. Over the years, local Indians, as well as Indians from abroad, have settled into the district, setting up amenities such as restaurants, shops, religious organisations, all of which serve as a generator of the existing ecosystem of Little India as it is today. On Sundays, when migrant workers would have their off days, they would gather on the interstitial green spaces between Burmah and Kinta Road following their chores in and around the area, meeting and mingling around with friends. Little India is like their version of Orchard Road, serving as a collective series of enclaves for them, which they see as an escape from the stressful nature of their work, as they possibly face social stereotyping by people at their workplace on a daily basis. However, despite the ‘safehouse’ nature of these spaces, Little India still falls under the watch of authority, for police ofﬁcers can be seen patrolling the streets on Sundays, in a deterrent move to prevent the possibility of vice and rowdy behaviour in the area.

Although these migrant workers spend most of their time interacting with their peers every Sunday, they are also willing to meet new people, especially with the people they render their services to; Singaporeans. Most of them view Singapore as a fresh start to life, because of the job opportunities offered to them by the state, allowing them to gather an income for their families back at home in India. They are deeply appreciative with the country, and at the same time appreciative of Singaporean’s tolerance of them over the years, although they understand that Singaporeans already have pre-conceived notions of them, which makes it even more difﬁcult for themselves to interact with Singaporeans on a normal basis. To express this struggle of theirs, some of them have turned to the silent, yet powerful voice of poetry, where they write about their lives in Singapore and their feelings toward the city-state and her people. They are eager to bridge a connection with Singaporeans and learn more about our culture, and abolish the stereotypes we already have of them.

Jackson Plan of 1822, Chulia Campong (Little India) highlighted in red1

Poetry dedication from a migrant worker to Singapore and Singaporeans2

1 Wikipedia; Jackson Plan. from https://en.wikipedia.org/wiki/Jackson_Plan 2 The New Paper Online; Why this Foreign Worker doesnâ&#x20AC;&#x2122;t have any Singaporean Friends. from http://www. tnp.sg/news/singapore-news/why-foreign-worker-doesnt-have-singaporean-friends

THE CARNIVALESQUE | BRIDGING THIS CULTURAL DISPARITY

The key aspects to the Carnivalesque abolishes social strata and stands for a sense of escape via a manifestation of creativity and participatory action. The continuation of the argument for this thesis ﬁnds basis on two abovementioned presumptions:

1 The youth based in the youth skate park in Orchard Road need an extension of this manifestation of their creative abilities, through a physical continuation of the existing skate park spaces, away from the highly commercialized and gentriﬁed nature of Orchard Road.

2 The migrant workers based in Little India are eager to bridge a connection with Singaporeans and learn more about our culture, and abolish the stereotypes we already have of them. There is therefore, a need to initiate an exposure of foreign workers to the people of Singapore.

The city holds spaces where varying degrees of potential Carnivalesque participation is proven to occur, albeit on a moderated and neutralised manner, where multitudes of experiences are imprinted on multiple localities. Each of these localities constitute a unique characteristic of carnivalesque participation which can be further explored and applied. Examples include notions of adaptability according to seclusion, artifact and flexibility of configuration of space presiding over a ‘neutral function’ that is inherent within each space.

As proven earlier, a detournement of rebellion of various degrees (in terms of the production and reproduction of public space) is a necessary form of release in highly legislative Singapore, also partly due to the prejudice and stereotypes of such rebellious use of space and illegal activities.

The detournement will be represented by a differential space, generating diverse relationships which creates a symbiotic ecosystem that builds on the disparities between the co-existence of these two contrasting cultures driven by the Carnivalesque. This will result in the adaptability of an alternative urbanism into a pre-existing urban fabric which pertains to a continuous sequence of permissive spaces between contrasting enclaves of the youth skate park and the interstitial green ﬁeld in Little India. In this instance, a manifestation of the creative abilities of both groups of people can be brought forth to foster a culture of mutual learning and understanding of each other, serving as an architectural catalyst for social inclusiveness, in a Singapore that is gradually accepting minorities as part of our everyday relationships.

Youth Enclave; Somerset Skate Park

Migrant Worker Enclave; Burmah-Kinta Road Interstitial Field

CARNIVALESQUE URBANISM

CARPARK

WALKWAY EVENT SPACE

CIRCULATORY PARK

WALKWAY

MOUNT SOPHIA

WALKWAY

DHOBY GHAUT GREEN

CIRCULATORY PARK

ISTANA PARK (BACK STAGE)

WALKWAY

PENANG ROAD CARPARK

SKATE PARK BYPASS B/W URBAN FABRIC & MRT

PENANG ROAD OPEN SPACE

Carnivalesque Urbanism exists in the following sequence of permissive spaces spanning from the youth enclave of orchard to the migrant worker enclave of little India, both of which represents two of the more neglected groups of minorities in Singapore: the neglected youth delinquents and the migrant workers, driven by these 3 urban conditions: shielded space, superior space and split function.

SOMERSET SKATE PARK

The carnivalesque in this thesis is deﬁned as the haphazard and disorganised participation in terms of the use of public space.

PUBLIC CIRCULATORY, GATHERING SPACE

PERFORMANCE SPACE CIRCULATORY PARK

TREE GATHERING SPACE

[YOUTH] SKATE PARK

TREE GATHERING SPACE

URBAN FABRIC

H VE T U LA O Y NC E PERMISSIVENESS | DEFENSIBILITY

SUPERIOR SPACE Space that possesses a superior reﬂection of the environment it is embedded within

RE-ROUTE Re-alignment of circulatory routes to pertain to the continuity of the Carnivalesque Strip

TO DHOBY GHAUT GREEN

RE-ROUTE MRT UNDERPASS

SPLIT FUNCTION Versatility of re-interpretation of space

RE-ROUTE UNDERPASS

SHIELDED SPACE Protected by Urban Fabric, Thresholds, Surrounding Culture

SECONDARY CIRCULATORY PLATFORM

TO FOOT O MOUNT SOPHI

COMMERCIAL CONNECTION (WALKWAY)

URBAN FABRIC

BURMAH-KINTA ROAD INTERSTITIAL FIELD

INFORMAL GROUND PLANE

MAYO STREET SHOPHOUSE BACK ALLEY

GATHERING SPACE

LASELLE COLLEGE OF THE ARTS

TRIANGULAR ISLAND HISTORICAL BUILDINGS

FORMAL STUDIO SPACE

SHOP FRONT

BACK ALLEY FUNCTIONS

URBAN FABRIC

SHOP FRONT

BACK ALLEY FUNCTIONS

ROWELL ROAD SHOPHOUSE BACK ALLEY

ELEVATOR

INTERIOR CANAL SPACE

THIEVESâ&#x20AC;&#x2122; MARKET

A LT E R N AT I V E ENTRANCE TO 97 STEPS

ROCHOR CANAL

97 STEPS

RE-ROUTE UNDERPASS

STUDENT YOUTH HOSTEL

NARROW ALLEYWAY

ADIS ROAD

PRIMARY CIRCULATORY PLATFORM

KELANTAN LANE, HINDOO ROAD SHOPHOUSE BACK ALLEYS

N R A E E R IG RK V M O LA W NC E

M M

O OF A

[FOREIGN WORKER] GATHERING SPACE

SHOP FRONT (DISGUISED VICE)

BACK ALLEY FUNCTIONS (PERMISSIVE VICE)

PERMISSIVE VICE

(LEGISLATIVE) URBAN FABRIC

URBAN COURTYARDS | SHIELDED SPACE

OR C BAC HARD K

OR C FRO HARD NT

NEGLECTED YOUTH | SOMERSET SKATE PARK

MIGRANT WORKERS | BURMAH ROAD FIELD

Urban courtyard shuts out creative talent of neglected

Migrant workers’ form of Orchard Road; they want to be

youth, who engage in rebellious & provocative art

integrated

forms such as grafﬁtti and skating as their only few

stereotyping; Dorms tucked-away

forms of escape

into

Singapore

society

despite

negative

BLANK

CARNIVALESQUE URBANISM URBAN MUSEUM MASTERPLAN Legislation & Regulation governing the production & reproduction of public space is the main motivation for this thesis. People constantly crave for a sense of creative freedom & release. The key aspects to the Carnivalesque abolishes social strata & stands for a sense of escape via a manifestation of creativity & participatory action. Carnivalesque participation & collaboration has the potential to be applied to the establishment of public space. These public spaces can then be creatively reinterpreted, reimagined & reproduced in an excitingly chaotic yet controlled manner. 2 main groups of people inhabiting 3 districts have the potential to serve as catalysts for the Carnivalesque to occur within the urban context of Singapore: From YOUTH District/ ARTS & ENTERTAINMENT District:

From LITTLE INDIA District:

YOUTH YOU Creative & fresh ideas Crea Appetite for originality Appe Takes Take ownership Lack practical skills & experience Rebellious, sometimes boundless Rebe

MIGRANT WORKERS Seasoned with practical skills Appreciative Eager to bridge with locals Occasionally marginalised Occasionally socially-oppressed

The centrepiece to Carnivalesque Urbanism is an Extension to the existing Lasalle College of the Arts, which serves as an Experimental Campus & an Open Museum, where Youth & Migrant Workers will be students. Stemming from the Experimental Campus, Carnivalesque Zones have been identified across the 3 districts, which comprises of creative institutions, public hubs, high pedestrain belts & zones where Carnivalistic Participation is inherent (Little India back-alleys, Orchard Skate Park, etc). The Overall Masterplan Strategy is to scatter Studio-Incubator-Fabrication-Assembly (SIFA) modules across Carnivalesque Zones within these 3 districts. The key aim for these modules is to serve as satellite studios, which are co-owned & shared between students & external design firms. For students, they will be urban campuses for studio classes, internships, prototyping & entrepreneurship (with startup incubators). The public can partake in the Carnivalesque through open-studio design workshops, creative bazaars, flea markets, performances & all-year-round open exhibitions (displaying pieces collaboratively designed by students & the public). The key Identity Elements governing this Masterplan will be the reused formwork molds as structural columns & the Photo-Aqua-Nastic Roofs. In addition, a themed exhibition will be held within the Experimental Campus annually. Students will partner with external design firms to design & build an Exhibition Vial (pavilion) which will be displayed within the Open Museum. Throughout the design & build process, which is visible and open to visitors, the public is invited to partake (brainstorming, design or construction process) via a sign-up basis. Collectively, this Masterplan challenges the idea of traditionally-curated museums, introducing the Urban Museum, where there will be a constant creative manifestation of public participatory design, collaboration & creative ownership.

1 3

YOUTH DISTRICT

LITTLE INDIA DISTRICT

YOUTH DISTRICT

*SCAPE-National Youth Council

Orchard Skate Park-Orchard “The Wall” Central

Orchard “The Wall” Central-Istana Green

Comprising of the Orchard & Dhoby Ghaut areas, it is Singapore’s largest outdoor shopping arcade & home to independent Youth activity hubs, support organisations & major commercial instutitions

ARTS & ENTERTAINMENT DISTRICT

RT AI NM

Home to major art & educational institutions, such as Lasalle College of the Arts & Singapore Arts Museum, School of the Arts (SOTA) marks the gateway into this District 4

Overlap with Youth District

SOTA-SMU-Dhoby Ghaut Galleries

Nanyang Academy of Fine Arts (NAFA)

Experimental Campus & Open Museum Lasalle College of the Arts

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LITTLE INDIA DISTRICT 4

The Migrant Worker enclave, this district is known for the vibrancy & variety of shophouses & its Carnivalistic, permissive back-alley activities 8

Overlap with Arts & Entertainment District

Thieves’ Market

10 Hindoo Road Shophouses & Back-alleys 11 Rowell Road Shophouses & Back-alleys 12 Desker Road Shophouses & Back-alleys 13 Little India Gathering Field

THREE-PRONGED CIRCULARITY APPROACH The Masterplan is governed by three concepts off Circularity:

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D CONSTRUCTION CIRCULARITY Recycling & reusing of construction materials from old construction sites or demolished buildings as construction components for the Experimental Campus & the Masterplan SIFA modules, as well as ensuring recyclability of restored components A Mold used in concrete formwork from old construction sites are restored for use as structural columns B Rebar from old construction sites are restored for use as structural trusses ARCHITECTURAL SUB-SYSTEMS CIRCULARITY Self-sufficiency & sustainability throughout the Campus & its satellite SIFA modules via resource-harvesting & energy-conversion C Photo-Aqua-Nastic Roofs convert sunlight & rainwater into vital resources for lighting, cooling & crop-growing D Exhaust to CO2 conversion system converts harmful exhaust from machinery into CO2 for crop-growing SOCIAL CIRCULARITY 3 year Carnivalesque Management+(Industrial) Design Diploma programme for students (Youth & Migrant Workers). For the first 1.5 years, Migrant Worker students will be taking up the Management course while Youth students will be taking the Industrial Design course, followed by a swap over E Migrant Workers: Instead of short-term, unpredictable stints as construction labourers, they will be equipped with management skills to run a fabrication studio. During the first 1.5 years, they will be tapping on their experience & practical skills to give advise to their Youth counterparts who are taking the Industrial Design course. They will be working under the mentorship of external design firms within the SIFA modules, occasionally rotating between each firm. They will subsequently take the Industrial Design course, providing them with a more substantial education & job security. Migrant Workers will then be talent-scouted to join preferred firms on a long-term employment basis F Youth: Instead of a Diploma where only Art or Design is taught, they will be exposed to management skills during the second half of the programme, equipping them with practical skills to complement their theoretical design skills & ideas. Their improvisational practical skills will also be honed through the rapid prototyping & experimentation sessions

SITE PLAN SCALE 1:2500 EXPERIMENTAL CAMPUS & OPEN MUSEUM 1 Lasalle College of the Arts 2 Experimental Campus & Open Museum 3 Arts & Entertainment District 4 Sungei Road 5 Little India District

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ROOF PLAN SCALE 1:500 EXPERIMENTAL CAMPUS & OPEN MUSEUM 1 Lasalle College of the Arts 2 Experimental Campus & Open Museum 3 Sectional Perspective A-Aâ&#x20AC;&#x2122; 4 Rochor MRT 5 Short Street 6 Golden Wall Centre 7 Prinsep Street 8 Sim Lim Square 9 Arts & Entertainment District 10 Sungei Road 11 Little India District 12 Perak Road 13 Mayo Street Shophouses

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BELOW-ROOF PLAN SCALE 1:300 4 EXPERIMENTAL CAMPUS & OPEN MUSEUM 1 Lasalle College of the Arts

2 Interstitial Public Space 3 Experimental Campus & Open Museum 4 Entrance into Open Museum; Arts & Entertainment District 5 Open Museum Circulatory Ramp; Upper Deck 6 Open Museum Circulatory Ramp; Lower Deck

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7 Exhibition Vial Docking Platform 8 Amphitheatre Space 9 Open Museum Crane

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10 Crane Amphitheatre 11 Central Public Crosswalk 12 Performance Space Amphitheatre 13 Base Public Park & Performance Space 14 Performance Rehearsal Space 15 Studio-Incubator Space (SIFA module) 16 Rainwater Harvesting & Mist Cooling System 17 Sun Lamp (Sunlight Ampliﬁcation System) 18 Ramps to rooftop of SIFA module 19 Fabrication Space (SIFA module) 20 Assembly Space (SIFA module) 21 Overpass (Raised circulatory & observatory connection) 22 Sectional Perspective A-A’ 23 Entrance into Open Museum; Little India District 24 Arts & Entertainment District 25 Sungei Road 26 Little India District 27 Rochor MRT

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Yellow: Students of Lasalle College of the Arts’ Experimental Campus; _Youth _Migrant Workers Pink: Members of Public; P __General Public __Visitors-Participants of Experimental Campus, partaking in Exhibition Vial (Pavilion) design & build process, workshops, etc __Partners/Mentors from external design ﬁrms who set up satellite studios in Studio-Incubator-Fabrication-Assembly (SIFA) modules

EXPERIMENTAL CAMPUS & OPEN MUSEUM The Experimental Campus & Open Museum is the centrepiece to Carnivalesque Urbanism, which is an extension to the existing Lasalle College of the Arts. A themed exhibition will be held here annually. Students will partner with external design ﬁrms to design & build an Exhibition Vial (pavilion) which will be displayed within the Open Museum. Throughout the design & build process, which is visible and open to visitors, the public is invited to partake (brainstorming, design or construction process) via a sign-up basis 1 Little India District: Migrant Worker enclave, known for Carnivalistic, permissive shophouse back-alley activities 2 Sungei Road: Axis separating the Little India District from the Arts & Entertainment District; Experimental Campus in the middle, serving as a programmed connection between the two districts 3 High Pedestrain Belt along Sungei Road

7 Open Museum Ramps: Main circulatory platform linking

8 Photo-Aqua-Nastic Roof’s Rainwater Harvesting & Mist C spaces of Experimental Campus & Open Museum does

9 Photo-Aqua-Nastic Roof’s Sun Lamp (Sunlight Ampliﬁca darker areas within the public spaces are illuminated wi

10 When there are no exhibitions, public spaces serve as a

11 Crane Amphitheatre: Public space where visitors can re

12 Construction Circularity: Concrete formwork mold from o

4 Accessible rooftops for public to observe design & prototyping process via see-through panels

13 Construction Circularity: Rebar from old construction sit

5 Photo-Aqua-Nastic Roofs: Dynamic sun-shading devices for the campus, with sunlight- & rainwater- tracking & harvesting functions 6 Overpass: Raised circulatory & observatory connection between SIFA modules within the campus; for public to observe the exhibition spaces & prototyping occurring within the Assembly Spaces below

14 Interstitial spillover-public space between Experimental

15 Arts & Entertainment District: Experimental Campus & O 16 Lasalle College of the Arts: main hub partner for the Ca

SECTIONAL PERSPECTIVE A-A’ EXPERIMENTAL CAMPUS & OPEN MUSEUM

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g Exhibition Vials, public & performance spaces

17 Design & Build Process of Exhibition Vial (pavilion) between students, public & mentors from external ﬁrms:

Cooling System: Cooling system is self-sufﬁcient, public s not run on air-conditioning

17A Studio-Incubator Space of SIFA module: Brainstorming, Computer-Aided Design (CAD), rapid prototyping via tools such as 3D-printers, laser-cutters, etc (SECTIONAL PERSPECTIVE B)

ation System): Apart from the solar-powered LED panels, ith natural ampliﬁed sunlight

17B Fabrication-Assembly Space of SIFA module: Larger scale production with robot arms, water jet equipment; Exhibition Vial is assembled here on the open-air Assembly Space (SECTIONAL PERSPECTIVE B)

a public park, with picnic, performance spaces

17C Upon completion of assembly, crane lifts Exhibition Vial from the Assembly Space, transporting it to its designated Docking Platform within the Open Museum

est & observe the museum from a central vantage point

old construction sites are restored as structural columns

es are restored for use as structural trusses Campus & Lasalle College of the Arts

Open Museum marks the gateway into this district

rnivalesque Management+Design Diploma programme

17D Crane is operated by Migrant Worker & (trained) Youth students 17E Exhibition Vial Docking Platform: Exhibition Vials are designed to have an experiential walk-through element, allowing continuous circulation via Open Museum Ramps 17F Amphitheatre: Participants of the design & build process hold sharing sessions on this terraced seating space for visitors. Also a public space for people to rest, mingle & attend performances (SECTIONAL PERSPECTIVE C)

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SECTIONAL PERSPECTIVE B EXPERIMENTAL CAMPUS & OPEN MUSEUM STUDIO-INCUBATOR-FABRICATION-ASSEMBLY (SIFA) MODULE with PHOTO-AQUA-NASTIC ROOF DETAIL

STUDIO-INCUBATOR Students co-own this space with mentors from external creative studios, collaborating with public on museum vial experimentation & design 1

Crop-Growing sliding doors (Soft Thresholds)

Precise Crop-Harvesting via robotic arm

Sliding doors (Hard Thresholds)

Prototyping & assembly via robotic arm

Prototyping equipment: Laser-Cutter, 3D-Printer

Exhaust to CO2 Conversion System 6A Exhaust from Laser-Cutter Machine 6B Dust/debris separator 6C CO2 extractor

6D Vacuum fan 6E Vacuum distributor to various tiers of crop

PHOTO-AQUA-NASTIC ROOF

Formwork Mold Reuse; Construction Circularity

Rainwater Harvesting & Crop Hydration System 8A Rainwater inlet 8B Automatic control valve 8C Rainwater undergoes ﬁltration/puriﬁcation 8D Crop Tier; roots suspended below 8E Water Tier; Nutrient Film Technique (NFT) 8F Zig-zag NFT via gravity to lower crop tiers

UBLIC SPACE

8G Water reservoir with nutrient dispenser 8H Float switch, pH/EC sensor 8J Water pump; recycles water to top 8K Recycled water undergoes NFT again

FABRICATION

Heavy-duty fabrication equipment are housed within this space; spatial ﬂexibility with mechanical foldable doors opening towards the outdoor Assembly Space 9

CNC Machine

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Open fabrication space where museum vial is assembled before crane hoists it to museum space

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10 Crane Hoisting & Docking Mechanism 10

11 Vial designs are themed every semester 12 Precise assembly via robotic arm

ASSEMBLY

PHOTO-AQUA-NASTIC ROOF Programmed to track sun-path & rainfall, absorbing & collecting optimal amounts of sunlight & rainwater, & a sun-shading device for the open museum 13 Photonastic PV panels absorb optimal sunlight 14 Rotating ball allows for flexible movement 15 PV-powered LED lamp for night-lighting 16 Sun Lamp (Sunlight Amplification System) 16A Photonastic roof’s funnel aligns to sunlight 16B Internal reflective mirrors 16C Rotating axle for 360o studio illumination 16D Internal light amplification crystals 16E Output light from Sun Lamp 17 Rainwater Harvesting & Mist Cooling System 17A Aquanastic roof’s funnel aligns to rainfall 17B Internal piping transfers rainwater down 17C Rainwater divided equally to 6 valves 17D Evaporative medium produces cold water 17E Heat remover removes warm air to exterior 17F Pressure nozzles produces cold air 17G Minimal cool mist cools studio space

PUBLIC SPACE Accessible rooftops via ramps for public to observe design, prototyping & experimentation process 18 See-through panels 19 See-through panels angled towards museum

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MUSEUM RAMPED CIRCULATION

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REHEARSAL

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SECTIONAL PERSPECTIVE C OPEN MUSEUM with PHOTO-AQUA-NASTIC ROOF DETAIL

REHEARSAL Serving as a backstage to the Performance Space, students & external performance groups use this elevated platform as an informal stage to rehearse 1

Rehearsal space illuminated by Sun Lamp

PUBLIC SPACE The base of the open museum serves as a shaded public park where visitors & students partake in rehearsals & performances after completing the museum tour

PHOTO-AQUA-NASTIC ROOF

Cooling system doubles as elevated seats

Formwork Mold from construction sites reused as structural columns; Construction Circularity

Rebar from construction sites reused as structural trusses; Construction Circularity

PERFORMANCE Students & external groups hold performances, and open lectures about museum vial design processes are held here

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Performance space illuminated by Sun Lamp

AMPHITHEATRE Terraced seating for public, museum visitors and students to rest, mingle, attend talks & performances 6

The 4 Amphitheatre spaces serve as the main meeting points within the open museum

PHOTO-AQUA-NASTIC ROOF

AMPHITHEATRE

Programmed to track sun-path & rainfall, absorbing & collecting optimal amounts of sunlight & rainwater, and a sun-shading device for the open museum 6

Photonastic PV panels absorb optimal sunlight

Rotating ball allows for ﬂexible movement

PV-powered LED lamp for night-lighting

10 Sun Lamp (Sunlight Ampliﬁcation System) 10A Photonastic roof’s funnel aligns to sunlight 10B Column structure integrated with ramp 11B

10C Internal reﬂective mirrors 10D Rotating axle for 360o studio illumination 10E Internal light ampliﬁcation crystals 10F Output light from Sun Lamp 11 Rainwater Harvesting & Mist Cooling System 11A Aquanastic roof’s funnel aligns to rainfall 11B Column structure integrated with ramp 11C Internal piping transfers rainwater down 11D Rainwater divided equally to 6 valves 11E Evaporative medium produces cold water 11F Heat remover removes warm air to exterior 11G Pressure nozzles produces cold air 11H Minimal cool mist cools open museum space, disregarding need for air conditioners

MUSEUM RAMPED CIRCULATION Visitors & students intertwine along ramped circulation throughout the open museum space which overlooks the exhibition, performance & public spaces. They would occasionally stop by to visit an exhibition vial, observe students prototype in the Assembly Space or watch a theatre performance

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*SCAPE-NATIONAL YOUTH COUNCIL

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ORCHARD SKATE PARK-ORCHARD “THE WALL” CENTRAL

Yellow: Students of Lasalle College of the Arts’ Experimental Campus; _Youth __Migrant Workers

URBAN AXONOMETRIC A URBAN MUSEUM MASTERPLAN YOUTH DISTRICT CARNIVALESQUE ZONES

P Pink: Members of Public; __General Public __Visitors-Participants of Experimental Campus, partaking in creative workshops, bazaars, ﬂea markets & performances __Partners/Mentors from external design ﬁrms who set up satellite studios in Studio-Incubator-Fabrication-Assembly (SIFA) modules

YOUTH DISTRICT Comprising of the Orchard & Dhoby Ghaut areas, it is known for its urbanistic influence on Youths via the Youth activity hubs, support organisations & popular commercial instutitions. The strong presence of Youth & the general public will serve as spurs for the Carnivalesque. Emphasis on local design brands & products also take centrestage within this district 1

Orchard Road: Main outdoor shopping belt which is highly curated, gentriﬁed & commercialised

Somerset Road: Backdoor to Orchard Road, shielded by Orchard “The Wall” Central; mostly inhabited by Youth, Migrant Workers & lost tourists/public

Design Orchard; incubator, prototyping, performance & commercial space for local brands & designers. Youth from *SCAPE occasionally inhabit this space for open dance performances, where the public is invited to partake

Centrepoint; original enclave for the Centrepoint Kidz, who occupied pockets of spaces within the mall as their own turf

Youth District Carnivalesque Zone: Orchard “The Wall” Central-Istana Green

*SCAPE-NATIONAL YOUTH COUNCIL Home to the main Youth activity hubs within this district, both organisations strive to support the vibrancy of Youth talent, entrepreneurship & leadership. The SIFA modules will serve as a creative institutional partner to these organisations 6

Youth District Carnivalesque Zone: *SCAPE-National Youth Council 6A *SCAPE: non-proﬁt organisation nurturing talent & leadership development of Youths 6B *SCAPE open courtyard: Open dance & sports games are organised & held here by Youths 6C *SCAPE’s open courtyard serves as an open exhibition space extension to the SIFA modules; pavilions/exhibits collaboratively designed by students, mentors & the public are displayed here 6D Placement of SIFA modules activates a constant manifestation of creativity, experimentation & entrepreneurship

6E Grafﬁtti painting workshop occurring within Assembly space; run by Youth from Grafﬁtti crews at Skate Park

6F Crops from SIFA module sold within takeaway salad bowls; business model planned & executed by students 6

6G Overpass connecting NYC, *SCAPE & SIFA modules, lined with Photo-Aqua-Nastic Roofs (Identity Element) 7

6H SIFA modules are connected to Overpass via the Rooftop Public Space linking platform over the Assembly space 6J Flea market occurring within Assembly space; products are jointly-designed by students & mentors 6K National Youth Council: Governmental organisation nurturing development of Youths via meaningful activities & programmes

6L NYC open performance space: Youths inhabit this space for open casual dance classes & rehearsals 6M Portion of Overpass overlooking key activity nodes are wider; serves as observatory space for performance space below 6N Grange Road: One of the busier streets in the backyard of Orchard Road; Overpass necessary for pedestrain connection 6P Cineleisure Orchard mall: Catered to Youth; this Carnivalesque Zone draws on the crowd from this mall 6Q Interstitial performance space between *SCAPE & Cineleisure Orchard; casual jam & dance sessions are held here 6R Grange Road High Pedestrian Belt: Linking perpendicularly from Orchard Road via Cineleisure Orchard mall

YOUTH DISTRICT ORCHARD SKATE PARK-ORCHARD “THE WALL” CENTRAL Orchard Skate Park & its adjacent field are hidden from the main belt of Orchard Road, behind the gargantuan massing of Orchard Central mall. Migrant Workers inhabit the field as it is safely tucked away from the highly-gentrified Orchard Road. The placement of the SIFA modules here aims to bridge this forgotten zone with the frontage of Orchard Road via the High Pedestrain Belt. The public can partake in creative workshops & open exhibitions run by students & their mentors, enriching the Carnivalesque inherent within this space 7

Youth District Carnivalesque Zone: Orchard Skate Park-Orchard “The Wall” Central 7A Somerset MRT: One of the busiest MRT stations across the Youth District 7B Orchard Skate Park: Youth skate & rollerblade here, & are legally allowed to conduct Graffiti painting within this park 7C Overpass bridging Orchard Skate Park & its field, High Pedestrain Belt, Orchard “The Wall” Central & the SIFA modules, lined with Photo-Aqua-Nastic Roofs (Identity Element) 7D Portion of Overpass overlooking key activity nodes are wider; serves as observatory space for Skate Park below 7E Placement of SIFA modules injects vibrancy into this forgotten space & bridges the Skate Park with the adjacent field 7F Flea market occurring within Assembly space; products are jointly-designed by students & mentors 7G Crops from SIFA module sold within takeaway salad bowls; business model planned & executed by students 7H Creative bazaar: Centrestage of flea markets, open-studio design workshops, performances & open exhibitions 7J The field adjacent to the Skate Park serves as an open exhibition space extension to the SIFA modules; pavilions/exhibits collaboratively designed by students, mentors & the public are displayed here, creating a hub of activities 7K Migrant Workers inhabit this field; they set up tarpaulin picnic mats under the shade of trees & gather with their friends 7L Migrant Workers use trees as poles to set up volleyball/badminton nets to have a game with students & the public 7M Somerset Road: Backdoor to Orchard Road 7N Somerset Road High Pedestrain Belt: stretches towards the *SCAPE-National Youth Council Carnivalesque Zone 7P Orchard “The Wall” Central’s huge massing separating the frontage of Orchard Road from this forgotten Carnivalesque Zone

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SOTA-SMU-DHOBY GHAUT GALLERIES Yellow: Students of Lasalle College of the Arts’ Experimental Campus; _Youth _ _Migrant Workers

URBAN AXONOMETRIC B URBAN MUSEUM MASTERPLAN ARTS & ENTERTAINMENT DISTRICT CARNIVALESQUE ZONES

Pink: Members of Public; P _General Public _ _ _Visitors-Participants of Experimental Campus, partaking in creative workshops, bazaars, ﬂea markets & performances _ _Partners/Mentors from external design ﬁrms who set up satellite studios in Studio-Incubator-Fabrication-Assembly (SIFA) modules

ARTS & ENTERTAINMENT DISTRICT A continuation from the Youth District, & one of the most bustling pedestrain belts in Singapore’s urban context, this district marks the gateway to major art & educational institutions, such as Lasalle College of the Arts & Singapore Arts Museum. School of the Arts (SOTA) is ﬂanked by Singapore Management University (SMU), which is an entrepreneurial hub. All the above facets, coupled with organised arts & public events, serves as powerful catalysts to the potential Carnivalesque occurring within this district 1

Orchard Road-Brash Basah Road: High Pedestrain Belt linking Youth & Arts & Entertainment Districts

Sungei Road: Axis separating the Arts & Entertainment District from the Little India District

National Museum of Singapore: Oldest museum in Singapore & home to several arts & public events

Arts & Entertainment District Carnivalesque Zone: Nanyang Academy of Fine Arts (NAFA)

Nanyang Academy of Fine Arts (NAFA): Arts institution & partner for the Carnivalesque Management+Design Diploma programme

Lasalle College of the Arts: Arts institution; main hub partner for the Carnivalesque Management+Design Diploma programme

Experimental Campus & Open Museum: Prototyping, entrepreneurial & participatory design extension to the adjacent Lasalle College of the Arts; Centrestage of the Carnivalesque, where students, mentors & the public collaboratively design & build exhibition vials (pavilions) for the annual themed exhibition

SOTA-SMU-DHOBY GHAUT GALLERIES

Arts & Entertainment Districts’ main Carnivalesque Zone outside of the Experimental Campus; a combination of major commercial, educational & arts institutions with public festivals pertaining to the local arts & design scene, further boosted by the introduction of the SIFA modules & its accompanying events, workshops & entrepreneurial programmes 8

Arts & Entertainment District Carnivalesque Zone: SOTA-SMU-Dhoby Ghaut Galleries 8A School of the Arts (SOTA): Pre-tertiary arts school; potential students are scouted to join the Carnivalesque Management+ Design Diploma programme 8B The Cathay: Youths occupy pockets of internal & external public spaces of the mall, claiming them as their turf 8C Handy Road High Pedestrain Belt: Backdoor connection between The Cathay & Plaza Singapura

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8D Plaza Singapura: Major commercial institution; this Carnivalesque Zone draws on the crowd from this mall 8E Orchard Road-Bras Basah Road High Pedestrain Belt: Linking Youth & Arts & Entertainment District 8F Dhoby Ghaut MRT: Busiest MRT station within the Arts & Entertainment District 8G Dhoby Ghaut Green Open Performance & Public Space 8H Spillover space from SIFA modules; public dance & performance groups gather to rehearse or have casual performances 8J Portion of Overpass overlooking key activity nodes are wider; serves as observatory space for performance space below

ARTS & ENTERTAINMENT DISTRICT

8K Visual Arts Centre (VAC): Arts studio & gallery that holds classes & exhibitions for the public; partner for the Carnivalesque Management+Design Diploma programme 8L Interstitial space between VAC & Assembly Space of the SIFA module holds jointly-organised ﬂea markets, creative workshops & design exhibitions 8M Placement of SIFA modules activates a constant manifestation of creativity, experimentation & entrepreneurship 8N Dhoby Ghaut Green Overpass Loop: Open public place for designers, artists, students & the public 8P Open-studio design workshop occurring within SIFA module’s Assembly & Fabrication spaces; jointly-run by students & mentors 8Q Handy Road Open Space Overpass Loop: Gateway into Arts & Entertainment District; Overpass links SIFA modules, arts & commercial institutions & the High Pedestrain Belts, lined with Photo-Aqua-Nastic Roofs (Identity Element) 8R Creative bazaar: Centrestage of ﬂea markets, open-studio design workshops, performances & open exhibitions 8S Art class occurring within Assembly space; jointly-run by Experimental Campus & SOTA students & mentors

8T SOTA Green: public space where events & performances are held; spillover space for the SIFA modules, SOTA & SMU 8U Flea market occurring within Assembly space; products are jointly-designed by students & mentors

8V Crops from SIFA module sold within takeaway salad bowls on SOTA Green; business model planned & executed by students 8W Dance Performance for the public jointly-organised by students from the Experimental Campus, SOTA, NAFA & SMU 8X Singapore Management University (SMU): Business school with strong grounding in entrepreneurship; main entrepreneurial partner to the Carnivalesque Management+Design Diploma programme, with SIFA modules serving as incubator spaces 8Y SOTA’s open courtyard serves as an open exhibition space extension to the SIFA modules; pavilions/exhibits collaboratively designed by students, mentors & the public are displayed here

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URBAN AXONOMETRIC C URBAN MUSEUM MASTERPLAN LITTLE INDIA DISTRICT CARNIVALESQUE ZONES 10N

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Y Yellow: Students of Lasalle College of the Arts’ Experimental Campus; _ _Youth _ _Migrant Workers

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P Pink: Members of Public; _ _General Public _V _Visitors-Participants of Experimental Campus, partaking in creative w workshops, bazaars, ﬂea markets & performances _ _Partners/Mentors from external design ﬁrms who set up satellite studios i Studio-Incubator-Fabrication-Assembly (SIFA) modules in

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ROWELL ROAD SHOPHOUSES & BACK-ALLEYS

LITTLE INDIA DISTRICT 11C

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This district provides collective sequences of enclaves of escapism for Migrant Workers, from partaking in uncurated permissive activities in the back-alleys of shophouses, sourcing for second-hand goods at Thieves’ Market, or relaxing with their peers at Little India Gathering Field. SIFA modules are introduced within pockets of spaces within this district, offering alternative creative outlets for Migrant Workers, while preserving these permissive activities that are already driving the inherent Carnivalesque

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1 Sungei Road: Axis separating the Arts & Entertainment & Little India District 2 Serangoon Road: High Pedestrain Belt mainly used by Migrant Workers; links Carnivalesque Zones between districts 3 Jalan Besar: High Pedestrain Belt mainly used by the public; links Carnivalesque Zones between districts 4 Rochor Canal: Man-made canal adjacent to Thieves’ Market; Migrant Workers inhabit spaces along the river as rest & gathering spaces

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5 Syed Alwi Road: High Pedestrain Belt mainly used by Migrant Workers & the public; intersects Serangoon Road & Jalan Besar 6 Lasalle College of the Arts: Main hub partner for the Carnivalesque Management+Design Diploma programme 7 Experimental Campus & Open Museum: Prototyping, entrepreneurial & participatory design extension to the adjacent Lasalle College of the Arts; Centrestage of the Carnivalesque, where students, their mentors & the public collaboratively design & build exhibition vials (pavilions) for the annual themed exhibition 8 Little India District Carnivalesque Zone: Hindoo Road Shophouses & Back -alleys

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THIEVES’ MARKET

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9 Little India District Carnivalesque Zone: Desker Road Shophouses & Back -alleys

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LITTLE INDIA GATHERING FIELD

ROWELL ROAD SHOPHOUSES & BACK-ALLEYS

THIEVES’ MARKET

LITTLE INDIA GATHERING FIELD

Creative spatial reinterpretation & ownership is accompanied by a series of permissive activities across both faces of the Rowell Road shophouses; front-of-house & back-alleys. Migrant Workers meandering about the back-alleys are the main visual/physical consumers of these permissive activities. Placement of the SIFA module nearby aims to offer Migrant Workers an alternative of the Carnivalesque via a healthy manifestation of creativity & experimentation, (where they have the opportunity to be recommended as Experimental Campus students by their agents or former employers) at the same time offering the nearby populace an all-inclusive creative & collaborative space, whilst preserving these permissive activities as essential outlets. Collectively, this creates an uncurated sequence of spaces between two extremes of creative spatial ownership, with the SIFA module at its core

Shopowners, who are mostly senior Kurung Gunis, took over regulated land & used makeshift furniture as sheltering devices for their small shops. This market is the physical extension of their lives as collectors & they have developed their own business ettiquette, selling second-hand goods they harvested from the city. Migrant Workers & collectors would window-shop or source for second-hand necessities. Placement of the SIFA modules serves as a creative extension to & aims to inject a culture of innovative permanence to this makeshift market. Through open-studio design thinking workshops, students & shopowners can collaborate creatively on products which can be sold in the market. This also equips the senior shopowners with creative design skills (via skills upgrading workshops) should the land be slated for future development

Spillover-gathering space for Migrant Workers from multiple zones of the Little India District. The surrounding urban fabric has been programmed such that Migrant Workers treat this space as the central of their web of possible activities around this district. Migrant Workers would meet & relax with their peers on this ﬁeld, following a curious stroll along the back-alleys of the shophouses, catching a movie at Rex Cinemas, or purchasing second-hand goods at Thieves’ Market. Apart from its primary function of being a creative urban campus, SIFA modules here fundamentally serve as satellite studios, scouting & recruiting potential Migrant Workers who have the necessary skills & expertise to take on the Carnivalesque Management+Design Diploma programme

10 Little India District Carnivalesque Zone: Rowell Road Shophouses & Back-alleys

11 Little India District Carnivalesque Zone: Thieves’ Market

12 Little India Carnivalesque Zone: Little India Gathering Field

10A Rowell Road Shophouse back-alleys: Creative spatial ownership where people convert back kitchens, toilets & M&E housings into spaces for permissive activities, such as prostitution & unlicensed sex shops 10B Discarded furniture are repurposed, unintentionally creating a back-alley living room

11A Shopowners occupied & repurposed sidewalks of single-lane roads as shop spaces; road itself serves as the main boulevard on which market visitors circulate

12A The Connexion “Wall”: Healthcare & hospitality institution forms an urban barricade between this Gathering Field & the Farrer Park Fields behind, also inhabited by Migrant Workers. Due to the gentriﬁed nature of this building, the urban intervention aims to bridge this separation through a healthy manifestation of design & creativity via the SIFA modules 12B Every alternate crop cycle, crops from SIFA module are donated to Farrer Park Hospital as food for their patients. Social enterprise is managed by students & mentors of the Experimental Campus’ SIFA modules

10C Reused canvases & cupboards are used as makeshift curtains, to conceal the permissive activities; Migrant Workers will stand & observe from the exterior

11B Crops from SIFA module sold within takeaway salad bowls within the market; business model planned & executed by students 11C Students co-own shop spaces with shopowners, selling products collaboratively designed by them

10D Taking advantage of the crowd, students sell crops grown & necessity products designed from SIFA module

11D Creative spatial ownership is inherent: Canvases & tarpaulin mats are repurposed as sheltering devices

12C Migrant Workers spillover onto the roads, disregarding thresholds

10E Placement of Overpass is non-invasive to preserve & not to fully-conceal these permissive activities. Lined with Photo-Aqua-Nastic Roofs (Identity Element), it provides a visual hint of the alternative Carnivalesque. The longitudinal breaks serve as thresholds against the spread of permissive activities along the Overpass 10F Banglar Kantha: Bengali NGO which publishes articles & poems written by Migrant Worker poets; Migrant Workers visit every week for literary sharings & counselling sessions

11E Badminton nets are cast onto adjacent trees, creating a makeshift netball arena

12D Flea market occurring within Assembly space; products are jointly-designed by students & mentors

11F Placement of SIFA modules aims to creatively engage the public & shopowners via open-studio design & prototyping workshops which are run by students & their mentors. Every month, shopowners receive a fair chance to display their goods within the SIFA modules’ Assembly Space

12E Creative bazaar; Centrestage of ﬂea markets, open-studio design workshops & open exhibitions

10G Placement of SIFA module fosters cross-cultural cohesion through a healthy manifestation of collaborative creativity & experimentation at the centre between two extremities: the permissive activities in the backalley living room & the community activities in the HDB living room

11G Portion of Overpass overlooking key activity nodes are wider; serves as observatory space for Thieves’ Market below, & sharing-gathering space for presentation of products

12F Crops from SIFA module sold within takeaway salad bowls within the market; business model planned & executed by students 12G Migrant Workers use trees to set up volleyball nets for games & canvases for shelter

11H Shopowners displaying & sharing a second-hand product collaboratively re-engineered with students

12H Overpass connects ﬁeld with key institutional nodes, lined with Photo-Aqua-Nastic Roofs (Identity Element)

10H Open-studio design workshop occurring within SIFA module’s Assembly & Fabrication spaces; jointly-run by students & mentors

11J Crops from SIFA module are used as ingredients accompanying food cooked by HDB residents

12J Migrant Workers set up tarpaulin picnic mats, makeshift furniture or simply sit on the grass

10J Poetry sharing between Migrant Workers & HDB residents against the backdrop of the SIFA module

11K Creative bazaar occurring within Assembly Space: Centrestage of ﬂea markets, open-studio design workshops & open exhibitions. Bazaar can spillover into adjacent spaces such as the roofs of SIFA modules, Overpass & Thieves’ Market itself

12K Field serves as an open exhibition space extension to the SIFA modules; pavilions/exhibits collaboratively designed by students, mentors & the public are displayed here

10K Kampong Kapor Road: High Pedestrain Belt running perpendicular to shophouses 10L Rowell Court HDB: Urban intervention aims to bring Migrant Workers closer to the local populace 10M HDB Living Room: Residents occupy, rethink & repurpose void deck/roof spaces as community spaces 10N Students conducting a sharing session with local residents about a medical aid device they designed 10P Furniture contributed to the community space by residents, creating mingling & collaborative spaces

11L Overpass serves as a bridge & activates the public spaces adjacent to the SIFA modules across both banks of Rochor Canal, lined with Photo-Aqua-Nastic Roofs (Identity Element)

12L Portion of Overpass overlooking key activity nodes are wider; serves as observatory spaces for the ﬁeld (stage) & its accompanying activities 12M SIFA modules serve as creative satellite studios, scouting & recruiting potential Migrant Workers as students

11M SIFA modules connected to Overpass via Rooftop Public Space linking platform over the Assembly space

12N Portable restroom amenities provided by authority, providing a form of unspoken regulation for this space

11N Wider Overpass spaces can serve as informal gathering spaces between shopowners, students & residents from the nearby HDBs

12P Students organise vegetable & fruit bazaars, selling them to Migrant Workers at affordable prices 12Q High Pedestrain Belt intersection between Serangoon Road & Syed Alwi Road

10Q Crops from SIFA module sold within takeaway salad bowls; business model planned & executed by students 12R Mustafa Centre: 24-hour shopping mall mostly frequented by Migrant Workers 10R Frontages of shophouses where prostitutes are displayed & promoted, via permeable metal gate thresholds. Curious Migrant Workers would be visual consumers of these activities

12S City Square Mall: Shopping mall frequented by general public

Urban Study video journal:

zhongying.chia@gmail.com @chiazhongzhong

2019 Chia Zhong Ying