Alvin (or you can call me Aucks) is a designer sited in +65 singapore
;think tank, polymath (to be), storyteller and curator. be humble in design
;interest include space design and curatorial works. print, graphic
(now let me take a breather)
defying no good spaces; overview
This project is influenced by Atelier Bow-Wow, a Tokyo based architectural firm known for its research exploring urban conditions and micro / adhoc architecture. Using one of its research concept ‘dame’ as a guide to the project, I was interested to question and find out if such pet-like spaces can exist in Singapore, and relook into the stigma of leftover spaces. The in-betweenness of functional buildings creates these unintentional spaces, instead of leaving them underutilized what more can it function?
In my perspective, by stripping away the negative con- notation in ‘leftover’, it can be translated to ‘no good spaces’. No good spaces that are often overlooked and left unused, can be redefined purposefully. ‘No Good Space’ makes a suitable methodology as it can be represented a noun (a conclusive description of something less desirable as if a being), a verb (no good, less desirable) or an adjective (useless, unwanted or wasted). The ambiguity in it allows the spatial quality to be less suggestive, giving more openness to possibilities.
The project aims to redefine the stigma of no good spaces and allow the hidden value in them to be uncovered. I will uncover and highlight them, letting the public view and reflect on the possibilities of unscripted inhabitations within.
The project aims to create an installation that can redefine the stigma of no good spaces which are often seem as use- less and allow the hidden value in them to be uncovered. The project will highlight such undiscovered micro spaces in Sin- gapore, letting the public view and reflect on the possibilities of inhabitation in such in-between spaces.
The installation draws parallels with Studio Akane Moriyama’s installation by adding a subtle touch to the site. What I did with the porosity and lightness of the Amaike Super Organza fabric is to balance out the user’s ‘territory’ in the space, creating a new sense and perception of scale. What makes the installation ephemeral is the lighting conditions. The different shadows casted through the fabric (faint, overcast and harsh light) sets unformatted bound- aries for inhabitation – the inhabitations are temporal, creating moments that are slightly fleeting.
The heightened bodily experience keeps us aware that such spatial typography can be design opportunities. The project is a tool to identify such spaces; to use the methodology as a lens to make aware that such no good spaces exist and the opportunities it has.
By marking _____________ out the traces of inhabitation noticed, the relationship between our bodies and the space is displayed. The displaying of unscripted inhabitation reveals of the hidden value of in-between spaces.
AMAIKE SUPER ORGANZA
URBAN INTERIOR BENCOOLEN
URBAN INTERIOR MODEL
PANORAMIC SECTIONAL PERSPECTIVE
Using a ‘missed opportunity’ typology found in Singapore’s urban space, the project aims to create an experiential space design to revalue such insignificant spaces by ‘activating’ it.
If the architecture or urban qualities cannot be autonomous and can only exist as relationships, then how are the relationships to be designed?
In my pondering,
chasing rainy days that are, simply temporal.
Under the esplanade bridge, a performance is screened, but only activated by rain. From this simple and humble gesture, a new landscape amplifier is born. Neither closed nor completely open, it is a space in itself but it is part of its environment at the same time. Inside, rain becomes the protagonist of the performance while light supports it. The space sanctifies a small portion of the urban landscape but respectfully deny its confinement. Thus, the concepts of interior and exterior, in a diffuse and ambiguous spatial experience. Light enters through the opening. Inside it, we ponder, chase after rain and finds shelter and protection. ‘Pondering days’ coexists harmoniously with the urban interiors, letting in winds.
In some way, there is a reminiscence of the most prim- itive of architectures. One that reunites humans, urban landscape, and matter of earth.
UNDER ESPLANADE BRIDGE
RAIN AS THE PROTAGONIST
RAIN AND LIGHT
defying ‘no good spaces’
Using Rights to the City by David Harvey as a theoretical framework, the project lay claim to no good spaces in Singapore. As a summative to the personal project, the project will lay claims on no good spaces and defy against the dictated what can one call their own.
‘What kind of city we want cannot be divorced from the question of what kind of people we want to be.’
david harvey, rights to the city
What if people are given the rights to lay claims and defy against the dictated what can one call their own?
In reality, we organisms (humans) seek shelter. Buildings ex- ist as a shelters (homes) but also in our urban landscape as a point we ‘enter’ and ‘leave’. Such relationships of organisms entering and leaving the shelter can be quite monotonous. If we seek to shelter, why are spaces not reordered to suit us.
The desire to lay claims and to defy the dictated should be called by ourselves. Why are we not using such spaces when it is apparent they they are opportuni-ties? The rights to people is when we come to fill in the spaces, on our accord.
To re(order) is to simply arrange something again (or) differently.