Axis of Time & Emotion - Repression and Expression

Axis of Time & Emotion Repression and Expression

Author : Eldon Ng Yew Keong [A0182451J] AR5605

Studio Leaders : Dr. Ho Puay Peng, Ar. Tan Kay Ngee

Seeing is...

forgetting the name of the thing one sees.

- Paul Valery

Figure 1 (above) & 2 (right). Studio Spaces of Kyobi University (Photographed by Author)

Figure 3. Ryōan-ji Dry Garden (Photographed by Author)

Acknowledgements

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If only I was truly arrogant enough to conclude that this would be the last lesson of my architectural journey - who would I be kidding? Architecture is and forever will be a lifelong lesson that never ceases to inspire. Though the pages of this report will reflect the efforts and thoughts of the Last Option Studio (AR5605), it is surely only the beginning for me.

To all those that have walked this journey with me, tutors, friends, and family, my deepest thanks.

To Professor Ho Puay Peng and Architect Tan Kay Ngee - a sincere thank you for your time, effort, and recognition throughout this semester, your guidance and support have brought me and this project to where it is today. I truly appreciate the effort that has gone into the studio to make the exchange trip happen and I cannot fully express my thanks for that once-in-a-lifetime experience. I have learned plenty and I hope I have been a joy under your watch.

To my studio mates of the semester, thank you for the cross-cultural experience that you have brought me in my final option studio. I enjoyed my time with every one of you despite our few meet-ups. Having gone on the trip with this lot was quite an experience.

To Cheowyan and Nabilah, this is our second time being weird and full of shit in the same studio, I must say we didn’t grow up at all. I guess this is it? Time to get our shit together for our thesis.

Lastly, to Shauna, thank you for your love and support. Your presence has motivated me each day and never fails to inspire me to be the best version of myself. I am truly blessed to have you in my life and I look forward to all the days ahead with you.

The Last Lesson

1. Case Study of Adaptive Re-use

2. In Praise of Shadows (I) - Interpretation Drawing

3. In Praise of Shadow (II) - Drawing Light

Studio Exercises

In Praise of Shadow Exercise 01

The heightening of the sensual experience in life through the careful negation of sense. Would perhaps be my less than sufficient summary of the book in acknowledgement of the indescribable beauty of the rituals of Japanese culture.

My drawing seeks to express a methodology of design rather than an output. The concept begins with presenting myself with an “existing”, the scribble expressed in figure 1 demonstrates the possibility of madness found within any given space. And the process which follows is the dedication to emphasising and negating elements found, to which the drawing shpes itself through my subtle guidance.

I believe that the presented methodology demonstrates my understanding of the book, In Praise of Shadows (IPoS)

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In Praise of Shadow Exercise 02

The second exercise came with a request of using a blue scribe, a mid-blue pastel brick was the language of my choice. The task, draw a space in the dark and demonstrate the expression of light in the blue medium.

The previous week’s criticism of the studio by Professor Kay Ngee was focused on the specificity of a drawing, to capture and present a single idea pushing it to its peak expression. Both Professor Puay Peng and Kay Ngee agree that in the expression of the book “In Praise of Shadows” (IPoS), students were found imposing their imaginations and thoughts onto the piece of paper.

Reflecting on the assignment, Cheowyan and I observed that the creation of said drawing on a white canvas would imply the illustration of a ‘negative’ image. We reflected further on the remarks and felt the need to further negate the assumptions of the eye. A view in the eye captures often includes unconscious environment that are created by the mind, by creating an apparatus we further emphasize the surrendering of the self in dedication to presenting only what is properly visible. We imagined, perhaps, that is precisely what Architecture does, in the context of IPoS, the framing of the view found in Japanese Architecture.

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Figure 10 - 14. The Framing of Light (By Author)

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Pre-Site Visit Studies

1. Climatic Data

2. Site Study - Plan

3. Shadow Analysis

4. Selection of Programme

The coming weeks engaged the studio in groups, splitting into Elevations, Sections, Plans, and Historical studies. As part of the Plan Team, we conducted a quick analysis of the spatial configuration and on-site. I would describe this exercise as a form of icebreaker to the foreign space, one that many of us are unfamiliar with and eager to visit. The assignment also required us to select a program that we might find befitting of the space (individual component).

Discovering the site using google images, I have taken notice of the phenomenon of couples finding themselves in a line along the river. With little understanding of Japan, I had a presumption that Public Displays of Affection (PDA) are not particularly encouraged due to the conservative culture hence, this phenomenon of the multitude of couples displaying their affection for each other within such a public environment certainly piqued my interest. I thought perhaps, a suitable program would engage with the expression of human emotions. A program that may be sensitive to our hearts, a columbarium.

Ar. Tan Kay Ngee recommended that I watch the film “Our Little Sister” to find some form of inspiration towards the culture of death and expression of emotion in Japan.

The works on page 53-54 are shared between myself and Kee Cheowyan

Climatic Diagrams will be identified as Figure 15.

Pre-Site Visit Studies

Avg Water Temperature

Figure 16. Main Plot Textured (By Author)

Figure 17. Main Plot (By Author)

Figure 18. Plot Density (By Author)

Figure 19. Figure ground (By Author)

Figure 20. Plot Road Axis (By Author)

Figure 21. Plot Visual Axis (By Author)

Shadow Diagrams in Following Pages will be identified as Figure 22. (By Author)

Figure 21. Week 3/4 Site Understanding and Program Selection (By Author & Cheowyan)

“So my problem is not that of the ordering of man’s life by his natural environment. The natural environment is usually understood as an objective extension of ‘human climate’ regarded as a concrete basis.”

- Watsuji Tetsuro (1961)

Figure 23. Rituals, Culture, Shame - Within and Without (By Author)

Nuances lost Admist Tightness of Culture

It is not uncommon to hear the term “Construction of Self” within the collectivist and group-centered country of Japan. The social mechanism that contributes this behavior is expressed through shaming of deviant individuals, Anthropologist Takie Lebra expresses the effortless identification of violation by deviants due to the readily recognized cultural norms. Given the cultural and ritualistic emphasis within the societal’s behavior, we find ourselves locked in a city of conformity and order. We find a society fixated on “soto-omote” which translates to the ritualistic situations that demands a compliant behaviour. Enforcing the “Expressed Self” to the back (Uchi-Ura).

The expression of emotions in Japan is hence understood as a societal duty rather than an individual need, locking away the inward expression of an individual; resulting in psychological disorder within the self.

The Japanese term that is often associated to the deeper inward expression of the self is “Hon-Ne” ( 本音) which also literally translates to “true sound”. Examples of these emotions are those that exposes the individual’s sensitive, intimate and vulnerable aspects of the self. As such, the Japanese not only created a spectacle expression of the “Performed-Self” (soto/ omote) but wtih the repression of “Hon-Ne”, resist any possibilities for outliers and evolution of societal behavior.

McVeigh, Brian. “Ritualized Practices of Everyday Life: Constructing Self, Status, and Social Structure in Japan.” Journal of Ritual Studies, 8, Winter (1994): 53–71. http://www.jstor.org/stable/44398792.

Lebra, Takie Sugiyama. “Shame and Guilt: A Psychocultural View of the Japanese Self.” Ethos 11, no. 3 (1983): 192–209. https://doi.org/10.1525/ eth.1983.11.3.02a00070.

Kim, Uichol, and Guoshu Yang. Indigenous and Cultural Psychology: Understanding People in Context. New York: Springer, 2011.

“An open form express their desire to produce a form that would be a catalytic agent which may become many forms rather than just a form for its own sake”

- Fumihiko Maki (1964)

Culture In Motion

Marriage - Divorce, Death - Birth. The ward office acknowledges this. Within this single formless environment, the symbolic objectivation of these significant moments in our lives occurs. Professor Ho once jokingly said,

“Marriage could perhaps be a highlight or a mark in our lives.”

Indeed it could be, a blessing or a stain. Yet within the ward office, we find ourselves in little of an environment that could fall short of being within an Apple Store.

The project finds great interest in the duality found within the site, the expression of love and emotions found along the river, and the blandness of the ward office.

If both emotions and spaces are expressed through layers, be it “Tatemae/Hon ne” and “Oku”, how could these dualities be brought into the site and the program of the ‘ward office’?

The Ward Office - Deconstruction and Entanglement

Figure 24. Interim Citique 1 Boards - The Fragmentation of Emotions - Introduction of the Ward Office (By Author

Figure 25. Render of DohDa School Front Elevation (By Author)

Site Visit - Kyoto Japan [DohDa School]

The muted colours of the building bring barely any presence within the space. The quiet streets amplified the subtle laughter and screams of children from time to time. DhoDa behaves almost as if she’s hiding from the world.

The subtle rushing of the Kamo River brings an expression of rapid time whilst the facade of DhoDa speaks a different tale, the slowly decaying skin and organs she holds. What might she be should we intervene?

Figure

Figure 26 (above). Kamogawa River (Photographed by Author)

27 (right). Stone Steps Across River (Photographed by Author)

Figure 28. Steps Down Levee of Kamogawa River (Photographed by Author)

Figure 29. Stone Bridge to DhoDa School (Photograph by Author)

Figure 30 (left). Man-made Tributary River (Photographed by Author)

Figure 10 (above). Stone Pavement Along School Fence (Photographed by Author)

Figure 32 (above). Stairs of DhoDa School (Photographed by Author)

Figure 33 (right). Hallways in DhoDa School (Photographed by Author)

Figure 34. Frosted Glass Windows in Stairwell in DhoDa School (Photographed by Author)

Figure 35. Classroom in DhoDa School (Photographed by Author)

Figure 36. Internal Facade - DhoDa School (Photographed by Author)

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Fragmentation

Figure 37. Fragmentation of Site

Figure 38. On-site Sketch (By Author)

Figure 39. Digital Translation of Sketch (By Author)

Interpretation

Figure 41. Concept Sketches (By Author)

Figure 42. Concept Sketches (By Author)

Figure 43. Concept Sketches (By Author)

Figure 44. Concept Sketches (By Author)

Figure 45. Site Analysis - Movement/Axis/Layers (By Author)

Layers within Space

Fumihiko Maki often speaks of the concept of “oku” within Architecture. The core or rather the essence of a space. ‘Oku’ does not necessarily mean the center of any given space, but perhaps it might be best described as a objective that is carefully foreshadowed to the users. A journey that is ackownloedged though not necessarily prescribed to a essence hidden within.

Figure 46. Isometric Expression of Blending Site into Space (By Author)

Figure 49. Axis of Time (By Author)

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Emotions / Supression - Expression

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Spaces & Experience

Figure 51. Section A Render (By Author)

Pathways

Figure 53. The Dichotomic Exit (By Author)

Divided Encounter

The emotions that we may encounter within the building shall meet towards the center as we depart from the space. Grieve, celebration, sorrow, bliss, or even freedom. These feelings that we might explore and embody within shall find common ground in the lobby amidst the staff of the space that is trapped within a cyclical experience of life.

55. The Axis of Decisions [Marriage/Divorce] (By Author)

Figure 56. In the Presence of Light (By Author)

Figure 57 (left). The Chamber of Decisions (By Author)

Figure 58 (above). The Collective Promises (By Author)

Figure 59. The Platform (By Author)

The Platform

Determined individuals, to unite or to split shall find themselves taking a step up onto the platform. The mechanical storing system is as if the arms of God lift the decision into the clouds. The earthlings gather as they witness the moments of decisions that rise above. The pressure that we may feel within the chamber of the platform shall perhaps allow us to reconsider our decisions.

Figure 60. The Eye of God (By Author)

The Eye of God

From the Heavens above we witness this acknowledgement. On the platform we observe the decision that has been made, for better or for worse, forever or for less.

Figure 61. Viewing Gallery Window (By Author)

Figure 62. The Sounds of Emotions (By Author)

Figure 63. Faded Feelings (By Author)

Figure 64. Section J Render (By Author

“Preservation and Purity”

Figure 65. Axis of the Frozen (By Author)

1. 2. 3. 4.

View of the Artefact Frame of the Arctefact Guardian of the Artefact Sound of the Artefact

“Frozen in Time, Loss of Purpose”

Figure 66. The Frame (By Author)

Figure 67. The Guardian of the Artefact (By Author)

Fig 68. Close up of Frame (By Author)

Figure 69. Into Purity (By Author)

Figure 70. Beneath Still Time (By Author)

Figure 71. The Foreshadowing (By Author)

Figure 72. Axis of Decay (By Author)

Figure 73. Section of Decay I (By Author)

Figure 74. Section of Decay II (By Author)

Figure 75. The Tomb of Acknowledgement (By Author)

Figure 77. Bleeding Light (By Author)

Figure 76. The Gesture of Acknowledgement (By Author)

Figure 79. Embracing (By Author)

Figure 78. Pre-chaos (By Author)

“If we are inherently nature, and nature shall always takeover...

Figure 81. In-order (By Author)

Figure 80. In-chaos (By Author)

...then have we ever been ahead?”

Figure 82. To Ring the Bell

(By Author)

Figure 84 (above). The Reflection of Kamo (By Author) Figure 85 (top right). Time and Uncertainty (By Author)

Figure 86 (bottom right). Encroaching (By Author)

Figure 87 (above). The Flood of Kamo (By Author)

Figure 88 (top right). The Alley of Wishes (By Author)

Figure 89 (bottom right). Catching Dreams (By Author)

Figure 90. Unfolded Section Render (By Author)

Figure 91. Obscure Section Render

(By Author)

“The lines which we see are the thoughts that I think.”

The Decay

The Physicality of life suggests the temporality of things, humans, and architecture alike. In the notion of ‘conservation’, a key question we have to answer for ourselves perhaps is,

“What exactly are we conserving?”

It is in this question that I draw a relationship between Architecture and the act of Registring Death - the freezing of components within the building, the acceptance of nature and chaos within, and the creation of purity within the dysfunctional spaces. It is through the juxtaposition of such elements that we find an interesting conversation between the life of a building and the acknowledgment of our temporal being.

“The simple stamp found within the basement registry is the symbolic act of self acknowledgment.”

Figure

92.

Drawings of Decay (By Author)

The Un-anticipation

Can we truly anticipate the birth of a new life? We might like to conclude with scientific evidence and practices but can we truly quantify ‘the will of God?

The bell sits by the river in harmony with the push and pulls of the river, silently ringing in rhythm with the world. Occasionally a couple who finds bliss approaches to sound her charm, a stamp on the acknowledgment of birth, or just the natural movement of nature?

Figure 93. Drawings of Un-anticipation (By Author)

The Decision

What are the emotions that we truly feel in the moments of our decisions? What are the emotions we show in these same moments? When did we learn to express and when did we decide what was accepted? Is it the culture to which we submit ourselves or are we truly who we are? It is in these questions that we find a set of spaces that hides the ‘expressor’ and hint at the observer.

A set of spaces that layers the expression of our emotions, leaking out are the mechanisms of which emotions may be interpreted, perhaps the echos of screams and tears, if we are hopeful, some laughter of joy; I just hope by then we aren’t insane - trying to keep everything within us, it is time we let ourselves go.

Figure 94. Drawings of Decisions (By Author)

“The abscence of colour, the prescence of Imagination”

Moving Time

For time overwrites all, we accept our fate - to live and to die, to return to the state of one being. the acknowledgement of our temporality, the embracing of decay. To freeze and to purify is our only console. But time still takes over, we have no control.

Figure 96. Drawings of Moving Time (By Author)

Given Blessings

“We claim to know the world, the earth, sun, wind and seas. But just as the blessing of a child, we might never perceive. We wish to know the world and all that it is. When we should instead just count our blessings. appreciate each moment, each time we live in.”

Figure 97. Drawings of Given Blessings (By Author)

Burning Love

“In the heat of love we made a promise, to be there for each other forever and always. In our forever we made these memories, before god we swore to keep this promise. But as the love burned so did our bond, now to rid of it, forever gone.”

Figure 98. Drawings of The Furnance (By Author)

“The stiching of borders, the communication of a narrative.”

FINAL CRITIQUE

19TH NOVEMEBER 2022 (NUS - SDE III)

Figure 100. Final Boards Complete Set 6 x (590mm by 1682mm) Axis of Time and Emotion (By Author)

Figure 101.Photographs of Model I (Photographed by Author)

Figure 102.Photographs of Model II (Photographed by Author)

Figure 103 - 105 . River and Streets (Photographed by Author)

Figure 106 - 107 . River and Streets (Photographed by Author)

Figure 108 - 109 . Nature in Homes (Photographed by Author)

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Figure 110 - 112. Store Fronts (Photographed by Author)

Figure 113 - 115 . Geometry (Photographed by Author)

Figure 116 . Kamogawa River Bridge(s) (Photographed by Author)

Figure 117 (left). Brutalist Architecture (Photographed by Author) Figure 118 (above). Kawaramachi Street Pachinko Building (Photographed by Author)

Figures 119 - 121 . Light and Shadow (Photographed by Author)

Figure 122 (top left). Dance Stage of Yasaka Shrine Otabisho Figure 123 (bottom left). Yasaka Gate Figure 124 (above). Chion-in Sanmon (Main Gate)

(Photographed by Author)

Figure 125. Stains of Time (Photographed by Author)

Closing

Expression of Gratitude

To my dear friends of Kyoto (Kyobi University), it has been a great pleasure getting to know you. I have learnt and experience much of Japan and Kyoto within the short duration of our visit and that would not have been possible without the interactions we had.

A sincere shout out to Aoki-san, Shu Hei-san, and Sakamoto-san for your heart felt welcome and intense discussion of Architecture and culture.

A sincere thank you to the staff and faculty of Kyobi University for making the trip possible.

Figure 126 - 128. Photographs in Restaurant (Photographers, Staff at Restaurant, Gevin, Aoki-san)

Reflections

Quite frankly this semester felt like the faster one yet. I feel as though I have been holding my breath all 13 weeks long. I remembering feeling sick just at the thought of handling Options Studio and Thesis at the same time. Yet before I could even prepare myself, the semester had already begun caving in, a true landslide.

It feels strange typing this frankly. I can barely put these feelings into words, the journey from a freshman to finally completing my final studio really does give that solem feeling. Is this really it? Am I ready?

Well, there is frankly no time to think. Perhaps in this semester I have learnt that it is possible. The accomplishment of a seemingly crazy amount of task and the splitting of the mind. I am proud to say that I have done it. Perhaps this is not so much of a reflection but rather a moment to breathe and to say to myself in confidence.

“It is what it is, I can do whatever ‘it’ is.”

Figure 129. Author Sitting by Kamogawa River Sketching (Photograph by Siyuan)

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Axis of Time & Emotion Repression and Expression Year 2022

Heritage in Motion - Tradition Re-presented Professor Ho Puay Peng Architect Tan Kay Ngee

Master of Architecture Programme AY2022/2023

Department of Architecture College of Design and Engineering